Monday, April 16, 2012
Seth Engstrom
Absolutely rock solid design work for Sinbad by concept artist and art director Seth Engstrom.
Thursday, April 5, 2012
Wednesday, April 4, 2012
Sam Weber illustrator interviews!
The best things you could ever listen to if you really want to do this for a living.
Your Dreams, My Nightmares.
Your Dreams, My Nightmares.
Friday, March 23, 2012
Spectrum Live in Kansas City!
More information regarding the conference at the main MCA illustration blog here!
Tuesday, March 6, 2012
Mid-Term reviews
Don't forget about mid-term reviews this week! If you do not have a slot, or need to reschedule, please drop me a line at jlee@mca.edu or see me in class.
Tuesday & Thursday are in DA3.
Wednesday & Friday are at Otherlands on Cooper.
Tuesday:
11am-
12pm- Jason
330pm- Robbie
430pm- Aubrey
Wednesday:
11am- Ira
12pm- Izamar
1pm- Lee
2pm- Luke
3pm- Stephanie
4pm- Chris Mays
Thursday:
11am- Maysa
12pm- Mary
330pm: Kayla
430: Colton
Friday:
11am-
12pm- Chris Hill
1pm: Emily
2pm: Terri
3pm:
4pm: RahLeeCoh
Tuesday & Thursday are in DA3.
Wednesday & Friday are at Otherlands on Cooper.
Tuesday:
11am-
12pm- Jason
330pm- Robbie
430pm- Aubrey
Wednesday:
11am- Ira
12pm- Izamar
1pm- Lee
2pm- Luke
3pm- Stephanie
4pm- Chris Mays
Thursday:
11am- Maysa
12pm- Mary
330pm: Kayla
430: Colton
Friday:
11am-
12pm- Chris Hill
1pm: Emily
2pm: Terri
3pm:
4pm: RahLeeCoh
Friday, March 2, 2012
Project 3: Invisible Cities pt. 1
The great modern magic realist/postmodern writer Italo Calvino released Invisible Cities in 1972. The book’s framing story involves Marco Polo describing to Kublai Khan the cities in the Khan’s empire (the empire having grown too large for the Khan to visit them all himself). The cities are described in series of prose poems, and often less about describing urban geography than exploring philosophical or poetic notions, such as human nature, linguistics, metaphysics, ethics, and memory.
We will conduct an intense visual development cycle based on Invisible Cities. We will be fleshing out the appearance and narratives of the cities through research, writing, sketches, and concept illustrations. The project will eventually culminate in two painted illustrations, each measuring 11” x 17”.
Objectives:
To create specific visuals from a literary source that uses non-literal and poetic imagery; to expand upon source material in order to have greater insight into its depiction; to fuse disparate anthropological and scientific sources to create a credible non-existent environment; to contrast interior and exterior space using separate warm and cool palates; to build upon solid fundamentals of perspective; to be exposed to a fast-paced production cycle with outside variables.
Source material:
Read Invisible Cities, and choose the city you would like to develop. I will provide excerpts, but I wholly encourage you to purchase the book for yourselves or at least check it out of the library.
You may also view the book in .pdf form online here.
Writing:
“Day in the Life:” Write a short 500 word essay about a typical day in the life of an inhabitant of your city. Begin in the morning, and record the inhabitant’s routine until he or she goes to sleep at night. Look to your own daily routine for events to transpose upon your inhabitant. Think about the logistics behind every aspect of your own daily life. This essay is due on Tuesday, March 6th.
Research:
Research the cities of at least two different cultures. Each culture should be separated both geographically and by at least 200 years in time. Start compiling imagery that speaks to the following:
- Geography: where is the city located? What landmarks define the city? (For example, Rome is said to be founded by Romulus, after killing his brother Remus, on the Palatine Hill,overlooking the Tiber River.)
- Climate: What is the city’s climate? Is it wet or arid? Hot or cold? Is it affected by the surrounding geography? How did this impact architecture and agriculture? How does climate affect local flora and fauna? How did climate affect clothing?
- Architecture: Cities are built from the ground up and continue growing upward upon themselves. What are the architectural traditions of the city? How is the city laid out? How did inhabitants get around the city? Find both exterior spaces and interior spaces. How were the interior spaces furnished?
- Society- What were the main centers of the city? Social? Economic? Religious? Military? Were there social classes, if so, how did that affect the layout of the city?
As always, the more images you collect and the more research you do, the richer your imagined city will be. Research will be ongoing throughout the project, but you must present your initial research along with your “Day in the Life” essay on Tuesday, March 6th.
Concept Art:
Using what you have learned from your initial research, your writing, and the source material, begin to design your city. Use the same approach that you utilized for your research: start with geography, then climate, then architecture, then social structures.
Starting on Tuesday, March 6th, you will thumb, sketch, and refining a concept illustration EVERY SINGLE WEEKDAY until Thursday April 5th. There will be a total of 18 concept illustrations. These illustrations must be at least 6” x 6. DO NOT skip the thumbnailing and sketching stage for these: the concept piece must be at a higher level of finish than your sketches.
