Thursday, October 10, 2013

Book Cover Assignment!

10/10 Class #7
Critique: - Final Children’s book image due today!!!! 

BOOK Cover! 

 In Class: Discussion of Assignment #4. Working on sketches for
new project. Discuss book covers and artists specializing in them. Talk
 about composition and storytelling. Draw from Masters compositions in
class, focusing on composition, tone and value.

 Assignment #4: Classic Book Cover:  2000 Leagues under the Sea. Begin visualizing , finding reference and taking photographs for new assignment.
Be sure to use lighting and think composition. Also remember that the title of the Book and the Name of the Author will need to be accomodated for. The best way to handle this is to draw them in on your sketches. Sketches should be in the ratio of 5 x 8 inches.
I’m attaching a short synopsis of the book, but I suggest strongly you research further into it. Reading the entire book is not necessary, but having a good idea of it’s contents and being able to talk intelligently about it is a good idea. I would skim the book and look for interesting passages to illustrate.

Research and be able to discuss five book cover artists. For each artist,
 write a short paragraph about their work, their area of business and why
you chose their work. Bring 3 examples of their work.

 Sketchbooks: Draw 5 compositional/tonal sketches from the master
 book cover artists you covered in your research.
For Next Week: Bring sketchbooks, larger drawing pads, drawing
materials, colored pencils. Due next week: 5 compositional sketches and
found reference for book cover assignment.


Victo Ngai
James Jean
Jon Foster
Brom
Rebecca Guay
Eric Fortune
Shaun Tan
Jason Chan
John Jude Palencar
Donato 
Dan Do Santos
David Palumbo
Vanja Todoric
Matt Smith
Frank Cho
Jeff Preston
Bruno Werneck
James Gurney
Sam Weber
William O’Connor
Paolo Rivera
Gregory Manchess

Short Synopsis

As the story begins, ships of several nations spot a mysterious sea monster, which some suggest to be a giant narwhal; the creature also damages an ocean liner. The United States government finally assembles an expedition in New York City to track down and destroy the menace. Professor Pierre Aronnax, an expert French marine biologist and narrator of the story, who happens to be in New York at the time, receives a last-minute invitation to join the expedition, and he accepts. Canadian master harpoonist Ned Land and Aronnax's faithful assistant Conseil are also brought aboard.
The expedition departs Brooklyn aboard United States Navy Abraham Lincoln and travels south around Cape Horn into the Pacific Ocean. The ship finds the monster after a long search and then attacks the beast, which damages the steering. The three protagonists are then hurled onto the "hide" of the creature, which they find, to their surprise, is a large metal construction. They are quickly captured and brought inside the vessel, where they meet its enigmatic creator and commander, Captain Nemo.
The rest of the story follows the adventures of the protagonists aboard the creature--the submarine, the Nautilus--which was built in secrecy and now roams the seas free from any land-based government. Captain Nemo's motivation is implied to be both a scientific thirst for knowledge and a desire for revenge on (and self-imposed exile from)civilization. Nemo explains that his submarine is electrically poweredand can perform advanced marine biology research; he also tells his new passengers that although he appreciates conversing with such an expert as Aronnax, maintaining the secrecy of his existence requires never letting them leave. Aronnax is enthralled by the undersea vistas, but Land constantly plans escape.
They visit many places in the world's oceans, some known to Jules Verne from real travelers' descriptions and speculation, while others completely fictional. Thus, the travelers witness the real corals of the Red Sea, the wrecks of the battle of Vigo Bay, the Antarctic ice shelves, and the fictional submerged land of Atlantis. The travelers also don diving suits to hunt sharks and other marine life with specially designed guns and have a funeral for a crew member who dies when an accident occurs inside theNautilus. When the Nautilus returns to the Atlantic Ocean, a "poulpe" (usually translated as a giant squid, although the French "poulpe" means "octopus") attacks the vessel and devours a crew member.

Throughout the story Captain Nemo is suggested to have exiled himself from the world after an encounter with his oppressive country somehow affected his family. Near the end of the book, the Nautilus is tracked and attacked by a mysterious ship from that nation. Nemo ignores Aronnax's pleas for amnesty for the boat and retaliates. He attacks the ship under the waterline, sending it to the bottom of the ocean with all crew aboard as Aronnax watches from the saloon. Nemo bows before the pictures of his wife and children and is plunged into deep depression after this encounter, and "voluntarily or involuntarily" allows the submarine to wander into an encounter with the Moskenstraumen, more commonly known as the "Maelstrom", a whirlpool off the coast of Norway. The three prisoners successfully seize this opportunity to escape, but the fate of Captain Nemo and his crew is unknown.

Friday, October 4, 2013

perspective and foreshortening- links and art

Here are the pages I showed in class dealing with perspective and foreshortening. I'll be adding to this with a few other lessons. Perspective and foreshortening are important factors to gainging a sense of reality to your work. Not Realism, but Believeability. If you look at cartoon, animation, video game art, movie production art, illustration for books, games comics and others, perspective and foreshortening is a basis for much of that art. Please read these look them over and give them some thought as you draw your pieces.


