Project 4: Animal Tale
Select an animal at the zoo as the subject of your illustration. Go to the zoo and draw several sketches of this animal, including gesture studies of how the animal moves and at least one color study. The animals can be reluctant models, so be prepared to go several times in order to get a decent body of sketches. Additionally, collect photo-references of your animal, including, if possible, anatomical images. Knowing the muscle and skeletal structure of an animal is very helpful.
Research is due 4/13.
In class, draw your animal in the following poses: dancing, sitting in a chair, climbing a ladder, getting angry, and carrying an object. Use your compiled research to make the animal look as naturalistic as possible (as opposed to cartoony) in these poses.
Research a folktale, myth, legend, or other traditional story relating to your animal. It may take some digging, but if humans have come into contact with an animal, then there is a story about it somewhere. Draw at least 50 thumbnails to generate a good composition of your animal in that story. Choose the best 3 and draw them at a larger size for presentation in class.
Thumbnails are due 4/18.
Based on the feedback in class to your presentation sketches, prepare a final drawing, and then a painting. The painting should be proportional to 11”x 15”. There are no restrictions on the color palette.
Drawing due 4/25.
Painting critiqued 5/4.
Painting turned in, flapped and labeled, 5/9.
Monday, April 11, 2011
Monday, April 4, 2011
Underpainting Example
Here is an example of an underpainting done by Michael, the instructor of the other Illustration 2 class.
Thursday, March 31, 2011
Monday, March 28, 2011
Limited Palettes
I found this quick overview of the benefits of using a limited palette on the blog of illustrator James Gurney. The above image (taken from the linked post) demonstrates the range of colors that can be created from just three or four paints. You can also clearly see why there are a dozen different "reds", for example, in the paint aisle of the art store. All primaries are not created equal, and different varieties of red/yellow/blue will give you different results.
Here are some more combos you can try out:
Limited Palettes
#1
Cadmium Yellow Medium
Cadmium Red Light
Alizarin Crimson
Ultramarine Blue
Titanium White
#2
Yellow Ochre
Burnt Sienna
Alizarin Crimson
Ultramarine Blue
Titanium White
#3 “Earth Palette”
Yellow Ochre
Raw Sienna
Indian Red
Raw Umber
Black
Titanium White
Three “Black” Mixtures
• Burnt Umber & Ultramarine Blue
• Cadmium Red Deep & Ultramarine Blue
• Alizarin Crimson & Pthalo Green
Key Color Attributes
Value: Relative Lightness and darkness of the color.
Hue: What basic color is it? (red, blue, yellow, etc.)
Intensity: How vibrant or dull the color is. (electric blue vs. faded denim blue)
Temperature: Is it a warm or cool version of the basic color?
—based on information from Brent Watkinson (www.brentwatkinson.com)
Monday, March 21, 2011
Demo
I painted this little sketch to demonstrate the sort of effect you can get by layering with thin washes of paint (glazing). Each layer remains partially visible through subsequent layers, allowing the colors to mix optically.
In this case I was using Alizarin Crimson, Ultramarine Blue, Cadmium Yellow Deep, and white.
I began with a layer of green.
Then purple in the shadows. Notice the swatches to the side showing the colors I'm using.
More purple to define and deepen the shadows
A wash of Alizarin Crimson
Then a wash of Cad. Yellow
Going over that with Cad. Yellow mixed with a bit of white
Adding a touch of Alizarin Crimson + white in select places
Background
There's still a lot more I could do to this, but I'll stop there. Hopefully this makes the underpainting/layering concept a little clearer for you guys.
In this case I was using Alizarin Crimson, Ultramarine Blue, Cadmium Yellow Deep, and white.
I began with a layer of green.
Then purple in the shadows. Notice the swatches to the side showing the colors I'm using.
More purple to define and deepen the shadows
A wash of Alizarin Crimson
Then a wash of Cad. Yellow
Going over that with Cad. Yellow mixed with a bit of white
Adding a touch of Alizarin Crimson + white in select places
Background
There's still a lot more I could do to this, but I'll stop there. Hopefully this makes the underpainting/layering concept a little clearer for you guys.
Wednesday, March 16, 2011
Project 3: Invisible City
Project 3: Invisible City
The great modern fabulist, Italo Calvino, released Invisible Cities in 1972. The book’s framing story involves Marco Polo describing to Kublai Khan the cities in the Khan’s empire (the empire having grown too large for the Khan to visit them all himself). The cities are described in series of prose poems, and often less about describing urban geography than exploring philosophical or poetic notions, such as human nature, linguistics, metaphysics, ethics, and memory. We will create images based on some of Calvino’s Invisible Cities. This illustration will be proportional to 11”x15”.
Objectives
To adapt a visual image from a literary source that uses non-literal and poetic imagery; to expand upon source material in order to have greater insight into its depiction; to fuse disparate historical sources to create a credible non-existent environment; to contrast interior and exterior space using separate warm and cool palates.
Procedure
Read the packet excerpted from Invisible Cities, and choose the city you would like to illustrate.
“Day in the Life:” Write 300-500 words about a typical day in the life of an inhabitant of your city. Begin in the morning, and record the inhabitant’s routine until he or she goes to sleep at night. Look to your own daily routine for events to transpose upon your inhabitant.
Research: Research the cities of two different cultures. Each culture should be separated both geographically and by at least 200 years in time. Find images from both of your selected cities for each of the following:
•5 building exteriors, including personal dwellings and a religious center
•5 building interiors
•3 forms of transportation; public art
•furniture, including chairs, beds, tables, and storage
•clothes for men, women, and children.
The more images you collect, the more inspiration you’ll have when designing your city.
