The Modern Art of Hatching

Print illustration continued to grow as time went on, with advanced technologies allowing for increasingly better image reproduction. Illustrators on both sides of the Atlantic were becoming household names!

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Charles Dana Gibson, At the Beach

Artists such as Charles Dana Gibson were both depicting and creating the American culture of the time. His pen-and-ink drawings were reproduced in magazines across the globe, and his images found their way into both American homes and the American consciousness. His iconic ink drawing of the “Gibson Girl” was, he said, a composite of “thousands of American girls.” The image shaped the face of American femininity of his generation.

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Charles Dana Gibson, The Gibson Girl

During the years between 1865 and 1917, a time known as the “Golden Age of Illustration,” books and periodicals were the world’s major source of entertainment. This stands as the publishing industry’s most dramatic period of worldwide expansion, and of course that expansion can be seen in the incredible use of inking techniques used by the artists of the time.

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Franklin Booth, A Continent Is Bridged, originally an illustration commemorating the 25th anniversary of transcontinental telephone service.  Note the similarity in technique to the work of Albrect Durer.

Hatching is as relevant to illustration now as it was at the advent of the print industry, though most artists use the technique in combination with some kind of coloring medium, either traditional or digital.

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Mercer Mayer, One Monster After Another, pen, ink, and watercolor

Jeremy Bastian is an American comic book creator and illustrator best known for the book Cursed Pirate Girl. Each illustration is created at a 1:1 scale using a very fine brush and ink. His painstakingly rendered drawings are reminiscent of Dürer in their skillful use of hatching technique, but are perhaps more strongly connected with the pen-and-ink work of the Golden Age illustrators he cites as his influences, Rackham and Tenniel, who we will look at later in this course.

Look at the gallery of Bastian’s work.  When you look at Bastian’s illustrations, take the time to zoom in and really examine his use of line to create value and describe form. Also note how expressive and alive his lines are.

Jeremy Bastian, illustrations from Cursed Pirate Girl

Here you can take a look at a one-page comic created by Bastian for the Eisner-Award -winning anthology Little Nemo in Slumberland, an homage by modern cartoonists to the work of Winsor McKay.

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Master Study : The Art of Albrecht Dürer

As the only way to represent value in printed books was through the use of line, we can easily see how the art of printmaking and that of pen and ink illustration are deeply linked.

To see an amazing example of this idea in action, let’s look at the German Renaissance printmaker Albrecht Durer (1471–1528). Durer demonstrated the true mastery that could be achieved in inked and printed line art. Through expert understanding of line and value, he created depth, volume, and mood.

As you examine the following images, take careful note of Dürer’s use of hatching, crosshatching, and stippling in these images. Consider the incredible sense of volume achieved, and the quality of light, created through masterful use of line.

Pen and Ink Illustration: an Introduction

We can trace pen-and-ink illustration’s roots back to the very earliest illuminated manuscripts.

An illuminated manuscript is a manuscript in which text is supplemented by additional decoration. The earliest known examples come from the Byzantine Empire, from 400 to 600 CE.

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Illuminated manuscript

But regardless of the antiquity of the medium, pen and ink are used all the time by contemporary illustrators, with a spectrum of different results.

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Yuko Shimizu Work Process Shot

Illustration and the Art of Printing

Illustration’s development has paralleled the art of printing and reproduction, with very specific moments in history periodically reinventing our medium. We can boil these moments down to a few landmark inventions:

  • the printing press
  • color lithography
  • photography
  • digital printing
  • digital media

Arguably, the invention of the printing press is still the most important thing that has occurred in the history of our art form.

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When Johannes Gutenberg invented the printing press, developing a movable type system in Europe between the years of 1440 and 1450, he completely revolutionized the world of human communication. He also initiated the marriage between illustration and publishing that still exists today.

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Just as type could be reproduced for print, so could images. The invention of illustrating by means of cut woodblock followed closely the invention of moveable types for printing.

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Early Chinese woodblock print

It’s important to note that Chinese were the first by far to use woodblock printing, with the earliest known work dating back to before 220 CE. However, in Western illustration the first woodblocks date from the beginning of the 15th century and the invention of Gutenberg’s press.

Gutenberg added illustrations—usually woodcuts—to his printed books. Very soon after that, books with woodcut illustrations became commonly available.

These illustrations were limited to black ink on white paper, forcing illustrators to render subject matter and to represent dimensionality using only lines, leading to the development of hatching in the pages shown here.

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Illustrations by Erhard Ratdolt, 1488, in a book written by Persian astrologer Albumasar

Yuko Shimizu on VISUAL VOCABULARY :

This short excerpt from Yuko Shimizu’s blog post considers the importance of developing a unique visual vocabulary. After reading this article, consider how you can use your sketchbook as a tool to developing your own visual vocabulary. What kind of things are you interested in drawing? What visuals might become important visual signatures for you?  Write a few sentences considering these things.