 I'm adding here also a link to Successful Drawing by Andrew Loomis. Between pages 20 and 78 of this book Andrew Loomis makes a pretty complete ( maybe overly complicated) explanation of perspective and how to use it in an image. Toward the end of the those pages he really gets into figures in three dimensional space.

https://www.dropbox.com/s/00foumbucuhj11d/Andrew%20Loomis%20-%20Successful%20Drawing.pdf




Drawing Books

Hey everyone, here is a book I would love for you to Check out. Glen Vilppu is one of the premier drawing teachers for animators and illustrators out there, and he has this little book free on Google books. Here is the link...Read and enjoy!

http://books.google.com/books?id=-1sRWo0QNVYC&lpg=PP1&pg=PA1#v=onepage&q&f=false

Surrealism in Illustration

For those of you who couldn't see this slide show last week or who want to review it, here is the Surrealism in Illustration presentation from last week.

I'll be in the building tommorow for Symposium, so if you want to bug me or learn a little about my work, come one by Shemin Auditorium at 12:45!

See you then!

https://docs.google.com/file/d/0B_bICZCCGROfY3dQcEFqRVRnN0k/edit?usp=sharingSurrealism pdf

Composition and Value Pages From Comics

Here are the pages that I showed the class about value and composition and black and white composition. Look over these and read the line and composition sections in the Loomis book.





Monday, September 23, 2013

Children's Book Assignment #1: Mirror , Mirror

Please read this all guys!

Assignment

Classic Children’s Book Illustration : Mirror, Mirror!


  • Theme: The theme of the project will be a classic fairytale’s female villianess The Evil Queen from Snow White and the scene of “Mirror Mirror on the Wall”

• Objective: To work with using models and reference together to create a new and unique image based on a classic story. Students will be required to obtain photographic reference both from research and from their own use of personal photography and drawings from live models and locations. They will then use such reference to create a fully realized black and white illustration.

Requirement: Somewhere within the work there must be a reflection

  • Preparation : Students should attempt to read multiple versions of the story( not rely on Disney or easy  PopCultural references to the character) and design a character as well as an environment in which the Queen will exist. We will be using a model in class and taking reference from there, as well as using props.

Grading:   Assignments will be graded and judged on the quality of the reference obtained and the creativity of the sketches and the finish of the final artwork


Week 1:
Show up to class with 5 well thought out Thumbnails in a 4”w x 3”h ratio. I would like to see a range of sketches building up to these thumbnails. Students should also have a bunch of reference for costume, background and other elements they would like within the image. Bringing in props and cloths and other items to be used and shared as reference will be greatly appreciated. 

Bring a Camera and Sketchbooks to class!


Friday, September 6, 2013

Welcome to the Illustration 261 Blog.


I'm going to post all kinds of good Illustration stuff up here...today I'm posting the Syllabus for the class so you can keep it in your computers!



Here you go!

______________________________________________________________________________-

ILL 261- INTRODUCTION TO ILLUSTRATION
Syllabus - Fall 2013



Course information: ILL 261, Rm. 208 Shaffer
Sec. 001, Thursday, 8:00am. - 12:30pm.
Sec. 004. Thursday, 1:30pm. - 6:00pm.


Instructor: Steve Ellis
347 Shaffer
Office hours: Thursdays, 12:30pm. - 1:30pm, 6- 7pm.
(by appointment)
Office phone: 315.289.5771
Studio phone: 315.289.5771(please leave name & number)
Mailbox in main office (102 Shaffer)


Course Description and Rationale:

Illustration is an art of visual communication. It is a delivery system for ideas and feelings and stories. It engages our minds, our hearts and reflects our culture and the time we live in even as it sets us in history. 

At it’s heart, illustration is the visual representation of story. Whether that story is a recent event in the news, a science fiction adventure, a birthday greeting or a children’s tale doesn’t matter so much as the fact that they all share a common source in story. 

In this class we will explore how to take our skills as artists and apply them to the idea of story while building up those very skills to enable us to achieve that effectively. We will look at how others in the past have achieved effective and affecting work, and how contemporary illustrators continue to reflect the stories of our world. 

Through weekly Demonstrations, Critiques, lectures and visual presentations we will introduce the methods that illustrators have used throughout the history of the field. Through assignments students will be expected to experiment, share, take risks and grow as artists over the course of the class. Beginning the development of an individual voice as an artist and illustrator is the eventual goal of this class.

Course Materials:
     Materials you will need will be introduced throughout the semester. Try out as many different materials as you can comfortably get your hands on and see what materials will best suit you. Unless specified, purchase them from any source you wish. SU Bookstore, Syracuse Blueprint, and Commercial Art Supply are a few local providers. Online Art catalogues such as Blick are also a good source where bargains may be found, but it may be difficult to arrange timing of assignments with shipping.