You must have the following number of concept pieces:
- (4) x architectural exteriors
- (4) x architectural interiors
- (1) x landscape
- (6) x figures/costumes
- (3) x objects from daily life (vehicles, furniture, etc.)
10 of these concept pieces (it doesn’t matter which) must be painted in color with acrylic. The remaining 8 can be executed in any media (dry, ink, etc.).
Consider what you know about your city both from Italo Calvino and your own writing. Remember that people have lived in this city for generations: their will be older and newer styles jostling against one another; there will be inhabitants who prefer more conservative styles, and inhabitants who are more progressive. There will be noise, and garbage, and graffiti. It should look lived in. Don’t forget your basic rules of perspective. Come see me if you have any problems!
Consider your color schemes carefully. Think back to the Periodic Table assignment: WHY are things the colors that they are? What colors and color schemes best convey the mood of your city? I suggest mapping out various color schemes with color wheel gamuts to help you keep your color schemes cohesive.
You will each receive wall space in the classroom to post copies of your concept art so that we can track your city’s “growth.”
Use weekends advantageously—consider using them to give yourself more time to do color pieces. DO NOT fall behind schedule. Procrastinating and attempting to catch up at the last minute will be almost impossible.
Final 1:
After the visual development cycle, develop 30 thumbnails of a scene in your city. The scene should show both an interior and exterior space, and should contain enough specific action that it looks like a scene taking place in your city, not just a study of the city itself. You may want to return to your “Day in the Life” essay and pick out a specific moment within your narrative.
Choose the best two thumbnails and draw them larger and cleaner as presentation sketches for class. We will not be doing a sized value study for this piece, so MAKE SURE your values are well and considered at the sketching stage.
Proceed with a painted final. Remember basics of warm/cool in portraying interior/exterior spaces. Refer back to your visual development to achieve a harmonized palette and overall “look” to your painting. The final painting will be due on April 17th for critique.
Important dates:
3.1 – Invisible Cities assigned, zoo observational exercise, sign up for Mid-Term review.
3.6- Overview Invisible Cities research, begin concept art cycle.
3.12 – 3.18- SPRING BREAK!
4.5- Concept art cycle finished.
4.10- Sketches due for painted final.
4.17- Finished Invisible City painting due for crit.
We will conduct an intense visual development cycle based on Invisible Cities. We will be fleshing out the appearance and narratives of the cities through research, writing, sketches, and concept illustrations. The project will eventually culminate in two painted illustrations, each measuring 11” x 17”.
Objectives:
To create specific visuals from a literary source that uses non-literal and poetic imagery; to expand upon source material in order to have greater insight into its depiction; to fuse disparate anthropological and scientific sources to create a credible non-existent environment; to contrast interior and exterior space using separate warm and cool palates; to build upon solid fundamentals of perspective; to be exposed to a fast-paced production cycle with outside variables.
Source material:
Read Invisible Cities, and choose the city you would like to develop. I will provide excerpts, but I wholly encourage you to purchase the book for yourselves or at least check it out of the library.
You may also view the book in .pdf form online here.
Writing:
“Day in the Life:” Write a short 500 word essay about a typical day in the life of an inhabitant of your city. Begin in the morning, and record the inhabitant’s routine until he or she goes to sleep at night. Look to your own daily routine for events to transpose upon your inhabitant. Think about the logistics behind every aspect of your own daily life. This essay is due on Tuesday, March 6th.
Research:
Research the cities of at least two different cultures. Each culture should be separated both geographically and by at least 200 years in time. Start compiling imagery that speaks to the following:
- Geography: where is the city located? What landmarks define the city? (For example, Rome is said to be founded by Romulus, after killing his brother Remus, on the Palatine Hill,overlooking the Tiber River.)
- Climate: What is the city’s climate? Is it wet or arid? Hot or cold? Is it affected by the surrounding geography? How did this impact architecture and agriculture? How does climate affect local flora and fauna? How did climate affect clothing?
- Architecture: Cities are built from the ground up and continue growing upward upon themselves. What are the architectural traditions of the city? How is the city laid out? How did inhabitants get around the city? Find both exterior spaces and interior spaces. How were the interior spaces furnished?
- Society- What were the main centers of the city? Social? Economic? Religious? Military? Were there social classes, if so, how did that affect the layout of the city?
As always, the more images you collect and the more research you do, the richer your imagined city will be. Research will be ongoing throughout the project, but you must present your initial research along with your “Day in the Life” essay on Tuesday, March 6th.
Concept Art:
Using what you have learned from your initial research, your writing, and the source material, begin to design your city. Use the same approach that you utilized for your research: start with geography, then climate, then architecture, then social structures.
