Part 2: Character Illustration

Part 2: Illustrate a character based on photographs you take and your master studies.

You will illustrate one character in three different ways/styles, each inspired by one of the artists you chose to study in Part 1.
You will make two illustrations per style for a total of six illustrations. These illustrations should be inspired by your mast studies, should use your master studies as a point of departure. These illustrations should not look like they were done by the artists from your master studies, but should be inspired by them.

For example, one style may be inspired by your master studies of Aubrey Beardsley. You will illustrate your character in two different positions, or from two different angles in a style inspired by Beardsley. You would then follow this by illustrating the same character in a style inspired by Julie Doucet. Same character, different style. You will illustrate your character in two different positions, or from two different angles in a style inspired by Julie Doucet. Then you would illustrate your character in a style inspired by Chris Ware. You will illustrate your character in two different positions, or from two different angles in a style inspired by Chris Ware.

Pay particular attention to line quality, the expansion and contraction of line weight with in a single line as well as the differences in line weight within a single illustration. Also consider the type and frequency of marks in your master studies.
In addition pay attention to abstraction in relation to "regular" human proportions, to abstraction in terms of accurate representation.

ILLUSTRATION MASTER STUDIES

NEXT STEP:
Four Variations on a single theme:
Choose one from the four previous designs to continue to work with.
From this one design we will produce four variations:
1. Two flat colors + black and white
2. Two colors + black and white and using TRANSPARENCY
3. Two colors + black and white and using GRADIENT
4. Two colors + black and white and using GRADIENT and TRANSPARENCY
Each design should be portrait orientation, 13.5" wide x 20.5" tall.

NEXT STEP

From your original two designs, we will now grow four more, two from each original design.
Each new design should take relative proportions of a one sheet movie poster:
13.5" x 20.5" (one sheets are generally 27 x 41)
Each new design should use black, white and one flat color.
Foe each original design, one new color design should enhance the meaning, while the other should produce irony or fight the original meaning.
As we are changing the original design into a movie poster, please add a minimum of three actors and one director.
Look to Saul Bass for inspiration.

The WORD is expression

Choose two words.

Using letters create two different designs that visually represent the meaning, the feeling, the sound, and other aspects that you can associate with these words.

Word choice is important in that it will influence the

perception of the design as a whole. Do NOT use proper nouns.

Possible choices/example words:

disoriented, robotics, able, skillful, absolute, unqualified, antagonistic, uniform, affable, diffident, humble, dissonant, opulent, abundant, ample, artificial, hectic, mindless, accumulate, independent, magnanimous, authoritative, miserly, cautious, petulant, firm, harmonious, esoteric, calm, crude, copious, jagged, expensive, hierarchical, pernicious, furious, furry, barren, corpulent, atonal, vapid, viscous, gelatinous, 

Create two designs, each relating the essence of the word to the essence of the design. Each of your two designs should take strategic and compositional cues from lessons learned from previous assignments.

Consider the relationship of the type to the entire composition as it relates to the meaning of the word.

Words may be repeated in the design if compositional integrity is maintained.

THE RULES:

-Designs should be 8.5 x 11.
-Your word must be in your composition and legible.

-You may only use these typefaces:
Ariel
Baskerville
Century Schoolbook
Cooper Black
Didot
Futura
Garamond
Geneva
Gill Sans
Helvetica
Lucida Blackletter
Times New Roman
-Letterforms can be white, black and shades of grey.

-You must constrain proportions when scaling up or scaling down.  So hold down that shift key.

-No effects.  Only scaling, rotating and moving.

-You may not reflect or mirror your letters.

ILLUSTRATION:Master Studies

Choose one from the following illustrators and comic artists:
1. Honoré Daumier
2. Henri Marie Raymond de Toulouse-Lautrec-Monfa
3. Aubrey Beardsley
4. Jack Kirby
5. Will Eisner
Choose one from the following illustrators and comic artists:
6. Margaret Shulock
7. Milton Caniff 
8. Chester Gould
9. Harvey Kurtzman
10. R.Crumb
11. Jessica Abel
12. Julie Doucet
Choose one from the following illustrators and comic artists:
13. George Herriman
14. E.C. Segar
15. Lynda Barry 
16. Gary Panter 
17. Art Spiegelman
18. Marjane Satrapi
19. Charles Schulz
20. Chris Ware

From each of your chosen comic artists, you will paste three compelling images of their work to you blog. In addition, for each artist you will choose two full figure illustrations to study, each of the two a different angle.

Pay particular attention to line quality, the expansion and contraction of line weight with in a single line as well as the differences in line weight within a single illustration. Also consider the type and frequency of marks in your master studies.

In addition pay attention to abstraction in relation to "regular" human proportions, to abstraction in terms of accurate representation.

ILLUSTRATOR:Drawing Basics
ILLUSTRATOR:Drawing with the Pen, Pencil...

PATTERN AND COLOR HARMONIES

Pattern and Color Harmonies

Create two patterns through the repetition of combinations of shape and color. Create three variations on each pattern by changing the color harmony for a total of six designs, each 8.5 x 11.  That's two patterns, each pattern in three different color harmonies for a total of six overall designs. Please name each file after the color harmony you are choosing (see example below). You may not use black or white. You may use lines, but you may not use strokes around solid shapes.

Moving, aligning, and distributing objects:

http://help.adobe.com/en_US/illustrator/cs/using/WS714a382cdf7d304e7e07d0100196cbc5f-62f2a.html

Combining objects:

http://help.adobe.com/en_US/illustrator/cs/using/WS714a382cdf7d304e7e07d0100196cbc5f-6462a.html

Transparency, Depth, Vibration

Transparency, Depth, Vibration

Exercise 1: The Illusion of Transparency by Color Manipulation

Explore the illusion of transparency (we are not using the transparency tool) . Starting with a horizontal bar of one color, you will place 3 vertical bars (made up of 3 rectangles each) of another color so that they overlap the horizontal bar. All three vertical bars should be of the same color. Where these vertical bars overlap the horizontal bar, the illusion of transparency should be created. In first overlapping area, it should appear as if the vertical bar is spatially above the horizontal bar. In the last overlapping area, it should appear as if the horizontal bar is spatially above the vertical bar. And in the middle overlapping area, it should be ambiguous as to which bar is on top. You should use a format similar to the ones shown here in the examples. Please fit three exercises onto a single 11 x 17 page:

Exercise 2: The Illusion of Depth:
Based on your experiences with last week's exercises and using a single shape and variations in color (hue, saturation, and/or value), create a design that gives the illusion of depth. Your design should be 8.5 x 11

Exercise 3: The Illusion of Vibration:
Based on your experiences with last week's exercises and using a single shape with variations in color (hue, saturation, and/or value), create a design that gives the illusion of vibration. Unlike the examples below, your design should be 8.5 x 11: