24 April 2011

Reflection

Here's a slight variation of the method I demo-ed in class.
video

JH

19 April 2011

Feeling Reflective?

Aside from being boring, and wretchedly "scanned," can you see what's wrong with this C- one?

D. A similar error compounded by wildly incorrect perspective

A! Excellent is as excellence does.

A!

A-, despite terribly unrealistic face and lack of complete BG reflection. Everything else is essentially perfect
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.

    Don't skip drawing the reflection of the walls of the room. I can't tell you how many drawings I've seen where the queen and the three objects were reflected, but nothing else, as if there were a low-hanging fog in the room.

    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.

(Also, rather than placing objects in the “real world” in the hopes that they will appear where you want in “Mirrorworld,” it’s easier to  place them in Mirrorworld first and then use the usual process in the opposite direction to place them into the real world. This tip from Joko.)

    Your line drawing should be 9" x 12" or larger at the same proportion. Keep it neat, clean, realistic and accurate. Your default line should be a single clean line. Contours should be weighted only if you can do it smoothly, without hairiness. Straight edges should be straight. 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. Flap it properly, with a long piece of tape across the back.

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...


    Here is a schematic that covers the main reflection schemes. For simplicity, not every point has its reflection plotted. This is made to demonstrate the appropriate use of the subdivision method in various situations. Note please that in cases such as points E, F and G, where the object is not using the same VPs as the mirror, each corner must be plotted independently.
    And here is a way of checking your work as you go to eliminate the little inaccuracies that the above methods amplify. You may prefer the animated version, here. (Wait for a second--the animation gives you a chance to study the setup.) The key insight here is the projection lines meeting their own reflections at the foot of the mirror plane. That will help you draw the reflection more accurately. You can go beyond that in some cases and find a Mirrorworld VP or two, which will really make your drawing hang together.


JH

12 April 2011

Assignment #10



REMINDERS: 
Contact me anytime for an update on your grade.


TODAY'S TOPIC :
Environments for Your Clothed Figure 


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 that receding planes should appear shorter than those that face you, much shorter close to VP.
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.

INCLUDE A FLOOR, CEILING OR WALL THAT'S TILED IN SQUARE TILES, so that I can see you know how to use a DVP, or measuring points.
Try to have a foreground and middle ground and background to your scene. 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 of perspective (one - and two-point for example). This will make your environment appear less deliberate.
Your drawing should be neat, clean and accurate. Your default line for edges should be a single line--not a hairy, back-and-forth one; though you may add weight to contour lines, which I don't feel harms the realism. Straight edges should be straight. Ensure that this drawing is as professional and precise as you are capable of producing. 

JH

08 April 2011

ILLUSTRATION CONTEST!

Chuck Pyle sent this one along. Could be a nice opportunity...
LINK

JH

03 April 2011

Homework #9

Thanks to the affable and prodigiously talented Mark Simmons for subbing for me this Tuesday.
Your assignment is to read the rest of the text and to follow the instructions set forth here.
Don't forget that everyone in the department would love to see your B+ or better work in the Spring show (entry forms now available in the first floor hallway) and likewise remember the Comic Book Club meetings at 6:30 pm Wednesdays on the first floor! See you soon--I've got a big freelance job this week.
++++++

Homework 9
Read the rest of the text and...
   
Clothe the fighting figures from last week. You may use tracing paper to draw over last week's drawing, then photocopy the finished result, or better yet composite in Photoshop. This drawing should be roughly 10" x 10", neat, with strong simple contour lines.
Visualize where the compression (bunching/crushing) 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, not appear to run straight.
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.
Each character should be wearing a regularly patterned shirt, skirt, dress or pants: stripes, checks, polka dots etc. Make sure this pattern wraps convincingly around the form of the body, foreshortening as the surface turns away from our eye.        


Timeless material on hands, feet, dress shoes here.
Plus more relevant stuff below.





JH