Post your thoughts on this along with your Sketchbook Pages.

 

“ I believe many of you who are reading my blog are aspiring illustrators. If you are, here is something you may want to remember, or to work on, if your art school instructors haven’t taught you already: we have to be remembered by something we are good at, so when a prospective client sees a topic that needs to be illustrated, they know who to call.

 

The most obvious themes prospective clients think of in connection with my work are Japanese or Chinese themes. I am Japanese, but I had also studied Cantonese for three years, and I have strong interest in Chinese culture. And people somehow see that in my work. There are other themes, like sexy girls, action and sports, comic-book look, snow, and water and underwater themes.”

Figure Drawing Reference

Getting the right reference is key in creating a great final art piece!

Though we some times don’t know how to get our figure drawing exactly right… we can sure see when it has gone wrong! Poor drawing is one sure way to ruin a great idea.  So, lets get the right reference so that we can do out best work!

NOW of course the BEST thing to do is go and draw a REAL LIVE PERSON… but you may not have access or may not be able to get just the right pose for your visual concept.  FEAR NOT!  there are some great resources out there!

ART POSE APP

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Art Pose and Art Pose Female Edition are perhaps the most practical and intuitive artist anatomy reference applications for iOS and Android.  You can pose your figure, see musculature and move your camera all around it.  You can even go to a silhouette view.  Pretty good stuff!  Learn more! 

 

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Pixelovely Is probably my favorite reference site. It has figure great drawing poses, choose between kinds of models, clothed or nude male or female etc.  Plus animal poses!  MEOW! Within each category are sub-categories. For example, under the animal category, you can choose the species of animal – and whether or not to time the session.

 

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Quick Poses is a great figure reference site. You can choose between gesture drawings (timed poses) or random pose studies (not timed). There is a healthy selection of both clothed and nude models to choose from.  The site also includes tips to improve your study.

 

Life Drawing in New York

Since we are in New York City artists have many options to improve their life drawing skills by drawing from a model outside of this class.  Most of these options offer a student rate. Practicing our craft is VITAL.  Take advantage of the resources in our city!

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The New York Society of Illustrators is an incredible resource for up and coming commercial artists.  The sketch night is a great way to get to know this institution.  Its lively with great models,live music, pro illustrators, and often comes with FOOD!  This one is wonderful and is the cheapest option I’ve found.

Welcome to Illustration1!

Hello!

Welcome to Illustration 1!  Our goal in this course will be to give you the professional tools used by illustrators working in the field today.  As well as to cultivate your personal vision s an illustrator.

On this site you will have access to materials presented in class, your weekly assignment pages, and additional helpful resources.  Here you will also post your assignment images to share with your classmates.  Carefully read the directions below on how to post to this site and to your ePortfolio.

 

Uploading Instructions

Upload scans of your assignments from this semester in the Projects Category on this site and also in your ePortfolio.  Be sure to give your project a clear title.  On our class site, write a brief description of the project, and be sure to reference the title.  Also be sure to include in your post the Process Work.  A complete project must include all Process Work as well as the finalized art.  Your descriptions should include what your goal was for the project as well as, what you learned from making it, and what was challenging to do.  Of course you may write other comments as well. For instance, you may ask questions for other students to answers.

How to Post to our class: On this class site, go to Post located on the left > Give your artwork a title in the subject line > Write a brief description of the artwork in the Comments space > Just above your title click on the Add Media icon (it looks like a camera on top of a music note) and browse for your file > Click Insert > Click Drawings in the list of Categories on the right > Click Publish at the top right.

Your desicription should include what you feel the aim of the drawing was, what you learned from making it, and what was challenging to do.  Of course you may include other thoughts as well.

How to Post to your ePortfolio:  Go to Dashboard > New Page > Pages > Add New > Locate “Parent” in the Page Attributes > choose “Academics” from the pull-down menu. In the Title area of your ePorfolio, be sure to write the name of our class (Foundation Drawing) or our course code (ADV1103).  Also be sure to Publish, and invite me to join your ePortfolio.  In settings, be sure to state either “Public” or “Private>visible to City Tech members.”  Otherwise no one will be able to see what you’ve posted.

To take the photo, find a spot with even light so that you will have no shadows or strange light gradations across the drawing.  Frame the drawing so there is a small even frame on all sides.  Optimize the file, or reduce it to 72 dpi, with a file size no more than 1MB (about 8-9 inches on one side). Rotate it if necessary to it uploads right-side-up. If you have access to any photo-correcting program, see if you can increase the contrast so that delicate drawing lines are visible.