LETS TALK ABOUT VALUE
BValue: val·you(noun) – An element of art, value refers to the lightness or darkness of a color. Value becomes critical in a work which has no colors other than black, white and a gray scale. For a great example of value in action, think of a black and white photograph. You can easily visualize how the infinite variations of gray suggest planes and textures. In order to add to any composition and push that sense of dimension and realism, you MUST start to consider value.
Value is a term synonymous with shading in this class and it will quickly become an element of art we dive into headfirst. Understanding the pencils provided and their consequent codings, as well as application of value and tools that will assist in that process will help you tremendously.
So here we go:
pencils coded with B mean a soft lead. 2b, 4b, 6b etc. The higher the number preceding the B, the softer the lead. The softer the lead, the darker the value the pencil will apply. Please use B pencils to add richness and deep contrast to your images.
pencils coded with H mean a hard lead. 2h 4h 6h etc. The higher the number preceding the h, the harder the lead. The harder the lead, the lighter the value the pencil will apply. Please use H pencils for roughing in layouts/sketches, as well as for the values that should be lightest in your drawings.
Mixing the pencil types used and beginning to define forms with value instead of outlines will be a big step into making your drawings realistically accurate. Contrast between values will be key!
CHECK OUT THIS SITE FOR TIPS
http://drawsketch.about.com/od/learntodraw/ss/pencilshading.htm
Value is a term synonymous with shading in this class and it will quickly become an element of art we dive into headfirst. Understanding the pencils provided and their consequent codings, as well as application of value and tools that will assist in that process will help you tremendously.
So here we go:
pencils coded with B mean a soft lead. 2b, 4b, 6b etc. The higher the number preceding the B, the softer the lead. The softer the lead, the darker the value the pencil will apply. Please use B pencils to add richness and deep contrast to your images.
pencils coded with H mean a hard lead. 2h 4h 6h etc. The higher the number preceding the h, the harder the lead. The harder the lead, the lighter the value the pencil will apply. Please use H pencils for roughing in layouts/sketches, as well as for the values that should be lightest in your drawings.
Mixing the pencil types used and beginning to define forms with value instead of outlines will be a big step into making your drawings realistically accurate. Contrast between values will be key!
CHECK OUT THIS SITE FOR TIPS
http://drawsketch.about.com/od/learntodraw/ss/pencilshading.htm
SHATTERED DRAWING
1: Select a subject and produce a contour line drawing. Choose a single object such as a car, insect, person’s face, fish, etc. Subject could be taken from an online photo. (Push yourself to avoid the cliche and easy answer. Push yourself to do better)
2: Figure out a way to break up/divide your image in a linear way before value is added. Some examples are: shattered glass, waves of water, spiral of a seashell, or geometrical division of shapes such as squares or triangles. These new lines will overlap the drawing of your subject. This will make your initial line drawing more visually complicated. The effect is to create many more shapes, like a giant puzzle.
3: Experiment with filling the shapes in your image with a range of black to grey. Look at each shape and decide which area should start with the richest black and which should be the lightest gray.
4: Fill the entire paper with values including both the positive shapes and the negative background shapes.
5: Consider each space a new shape in which to apply value, switch value application with each space and line that you cross.
SHATTERED DRAWING LESSON SHEET
ADDED VALUE CHALLENGE: HOLES VALUE LESSON
LET'S GET SOME PERSPECTIVE
What is it and who discovered it?
Linear Perspective is a geometric method of representing on paper the way that objects appear to get smaller and closer together, the further away they are. The invention of linear perspective is generally attributed to the Florentine architect Brunelleschi, and the ideas continued to be developed and used by Renaissance artists, notably Piero Della Francesca and Andrea Mantegna.
Until Brunelleschi, drawings attempted to convey depth, but did so in an oddly ineffective way. In our class, we will start off with our own observations of linear perspective as we take our supplies out into the hallways and see for ourselves how these rules invade our every day eyes.
NOW..Im asking you not just to see…but to really look! Without looking, and without mindful observation, the intricacies of the world around us can go unseen.
VOCABULARY TERMS I EXPECT you to know and use:
CHECK OUT THIS LINK FOR SOME EXTRA HELP
http://youtu.be/YU5khzhizNI
Linear Perspective is a geometric method of representing on paper the way that objects appear to get smaller and closer together, the further away they are. The invention of linear perspective is generally attributed to the Florentine architect Brunelleschi, and the ideas continued to be developed and used by Renaissance artists, notably Piero Della Francesca and Andrea Mantegna.