There will also be required texts to have in class. Both should be available at The Bookstore or on line. They are: Creative Illustration by Andrew Loomis, and Color and Light by James Gurney.

Assignments:
Assignments will be a weekly occurrence. There will frequently be a critique of a final assignment in the same class as a discussion of sketches for the next assignment. The art of survival as an illustrator is one of juggling projects and clients while making each client believe that they are your only one. Treat your assignments with care, follow the instructions for size, timing and deadline. The skill of taking care of your teacher is similar to the skill of taking care of a client. 


There will be three types of outside assignments:

The first will be be reading assignments from the books and research assignments on the history of illustration and other topics. I will also have vocabulary sheets that should be read over and understood. There will be quizzes


The second will be exercises to be done either in the sketchbook or on comparable size media( in case the sketchbook paper can’t handle the medium) You should expect at least 3 - 4 hours of work in sketchbooks and exercise assignments per week. These are to help you build up strong technical and conceptual skills.


Third will be major assignments which will take multiple weeks and require the most time and care. You should expect to be working at least ten to twelve hours outside the class on these projects for class.  There will frequently be a critique of a final assignment in the same class as a discussion of sketches for the next assignment. The art of survival as an illustrator is one of juggling projects and clients while making each client believe that they are your only one. Treat your assignments with care, follow the instructions for size, timing and deadline. The skill of taking care of your teacher is similar to the skill of taking care of a client. 


Resources:
     1. Get to know Jan Mackay, our lab technician, on the 3rd floor (service window business hours are Mon. - Fri. 9:00am. - 5:00pm.). She is responsible for use of the computer clusters and print-outs. You must pay for services there with a blue "chit", which may be purchased in the Schine Student Center

    2. You may also use the computer cluster in Rms.329. See the posted schedule for times. 

    3. Three spray booths are available in Rm.341 for spray-fixing and airbrushing.

    4. Bird Library has a wealth of visual resources on the 4th floor including a plethora of visual information relevant to our field. Illustration is a research field. Get to know what’s available to aid you. Don't ignore the Moon Library at SUNY ESF (behind the Carrier Dome). The main city library, in the downtown Galleria Mall, has an extensive scrap file, design and illustration annuals, an excellent children's section, videos, art books, and visually oriented books which can help immensely. 


    Attendance:
Attendance is required. One absence for the semester will be tolerated; however, you are still responsible for turning in assignments on time! (See "Grading") Two absences, for any reason, will lower your final grade by one letter grade. You will FAIL the course in the event of a third absence! Mechanical failures (alarm clocks, car failure, etc.) are not valid excuses. 

        You are expected to arrive on time and remain until the end of class. If you are bored or have nothing to do, you have come unprepared and should probably consider switching to a class in which you have some interest. Lateness of an hour or more will count as an absence. Chronic lateness or skipping out early will also count towards an absence and will lower your grade. 

Grading

  1. There will be 3 components that make up your grade: participation/preparedness for class, working in class and assignments.

    1. (25%) Classroom participation/preparedness is based on a point system.  I will subtract points for poor attitude, not being prepared (with the proper materials), lateness, leaving early, not participating in critiques.
    2. (35%) Working in Class the paintings and drawings you produce in class.  
    3. (40%) Assignments will, of course, be based on how well and how timely you completed your assignments. Grading is based on assignments, attitude, work in class, participation, attendance, and final review. Sketches, reference and the following of instructions can be as powerful to a grade as the final piece. The presentation of assignments reflects attitude and is part of the grade. 


Grades are not given. They are earned and recorded according to your efforts. The final grade will be an average of all grades earned during the semester. If you have any concerns about your progress at any time during the semester, please contact your me.

Attendance at your final review is required to pass the course. All assignments must be completed to pass the course. 

Grading Standards:
A   achievement is outstanding relative to the level necessary to meet course requirements
B    achievement is significantly above the level necessary to meet course requirements
C    achievement meets the course requirements in every respect
D   achievement is worthy of credit even though it fails to meet the course requirements
  achievement is not worthy of credit or was not completed / represents failure

Grade Distribution:
 assignment: 25%
assignment: 25%
assignments): 20%
Sketchbook assignment:10%
Participation/professional conduct: 10% 
Final Survey: 10%






Incompletes:
     Incompletes will be granted only in extenuating circumstances. If you have a valid medical excuse or family emergency, and you've completed the bulk of course work for the semester, an incomplete is possible. You are responsible for initiating the paper work for an incomplete.


Copyright Infringement: Please see university policy on plagiarism, but the policy in here, is that if the work does not significantly deviate from a reference it could be deemed as copyright infringement or plagiarism and will not be tolerated. 


Needs
     Any student who needs special consideration in the course due to a disability of any sort, please make an appointment to discuss accommodations. 

Students who are in need of disability-related academic accommodations must register with the Office of Disability Services (ODS), 804 University Avenue, Rm.309, 315/443-4498. Students with authorized disability-related accommodations should provide a current Accommodations Authorization Letter from ODS to the instructor and review those accommodations with the instructor.