Monday, May 22, 2017

Character Design Continued


The key part to character design is again ...STORY! That will shape how your characters feel, sound, and appear.


It is helpful to imagine real life counterparts to your character design.


Part of your character design is testing out elements that help shape the character's personality.

Helping to depict challenges for your hero to overcome can make your character a lot more interesting.




Also, remember that the accessories that your character has should be story relevant. Make your element's count.


Once you have accounted for these elements, and they harmonize you will be amazed how your characters come together.


Make sure that you use really good reference...GOOD REFERENCE MAKES GOOD ART!


Rubric for your final character design project...

First develop a story. Your story maybe a continuation of a story that already exists, but must contain original elements. This is not copying something that already exists, but creating something new, or developing an original progression.

Second, you will need 3 characters and two accessories.

It is recommended you start with the protagonist, then the antagonist, and then a supporting character. 

Your accessories need to somehow be very story centric. They need to matter for the story progression...think excalibur for King Arthur, or a lightsaber for Luke Skywalker, or the Burn Book in Mean Girls.

NO GUNS!!!

What will be graded.

1. Story Presentation
2. Character Designs
  • Good underlying silhouette.
  • Gesture development...does it sell their story? 
  • Costume...well referenced

3. Accessories
  • Story Relevance
  • Clear relationship to the characters
  • Well Referenced

4. The basic Art Aesthetic Standards outlined in the Syllabus

Sunday, May 7, 2017

The Human Face: The mouth


Before we start drawing the mouth we need a quick measurement of the whole face.


It's important to note that when you draw out your basic guidelines that you should intend to erase them... especially your initial oval for the face shape. Remember it's what in the inside that counts. So in order to have your final face shape you'll need to draw the eyes, nose, and mouths first.

The measurements above give you basic anatomical guidelines to approaching the face. So far we have learned how to draw the eye and the nose. You cannot find where to draw the mouth until you finish drawing the eyes and nose. The eyes should be one eye apart.

In fact, the eyes can be used as measurement for the entire face. The face is actually 5 eyes wide. The space from the bottom lip to the chin is one eye. So in order to find where to draw the mouth will be dependent on the eyes.  The mouth actually fits between two pupils. So in order to draw the mouth on a face you will need to draw both eyes first.


See how the mouth lines up to the pupil?

Above is a basic drawing tutorial for drawing the mouth. Notice the upper lip is darker than the bottom lip? This is because most light sources such as lamps, ceiling lights, or the sun are above our heads.


An open mouth can be trickier sometimes. It's critical that you find the centerline of the face in order to start drawing the teeth. Also, note that the upper teeth are larger than the bottom teeth.


The mouth can come in a variety of shapes.


Always remember that mouth, eyes, and nose are connected to a skull underneath.



Here are some more sketches that can be helpful for your face studies.














The human face: The Nose


Noses can be problematic.


The nose here looks like it was flattened by a mallet. You don't want a nose like this. So what do I suggest? Grab the end of your nose. You should feel a ball. When you begin drawing a nose my best advice is to start with a ball.

Now what makes drawing a nose so difficult is that are no lines on the face that define the face. What makes us see the nose is value. So how we see a nose on the face is entirely dependent on light. Once we find the cartilage ball we can determine how light is hitting the rest of the face. 

Below are some great nose drawing notes.


Once you get a good understanding through some practice you can start moving the nose around on the face.
Here are some advanced visual nose construction notes. This tutorial focuses on the geometry of the nose. Notice instead of finding the ball first, these notes focus on the planes of the nose.






The human face: The EYE


This week we are furthering our study of the human face. One the first things people are drawn to (excuse the pun) are the eyes on the human face. The eyes tell us a story.


It's important to understand a little bit about the anatomy of the human eye.


The key areas for us to understand as artists are...

  • Pupil...This is the part of the eye that allows light in. It is the darkest part of the eye and adjusts based upon the amount of light and emotions. The more scared one feels or angry the smaller the pupil becomes. The more loving or happy someone is the larger the pupil.
  • Iris...This is the part of the eye that has color. This will differ from person to person. Typical colors are brown, hazel, blue, and green. However, these colors will very greatly depending on a variety of factors. First, not all colors have the same vibrancy from person to person. Also, metamerism may effect how the color appears. Metamerism is how light effects a color.
  • Sclera...This is the not white part of the eye that is a very light flesh tone.         
  • Reflected light is how we know the subject is alive. The reflected light gives the subject a soul. The reflected light also is a byproduct of the moisture that eyes naturally have.


Above and below are some good notes for drawing eyes.


Here is a good practice eye that if you draw you can earn extra credit for.





Friday, April 28, 2017

Introduction to Color Theory!


 Color can be very complicated. So it is important to understand how we see color. 


We all need the same thing to see color... light! This is why when artists say, "Value is more important color." What we are talking about is the value of the light source. How bright is the light? Without light you can't see color at all. There are varying degrees between full lit and darkness that affect our ability to see color. 


The rods in our eyes are sensitive to light and dark, and the cones are sensitive to color. Males tend to have more rods in their eyes, and females tend to have more cones. So ladies please forgive us males if our color choices are strange. In fact, men are much more likely to be colorblind that females. Some estimates have 1 out of 12 males being somewhat red/green colorblind.

Ok... so what does this color blindness look like? Why is it important to art? Many famous artists are color blind who use color. We will explore that later, but what do they actually see?




It is important that light can damage your cones and rods which is why you should not stare directly at the sun. Every time you blink you are essentially rebuilding your cones and rods. If spots continue it could be indicative of permanent eye damage or serious illness. 



So while our cones and rods act as the receptors it's very important to recognize what enables us to absorb light into the cones and rods. That is the function of the pupils. The pupils are the darkest part of the eye. The reason the pupils are black is that black absorbs more light than other types of color. Black is really not a physical color but a description of all the physical colors combined. So if you took all the colors in your color pencils or paint in your box and mixed them together you would get a black. We also know black absorbs more light by walking from the beach on to asphalt. Asphalt will be hotter than beach sand because it is dark it absorbs more light. 


Pupils also serve an emotional purpose as well. The larger the pupils appear the more loving or accepting someone will appear. The smaller the pupils the person or animal will appear angry or frightful. Our pupils contract not only to allow light, but show how we feel. 


It's important to break color up into three descriptions...

Hue is the name of a color.

Saturation is the amount of a color.

Value is how light or dark the color is. Again, value is the most important element of color!

This is your basic color wheel with a basic description of hues.


A more advanced color wheel will explain how colors are mixed, temperature, and compliments and analogous colors. 

Complementary colors are opposites on the color wheel. 



Analogous colors are colors that share a relationship on the color wheel due to proximity. For example, red, red violet, and blue violet would be analogous colors. Think of analogous colors as the friends who would hang out because they have something in common. 

Primary colors for example can't be mixed, but are used create secondary colors. 


Again keep referring back to the color wheel. 



The beauty of color theory while it's rooted in very sound theory observing it is always evolving because light is always changing. So you can never get bored with it! It's like a radio station with a new hit song every time. How cool is that?