Hey class I showed you this piece as an example for limited palate during my lecture on COLOR … but check out the process behind creating the digital line art for this one too!
I would like to do both traditionally and digitally. I would like to do the concept sketches traditional. Since i feel like i should use my skills for that traditional. While i want to do the fina and character designs digitally. I want to do it digitally because i think it would look nicer in digital. While i also want to do digital because i feel like that’s my stronger point. Also i want to work in that digital because what i want to be after i finish college is be a game designer. Since they always work in digital, i want to work on my skills more digital. So i could get better at, so when the time comes, i could get the job i want.
All the post from muddy colors where all great, and helpful. I would love to use the same process as Norman Rockwell, because I love all his paintings and would love to produce some work that looks like his. But for this project, the steps I will use is: 1. Rough sketches 2. refined sketch inked 3. Digital value study 4. Digital final color
Since I’m not much of a traditional drawing type of guy I would like to do most of my work digitally. In my past projects my digital ones stand out the most and seem to catch a lot of attention. Once I’m really done with my concept sketches in 11×14 paper, that’s when I’ll trace it, scan it and add the details digitally. I’m very comfortable with Mangastudio and somewhat comfortable with Photoshop CC but I know one does better than the other on certain things, meaning I’ll use a combination of both programs. There’s a youtuber called KNKL that is a video game character designer and does all his work on with a tablet and the Adobe softwares. He’s really cool and passionate about teaching others how to draw and the time it takes to make a really good piece. Never rush an art piece because it will never go your way. He’s my inspiration to do things digitally so he’ll somewhat guide me in that sense.
For my working method I am learning about color as well a good composition along side foreshortening. I am sketching out different bodies in different views to understand foreshortening and some color theory.
I have done sketches and some and some detail sketches, so far I am working on studies to understand foreshortening, and will move on to other detail sketches because I still feel unsatisfied with the ones I have so far. I will be working digitally for my value and colors and for my final I will be using water color, color pencils, and airbrush, with a little retouches of digital work.
Hello Class. HAPPY THANKSGIVING!
For those of you who did not receive in person feedback, I have given you feedback on your assignments in the dropbox. I’ve emailed you links to view directly from dropbox. If you have trouble accessing PLEASE email me.
The Mysteries of Harris Burdick is a fascinating and unusual book. It opens with an introductory letter from Chris Van Allsburg himself, explaining the book’s origins. “I first saw the drawings in this book a year ago, in the home of a man named Peter Wenders,” Van Allsburg begins. He goes on to explain that many years earlier, a man called Harris Burdick stopped by the office of Peter Wenders, who then worked for a publisher of children’s books, choosing stories and pictures to be made into books. Burdick brought one drawing from each of fourteen stories he had written as a sample for Mr. Wenders. Fascinated by the drawings, Wenders told Burdick he wanted to see the rest of his work as soon as possible. Promising to bring the stories in the next day, Burdick left—never to be seen again. The fourteen pictures he left behind—and their accompanying captions—remained in Wenders’s possession until Van Allsburg himself saw them (and the stories that Wenders’s children and their friends had long ago been inspired to write by looking at them). The mysterious pictures, writes Van Allsburg, are reproduced for the first time in the hope that they will inspire many other children to write stories as well.
Synopsis from the Houghton Mifflin Harcourt Teacher’s Guide
Chris Van Allsburg’s celebrated and thought-provoking illustrations in The Mysteries of Harris Burdick have intrigued readers of all ages for the past 25 years. Each illustration highlights a critical moment of a story, accompanied only by a single line of text and a title, forcing the readers to create the rest of the tale for themselves. This book is a stunning case study in the power of using the technique of freezing a moment in time coupled with picking the right event, the right critical moment in the narrative, to drive forward the drama and storytelling of the image.
:O I’m speechless… It never cross my mind on how simple shapes and colors can explain a whole story so easily, after reading this I asked two of my friends if they recognize the story that was being told in the picture. I was speechless when they both answered correct, in actually lest than 5 seconds, after their eyes had scan the picture. I find this incredible and amazing that someone is able to create such an abstract piece of art using simple shapes and colors, and to have this great impact, honestly this is not my style of art, maybe one day I will try it, but I do admire her talent.
Shaping the Scene: Layout and Action
Action can often suggest the layout and framing of a shot. As always we go back to our story. Ask yourself: What is the character doing? How do they feel about it? How should the viewer feel looking at this scene? How can I make this action totally clear to the viewer? These questions will help to dictate your layout (another word for composition) as well as help you choose your POV.
In this illustration by Frank Stockton notice how the action and feeling have dictated many of these decisions.
The Moving Camera
The world you see in an illustration can be very compelling, inviting you in for deeper analysis. Or not. Much of this depends of the point of view you see it from. After all, seeing a concert or play or a game from the nosebleed seats is not the same experience at all as being up close and personal with the action. Since in illustration you can choose your viewer’s vantage point, take the time to really consider it.
Frank Stockton is a comic book artist and illustrator who is known for using point of view like a boss! We just examined one of his images in detail on the previous page for exactly that reason.
As you look at the next series of images ask yourself once again: the illustrator could choose any point of view from which to show this scene, so why did he choose this one?