Until Brunelleschi, drawings attempted to convey depth, but did so in an oddly ineffective way. In our class, we will start off with our own observations of linear perspective as we take our supplies out into the hallways and see for ourselves how these rules invade our every day eyes.
NOW..Im asking you not just to see…but to really look! Without looking, and without mindful observation, the intricacies of the world around us can go unseen.
VOCABULARY TERMS I EXPECT you to know and use:
- linear perspective: a mathematical system for creating the illusion of space and distance on a flat surface ( 1 point, 2 point and multiple points possible)
- horizon line: in perspective drawing is a horizontal line across the picture. It is always at eye level – its placement determines where we seem to be looking from – a high place, or from close to the ground. The actual horizon might not be visible, but you need to draw a ‘virtual’ horizon to construct a picture in perspective.
- vanishing point: the point to which parallel lines appear to converge in the rendering of perspective, usually on the horizon
- converging lines: two parallel lines that will converge at some point as they recede away from the viewer. The point of convergence forms the vanishing point.
- orthogonal lines: essentially interchangeable with converging lines
- vertical lines
- value
- atmospheric perspective
CHECK OUT THIS LINK FOR SOME EXTRA HELP
http://youtu.be/YU5khzhizNI
PERSPECTIVE ASSIGNMENT
Requirements:
Draw an 8"x11" one-point (or 2 for those of you that need an added challenge) linear perspective sketch of a location within the school with as much accuracy as possible. You must use the guidelines given with: A horizon line, vanishing point, and converging lines.
Upon approval and proof of understanding, you then may move to your final
Draw a final one-point perspective drawing (11x17) of a location within the school with as much detail and accuracy as possible.
You must use the guidelines given with: A horizon line, vanishing point, and converging lines.
Your finished drawing must be shaded with accurate values (lights and darks) AND surface quality represented accurately.
Please ensure you have good "craft", meaning take good care of your drawing by avoiding folds, tears, stains, smudges, etc.
You will need:
-Paper (the good, project paper, not printer paper)
-Pencil (2H – HB to start → DRAW LIGHTLY!!!!!!)
-Eraser
-Ruler
-Drawing Board
You will:
-Go forth with your items to find a lovely spot in school to draw! Make sure it is a location with (at minimum) one-point perspective!
-Be respectful of my trust by being productive in the halls
-Be respectful of others by being quiet in the halls
-Have a positive attitude and remember that this paper is not gold, and making an incorrect mark on it will not be the end of the world
Draw an 8"x11" one-point (or 2 for those of you that need an added challenge) linear perspective sketch of a location within the school with as much accuracy as possible. You must use the guidelines given with: A horizon line, vanishing point, and converging lines.
Upon approval and proof of understanding, you then may move to your final
Draw a final one-point perspective drawing (11x17) of a location within the school with as much detail and accuracy as possible.
You must use the guidelines given with: A horizon line, vanishing point, and converging lines.
Your finished drawing must be shaded with accurate values (lights and darks) AND surface quality represented accurately.
Please ensure you have good "craft", meaning take good care of your drawing by avoiding folds, tears, stains, smudges, etc.
You will need:
-Paper (the good, project paper, not printer paper)
-Pencil (2H – HB to start → DRAW LIGHTLY!!!!!!)
-Eraser
-Ruler
-Drawing Board
You will:
-Go forth with your items to find a lovely spot in school to draw! Make sure it is a location with (at minimum) one-point perspective!
-Be respectful of my trust by being productive in the halls
-Be respectful of others by being quiet in the halls
-Have a positive attitude and remember that this paper is not gold, and making an incorrect mark on it will not be the end of the world
OP ART ASSIGNMENT: LINE DESIGN WITH COLOR
IT IS ALL ABOUT LINE AND DESIGN HERE. LET'S LOOSEN UP AND FIND SOME FREEDOM TO SIMPLY CREATE AND EXPLORE.
For this assignment we are going to stray into the world of op art and let go of some of our specific and technical observations. While I do not want you to let go of that foundation you have just acquired, I do want you to feel the freedom to branch out into the world of pure and abstracted expression. Line is your friend here, lets see where you can take it?!
Our main focus, past the point of pure design, is going to be color rendering.
