In Concept Illustration, we have an assignment to design an illustration based on the broad theme of conflict (character vs character, character vs. environment etc). I’ve thought about doing illustrations from the original Snow Queen so on our thumbnail assignment, which was limited to black and white and approximately 1 x 2 inches.
I’ve always been inspired with James Gurney’s maquette work (here is his Skybax maquette made out of armature wire, sculpey, floral wire, and stockings covered with latex among other ingredients.
I liked being able to walk around the scene and vary the perspective – vertically and horizontally. I used armature wire and chavant clay which doesn’t harden.
I also had to have 2 color comps and three 3-color value sketches. My instructor picked thumbnail 3 so that’s the one I’m working on, but with more background added.
Our discussion this past week was to collect illustrations that could be used as inspiration for creating your scene. I picked these great works by Sendak, Lathrop, and Dulac.
It’s been another busy week, but learning a lot more what CarbOthello pencils can do. I really like the medium although I have a lot to learn about making color blends. This past week had our usual gesture drawings, 2 hand drawings in pastel, and then a costumed figure drawing. Sanded paper like UArt or Wallis can receive more layers than Canson Mi-Teintes or other pastel papers, but they will eat up your pencils quicker.
I found I like the soft rich blacks of Nitram charcoal. It also doesn’t have as much dust as General’s.
I’ll also post the three examples of pastel paintings that I posted in this week’s discussion. Pastel offers such a wide variety of expression. I really like the medium.
The first is a rendering of Ophelia from Cuong Nguyen who worked as a successful web designer for many years until he got working more as a streetchalk artist, then became a full-time fine art painter. I learned from him that skin tones can be mixed with a green underpainting (verdaccio) and flesh tones.
The second is an illustration from Paul Howard from a Jill Tomlinson book called The Owl who was afraid of the dark. I like the soft luminous quality Howard was able to get from his use of pastels.
Finally, there’s The Guardian by Fiona Tang. It combines chalk pastel with charcoal and acrylic on a paper backing. The different textures of the various media used for this piece this piece contribute to the overall effect in different ways; the chalk pastel in particular is important to the trompe l’oeil effect, helping to differentiate the “three-dimensional” stag in the front from the more “two-dimensional” background charcoal elements, with the white tone of the pastel “light” against the natural brown color of the paper.
This coming week is my final one for Life Drawing IV. We’ve got a watercolor assignment, the first I’ve had since I’ve been in art school. Also this weekend, I’ll be going to the Great Critique-nic through the Western Washington Society of Children’s Books Writers and Illustrators. It’ll be the first one that I’ve ever gone to. People bring their illustrations or writing and split up into small groups where they critique and be critiqued.
This past week my class has been looking at the drawing of expressive hands. We’re still working for the most part in charcoal which is getting easier to handle for me. I like Strathmore Toned Paper and I’m finding it easier to get darker tones with a softer Nitram charcoal. I had started with Strathmore 500 charcoal, but it doesn’t have the smooth look of toned paper.
Besides drawing practice (whole body gestures) and these hand drawings, we also have a discussion post where we post examples of expressive hands. Everyone always shares very different examples – it’s a great part of the class.
The three I shaerd this past week were from Rackham, Wyeth, and Earl Oliver Hurst. In the Rackham, I thought it was an interesting contrast between the knobby hands of the old woman and the simple open hands of the children. The Wyeth also showcases contrasts in this Heidi picture. The grandfather is tanned and has a commanding gesture. It’s contrasted with Heidi’s fairer and more tentative post. The Hurst I liked because he seemed to contrast the confident face of the man with the nervous lines in his jacket and hands.
Interesting work in Life Drawing class the past week. We’re learning how to simplify figures by blocking in simple geometric shapes. It helps generalize what you’re seeing and I think will make it easier working from life.
At the Terryl Whitlach conference, she had recommended Future Publications’ How to Paint and Draw Anatomy which showed how to break the human figure into simpler shapes. I found the book (actually both volumes) online at Scribd.
Today, my teacher also shared a video that will make really help what I want to be able to do. The figures are very fluid, but also have volume.
I just heard today that Hornblower During the Crisis has been accepted in the SCBWI Western Washington Illustrators Exhibit at the Washington State Convention Center! This will be my first juried group exhibition. It runs from July 1- September 30th. I also just dropped off some art for the Best of the Gage Exhibition. The exhibition and sale there is June 17th, and of course the Clymer Museum exhibition goes through June 25th.
