I am a professional illustrator, providing illustration for books, magazines, posters and (rock band) merchandize . I also storyboard for film, tv, video games and tv ads. Teaching is just something I enjoy doing. More about what I can give, rather than what I can take.
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
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.
Here we have the face lit from
...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.
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.
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.
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
email@example.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.
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.
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.
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
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.
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.
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 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?