Please remember to bring all work for the semester (projects are listed below) and any other work that you think will contribute to your critique (work from other classes and/or semesters, sketchbooks, personal projects, etc).
3:30- 4:00 Ophelia
4:00-4:30 Kyla
4:30-5:00 Dana
Break
5:30-6:00 Nicole
6:00-6:30 Rebecca
6:30-7:00 Erin
Break
7:30-8:00 Emily
8:00-8:30 Corinne
ASSIGNMENTS:
Self-Portrait for a market
Editorial (Breast Tattoos or How to Drink Alone)
The Witches Book Cover
Urban Legends
"Labor" Gallery Project
Oz
SuitTart
Independent Series
Sunday, May 9, 2010
Thursday, April 22, 2010
Student Work: The Illustrator's Oz
Hooray for our top 3 Oz reinventions!
Students (top to bottom)
Dana Martin
Erin Miller
Corinne Reid
Students (top to bottom)
Dana Martin
Erin Miller
Corinne Reid
Thursday, March 18, 2010
Student Work: "Labor"
Happy Spring Break everyone!!!
Students (top to bottom)
Emily Blank
Dana Martin
Corinne Reid
Students (top to bottom)
Emily Blank
Dana Martin
Corinne Reid
Wednesday, March 10, 2010
Suite Tart
Suite Tart
Size: determined by artist
We will be working with Lulu Locks, owner of Providence Pin Up and SuiteTart.com, who is looking to combine her businesses into one united venture under the Suite Tart name. This new company will need an illustration to help with branding, something that is eye-catching and represents the many services of the new Suite Tart Empire which includes a salon (having eco-friendly options for hair color and such), boutique (promoting handmade and local clothing, jewelry, make up, etc), art gallery, and a studio to continue the Pin Up services and more.
We are not trying to make a logo or incorporating text (she has a graphic designer). Your image will need to be a vignette.
Lulu has said she is open to your ideas, and the following are notes from her:
• Clients are not 100% female, so nothing too girly.
• Lulu enjoys feminine qualities with a twist and androgynous themes. Feel free to get inspiration from the 1970’s, glam rock, Americana, retro, rock n’ roll, Blondie, The Donnas, David Bowie, and such. We are looking for a “Hard meets Soft” feeling.
• Favorite colors include sea foam green, mustard, avocado, and rust. Pink is okay as an accent color, but again…nothing too girly.
• The Pin Up studio is a part of Suite Tart, but not all of it. The studio does “Jack and Jill” shoots with couples, so both genders are involved.
• The new Suite Tart will also represent Lulu as an artist for hire at weddings and other special events. Think about how your image helps to reinforce her as an individual along with her business. A bio is available on ProvidencePinup.com.
Sketches Due: On March 23rd, Please send low-res jpegs of 2-3 sketches to my address and to Lulu. She will be giving you feedback within 48 hours.
Final Due: On March 30th Lulu will be visiting our classroom to critique and view the final work!
Size: determined by artist
We will be working with Lulu Locks, owner of Providence Pin Up and SuiteTart.com, who is looking to combine her businesses into one united venture under the Suite Tart name. This new company will need an illustration to help with branding, something that is eye-catching and represents the many services of the new Suite Tart Empire which includes a salon (having eco-friendly options for hair color and such), boutique (promoting handmade and local clothing, jewelry, make up, etc), art gallery, and a studio to continue the Pin Up services and more.
We are not trying to make a logo or incorporating text (she has a graphic designer). Your image will need to be a vignette.
Lulu has said she is open to your ideas, and the following are notes from her:
• Clients are not 100% female, so nothing too girly.
• Lulu enjoys feminine qualities with a twist and androgynous themes. Feel free to get inspiration from the 1970’s, glam rock, Americana, retro, rock n’ roll, Blondie, The Donnas, David Bowie, and such. We are looking for a “Hard meets Soft” feeling.
• Favorite colors include sea foam green, mustard, avocado, and rust. Pink is okay as an accent color, but again…nothing too girly.