Concept Art: Design the following for your city:
•3 building exteriors, including personal dwellings and a religious center
•2 building interiors
•3 forms of transportation
•public art
•furniture, including chairs, beds, tables, and storage
•clothes for men, women, and children
Consider what you know about your city both from Italo Calvino and your own writing. Remember that people have lived in this city for generations: their will be older and newer styles jostling against one another; there will be inhabitants who prefer more conservative styles, and inhabitants who are more progressive. There will be noise, and garbage, and graffiti. It should look lived in.
Some inspiration:
http://www.rot13.org/~dpavlin/bladerunner/design.htm
http://www.fengzhudesign.com/gallery.html
The Production DVDs for The Lord of the Rings
Sketching: Develop 30 thumbnails of a scene in your city. The scene should show both an interior and exterior space, and should contain enough specific action that it looks like a scene taking place in your city, not just a study of the city itself. You may want to return to your “Day in the Life” piece and depict some of the actions described there. Choose the best two thumbnails and draw them larger and cleaner as presentation sketches for class.
The “Day in the Life” piece, the visual research, concept sketches, thumbnails, and presentation sketches are all due 3/23.
Drawing: Based on the feedback you receive in class, refine your sketches into a full-size drawing, 11”x15”.
Color Compositions: The color scheme for this project is a warm/cool split. Paint the interior of your scene mixing only cool versions of the colors on your palette together, and paint the exterior using only warm colors (or vice versa). When you are satisfied with your drawing, execute three color studies to determine the most effective way to use this particular color scheme.
Painting Stage One: Using a neutral color (not black) that will blend well with your color scheme, paint in the values for your painting. You may also use white paint to re-establish lighter values.
Painting Stage Two: When the value scheme has been satisfactorily established, begin to lay in the colors with transparent layers of acrylic paint. Do not use white paint at this stage. Build rich, deep shadows with many transparent layers.
Painting Stage Three: When the color scheme has been established for the painting, you may adjust any final details with opaque paint. When used as highlights, opaque colors contrast well with transparent shadows.
3/9 Project 3: Invisible Cities assigned.
3/14 Spring Beak
3/21 written and visual research due.
3/23 thumbnails due
3/30 Cities drawing due.
4/4 Paint Invisible Cities.
4/13 Project 3: Invisible Cities critiqued.
4/18 Project 3: Invisible Cities turned in, flapped and labeled.
The great modern fabulist, Italo Calvino, released Invisible Cities in 1972. The book’s framing story involves Marco Polo describing to Kublai Khan the cities in the Khan’s empire (the empire having grown too large for the Khan to visit them all himself). The cities are described in series of prose poems, and often less about describing urban geography than exploring philosophical or poetic notions, such as human nature, linguistics, metaphysics, ethics, and memory. We will create images based on some of Calvino’s Invisible Cities. This illustration will be proportional to 11”x15”.
Objectives
To adapt a visual image from a literary source that uses non-literal and poetic imagery; to expand upon source material in order to have greater insight into its depiction; to fuse disparate historical sources to create a credible non-existent environment; to contrast interior and exterior space using separate warm and cool palates.
Procedure
Read the packet excerpted from Invisible Cities, and choose the city you would like to illustrate.
“Day in the Life:” Write 300-500 words about a typical day in the life of an inhabitant of your city. Begin in the morning, and record the inhabitant’s routine until he or she goes to sleep at night. Look to your own daily routine for events to transpose upon your inhabitant.
Research: Research the cities of two different cultures. Each culture should be separated both geographically and by at least 200 years in time. Find images from both of your selected cities for each of the following:
•5 building exteriors, including personal dwellings and a religious center
•5 building interiors
•3 forms of transportation; public art
•furniture, including chairs, beds, tables, and storage
•clothes for men, women, and children.
The more images you collect, the more inspiration you’ll have when designing your city.
Concept Art: Design the following for your city:
•3 building exteriors, including personal dwellings and a religious center
•2 building interiors
•3 forms of transportation
•public art
•furniture, including chairs, beds, tables, and storage
•clothes for men, women, and children
Consider what you know about your city both from Italo Calvino and your own writing. Remember that people have lived in this city for generations: their will be older and newer styles jostling against one another; there will be inhabitants who prefer more conservative styles, and inhabitants who are more progressive. There will be noise, and garbage, and graffiti. It should look lived in.
Some inspiration:
http://www.rot13.org/~dpavlin/bladerunner/design.htm
http://www.fengzhudesign.com/gallery.html
The Production DVDs for The Lord of the Rings
Sketching: Develop 30 thumbnails of a scene in your city. The scene should show both an interior and exterior space, and should contain enough specific action that it looks like a scene taking place in your city, not just a study of the city itself. You may want to return to your “Day in the Life” piece and depict some of the actions described there. Choose the best two thumbnails and draw them larger and cleaner as presentation sketches for class.
The “Day in the Life” piece, the visual research, concept sketches, thumbnails, and presentation sketches are all due 3/23.
Drawing: Based on the feedback you receive in class, refine your sketches into a full-size drawing, 11”x15”.
Color Compositions: The color scheme for this project is a warm/cool split. Paint the interior of your scene mixing only cool versions of the colors on your palette together, and paint the exterior using only warm colors (or vice versa). When you are satisfied with your drawing, execute three color studies to determine the most effective way to use this particular color scheme.
Painting Stage One: Using a neutral color (not black) that will blend well with your color scheme, paint in the values for your painting. You may also use white paint to re-establish lighter values.
Painting Stage Two: When the value scheme has been satisfactorily established, begin to lay in the colors with transparent layers of acrylic paint. Do not use white paint at this stage. Build rich, deep shadows with many transparent layers.
Painting Stage Three: When the color scheme has been established for the painting, you may adjust any final details with opaque paint. When used as highlights, opaque colors contrast well with transparent shadows.
3/9 Project 3: Invisible Cities assigned.
3/14 Spring Beak
3/21 written and visual research due.
