Final Project!

art by Lina Chang

Option A: Snow White and the Seven Dwarfs

Inside the dwarf's tiny cottage stood seven little beds with seven pairs of slippers. On the wall were seven mirrors and seven hooks with seven little coats and seven little hats. The long table had seven little plates and seven little mugs, one for each little man. And when they had finished supper and every dwarf was contented, round and full, the seven dwarves - standing no higher than her waist - danced with Snow White to the jolly strains of the fiddle. They were all too happy to notice the ugly old hag that glared at them bitterly through the window.

Option B: Beauty and the Beast

Every night Beauty and the Beast would sit by the hearth in the ornamental great hall and talk. The Beast's stories were fascinating to Beauty and his smile was kind in the firelight. Soon she found that she was anticipating her evenings with the Beast all day long.

One, summer night the Beast dropped to one knee and looked into the eyes of his companion.

"I know I am ugly - horribly ugly - but I have to ask. Do you think that a lady as beautiful as you could ever marry a Beast?"

"Never," Beauty said with a tear in her eye. "I love you for the honest, gentle soul you are but, no, I could never marry a Beast."

At that, the Beast fled the hall and Beauty did not see him again for many nights.

Complete an illustration 12" x 16" or larger at the same scale to accompany either text above. We would like an interior showing all characters. Your image must be as realistic as you can make it and very detailed. Grades will depend on the communication of the narrative, drama, drawing, accurate perspective, reflection and shadow plotting. It is your responsibility to ensure that your illustration demonstrates as much as possible of what you have learned during this course.

Week 13
Submit 2 visuals using – 2 point perspective/ 2 point vertical perspective from which the class will choose. You can submit a 3 point visual as well if you like. Use each perspective to its best advantage to bring drama to your concept. These can be freehand but should be clear and easy to read as you would send to your client. Value/shadows should be indicated but not plotted accurately 9"x12" each.


Week 14
Draw up the chosen visual at full size, accurately, in line, using a square grid, correct ruled perspective and foreshortening. All constructions must be shown on a separate overlay/copy.

Week 15
Alter according to Wk2 critique. Add value/shadows accurately – color rendering is optional. You may work in any medium.

Direct reference is not permitted for this homework, though you may reference the fashions of a particular period.


JH

Help for Fisheye Users, Others

Hey, everybody,
If you're using fisheye perspective on any upcoming project and want to get that globe grid blown up to a big size...
Or you've got a great layout for a drawing or a comics page that you want to transfer to a bigger, better piece of paper without losing its dynamism...
...the Artograph I'm placing in Room 400 tonight can help you. It's a tracing aid, basically an opaque projector that projects down onto your piece of paper whatever image you pin to its internal copy board. This can save you having to use xerox enlargements to get an image the size you want. It can likewise save you trying to find a scanner and large printer.

JH

Ass 11 Due 23 Nov

ASS #11

Description

    Create an illustration for the story of Snow White. Research and design your characters and locations to fit the country/era in which you decide to set the story.

    Your style must be 100% literal/realistic.

    Illustrate the passage below using the 2-point perspective mirror construction you learned in class. We should see both the Queen and her environment reflected accurately in the mirror.

    She must be shown from head to toe - and at least three other items must be seen in the room as well as reflected in the mirror. Don't forget: this illustration must show as much accurate reflection of objects as possible and will be graded accordingly.

    Important Tip: Use the whole wall as the mirror until you get your reflections in place, then decide where to place the mirror frame to fit with your reflection.

    Your line drawing should be 9" x 12" or larger at the same proportion. Keep it 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. Add no value at this time.

    INCLUDE A CLEAR OVERLAY SHOWING YOUR CONSTRUCTIONS.

    Snow White Text

        News of Snow White's death sent the Queen rushing to consult her magic mirror. She fled to the top of the tallest tower and entered the secret chamber where all her terrible spells were boiled and bred.

        Lighting a candle she locked the chamber door and turned to question the mirror that watched her silently from the far wall.

        'Mirror, Mirror on the wall, who is the fairest of them all?'

        There was a long silence as her reflection scowled back at her from within the glass.

