September-December Week 10 13/12/10

Exercise 5 Part 2
For those of you wishing to complete , revise or redraw the final exercise of this term here is a recap.
For those of you who missed last weeks class on 7th December, this post provides a conclusion to the exercise that began in last weeks post.

Step 8
In the previous post the light source was established, in this case from below, and the appropriate shading was applied.
You will notice that the drawing has been adjusted. The dragon's wings are now fully extended and the ground details have changed slightly. The ground is now made up of broken rock and molten lava, creating the main source of light.

Step 9
Here the darker areas have been blended in with the lighter areas by carefully smudging the layers. If you are planning on doing the same, make sure the tissue is clean or if you are using your fingers, make sure they aren't greasy, or it will produce a grease stain that will be near impossible to remove.

Step 10
Once you have finished shading and blending, create the final highlights using an eraser and tidy up the outer lines, giving more definition to your figure work.

Feel free to e-mail me your results at flameboy_1@ntlworld.com or post them on facebook and I will comment back.
Have a great Christmas and it will be great to see you all next year.

September-December Week 9 07/12/10

Exercise 5
This exercise will incorporate composition, figure drawing, lighting and storytelling.

As always with these exercises, I began with a series of thumbnails to help decide the point of view of the image.

Although thumbnail 1 (above) is very dynamic and intense, I felt it was not going to allow you to develop other areas such as landscape and a narrative, so I pulled back for a wider shot.

In thumbnail 2 (above) we can clearly see that the hero battling the beast has ended up on the top of a ruin of which there is no easy escape and we can also see the terrain he has battled through, and also there is evidence of  possibly, previously failed attempts at slaying the beast..
With his composition, the image can also be cropped tighter to cut out the landscape and give a shorter narrative.

I also considered the benefits of the dragon having his wings wrapped around the battle area or fully splayed out.

I will leave it to you which version to follow. You will notice further down that I have drawn the wings folded, but I have since decided to have them fully opened, so if you decide to do otherwise, refer to the thumbnail. Part 2 of this exercise will show the revised wings.

Step 1
Loosely sketch out the rough shapes that compose the image.
It may help to draw a faint vertical centre line to help balance the shapes.

Step 2
Still keeping the line work loose at this stage, sketch out the limbs of the dragon and mark out the spiral steps.

Step 3
Try not to rush the steps as this could spoil your drawing. Take time to plot them. They don't have to be technically precise, because they are part of a ruin and show decay, but they want to look convincing so keep the spaces in proportion.
I have also added a rubble of skulls and bones as a device to lead the viewer into the scene. This however is optional.

Step 4
Here the dragon has been defined.

Step 4 (Detail)
Here is a blown up version of the warrior so you can get the muscle detail.

Step 5
Now establish the light source.
In this case the light source is from below.

STAR STUDENT OF THE WEEK

 I am very impressed with Vanessa's work this week.Vanessa, I wish you had the confidence to produce more of this work in class. I know you have it in you to produce this standard of work every time. Please keep believing in your ability to do this.

September-December Week 8 30/10/10

Exercise 4 Pt 2

Step 8

Once the basic line work for the drawing has been created, it is a good idea to review the work in order to make any last minute changes. At this stage the Faun’s horns have been reconsidered and mystical chart diagrams have been added for interest. The charts are loosely based in magic circle and astrology charts but with a bit of artistic license thrown in.

Step 9

The main light source for this drawing will come from below so everything towards the top will be dark and the highlights will appear on the lower parts of the figures. Before the background shading is created, the lighting for the main figures will be established.

Step 10

Once the light source has been established, the background tones can be applied.

Step 11

Some mid range tones have now been added by gently shading in and around the white areas and blending into the darker areas.

Step 12

Darker areas are now strengthened by adding an extra layer and also some harder lines for definition.

Step 13

A stronger, crisp hard line has been added to the outline of both characters to help define their shape against the various tones of shading.

Step 14

Strengthen the line work using the magic charts by carefully running a pencil over the top. Make sure the point is sharp. A HB should be adequate for this part.

Step 15

Add highlights by using a fine edged eraser and carefully erasing areas where the light would fall.

September-December Week 7 16/11/10

I know that most of you (if not all) got everything down so I'll just post the final stage for the first part of this exercise and some of the reference for the faun's horns.

  

If the reference material of the ram's horns inspires you go a different route then feel free.

