HEre is a link to a folder with three pdfs for to help you with your drawings!
https://www.dropbox.com/sh/hk54p7zsk640wji/jlRmXDgM_s
www.hypersteve.com
www.hyperactiveart.com
Wednesday, February 27, 2013
Tuesday, February 26, 2013
Drawing Reference!
Drawing References!
I wanted to share with you some resources for drawing to help you improve your skill. There are good pics on these sites that you can use in your sketch books for doing figure work for studying anatomy and light and figure movement.
http://www.freshdesigner.com/
http://www.scott-eaton.com/category/bodies-in-motion
http://www.posespace.com/
I'll share some more tips for drawing on here as time goes on!
HEre is a link to a fantastic book on drawing by a master of drawing who has taught drawing to artists at Dreamworks and Disney/Pixar as well as other places. We'll talk more about drawing this week! Its a google book, but I don't know if you need a GMail account or not. But it is a free book!
http://books.google.ca/books?id=-1sRWo0QNVYC&pg=PA139&lpg=PA125&dq=The+Vilppu+Drawing+manual&output=html_text
Steve
Friday, February 8, 2013
NC Wyeth Piece
Check out the design elements and color/shape/value arrangements that make this piece masterful!
Wednesday, February 6, 2013
More about Palette Colors and materials info
These colors will work well for an oil or acrylic palette
A pretty solid paint palette for Oils or Acrylics will include these:
Titanium White*, Paynes Gray *, Raw Umber* , Burnt Sienna*, Yellow Ochre , Burnt Umber *, Terre Verte (Green Earth) , Cadmium Red Deep*, Cadmium Yellow Medium*, Cadmium Yellow Light*, Ultramarine Blue*, Permanent Green*, Manganese/Dioxazine Purple*, Greenish Umber , Sap Green*, Alizarin Crimson*, Pthalocyanine Blue, Pthalocyanine Green, Cobalt Blue*, Turquoise Blue*,
Cadmium Red, Scarlet, Cadmium Yellow Pale, Raw Sienna, Sepia,
Lamp Black, Mars Black*, Cadmium Red Light*, Magenta, Naples Yellow *, Brilliant Yellow, Indian Yellow, Mars Violet Brown Pink,*Chinese Red Vermilioned, Emerald Green, Manganese Blue, Davey's Gray
* colors with the asterix are most important
Acrylic mediums include, matte medium, gloss, medium, gesso.
BRUSHES
Soft hair brushes are best for glazing : they allow a smooth and even layering of the color. Some of the best brushes for this application are ox hair flats, sable and squirrel hair (mix). All should be available from Commercial Art Supply and Schine Art Store in sizes ranging from 1/4" to 3".
Sable watercolor brushes have the best tips for rendering fine details, sizes range from 000 and up. Rekab produces a fine and inexpensive sable brush of this type.
A pretty solid paint palette for Oils or Acrylics will include these:
Titanium White*, Paynes Gray *, Raw Umber* , Burnt Sienna*, Yellow Ochre , Burnt Umber *, Terre Verte (Green Earth) , Cadmium Red Deep*, Cadmium Yellow Medium*, Cadmium Yellow Light*, Ultramarine Blue*, Permanent Green*, Manganese/Dioxazine Purple*, Greenish Umber , Sap Green*, Alizarin Crimson*, Pthalocyanine Blue, Pthalocyanine Green, Cobalt Blue*, Turquoise Blue*,
Cadmium Red, Scarlet, Cadmium Yellow Pale, Raw Sienna, Sepia,
Lamp Black, Mars Black*, Cadmium Red Light*, Magenta, Naples Yellow *, Brilliant Yellow, Indian Yellow, Mars Violet Brown Pink,*Chinese Red Vermilioned, Emerald Green, Manganese Blue, Davey's Gray
* colors with the asterix are most important
Acrylic mediums include, matte medium, gloss, medium, gesso.
BRUSHES
Soft hair brushes are best for glazing : they allow a smooth and even layering of the color. Some of the best brushes for this application are ox hair flats, sable and squirrel hair (mix). All should be available from Commercial Art Supply and Schine Art Store in sizes ranging from 1/4" to 3".
Sable watercolor brushes have the best tips for rendering fine details, sizes range from 000 and up. Rekab produces a fine and inexpensive sable brush of this type.
