FINAL Project: Narrative Illustration

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FINAL聽Project : Narrative Illustration聽

DUE: 聽DEC 19 | Week 15

Final Project due with Peer Critique

  • 1聽FULL COLOR ILLUSTRATION
  • Book Pitch
  • Character Designs & Concept Art
  • Process Book

Project Description:

Part 1: Using the characters and concept created for Project 3, create concept sketches for 2聽narrative illustrations featuring the same character(s) in a different setting and situation.

Part 2: Incorporating feedback from your instructor and peers, finalize one of the 2 sketches into a final illustration. 聽Create values studies and color studies as part of process work.

Final Art can be made using any combination of traditional drawing / inking skills and digital coloring. Final art must make full use of value and read as a finalized piece of art work. 聽Final art may be in Color or in Black and white. 聽If in color a limited palate is highly recommended.

GRADING BREAKDOWN: 聽 聽 聽 聽 聽 聽

50 % project grade聽Submit聽a PDF PROCESS BOOK guiding us through the project from inception to conclusion.

  • Carefully SCAN your process work. This should include : Your Source Material, 聽Brainstorm, Thumbnails, Concept Sketches, Value Roughs, Related Sketchbook Work, and Final Art.
  • Carefully Label all of your work so that your thought process is CLEAR. Be sure all of it is presented well: facing the right way, no shadows in the picture, good contrast, etc.

50 % project grade聽Submit a publication ready聽300 DPI JPEG of Final ART

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SUMBIT YOUR WORK

Project 4: Character Design Project Description & SUBMISSION

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Project 4: Character Design & Concept Art

Overall Description:

In this multilayered project聽you will reinterpret a classic folk tale or fairy tale through your own creative lens.

For this part of the聽project聽you will develop characters for your original concept.

These characters and concept sketches may, but are not required to be in color.

Art can be made using any combination of traditional drawing / inking skills and digital coloring.

This project leads into our FINAL PROJECT.

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Project 4聽GRADING BREAKDOWN聽聽聽聽聽聽聽聽聽聽聽

75 % project grade Character Design Model Sheets, and the 6 Basic Expressions or more for at least 2 characters.

25 % project grade聽Written Post. (PROOF READ YOUR POST. 聽SPELLING AND GRAMMAR COUNT.)

DUE DEC 16th

SUBMIT AS A POST ON OPENLAB.

INCLUDE: TITLE OF STORY, GENRE, SETTING INFORMATION and BRIEF CHARACTER DESCRIPTIONS IN YOUR POST.

IMPORTANT CLass Timeline … countdown to the last day!

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Nov 28 | Week 12

DUE: Project 3 FINAL Art.

DUE: Narrative Illustration Proposal

NEW: Project 4- Narrative Illustration Character Design Rough Sketches

 

Dec 5 | Week 13

Work in CLASS on聽Narrative Illustration Character Design & Concept Art聽 Rough Sketches

NEW: Project 4 – Narrative Illustration Character Design & Concept Art聽 Rough Sketches

NEW : Thumbnails for Final Project Narrative Illustration (Get approval early on openlab for MORE WORKING TIME!!!)

 

Dec 12 | Week 14

DUE: Project 4 – Narrative Illustration Character Design & Concept Art聽 Rough Sketches

DUE: Thumbnails for Final Project Narrative Illustration.

NEW: Concept Sketches for Final Project.

 

 

Dec19 | Week 15

Final Project due. Peer Critique

 

 

PROJECT 3 : EDITORIAL ILLUSTRATION

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PROJECT 3 : EDITORIAL ILLUSTRATION

Overall Project Description:

 

Create an Editorial Illustration for use to accompany an article in a magazine, printed or online. This project is broken into stages with peer critique and critical feedback given at each stage, spanning 4 weeks in total.

  • The final illustration must be created using a limited palate of black, white, and one other color
  • It should be made using a combination of traditional drawing / inking skills and digital coloring.
  • Final art should be made to fit the real magazine鈥檚 specs. (Approx 9鈥 x12鈥)

Work will be judged on the clarity and cleverness of the overall concept, thoughtful utilization of composition, the use of value, and of course the skillfulness of overall technique.