Most impressed with Sarah's dragon figures. Check her out on http://www.facebook.com/album.php?profile=1&id=117994084904059#!/pages/Sarahs-Arty-Bits-/117994084904059

Bumper Blog (Backdated to April 2009)

• Sept/Dec Course 2010 - 9th December Pt 2

  In the second part of this weeks blog we'll look at applying single source lighting to a figure.

  
  

  The first couple of pictures take you through constructing the figure.

  

  

  
  

  I guess this is kind of standard daylight. The main light source coming from the left.

  

  
  

  Here we have lighting coming from below

  

  
  

  This image shows the figure in moonlight. The moonlight is simply catching the outline of the figure leaving the larger part of the body in shadow.

  

  

  
  

  Although these sketches are in pencil, maybe try these exercises in ink as it will produce a cleaner contrast.
• Sept/Dec 2010 Course Week 6 09/11/2010

  Lighting

  Before we move onto the exercises from week 6, let's look at Mike Mignola's drawing of Hellboy's Abe Sapien.

  

  
  

  This is a good example of a single light source. Notice how Mignola is not conerned with showing every detail of the figure and allows the areas in the shadow to blend into the background. Also look at Frank Miller's Sin City work for similar examples.

  
  

  Here is a more detailed Study of the head from week 4&5's exercise.

  
  

  The first few images will run you through the construction of the head.

  
  

  Step 1

  

  
  

  Step 2

  

  
  

  Step 4

  

  
  

  Here we have the face lit from

  
  

  the side...

  

  
  

  ...from above...

  

  
  

  ...and from below.

  

  
  

  These images are not complete as I have not finished the hair. These images are mainly focusing on the face with an indication of how it will affect the hair.

  
  

  Part 2 will be posted tomorrow.

  
  

  
  

  DON'T FORGET!!!

  THOUGH BUBBLE FESTIVAL    18TH-21ST NOVEMBER

  http://www.thoughtbubblefestival.com/full%20programme%20new.asp

  HAVE YOU GOT YOUR TICKET YET?

  
  

  LOOK OUT FOR:-

  JOHN ROMITA JR MASTERCLASS 13.15-14:30

  LEEDS ART GALLERY, HENRY MOORE ROOM.

  
  

  DIDIER CRISSE WILL ALSO BE THERE AMONG OTHERS

  http://didier-crisse.blogspot.com/

  

  
  
  Week 5 02/11/10 Tutorial 3 Pt 2
• Here is a brief recap of part 2 of tutorial 3.

  
  

  1. Apply the background before shading the figure. This will help you decide where best to add highlights when you begin work on the girls costume and hair etc.

  

  
  

  2. Using an eraser, cleane up the web threads.

  

  
  

  3. When shading the hair, use soft strokes first to create a mid range tone.

  

  
  

  4. Apply darker strokes over the lighter areas to build up darker tones. Try not to press down too hard.

  

  
  

  5. Carefully apply a thin crisp outline around the highlights to add definition to the figure.

  

  
  

  6. Here is the finished piece.

  

  
  

  7. If you have any graphics software such as photoshop or coral draw, you can have fun by scanning the drawing and adjusting the contrast and colour tones.

  
• F/A Sept-Dec 2010 - week4 - 19th Oct

  Ok,as I am mega busy this week, this will have to be  a quickie.

  Good work tonight from everyone.

  Here is a recap of where you should be with this exercise.

  
  

  

  
  

  
  

  Here's an outstanding work from  Orazio, Simon and Stacey.

  
  
  Orazio
  
  
  Simon

  
  

  
  
  Stacey.

  
  

  Good work. Keep it up.

  
  

  No class next week. Swarthmore will be closed for half term.

  See you all again on 2nd November.
  
  

  F/A Sept-Dec 2010 - week3 - 12th Oct (Part 2)
• 
  Really impressed with  Orazio and Sarah's work this week.
  

  One of Orazio's  latest pieces shown below kind of evokes that 50/60's pulp sci-fi cover that has influenced movie posters and comic book covers.

  Also there is almost a kind  of Frazetta feel to the composition.

  
  
   

  Oarazio

  
  
  
  Frank Frazetta
  
  
   

  Frank Frazetta

  
  
  
  
  
  Anyone interested in pulp sci-fi should check out  this guy on ebay

  http://myworld.ebay.co.uk/momtix/

  he usually has something interesting for sale.