Color wheel terminology, as well as appropriate and layered use, will be acquired and measured as the ultimate focus/goal.
With that in mind....Here are some student examples of what you can expect to create.....
For this assignment we are going to stray into the world of op art and let go of some of our specific and technical observations. While I do not want you to let go of that foundation you have just acquired, I do want you to feel the freedom to branch out into the world of pure and abstracted expression. Line is your friend here, lets see where you can take it?!
Our main focus, past the point of pure design, is going to be color rendering.
Color wheel terminology, as well as appropriate and layered use, will be acquired and measured as the ultimate focus/goal.
With that in mind....Here are some student examples of what you can expect to create.....
CONTOUR PORTRAITS
You will observe a quick demo in class of careful observation, line placement and some creative design freedom.
As a beginning step, this assignment will feel like it is only about tracing. However, if done well and with design-focused care, you should quickly learn that it is also about creative choice making, variety and skill.
Like all projects, it is ALL about care, medium-specific precision and craftsmanship.
As a beginning step, this assignment will feel like it is only about tracing. However, if done well and with design-focused care, you should quickly learn that it is also about creative choice making, variety and skill.
Like all projects, it is ALL about care, medium-specific precision and craftsmanship.
PATH TO PORTRAITS
Now that we have captured three dimensional space on a two dimensional surface, let's move to a new challenge. The organic, living form full of variety yet still holding it's own set of rules: THE PORTRAIT.
This sometimes daunting task is going to be broken down for you in a variety of ways. Before heading into a portrait final, you will be asked first to start with a portrait warm up. Depending upon your comfort level, experience and desire to push yourself, you will choose 1 of the two following warm ups: THE GRID or THE HALF AND HALF.
This sometimes daunting task is going to be broken down for you in a variety of ways. Before heading into a portrait final, you will be asked first to start with a portrait warm up. Depending upon your comfort level, experience and desire to push yourself, you will choose 1 of the two following warm ups: THE GRID or THE HALF AND HALF.
WARM UP OPTION 1: THE GRIDDED PORTRAITA first step you might choose to take in building your portrait foundation would utilize the GRIDDED PORTRAIT. You should choose this option if you are having difficulty with the overall proportions of the face and if you are having trouble with the overall layout. This method should take away some of the guesswork and allow you to focus on just the lines in a more methodical way. It is my hope that you will find this method somewhat mind easing as it breaks the bigger picture down into segments….literally.
The basic gridded portrait is simply this: You take an image of a person and put a grid over top of it. A typical grid is 1 inch by one inch. On a blank sheet of paper, you repeat that exact same grid in terms of number of squares. You can increase or decrease the size of the squares to size up or size down the drawing, so long as the grid stays proportionately the same. From there, you use the grid to break a larger image down into segments such that, as you look at the photograph you transfer the drawing over square by square, line by line, ensuring the whole image makes sense, yet not being overwhelmed by the entire, intimidating face. Your goal should be.. Increased confidence in your ability to layout and render features and proportions. TAKE A LOOK: |
WARM UP OPTION 2: THE HALF AND HALF PORTRAIT
A different step that you might take in building your portrait foundation is the HALF AND HALF drawing. Choose this option if you think the thing you need to work on most is value and pushing the realistic dimension of features brought out by value shifts and contour representations. If you feel good about layout and proportion, this warm up simply tests and pushes your rendering of the features and the ability to apply and match value. Can you match the black, whites and greys of the image? Can you match the relative symmetry of a face and drop the proportions in without the extra guidelines? For the half and half drawing you need to start with an 8x10 print of a quality portrait. For this exercise, the bigger the face the better. From there, you will cut the portrait in half, trying to ensure you get half of each feature, Half of the portrait needs then to be glued to a separate piece of paper. Please take care to place it neatly and evenly on the paper. Keep the other half for reference while you draw: The cut away part is the part you are responsible for replicating! Having it to look at is wildly helpful. Finish the half of the portrait taking care to match value and proportion! Your goal should be…. Matching the value so well that the viewer has to take an extra moment to check which is the photocopy and which is your drawing. TAKE A LOOK |
NO MATTER WHICH WARM UP YOU CHOOSE
Please remember the tips given in class for noses, eyes, lips and hair. Use line when its time to use line, use value when its time to use value, and eliminate some of the needless details in order to CONVEY what it is you truly SEE, not what you think you see. Remember directional shading/shading with the contour, remember your tortillon and eraser are solid, helpful tools.