Starting on Tuesday, March 6th, you will thumb, sketch, and refining a concept illustration EVERY SINGLE WEEKDAY until Thursday April 5th. There will be a total of 18 concept illustrations. These illustrations must be at least 6” x 6. DO NOT skip the thumbnailing and sketching stage for these: the concept piece must be at a higher level of finish than your sketches.
You must have the following number of concept pieces:
- (4) x architectural exteriors
- (4) x architectural interiors
- (1) x landscape
- (6) x figures/costumes
- (3) x objects from daily life (vehicles, furniture, etc.)
10 of these concept pieces (it doesn’t matter which) must be painted in color with acrylic. The remaining 8 can be executed in any media (dry, ink, etc.).
Consider what you know about your city both from Italo Calvino and your own writing. Remember that people have lived in this city for generations: their will be older and newer styles jostling against one another; there will be inhabitants who prefer more conservative styles, and inhabitants who are more progressive. There will be noise, and garbage, and graffiti. It should look lived in. Don’t forget your basic rules of perspective. Come see me if you have any problems!
Consider your color schemes carefully. Think back to the Periodic Table assignment: WHY are things the colors that they are? What colors and color schemes best convey the mood of your city? I suggest mapping out various color schemes with color wheel gamuts to help you keep your color schemes cohesive.
You will each receive wall space in the classroom to post copies of your concept art so that we can track your city’s “growth.”
Use weekends advantageously—consider using them to give yourself more time to do color pieces. DO NOT fall behind schedule. Procrastinating and attempting to catch up at the last minute will be almost impossible.
Final 1:
After the visual development cycle, develop 30 thumbnails of a scene in your city. The scene should show both an interior and exterior space, and should contain enough specific action that it looks like a scene taking place in your city, not just a study of the city itself. You may want to return to your “Day in the Life” essay and pick out a specific moment within your narrative.
Choose the best two thumbnails and draw them larger and cleaner as presentation sketches for class. We will not be doing a sized value study for this piece, so MAKE SURE your values are well and considered at the sketching stage.
Proceed with a painted final. Remember basics of warm/cool in portraying interior/exterior spaces. Refer back to your visual development to achieve a harmonized palette and overall “look” to your painting. The final painting will be due on April 17th for critique.
Important dates:
3.1 – Invisible Cities assigned, zoo observational exercise, sign up for Mid-Term review.
3.6- Overview Invisible Cities research, begin concept art cycle.
3.12 – 3.18- SPRING BREAK!
4.5- Concept art cycle finished.
4.10- Sketches due for painted final.
4.17- Finished Invisible City painting due for crit.
Thursday, March 1, 2012
Italo Calvino's Invisible Cities PDF
You're welcome! I encourage buying the actual book, but this will do in a pinch.
http://www.scribd.com/sirkay2006/d/18789131-Calvino-Italo-Invisible-cities
http://www.scribd.com/sirkay2006/d/18789131-Calvino-Italo-Invisible-cities
Wednesday, February 22, 2012
Art and Science Go Together Like Mac N Cheese
It's true. Check out these sites on the Voyager Golden Record project:
http://voyager.jpl.nasa.gov/spacecraft/goldenrec.html
http://goldenrecord.org/
http://re-lab.net/welcome/
http://voyager.jpl.nasa.gov/spacecraft/goldenrec.html
http://goldenrecord.org/
http://re-lab.net/welcome/
Project 2: Periodic Table
An element is a chemically pure substance consisting of a single type of atom, such as oxygen, lead, or uranium. In 1869, the elements were organized according to their chemical properties and atomic number by Dmitri Mendeleev. This chart is called The Periodic Table, and has, with refinements, been in use ever since. For this assignment, we will create an illustrated Periodic Table. The illustration will be 15”x15”.
Objectives:
To use research and ideation techniques to develop narrative from a non-narrative point of departure; to build upon the compositional, referenced, and painting skills from Project 1; to use a near-complementary color scheme in a painting; to balance multiple formal demands with the need to create a striking image.
Procedure:
Chose a chemical element, and sign up for it on the posted Periodic Table. Only one person may pick a given element.
Research your element, making note of at least ten distinct facts about it. These may be from the history or folklore relating to the element, interesting physical properties, or uses and applications. To this list of ten you may add any personal associations you may have with this substance. From this list, develop a “mind map,” spinning out associations from these facts, and then building on those associations. When you have developed a rich map of associations, look for connections between concepts from different branches of the map. Make note on the map of interesting visual and narrative ideas that come out of these connections.
Ideally, you are seeking two things: a basic narrative to depict in your illustration, and at least one other thematic reference to the element. Take antimony as an example. This metalloid substance, which I’d never heard of until seeking out an obscure element to use as an example, doesn’t seem very promising, at first. It’s shiny, in a chintzy sort of way, and has a number of industrial uses: it’s used in plumbing, and matches, and flame-proofing compounds. But then I find out that it was used make kohl, the dark eye makeup favored throughout the Ancient World. Now, all sorts of narrative possibilities open up: Cleopatra being made-up before meeting Caesar; Salome dancing for the head of John the Baptist, even Johnny Depp dressing up as Jack Sparrow. Pretty much any scene from history or myth that involved a man or woman wearing eye make-up is fair game. Drawing connections between Cleopatra’s Egypt and antimony’s use in matches and flame-proofing leads me to Sekhmet, the Goddess of Fire. So, Cleopatra being made-up with kohl before meeting Caesar is my main narrative for my illustration, and images of Sekhmet (as well as some compositionally prominent braziers) addresses my secondary thematic reference to antimony.
