23 November 2009

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.


19 November 2009

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.


16 November 2009

Ass 11 Due 23 Nov

ASS #11


    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.


    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.



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. 

02 November 2009

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.