Please remember the tips given in class for noses, eyes, lips and hair. Use line when its time to use line, use value when its time to use value, and eliminate some of the needless details in order to CONVEY what it is you truly SEE, not what you think you see. Remember directional shading/shading with the contour, remember your tortillon and eraser are solid, helpful tools.
MORE ON PORTRAITS
Realistically speaking….grids ultimately are not the end all to drawing a realistic, quality portrait. In the end, the goal should be an ability to observe a face and capture it on your paper with accuracy.
Proportion, perspective, and value all must be considered. (Sound familiar from your first lesson?) These concepts are consistent concepts that run throughout the lessons….Each project will contain the practice of these in some way, shape or form.
SOOOOOO….what happens when you lose the grid and attempt to draw a portrait?
Below are the general guiding proportions of the face. Key word..general. Just like your individualized drawing style..so too are the individualized proportions of your face and everybody elses. I encourage you to LOOK..really LOOK. Find the nuances. Find the tiny details that make the big differences.
Remember..an accurate portrait can be thrown off by a matter of millimeters! Watch your angles!!!
Proportion, perspective, and value all must be considered. (Sound familiar from your first lesson?) These concepts are consistent concepts that run throughout the lessons….Each project will contain the practice of these in some way, shape or form.
SOOOOOO….what happens when you lose the grid and attempt to draw a portrait?
Below are the general guiding proportions of the face. Key word..general. Just like your individualized drawing style..so too are the individualized proportions of your face and everybody elses. I encourage you to LOOK..really LOOK. Find the nuances. Find the tiny details that make the big differences.
Remember..an accurate portrait can be thrown off by a matter of millimeters! Watch your angles!!!
PORTRAIT ASSIGNMENT
MULTIPLE ME: A SYMBOLIC SELF PORTRAIT: A self portrait investigation; because there are many ways to view a person, and MANY FACETS TO EVERY INDIVIDUAL HUMAN BEING!
OBJECTIVES: Encourage critical thinking, incorporate planning, use a variety of materials and sources to synthesize and create art with meaning, integrate text, symbols and personal identity.
In this “Multiple Me” assignment, you are asked to look at yourself in relation to your life, past, present and future, and those around you.
-What is important to you?
-Who is a part of your life?
-What do you read, think, listen to, look at, dream about, want to do?
-Where are you now as a high school student?
REQUIREMENTS FOR THE FINAL IMAGE
Incorporate an image of your actual portrait/face (can be partial but must be close to full OR multiple fragments that equal full)
-incorporate multiple strategically placed objects that represent the deeper parts of you
*Incorporate one or more words from the sources mentioned above. (absolutely no “bubble lettering)
Be creative in the way the words are designed into your piece. How will your words add to the total visual impact of your piece?
Could they be woven around you?
Will they be a “frame” for you?
Will they be written on a book you are holding?
(What style of alphabet will you choose or invent Professional calligraphers use guidelines--you should too!)
STEPS TO TAKE FOR YOUR FINAL IMAGE
1 )Begin by assembling some words that speak about you and your interests.
*You will have to pick and choose, be selective (no more than 7 may be included) so that your words really count. They must add information about you to the finished piece of artwork.
2) Select OTHER IMAGERY
*What are some images that can represent you, your interests, your goals, your past, your future, etc.
*How can they push your skill and creative message?
*AVOID CLICHES (question marks, smiley faces, peace signs, etc)
3) Choose how you will represent your actual self
* Do you need digital photos, what skills (grid, mirror, observation etc) can you use to make this the best of the best thus far?
4) Plan your drawing carefully
* do 4 thumbnail sketches, plan out different techniques you could use. What have you learned thus far? How can you push that further?
5) Based on your choice of studies begin your drawing by laying in large shapes and observing carefully. Remember, start with the skeleton, work up to the muscles, the skin and then the beautiful details.
AS ALWAYS IM LOOKING FOR
*Use of a full range of values and quality pencil work.
*Quality burnishing and colored pencil layering if you choose to incorporate color
*Selective and purposeful use of paper--12”x18” or larger, up to 24”x36”.