In addition to the narrative content and at least one secondary reference, the illustration should include the atomic number of the element being depicted (in the case of antimony, this is 51).
Sketching:
Develop at least 25 thumbnail sketches of your idea. Each thumbnail should be a different compositional approach to the image. Select the three best compositions and draw them larger (around 4”x4’) and neater, so that you can present them to the class.
Reference: Collect the friends and props necessary to shoot good references for your illustration. As with Tableau Vivant, use the photo-shoot as an opportunity to explore and refine your composition. Bring at least ten good shots to present to the class. Additionally, collect any other photo-references you will need for your image.
Drawing:
Based on the feedback you receive in class on your photographed compositions, develop your drawing at the size of the final illustration. Focus on value, first and foremost. Make sure your composition translates well to the final size.
Painting:
This image will be rendered in a near-complementary color scheme. Using a color wheel, determine the palette of your piece. You may use only these two colors as well as black and white. Spend some time in your sketchbook making some color swatches with these paints. Test out different proportions of colors to drive your color schemes—refer to the movie color scheme exercise. Make sure your color scheme reflects your narrative. Check to see whether you can effectively push/pull with warms and cools.
Dimensions:
- Sketches and thumbnails can be in your sketchbook. Thumbs can be any size, but sketches must be at least 4” x “4.
- Value study drawing must true to size, 15” x 15”. Use good drawing paper like Rives BFK.
- Final will be on illustration board, 15” x 15”. It must have a 3” border on all sides, bringing your overall dimension to 18” x 18”.
Presentation:
When the painting is finished, flap the illustration board with a sheet of tracing paper and a sheet of cover stock.
Schedule:
2.9 – Tableau Vivant matted and turned in
2.14 – Periodic Table research due and presented. Gamut mask exercise due.
2.16 - Review reference, begin value study.
2.21- Value study drawing due and reviewed.
2.28- Periodic Table critique.
3.1- Turn in Periodic Table.
Objectives:
To use research and ideation techniques to develop narrative from a non-narrative point of departure; to build upon the compositional, referenced, and painting skills from Project 1; to use a near-complementary color scheme in a painting; to balance multiple formal demands with the need to create a striking image.
Procedure:
Chose a chemical element, and sign up for it on the posted Periodic Table. Only one person may pick a given element.
Research your element, making note of at least ten distinct facts about it. These may be from the history or folklore relating to the element, interesting physical properties, or uses and applications. To this list of ten you may add any personal associations you may have with this substance. From this list, develop a “mind map,” spinning out associations from these facts, and then building on those associations. When you have developed a rich map of associations, look for connections between concepts from different branches of the map. Make note on the map of interesting visual and narrative ideas that come out of these connections.
Ideally, you are seeking two things: a basic narrative to depict in your illustration, and at least one other thematic reference to the element. Take antimony as an example. This metalloid substance, which I’d never heard of until seeking out an obscure element to use as an example, doesn’t seem very promising, at first. It’s shiny, in a chintzy sort of way, and has a number of industrial uses: it’s used in plumbing, and matches, and flame-proofing compounds. But then I find out that it was used make kohl, the dark eye makeup favored throughout the Ancient World. Now, all sorts of narrative possibilities open up: Cleopatra being made-up before meeting Caesar; Salome dancing for the head of John the Baptist, even Johnny Depp dressing up as Jack Sparrow. Pretty much any scene from history or myth that involved a man or woman wearing eye make-up is fair game. Drawing connections between Cleopatra’s Egypt and antimony’s use in matches and flame-proofing leads me to Sekhmet, the Goddess of Fire. So, Cleopatra being made-up with kohl before meeting Caesar is my main narrative for my illustration, and images of Sekhmet (as well as some compositionally prominent braziers) addresses my secondary thematic reference to antimony.
In addition to the narrative content and at least one secondary reference, the illustration should include the atomic number of the element being depicted (in the case of antimony, this is 51).
Sketching:
Develop at least 25 thumbnail sketches of your idea. Each thumbnail should be a different compositional approach to the image. Select the three best compositions and draw them larger (around 4”x4’) and neater, so that you can present them to the class.
Reference: Collect the friends and props necessary to shoot good references for your illustration. As with Tableau Vivant, use the photo-shoot as an opportunity to explore and refine your composition. Bring at least ten good shots to present to the class. Additionally, collect any other photo-references you will need for your image.