3/23 thumbnails due
3/30 Cities drawing due.
4/4 Paint Invisible Cities.
4/13 Project 3: Invisible Cities critiqued.
4/18 Project 3: Invisible Cities turned in, flapped and labeled.
Monday, March 7, 2011
Look at this stuff
A few links to useful resources and inspiration, check 'em out
Websites:
Escape from Illustration Island
Drawn!
Illustration Mundo
Podcasts:
which can also be downloaded and subscribed to via iTunes
Escape from Illustration Island
Big Illustration Party Time
Chris Oatley's Artcast
Man Vs. Art
Visual Artist Podcast Network
Websites:
Escape from Illustration Island
Drawn!
Illustration Mundo
Podcasts:
which can also be downloaded and subscribed to via iTunes
Escape from Illustration Island
Big Illustration Party Time
Chris Oatley's Artcast
Man Vs. Art
Visual Artist Podcast Network
Wednesday, March 2, 2011
I dug around in the student art archives to find some examples of past Periodic Table assignments
By Aaron Rodney (I think so anyway, let me know if the names are wrong)
By Brittany Seiveno
These are by illustrator Tomer Hanuka. Not precisely our assignment, but they demonstrate effective usage of a very limited palette.
Michael (instructor of the other Illo 2 class) has also posted a couple of good examples
By Aaron Rodney (I think so anyway, let me know if the names are wrong)
By Brittany Seiveno
These are by illustrator Tomer Hanuka. Not precisely our assignment, but they demonstrate effective usage of a very limited palette.
Michael (instructor of the other Illo 2 class) has also posted a couple of good examples
Monday, February 14, 2011
Project 2: Periodic Table
Project 2: Periodic Table
An element is a chemically pure substance consisting of a single type of atom, such as oxygen, lead, or uranium. In 1869, the elements were organized according to their chemical properties and atomic number by Dmitri Mendeleev. This chart is called The Periodic Table, and has, with refinements, been in use ever since. For this assignment, we will create an illustrated Periodic Table. The illustration will be 12”x12”.
Objectives
To use research and ideation techniques to develop narrative from a non-narrative point of departure; to build upon the compositional, referenced, and painting skills from Project 1; to use a near-complementary color scheme in a painting; to balance multiple formal demands with the need to create a striking image.
Procedure
Chose a chemical element, and sign up for it on the posted Periodic Table. Only one person may pick a given element.
Research your element, making note of at least ten distinct facts about it. These may be from the history or folklore relating to the element, interesting physical properties, or uses and applications. To this list of ten you may add any personal associations you may have with this substance. From this list, develop a mind map, spinning out associations from these facts, and then building on those associations. When you have developed a rich map of associations, look for connections between concepts from different branches of the map. Make note on the map of interesting visual and narrative ideas that come out of these connections.
Ideally, you are seeking two things: a basic narrative to depict in your illustration, and at least one other thematic reference to the element. Take antimony as an example. This metalloid substance, which I’d never heard of until seeking out an obscure element to use as an example, doesn’t seem very promising, at first. It’s shiny, in a chintzy sort of way, and has a number of industrial uses: it’s used in plumbing, and matches, and flame-proofing compounds. But then I find out that it was used make kohl, the dark eye makeup favored throughout the Ancient World. Now, all sorts of narrative possibilities open up: Cleopatra being made-up before meeting Caesar; Salome dancing for the head of John the Baptist, even Johnny Depp dressing up as Jack Sparrow. Pretty much any scene from history or myth that involved a man or woman wearing eye make-up is fair game. Drawing connections between Cleopatra’s Egypt and antimony’s use in matches and flame-proofing leads me to Sekhmet, the Goddess of Fire. So, Cleopatra being made-up with kohl before meeting Caesar is my main narrative for my illustration, and images of Sekhmet (as well as some compositionally prominent braziers) addresses my secondary thematic reference to antimony.
In addition to the narrative content and at least one secondary reference, the illustration should include the atomic number of the element being depicted (in the case of antimony, this is 51).
Sketching: Develop25 thumbnail sketches of your idea. Each thumbnail should be a different compositional approach to the image. Select the three best compositions and draw them larger (around 4”x4’) and neater, so that you can present them to the class.
Photo-reference: Collect the friends and props necessary to shoot good references for your illustration. As with Tableau Vivant, use the photo-shoot as an opportunity to explore and refine your composition. Bring at least ten good shots to present to the class. Additionally, collect any other photo-references you will need for your image.
Drawing: Based on the feedback you receive in class on your photographed compositions, develop your drawing at the size of the final illustration. Determine each figure on separate layers of tracing paper, as well as the background, and any major props. Manipulate the layers of tracing paper around to tweak your drawing. When you are satisfied with the composition, transfer it to illustration board.
Painting: This image will be rendered in a near-complementary color scheme. Using a color wheel, determine the palette of your piece. You may use only these two colors, black, and white. Spend some time in your sketchbook making some color swatches with these paints: the 2 near-complementary colors, at least three neutral tones created by mixing them in different proportions, and then tints (the color mixed with white), shades (the color mixed with black) and tones (the color mixed with grey) of all 5 colors. This is a very limited palette, but it can be very effective when considered carefully, and used strategically.
Presentation: When the painting is finished, flap the illustration board with a sheet of tracing paper and a sheet of cover stock.
Schedule
2/14 Project 2: Periodic Table element chosen.
2/16 Partial research due (ten facts)
2/21 Project 2: Periodic Table thumbnails and written research due. Illustrator Research due.
2/23 Periodic Table visual research and photos due . In Class: begin drawing.
2/28 Project 2: Periodic Table drawing due. In Class: begin painting
3/2 Paint Periodic Table
3/7 Paint Periodic Table
3/9 Critique Periodic Table
3/14 Spring Break
3/16 Spring Break
3/21 Project 2: Periodic Table due.