 

GRADING BREAKDOWN: 聽 聽 聽 聽 聽 聽

  1. 50 % project grade聽Submit聽a PDF PROCESS BOOK guiding us through the project from inception to conclusion. Carefully SCAN your process work. This should include : Your Source Material, 聽Brainstorm, Thumbnails, Concept Sketches, Value Roughs, Related Sketchbook Work, and Final Art. Carefully Label all of your work so that your thought process is CLEAR. Be sure all of it is presented well: facing the right way, no shadows in the picture, good contrast, etc.
  2. 50 % project grade聽Submit a publication ready聽300 DPI JPEG of Final ART

 

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Working in Color: The Basics

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Color is one of the most powerful aspects of making art. Almost everyone who loves to create can remember the childhood excitement generated by a brand new box of crayons!

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Everyone聽has a favorite color, artists and non-artists alike. 聽Our relationship to color is one of the most powerful relationships we have as a species. It is intrinsically connected to how we relate to our world. And so of course it is one of the most powerful aspects to consider when making art.

 

 

Color Temperature

Much of our relationship to color is based on instinct. For example, we see colors as warm or cool based on our physical response to them.

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Warm things are warm colors (such as fire, the sun, hot coals, and in this case hot food.)

 

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and cool things are cool colors (such as water and ice, which as blue or bluish).

 

 

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Interestingly warm and cool colors also create a sense of perspective and depth when we look at an image. Warm colors tend to advance towards us, whereas cool colors tend to recede away from us.

 

In these two images note how early 20th-century illustrator Edmund DuLac uses this trick. In the first image of聽The Princess and the Pea聽he creates a sense of incredible height, as the cold blue-purple recedes from the viewer, effectively raising the height of the bed canopy. And in the second one,聽A Palace of Wonder, a sense of depth is created between the warmth of the interior space and the cold dark outside.

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COLOR AND CULTURE

However, a great deal of our reactions to color are not innate, they are in fact cultural. For example Black and Death are associated in many Western cultures, in many Eastern cultures it is associated with white鈥攊ts direct opposite.

Take a look at this info-graphic. Note how many color associations change, depending on where you are in the world. However also note how HOT and COLD or Color鈥檚 Relationship to Temperature do not.

It is however important to understand your target market and the culture that they come from, because culture has a strong influence on the development of cultural-color associations in childhood building the adults eventual perceptions of color.

It is however important to understand your target market and the culture that they come from, because culture has a strong influence on the development of cultural-color associations in childhood building the adults eventual perceptions of color.

 

 

Throughout this module and the next we will look at these basic reactions we all have to color and learn to compose in color effectively. We will build on what we have learned regarding composition, concept, point of view, and value and we will see how we can use these reactions to color to aid us in our ultimate goal, telling a great story through narrative illustration.

 

However, before we can do that lets be sure we have down the basics.

NEXT STOP: The Color Wheel

Trip Assignment at the Society of Illustrators 10/10

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Society of Illustrators

128 East 63rd Street (between Park and Lexington Avenues)
New York, NY 10065聽聽聽聽聽聽聽聽聽聽聽聽聽聽聽聽聽聽聽聽 www.societyillustrators.org

 

WHILE IN THE MUSEUM: Take notes and photograph images. Write a short blog post about one illustration from the exhibition that you found particularly interesting. Research the artist and the subject. Learn as much as you can about the working process.

Describe what interested you about this piece in a few short, well written paragraphs, (200 鈥 300 words.) Consider the illustration鈥檚 context, what you鈥檝e learned through your research about the illustrator, as well as their use of media, subject matter, and technique 鈥 in addition to your personal opinion.

Submit it along with a photograph of the art work and its creator, to our OPENLAB site.

Add it to the Field Trip Discussion Post.

Sketchbook: In honor of October… Try Drawing VERY聽SCARY THINGS!