Drawing:
Based on the feedback you receive in class on your photographed compositions, develop your drawing at the size of the final illustration. Focus on value, first and foremost. Make sure your composition translates well to the final size.
Painting:
This image will be rendered in a near-complementary color scheme. Using a color wheel, determine the palette of your piece. You may use only these two colors as well as black and white. Spend some time in your sketchbook making some color swatches with these paints. Test out different proportions of colors to drive your color schemes—refer to the movie color scheme exercise. Make sure your color scheme reflects your narrative. Check to see whether you can effectively push/pull with warms and cools.
Dimensions:
- Sketches and thumbnails can be in your sketchbook. Thumbs can be any size, but sketches must be at least 4” x “4.
- Value study drawing must true to size, 15” x 15”. Use good drawing paper like Rives BFK.
- Final will be on illustration board, 15” x 15”. It must have a 3” border on all sides, bringing your overall dimension to 18” x 18”.
Presentation:
When the painting is finished, flap the illustration board with a sheet of tracing paper and a sheet of cover stock.
Schedule:
2.9 – Tableau Vivant matted and turned in
2.14 – Periodic Table research due and presented. Gamut mask exercise due.
2.16 - Review reference, begin value study.
2.21- Value study drawing due and reviewed.
2.28- Periodic Table critique.
3.1- Turn in Periodic Table.
Tuesday, February 7, 2012
Golden Age Comic Book Stories
Hey guys.
If you're not aware of this blogspot, go check it out yesterday. Particularly of interest, however, is that they added hi-rez N.C. Wyeth images from his illustrations in Kidnapped.
-Lee
Corrected Color Wheel
Just in case you lost your color wheel, here is a good one-- it differs slightly from the traditional color wheel in that it mathematically maps out the additive colors of light (RGB) rather than paint but the general layout is similar and it is much more true to how we perceive color; on computer screens and in general.
Pull it down here!
Pull it down here!
Figure Drawing Roundup
I'm going to try and compile a list of figure drawing sessions throughout Memphis so that you can draw all day, every day.
Tomorrow, Adam Shaw will be running a session at his studio on 2547 Broad Ave. from 7pm to whenever (usually 10, sometimes longer). $10.
On Mondays, there is the session in Butler Hall West that is free for students. 730pm-10.
On Fridays until Feb. 24th there is a session at the Flicker Street Studio, 74 Flicker Street, from 10am-12pm. $10
The University of Memphis used to run one on Tuesday nights that was free to all, but I'm unsure if they're still doing it-- I'll double-check.
Tomorrow, Adam Shaw will be running a session at his studio on 2547 Broad Ave. from 7pm to whenever (usually 10, sometimes longer). $10.
On Mondays, there is the session in Butler Hall West that is free for students. 730pm-10.
On Fridays until Feb. 24th there is a session at the Flicker Street Studio, 74 Flicker Street, from 10am-12pm. $10
The University of Memphis used to run one on Tuesday nights that was free to all, but I'm unsure if they're still doing it-- I'll double-check.
Thursday, February 2, 2012
Figure Drawing Generators
http://www.pixelovely.com/gesture/figuredrawing.php
I think these are what John was referring to in class today. These are two websites that pull from their gathered collection of figures, and they can be organized by time, category, gender, etc.
Hope these help.
-Lee
Wednesday, February 1, 2012
Project 1: Tableau Vivant
A term meaning “Living Picture,” the Tableau Vivant was a popular form of entertainment in Europe before photography, radio, or film. A group of models would recreate paintings, etchings, or scenes from books by posing in frozen attitudes on a stage, often with elaborate costumes, props, and lighting. Tableaux Vivants are still created at the annual “Pageant of the Masters” in Laguna Beach – a $4.1 million production featuring 40 art works recreated over a period of 2 months. For this assignment, you will create a Tableau of one work of figurative art, and use it as reference for a new illustration. The illustration will be 11”x15”.
Objectives:
To explore existing artistic traditions and history as a source of inspiration, to examine the role of image reference, both historical and created, in creating an illustration, to develop an immersive composition from a static one, to use warm and cool contrast in a painting.
Procedure:
Choose one of the artistic traditions listed below:
Chinese Scrolls
European Illuminated Manuscripts
Egyptian Painting
Greek Vase Painting
Persian Miniature Painting
Ukiyo-e Prints
Research the tradition, and find an example of it that you would like to base your piece on. You must have a high quality copy of this image, at least 3”x3”. The image may be Xeroxed or scanned from a book. A low-res JPEG is not acceptable. Put the copy in your sketchbook. Record the name and period of the piece, and, if appropriate, the artist. Write about what is occurring in the image; identify all of the characters, the environment, and any significant objects in the image. Be specific. Do as much research as possible.
Reference:
Using friends or classmates, re-enact the scene from your image. You may want to arrange equivalents of the costumes, props, and setting, for instance, using a broom handle for a sword. Pay attention to the lightning of your tableau. When you are satisfied with your tableau, photograph it. The artistic traditions listed above tend towards flattened, theatrical compositions. Work against this in your photo-reference. Strive to find the point of view that will create the most interesting composition. Consider the depth of your arrangement: background, middle ground, and foreground. Present your photos in class.