Elements already chosen:
Iodine
Lithium
Arsenic
Boron
Plutonium
Mercury
Rubidium
Molybdenum
Silicon
Cadmium
Phosphorus
Carbon
Titanium
Neon
Platinum
Gold
Helium
Iridium
Selenium
Neon
An element is a chemically pure substance consisting of a single type of atom, such as oxygen, lead, or uranium. In 1869, the elements were organized according to their chemical properties and atomic number by Dmitri Mendeleev. This chart is called The Periodic Table, and has, with refinements, been in use ever since. For this assignment, we will create an illustrated Periodic Table. The illustration will be 12”x12”.
Objectives
To use research and ideation techniques to develop narrative from a non-narrative point of departure; to build upon the compositional, referenced, and painting skills from Project 1; to use a near-complementary color scheme in a painting; to balance multiple formal demands with the need to create a striking image.
Procedure
Chose a chemical element, and sign up for it on the posted Periodic Table. Only one person may pick a given element.
Research your element, making note of at least ten distinct facts about it. These may be from the history or folklore relating to the element, interesting physical properties, or uses and applications. To this list of ten you may add any personal associations you may have with this substance. From this list, develop a mind map, spinning out associations from these facts, and then building on those associations. When you have developed a rich map of associations, look for connections between concepts from different branches of the map. Make note on the map of interesting visual and narrative ideas that come out of these connections.
Ideally, you are seeking two things: a basic narrative to depict in your illustration, and at least one other thematic reference to the element. Take antimony as an example. This metalloid substance, which I’d never heard of until seeking out an obscure element to use as an example, doesn’t seem very promising, at first. It’s shiny, in a chintzy sort of way, and has a number of industrial uses: it’s used in plumbing, and matches, and flame-proofing compounds. But then I find out that it was used make kohl, the dark eye makeup favored throughout the Ancient World. Now, all sorts of narrative possibilities open up: Cleopatra being made-up before meeting Caesar; Salome dancing for the head of John the Baptist, even Johnny Depp dressing up as Jack Sparrow. Pretty much any scene from history or myth that involved a man or woman wearing eye make-up is fair game. Drawing connections between Cleopatra’s Egypt and antimony’s use in matches and flame-proofing leads me to Sekhmet, the Goddess of Fire. So, Cleopatra being made-up with kohl before meeting Caesar is my main narrative for my illustration, and images of Sekhmet (as well as some compositionally prominent braziers) addresses my secondary thematic reference to antimony.
In addition to the narrative content and at least one secondary reference, the illustration should include the atomic number of the element being depicted (in the case of antimony, this is 51).
Sketching: Develop25 thumbnail sketches of your idea. Each thumbnail should be a different compositional approach to the image. Select the three best compositions and draw them larger (around 4”x4’) and neater, so that you can present them to the class.
Photo-reference: Collect the friends and props necessary to shoot good references for your illustration. As with Tableau Vivant, use the photo-shoot as an opportunity to explore and refine your composition. Bring at least ten good shots to present to the class. Additionally, collect any other photo-references you will need for your image.
Drawing: Based on the feedback you receive in class on your photographed compositions, develop your drawing at the size of the final illustration. Determine each figure on separate layers of tracing paper, as well as the background, and any major props. Manipulate the layers of tracing paper around to tweak your drawing. When you are satisfied with the composition, transfer it to illustration board.
Painting: This image will be rendered in a near-complementary color scheme. Using a color wheel, determine the palette of your piece. You may use only these two colors, black, and white. Spend some time in your sketchbook making some color swatches with these paints: the 2 near-complementary colors, at least three neutral tones created by mixing them in different proportions, and then tints (the color mixed with white), shades (the color mixed with black) and tones (the color mixed with grey) of all 5 colors. This is a very limited palette, but it can be very effective when considered carefully, and used strategically.
Presentation: When the painting is finished, flap the illustration board with a sheet of tracing paper and a sheet of cover stock.
Schedule
2/14 Project 2: Periodic Table element chosen.
2/16 Partial research due (ten facts)
2/21 Project 2: Periodic Table thumbnails and written research due. Illustrator Research due.
2/23 Periodic Table visual research and photos due . In Class: begin drawing.
2/28 Project 2: Periodic Table drawing due. In Class: begin painting
3/2 Paint Periodic Table
3/7 Paint Periodic Table
3/9 Critique Periodic Table
3/14 Spring Break
3/16 Spring Break
3/21 Project 2: Periodic Table due.
Elements already chosen:
Iodine
Lithium
Arsenic
Boron
Plutonium
Mercury
Rubidium
Molybdenum
Silicon
Cadmium
Phosphorus
Carbon
Titanium
Neon
Platinum
Gold
Helium
Iridium
Selenium
Neon
Monday, January 31, 2011
Exercise 2: Expression Studies
In class/homework assignment, must be completed and posted on your blogs by Monday, Feb.7.
Exercise 2: Expression Studies
Mark out twelve roughly head-shaped ovals in your sketchbook, about 3” tall. Using a round brush, create monochromatic studies of the following expressions, as observed either in a mirror or a willing model:
Happy
Relaxed
Sleepy
Confused
Frightened
Proud
Angry
Resentful
Enamored
Nervous
Sneaky
Over-caffeinated
Materials
Sketchbook
Hand mirror
Medium-to-small round brush
Acrylic paint:
Titanium White
Dark Blue, such as Ultramarine
Exercise 2: Expression Studies
Mark out twelve roughly head-shaped ovals in your sketchbook, about 3” tall. Using a round brush, create monochromatic studies of the following expressions, as observed either in a mirror or a willing model:
Happy
Relaxed
Sleepy
Confused
Frightened
Proud
Angry
Resentful
Enamored
Nervous
Sneaky
Over-caffeinated
Materials
Sketchbook
Hand mirror
Medium-to-small round brush
Acrylic paint:
Titanium White
Dark Blue, such as Ultramarine
Monday, January 24, 2011
Friday, January 21, 2011
Project 1: Tableau Vivant
Project 1: Tableau Vivant
A term meaning “Living Picture,” the Tableau Vivant was a popular form of entertainment in Europe before photography, radio, or film. A group of models would recreate paintings, etchings, or scenes from books by posing in frozen attitudes on a stage, often with elaborate costumes, props, and lighting. Tableaux Vivants are still created at the annual Pageant of the Masters in Laguna Beach – a $4.1 million production featuring 40 art works recreated over a period of 2 months. For this assignment, you will create a Tableau of one work of figurative art, and use it as reference for a new illustration. The illustration will be 11”x15”.
