FINAL Project: Narrative Illustration

Featured

DUE: 聽May 22 | Week 15

Final Project Due with In Class Presentation

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

 

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 brief Story Proposal,聽 Brainstorm, Character Designs, 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

_____________________________________________________________________________

DUE MAY 22rd

SUBMIT YOUR WORK

 

 

 

 

 

Project 4 Character Designs : Submit Your Work

Project 4: Character Designs for Final Project

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聽may, but are not required to be in color.

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

______________________________________

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

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

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

SUBMIT YOUR WORK

 

 

PROJECT 3 : EDITORIAL ILLUSTRATION SUBMIT YOUR WORK

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 or two other colors
  • 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

_____________________________________________________________________________

 

SUMBIT YOUR WORK

 

 

 

 

IMPORTANT CLASS TIMELINE

Featured

May 8 | Week 13

DUE: Project 3 FINAL Art.

DUE: Narrative Illustration Proposal

NEW: Project 4 –聽 Character Design Rough Sketches

(Get approval early on openlab for MORE WORKING TIME!!!)

NEW : Thumbnails for Final Project Narrative Illustration聽

(Get approval early on openlab for MORE WORKING TIME!!!)

 

May 15 | Week 14

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

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

DUE : Thumbnails for Final Project Narrative Illustration

 

May 22 | Week 15

DUE: Project 4 – Narrative Illustration FINAL ART

IN CLASS Presentation of working process and FINAL ART

 

 

 

Simple Digital Coloring

Featured

Class-

There is no hard and fast rule on HOW to digitally color.聽 Digital coloring in infinite and there as many different methods to work as there are artists out there.聽 I wish you the best of luck in finding the method that works for you.

Here are a few tutorials just to get you started.聽 If you find some good tutorials, please share them in the class resources!

 

Coloring Line Art in Photoshop…

Simple animated painted style in Adobe PS:

Heres one for Procreate:

Monochromatic Palate

1466095712889

It isn’t always necessary to use many colors in order to achieve a colorful image — the monochromatic color scheme consists of one color plus black and can be very powerful. 聽Amonochromatic color scheme has one principle color and in all it鈥檚 various tints, shades, and tones.

1466095729362

 

1980s fantasy illustrator Frank Frazetta whose work we鈥檝e looked at in previously, makes great uses of a monochromatic color scheme in this illustration,聽Silver Warrior.

Note the tiny dabs of warm color he uses to create high contrast focal points within this otherwise completely monochromatic composition. Those warm spots stand out due to color temperature.

 

Tony DiTerlizzi鈥檚 Monochromatic Palate

1466095750736

Illustrator Tony DiTerlizzi often works in a monochromatic palate. For his book The Spider and the Fly he chose a metallic silver and. The beautifully rendered drawings are printed in black against a silver printed page. Silver is a gray and not, therefore, really a color. But because it’s metallic, it contributes more than a standard gray. Though DiTerlizzi’s color solution may seem basic, it is unique in children’s picture books and greatly enhances the mood of his illustrations.

 

For his more recent series of chapter books, The Search for Wondla, DiTerlizzi chooses a different approach. Here, there are no contrasting dabs of warm color like there were in the Frazetta piece.

DiTerlizzi again works monochromatically, but in this case he chooses a two color printing process, meaning he chooses a principle color and the illustrations are all formed by the various combinations of this ink and black 2 along with the white of the paper.

Color Theory Review

The Three Attributes of a Color

To accurately describe a color and differentiate it from another there are 3 attributes to measure.

1466095636630

HUE

When the average person says “color” they are actually mean hue. The hue of a color is its particular light wave energy frequency. Remember, light is waves of energy, and white light is contains all possible colors! Violet is the highest visible light frequency and red is the lowest, which we humans have receptors to see.

In this diagram, note how the blue becomes pink, but all of the colors in between are of equal intensity, as it as it moves from right to left.

SATURATION

Saturation (or chroma as it is sometimes called) means a color’s purity. When people are talking about a color’s intensity they mean its saturation or chroma.

In the diagram, note how the blue becomes less saturated as it as it moves from right to left.

VALUE

As we discussed earlier in the course, colors have values just as shades of gray do. A color’s brightness or darkness, and its nearness to white or black respectively, is the color’s value. Value is independent of hue or saturation and can be seen even in a black-and-white photo.

 

Tints, Shades, and Tones

Value聽has is has its own color terminology.

Remember that the value of a color is how light or dark a color is, or how close it is to black.

Tints聽are when we add white to a pure hue:

1466095651592

Shades聽are when we add black to a pure hue:

1466095660440

Saturation聽also has its own color terminology.

We get different tones when we add gray to a pure hue:

1466095671579

Another way to envision this is as the hue itself becomes less saturated, it appears more and more gray.

 

Munsell’s Color Tree

Talking about color can be very misleading! For example, when you go to a paint store, you can buy a can of Honorable Blue, Flyway, or Wondrous Blue! When we say Flesh Tone, what exactly does that mean? Whose Flesh Tone are we talking about? 聽It can be very confusing!

1409346652367

Albert Munsell, an artist and professor the Massachusetts College of Art and Design, felt the same way. In 1905 he developed a “rational way to describe color” using numeric notation instead of names to describe color. To assign these numbers he used the three attributes we discussed above: hue,聽value, and chroma (saturation).

1409346684313

In the diagram above, you can see the traditional color wheel as the center ring, and Munsell’s Color Tree, as it came to be known, growing from the center. The trunk of the tree represents zero to ten in value. The farther we move from its “trunk” represents an increase in chroma, until the hue鈥攔epresented by the separate “branches”鈥攊s at full saturation, farthest away from the center.

1409346719572

Munsell’s Color Tree

Now聽Lets Learn to work in a LIMITED PALATE.

 

The Color Wheel

1466034999442

YES, you painted one of these in Kindergarden. I know. However the usefulness and knowledge that can come from this tool is limitless. So please let go your preconceptions toward color, and using a color wheel and come into this with an open mind.

The color wheel is one of the most powerful tools artists and designers have to help us understand and use color effectively. 聽It is strongly recommended that as you examine the different color schemes thought this post and the following, you look at a color wheel and plot them out.

1466035082557

 

 

FUN FACT! The first circular color wheel was created by Sir Isaac Newton in 1666. As if the laws of planetary motion and gravity weren鈥檛 enough!

1466094968998

Foto: picture-alliance

 

1466095035989

We begin with a three-part color wheel that shows only pure colors, meaning colors which no amount of mixing will result in. These three colors are of course our primary colors: red, yellow, and blue. All other colors are derived from these three hues.

 

 

 

 

1466095027770

Next we move on to our secondary colors.These are the colors formed by mixing the primary colors with each other: green, orange, and purple.

 

 

1466095133395

You can further break down the color wheel into tertiary colors.These are the colors formed by mixing a primary and secondary color:聽yellow-orange, red-orange, red-purple, blue-purple, blue-green, and yellow-green.

 

1466095577744

And of course we divide that wheel based on Color Temperature, with warm color opposite cold.

 

To create a successful illustration, your color palette or scheme needs to support your big idea. It must work to further your narrative and or concept. 聽If you have already taken Color and Design, you will have worked with various color schemes.聽聽 In the next few posts, and in the remaining weeks of class, you’ll look review color theory in detail, and see how those color schemes can influence narrative. We will also look at how they are applied in both fine art and in contemporary illustration
1466095598653

Drawing by Philippe Buchet, Color by Matt Hollingsworth

 

NOW lets get deeper into some real COLOR THEORY!