Drawing:
Based on the feedback you receive in class on your photographed compositions, develop your drawing at the size of the final illustration. Focus primarily on value, and refining your composition.
Painting:
Execute the painting utilizing the concepts of warm and cool and bring attention to certain areas (push & pull) and create the correct emotional mood. Use Titanium White, Burnt Umber, and Ultramarine Blue acrylic paints. By mixing the blue and umber paints, you will create a dark near-black color. Adjusting it with a little more blue or brown will make it cooler or warmer, respectively. Adding white will provide you with full range of warm and cool values.
Presentation:
When the painting is finished, mat it. The mat should have a second window for a good, clean copy of the source image. Flap the mat with a sheet of tracing paper and a sheet of cover stock.
1.19- Project 1: Tableau Vivant assigned
In class and homework: Exercise 2: Texture Matching Scavenger Hunt
1.24- Due: Tableau research, Exercise 2.
In class: Review research for Tableau Vivant
Begin thumbs, sketches for drawing
1.26- Due: Tableau reference photos.
In class: Review sketches, reference. Work on Tableau Vivant drawing.
1.31- Due: Tableau Vivant drawing
In Class: Begin painting
2.2- In Class: Exercise 3: Expression Studies
2.7- Due: Tableau Vivant critiqued.
2.9- Due: Tableau Vivant matted, flapped, labeled and turned in.
Objectives:
To explore existing artistic traditions and history as a source of inspiration, to examine the role of image reference, both historical and created, in creating an illustration, to develop an immersive composition from a static one, to use warm and cool contrast in a painting.
Procedure:
Choose one of the artistic traditions listed below:
Chinese Scrolls
European Illuminated Manuscripts
Egyptian Painting
Greek Vase Painting
Persian Miniature Painting
Ukiyo-e Prints
Research the tradition, and find an example of it that you would like to base your piece on. You must have a high quality copy of this image, at least 3”x3”. The image may be Xeroxed or scanned from a book. A low-res JPEG is not acceptable. Put the copy in your sketchbook. Record the name and period of the piece, and, if appropriate, the artist. Write about what is occurring in the image; identify all of the characters, the environment, and any significant objects in the image. Be specific. Do as much research as possible.
Reference:
Using friends or classmates, re-enact the scene from your image. You may want to arrange equivalents of the costumes, props, and setting, for instance, using a broom handle for a sword. Pay attention to the lightning of your tableau. When you are satisfied with your tableau, photograph it. The artistic traditions listed above tend towards flattened, theatrical compositions. Work against this in your photo-reference. Strive to find the point of view that will create the most interesting composition. Consider the depth of your arrangement: background, middle ground, and foreground. Present your photos in class.
Drawing:
Based on the feedback you receive in class on your photographed compositions, develop your drawing at the size of the final illustration. Focus primarily on value, and refining your composition.
Painting:
Execute the painting utilizing the concepts of warm and cool and bring attention to certain areas (push & pull) and create the correct emotional mood. Use Titanium White, Burnt Umber, and Ultramarine Blue acrylic paints. By mixing the blue and umber paints, you will create a dark near-black color. Adjusting it with a little more blue or brown will make it cooler or warmer, respectively. Adding white will provide you with full range of warm and cool values.
Presentation:
When the painting is finished, mat it. The mat should have a second window for a good, clean copy of the source image. Flap the mat with a sheet of tracing paper and a sheet of cover stock.
1.19- Project 1: Tableau Vivant assigned
In class and homework: Exercise 2: Texture Matching Scavenger Hunt
1.24- Due: Tableau research, Exercise 2.
In class: Review research for Tableau Vivant
Begin thumbs, sketches for drawing
1.26- Due: Tableau reference photos.
In class: Review sketches, reference. Work on Tableau Vivant drawing.
1.31- Due: Tableau Vivant drawing
In Class: Begin painting
2.2- In Class: Exercise 3: Expression Studies
2.7- Due: Tableau Vivant critiqued.
2.9- Due: Tableau Vivant matted, flapped, labeled and turned in.
Monday, November 21, 2011
Thursday, November 17, 2011
Project 5: Memory
Make a list of 18 childhood memories: (6) from ages 1-6; (6) from ages 6-12; and (6) from ages 12-18. Try to come up with specific events, not general situations (so, not simply “Fishing with Grampa,” but “the time I went fishing with Grampa, and I fell out of the boat.”).
From this list, select the three memories that seem the most compelling and personal. Take some time and write about each memory. Consider: Why is this event significant enough that you have bothered to remember it? What led to this event? What were you feeling at the time? What do you think other people were feeling? How would you react differently to this situation if faced with it today? What kind of specifics and concrete imagery can you remember? Chronologically, how did this event transpire?