  
  

  Some promising new students this term. I really  like  Sarah's work, she has a nice bold style and good use of colour.
   

  
  

  Stacey has a nice clean style and an eye for detail. I am looking forward to seeing some good developments in her work.

  
  
  

  • 15 Oct 2010

    F/A Sept-Dec 2010 - week3 - 12th Oct

    Ok, so, first blog of the September course. It feels like ages since I last blogged here.
    

    So, as promised, here are some images  to refresh your memory regarding the stuff we discussed and practised in week 3.

    
    

    
    

    Bruce Timm is an excellent artist to study when wanting to break the female form down into basic, easy to absorb, shapes.

    
    
    
    
    and of course, the master, Frank Frazetta.

    You will learn a lot from studying Frazetta's work. If you can't afford a book that collects his best work(and you should be able to the way amazon are pricing stuff), then download some  images from the net, but do not underestimate what you will learn about figure drawing, composition and colour, from this man.
    
    
    
     And finally, here are some practice sketches.

    
    
    
    
    
    
    
    
    
    
    
    
    

    If you can, try to get some practice in before next tuesday.

    Have fun.
  • Tribute To Kurt Cobain

    
    

    Tribute To Kurt Cobain

    A book came out  early this year which is a collcetion of drawings of Kurt Cobain drawn by professional and amateur artists (but all geniune fans) from around the world. There is a particularly excellent drawing from renowned comic book artist, Bill Sienkiewicz. The book is only available from the guy whol put the whole thing together. His name is Benedict Quilter and he can be contacted here:

    Quilters@Clear.Net.Nz  which I believe is his father's bookshop

    and here,

    benedictlovesrea@hotmail.com  which is his personal e-mail address

    As you will see from the pics attached, I drew the cover (and I also wrote the intro).

    

    
  • WEEK 8 - 6th JULY

    LAYOUT AND COMPOSITION
    

    
    

    Due to shortage of time this week, I only have time to throw up a handful of images  to enable you to finish this weeks exercise. But as you all worked  so hard  during class and managed to get most of this exercise down, I think this is all that you will need.

    
    

    Here are a few reference pics

    
    
    
    
    
    
    
    
    

    
     

    
     

    
    
    
    
    
    
    
    

    
    

    
    

    Here are the original thumbnail drawings.
    

    
    
    
     Here are the pencil, ink and colour stages.

    
    
    
    

    
    
    
    

    
    
    
    

    
    

  • WEEK 6 & 7 - 15th -22nd JUNE

    As promised, here is a recap of the last exercise covered during week 6 and 7.
    

    I am not going to go into any great detail here as I know you have already got the guts of this illustration down already. These images are purely reference for those of you who needed extra time to finish your work.

    
    

    The Inspiration

    
    
    
    
    
    
    

    
    

    Step 1

    
    
    
    

    
    

    step 2

    
    
    
    

    step 3

    
    
    
    

    
    

    step 4

    
    
    
    

    
    

    INKING

    
    

    For those of you who are going to ink their final piece, here is one example of how the tones break down into  hard contrast black and white.

    
    
    
    

    I you study the image carefully you will see that the lighting is still the same  but with the contrast turned up full to bleach out all the subtle tones. The buildings in the background are the only parts that have been changed so that they stand out against the black sky. Of course , if you want to add more mid range tones, you  

    can achieve this by cross-hatching as discussed in class.

    
    

    Remember the exercise from week 5?

    
    
    
    here is an inked version. Again, the original  pencil  work has had the contrast turned right up  but some tone is still there by way of hatching.

    If you look at this drawing from bottom to top you will notice that  it breaks down into, dark, light, dark, light, dark(top hat).

    This is achieved by separating the light and dark areas into an ordered balance   that gives the drawing a sense of shape and weight .

    
    

    
    
    notice that in the Alice Cooper drawing, all the solid blacks are central, giving balance to the image.
  • outstanding!

    I am very impressed with this amazing piece of art produced by Felix Shen .
    

    
    
    
    
    June 16, 2010 - Wednesday - part 2
  • As promised, here is part 2 of the recap of this weeks class.
    

    This exercise was (as you will recall) inspired by Mike Mignola's H.P. LOVECRAFT drawing shown here.