• The Pin Up studio is a part of Suite Tart, but not all of it. The studio does “Jack and Jill” shoots with couples, so both genders are involved.
• The new Suite Tart will also represent Lulu as an artist for hire at weddings and other special events. Think about how your image helps to reinforce her as an individual along with her business. A bio is available on ProvidencePinup.com.
Sketches Due: On March 23rd, Please send low-res jpegs of 2-3 sketches to my address and to Lulu. She will be giving you feedback within 48 hours.
Final Due: On March 30th Lulu will be visiting our classroom to critique and view the final work!
Wednesday, March 3, 2010
Assignment: The Illustrator's Oz and Independent Series
Hi everyone,
Please remember to bring the following to our next class...
1) Your OZ sketches
2) A TYPED proposal for your independent series with at least one sketch. Remember- the more work and references you bring us the better!
3) ALL your work from this semester for individual meetings.
The Illustrator’s Oz
Size: determined by artist
One of the hardest challenges for illustrators is the ability reinvent a character or story that has been ingrained into or conscious through movies and pop culture. Alice In Wonderland will soon have a new interpretation of the classic story on the big screen, and famous literary characters from Robin Hood to Dracula have been reinvented constantly in the past.
It is not uncommon for today’s concept artists, illustrators, and other artists to be put in charge of these fresh interpretations. How do we make something new and sparkly? Interesting? Different?
Your goal will be to create an illustration based on your original interpretation of Oz and its characters. This could be something as simple as giving a new stylistic approach to the environments and Dorothy…or you could make drastic changes like making the cast into a new futuristic superhero team. The decision is yours.
Sketches Due: 2-3 well-developed sketches on Mar 9th (Please bring a piece to hang on the
third floor, too)
Final Due: Mar 23rd (Spring Break!)
Independent Series: Proposal
The final four weeks of Illustration IV are dedicated to a personal series (usually 3-4 pieces) of your choosing that investigates and explores a particular market, subject, or medium while considering your interests as an illustrator. While one student might work on a series of images for the Sci-fi/Fantasy market, another might use the time to work on large portraits done in oils.
For next week, I would like you to consider a proposal for your independent project. This includes a TYPED paragraph or two to turn into me for my records and at least one detailed sketch to give us a visual clue to what your project would look like. The more preliminary work you bring in, the more your classmates and I can help you develop your idea and identify any problems or untapped potential.
Think about what element(s) unites these images. Who is your audience? How would they relate to you as an artist in the professional world? What medium are you choosing? How many pieces will you do? How big are they?
April 6th- May 4th will be dedicated to this project. It will be due May 4th.
Sketches Due: at least 1 well-developed sketch on Mar 9th
*Changes and final idea should be decided upon no later than March 23rd
Please remember to bring the following to our next class...
1) Your OZ sketches
2) A TYPED proposal for your independent series with at least one sketch. Remember- the more work and references you bring us the better!
3) ALL your work from this semester for individual meetings.
The Illustrator’s Oz
Size: determined by artist
One of the hardest challenges for illustrators is the ability reinvent a character or story that has been ingrained into or conscious through movies and pop culture. Alice In Wonderland will soon have a new interpretation of the classic story on the big screen, and famous literary characters from Robin Hood to Dracula have been reinvented constantly in the past.
It is not uncommon for today’s concept artists, illustrators, and other artists to be put in charge of these fresh interpretations. How do we make something new and sparkly? Interesting? Different?
Your goal will be to create an illustration based on your original interpretation of Oz and its characters. This could be something as simple as giving a new stylistic approach to the environments and Dorothy…or you could make drastic changes like making the cast into a new futuristic superhero team. The decision is yours.
Sketches Due: 2-3 well-developed sketches on Mar 9th (Please bring a piece to hang on the
third floor, too)
Final Due: Mar 23rd (Spring Break!)
Independent Series: Proposal
The final four weeks of Illustration IV are dedicated to a personal series (usually 3-4 pieces) of your choosing that investigates and explores a particular market, subject, or medium while considering your interests as an illustrator. While one student might work on a series of images for the Sci-fi/Fantasy market, another might use the time to work on large portraits done in oils.