Tuesday, February 5, 2013
Color Document Link
If you couldn't access the file the other way, here si a link to the color document I would like you to read!
https://docs.google.com/folder/d/0B_bICZCCGROfZ01IclVBeXNjSW8/edit?usp=sharing
https://docs.google.com/folder/d/0B_bICZCCGROfZ01IclVBeXNjSW8/edit?usp=sharing
MAterials for this week
Hey Everyone:
In Class we will Paint a Tonal Paintings from the model! We will Talk value and tint and shadow color, Primary color, white, black and complementary color. Talk about color mixing, creating tints and shadow colors. Talk about warm and cool colors. Color analysis of same illustrations from two weeks ago. Focus on color/ value/ tone look out for color families
Materials:
Brushes of various size as small as 2 or as big as a ten. a mix of watercolor and soft bristle acrylic brushes will work well.
Pallette with palette paper for easy cleaning
Water container of some kind
Paint: (Primary colors( Cadmium Red, Alizarin Crimson, Cadmium Yellow Light,Cadmium Yellow Deep, Cerulean blue, French UltraMarine, Greens, white/black), palette paper
Mediums: matte medium, Gel medium, gloss medium and some mixing cups.
Several sheets of gessoed paper or canvasboard or illustration board.
Colored pencils, pencils, Paper towels for cleanup
*Prepare gessoed surfaces the night before to allow for curing.
This weeks sketchbook assignment is( Due next Thursday):
Color analysis of same illustrations from two weeks ago. Focus on color/ value/ tone look out for color families
In Class we will Paint a Tonal Paintings from the model! We will Talk value and tint and shadow color, Primary color, white, black and complementary color. Talk about color mixing, creating tints and shadow colors. Talk about warm and cool colors. Color analysis of same illustrations from two weeks ago. Focus on color/ value/ tone look out for color families
Materials:
Brushes of various size as small as 2 or as big as a ten. a mix of watercolor and soft bristle acrylic brushes will work well.
Pallette with palette paper for easy cleaning
Water container of some kind
Paint: (Primary colors( Cadmium Red, Alizarin Crimson, Cadmium Yellow Light,Cadmium Yellow Deep, Cerulean blue, French UltraMarine, Greens, white/black), palette paper
Mediums: matte medium, Gel medium, gloss medium and some mixing cups.
Several sheets of gessoed paper or canvasboard or illustration board.
Colored pencils, pencils, Paper towels for cleanup
*Prepare gessoed surfaces the night before to allow for curing.
This weeks sketchbook assignment is( Due next Thursday):
Color analysis of same illustrations from two weeks ago. Focus on color/ value/ tone look out for color families
Monday, February 4, 2013
Class #2 Assignment # 2
Class #2
Assignment # 2
Due at the beginning of Class next week!
Medium: pen and ink, brush and ink, with a single color wash in watercolor or acrylic.
Paper: Hot Press watercolor paper, strathmore 300 Bristol,( 400 or 500 if you want to paint with Acrylic)
Sketches: The Client wishes to see 10 thumbnail sketches showing a range of thought. these sketches should be in your sketchbook and be at least 4.25 x 3" and in direct size ratio to the final. Number the sketches and give them and assignment number.
Final Art Reproduction Size: 8.5 tall x 6' wide (Vertical not Horizontal!) finished art should be done at at least 125 to 150% of reproduction size
Presentation: The art should be signed in the art and on the back with the class and time written clearly on the back. There should be a flap taped to the art covering the piece so no damage will come to it.
Reference: Bring in examples of the reference gathered in pursuit of the assignment. You may need to get photographs of other people for body positioning and clothing.
Client: Time Magazine
Description: The Client needs a piece to elaborate on the recent Fiscal cliff debate in Washington. You will need to look into what it is, who the players are and how things have resolved themselves.
Create an illustration that uses symbolism and thoughtful design as well as featuring a likeness of one or more of the players in the Fiscal Cliff Deal.
HEre are a few article son the Cliff and what it means.
http://business.time.com/2013/01/03/why-economists-are-united-in-their-hatred-of-the-fiscal-cliff-deal/
http://nationalpriorities.org/en/analysis/2013/fiscal-cliff-deal/?gclid=CKSt48LOgrUCFQSf4Aodxl8Alw
SKETCHBOOK ASSIGNMENT! In you sketchbook do 5 new tonal reproductions of classic illustrations from the list I gave last week. You can also include: Frank Frazetta, Bernie Wrightson, Brett Helquist, Dontao Giancola, Justin Gerard, Tony Diterlizzi, Norman Rockwell, JC Leyendecker to that list! Rembmer to draw the pieces within a border that replicates the shape of the original piece so you can get a sense of how the original artist used shape, tone and design to tell the story.
