ART 222 Illustration Materials and Techniques



Fall 2012 ART 322A Illustration I

Instructor: Laurel Long Email: laurel.long@csun.edu

Office hours: Monday, Wednesday 5:00-6:30pm Office/Classroom: ACD 506/507

Catalog Description:

Prerequisites: Art 222, Art 200. Basic principles and practice of publication and advertising illustration. Projects emphasize conceptual problem solving, composition and the development of personal style. Projects are designed for inclusion in a professional portfolio.

Course Description:

This is an introductory course in the study of Illustration as an art form and profession. Emphasis is on the development of conceptual problem-solving abilities, technical skills, self-expression and personal style. These skills are equally important for the creation of fine art and graphic design. Types of illustration include:

• Editorial Illustration: For students interested in contemporary culture who possess a consistent and distinctive approach and graphic sensibility. Relevant to: advertising, magazine, newspaper and book publishing.

• Children’s Market Illustration: For students with a love for storytelling, character and design appropriate to children. Relevant to book and magazine publishing, advertising and licensing.

• Visual Development Illustration: For students whose exceptional skill in drawing, painting, color and perspective is combined with a love for storytelling, character, atmosphere and narrative environments. Students prepare for a career in animation or film.

• Illustration for Motion: For students interested in storyboarding and motion design and who can work collaboratively on motion pieces fit for advertising, music videos, retail environments and public service announcements.

• Licensing/Merchandising/Packaging: For students who possess a 2D and 3D design sensibility. Relevant to products: home goods, apparel, toys, gifts, stationary, skateboards etc.

• Fine Art Illustration: For students seeking to adapt their illustration skills to a gallery environment. Emphasis is on self-direction, concept and originality.

Art Department Program Goals Addressed in this Course:

• Basic Skills: Developing a foundation of art knowledge, theories, skills, craftspersonship and technologies, where ideas and concepts are communicated in writing, speaking and art making.

• Art Knowledge: Broadening knowledge of ancient through contemporary art and to develop an understanding of art within theoretical, cultural, and historical contexts.

• Critical Thinking: Analyzing, interpreting, and questioning traditional methodologies and pre-conceived notions of art and art making through the process of generating and solving problems.

• Interdisciplinary Connections: Exploring and engaging in interdisciplinary forms of art making.

• Global Perspectives: Promoting an appreciation and tolerance of diverse perspectives dealing with art, culture and learning.

• Collaboration: Encouraging both individual and collaborative art experiences among students, faculty, and community.

• Professional Preparation: Developing career paths for various art professions and an understanding of the demands and expectations of those areas.

 Student Learning Objectives:

• Recognize and apply practical and theoretical concepts in creating portfolio quality illustrations

• Acquire knowledge of and apply the elements and principles of design and illustration.

• Utilize illustration knowledge, theory and skills to the creation of art by inventive personal vision and process.

• Acquire knowledge of contemporary and historical art and illustration movements.

• Demonstrate knowledge of fundamental illustration concepts and techniques for self-expression and effective visual communication.

Professional Practice and Plagiarism:

.

Classroom rules

• Cell phones must be turned off or put on vibrate. Phone talking or texting in class is not allowed.

• No headphones. • Laptop use for course assignments only. No laptop use is allowed during lectures.

Missed Class Policy: Lectures and demonstrations cannot be repeated. Contact another student in the class for missed information.

Name________________________________________ phone/email_______________________________________

Attendance Policy:

Attendance is required. The following will be applied in determining the final grade in the course.

• Three absences are allowed without penalty. More than three absences will result in a lower final grade in the course.

The three allowed absences are given for illness and other unavoidable events. A doctor’s note will not excuse more than three absences. If illness requires more than three absences, a medical withdrawal from the course is recommended.

• Roll is taken every class. Late arrivals and early departures will be counted as absences.

• You may ask at any time for your attendance and grade information.

Grading:

Project Grading is based on:

• Projects are graded on the basis of demonstrated knowledge of course content, effective and ambitious solutions to problems, preliminary work, technique and presentation

• Projects not complete on due date will be lowered ten points.

• Preliminary drawings not complete on deadline will lower the final project grade by ten points. Preliminary drawings must be scanned or large and clear enough to be hung up for presentation deadline.

• Unpreparedness and projects that are not worked on during class time will lower the final project grade by ten points.

• Assignments more than one week late will not be accepted.

• Assignments can be revised and resubmitted for a higher grade.

• You have until the next class after due date/ critique to revise work for final grading.

• Effort: Some techniques take longer than others. If your technique is quick then you will be expected to complete more than one illustration per assignment.