Objectives
To explore existing artistic traditions and history as a source of inspiration, to examine the role of image reference, both historical and created, in creating an illustration, to develop an immersive composition from a static one, to use warm and cool contrast in a painting.
Procedure
Chose one of the artistic traditions listed below:
Chinese Scrolls
European Illuminated Manuscripts
Egyptian Painting
Greek Vase Painting
Persian Miniature Painting
Ukiyo-e Prints
Research the tradition, and find an example of it that you would like to base your piece on. You must have a high quality copy of this image, at least 3”x3”. The image may be Xeroxed or scanned from a book. A low-res JPEG is not acceptable. Put the copy in your sketchbook. Record the name and period of the piece, and, if appropriate, the artist. Write about what is occurring in the image. Identify all the characters, the environment, and any significant objects in the image.
Photo-reference: Using friends or classmates, re-enact the scene from your image. You may want to arrange equivalents of the costumes, props, and setting, for instance, using a broom handle for a sword. Pay attention to the lightning of your tableau. When you are satisfied with your tableau, photograph it. The artistic traditions listed above tend towards flattened, theatrical compositions. Work against this in your photo-reference. Strive to find the point of view that will create the most interesting composition. Consider the depth of your arrangement: background, middle ground, and foreground. Present your photos in class.
Drawing: Based on the feedback you receive in class on your photographed compositions, develop your drawing at the size of the final illustration. Determine each figure on separate layers of tracing paper, as well as the background, and any major props. Manipulate the layers of tracing paper around to tweak your drawing. When you are satisfied with the composition, transfer it to illustration board. You may determine if your tableau will be in modern or historical dress.
Painting: Execute the painting as a warm and cool value scheme. Use Titanium White, Burnt Umber, and Ultramarine Blue acrylic paints. By mixing the blue and umber paints, you will create a dark near-black color. Adjusting it with a little more blue or brown will make it cooler or warmer, respectively. Adding white will provide you with full range of warm and cool values.
Presentation: When the painting is finished, mat it. The mat should have a second window for a good, clean copy of the source image. Flap the mat with a sheet of tracing paper and a sheet of cover stock.
1/19 Project 1: Tableau Vivant assigned
1/24 Project 1: Tableau Vivant research and photos due
1/31 Project 1: Tableau Vivant drawing due.
2/14 Project 1: Tableau Vivant critiqued.
2/16 Project 1: Tableau Vivant due, matted, flapped, labeled.
A term meaning “Living Picture,” the Tableau Vivant was a popular form of entertainment in Europe before photography, radio, or film. A group of models would recreate paintings, etchings, or scenes from books by posing in frozen attitudes on a stage, often with elaborate costumes, props, and lighting. Tableaux Vivants are still created at the annual Pageant of the Masters in Laguna Beach – a $4.1 million production featuring 40 art works recreated over a period of 2 months. For this assignment, you will create a Tableau of one work of figurative art, and use it as reference for a new illustration. The illustration will be 11”x15”.
Objectives
To explore existing artistic traditions and history as a source of inspiration, to examine the role of image reference, both historical and created, in creating an illustration, to develop an immersive composition from a static one, to use warm and cool contrast in a painting.
Procedure
Chose one of the artistic traditions listed below:
Chinese Scrolls
European Illuminated Manuscripts
Egyptian Painting
Greek Vase Painting
Persian Miniature Painting
Ukiyo-e Prints
Research the tradition, and find an example of it that you would like to base your piece on. You must have a high quality copy of this image, at least 3”x3”. The image may be Xeroxed or scanned from a book. A low-res JPEG is not acceptable. Put the copy in your sketchbook. Record the name and period of the piece, and, if appropriate, the artist. Write about what is occurring in the image. Identify all the characters, the environment, and any significant objects in the image.
Photo-reference: Using friends or classmates, re-enact the scene from your image. You may want to arrange equivalents of the costumes, props, and setting, for instance, using a broom handle for a sword. Pay attention to the lightning of your tableau. When you are satisfied with your tableau, photograph it. The artistic traditions listed above tend towards flattened, theatrical compositions. Work against this in your photo-reference. Strive to find the point of view that will create the most interesting composition. Consider the depth of your arrangement: background, middle ground, and foreground. Present your photos in class.
Drawing: Based on the feedback you receive in class on your photographed compositions, develop your drawing at the size of the final illustration. Determine each figure on separate layers of tracing paper, as well as the background, and any major props. Manipulate the layers of tracing paper around to tweak your drawing. When you are satisfied with the composition, transfer it to illustration board. You may determine if your tableau will be in modern or historical dress.
Painting: Execute the painting as a warm and cool value scheme. Use Titanium White, Burnt Umber, and Ultramarine Blue acrylic paints. By mixing the blue and umber paints, you will create a dark near-black color. Adjusting it with a little more blue or brown will make it cooler or warmer, respectively. Adding white will provide you with full range of warm and cool values.