Assignment # 2
Due at the beginning of Class next week!
Medium: pen and ink, brush and ink, with a single color wash in watercolor or acrylic.
Paper: Hot Press watercolor paper, strathmore 300 Bristol,( 400 or 500 if you want to paint with Acrylic)
Sketches: The Client wishes to see 10 thumbnail sketches showing a range of thought. these sketches should be in your sketchbook and be at least 4.25 x 3" and in direct size ratio to the final. Number the sketches and give them and assignment number.
Final Art Reproduction Size: 8.5 tall x 6' wide (Vertical not Horizontal!) finished art should be done at at least 125 to 150% of reproduction size
Presentation: The art should be signed in the art and on the back with the class and time written clearly on the back. There should be a flap taped to the art covering the piece so no damage will come to it.
Reference: Bring in examples of the reference gathered in pursuit of the assignment. You may need to get photographs of other people for body positioning and clothing.
Client: Time Magazine
Description: The Client needs a piece to elaborate on the recent Fiscal cliff debate in Washington. You will need to look into what it is, who the players are and how things have resolved themselves.
Create an illustration that uses symbolism and thoughtful design as well as featuring a likeness of one or more of the players in the Fiscal Cliff Deal.
HEre are a few article son the Cliff and what it means.
http://business.time.com/2013/01/03/why-economists-are-united-in-their-hatred-of-the-fiscal-cliff-deal/
http://nationalpriorities.org/en/analysis/2013/fiscal-cliff-deal/?gclid=CKSt48LOgrUCFQSf4Aodxl8Alw
SKETCHBOOK ASSIGNMENT! In you sketchbook do 5 new tonal reproductions of classic illustrations from the list I gave last week. You can also include: Frank Frazetta, Bernie Wrightson, Brett Helquist, Dontao Giancola, Justin Gerard, Tony Diterlizzi, Norman Rockwell, JC Leyendecker to that list! Rembmer to draw the pieces within a border that replicates the shape of the original piece so you can get a sense of how the original artist used shape, tone and design to tell the story.
Tips: Using Photo Reference for Illustration
Using Photo Reference for Illustration
I find that using photo reference can be a great help for creating strong illustrations. It also can distract from a quality final image by restricting the illustrator to photographic “reality”. The illustrator’s job is to be able to pick our what is important or not in their photos to put into the illustration. Think of your camera as another sketching tool.
HEre are some extra tips:
1. Do your initial sketches purely from your imagination and develop those sketches as much as you can before going after reference. Even if those sketches don’t look that great, trust your mental image and let it guide you later. Use the photos as information upon which to build.
2. Try using the photos only for the comprehensive and sketch stage, and put them away for the final painting. Refer back to them for detail.
3. Print your photos in black and white to avoid being influenced by the color when drawing. This will give you a better idea of tonal arrangements that might look good in your final artwork. You can use the color for the final painting, but often this color will not be harmonious and will keep you from having control of the color.
Take lots of photos, and use more than one model or more than one costume. Try different angles from what you had in your sketches..sometimes you will see something in the camera that didn’t occur to you.
After looking through your reference, retouch your sketches to reflect the changes and elements you didn’t have in your sketches
I find that using photo reference can be a great help for creating strong illustrations. It also can distract from a quality final image by restricting the illustrator to photographic “reality”. The illustrator’s job is to be able to pick our what is important or not in their photos to put into the illustration. Think of your camera as another sketching tool.
HEre are some extra tips:
1. Do your initial sketches purely from your imagination and develop those sketches as much as you can before going after reference. Even if those sketches don’t look that great, trust your mental image and let it guide you later. Use the photos as information upon which to build.
2. Try using the photos only for the comprehensive and sketch stage, and put them away for the final painting. Refer back to them for detail.
3. Print your photos in black and white to avoid being influenced by the color when drawing. This will give you a better idea of tonal arrangements that might look good in your final artwork. You can use the color for the final painting, but often this color will not be harmonious and will keep you from having control of the color.
Take lots of photos, and use more than one model or more than one costume. Try different angles from what you had in your sketches..sometimes you will see something in the camera that didn’t occur to you.
After looking through your reference, retouch your sketches to reflect the changes and elements you didn’t have in your sketches
Assignment #3 Figure and Architecture.