Grade Point Scale

89, B = 83 – 86, B- = 80 – 82, C = 73 – 76,

C+ = 77-79 C- = 70 – 72, D+ = 67 – 69, D = 63 – 66, D- = 60 – 62, F = 0 –

FINAL GRADING CRITERIA: see Project Grading Rubric

1. Evidence of preplanning and research

2. Use of art elements and principles

3. Creativity and exploration

4. Ideas and communication

5. Craftsmanship, skill and presentation

Preliminary Work for Illustration Projects:

1. Thumbnail sketches

2. Preliminary drawings

3. Research and visual reference

Assignment #1: Media, Style, & Design Explorations

LEARNING GOALS

1. To reinforce the most fundamental skill of illustration—drawing.

2. To learn new ways of coming up with ideas and to increase creativity.

3. To experiment with a variety of approaches to design and technique.

4. To strengthen knowledge and application of design principles.

5. To practice using a variety of wet & dry media to create original imagery.

6. To gain a foundation of experience with media, style, and design that can be carried through

to all future illustration assignments.

OVERVIEW

These assignments involve variations on a theme. Your theme will evolve from selecting 2 subjects that you would love to draw & paint. The subjects can be an object, person, animal, plant, vehicle, etc. that you can collect photographic reference for. (NO licensed characters, no manga, letters, numbers, symbols, NO overly familiar imagery or subjects such as bearded wizards, iconic rock star photos, sexist images…) See trite Imagery list at the end of the syllabus. Imagery to consider: Plants, anatomy, flowers, human, machinery, marine life, insects, birds, fruit, vegetables, animals, architecture…

You will create 6 unique illustrations that will combine 2 subjects in different ways using a variety of different media techniques, styles, and designs.

*Tip: It will help if you pick 2 subjects that are connected in some way—related or opposite.

•Examples of related items:

1. Famous person and object: Edison & light bulb, Babe Ruth & baseball, Martha Stuart & rolling pin

2. Items that work together: bird & nest/tree/cage/egg, cat &yarn/toy, insect & flower/sky/plants/fruit/anatomy,

tree & apple/ monkey/snake, water & fish/boat/shell

3. Two subjects from a story: princess & pea, jack & beanstalk, frog & crown, bunny & egg

•Examples of opposites:

1. Animate/In-animate, Man-made/Nature, Alive/Dead, Large/Small, Soft/Rough, Wet/Dry, Fat/Thin

2. Objects symbolizing ideas: Life/Death, Good/Bad, Chaos/Order, Happy/Sad, Old/New, Rich/Poor

INSTRUCTIONS

1. Choose your theme

Select two subjects. Collect at least 20 photos for each of your two subjects from all different angles. Get as much reference as possible, print it out, and bring to class. If one of your subjects is an actual object then bring that to class. Take your own photographs when possible. This will make your art more original.

2. Sketchbook practice

Get to know your subjects: sketch each item at least 10 times from different angles & points of view.

Review any drawing principles needed to draw these items accurately. At this stage, do not worry about light and shadow. Use line only and make sure to DRAW THROUGH!

3. Thumbnails

Do 50 thumbnails combining your 2 items. Vary your format and composition. Refer to the “Media, Style, Design” chart to guide your idea making—some design themes are required. Make media, style and design choices that communicate your theme(s) and subject(s) effectively.

4. Refinements and Final Drawings

Refine the thumbnails that are most exciting to you. Use these drawings as foundations for your illustration. These drawings can still be in line only, unless the composition calls for tone.

5. Final Art Complete the final art for each of the 6 variations using different combinations of media, styles, and designs listed on the chart. Identify on the back of the final art the media, style and design used.

MEDIA, STYLE, AND DESIGN

-Bold, italicized attributes are required—those not bulleted are options.

-Mix and Match 3 attributes together (one from each column) for each of the 6 illustration variations.

-You can use each attribute up to 2 times.

-These media and techniques will be demonstrated in class. Style and Design examples will be shown.

| |STYLE |DESIGN |

|MEDIA | | |

|Graphite |Favorite Artist Style |Cropping |

|Pen & Ink |Historical Art Style |Scale Reversal |

|Acrylic |Fully Rendered Realism |Substitution |

|Oil |Contour, Expressive, Thick/Thin, or Hatching|Combine, Metamorphosis |

|Gouache |Flat Graphic Shapes |Shape Window |

|Colored Pencil |Silhouette |Action or Movement |

|Cut Paper or Collage |Cartoon |Positive Negative Reversal |

|Scratchboard |Distortion or Exaggeration |Hidden Image |

|Mixed Media and/or Digital |Geometric Shapes, Stylized |Exaggeration in Amount |

|Found Objects |Your Choice |Your Choice |

|Mixed: Ink Line and Washes | | |

PAPER AND BOARDS

One Strathmore 500 series heavyweight illustration board: rough (cold pressed) cut into equal pieces. Look for the embossed logo in the corner of the board. You can work on this board directly for all of your illustrations, or you can experiment with different papers and substrates. For example, watercolor paper, colored papers, handmade papers, wood panels, canvas, fabric, wallpaper, mat board etc. You can include hand made or store bought frames.