CONCEPT: Is your project thought out initially and developed in studies? Is the idea thought provoking/ interesting both visually and intellectually? Does the work show obvious evidence of thinking and informed decision making?Has some risk taking or experimentation taken place?Is the drawing based on observation?
COMPOSITION: Worked out in your studies informal or asymmetrical balance -- not centered interesting positive/negative space relationship (60%-40%) clear illusion of space (foreground, middle ground and background) has a focal point or center of interest (contrast, details, crisp edges, etc.) viewer’s eye is moved around the page with line, pattern of lights & darks, etc.) light source shown with visible cast shadows.
CONTRAST: Planned at the study stage full range of simplified values utilized -- from 12 feet away, viewer can read your drawing clearly.
CRAFTSMANSHIP: Materials are used well and evidence mastery technique is generally excellent drawing is noteworthy for its sensitivity and subtlety
MULTIPLE ME: A SYMBOLIC SELF PORTRAIT: A self portrait investigation; because there are many ways to view a person, and MANY FACETS TO EVERY INDIVIDUAL HUMAN BEING!
OBJECTIVES: Encourage critical thinking, incorporate planning, use a variety of materials and sources to synthesize and create art with meaning, integrate text, symbols and personal identity.
In this “Multiple Me” assignment, you are asked to look at yourself in relation to your life, past, present and future, and those around you.
-What is important to you?
-Who is a part of your life?
-What do you read, think, listen to, look at, dream about, want to do?
-Where are you now as a high school student?
REQUIREMENTS FOR THE FINAL IMAGE
Incorporate an image of your actual portrait/face (can be partial but must be close to full OR multiple fragments that equal full)
-incorporate multiple strategically placed objects that represent the deeper parts of you
*Incorporate one or more words from the sources mentioned above. (absolutely no “bubble lettering)
Be creative in the way the words are designed into your piece. How will your words add to the total visual impact of your piece?
Could they be woven around you?
Will they be a “frame” for you?
Will they be written on a book you are holding?
(What style of alphabet will you choose or invent Professional calligraphers use guidelines--you should too!)
STEPS TO TAKE FOR YOUR FINAL IMAGE
1 )Begin by assembling some words that speak about you and your interests.
*You will have to pick and choose, be selective (no more than 7 may be included) so that your words really count. They must add information about you to the finished piece of artwork.
2) Select OTHER IMAGERY
*What are some images that can represent you, your interests, your goals, your past, your future, etc.
*How can they push your skill and creative message?
*AVOID CLICHES (question marks, smiley faces, peace signs, etc)
3) Choose how you will represent your actual self
* Do you need digital photos, what skills (grid, mirror, observation etc) can you use to make this the best of the best thus far?
4) Plan your drawing carefully
* do 4 thumbnail sketches, plan out different techniques you could use. What have you learned thus far? How can you push that further?
5) Based on your choice of studies begin your drawing by laying in large shapes and observing carefully. Remember, start with the skeleton, work up to the muscles, the skin and then the beautiful details.
AS ALWAYS IM LOOKING FOR
*Use of a full range of values and quality pencil work.
*Quality burnishing and colored pencil layering if you choose to incorporate color
*Selective and purposeful use of paper--12”x18” or larger, up to 24”x36”.
CONCEPT: Is your project thought out initially and developed in studies? Is the idea thought provoking/ interesting both visually and intellectually? Does the work show obvious evidence of thinking and informed decision making?Has some risk taking or experimentation taken place?Is the drawing based on observation?
COMPOSITION: Worked out in your studies informal or asymmetrical balance -- not centered interesting positive/negative space relationship (60%-40%) clear illusion of space (foreground, middle ground and background) has a focal point or center of interest (contrast, details, crisp edges, etc.) viewer’s eye is moved around the page with line, pattern of lights & darks, etc.) light source shown with visible cast shadows.
CONTRAST: Planned at the study stage full range of simplified values utilized -- from 12 feet away, viewer can read your drawing clearly.
CRAFTSMANSHIP: Materials are used well and evidence mastery technique is generally excellent drawing is noteworthy for its sensitivity and subtlety
HOLY WOW......CLICK THESE LINKS FOR SOME AMAZING DRAWINGS
GEOMETRIC LANDSCAPES WITH POINTILLISM
This CAN be a smaller design (8x10)..BUT it can also be a creative dimension you determine to better represent your idea.
This MUST exemplify some pointillism skills in addition to the line design concepts we have already worked with, while also allowing room for blending in colored pencil techniques.