Presentation: When the painting is finished, mat it. The mat should have a second window for a good, clean copy of the source image. Flap the mat with a sheet of tracing paper and a sheet of cover stock.
1/19 Project 1: Tableau Vivant assigned
1/24 Project 1: Tableau Vivant research and photos due
1/31 Project 1: Tableau Vivant drawing due.
2/14 Project 1: Tableau Vivant critiqued.
2/16 Project 1: Tableau Vivant due, matted, flapped, labeled.
Artist research presentation
I strongly suggest you begin your research sooner rather than later. At the end of the semester, students always seem to be surprised that all of their classes have finals due. Do yourself a favor and get as much out of the way beforehand as possible.
Illustrator Research Presentation
Overview: Research each of the listed artists. Collect five of their images in your sketchbook or on your blog, and write a paragraph on who they were, when they worked, and what sort of work they did. This must be written by you—do not simply print out information from the Internet. I will check.
(Names with strikethrough have already been selected, the others are still up for grabs)
Will H. Bradley
Sir Edward Burne-Jones
Dean Cornwell
Edmund Dulac
James Montgomery Flagg
Ludwig Holwein
Tamara de Lempicka
Joseph Leyendecker
Maxfield Parrish
Howard Pyle
Arthur Rackham
Frederick Remington
Norman Rockwell
Egon Schiele
Jessie Wilcox-Smith
NC Wyeth
Image Research Due: 2/21.
Research Paper: Choose the artist who interests you most. Research this artist for your presentation. At least five sources must be cited in your bibliography. Use at least two non-internet sources. Write a 2000 word paper about the artist: who they were, who their influences were, what their art training was like, when they worked, what sort of work they did, and what sort of techniques they used.
The final paper must be emailed to me at mduckworth@mca.edu.
Presentation: Prepare a 10-minute slide or Powerpoint presentation based on your paper. It should include at least twenty images of your artist’s work, and at least five of an artist who influenced your artist. You may wish to also include images that set the time and place that your artist worked in.
Do not include fancy backgrounds or transitions. I’m looking for a simple, clean slideshow of the artists’ work. Choose a black or white background, and make the images fill up as much of the screen as possible. Keep onscreen text to a minimum.
Presentation and paper due: 4/20.
Illustrator Research Presentation
Overview: Research each of the listed artists. Collect five of their images in your sketchbook or on your blog, and write a paragraph on who they were, when they worked, and what sort of work they did. This must be written by you—do not simply print out information from the Internet. I will check.
(Names with strikethrough have already been selected, the others are still up for grabs)
Will H. Bradley
Sir Edward Burne-Jones
James Montgomery Flagg
Ludwig Holwein
Maxfield Parrish
Howard Pyle
Norman Rockwell
NC Wyeth
Image Research Due: 2/21.
Research Paper: Choose the artist who interests you most. Research this artist for your presentation. At least five sources must be cited in your bibliography. Use at least two non-internet sources. Write a 2000 word paper about the artist: who they were, who their influences were, what their art training was like, when they worked, what sort of work they did, and what sort of techniques they used.
The final paper must be emailed to me at mduckworth@mca.edu.
Presentation: Prepare a 10-minute slide or Powerpoint presentation based on your paper. It should include at least twenty images of your artist’s work, and at least five of an artist who influenced your artist. You may wish to also include images that set the time and place that your artist worked in.
Do not include fancy backgrounds or transitions. I’m looking for a simple, clean slideshow of the artists’ work. Choose a black or white background, and make the images fill up as much of the screen as possible. Keep onscreen text to a minimum.
Presentation and paper due: 4/20.
Syllabus
Illustration 2: Painting for Illustration
IL265
Course Objectives
Illustration 2 continues the introduction of fundamental drawing and communication skills from Illustration 1, introducing wet color media.
Grading
These courses involve of both in-class and out-of-class assignments. Out-of-class projects will be graded on research (including sketches and visual reference), composition (the design of the picture plane), communication (whether or not your image reads as you intended it to), and technique (your use of the various media explored in this class).
Additionally, participation in critiques, adherence to deadlines, and attendance will be factored into the final grade. Every absence sets a student back dramatically.
Attendance:
• There is no penalty for a single absence.
• The semester’s final grade is lowered by one letter upon the second and third absences.
• Upon a fourth absence, the student is automatically failed.
• The first “free” absence is in lieu of excused absences. Save it for an emergency.
• If you come to class late or leave early, you will be marked as tardy. You can receive multiple tardies for a single class.
• Three tardies equals one absence.
Professionalism
• Late work is lowered by one letter grade per week after the deadline.
• If you can not deliver your work in person, have some one else bring it.
• A project will be reduced by one letter grade for late or incomplete thumbnails, sketches, or research.
• When size or format is specified, projects not meeting those requirements will be reduced by one letter grade.
• Each project receives two grades: One upon critique, and one when turned in.
Participation
• All students are expected to participate meaningfully in critiques, discussions, and in-class exercises. You will receive a Participation grade at the end of the semester equivalent to one project.
Grades
A • Exemplary work, professionally acceptable
B • Solidly good work
C • Acceptable work, meets assignment expectations
D • Flawed, does not successfully meet assignment expectations
F • Failing grade, work is unacceptable
Materials Binder
Maintain a sketchbook or binder in which you will keep any handouts presenting in class (including this syllabus), copies of your thumbnails, and visual research from each project. Bring this binder to each critique, and plan on maintaining it through subsequent Illustration classes.
Mounting and Presenting Your Work
• Leave a protective border of at least three inches on all sides of your mounted original.
• Cover, or “flap,” your work, first with tracing paper, then with cover stock, or some other heavy weight paper.
• Use a sharp blade and a straight edge to trim excess cover paper so that it is flush to the mounting board.
• Securely attach a completed archive label to the back of the piece.