For next week, I would like you to consider a proposal for your independent project. This includes a TYPED paragraph or two to turn into me for my records and at least one detailed sketch to give us a visual clue to what your project would look like. The more preliminary work you bring in, the more your classmates and I can help you develop your idea and identify any problems or untapped potential.
Think about what element(s) unites these images. Who is your audience? How would they relate to you as an artist in the professional world? What medium are you choosing? How many pieces will you do? How big are they?
April 6th- May 4th will be dedicated to this project. It will be due May 4th.
Sketches Due: at least 1 well-developed sketch on Mar 9th
*Changes and final idea should be decided upon no later than March 23rd
Friday, February 26, 2010
Student Work: Urban Legends
A three-way tie this week! Each piece got 5 votes from fellow classmates.
Students (top to bottom):
Dana Martin
Erin Miller
Ophelia Hathaway
Students (top to bottom):
Dana Martin
Erin Miller
Ophelia Hathaway
Student Work: "The Witches" Book Cover
Four different takes on our book cover assignment.
Students (top to bottom)
Corinne Reid
Rebecca Figler
Ophelia Hathaway
Erin Miller
Students (top to bottom)
Corinne Reid
Rebecca Figler
Ophelia Hathaway
Erin Miller
Wednesday, February 24, 2010
"Labor" Gallery Project
“Labor” Gallery Project
Size: no bigger than 8”x 10” (can be vertical or horizontal)
For the last few decades art coming from illustration, tattooing, comics, and other “lowbrow” sources have gained wild popularity in the fine art world. Some of these artists balance their gallery pieces with commercial work, while others simply show what they are producing for clients. In some cases, Illustrators are taking their education and going directly into galleries. This culture has allowed new income and recognition for artists that would previously been shun from the fine art market.
Some shows require certain themes or restrictions for artists. A very popular way to start out your gallery career as an illustrator is to appear in “small works” shows that present multiple artists at one time; furthermore, smaller pieces promote smaller price tags for buyers and collectors. You will be making a personal piece meant for a gallery along the theme of “Labor”. The size of your piece must be no bigger than 8”x10”, as we are following the guidelines of popular small works shows. Remember that your goal is not to communicate an idea or word 100% clearly like you might expect in a typical illustration assignment. In this case, the theme is just a starting point for inspiration.
Think about presentation and the final product- this is not something you can edit in Photoshop before emailing it to an art director!
*** Due to the nature of this project digital pieces will not be allowed.
Final Due: Mar 2nd
Size: no bigger than 8”x 10” (can be vertical or horizontal)
For the last few decades art coming from illustration, tattooing, comics, and other “lowbrow” sources have gained wild popularity in the fine art world. Some of these artists balance their gallery pieces with commercial work, while others simply show what they are producing for clients. In some cases, Illustrators are taking their education and going directly into galleries. This culture has allowed new income and recognition for artists that would previously been shun from the fine art market.
Some shows require certain themes or restrictions for artists. A very popular way to start out your gallery career as an illustrator is to appear in “small works” shows that present multiple artists at one time; furthermore, smaller pieces promote smaller price tags for buyers and collectors. You will be making a personal piece meant for a gallery along the theme of “Labor”. The size of your piece must be no bigger than 8”x10”, as we are following the guidelines of popular small works shows. Remember that your goal is not to communicate an idea or word 100% clearly like you might expect in a typical illustration assignment. In this case, the theme is just a starting point for inspiration.
Think about presentation and the final product- this is not something you can edit in Photoshop before emailing it to an art director!
*** Due to the nature of this project digital pieces will not be allowed.
Final Due: Mar 2nd
Wednesday, February 17, 2010
February 16: SNOW DAY!
Hopefully everyone got the email I sent out, but in case you didn't...
Please email me your Urban Legend sketches. Make sure they are resized (no bigger than 100 dpi and 900 pixels wide). Below are some images from an illustrated Urban legend book I have. Hopefully these will inspire you! Notice how they are engaging and present a situation but aren't obvious (makes you want to find out more).
