Hello Class!
As requested here is the lecture on Editorial Illustration & Visual Metaphor. Remember…as you work on your Thumbnails: Concept is KEY and try out the visual metaphor techniques we discussed in class: Juxtaposition, Fusion, and Replacement.
MIDTERM Examples:
Project 1:
Project 2:
MIDTERM PROCESS BOOK Examples:
brandy ortiz – Brandy’s process book
amir tamang – atamang_processbook
Dana Moreno – DanaMoreno_Midterm_Processbook
MIDTERM PROJECT : Finalized Illustration using a full range of Value
DUE October 26th
Objective:
For your Midterm Project you will be revising and completing either Project 1 or Project 2, using a full range of value. You may use any combination of ink and pencil techniques, with digital finishing, to complete your work. Consider this a final art piece, ready to hang in a gallery or submit to a client for publication.
Final work will be judged on the uniqueness, clarity and cleverness of overall the concept, utilization of composition, skillful use of media, and of course overall technique.
You will be graded on both your Work Process Presentation, and on your Final Art.
GRADING BREAKDOWN:
Carefully SCAN and Label all of your process work so that your thought process is totally CLEAR.
*Be sure to include at least 3 value studies for your project. These may be done digitally or traditionally.
YOU ALL HAVE A ONE WEEK EXTENSION FOR PROJECT ONE. YOU’RE WELCOME!
Be prepared to critique and turn in for grading Project One at the start of class next week: Friday 9/28
Brandy Ortiz – Celestial Seasonings Morning Thunder Tea
Incorporating the feedback you received on your concept sketches for Project 1, create a final pencil drawing to present to your art director. This should be drawing at 1.5 or 2 times print size.
* Continue Collecting Reference Images related to your concepts as well as inspirational images and reference. Be prepared to share your inspiration by next class.
IMPORTANT :
*Be sure to ensure your art is drawn to the correct proportions BEFORE you begin.
*Be sure to tape down your edges clean finished edge.
Ink can be a messy medium!
Before you begin your work in this medium, here are some helpful tips and tricks.
Just as you would warm up before exercise, warm up before using ink. Take the time to work on your lines and strokes on a separate sheet of paper before you begin working on your actual illustration. This will ensure that you have proper command of your hands.
This image is of comic book artist Jacob Halton’s inking warm-up, which he does in the morning to “get command of his hands”.
Jacob Halton’s inking warm-up page
Marks are easier to make when moving your hand in certain directions, so move your page around in order to make this possible. Work your hands in the way that they move naturally.
This is a way to keep warming up your hands. Thicker lines are safer to work with until you feel confident enough to move onto the drawing’s fine detail portions.
Don’t try to work on the illustration in a left-to-right method, or in any order like that. Instead, think about where your hand may smear the ink, and work in a way that minimizes that smearing. Some artists place a piece of paper or paper towel under their inking hands in order to help with this process.
All paper, including watercolor paper or Bristol board, will warp when wet. It’s much easier to draw controlled lines on completely flat paper. Therefore, draw your lines before soaking any large areas with ink, otherwise known as executing an ink wash. Another method is to fill in large areas of ink, and then either allow for drying time or use a hair dryer before moving on to finer details.
However, an almost endless number of pen and ink tools and techniques exist, and it’s highly recommended that you experiment with as many opportunities as possible within this amazing medium. Some substantial differences exist between tools; it’s likely you will prefer some over others. Take the time to experiment and discover your own interests and comforts
In this and subsequent posts, we’ll cover the most commonly used pen-and-ink drawing tools and materials. In addition to the obvious ink-specific tools such as pens, brushes, and paper, you may also need to acquire paper towels, white-out pens (useful for reproduction work), an old toothbrush, and a water jar.
Quills
The first pens were made from feathers (quills), bamboo, or reeds. Usually, quills are created from the wing feathers of geese. Other common feathers used for quills come from the crow, eagle, owl, hawk, swan, and turkey. These feathers are carefully treated in order to retain their shape despite frequent wetting and drying. The hollow shaft of the feather acts as an ink reservoir, and ink flows to the tip by capillary action.
The modern version of the traditional quill—the steel dipping pen, or crow quill—remains widely used by illustrators today. This pen is included in your supply list and is the one recommended for use in this course. A quill pen can produce either very delicate lines or thicker, more dramatic ones. It can also produce lines of varying width. Check out all the varied lines produced by a crow quill in the next image. When you press down on the crow quill, more ink is released, making the line thicker. Apply less pressure, and the line becomes thinner. This allows your line to vary from thick to thin and visa versa without having to change the position of the pen.
Aside from the traditional look it gives an image, a crow quill helps to develop hand techniques that are needed for all drawing media. When working with a quill, you must learn to control the pressure that you apply to the nib in order to vary the weight of your lines.
Crow quills are made of both a holder and a nib. The nib is the metal point that you dip into the ink. They come in a variety of sizes and with a variety of point shapes (pointed, angled, or rounded), but all are flexible, have a small hole or reservoir, and are split at the tip, thereby allowing the ink to flow onto the work surface. They also work on the same principle as the feather, sucking up the ink through capillary action. You’re encouraged to experiment with several different types and sizes of nibs in order to see how they all perform differently.
When using your crow quill, don’t dip it into the ink past the nib. Doing so will cause messy, uncontrollable drips on your artwork and will also damage the pen, shortening its life. Dipping in just past the reservoir is ideal.
These drawing pens are similar to a felt tip pen, but they use archival ink. Several different brands exist but the most commonly used are the Microns pictured here. Various point sizes make it easy to control line weights. These pens are often used for sketching, particularly for comic book art and illustration. Again, note the consistent line weight and various sizes, each of which is ideal for different purposes. You’re highly encouraged to try using these pens if you haven’t already done so.
Watercolor brushes and brushes for working in ink are generally the same: they both use water as the dilution and clean-up medium. However, keep in mind that once a brush has been used for inking, it’s difficult to get perfectly clean again, so be careful that leftover ink doesn’t stain your artwork when subsequently using other media. Keep in mind we are specifically discussing drawing here; painterly brush techniques will be covered in later modules.
Brushes used for drawing purposes are generally of a smaller gauge. Though the sizes of brushes you’ll use will vary given the size of your picture (the larger the picture, the larger the brush, in general), good sizes for general inking—such as comic book style illustration—are the number 0 to number 3. These allow for both thicker and thinner lines, but will also give a “drawn,” as opposed to “painterly,” feel.
Also similar to the style produced via crow quill, a brush allows for line width variation based on pressure. For this course, drawing with a brush in addition to the crow quill is recommended. Take the time to practice with both.
Don’t dip your brush into the ink all the way to the metal. This will make for a messy drawing tool and will shorten the life of your brush. Clean your brush every time you’re finished using it. If you plan to use it again in a short time, rinse it in water that’s completely clean. Don’t leave your brushes sitting in water for long periods of time, as this will damage your brushes’ tips. In general, it’s better to periodically wash brushes with soap and water, which will not only keep your brushes in good shape but will also ensure their ability to manipulate ink effectively. Don’t use turpentine or other hard solvents to clean, as they’re unnecessary with ink and will deteriorate the hairs on your brush.
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.
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.
In your sketchbook, 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.
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.
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 weight, 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, 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.
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!
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.
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.
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.
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.
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.
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