        Then, finally, the mirror spoke...

Email me if you think you'd prefer to do the "Beauty and the Beast" version of this.

JH

Ass10 COMBAT

Homework #10


Continue with your line drawing from last week by putting your characters into a convincing, non-fantastic man-made 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. Don't just make stuff up. 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. 

 

JH

Assignment #9 Combat! with Clothes

Clothe the fighting figures from last week. You may use tracing paper to draw over last week's drawing, then photocopy the finished result. This drawing should be roughly 10" x 10", neat, with strong, simple contour lines.

Visualize where the compression (bunching) and extension (stretching) of fabric will take place due to a body position/movement. Look for compressions on the reverse side of extensions and folds that follow the direction of movement.
Compressions at elbows, hips, knees etc. should wrap around the form of the joint.
Imagine the quantity of fabric that will bunch in a certain situation remembering the tightness and weight of the material. (Thick material has heavier, larger and softer folds than thin. Supple fabric such as satin hangs heavier, more vertically.)
Use the hems of sleeves, pants, necklines, belts etc. to act as ellipses. These will help describe the angle of the body-parts they enclose. (narrow ellipses are seen more from the side than open ones)
Loose fabric (scarves, skirts, shawls etc.) may be used to show movement: flying out behind the moving object. The weight and quantity of the fabric, combined with the force of the movement will decide the extent of such a incident. Do not over emphasize.
Each character should be wearing regularly patterned shirt, skirt, dress or pants: stripes, checks, polka dots etc. Make sure this pattern wraps convincingly around the form of the body.

JH
         

Assignment #8

Combat!

Complete 1 line drawing in good proportion.

Your drawing must show two people in hand to hand combat. Your characters may be engaged in a fist fight, a play fight, brawl or wrestling match. There should be no weapons involved. Poses should feel authentic and have movement. Identify the general thrust/direction line to your attacking and defensive poses.
Your characters should be drawn without clothes.
You may use reference as inspiration for the pose you choose but make your drawing in different perspective from your source.

This drawing should be roughly 10" x 10", neat with, strong simple contour lines.
Take the time you need, at the preliminary stage(s), to perfect the anatomy, proportion and forshortening of various body parts. When finished set your drawing aside and reassess it the next day.


JH

P.S.: See ref here.

Assignment #6

http://ill625.blogspot.com/2009/07/assignment-6.html
JH

Filling My Locker, Weighing on My Conscience

Hello, Former Students!
Remember that Drawing from the Imagination piece you did that you were proud of, but I never got back to you? I probably still have it in my locker in 540 Powell. I teach there all day Tuesday (8:30- am 10 pm!!),Thursday morning and all Friday afternoon!
Drop by and ask Dax where I'm teaching and come glare at me--I'll take a break and give you back anything I still have of yours.
JH

Assignment #5

Here's the poop:

Homework #5
Read Chs. 8, 9

Using both 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 two.

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 center of vision on the horizon the other should be directly above or below.

With 3-point perspective, two 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.

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.

Examples provided here range from fairly successful to just awful.
JH

ASSignment 6 -- headboxes

Please see this older post
This is a tough assignment. Read the post closely,  and get some ref of similar angles to the ones you're drawing, but with different facial types. Vary your facial types as to age, sex and build.
JH

Examples of Assignments #3 and #4

Okay, let's start with the first example of the 2-pt interior, Assignment#3. This one has the advantage of having "rotated objects," i.e., using more than one pair of VPs. It has the disadvantages of some sloppy linework and flat drawing and being, I think, overly photo-dependent and lacking much visual interest. The most serious issue is that it is not a 2 pt setup. Look at that back wall facing directly at us. It's a one point scene with rotated objects. Those being the farther counter, part of the ceiling structure. I think I gave this one a C.

The next is a redo. It has neater drawing, a more interesting--though far from lively-- scene. On the downside, the artist hasn't figured out what happens at the tops of the columns. Where do they contact and support the canopy? Where that happens, we should see the front line of an ellipse. The nearest column to the viewer magically shares floor space with the structure behind it (To check this, look at the base of the column and mentally complete the ellipse.) The stairway is poorly drafted, ignoring the right VP. The canopy over the far structure seems mysteriously to overlap the near one. This at least indicates that this is not a trace job (or perhaps that the original photo had a foreground column covering this area). On a good, compassionate day, I might just have given this one a B-, but it really should be C+.

