Illustration 1: Basic Principles

Prof. J. Longo • COMD 3313 Spring '24

Week 6 in Review!

Class Info

  • Date: 3/1/24: WEEK 8 WILL NOW BE THE MIDTERM PRESENTATION OF YOUR INKED POSTER. This is a big part of your grade, don’t be late — find a way to get on track.

DUE WEEK 6

  • Assignment 1 – Poster: Step 1: Advanced Thumbnails/Sketches
    • Develop! Create 4 Advanced Sketches relative to 8.5˝x 12˝ (wxh)
    • Guide yourself through the work that lies ahead, pencil sets the pace for pen, don’t wait for the inking phase to figure out what you’re gonna do!
    • FINAL WILL BE: -Inked -On Bristol board/Illustration Stock. -No Digital. -No Color (B&W Ink only)
  • Sketchbook Exercise Week 5 : 2x Abstract Interiors (use sharpie, get loose!

Topic:

From Value to Texture: From pencils to ink, implementing value in sketches and final products as a way to achieve designs concepts in illustration. Continued consideration from pencil to final product.

Objectives

  • Week 5 segues into week 6 FLAWLESSLY in a way to expand your understanding of the Illustrative power you wield, but also to give AMPLE suggestions on how to fill your Poster Project by way of technique, design concepts, value and more!

Activities

Where We’re At

  • Class Review of Previous Homework Assignments, various selections of students submitted work.

Discussion

  • Lines give shape, form and texture
  • Lines can be loose and gestural/ abstract
  • Lines can be consistent or varying line weight

Lecture + Experiment: TEXTURE

  • How texture is the result of applying your knowledge of value in your pen and ink techniques to come together to create texture to evoke a natural connection to the subject your art is emulating.
    • Branch + Rock Surface (2) + Reflection + Waterfall Excercise
    • Establishing Value + Texture is key
    • Emphasis on form and texture

Review Assignments and Expectations for Next Week’s Class

LAB: Begin Value Studies (complete for homework) & resolve any lingering issues for Poster. Use time to convert Advanced Thumbnails to Bristol Board.

Due Week 7!!

  • Poster Midterm 2:3 – Fully PENCILLED Poster in actual size (8.5˝w x 12˝h) on Bristol Board/Illustration Board. This poster dimensions mirror 24×36 at a much smaller scale, but serve the same purpose.
    • STEP 1) Choose ONE Advanced Thumbnail and convert that to 8.5˝ x 12˝
    • Your PENCILS on 8.5˝w x 12˝h should be a MORE refined version of your Advanced thumbnails previously.
    • Pencils! NOT INKS (patience, we will get there)
    • This would essentially be a version you could hand to someone else and THEY would ink it as YOU would because the pencils are essentially a penciled version of your final inked version.
    • Have EVERY aspect mapped out, this should look like an un-inked version of your final Inked poster. Converting all of your problem solving in the thumbnails phase to the final piece, you are ready to pick up a pen and ink knowing how you will execute all parts on the page. DO NOT FALL BEHIND! DELIVERY OF A FULLY INKED POSTER ON WEEK 8
    • Document every phase & DON’T GET AHEAD OF YOURSELF. Don’t start inks until Week 7, get your pencils right first!
  • W6 • Sketchbook Exercise #1: Ink FIVE Value Studies
    • 5 “acceptable” Value Studies done with •Hatching •Cross-Hatching •Stippling •Scumbling •Your Choice
    • Acceptable = 1 value study includes 5 progressive Squares
    • Acceptable = No smudging!
    • Acceptable = No Large Gaps in value!
    • 5 is not the limit—5 is the REQUIREMENT. Produce as many Value Studies as needed to get 5 good ones—I will call you out on it!!

Reading Week 6

1) Albrecht Durer, master of ink and value.

2) Composition Basics: Value Structure by Dan Don Santos

3) Fundamentals of Light and Form by Gvaat

4) How Do You Hatch With a Pen by Smashing Pencils

5) Understanding Value and Tone for Better Painting by Lori McNee

6) Beginners Guide to Alternative Shading by Erika Lancaster

7) The History of Print from 1900 to 1949

8) How America’s First Popular Comic Shaped the 19th Century Newspaper Wars

Week 6 Summary

Week 5 in Review!

Class Info

  • Date: 2/23/24: Expand our understanding and enhance our abilities. We know the process, we know the pieces, and we know how to put them together, but lets take this class to patiently observe and recreate different techniques to increase our skills and techniques when using pencil and pen. Observe how other artists influence others and how other Artists’ techniques and approaches can be adopted by you for something entirely new. Then, lets see how those techniques can be put to use with advanced thumbnails leading us to the final project.

To-Do Before Class

Review:

• Value and how it’s achieved.