In addition to school, I’ve been experimenting with different ways of adding color. This past week I did some colored pencil work with the black and white owl and frog drawing. I like really like Faber-Castell Polychromos. They are oil-based, so blend with baby oil and can work side-by-side with watercolor paints or pencils.
I’ve also been doing some sketching and thinking about doing some illustrations for Hans Christian Anderson’s Snow Queen. There are two good crow characters that are part of the story so I thought it would be nice to do. We get a lot of crow visitors in the backyard.
I also saw an inspiring video today. Sargy Mann is a painter who became blind when he was his 30’s. See his story below.
I’m starting to noodle around more with digital art programs since I got a iPad Pro and Apple Pencil last weekend. It’s great.
I just started learning the programs, but colored a pencil sketch and can see the potential.
I can see why many artists are raving . My Cintiq cable died (its awkward 3-headed connector) and the company is out of all replacements – and they can’t be bought anywhere else.
iPad Pro + Apple Pencil CAN connect to a computer using the Astropad app – which makes the process freeing. I used Corel Painter and have also started working with Procreate which is an amazing app for $5.99.
At RMCAD, it’s Art History III (Modern) this month but also had a great time at the opening of our Nature’s Call show at the Clymer Museum (my work is part of the Guild of Natural Science Illustrators Northwest). It runs through June 25th and they’ll have another First Friday event in June if you might want to visit.
Earlier this month I also had a chance to attend a meeting of the Society for Children’s Book Writers & Illustrators – Western Washington at Seattle Pacific. That was a great experience. They start off with videos filmed in the artists’ studio (I’ll post Jessixa’s and Doug’s below) and then they answer questions. I liked seeing how their illustrations evolved.
Just finished this – it’s my last week in Basic Illustration. It’s been a great class. It’s been a learning curve going to ink from pencil. The assignment was to choose a fortune cookie fortune and make a drawing from it. My fortune was “You are wise to keep your eyes open at all times.”
We weren’t allowed to use ink washes so it was a change for me as I had to focus on line art.
The ink drawing was first done in pencil then inked using micron pens, a Lamy fountain pen, and a little Copic marker for blocking in the grass. I also use Duralar mylar which helped a lot with my learning curve for ink. Duralar is very forgiving with ink – because it erases cleanly with alcohol or the colorless Copic marker blender.
It’ll be my first show. I’ll also have an elk cow and crow in the exhibition. We’ll be driving out on the first Friday, May 6th, 5-7 pm. Food & Wine will be by Springboard Winery and music will be provided by the Lincoln Elementary School Music Club.
Every week, the class assignment is to have each person suggest an illustration or group of illustrations based on the reading. For the chapter on tone, I chose this 1912 illustration by Sidney Sime (1867 – 1941) for Lord Dunsany’s The Book of Wonder. I chose it partly because it has some similarities, in terms of subject matter, value range, and atmosphere, to my own project for this week. I also chose it because it effectively uses various value and compositional elements, including a chiaroscuro technique, to guide the viewer’s eye throughout the piece. The first major area of light starts at the upper left corner, then trails around, almost like a curving road, to the first major subject, the city in the rocks. In turn, the curved shape of the light/shadow pattern and the diagonal lines of the rock lead into the menacing blackness filled with eyes under the bridge. The smoky shape at right helps to transition the viewer down to the next major subject, the man on the winged beast.
Imagine what the piece would look like without the large shadowy area at left. It would lose some of its atmosphere, with the impression of discovering something grand and menacing in a dark, obscure region. In addition, the black space filled with eyes under the bridge would be less clear as a main subject of the piece, since the chiaroscuro patterns of light and dark have the area immediately above as the brightest spot in the composition.
Finally! Basic Illustration this quarter with a lot of my fellow illustration majors at Rocky Mountain College of Art + Design. The assigned book is James Gurney’s Imaginative Realism: How to Paint What Doesn’t Exist – a book that I’ve checked out from the library several times before. The assignment this week was pretty open, make drawings with animals doing human things. We start with thumbnails (these only about 3 inches long) that allow us to play with different scenes and perspectives. I did a few with an underwater rabbit, then other storylines (elephant tailor, storytelling stork with ferrets around a campfire, and then some others like a kangaroo and gazelle dancing and fox and mole golfing. It’s already what I do in my spare time.
Next step is a value study, then texture, transfer to mylar, and ink finish. The one I’m taking to final is the underwater bunny discovering a lost city. I thought it would be good for me to work more on environments.