Type up and edit each memory. Print off 4 copies of each piece (12 total). In class on Monday, break into small groups, give one copy of each memory to each member in your group, and read your memories to one another. Note your peers’ reactions and associations with the stories you tell.
Edit your peers’ stories. Specifically: note what isn’t clear narratively, what kind of specifics could use more detail, what is effective and what is too vague. Highlight as much concrete imagery as possible.
Using the feedback you received from your group, choose one of these as the memory you want to work with for this project.
Prepare 15 thumbnails of your memory. Do not look at any photographs during this time. Create the compositions based solely on your memory. Consider the Molly Bang principles: structure your compositions to heighten the emotions conveyed in your stories. From these thumbnails, prepare (3) 7” x 9.5” refined sketches. These presentation sketches should be refinements of the thumbnails, advancing your understanding of the composition, and clearly communicating your content.
In class, prepare a 7” x 9.5” painted study of the best of the three compositions. Only after this sketch is completed can you look at any photo-reference for this piece. Shoot or construct your own reference as much as possible.
Based on your painted study, develop the full-size composition, and lightly transfer it to your painting surface. The final illustration will be 11”x15”, and will be executed in either black watercolor wash or black and white gouache. Take care to ensure that your final is clean and isn’t warping.
Materials
A sheet of good paper: watercolor paper or Bristol Board
Tracing paper
Black tube watercolor paint/Black and white gouache
Plastic mixing tray
Water container
Round watercolor brushes
Mop brush
11.9 - Assigned: Develop Memory List
11.14 - Memory stories due, peer editing. Begin thumbnails.
11.16 - Review thumbs, refined sketches due at end of class.
11.21 - Half-sized painted sketch due. Illustrator Paper DUE.
11.23 - Turkey Day Break!
11.30 – Illustrator Presentations DUE
12.5 - Memory DUE.
12.7, 12.12. – Illustration presentations, Last Day of Class.
From this list, select the three memories that seem the most compelling and personal. Take some time and write about each memory. Consider: Why is this event significant enough that you have bothered to remember it? What led to this event? What were you feeling at the time? What do you think other people were feeling? How would you react differently to this situation if faced with it today? What kind of specifics and concrete imagery can you remember? Chronologically, how did this event transpire?
Type up and edit each memory. Print off 4 copies of each piece (12 total). In class on Monday, break into small groups, give one copy of each memory to each member in your group, and read your memories to one another. Note your peers’ reactions and associations with the stories you tell.
Edit your peers’ stories. Specifically: note what isn’t clear narratively, what kind of specifics could use more detail, what is effective and what is too vague. Highlight as much concrete imagery as possible.
Using the feedback you received from your group, choose one of these as the memory you want to work with for this project.
Prepare 15 thumbnails of your memory. Do not look at any photographs during this time. Create the compositions based solely on your memory. Consider the Molly Bang principles: structure your compositions to heighten the emotions conveyed in your stories. From these thumbnails, prepare (3) 7” x 9.5” refined sketches. These presentation sketches should be refinements of the thumbnails, advancing your understanding of the composition, and clearly communicating your content.
In class, prepare a 7” x 9.5” painted study of the best of the three compositions. Only after this sketch is completed can you look at any photo-reference for this piece. Shoot or construct your own reference as much as possible.
Based on your painted study, develop the full-size composition, and lightly transfer it to your painting surface. The final illustration will be 11”x15”, and will be executed in either black watercolor wash or black and white gouache. Take care to ensure that your final is clean and isn’t warping.
Materials
A sheet of good paper: watercolor paper or Bristol Board
Tracing paper
Black tube watercolor paint/Black and white gouache
Plastic mixing tray
Water container
Round watercolor brushes
Mop brush
11.9 - Assigned: Develop Memory List
11.14 - Memory stories due, peer editing. Begin thumbnails.
11.16 - Review thumbs, refined sketches due at end of class.
11.21 - Half-sized painted sketch due. Illustrator Paper DUE.
11.23 - Turkey Day Break!
11.30 – Illustrator Presentations DUE
12.5 - Memory DUE.
12.7, 12.12. – Illustration presentations, Last Day of Class.
Thursday, October 20, 2011
Some period dress
Found by Luke! Thanks Luke!
Keep researching and piecing together accurate reference for Monday.
Thursday, October 13, 2011
Sinbad the Sailor
For the next assignment, you will illustrate a story from the One Thousand and One Arabian Nights. This story will be executed in scratchboard. The size is 10”x15”, either landscape or portrait, and should be measured out in the middle of a larger sheet of scratchboard—do not work at the edge of your board.
List 3 events in the story of Sinbad that would be interesting to depict. Write a stream of consciousness statement of each, summarizing what is happening at the moment you wish to illustrate. Try to understand the back-story and motivation of each of the players involved, even if this means you need to invent this information. What is Sinbad feeling at that moment? What are the other people feeling? Why are they doing what they’re doing? How would you feel if placed in that situation/Has there ever been a time when you have encountered something analogous to this event, however tenuous the connection? Even though you are illustrating a pre-existing story, it can and should be informed by your personal experience, and even become a vehicle to tell your own story.
