Time to Act!

Thanks to Renee Yoch for this:

FROM THE ILLUSTRATORS’ PARTNERSHIP

Call to Action
Last Thursday the Senate Judiciary Committee endorsed their Orphan Works Act.
It is now headed for the full Senate.

If you’ve written before, now’s the time to write again.
Urge your senator to oppose this bill.

Because it has been negotiated behind closed doors, introduced on short notice and fast-tracked for imminent passage without open hearings, ask that this bill not be passed until it can be exposed to an open, informed and transparent public debate.

We’ve drafted a special letter for this purpose.
You can deep link to it here:

Contact your Senator in opposition to S.2913 NOW
The House Judiciary Committee is considering H.R. 5889, the companion bill now. Please write them again:

Contact your Congressman in opposition to H.R. 5889 NOW
2 minutes is all it takes to write your senator and representatives and fight for your copyrights. Over 68,000 e-mail messages have been sent so far.

Don't Let Congress Orphan Your Work

Please forward this message to every artist you know.

If you received our mail as a forwarded message, and wish to be added to our mailing list, email us at: ipa@twcny.rr.com
Place 'Add Name' in the subject line, and provide your name and the email address you want used in the message area.

Solving the Parrot

There's a certain amount of ambiguity here, since we're dealing with a non-rectilinear form, in the parrot. In particular, the plan of the parrot (on the floor in light blue) is approximate. But there is no doubt that the shadow of the bird's head ends up on the wall.

(Note that the bird's right shoulder casts its shadow into the head shadow, while the left shoulder's shadow is cast to the floor!)

As you can see, the other landmarks on the bird that I used to plot his shadow are the top of his head and the end of his tail. The shoulders were useful in establishing the width of the shadow.

Both the floor part and the wall part of the shadow basically follow, and lengthen along, their respective d-lines (magenta and orange).

JH

Time to hit the barricades?

As, you know, my boss Chuck sent around a copy of an article today urging advocacy against a bill on "Orphan Works."

Well, like nearly everything else in the world, this issue appears to get more complex the closer you get to it. Which in my case is not very. But still I learned some things:

There are some legitimately good reasons for the Congress to act on this issue and indications are that they will act this year. The Copyright Office explains why works with unknown copyright holders matter:
"Concerns have been raised that the uncertainty surrounding ownership of such works might needlessly discourage subsequent creators and users from incorporating such works in new creative efforts, or from making such works available to the public."

I checked the Congressional Record online, and the bill is still in committee and a hearing was held last month. So there is no bill yet.

The question is, will the bill be written in such a way that big corporations can easily get away with using your work without paying you if they make some perfunctory pseudo-attempt at finding you?

It's already the case that it usually costs more to fight a copyright battle than you're likely to receive in settlement. That's presumably true whether you're suing Time-Warner or a t-shirt vendor. It's a sad, angering feature of our legal system, not this bill. Will the bill now being written make this situation worse or create new problems? We can't know now.

Nothing I've read leads me to believe that the Copyright Office is going to absent itself from the registration business (what government bureaucracy happily gives up its reason for being, come to think of it?), counter to the suggestions in the Mark Simon column.

The Graphic Artists Guild was concerned that a failed earlier incarnation of the bill 1n 2006 didn't require the Copyright Office to oversee the question of what constituted "due diligence" in terms of trying to find the copyright owner, implying that this would allow Disney, say, to set their own standards as to how much diligence was enough. This is mistaken reaction to a non-issue, I think. Due diligence is a matter that would be settled in court cases, following legal precedent, not in some new Wild-West, Darwin-on-steroids nightmare future legalscape.

Here's the latest from the "Advocacy" page of the Graphic Artists Guild website--no shrinking violets when it comes to standing up for artists. Note that it says a bill was anticipated last year:

Orphan Works - Current Status

We expect Senate Judiciary Committee Chairman, Senator Patrick Leahy to reintroduce a new version of the Orphan Works Bill in 2007. We continue to work closely with both House and Senate Judiciary Committees on this legislation. Please do not write letters until a draft bill is introduced, and we know what the specific terms are. We will keep you informed as soon as we have news.

JH

Going beyond what's in Module 11/Chapter 7

Click on thumbnail to view short animation.
In the online and on-site versions of this course, I mentioned that I thought there were some problems with the material on reflections. In short, the method given is correct but, in practice, imprecise.