PLEASE for the love of all that is good and pure, use a well planned out design, laid out in pencil....defined and crisp because of rulers/straight edges...
lined with a variety of black markers.
After creation and lining is the time to lay in the color. This is an extra layer of creativity that should utilize the burnishing technique we learned with our op art lesson.
See examples below
This MUST exemplify some pointillism skills in addition to the line design concepts we have already worked with, while also allowing room for blending in colored pencil techniques.
PLEASE for the love of all that is good and pure, use a well planned out design, laid out in pencil....defined and crisp because of rulers/straight edges...
lined with a variety of black markers.
After creation and lining is the time to lay in the color. This is an extra layer of creativity that should utilize the burnishing technique we learned with our op art lesson.
See examples below
SURREALISM IN BALLPOINT PEN WITH HATCHING AND CROSS HATCHING
Surrealism is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings. The aim was to blend the world of dreams and reality. Artists painted unnerving, illogical scenes with photographic precision, created strange creatures from everyday objects and developed painting techniques that allowed the unconscious to express itself and/or an idea/concept.
Surrealist works feature the element of surprise, unexpected juxtapositions and the non sequitur (not following logic).
.
LETS SIMPLIFY.....if you can dream it, then make that dream dance across your page.
YOUR JOB : Create a surrealist image of your own design, using ball point pens and inspired by the work of NURIA RIAZA that will best convey YOUR meaning and idea. At minimum you will create a complete composition that combines 2 juxtaposed/combined objects in order to form a new reality.
BE CAREFUL: Just because anything is possible does not mean you can approach this without a plan. If you want to create a sur-reality, you must think in terms of the whole image as well as the whole viewing experience. First think of the basic ways we interact with reality and standard imagery, and then take your viewer on an unexpected and entirely new journey! Do not copy an idea that is already out there! Explore all of the potential YOU hold inside of YOUR
BALL POINT PEN TUTORIAL
CROSS HATCHING DO'S AND DONT'S WITH BALL POINT PEN TUTORIAL
CHARACTER DESIGN UNIT
YOU CAN step into many different realms with this assignment and apply several layers of learning both new and old! Get ready to open your thinking and find confidence in some skills you might not trust you have.
YOUR JOB: Create an original character (of any style) that matches up with a personality/character description. (OPTIONS AND DESCRIPTIONS PROVIDED)
YOUR GOAL: Making real world artistic connections and decisions through a multimedia illustration unit. You must control multiple mediums in order to convey a specific and original character. You must be able to present ideas, justify choices and reflect upon why certain things work and certain things do not.
HELP: ASK!!! WATCH DEMOS!!! LOOK TO THE MANY EXAMPLES!!!! Utilize the pages and pages of resources (on google classroom) to help you piece together a character if you have trouble getting started. Use them like puzzle pieces. Play with placement and size to change the overall character.
CHECK OUT THE CHARACTER DESIGN SHEETS BELOW (YOU WILL BE REQUIRED TO DO 1 OF THESE WITH 4 DIFFERENT EXPRESSIONS)
CHECK OUT WHAT A FINAL PRODUCT OF YOUR CHARACTER COULD LOOK LIKE (YOU WILL BE REQUIRED TO DO TWO DIFFERENT VERSIONS OF YOUR CHARACTER)
ILLUSTRATION OVER TEXT
For this assignment I want to open the doors to a couple of different ways to think about text.
One way: How can you use the pages of recycled books to find inspiration?
How will that text help you determine your subject or will it be simply something about the page itself?
How can you fill that page in a unique and interesting way and then consider what materials you will use to best represent your skills!?
PLEASE consider layering mediums....ink, and shading for instance....or colored pencil, ink, and shading...etc etc.
Push for your best
One way: How can you use the pages of recycled books to find inspiration?
How will that text help you determine your subject or will it be simply something about the page itself?
How can you fill that page in a unique and interesting way and then consider what materials you will use to best represent your skills!?
PLEASE consider layering mediums....ink, and shading for instance....or colored pencil, ink, and shading...etc etc.
Push for your best
OR....You can choose to print out a text specifically important to you and illustrate over that text in a way that influences the viewer and meaning.
YOU need to know that YOU have the power to persuade simply by choosing your words carefully!
Words matter...so WHAT IS IT THAT YOU REALLY WANT TO SAY???