No new sketches assigned for next week.
Please email me your Urban Legend sketches. Make sure they are resized (no bigger than 100 dpi and 900 pixels wide). Below are some images from an illustrated Urban legend book I have. Hopefully these will inspire you! Notice how they are engaging and present a situation but aren't obvious (makes you want to find out more).
No new sketches assigned for next week.
Thursday, February 11, 2010
Student Work: Esquire Spot Illustrations
Top 3 of the week! Students could either illustrate "How to Drink Alone" or "Breast Tattoos" for Esquire Magazine.
Students (top to bottom)
Corinne Reid
Dana Martin
Rebecca Figler
Students (top to bottom)
Corinne Reid
Dana Martin
Rebecca Figler
Urban Legends
Urban Legends
Size: ratio of 8”x 6”
An art director is doing a project involving urban legends. They have sent you some of the stories in summary form and want the final illustration to be based on one of the given stories.
Pick one of the Urban Legends below to illustrate. Think about an engaging image that intrigues the viewer while not giving too much away (or be misleading). For this assignment, assume the text would accompany your image. Keep in mind this is a horizontal composition!
• A construction worker pours cement on a mysterious BMW in his driveway after suspecting his wife is having an affair. The car does not belong to a secret lover- it is a surprise birthday gift from his wife.
• In the early 1900’s, archeologists find Egyptian hieroglyphics that resemble flying machines such as helicopters, which would have been perfect for lifting the heavy blocks that make up the pyramids.
• A scuba diver is found drowned in the aftermath of a forest fire. A rescue helicopter had scooped up water from the ocean, including the diver. He ran out of oxygen in the sealed container and his dead body was released over the forest.
• Mysterious deaths are happening at a hospital when the life support system shuts down at night. Finally reviewing the security tapes, it is discovered that a janitor (with headphones on) is unplugging life support in order to plug in the floor polisher.
• A woman rescues a small stray dog in Mexico. Once home, a trip to the vet reveals that the pet is actually a large rat.
Sketches Due: Feb 16
Final Due: Feb 23
Size: ratio of 8”x 6”
An art director is doing a project involving urban legends. They have sent you some of the stories in summary form and want the final illustration to be based on one of the given stories.
Pick one of the Urban Legends below to illustrate. Think about an engaging image that intrigues the viewer while not giving too much away (or be misleading). For this assignment, assume the text would accompany your image. Keep in mind this is a horizontal composition!
• A construction worker pours cement on a mysterious BMW in his driveway after suspecting his wife is having an affair. The car does not belong to a secret lover- it is a surprise birthday gift from his wife.
• In the early 1900’s, archeologists find Egyptian hieroglyphics that resemble flying machines such as helicopters, which would have been perfect for lifting the heavy blocks that make up the pyramids.
• A scuba diver is found drowned in the aftermath of a forest fire. A rescue helicopter had scooped up water from the ocean, including the diver. He ran out of oxygen in the sealed container and his dead body was released over the forest.
• Mysterious deaths are happening at a hospital when the life support system shuts down at night. Finally reviewing the security tapes, it is discovered that a janitor (with headphones on) is unplugging life support in order to plug in the floor polisher.
• A woman rescues a small stray dog in Mexico. Once home, a trip to the vet reveals that the pet is actually a large rat.
Sketches Due: Feb 16
Final Due: Feb 23
Wednesday, February 3, 2010
"The Witches" Book Cover
“The Witches” Book Cover
Size: ratio of 4”x 6.75”
Roald Dahl is known as one of the best selling authors of books for adults and children alike. He is known for quirky, often dark material such as “James and the Giant Peach”, “Charlie and the Chocolate Factory”, and “Matilda”. Equally as loved are the illustrations that accompany Dahl’s tales done by Quentin Blake, who’s off beat line work and spontaneous handling compliments the uniqueness of the stories they illustrate.
This week, you will be doing a cover for Roald Dahl’s “The Witches” (later became a movie in 1990). Size of book covers are usually 4”x6.75”, and your image should accommodate that ratio. YOU DO NOT NEED TO ADD TYPE, but you do need to make sure there is room for text such as the title and name of the illustrator and author.
