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.
Showing posts with label assignments. Show all posts
Showing posts with label assignments. Show all posts
Friday, March 2, 2012
Wednesday, February 22, 2012
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.
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 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
Thursday, October 6, 2011
Pantomime
In class, on 9/28, watch the selected materials from Martha Graham's A Dancer's World. Look for expressive body language, and sketch in your notebook. How much information can be expressed with nothing more than the human figure?
Select 4 of the emotions listed below:
Acceptance; Ambivalence; Apathy; Anxiety; Compassion; Confusion; Curiosity; Despair; Disgust; Doubt; Ecstasy; Envy; Embarrassment; Forgiveness; Frustration; Guilt; Gratitude; Grief; Hope; Horror; Homesickness; Loneliness; Love; Pity; Pride; Regret; Remorse; Shame; Suffering.
Your assignment is to convey these emotions solely through body language. This will require the assistance of one friend, peer, family member, class crush, or paid persons to act as a model for you. Working with your model, develop body language that clearly conveys your chosen emotional states. Refer to your in-class sketching for ideas. The poses you develop may or may not be wholly naturalistic; they may be exaggerated. You may costume your model however you wish, but the model must remain in the same outfit for all 4 emotions—no changing costumes to reflect the emotion being depicted. Draw your model from life. You may take photo-reference, as well, but only as secondary resource to your live-model drawings.
From these sketches, develop 4 images, each 7"x10", of the human figure, expressing your chosen emotions. You may use either litho crayon or ink on white paper. Choose either quality drawing paper or smooth Bristol board depending on your choice of media. The drawings should contain the figure only: no props, no background. Mount the four drawings 2 x 2 on mat board with 1” in between each drawing, and with a 2” border. Label the four emotions depicted on the back of your mat board.
The four drawings are due for critique on Wednesday, 10.12.
Dimensions of Final:
(4) 7” x 10” drawings.
Mounted on matte board with 1” in between drawings and a 2” border on each side (final mat size will be 19” x 25”)
Flapped, with an image tag on the back, as well as the corresponding emotions.
Materials:
• Smooth Bristol board or quality drawing paper (like Rives BFK)
• Tracing paper, heavier stock paper for flap
• Litho Crayon or Ink, with brushes and nib pen.
Select 4 of the emotions listed below:
Acceptance; Ambivalence; Apathy; Anxiety; Compassion; Confusion; Curiosity; Despair; Disgust; Doubt; Ecstasy; Envy; Embarrassment; Forgiveness; Frustration; Guilt; Gratitude; Grief; Hope; Horror; Homesickness; Loneliness; Love; Pity; Pride; Regret; Remorse; Shame; Suffering.
Your assignment is to convey these emotions solely through body language. This will require the assistance of one friend, peer, family member, class crush, or paid persons to act as a model for you. Working with your model, develop body language that clearly conveys your chosen emotional states. Refer to your in-class sketching for ideas. The poses you develop may or may not be wholly naturalistic; they may be exaggerated. You may costume your model however you wish, but the model must remain in the same outfit for all 4 emotions—no changing costumes to reflect the emotion being depicted. Draw your model from life. You may take photo-reference, as well, but only as secondary resource to your live-model drawings.
From these sketches, develop 4 images, each 7"x10", of the human figure, expressing your chosen emotions. You may use either litho crayon or ink on white paper. Choose either quality drawing paper or smooth Bristol board depending on your choice of media. The drawings should contain the figure only: no props, no background. Mount the four drawings 2 x 2 on mat board with 1” in between each drawing, and with a 2” border. Label the four emotions depicted on the back of your mat board.
The four drawings are due for critique on Wednesday, 10.12.
Dimensions of Final:
(4) 7” x 10” drawings.
Mounted on matte board with 1” in between drawings and a 2” border on each side (final mat size will be 19” x 25”)
Flapped, with an image tag on the back, as well as the corresponding emotions.
Materials:
• Smooth Bristol board or quality drawing paper (like Rives BFK)
• Tracing paper, heavier stock paper for flap
• Litho Crayon or Ink, with brushes and nib pen.
Monday, September 12, 2011
Illustrator Research Project
Image Research: Research each of the listed artists. Collect five of their images in your sketchbook and record who they were, when they worked, and what sort of work they did.
Aubrey Beardsley
Honore Daumier
Albrecht Durer
Gustav Dore
Charles Dana Gibson
William Hogarth
Winslow Homer
Rockwell Kent
Heinrich Kley
Kathe Kollwitz
Winsor McKay
J.C. Leyendecker
Thomas Nast
Rose O’Neil
Howard Pyle
T. S. Sullivant
John Tenniel
N.C. Wyeth
Image Research Due: 10.19
Research Paper: Choose the artist who interests you most and research them for your presentation. At least five sources must be cited in your bibliography. Use at least three non-internet sources. The oversized reference section at the Benjamin L Hooks Central Library is a good source. Write a 2000 word paper about the artist: who they were, who their influences were, what their art training was like, when they worked, what sort of work they did, what sort of techniques they used and lastly, describe their impact on their peers.
The final paper must be emailed to me at jlee@mca.edu before the start of class on 11.21.
Presentation: Prepare a 10 to 15-minute PowerPoint presentation based on your paper. It should include at least twenty images of your artist’s work, and at least five of an artist who influenced your artist. You may also wish to include images that establish the time and place in which your artist worked.
A few tips:
Do not read directly from your paper during your presentation. Speak from your personal knowledge and rely less on reading cards. Speak clearly, slowly and with enough volume to carry your voice across the room. Maintain eye contact with your audience and try not to fidget. Most importantly, remember to breathe!