For this version you MUST make EXTRA artistic decisions when creating over the text...in this case a portrait (notice it is essentially the contour portrait, with filling) and deciding what elements are necessary, and you MUST be aware of the message you are wishing to send with your text!
YOU need to know that YOU have the power to persuade simply by choosing your words carefully!
Words matter...so WHAT IS IT THAT YOU REALLY WANT TO SAY???
For this version you MUST make EXTRA artistic decisions when creating over the text...in this case a portrait (notice it is essentially the contour portrait, with filling) and deciding what elements are necessary, and you MUST be aware of the message you are wishing to send with your text!
MAN VS NATURE STATEMENT PIECE
CONSIDER THIS THE PROJECT YOUR OPPORTUNITY TO DEMONSTRATE THE BEST OF YOUR BEST!!!
ADDITIONALLY, CONSIDER THIS YOUR TIME TO EXPRESS AN OPINION CREATIVELY, PERSONALLY AND PURPOSEFULLY!
WHAT YOU THINK MATTERS...SO PLEASE CARE ENOUGH TO SAY IT....
THEN SAY IT WITH CARE, THOUGHT AND CREATIVITY!
This assignment asks you to create an image that speaks to the theme of MAN VS NATURE.
This is a broad theme that many artists have used across a wide variety of art genres.
So, what you need to do now is sit back and ask yourself, WHAT WILL YOU SAY?
WILL YOU TALK ABOUT ENVIRONMENTAL ISSUES?
WILL YOU TALK ABOUT MAN'S CONTROL ?
WILL YOU TALK ABOUT THE BEAUTY OF WHAT MAN CAN CREATE?
WILL YOU TALK ABOUT THE BEAUTY OF NATURE BEATING MAN?
WILL YOU TALK ABOUT MAN DESTROYING NATURE?
WILL YOU TALK ABOUT THE POWER OF NATURE DESTROYING MAN?
WILL YOU TALK ABOUT HUMAN NATURE AND THE WAY MAN INTERACTS WITH THAT?
WILL YOU TALK ABOUT THE NATURE OF SELF WITHIN HUMANITY?
This list could go on, as could several meaningful discussions.
What matters most here, however, is what thoughts, questions and discussions YOU will inspire.
What matters is how you will answer and respond visually.
In order to achieve to the highest level, YOU MUST HAVE A PLAN!
HAVE A PLAN to ensure a powerful composition. ENSURE YOUR PLAN includes solid resource images.
DO NOT JUST MAKE A COLLAGE, PUSH YOUR SKILL, BE THOUGHTFUL IN EVERY PHASE OF THIS DRAWING FROM BACKGROUND TO FOREGROUND, AND USE MEDIUMS THAT HELP YOU SEND A MESSAGE. MIX THEM UP OR USE ONE EXCLUSIVELY....IT IS YOUR CHOICE!
ADDITIONALLY, CONSIDER THIS YOUR TIME TO EXPRESS AN OPINION CREATIVELY, PERSONALLY AND PURPOSEFULLY!
WHAT YOU THINK MATTERS...SO PLEASE CARE ENOUGH TO SAY IT....
THEN SAY IT WITH CARE, THOUGHT AND CREATIVITY!
This assignment asks you to create an image that speaks to the theme of MAN VS NATURE.
This is a broad theme that many artists have used across a wide variety of art genres.
So, what you need to do now is sit back and ask yourself, WHAT WILL YOU SAY?
WILL YOU TALK ABOUT ENVIRONMENTAL ISSUES?
WILL YOU TALK ABOUT MAN'S CONTROL ?
WILL YOU TALK ABOUT THE BEAUTY OF WHAT MAN CAN CREATE?
WILL YOU TALK ABOUT THE BEAUTY OF NATURE BEATING MAN?
WILL YOU TALK ABOUT MAN DESTROYING NATURE?
WILL YOU TALK ABOUT THE POWER OF NATURE DESTROYING MAN?
WILL YOU TALK ABOUT HUMAN NATURE AND THE WAY MAN INTERACTS WITH THAT?
WILL YOU TALK ABOUT THE NATURE OF SELF WITHIN HUMANITY?
This list could go on, as could several meaningful discussions.
What matters most here, however, is what thoughts, questions and discussions YOU will inspire.
What matters is how you will answer and respond visually.