Here I offer a new drawing of what I think is the ultimate answer: Using the same admittedly rough method to draw the object's reflection (that part is skipped here, for clarity), then letting that result suggest VPs for the reflected object, then drafting in accordance with those! THE KEY is using projection lines from the object to its own VPs. Logically, those lines absolutely have to meet with (cross) their own reflections at the foot of the mirror! Follow those projection lines back through the edges of the reflected object, to the horizon to establish VPs that apply just to the reflections. The real world and the reflected world have the same horizon, given a truly vertical mirror surface. With those VPs established you could, for instance, add a tile floor to infinity if you wanted. Or anything else, just using the method for establishing landmarks.

(If you have a station point established so that you can make those two new VPs 90 degrees apart, so much the better. Finding one VP would give you the other. But several projection lines hitting the foot of the mirror -- or where the mirror would be if it continued out to the sides-- would also work, obviating the finding of a second VP, which might lie well off the page)

The above illo should make this clearer.

JH

The Assignment Described

Wave Fight, by Craig Mullins

Hi, y'all:
A day later than I promised (sorry), here's the assignment as originally written by Stephen Player:

Continue with your line drawing from last week by putting your characters into a convincing environment that fits both thematically and perceptively.

Use the methods discussed in class to ensure that all elements stay in proportion and in perspective with each other. Be sure the horizon coincides with that used to draw your characters.

Remember than receding planes should appear shorter than those that face you.

Make your environment realistic, interesting, and detailed. Observe the finer points of doors, windows, furniture - whatever you choose to include in our piece. If you are unsure of the exactly design of an object feel free to gain reference and use it, however it is not permitted to copy/trace an environment exactly.

Consider introducing elements that overlap your fighting characters to involve them more in their environment. Include organic and geometric shapes, which will add variety and hopefully avoid the 'perspective drawing' look. Use more than one form or perspective (one point & two point for example). This will make your environment appear less deliberate.

Your drawing should be neat, clean and accurate. A single line should indicate edges; straight edges should be straight and organic shapes clear and effective. Ensure that this drawing is as professional and precise as you are capable of producing.

Have a great Spring Break!

I'll be a late returning from my vacation, so the wise and knowledgeable Chris Carman will be substituting for me.

Have fun, everybody.

JH

Recent Assignments!

Hey y'all:
Recent assiignments, in reverse order:

Homework #6
Read/reread Ch. 9

Draw a human head in 1 point, 2 point, 2 point vertical and 3 point perspective. Make each head as realistic as possible. Use the methods you have learned so far to show the relationship between various features. Be aware that the face works on different planes and depths, the eyes and mouth are not on the same vertical plane for instance. This homework is a test of your knowledge of perspective and head proportion and anatomy.

Each head should be shown in a transparent box that shows the accurate use of the type of perspective used. Choose varying angles from below, above and the side, that show the details of the face as clearly as possible. Do NOT include big hair, beards, hats, spectacles etc.

Each of your 4 line drawings should be 9" x 12" or larger.

It is strongly suggested you use photo reference to create a "mug-shot" of someone you find attractive: precise profile and front views, with boxes around each so you can see the proportions of the landmarks of the face and where they fall on the box. Use this to determine what is a head width to depth ratio that works for you.

Please do not just draw a head and then throw a box around it in perspective. I'm not that dumb, and you will learn less.

PLEASE NOTE:

ALL WORK DONE FOR THIS CLASS SHOULD BE AS REALISTIC AS POSSIBLE, ANY STYLISATION OR DISTORTION WILL BE PERCIEVED AS A FLAW.

Your grade will depend on your understanding of the principles and constructions involved in the assignment as well as the complexity, accuracy and detail of your drawing. Composition, line quality, clarity and cleanliness will also be factors. Going beyond the call of duty is strongly encouraged as long as you remain true to the brief. Show what you are capable of.


Homework #5

Read Chapters 8,9

Using two point vertical and 3 point perspective complete a drawing of three inanimate objects. The objects can be anything you please but each must be different from the other 2.

Two objects should be drawn in three point and the third in two point vertical. All three objects must work together IN THE SAME DRAWING.

Remember that in 2 point vertical one vanishing point must be at the centre of vision on the horizon the other should be directly above or below.

With 3 point perspective 2 points must be on the horizon and the third should be above or beneath, placed an equal distance from the other two forming a triangle with equal sides.

DO NOT SHOW THE HORIZON IN YOUR IMAGE.

Special attention should be paid to the scale of objects in relation to each other. You may include a background for extra credit.