For a better example refer to the last example below, which I don't have a copy of in its pre-toned state.

Next is the toned version of the redone interior. Whatever its other virtues, this one would rate a C-, as there is no real shadow plotting (and no overlay). The issue has been ducked by making every shadow soft-edged, and very likely just placing them wherever they were in the original photo. The original photo seems to have contributed positively to the rendering of the columns, at any rate.

Finally we have an A-plus example, which is not only ambitious (huge complexity) and attractive but largely successful. There is a second lightsource, the lamp at the right, whose influence has been drastically overplayed on the rounded chair and the woman in the center. The shadow of the wall of windows seems to have not taken into account the 3D depth of that wall; the cast shadows of the horizontal members seem too narrow (See carpet, tops of bookshelves). The artist should have plotted the shadows of the upper inner edge and the lower outer edge of the horizontal members. It appears he only plotted from the inner face of the wall.

(To determine which edges matter, put yourself, imaginatively, in the sun's place, looking down from on high. For you, Sunny, the contour, or silhouette, of a horizontal structure is defined by the far upper edge and the near lower edge. That's what makes the outline of the shadow. You never once get to see a shadow you've made, by the way. That seems unfair. Plus you feel hot all the time. Better lie down.)

Still, the diligence and detail shown, plus the nice balance of tones and the pleasing, convincing overall effect far outweigh the negatives.

JH

Assignment #2

This one was quite impressive. A lot of complexity, 95% of which was dealt with correctly. I think I gave it an "A."

But I have to point out that there is a mistake in plotting the shadow of the notched awning. That the shadow of that awning keeps angling all the way down the front of the building is incorrect. This would only happen if the sun were directly above the VP or nearly so. (It's not really a good idea to place the sun even this near the VP--we'll see why in a minute).

One way to deal with the shadow of the awning is to find the plan of the forward corners of the awning on the sidewalk and make sure that, where the d-lines hit the wall, they go straight up. This is the method I've emphasized in class, because it always works.

I attach a second piece of art--the grayer, close-up one--that shows another way. This time the d-lines are on the vertical surfaces. To make this work we need to establish an elevation of sunlight, at the height of the sun, directly above the VP. This will be the source of the d-lines. The thinner of the two blue d-lines is for the surface of the double doors only. Because the sun is so close to the VP, the light makes a very shallow angle across the door. Look, for instance, at the very darkest cast shadow on the door. That is the shadow caused just by the building’s face being a few inches forward of the doors! Yet it falls more than halfway to the left side of the door, meaning most of the entire doorway is in cast shadow. If this sort of surprisingly long shadow is not for you, then place your sun (or SVP) farther from the VP than in this example. (Notice the artist failed to reckon this accurately in the next doorway, which should have been about the same.)

The a-line and the bolder d-line show how I found the shadow of the lower front right corner of the awning on the building's face (yellow dot). To the left of that point, I made a Law-of-Parallels line coming from the VP. This is what was missing from the student's original version.

(The Plan of Sunlight being so close to the VP makes the shadow of the awning fall much farther down the door than the face of the building.  Give a shadow farther to fall and it will, especially when it comes coasting in at a shallow angle like this)

Note: If you were to turn the drawing ninety degrees counter-clockwise, and essentially make the faces of the left buildings horizontal, the green line with the three green dots on it (which shows the clearance that the front of the awning has from the surface of the double door) could be viewed as the upright-stick-in-the-ground that was the first archetype I showed you re shadow plotting. With the drawing thus reoriented, the d-lines are running on "horizontal" surfaces as in that archetypal image.


JH

A fine example of Assignment #1

Scientists Explain Swinging of Arms--Moseying and Sashaying Still Elude Human Understanding

Thought this news item(LINK EXPIRED) was interesting. I had probably told you guys that the swinging of arms had to do with keeping one's equilibrium by providing a dynamic counterbalancing to leg motion. Evidently it has more to do with conserving bodily energy and providing a redirection of mechanical energy away from our vertical axis--to keep us from stressing our legs by bouncing up and down so much. Wait. I think I just explained that better than the article. I am awesome. Just as I suspected.