Materials
Acrylic paints
Titanium White
Burnt Umber
Cool Yellow, such as Lemon Yellow
Warm Yellow, such as Cadmium Yellow Light
Cool Red, such as Alizarin Crimson
Warm Red, such as Cadmium Red Medium
Cool Blue, such as Pthalo Blue
Warm Blue, such as Ultramarine Blue
Any other colors that strike your fancy
Matte medium
Palette paper
A variety of brushes, both round and flat, in various sizes
Long metal ruler
Illustration Board
Large pad of tracing paper
Sketchbook
Pushpin
Acrylic Paints
Almost one hundred years old, acrylics are considered a new medium in the world of art materials, where durability is judged in centuries. They are extremely flexible and can be used to emulate oil, watercolor, and tempera techniques. Acrylics are water soluble from the tube, but waterproof when dry. Because acrylics dry quickly and permanently, it is important to keep your brushes wet until you are ready to clean them.
They are composed of the same pigments found in other paints, such as oil or watercolor, but suspended in a polymer resin emulsion (basically, plastic). Aside from pigment and resin, a tube of acrylic paint contains water, a coalescing agent (to help form into a film of paint), and small amounts of other additives to maintain consistency. The difference between a cheap and expensive brand of acrylic paint is how much resin is in the tube. The highest quality paints are 65% resin. Most paints are 40 to 45% resin, meaning that 55% of what you brush onto the paper is going to evaporate right off the painting surface.
Acrylics can be used in conjunction with oils, although only as a first stage. Oils can be painted over acrylics, but acrylics should not be painted over oils. Oil dries very slowly, and if trapped under a layer of fast-drying acrylic, cracking can occur. Also, acrylic does not adhere well to oil surfaces.
Acrylic Materials
Acrylic gesso: composed of Titanium white, inert pigment (such as chalk), and a stiffer version of the same polymer resin used in the paints, acrylic gesso is used to create a smooth, bright ground before beginning a painting. It is different from genuine gesso, which is composed of fine chalk and size.
Matte and Gloss mediums: unpigmented polymer resin used to adjust the consistency and opacity of paint, formulated to create either a shiny surface (gloss) or a dull one (matte). They also make excellent archival adhesives.
Gel medium: a thicker medium that bulks up paint for thick, impasto painting techniques.
Retarder: slows down the drying time of acrylics
Painting Terms
Alla Prima: An opaque use of oil paint in which each brushstroke is the final effect desired in terms of color, value, and texture. As opposed to underpainting techniques where the paint is leyered and each layer effects the character of the paint layers above and below it.
Body: Describes the density of pigment, medium, or application of paint. A thinned down, transparent layer of paint has little body. “Body Color” describes paint applied opaquely, either because of the density of pigment, or the addition of white.
Covering Power: The ability of paint to obscure what it is painted over.
Fat: Refers to the quantity of oil in a paint, painting medium, or ground. When paint is fat it is rich, non-absorbent, and has a slick surface. Used in conjunction with the term “lean.”
Lean: Paint with a low concentration of oil, a degree of absorbancy, and is less rich or greasy than “fat” paint. This may be the result of diluting with a thinner.
Fat Over Lean: A painting technique wherein the paint begins lean, and becomes increasingly fat as additional layers are applied. The lower, leaner paints have greater absorbency, allowing the fatter paint to adhere, prevents “sinking in,” and cracking.
Glaze: A transparent layer of paint that leaves the layer beneath it visible.
Ground: A base layer that acts as a barrier between the surface of the paper or canvas and the paint itself. The ground is intended to improve the surface for receiving paint. In the case of oils, gesso is the most common ground. The ground can also be an underpainting, for instance, in acrylics.
Impasto: The use of thick paint to create texture that stands above the painting surface.
Scumble: A half-covering layer of opaque paint, made by lightly dragging relatively dry paint over a surface, or by stippling thin paint.
Sinking In: The dulling of oil paint as it dries, leading to loss of color saturation or an uneven finish.This is caused by either an absorbent lower layer of paint, or by using too much of a thinner.
Thinner: A solvent added to paint to reduce it’s consistency, such as turps. The solvent evaporates upon drying.
Tooth: The texture of the painting surface, be it paper, canvas, or board, or of the ground applied to that surface. Tooth helps paint adhere.
Underpainting: A deliberate approach to painting the lower layers of an image to create effects in the later layers. this may include using colors that are intended to optically mix with later colors.
Wet On Wet: Painting into paint that hasn’t dried, so that the new paint can be worked into the existing paint.
Wet On Dry: Painting onto dried paint so that the new paint doesn’t disturb the existing paint.
IL265
Course Objectives
Illustration 2 continues the introduction of fundamental drawing and communication skills from Illustration 1, introducing wet color media.
Grading
These courses involve of both in-class and out-of-class assignments. Out-of-class projects will be graded on research (including sketches and visual reference), composition (the design of the picture plane), communication (whether or not your image reads as you intended it to), and technique (your use of the various media explored in this class).
Additionally, participation in critiques, adherence to deadlines, and attendance will be factored into the final grade. Every absence sets a student back dramatically.
Attendance:
• There is no penalty for a single absence.
• The semester’s final grade is lowered by one letter upon the second and third absences.
• Upon a fourth absence, the student is automatically failed.
• The first “free” absence is in lieu of excused absences. Save it for an emergency.
• If you come to class late or leave early, you will be marked as tardy. You can receive multiple tardies for a single class.
• Three tardies equals one absence.
Professionalism
• Late work is lowered by one letter grade per week after the deadline.
• If you can not deliver your work in person, have some one else bring it.
• A project will be reduced by one letter grade for late or incomplete thumbnails, sketches, or research.
• When size or format is specified, projects not meeting those requirements will be reduced by one letter grade.
• Each project receives two grades: One upon critique, and one when turned in.
