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.

Fightin' Assignment 10

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. 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

Fightin' Assignment 8

Homework #8
Complete 1 line drawing in good proportion (approx 8 heads).

(This drawing will have two more stages: adding clothes and adding background. So plan your space accordingly)

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/line of action 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 to perfect the anatomy, proportion and foreshortening of various body parts. When finished set your drawing aside and reassess it the next day.

JH

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