    
    
    
    Mignola is a master at conjuring up  weird and supernatural images.

    
    

    Here is a recap of the second exercise. 

    It may help to study the tentacles of an octopus before beginning your drawing.

    
    
    
    
    
    
    

    Also, I grabbed an image of Gary Oldman as Dracula as reference for the clothing.

    
    
    
    

    
    

    step1

     

    
    

    step2

    
    
    
    step4

    
    
    
    
    
    
    Have fun!
    
    
    
    
    week # 5 : 15th June 2010
  • Here is a recap of the first of 2 weeks where we will be looking at animal characters acting with human characteristics.
    

    Before  you study the tutorials, take a few moments to consider the excellent examples discussed during class. Maybe venture down to your nearest comic book store and but a few.

    
    
    David Petersen's, Mouse Guard

    
    

    
    
    Hip Flask

    
    

    
    
    
    

    The very excellent Herobear by Mike Krunkel

    
    

    Here is a recap of the first warm up exercise.

    remember , it is always best to spend some time studying the animal you intend to humanise so that you don't lose it's identity within the human characteristics.

    
    
    
    
    
    
    

    
    

    step 1

     

    Although this is very much a human stance, note the proportions of the limbs are more relevant to the chosen animal  rather than that of a human.

    
    

    Step 2
    

    step 3

    

    
    

    step 4

    
    
    
    step 5
     

    
    

    step 6

    
    
    
    
     part 2  will  be posted tomorrow.
    
    
    
    
    
    
    

    
    
    Bumper Half Term Blog Post
  • Week 3 - 18th May
    Here are the final steps to completing the tutorial from week 2. As you will see on these drawings, I have now completed the unfinished arm.
    
    Step 1- After adding the hair now add the garments and horns. Notice how the horns are kept to simple curves (nothing too complicated) and how they look symetrical. Keep the lines for the garments simple, you can make clothes look messy if you try and over-complicate the creases and folds.
    
    
    Step 2 -Add shading to the contours of the body. I have put locks of hair down the front of her body but you will notice on the inked drawing I have chosen to remove these, but if you would prefer to leave them in then do so.
    
    
    
    Step 3 -
    the pencil work is blended by smudging and highlights added with an eraser.
    
    
    
    
    Step 4 -
    There are many ways to ink a drawing, this is just one of them. For this one I have simplified the detail into simple line work and sold flat areas, but another satisfactory affect could be achieved by hatching.
    
    
    
    
    Week 4 - 25th May
    Before you attempt this tutorial, have a look at the video below
    
    
    Step 1 -
    Here you have a choice of either following the traditional stick man method or loose sketching.
    
    
    
    
    Step 2 -
    
    
    Step 3 -
    
    
    
    Step 4 -
    Here is a detailed breakdown of the hands for those who are finding drawing hands difficult.
    
    
    
    Step 5 -
    
    
    
    Step 6-
    
    
    
    Step 7 -
    
    
    
    Step 8 -
    
    Notice how the trees and branches are used to frame the main focus point of the drawing.
    
    
    
    Step 9 -
    Remember how you were shown the grid that just about every book cover and poster follows for composition and layout? The grid here is a bit irregular, but you get the point, yes?
    
    
    
    
    
    
    

    • 15 May 2010

      April 2010 -week 1&2 tutorial 2 - FIGURE STUDIES

      Here is a recap of the first part  of the tutorial from week 1.
      This drawing was produced on a sheet of A4, which is not ideal for drawing a full figure breakdown and to get the face at a size you can work from, so the legs and a hand are run off the page. This is an ok thing to do if you are making the torso the main focus, and in this exercise, that is the main point, to capture an expression and attitude inthe pose. 
      Before you go on to the breakdowns, take some time to study these amazing drawings/paintings by Frank Frazetta, who saddly passed away last week. Frazetta has left a wealth of information in his work that you can learn just by studying it.
      
       
      
      
      Notice how Frazetta captures the curves of the female form and note the simplicity of the face . Notice how a simple sketch can communicate so much atmosphere.
      
      
       
      
      Now study the easy to follow steps breaking down this weeks tutorial.
      As in the hte class, I have produced this tutorial as a split screen, one for those who find the stripped down stick figure easier to follow and a looser sketch version for those who prefer that method.
      
      step1
      
       
      Notice thecurve of  thespine and the angle of the hips.
      