Participation
• All students are expected to participate meaningfully in critiques, discussions, and in-class exercises. You will receive a Participation grade at the end of the semester equivalent to one project.
Grades
A • Exemplary work, professionally acceptable
B • Solidly good work
C • Acceptable work, meets assignment expectations
D • Flawed, does not successfully meet assignment expectations
F • Failing grade, work is unacceptable
Materials Binder
Maintain a sketchbook or binder in which you will keep any handouts presenting in class (including this syllabus), copies of your thumbnails, and visual research from each project. Bring this binder to each critique, and plan on maintaining it through subsequent Illustration classes.
Mounting and Presenting Your Work
• Leave a protective border of at least three inches on all sides of your mounted original.
• Cover, or “flap,” your work, first with tracing paper, then with cover stock, or some other heavy weight paper.
• Use a sharp blade and a straight edge to trim excess cover paper so that it is flush to the mounting board.
• Securely attach a completed archive label to the back of the piece.
Materials
Acrylic paints
Titanium White
Burnt Umber
Cool Yellow, such as Lemon Yellow
Warm Yellow, such as Cadmium Yellow Light
Cool Red, such as Alizarin Crimson
Warm Red, such as Cadmium Red Medium
Cool Blue, such as Pthalo Blue
Warm Blue, such as Ultramarine Blue
Any other colors that strike your fancy
Matte medium
Palette paper
A variety of brushes, both round and flat, in various sizes
Long metal ruler
Illustration Board
Large pad of tracing paper
Sketchbook
Pushpin
Acrylic Paints
Almost one hundred years old, acrylics are considered a new medium in the world of art materials, where durability is judged in centuries. They are extremely flexible and can be used to emulate oil, watercolor, and tempera techniques. Acrylics are water soluble from the tube, but waterproof when dry. Because acrylics dry quickly and permanently, it is important to keep your brushes wet until you are ready to clean them.
They are composed of the same pigments found in other paints, such as oil or watercolor, but suspended in a polymer resin emulsion (basically, plastic). Aside from pigment and resin, a tube of acrylic paint contains water, a coalescing agent (to help form into a film of paint), and small amounts of other additives to maintain consistency. The difference between a cheap and expensive brand of acrylic paint is how much resin is in the tube. The highest quality paints are 65% resin. Most paints are 40 to 45% resin, meaning that 55% of what you brush onto the paper is going to evaporate right off the painting surface.
Acrylics can be used in conjunction with oils, although only as a first stage. Oils can be painted over acrylics, but acrylics should not be painted over oils. Oil dries very slowly, and if trapped under a layer of fast-drying acrylic, cracking can occur. Also, acrylic does not adhere well to oil surfaces.
Acrylic Materials
Acrylic gesso: composed of Titanium white, inert pigment (such as chalk), and a stiffer version of the same polymer resin used in the paints, acrylic gesso is used to create a smooth, bright ground before beginning a painting. It is different from genuine gesso, which is composed of fine chalk and size.
Matte and Gloss mediums: unpigmented polymer resin used to adjust the consistency and opacity of paint, formulated to create either a shiny surface (gloss) or a dull one (matte). They also make excellent archival adhesives.
Gel medium: a thicker medium that bulks up paint for thick, impasto painting techniques.
Retarder: slows down the drying time of acrylics
Painting Terms
Alla Prima: An opaque use of oil paint in which each brushstroke is the final effect desired in terms of color, value, and texture. As opposed to underpainting techniques where the paint is leyered and each layer effects the character of the paint layers above and below it.
Body: Describes the density of pigment, medium, or application of paint. A thinned down, transparent layer of paint has little body. “Body Color” describes paint applied opaquely, either because of the density of pigment, or the addition of white.
Covering Power: The ability of paint to obscure what it is painted over.
Fat: Refers to the quantity of oil in a paint, painting medium, or ground. When paint is fat it is rich, non-absorbent, and has a slick surface. Used in conjunction with the term “lean.”
Lean: Paint with a low concentration of oil, a degree of absorbancy, and is less rich or greasy than “fat” paint. This may be the result of diluting with a thinner.
Fat Over Lean: A painting technique wherein the paint begins lean, and becomes increasingly fat as additional layers are applied. The lower, leaner paints have greater absorbency, allowing the fatter paint to adhere, prevents “sinking in,” and cracking.
Glaze: A transparent layer of paint that leaves the layer beneath it visible.
Ground: A base layer that acts as a barrier between the surface of the paper or canvas and the paint itself. The ground is intended to improve the surface for receiving paint. In the case of oils, gesso is the most common ground. The ground can also be an underpainting, for instance, in acrylics.
Impasto: The use of thick paint to create texture that stands above the painting surface.
Scumble: A half-covering layer of opaque paint, made by lightly dragging relatively dry paint over a surface, or by stippling thin paint.
Sinking In: The dulling of oil paint as it dries, leading to loss of color saturation or an uneven finish.This is caused by either an absorbent lower layer of paint, or by using too much of a thinner.
Thinner: A solvent added to paint to reduce it’s consistency, such as turps. The solvent evaporates upon drying.
Tooth: The texture of the painting surface, be it paper, canvas, or board, or of the ground applied to that surface. Tooth helps paint adhere.
Underpainting: A deliberate approach to painting the lower layers of an image to create effects in the later layers. this may include using colors that are intended to optically mix with later colors.
Wet On Wet: Painting into paint that hasn’t dried, so that the new paint can be worked into the existing paint.
Wet On Dry: Painting onto dried paint so that the new paint doesn’t disturb the existing paint.
Welcome to Illustration 2
This blog is for the MCA Illustration 2 class of Spring 2011 (Duckworth section), where I will be posting assignments and other materials relevant to the class. Can we make this the most inspiring and productive semester ever? I expect nothing less, folks. Cheers!
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