In order to achieve to the highest level, YOU MUST HAVE A PLAN!
HAVE A PLAN to ensure a powerful composition. ENSURE YOUR PLAN includes solid resource images.
DO NOT JUST MAKE A COLLAGE, PUSH YOUR SKILL, BE THOUGHTFUL IN EVERY PHASE OF THIS DRAWING FROM BACKGROUND TO FOREGROUND, AND USE MEDIUMS THAT HELP YOU SEND A MESSAGE. MIX THEM UP OR USE ONE EXCLUSIVELY....IT IS YOUR CHOICE!
What's YOUR Story?!
Inspired by the high contrast and contour portrait work you have just completed, and motivated by the ever increasing popularity of the graphic novel…..its YOUR TURN to tell YOUR STORY!!!!!!!
YOUR JOB:
1. WRITE YOUR STORY
- At least one page hand-written.
- Make it something you care about or are interested in!
- It doesn't have to be entirely true or autobiographical...but you can find some inspiration from your own life experiences.
- You WILL be illustrating a small part of this story, so make sure it is something you can find reference images for.
(For example: You might write a story where all of the characters are mice, but you will need reference pictures of those mice. Alternatively, if you are the main character, you will be able to take pictures of yourself for reference.)
To help you brainstorm:
- Do you want your story to be funny? Sad? Real-life? Personal? About someone else?
2. DISSECT YOUR STORY
- Look through your story and pick one important/interesting/exciting/emotional part to illustrate
-To give the viewer only one part of the whole story.
-To leave them wondering what happened before and what will happen after this moment in time that you've shown them.
-What will leave the viewer most impacted or interested?
3. FIGURE OUT HOW YOU WILL ILLUSTRATE YOUR STORY
-Most, if not ALL professional artists plan their work out before they start their final piece! So will you!
-You MUST complete THREE different thumbnail sketches before you can get your big sheet of paper. HAVE A PLAN!!!!
4. PICK YOUR BEST THUMBNAIL AND GET YOUR FINAL PAPER
Requirements
(1) You must use at least 2 of the following techniques/materials:
-Acetone Transfers
-High-Contrast portraiture
-Realistic drawing or shading (like the multi-cultural portrait or perspective)
(2) If you have more than one large frame, you MUST have one “frame” that is at least 12” x 12” with high detail.
(3) You must have good craft (no smudges, tears, rushed portions) Give it some love and time! This is YOUR STORY, make it a great one!
(4) Use reference images for as much as you can. Drawing from observation greatly increases your skills in drawing.
(5) Complete a self-evaluation (I will print these out for you)
YOUR JOB:
1. WRITE YOUR STORY
- At least one page hand-written.
- Make it something you care about or are interested in!
- It doesn't have to be entirely true or autobiographical...but you can find some inspiration from your own life experiences.
- You WILL be illustrating a small part of this story, so make sure it is something you can find reference images for.
(For example: You might write a story where all of the characters are mice, but you will need reference pictures of those mice. Alternatively, if you are the main character, you will be able to take pictures of yourself for reference.)
To help you brainstorm:
- Do you want your story to be funny? Sad? Real-life? Personal? About someone else?
2. DISSECT YOUR STORY
- Look through your story and pick one important/interesting/exciting/emotional part to illustrate
-To give the viewer only one part of the whole story.
-To leave them wondering what happened before and what will happen after this moment in time that you've shown them.
-What will leave the viewer most impacted or interested?
3. FIGURE OUT HOW YOU WILL ILLUSTRATE YOUR STORY
-Most, if not ALL professional artists plan their work out before they start their final piece! So will you!
-You MUST complete THREE different thumbnail sketches before you can get your big sheet of paper. HAVE A PLAN!!!!
4. PICK YOUR BEST THUMBNAIL AND GET YOUR FINAL PAPER
Requirements
(1) You must use at least 2 of the following techniques/materials:
-Acetone Transfers
-High-Contrast portraiture
-Realistic drawing or shading (like the multi-cultural portrait or perspective)
(2) If you have more than one large frame, you MUST have one “frame” that is at least 12” x 12” with high detail.
(3) You must have good craft (no smudges, tears, rushed portions) Give it some love and time! This is YOUR STORY, make it a great one!
(4) Use reference images for as much as you can. Drawing from observation greatly increases your skills in drawing.
(5) Complete a self-evaluation (I will print these out for you)