      Step 2.
      
       
      
      
      Step 3.
      
      
       
      
      Step 4.
      
       
      
      
      Step 5.
      
      
       
      
      Until you become confident in drawing a mass of hair try grouping it intosoft flowing shapes. Once you have mastered this  you can move onto more detailed studies.
      
      Part 2 will be covered during the next class. 
      

    • End of course tutorial post

      For those of you who missed the last week of January's course, or just need more time to catch up, here is a condensed version of the final tutorial.
      
      1. Elektra
      
      Try to establish the energy and movement of the action with a loose sketch.
      Then over the loose sketch refine the anatomy and establish facial expression.
      
      2. Orc
      
      Remember what was said about shapes being the foundation for action and composition. Here all the action and composition is formed within a triangle.
      
      The action and energy for this drawing was achieved by doing a very quick thumbnail sketch. It is good practise to produce quick, rough sketches of your drawing before you commence your final drawing.
      
      

    • Week 9 - 16th March 2010 - foreshortening

      Good work everyone. I think you all grasped the point of this exercise very quickly. Well done! For those of you who neede reminder of the last  few stages so you can finish your work, here are 4 key stages from towras the end of the exercise.
       step#7
      
       
      
      
      step#8
      
       
      
      
      step#10
      
       
      
      
      step#11
       
      
      although you can clearly see the main light source in the picture is coming from behind the fiure, I have used a secondary light to highlight the features of the face and parts of the body and feathers.
      
      

      Week8 - 9th March 2010 - art as an emotional response

      This is going to be a short , minimalist blog this week due to my heavy workload but fortunately as discussed in class, I want to see your version of this and not an exact carbon (ok then, graphite or ink) copy. Remember that the heads do need to be angled in opposite directions in order to get the faces to fit/interlock in a passionate kiss. If in doubt practise with your partner (the kiss that is, not the hooks and chains thing), and if you encounter any opposition, tell them it's for art's sake (I repeat, I'm talking about the kiss).     this is the completed pencil drawing for those who require it, but I am hoping to see some more  inventive versions from you all by next week.  

      Week 7 - 2nd March 2010 - drawing hands - part12

      Here is the second part of this weeks blog post. This image was chosen because of the expressive hands. The drawing is really very simple, but it's the hands and the face that are doing the most communicating. I am not going to post every step of this exercise as most of you made good progress during class and also because I really want you to focus on the hands and get those right.  If you get stuch, refer back to part one of this blog (below). part#1   step#2 ok, here's the important part of this exercise, so focus on the limb proportions, size, width and the action.   step#3   step#4   step#5   step#6   have fun!

      • Week 7 - 2nd March 2010 - drawing hands - part1

        As a number of you are still experiencing difficulty in drawing hands the way you want them to look, I  thought it would be good to post another blog (I did post a brief one some time ago) focusing on this subject in the hope it will move you forward a little.
        When experiencing difficulty drawing any given object, whether it be a machine, animal or human, it often helps if you can break the object down into manageable chunks, and the hand is no  different. 
        Look at the diagram below and study the shapes that break down the hand.
        fig.1
        
         
        
        The palm is essentially square shaped (it is also curved whereit joins the fingers but we'll look at that later), the fingers break down into 3 short cylinders and the pad that joins on the thumb is a triangular shape. 
        
        fig.2
         
        
        when drawing the skin, study you own hand for reference.
        notice how the skin does run run tight to the breakdown shapes. Adding  flesh, muscles and nails over the shapes creates new softer curves.
        fig.3
        
         
        now erase your construction shapes and you should be left with a well formed hand.
        Remember earlier I mentioned the curve of the palm where the fingers join?
        well study the diagram below and then study your own hand. 
        
         
        
        Do you see the curve in you own hand?
        
        here is a breakdown of the back of the hand. While you are getting used to drawing the breakdown shapes don't be worrying too much about the curves, as this can be adjusted later once you have the pose you require. If you can manage the curve and it does not throw you, then  all the better.
        fig.4
        
         
        fig.5
        
         
        
        
        fig.6
        
         
        
        
        and here is another view.
        
         
        
        
         
        
        Try drawing your own hand. The more familiar you become with the shapes and curves, the more skilled you will be come at drawing hands.
        For those of you who are waiting for a recap of the wizard, I will hopefull be posting that tomorrow.