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In honor of October… Draw VERY聽SCARY THINGS!

Fill 4聽pages in your sketchbook with things YOU find scary or creepy.聽 This is totally up to personal interpretation!聽 Theres no right or wrong!聽 BUT be sure you draw FROM OBSERVATION.

 

Pay attention to line weight!聽 Try to use value to SHADE your drawings!

Label Specs

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Hello class-

As each of you is designing your concept sketches it is very important that you keep in mind the project specs (i.e. size, shape, colors requirement, and resolution) of the final art work.

 

So the art created for a beer can like the one below would be different than that created for a beer bottle or a wine label.

 

PLEASE keep in mind that you should feel free to be creative with this. 聽A label might have a rectangular or square shape, but it DOES NOT HAVE TO. 聽Not that the ones below do not. So when deciding on the overall shape, do what will make for the better and more unique overall illustration. 聽 The only rule is that it MUST BE FUNCTIONAL. 聽If you are not sure, use a photocopier and cut out your concept sketch and test it out on an actual bottle or box.

I’m including below some TYPICAL label templates as a helpful tool. 聽They are meant to print on 8.5 x 11 paper. 聽You don’t HAVE to use them. 聽Look at creative illustrated packaging for inspiration. 聽And really as long as it could actually work, the sky is the limit!

To get an idea of sizes: TYPICALLY a rectangular Wine Labels like these (theres also the little wrap around necker which you can choose to design or not!) are around 3.5″ x 4″

 


But you can also choose to design a wrap around image like these …

AND AGAIN… IT’S UP TO YOU. YOU DON”T have to conform to these shapes unless you choose to. 聽But be sure no matter what you choose your design will WORK.

Beer labels are typically聽2.5鈥 x 3.5鈥 for the most basic, and 7.375鈥 x 3.125鈥 for a wrap around. 聽And again… this is your call. Wrap arounds will provide you a little more room to illustrate, but do what will work best with your design.

 

As for illustrated cans… which offer a larger space to play with, copy the proportions of the examples below as I was unable to find a template for you. 聽And again, prioritize making some really creative and well illustrated images over conforming to the examples!

 

Welcome to Illustration1!

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Hello!

Welcome to Illustration 1! 聽Our goal in this course will be to give you the professional tools used by illustrators working in the field today. 聽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. 聽Here you will also post your assignment images to share with your classmates. 聽Carefully read the directions below on how to post to this site and to your ePortfolio.

 

Uploading Instructions

Upload scans聽of your assignments from this semester in the Projects Category on this site and also in your聽ePortfolio.聽聽Be sure to give your project聽a clear title.聽 On our class site, write a brief description of the project, and be sure to reference the title. 聽Also be sure to include in your post the Process Work. 聽A complete project must include all聽Process Work as well as the finalized art. 聽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.聽 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聽located on the left聽> Give your artwork聽a title in the subject line > Write a brief description of the artwork聽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.聽 Of course you may聽include other聽thoughts as well.

How to Post to your ePortfolio:聽 Go to Dashboard > New Page > Pages > Add New > Locate 鈥淧arent鈥 in the Page Attributes > choose 鈥淎cademics鈥 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).聽 Also be sure to Publish, and invite me to join your ePortfolio.聽 In settings, be sure to state either聽鈥淧ublic鈥 or 鈥淧rivate>visible to City Tech members.鈥澛 Otherwise no one will be able to see what you鈥檝e 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.聽 Frame the drawing so there is a small even frame on all sides.聽 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.

Virtual OFFICE

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When you have questions about this class, or the assignments please post them here, so that answers benefit other students who may have the same questions.

By聽tagging your posts with the聽category, 鈥office鈥澛燼ny questions you have for me will appear here on this thread, and will be easy to find for all of us.

If you need to communicate with me聽privately, please email me at聽SJWoolley.citytech.cuny.edu

or you may stop by my office hours:

N1126 Tuesdays 10-11am

N1126 Thursdays 10-11am

How to use my sketchbook

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DUH鈥 I DRAW IN IT.