Design Concepts in Illustration: Advancing our understanding of Composition by way of VALUE

• Lineart: Expressive VS. Controlled • Pen and Pencil techniques

In-Class:

• Watch Oscar Nominated Short, Ninety-Five Senses:

https://www.docplus.com/details/ninetyfive-senses/FwnPa7Bz/

• Review Quilts & Cross-Contour

• 4 Textured Cubes : Texture Follows Form : IN PENCIL • 1: Hatching ONLY (to achieve 3 values) • 2) Hair/Fur • 3) Rock/Crags • 4) Wood

• 6 Exercises: 1) Expressive Line Art via Pablo Picasso (focus on flow, fluidity, continuity, control and stlus-management) • 2) Expressive Line Art via Egon Schiele (loose lines creating shape and value, ok to not be precise, use lines as a guide, note dips in pressure and pull and try to put yourself in Egons flow) • 3) hand-drawn line via Don Rosa (mix of thin and thick, multiple textures, clouds, ground, vegetation included) • 4) Hand-drawn Line via Romita: How a careful mix of thin and slightly thick can set a scene apart, with sparse use of blacks. (guide yourself through the work, knock out the blacks with sharpies and do the rest with just one pen) • 5) Scrimshaw-Style Line weight thin-to thick (use ruler, steady lines to execute, observe cross hatching and use of contrast and value) • 6) R. Crumb Line Dabs (for a brush pen or sharpie, note how the pen lies dip thin to thick in blots that build the scene)

SKETCHBOOK ASSIGNMENT #1: INK 2 ABSTRACT INTERIOR DRAWINGS

•Use Sharpie • Be Loose • Observe, THEN draw

SKETCHBOOK ASSIGNMENT #2: 4 Advanced Thumbnails

We are selecting 1 of your thumbnails due today and using that ONE thumbnail to create 4 Advanced Thumbnails that explore ways to execute your selection. This is to break down 1 idea into variations that can push the drawings in different ways.

EXTRA CREDIT: Optional Sketchbook Assignment #3

  • By Ink/Pen/By Hand — NOT DIGITAL! This is meant to be a new ink session than the one in class, done ontop of a printout, using whichever pen emulates the artists line art accurately.
  • Consider if the techniques, values and line art you are emulating can be used on your own midterm poster to make your own work more dynamic.
  • NOT ACCEPTED AFTER WEEK 6
  • MUST MATCH/BE ALMOST IDENTICAL TO THE ORIGINAL ART WORK (NO SLOPPY OR HALF-ASSED EFFORTS ACCEPTED!)
  • If you need to print at home/weren’t in class/ messed up the sheet yu had: Examples can be found in the Google Assignment Folder for you to print out.

Week 5 Presentation:

(NOTE: These PDF’s are condensed versions of the class and are not a substitute for attendance, its so you goobers can review many of the hints Ive shown you on how to do the homework 🙂

Week 4 in Review!

Class Info

  • Date: 2/16

To-Do Before Class

Topic:

• Value and how it’s achieved.

Design Concepts in Illustration: Advancing our understanding of Composition by way of VALUE

• Pencil Techniques transitioning to Inking Techniques

Aubrey Beardsley

Objectives

  • Last week the Professor WOULDN’T SHUT UP about 4 Fundamental Pencil Techniques. This week we use that understanding of techniques and apply the consideration of “Value” and start finessing those techniques into a range of darks and lights to achieve a full range, lifting our drawings out of “THE GREY ZONE”
  • Explore how COMPOSITION is vital to the conception and execution of the art. How to give consideration to your audience and devise your art in ways that illicit certain sensations, ideas, and satisfaction.
  • That know-how of COMPOSITION is made stronger with the fundamentals of these basic instruments to Illustrators.

Activities

Discussion

  • Thumbnails + Composition + Value + Line Art

Sketchbook

  • Quilt cont + Artist Selfies + Advanced Thumbnails

In Class:

  • Pencil Line Art exploration a la Herge
  • 5 Brush Pen Activity Sheets

Review Assignments and Expectations for Next Week’s Class

Due Next Week (WEEK 5)

W4 Sketchbook Assignment 1 : Midterm Poster : Step 1 • 8 (EIGHT) THUMBNAILS.

This is what I want to see:

  • Your words used to develop the CONCEPT
  • 8 Different ideas/compositions/approaches
  • TEXT IS OPTIONAL / 20% OF IMAGE MAX
  • TOPIC/CLIENT IS UP TO YOU
  • Thumbnails that use PENCIL TECHNIQUES (hatching + cross-hatching + scumbling + stippling + etc) to quickly convey value in your preliminary sketches.
  • Guide yourself through the work that lies ahead, pencil sets the pace for pen!
  • FINAL WILL BE: -Inked -On Bristol board/Illustration Stock. -No Digital.

W4 Sketchbook Exercise 2 : FINISH INKING YOUR QUILT

  • Using a variety of pens and inking techniques, ink the pencil-markings you set created in your quilt last week. Apply care, make it look nice, feel how the brush pen rolls in your hands, identify what size felt-pen is best for hatching and following your pencils.

W4 Sketchbook Assignment 3 : 4 (FOUR) CROSS CONTOUR INK DRAWINGS

  • Sketch out an object IN PENCIL, just enough to establish the shape your contour lines will follow.
  • Use PEN/BRUSH PEN to create cross-contour lines across sketch
  • This is a VARYING-LINE-WEIGHT exercise—If your contour lines all appear the same width/thickness, you are not doing the assignment right. Give your pencil sketch volume by inking it with lines that accentuates its -TEXTURE -LIGHTING -DEPTH -FORM.

W4 READING + RESEARCH:

WEEK 4 CLASS PRESENTATION:

« Older posts