After writing the 3 statements, begin drawing thumbnails of the chosen moments. Prepare at least 15 thumbnails for each moment. Consider the overall emotional tone of each moment, and how you can communicate that with the composition, as you did with the Card Suit project. Consider the emotional state of the characters, and how that will inform their body language, as you did with the Pantomime project.
Research the history of the Arabian Nights, and Sir Richard Burton’s translation, in particular. Because they result from an oral tradition that circulated for centuries, there is timelessness to the stories. But, in order to illustrate them properly, you must root them in a specific time an place, so that you know what people will be dressed in, and what their environments will look like. Based on your research, determine a place and time for your depiction of the voyages of Sinbad. Research the culture that Sinbad comes from (is he Muslim, or Sikh? Arab or Persian? Or something else entirely?). Write a 500-word summary of your research and conclusions, and email these to me at john@johnleedraws.com. Collect as much visual reference as you can for your chosen period. Collect at least 5 images of period-appropriate male clothing, 5 of female clothing (costume history books are a great resource), 5 of buildings, 5 landscapes of that part of the world, and images of ships, animals, weapons, furniture, and whatever else you might need for your illustration.
Take your 3 most successful thumbnails (these may or may not be from the same moment), and draw a 7.5”x11” compositional study for each. Your 35+ thumbnails, 500-word research summary, visual references, and 3 comps are due 10/19. Remember that complete and on-time research and sketches are a significant part of your final product grade.
Based on feedback in class, do a full-size, refined, 10” x 15” pencil sketch in preparation for transfer to your scratchboard.
During the next class, we will have a figure in costume for posed reference. Bring materials for drawing the figure, the larger the better. Also bring cameras if you choose. I will bring mine for use as well..
10/12- Mid-Term. Pantomime critiqued and turned in. In-class: Scratchboard studies.
10/19- Illustrator Research due. Story sketches and research due. In-class: figure drawing with costume
10/26- Full-sized pencil sketch
11.9- Finals due, critique
Materials:
Large and small sheets of scratchboard
Scratching tools
Tracing paper
White chalk for transfer
Ink
List 3 events in the story of Sinbad that would be interesting to depict. Write a stream of consciousness statement of each, summarizing what is happening at the moment you wish to illustrate. Try to understand the back-story and motivation of each of the players involved, even if this means you need to invent this information. What is Sinbad feeling at that moment? What are the other people feeling? Why are they doing what they’re doing? How would you feel if placed in that situation/Has there ever been a time when you have encountered something analogous to this event, however tenuous the connection? Even though you are illustrating a pre-existing story, it can and should be informed by your personal experience, and even become a vehicle to tell your own story.
After writing the 3 statements, begin drawing thumbnails of the chosen moments. Prepare at least 15 thumbnails for each moment. Consider the overall emotional tone of each moment, and how you can communicate that with the composition, as you did with the Card Suit project. Consider the emotional state of the characters, and how that will inform their body language, as you did with the Pantomime project.
Research the history of the Arabian Nights, and Sir Richard Burton’s translation, in particular. Because they result from an oral tradition that circulated for centuries, there is timelessness to the stories. But, in order to illustrate them properly, you must root them in a specific time an place, so that you know what people will be dressed in, and what their environments will look like. Based on your research, determine a place and time for your depiction of the voyages of Sinbad. Research the culture that Sinbad comes from (is he Muslim, or Sikh? Arab or Persian? Or something else entirely?). Write a 500-word summary of your research and conclusions, and email these to me at john@johnleedraws.com. Collect as much visual reference as you can for your chosen period. Collect at least 5 images of period-appropriate male clothing, 5 of female clothing (costume history books are a great resource), 5 of buildings, 5 landscapes of that part of the world, and images of ships, animals, weapons, furniture, and whatever else you might need for your illustration.
Take your 3 most successful thumbnails (these may or may not be from the same moment), and draw a 7.5”x11” compositional study for each. Your 35+ thumbnails, 500-word research summary, visual references, and 3 comps are due 10/19. Remember that complete and on-time research and sketches are a significant part of your final product grade.
Based on feedback in class, do a full-size, refined, 10” x 15” pencil sketch in preparation for transfer to your scratchboard.
During the next class, we will have a figure in costume for posed reference. Bring materials for drawing the figure, the larger the better. Also bring cameras if you choose. I will bring mine for use as well..
10/12- Mid-Term. Pantomime critiqued and turned in. In-class: Scratchboard studies.
10/19- Illustrator Research due. Story sketches and research due. In-class: figure drawing with costume
10/26- Full-sized pencil sketch
11.9- Finals due, critique
Materials:
Large and small sheets of scratchboard
Scratching tools
Tracing paper
White chalk for transfer
Ink
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