If you don't believe me when I say that paying attention to this sort of stuff (contrapposto, opposing motion, etc.) is essential for making your characters look alive and normal, consider how mysterious and impossible my late contemporary Michael Jackson's moonwalk looked. Just by raising a heel, the moonwalk confounds our expectations about how it looks when someone shifts their weight from one foot to the other.

We can grasp the idea of a foot sliding back, sole pressed to the floor, until a King of, say, Pop throws in the apparent shift of weight to the sliding foot, by lifting the opposite heel! This triggers what scientists call the whatthefuck centers of our brains. Looking at that clip, BTW, I am utterly convinced that MJ's loafers were artificially stiffened--like a pretty ballerina's shoe--to further the illusion. How could the stationary foot possibly be the one his weight is on, our brains tell us--only the toe is touching and the shoe isn't even flexing! Ergo, it's clear Michael's on an invisible backwards treadmill. It's the only reasonable explanation.

All of which goes to show how deeply held are these unconscious expectations of human movement. Not so very different from the way we can precisely read an emotion from an expression passing over someone's face even if we have no articulatable awareness of the specific changes in the face that signaled it.

Incidentally, the moonwalk has been around since at least '20s icon Cab Calloway.

JH

Schedule for the wrap-up of the Semester

Hi, kids.
Monday 27 July: Reflection Assignment
Thursday 30 July: 2pt and 2PtV value studies for final, laid-out at-size drawing based on one. Pencil does not need to be finished, but the layout must be visible (i.e., the forms and the overall composition)
Monday 3 August: Finished Final assignment with tone. Color optional.

THIS APPLIES ONLY to the in-person section.

JH

You CAN see it till it's finished

I'm trying Assignment 11, the reflection assignment. This is definitely a WIP.
What I'm doing that's probably stupid:

• I didn't do a bunch of thumbnails to start, so I don't really know if I have a workable composition.
• As a result I've tentatively jammed the rough with diverse junk.
• I've decided to make the room round, necessitating multiple VPs.
• Stealing ideas for props from the Art of The Hunchback of Notre Dame. Yes, the Disney version.
  

What I'm doing that's possibly smart:

• Got out a big red-tag-table book on the Gothic Cathedral for ref.
• I will put some big stuff in the foreground or die trying.
• I'm doing 2-point mirror, 2-point object (basically) to keep it relatively simple.
• I placed the horizon, VPs, her figure and reflection first, in that order. Everything else will complement them, with luck.
• Subdivided the space between Queenie and her reflection to find the foot of the mirror, in effect letting them place the mirror instead of starting with her and the mirror and getting bossed around by them as to where to put the reflection. (Naturally, I did have to make sure she and her double lined up with my right MVP.)
• Contrapposto: Having the weight-bearing hip be the near leg makes the leg appear longer, at maximum length and height. This will possibly minimize the unlegginess resulting from my using very ordinary proportions for her (I think they are a little more regal in her reflection). It also means, since the opposite shoulder rises, I can play down the height of the near shoulder, softening the dictates of the strong upshot, possibly avoiding a degree of hitch-shouldered gawkiness in her pose.

JH

Sing it, Brother Loomis!

For my money, the best books on perspective are by Andrew Loomis. All out of print, as far as I know. Here's some material relevant to the Combat assignment, as well as just about any job you're likely to have in the future.
Hope you like my ADHD-friendly sherbet coloration.

JH

The Combat assignment!

Complete one line drawing in good proportion. Your drawing must show two people in hand to hand combat. Your characters may be engaged in a fist fight, a play fight, brawl or wrestling match. There should be no guns or remote weapons involved. Knives, bludgeons etc. are okay as they still involve physical interaction between the two characters. Poses should feel authentic and have movement. Identify the general thrust/direction line to your attacking and defensive poses.