I have approved the Wikipedia summary as accurate and suggest that if you have only seen the movie that you note there are differences from the original story.
Sketches Due: Feb 9
Final Due: Feb 16
Size: ratio of 4”x 6.75”
Roald Dahl is known as one of the best selling authors of books for adults and children alike. He is known for quirky, often dark material such as “James and the Giant Peach”, “Charlie and the Chocolate Factory”, and “Matilda”. Equally as loved are the illustrations that accompany Dahl’s tales done by Quentin Blake, who’s off beat line work and spontaneous handling compliments the uniqueness of the stories they illustrate.
This week, you will be doing a cover for Roald Dahl’s “The Witches” (later became a movie in 1990). Size of book covers are usually 4”x6.75”, and your image should accommodate that ratio. YOU DO NOT NEED TO ADD TYPE, but you do need to make sure there is room for text such as the title and name of the illustrator and author.
I have approved the Wikipedia summary as accurate and suggest that if you have only seen the movie that you note there are differences from the original story.
Sketches Due: Feb 9
Final Due: Feb 16
Thursday, January 28, 2010
SelfPortrait/ Esquire Spots
Self-portrait fit for a chosen market
Size: determined by artist
Think about the market exercise we did in class and determine one market or group of clients that you think your work is appropriate for (children’s, YA, game design, editorial, natural science illustration, etc). Create an interesting self portrait of yourself geared towards that market/ client. Feel free to take artistic license (for example, you may picture yourself as a parrot or a young child). Remember that you are “translating” your image into your illustration, so it does not have to be ultra-realistic or painfully obvious.
Final Due: Feb 2
Editorial: Esquire Spot Illustrations
Size: the image will reprint as a square spot illustration.
(Your image must be square but it can be made at any scale of your choosing. If you work way too small just because it would be reprinted at a small size I will ask you to redo it.)
Illustrate one of the two following short articles that appeared in Esquire, a men’s magazine targeting males ages about 20-40. Editorial Illustration is full of many styles and approaches, from modern, sleek styles to colorful and cartoony images . Create something that fits with the article as well as your artistic vision. Stay away from obvious solutions or clichés.
OPTION 1: “Breast Tattoos”
Nice tattoo. Of a bird. On your breast. It's a delicate species you've picked out. What is it? A sparrow, a starling, a kingfisher, a tree swift? It's life-size, right? And it's in mid-flight, which is hopeful. It looks happy, ecstatic, in the midst of a paroxysm. For a while, we thought the nonthreatening-animal tattoo was dying out, that the dolphin on the ankle would be the extent of it. Or the butterfly on the wrist. Then came the birds on the belly. They're landing on a remarkable place now. The cleavage. That sacred parcel. Anywhere else on the body, a tattoo is an adornment, but on the breasts, it's a badge. What it stands for, we have no idea. Why it's there, we can't begin to guess. How you think that area could possibly be improved is a total mystery. But it's one hell of a tattoo. Woodpecker?
OPTION 2: “How to Drink Alone”
• Don’t use it as a warm-up. It’s a prelude to nothing. Drinking alone must be an event unto itself. It’s never about getting sloppy, or lucky, or even happy. Beginning and end, make it a choice. A gift, not an escape. It’s about raising your awareness, not dulling it. Be neat, small of affect, businesslike.
• Start in the afternoon.
• 2:30 is universally a good time, since the bar will be empty, the bartender busy stocking the coolers, wiping down bottles.
• Forget bar chatter, since it’s about drifting, forgetting, passing time without noticing. Instead, quietly pay attention.
• Drink liquor — whiskey.
• Get a beer back, if you must. Gin is acceptable too, but don’t put anything sweet in it.
• Ignore the television.
• Listen a little. Enjoy the muffled aural measures of a bar waking up. Watch the door or the window instead. Draw connections to the world outside, even as it recedes slightly from perception. Notice the angles of light, the pulse of the traffic, even the evolution of customers who drift in as the day twists down to its nub.