Your drawing should be 9" x 12" or larger. You may add value if you wish.

Your grade will depend on your understanding of the principles and constructions involved in the assignment as well as the complexity, accuracy and detail of your drawing. Composition, line quality, clarity and cleanliness will also be factors. Going beyond the call of duty is strongly encouraged as long as you remain true to the brief. Show what you are capable of.

Homework #4

Add shadows to your 2-point interior drawing from last week using the correct construction. Choose the location and type of light source most effective for your individual image. Your scene must be lit by an artificial light source.

Include an overlay or copy showing the construction for each shadow

Your grade will depend on your understanding of the principles and constructions involved in the assignment as well as the complexity, accuracy and detail of your drawing. Composition, line quality, clarity and cleanliness will also be factors. Going beyond the call of duty is strongly encouraged as long as you remain true to the brief. Show what you are capable of.

Creative Layout Pages 120 - 121

John

Fashionably Paperless

AAU's Fashion Department has gone paperless, I've learned. Impressive. And considering how many handouts I recycle for students who don't show up to class and don't ask for the handouts when next they deign to return, it's an appealing idea. Ideal, I should say.

Here's today's handout, just aching to be printed out on a more functional printer than I have today:

Drawing From Imagination
ILL625-04
John Heebink
penciler@sbcglobal.net

Meeting 3


ROLL CALL

CRIT

TODAY'S TOPICS:
2-P PERSPECTIVE AND ATMOSPHERIC PERSPECTIVE

AND ON LINEAR PERSPECTIVE IN DRAWINGS, IN GENERAL....
Ask not "When do I really have to use it?" but rather "When DON'T I?"
(Answer: For close-ups with no backgrounds)

TWO-POINT GRID Exercise.
2PP Basics
VPs are 90 degrees apart at SP
Cone of Vision is less- rule of thumb 60 degrees. Range: from a few degrees(telephoto) to almost 90 (wide angle)
Don't include SP in your comp.
(IRONCLAD LAW: Horizon is the division between sky and earth, between looking up at, down at.)

Atmospheric Perspective

OBSERVABLE AP PHENOMENA:

{Near to Far}
Dark shadows to Lighter shadows (often reversed at night)
High Contrast Low
Detailed Not
Sharp edges Soft edges
Range of values Only lighter values
Range of colors Pale, cool colors

GRAPHIC TRICKS FOR ATM PERSP

Thicker lines to Thinner lines
Thickened contour line Thin, consistent contour line
More line-quality variation Narrow range of line qualities
More texture, pattern, detail Less
More interior detail outlines contain little or no detail

SILHOUETTTES

Composition reminders
"Variety and Unity"
Shape schemes
Negative space
Asymmetry
Curves vs. straights
Avoiding obvious divisions, variety (esp. of size)
The eye-pushing power of the contrasty edge
Diagonals
"Energy" ...corralled? or radiated?
More on Silhouettes--how to make them "read"
(see pp. 51-53)


Homework #3

In two-point perspective, complete a line drawing of an interior. Remember that all horizontal lines that are travelling away from the viewer will diminish one of two points on the horizon depending on which facet of the object they follow. Special attention should be paid to the scale of objects in relation to other objects in your composition.
PLEASE NOTE:

ALL WORK DONE FOR THIS CLASS SHOULD BE AS REALISTIC AS POSSIBLE, ANY STYLIZATION OR DISTORTION WILL BE PERCEIVED AS A FLAW.

Your grade will depend on your understanding of the principles and constructions involved in the assignment as well as the complexity, accuracy and detail of your drawing. Composition, line quality, clarity and cleanliness will also be factors. Going beyond the call of duty is strongly encouraged as long as you remain true to the brief. Show what you are capable of.

Read Creative Layout Pages 96 - 117, Ch.3 with special attention to the tumbnails and the use of silhouettes.

Method for making 2-point grid

Class, here's a webpage from the online ILL625 that shows the procedure for making a 2-point grid.

This is part of next week's lesson. Please let me know if you cannot see this.

Here's the same treatment of the one-point grid instructions. (I'd already posted these here as separate images--that clunkiness has now been removed!)

This is coming off a slow server, so it will take a few extra seconds.

JH

Every Good Class Deserves A Blog

illo by Dermot Power for Batman Begins

Hello, Classes.
I realized it was time to launch a blog for ILL625 in its own right. No real content this week other than this astonishing piece of production art But I thought I should stake out a place before the internet gets used up.

JH