Your characters should be drawn in proportion with each other and without clothes. You may use reference as inspiration for the pose you choose but make your drawing in different perspective from your source. This will lead to a finished illustration with costume and environment so now is the time to decide on your theme and the angle from which you want to view it for the maximum dramatic effect. Figures should NOT be cropped by the edge of the image.

This drawing should be roughly 10" x 10", neat with, strong simple contour lines. Take the time you need to perfect the anatomy, proportion and foreshortening of various body parts. When finished set your drawing aside and reassess it the next day.

---

Analyze the photos provided. You can see the lingerie smackdown is posed and fake, but how? What about the martial arts pix is different, and how can you get that in your homework? A lot of it has to do with how much the fighters lean into the action, and put their attention on what they are doing. And how much their opponents are lifted off the ground, how they lose control over what their bodies are doing. If you were drawing the two shaven posers really arm wrestling, what aspects could you borrow from the pic of the little boys to make it real?

JH

Assignment 6

Here's the assignment for next week:
Complete 4 nude figure drawings in good proportion using

1 point perspective – seated figure,
2 point perspective - reclining figure,
2 point vertical - walking figure.
3 point perspective - standing figure,

They should be a variety of ages and body types. Give your figures natural - not wooden – poses. Make your drawings as clear and neat as possible using one line for contours.

To handle the different body types, you'll need to gather some reference for inspiration and observation of consistent patterns in people's structure--never for copying of course.

Good luck, y'all,
JH

Drawing a Head in Two-Point Perspective

Hey, Everybody,
I made this animated GIF today to help with the next assignment. The first part of it should look very familiar! Click on it to see it animate.
Let me point out some things about the idea of the head in the box:
* The point is to regulate proportion and perspective.
* The head is inside the box except the ears.
* The front panel is touched only by the tip of the nose!
* I put the ears a little bit back of the vertical center line of the side of the box. This conforms with what I've observed.
* Remember that you are putting an egg-shaped object in a rectangular box. Visualize that. The biggest egg you could put in a box will not contact any corner or edge of the box, 'cause eggs ain't square. Not close.
* The proportions of the box are 2x3x3.
* Note that the centerline of the face follows the changes of plane in the face. It falls back from the centerline on the box, except at the very tip of the nose. But if you looked at the face exactly from the front, both centerlines would visually coincide to a single line.

I think this face is off--I'm sure you're agree. The mouth is too pushed-in and overly girly for what I meant to be a dude. But it's the lesson that counts, right? Right!

Here's the assignment:

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 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. 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 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.


JH

2ptV/3Pt Assignment 5

illustrations by Andrew Robinson, David Chelsea

Hi, Everybody.
Which of these pix is 2PtV? Which is 3pt? Notice that the view of the western town includes the horizon without looking bad or weird.

Also attached, as promised: the handout from David Chelsea's Perspective! for Comic Book Artists that shows what happens when you you shift your 3pt view away from the equilateral triangle, and a B- specimen of Assignment 5 (the line drawing of gift boxes).

Here's a better statement of the assignment:

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.

PLEASE NOTE:

ALL WORK DONE FOR THIS CLASS SHOULD BE AS REALISTIC AS POSSIBLE, ANY STYLISATION 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.

Fightin' Assignment 11 with Pix

Homework #11

Create an illustration for the story of Beauty and the Beast. Research and design your characters and locations to fit the country/era in which you decide to set the story.

Your style must be 100% literal/realistic.

Illustrate the passage below using the 2 point perspective mirror construction you learned in class. We should see both Beauty and her environment reflected accurately in the mirror. Beauty - shown from head to toe - and at least three other items must be seen repeated in the mirror. Don't forget: this illustration must show as much accurate reflection of objects as possible and will be graded accordingly.

Your line drawing should be 9" x 12" or larger at the same proportion. Keep it 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. Add no value at this time.

When her father had ridden out of sight, Beauty went to her room, she found it more charming than any she had ever seen. On one wall hung a full-length mirror and beneath it, in letters of gold, was written:

“Little Beauty, dry your eyes,
Needless are those tears and sighs;
Gazing in this looking-glass,
What you wish shall come to pass.”

These lines comforted Beauty, for she thought that if she were very unhappy she could wish herself at home again.