• Read a paper, sure. A book is good too. Crack the spine and lay it flat on the bar. Read, don’t pretend to read.
• Don’t eat. Drinking alone is not about buffalo wings.
• Look up often.
• Jukeboxes are an acceptable diversion, though don’t ever select Cat Stevens when drinking alone.
• If a friend happens in, do not demur. Instead, take it as an irrefutable signal that the meditative event of drinking alone is over. You aren’t alone anymore. Buy him a drink and, after a reasonable juncture, leave. Give him what you came in for. A little solitude, with liquor. There’s no shame in it.
Sketches Due: Feb 2
Final Due: Feb 9
Size: determined by artist
Think about the market exercise we did in class and determine one market or group of clients that you think your work is appropriate for (children’s, YA, game design, editorial, natural science illustration, etc). Create an interesting self portrait of yourself geared towards that market/ client. Feel free to take artistic license (for example, you may picture yourself as a parrot or a young child). Remember that you are “translating” your image into your illustration, so it does not have to be ultra-realistic or painfully obvious.
Final Due: Feb 2
Editorial: Esquire Spot Illustrations
Size: the image will reprint as a square spot illustration.
(Your image must be square but it can be made at any scale of your choosing. If you work way too small just because it would be reprinted at a small size I will ask you to redo it.)
Illustrate one of the two following short articles that appeared in Esquire, a men’s magazine targeting males ages about 20-40. Editorial Illustration is full of many styles and approaches, from modern, sleek styles to colorful and cartoony images . Create something that fits with the article as well as your artistic vision. Stay away from obvious solutions or clichés.
OPTION 1: “Breast Tattoos”
Nice tattoo. Of a bird. On your breast. It's a delicate species you've picked out. What is it? A sparrow, a starling, a kingfisher, a tree swift? It's life-size, right? And it's in mid-flight, which is hopeful. It looks happy, ecstatic, in the midst of a paroxysm. For a while, we thought the nonthreatening-animal tattoo was dying out, that the dolphin on the ankle would be the extent of it. Or the butterfly on the wrist. Then came the birds on the belly. They're landing on a remarkable place now. The cleavage. That sacred parcel. Anywhere else on the body, a tattoo is an adornment, but on the breasts, it's a badge. What it stands for, we have no idea. Why it's there, we can't begin to guess. How you think that area could possibly be improved is a total mystery. But it's one hell of a tattoo. Woodpecker?
OPTION 2: “How to Drink Alone”
• Don’t use it as a warm-up. It’s a prelude to nothing. Drinking alone must be an event unto itself. It’s never about getting sloppy, or lucky, or even happy. Beginning and end, make it a choice. A gift, not an escape. It’s about raising your awareness, not dulling it. Be neat, small of affect, businesslike.
• Start in the afternoon.
• 2:30 is universally a good time, since the bar will be empty, the bartender busy stocking the coolers, wiping down bottles.
• Forget bar chatter, since it’s about drifting, forgetting, passing time without noticing. Instead, quietly pay attention.
• Drink liquor — whiskey.
• Get a beer back, if you must. Gin is acceptable too, but don’t put anything sweet in it.
• Ignore the television.
• Listen a little. Enjoy the muffled aural measures of a bar waking up. Watch the door or the window instead. Draw connections to the world outside, even as it recedes slightly from perception. Notice the angles of light, the pulse of the traffic, even the evolution of customers who drift in as the day twists down to its nub.
• Read a paper, sure. A book is good too. Crack the spine and lay it flat on the bar. Read, don’t pretend to read.
• Don’t eat. Drinking alone is not about buffalo wings.
• Look up often.
• Jukeboxes are an acceptable diversion, though don’t ever select Cat Stevens when drinking alone.
• If a friend happens in, do not demur. Instead, take it as an irrefutable signal that the meditative event of drinking alone is over. You aren’t alone anymore. Buy him a drink and, after a reasonable juncture, leave. Give him what you came in for. A little solitude, with liquor. There’s no shame in it.
Sketches Due: Feb 2
Final Due: Feb 9
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