Final Fall 2013

Make the ordinary look extraordinary

Make the ordinary look extraordinary

Using your acquired picture making skills, seek out the ordinary and create a compelling and telling image-

Objectives:
create a compelling image
construct a picture with sound composition
create and establish a solid value pattern consisting of light, medium and dark values
convert the value pattern to a structure defined by color temperature, cool, warm and neutral
shoot your own photo reference
correctly light the subject, and turn off your device's flash
manage the project and your time
use color and shape as visual devices to help support the point of the illustration

Required:
five thumbnails (should show value structure)
comprehensive
final

Size:
15 x 20

Medium:
Oils

Due:
December 19
This project will be created in tandem with the final

Animal Musician

Illustrate an Animal that's a Musician.


The assignment is to create an animal musician as the subject of the illustration, at the same time examine anthropomorphism as a style.

Be creative and ambitious with your approach, think of ways to use color and shape to describe senses and sounds.

In the context of describing the musician look for ways to use visual cues as a device to advance and convey your idea.

The subjects enviroment should support the idea of the picture, it should be well composed, read well, have impact and be accurate.

Deadlines:
5 thumbs: 10/22 for a grade
Research and/or create photo ref. plus provide paper copies. Present revised thumb: 10/24
Comp.: 10/31 due for a grade
Paint Day: 11/5
Paint Day11/7
Due at the end of class 11/12 due at the end of class

Size:
15 x 20 inches

Medium:
oils

Samples:
http://drawger.com/parada/?article_id=12147
http://www.richardsolomon.com/artists/kinuko-y-craft/
http://www.bradholland.net/portfolio/classics#/image01


Links regading cvalue structure:
http://muddycolors.blogspot.com/2012/08/composition-basics-value-structure.html
http://gurneyjourney.blogspot.com/2012/06/loomiss-scheme-for-tonal-organization.html

Nighthawks

http://www.artnews.com/2013/07/25/how-edward-hopper-storyboarded-nighthawks/
http://www.artic.edu/aic/collections/artwork/111628

Back in the day (Updated 10/8)

Back in the day

The assignment is to create an illustration that represents Back in the day.

Use the creative process to solve the illustration problem.

The elements can be literal, non-literal expressive or symbolic. The piece should be cohesive, well designed and feel unified as well as, represent the theme

Size: min. size 15 x 20 inches

Medium: oils

Deadlines:
10 thumbs : in progress
Revise thumbs :  in progress
Creative process: in progress
Photo ref. research or produce:  in progress
Comprehensive: 9/26 (due at the beginning of class for a grade)
Transfer image to board before 10/1
Paint day: 10/3
Paint day: 10/8
Paint day: 10/10
Mid semester break: 10/15
Final Due: 10/17 (due at the end of class for a grade)

Norman Rockwell

Random Inspiration by Underpaintings
lhttp://underpaintings.blogspot.com/2013/05/random-inspiration-norman-rockwell.html

The Swimmer

Create a book jacket editorial illustration based on the short story (updated 4 10)

http://srs-pr.com/american-literature/amlit/cheever-swimmer.pdf

Requirements:
Read the story
Thumbs due: 04/10 by the end of class
Comprehensive due: 04/17
Studio/photoshop work: 04/29

Final due 05/01 at 9 am

The jacket should include the typical elements found on a book cover including the title and author.
Investigate what is needed and think through the approach.

Size: 6" x 9" cover

*Overall advice to keep in mind when making good illustration:*

Do not get caught up in too many specifics about any illustration idea. Get the viewer engaged fast, hint at character. You are ultimately trying to get a potential reader to pick up the story and read it. Let the author solve the rest of the problems...

-Greg Manchess

A simple evocative engaging solution can often trump a giant montage. While sometimes the BIG COMPOSITION solution is perfect, consider ALL options-not just "the kitchen sink" option.

Pick your moment and make everything in service to that moment.

-Rebecca Guay

Also,

Make sure the sketch that you want to put up on the critique wall the first day is a clear and thorough sketch. Meaning, it should not be on a scrap of lined paper, or a half finished thumbnail in the corner of a sketchbook. They should be on decent paper and have a clear line around where you intend the border of the art to be.

Outstanding assignments

For partial credit, I will accept any and all outstanding work by the end of class on March 27, 2013.

After the 27th, outstanding or late work will not be accepted.

Professor Zeggert

Umber Wash Demo

Drawing:
A quick sketch, with the understanding that your initial response to the subject is most likely incorrect. As you move through the process of making a picture, be careful not to lock in the image, but instead continue to refine, adjust and fix the "drawing"
The "drawing" is always in flux, especially until you've solved all of the problems associated with it and that is the point in the process when the illustration is complete.

Acrylic Burnt Umber Wash

Apply Krylon Workable Fixative spray to seal in the drawing. The seal helps avoid smudging, prepares the surface and prevents the graphite from mixing in with the next step, the acrylic wash, it also helps prevent the surface from getting "muddy"

When the surface is dry to the touch, cover the drawing with an acrylic Burnt Umber wash. The wash acts as a sealant and creates a relative mid-tone or middle value to work from.

The Block In (oils)

The Block in:
This step establishes the structure and value pattern of the image, with the idea of pushing the development of value and color temperature.

The paint is applied fairly quickly and loose with the goal of refining the drawing as you move towards the finish.

In the pursuit of making a picture, you will want to respond to what is discovered through observation of your subject or reference.

This is a critical part of the process, because one naturally understands a subject better through continued observation and evaluation of it. The act of correcting the drawing is based on the information extracted from the subject, followed by mentally processing it and stating it.

The Finish

Articulating the elements, pushing the development of value, and color temperature, plus refining the drawing are all continued until you've reached the desired goal of the illustration.