Paper due 11.21.
Presentation due 11.30
Aubrey Beardsley
Honore Daumier
Albrecht Durer
Gustav Dore
Charles Dana Gibson
William Hogarth
Winslow Homer
Rockwell Kent
Heinrich Kley
Kathe Kollwitz
Winsor McKay
J.C. Leyendecker
Thomas Nast
Rose O’Neil
Howard Pyle
T. S. Sullivant
John Tenniel
N.C. Wyeth
Image Research Due: 10.19
Research Paper: Choose the artist who interests you most and research them for your presentation. At least five sources must be cited in your bibliography. Use at least three non-internet sources. The oversized reference section at the Benjamin L Hooks Central Library is a good source. Write a 2000 word paper about the artist: who they were, who their influences were, what their art training was like, when they worked, what sort of work they did, what sort of techniques they used and lastly, describe their impact on their peers.
The final paper must be emailed to me at jlee@mca.edu before the start of class on 11.21.
Presentation: Prepare a 10 to 15-minute PowerPoint presentation based on your paper. It should include at least twenty images of your artist’s work, and at least five of an artist who influenced your artist. You may also wish to include images that establish the time and place in which your artist worked.
A few tips:
Do not read directly from your paper during your presentation. Speak from your personal knowledge and rely less on reading cards. Speak clearly, slowly and with enough volume to carry your voice across the room. Maintain eye contact with your audience and try not to fidget. Most importantly, remember to breathe!
Paper due 11.21.
Presentation due 11.30
Tuesday, August 30, 2011
Still Life with Monster
In class:
Take a good look at your googly monster. Get to know your googly monster. Tell the googly monster a little bit about yourself. Draw detailed studies of your googly monster in class. Do not eat your googly monster.
Take your googly monster home to meet your roommate, family or imaginary friends.
Out of class:
Using your monster, create a still life fitting one of the following titles:
1. Dances at a Gathering
2. Confessions of the Lovelorn
3. At the Mountains of Madness
Shoot at least 20 different photographs of your still life. Change the angle, lighting, and distance at which you take your shots (but do not change the still-life itself) to create different compositions. Use the Molly Bang Principles to guide your compositional decisions in order to capture a specific emotional effect appropriate to your images title. Pay attention to the play of light and shadow and how it reveals the volume of the forms in your photo references.
Keep in mind that the aspect ratio of the drawing is not proportionate to the aspect of a photograph (that is, your camera’s viewfinder is a different shape rectangle than your drawing will be). If you are shooting your pictures on film, be sure that you give yourself enough time to get the pictures developed, as you absolutely need to have your photos for reference the next time class meets.
Print out ten images for review in class.
Photographs are due 9/7.
Based on feedback from the class to your photographs, create a small, 8” x 10.9” compositional study with cut paper. You may use black, white, and up to two different grays in this study. Ignoring the specific detail of the images you are working with, play with the big graphic shapes, and see how they can be emphasized or pushed in order to enhance the emotional effect you want from your final image.
Compositional Study is due 9/12.
Using both your photograph and the compositional study, create an 11”x15” drawing with litho crayon on white paper. When drawing the images, pay more attention to the light and dark values of your forms than the specific contours. In other words, draw the light, not the outlines.
Litho drawing, mounted and flapped, is due 9/12.
Materials
Camera
Monster
A sheet of good drawing paper, at least 15”x19” with an 11”x15” drawing area measured out
Tracing paper
Pencils and erasers
Litho Crayons of various degrees of hardness (#00 being softest, #5 being hardest)
Colored paper: black, white, and up to two grays.
X-acto blades, scissors, or other cutting implement
Adhesive
Ruler
Sunday, August 28, 2011
Playing Card Part Two
In Class
Select three of the emotional states listed below:
anxious; embarrassed; exhausted; distracted; slovenly; sensual; aggressive; awed; maternal
Do not let anyone know which states you have chosen!
Using the suit signs and the number of signs from the three cards you were given, design a card for each of the emotional states you have selected. So, if one of your cards is the 3 of clubs, and one of your emotions is “embarrassed,” then you will use the forms of three clubs to create a composition that visually expresses the feeling of being embarrassed.
Draw at least 10 sketches for each card. There may be no other visual elements in these compositions. Like with your 50 thumbnails, worry less about depicting recognizable objects and more on the emotional impact of the composition itself. Consider what makes one emotional state different from another. When you find a good visual effect, try to push it as far as you can, and see if that heightens the intended emotion. Try contrasting one effect with an example of its exact opposite. Get rid of anything that is not helping communicate, even if it looks great. Refer often to the Molly Bang Principles to guide you.
Out of Class
Execute these three images in cut paper. You may use black, red, and white paper. Use the opportunity cut-paper provides to move your shapes around before gluing, and see if you can further refine your composition. The three images should each be 5”x7” (twice playing card size), and mounted together on a piece of black mat board. The 3 images should be mounted side by side with 1 inch between and 3.5 inches on the outside edges. There should be a 3.5 inch border on the top and bottom. The final size of your black mat board should be 24” wide by 14” high. FLAP IT!
These cards will be graded on clarity of communication (we should be able to immediately recognize what emotion you are depicting) and craft (no globs of glue, no stray pencil marks, and change your X-acto blades often for nice, clean cuts). Oh…and DON’T write the emotion beneath the card. Your classmates must be able to discern the emotional state by the visual communication alone.
This project is due next week, 8.29.
For next week, bring a digital camera; borrowing and sharing is fine. I will bring mine for anyone who does not have one.
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