 

 

 

 

 

 

 

 

YES鈥 I agree. This seems pretty obvious.

Any student who has studied drawing at all has probably been keeping a sketchbook for at least the past semester, if not for years. But please bear with me and read on. Regardless of the simplicity of the tool, there is a reason ALL serious artists keep a regular sketchbook practice, and there is infinite room here to learn, grow, and develop your craft.

Your sketchbook is the place in which you will really improve your drawing and idea generation skills. 聽It will, by聽developing the habit of daily use, become a PRACTICE. No different than a daily meditation practice. And it should be thought about with similar rigor.

Throughout this semester, and hopefully moving forward you will keep a sketchbook that you will work in every day. 聽It will become a depository of ideas, a place to work on your concepts, and a place to draw both what you see in your daily life as well as what you see in your imagination.

For now, focus solely on DEVELOPING THE HABIT.

Every week you are required to share pages from your sketchbook here. Be sure to Title your post! 聽Include the Week and the Theme if you are given one, or make up your own title! 聽Keep the image file SMALL. 聽72 DPI is fine.

Sketchbook Requirements:

  • For this course students are required to keep an ongoing sketchbook which will be utilized a minimum of 2 hours, 30 min per page, for a total of at least 4 sketchbook pages per week.
  • Students can not to tear out pages and pages must be dated. 聽Students may of course draw MORE than the required number of pages. Sketchbooks will be reviewed weekly in Openlab.
  • In it students will include only life drawing, objects, still life, gesture drawings etc. and process work towards their assignments.
  • Class notes should also be included in this sketchbook.

Be sure to comment on each other’s sketches.

DISCUSSION:

Please reply to this post acknowledging that you understand the requirements and purpose of the sketchbook. 聽Also please let us know in a couple of sentences about your sketchbook experience and what kind of things you like to sketch!

Expressive Line : Master’s Study Egon Sheile & David Mack

Lines are where most people begin when first starting to draw. By themselves, lines are powerful drawing tools! They have shape, texture, and weight, all of which can add up to a very expressive drawing if you’re thoughtful about their creation.

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When beginning a drawing, people often carefully inspect an object’s outside edge, or silhouette, as a starting point. They render each line representing an edge or contour. Next, people usually fill in those contours with value.

However, so much can happen using just line alone! A line by itself is capable of conveying all sorts of emotions. In your drawings, lines can and should have life.

 

Try this

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In ink take five minutes to draw as many different kinds of lines as you can imagine. Try different movements with your hand, drawing lines from your wrist, your elbow, and then your whole arm. Try different amounts of hand pressure, creating straight lines, parallel lines, curves, and spirals. There’s no wrong or right answer here! This freeing exercise will help open up your expressive drawing skills, warming you up to this medium.

Egon Schiele

German expressionist Egon Schiele is a master of the living line. In these images note how he uses nothing but varying kinds of line in order to imbue these portraits with interest and emotion.

Line Weight

Part of what we see creating the sense of liveliness and emotion in Schiele’s lines is an incredible understanding of line weight.

Line weight is an important drawing concept. Different tools create different kinds of lines, and allow us different methods of varying line weight. A line’s聽weight,聽meaning how dark or thick it is, will make that line either move forward in an image (if it’s a strong, dark line) or sink farther back (if it’s light or thin). This is useful when trying to give the impression of something being closer or further away. A heavier line weight will also create emphasis on a particular area of a drawing, which is of course useful in creating our focal points.

In the two images shown here, note how the image on the left is logical. The closest block is also the one with the thickest contour line, which makes visual sense. However, in the image on the right, the line weights of the blocks don’t follow the correct hierarchy, as they don’t recede in space logically.

David Mack

David Mack, contemporary comic book illustrator and creator, is known for his linear figure drawing style. In the next series of drawings, notice how Mack uses only contour lines in order to describe the body. It’s useful to note that he cites Schiele as an influence to his work. His expert use of line weight is especially obvious in the implied shadows that convey a feeling of gravity entirely though varying thickness of line.