Class #3
Assignment # 3
Theme: Figure Interacting with the Environment
Parameters: In this assignment we will explore the entire process of putting together an illustration from the sketch, gathering reference, compiling and montaging reference, creating compositional sketches, doing color comps and creating a final illustration. You will need to go out, get models and photograph both models and the environments you wish to use.The best models you will find are other Illustration students!
Assignment Create an illustration that includes a figure interacting in an environment with a building exterior or an interior that is clearly recognizable. The subject matter is up to you, but I want there to be some objective or interest to the main figure. Do not expect that one photo will include everything you need. Use multiple photos and composite to make a cohesive image. You may also supplement with reference gathered both from resources like books, internet and magazines. Sketches in sketchbooks are a great idea as well.
Week one: Based on thumbnails developed from information from your photo shoot and reference gathering, no fewer than a half-dozen sketches will be presented to be reviewed and analyzed in a group critique to narrow possibilities for comprehensives (comps.). Sketches will be at least 4”X5” each, mounted on a single black sheet of board (15”X20”, 20”X30” or 30”X40”).
Reference: Bring in at least ten examples of the reference gathered in pursuit of the assignment.
Week two: A B&W comprehensive, at least 8”X10”, will be presented with at least two differing color comps. They will all be mounted on a single piece of black board (15”X20”, 20”X30” or 30”X40”) for a group review.
Week three: Using information from the photo shoot, a finished painting in a wet medium (water/color, acrylics, oils, or gouache) between 12”X16” and 30”X40”, will be presented for a group review
•Purpose - You are expected to share ideas and direct the models to create effective reference for a narrative illustration. Quoting Hall of Fame illustrator Pruitt Carter, “The illustrator may be likened to the director of a motion picture, or spoken stage-play. He must know his characters – their emotions and desires – he must set the stage, and direct the arrangement and action and conflict of drama. He must do the scenery, design the costumes and handle the lighting effects.”
Directly gathering visual information through photography is necessary to most forms of illustration. For many, this will be your first use of photographic reference and, possibly, wet color mediums (paint) to produce a realistic illustration. Following the progression of thumbnails, sketches, comps., and finish introduces the standard sequence involved in developing an idea and presenting it to a client.
Assignment # 3
Theme: Figure Interacting with the Environment
Parameters: In this assignment we will explore the entire process of putting together an illustration from the sketch, gathering reference, compiling and montaging reference, creating compositional sketches, doing color comps and creating a final illustration. You will need to go out, get models and photograph both models and the environments you wish to use.The best models you will find are other Illustration students!
Assignment Create an illustration that includes a figure interacting in an environment with a building exterior or an interior that is clearly recognizable. The subject matter is up to you, but I want there to be some objective or interest to the main figure. Do not expect that one photo will include everything you need. Use multiple photos and composite to make a cohesive image. You may also supplement with reference gathered both from resources like books, internet and magazines. Sketches in sketchbooks are a great idea as well.
Week one: Based on thumbnails developed from information from your photo shoot and reference gathering, no fewer than a half-dozen sketches will be presented to be reviewed and analyzed in a group critique to narrow possibilities for comprehensives (comps.). Sketches will be at least 4”X5” each, mounted on a single black sheet of board (15”X20”, 20”X30” or 30”X40”).
Reference: Bring in at least ten examples of the reference gathered in pursuit of the assignment.
Week two: A B&W comprehensive, at least 8”X10”, will be presented with at least two differing color comps. They will all be mounted on a single piece of black board (15”X20”, 20”X30” or 30”X40”) for a group review.
Week three: Using information from the photo shoot, a finished painting in a wet medium (water/color, acrylics, oils, or gouache) between 12”X16” and 30”X40”, will be presented for a group review
•Purpose - You are expected to share ideas and direct the models to create effective reference for a narrative illustration. Quoting Hall of Fame illustrator Pruitt Carter, “The illustrator may be likened to the director of a motion picture, or spoken stage-play. He must know his characters – their emotions and desires – he must set the stage, and direct the arrangement and action and conflict of drama. He must do the scenery, design the costumes and handle the lighting effects.”
Directly gathering visual information through photography is necessary to most forms of illustration. For many, this will be your first use of photographic reference and, possibly, wet color mediums (paint) to produce a realistic illustration. Following the progression of thumbnails, sketches, comps., and finish introduces the standard sequence involved in developing an idea and presenting it to a client.
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