FORMAT & PRESENTATION OF FINAL ART

-Each illustration should be the same size and shape. However, you may choose your format and orientation (horizontal, vertical, or square).

-Flexible papers must be mounted.

-The Strathmore 500 series heavyweight illustration board must be cut accurately and with straight clean trim edges. Continental or Michael’s will cut the board for you.

-Do not paint or draw up to the trim edges. Leave a minimum ½ inch of margin from each edge.

-You may turn in high quality ink jet prints instead of original art if you like. Poor prints will not be accepted.

-You will be graded on your presentation. Make it beautiful and clean.

-All boards must have a tracing paper cover that is trimmed to the board size.

-All of your thumbnails, process sketches, photo reference, media experiments, failed attempts, etc. should be placed in a 12 x 15.5 inch envelope. Put your name on the top right corner of the each envelope. Do not seal the envelopes.

MEDIA GUIDE

Graphite

•Techniques Demonstrated: hatching, using hard, medium and soft pencils

•Draftsmanship: Continuous even tone and gradations. Consistent surface texture. Accurate proportions, perspective, ellipses, and drawing principles. Obvious light and shadow sides. FULL RANGE of values.

Create depth with hard/soft edges and dark/light tones. Avoid outlines.

•Craftsmanship: Clean rendering, no smudges, fingerprints, etc. Consistent graphite application.

•Communication: Darks, mid-tones, and lights arranged for clarity.

Pen & Ink

•Techniques Demonstrated: Hatching, crosshatching, stippling in a variety of line weights to create convincing value gradations, textures and three-dimensional rendering. Use of brush, pen, straw to create calligraphic, flowing, angular, straight, curved lines, splatters to create accidental effects.

•Craftsmanship: Confident, expressive line with variety in thick and thins. No bleeding into paper. Consistency in style…if using hatching, be consistent with how you apply it throughout the piece. Contours more bold than less dominant details. Any mistakes must be incorporated into the drawing, no corrections. Create depth with thick/thin, hard/soft, dark/light lines.

Acrylic Opaque

•Techniques Demonstrated: Brushwork to create rendered textures and gradations, layering, dry brushing, accidental effects, textures, distressing, flat painting. If brush strokes are visible, let them be appealing to look at and consistently applied to the whole piece. Create depth with thick/thin, Hard/soft, Dark/light.

Oil

•Techniques Demonstrated: Surface priming, imprimatura, under layer, glazing, ala prima painting, blending, palette organization and color mixing. Brushwork to create rendered textures and gradations.

•Craftsmanship: Clean rendering, Clean and harmonious color. If brush strokes are visible, let them be appealing to look at and consistently applied to the whole piece. Create depth with thick/thin, Hard/soft, Dark/light. Blended, smooth edges required.

Gouache (opaque watercolor)

•Techniques Demonstrated: Brushwork to create rendered textures and gradations, layering, dry brushing, stippling, accidental effects

•Craftsmanship: Solid opaque tones—no transparency. If brush strokes are visible, let them be purposeful and appealing to look at and consistently applied to the whole piece. Crisp clean edges.

Colored Pencil

•Techniques Demonstrated: Hatching and crosshatching to create convincing value gradations, textures and three-dimensional rendering. Color theory and layering.

•Craftsmanship: AVOID the COLORING BOOK LOOK! Use a consistent application of marks…either lines, cross-hatching, small circles, etc. Layer multiple colors. Keep a consistent amount of fuzziness or graininess. Create depth with thick/thin, hard/soft, dark/light.

Cut Paper or Collage

•Techniques Demonstrated: Clean cuts, tearing, adhering, use of x-acto knife.

•Craftsmanship: Clean crisp cut edges. No unintentionally jagged or torn edges. No visible glue, no fingerprints or smudges. Create depth with thick/thin, hard/soft, dark/light.

Scratchboard

•Techniques Demonstrated: Applying ink, additive and subtractive lines and tones to produce gradations, textures, lines and shapes. Clean cuts, tearing, adhering, use of x-acto knife.

•Craftsmanship: Clean, crisp line work. If ink is applied with brush…brush marks and lines flow together well. Create depth with thick/thin, hard/soft, dark/light line.

Mixed Media

•Techniques Demonstrated: Combinations of any media and techniques learned.

•Craftsmanship: Effective integration and combined use or two or more media.

Mixed Ink Line and Acrylic or Watercolor Wash

•Techniques Demonstrated: Washes: wet-to-wet, wet to dry to create convincing value gradations, textures and three-dimensional rendering. Brushwork to create rendered textures and gradations, layering, dry brushing, stippling, accidental effects. Color theory and layering.

•Craftsmanship: Readability; Don't let the washes become so busy that the line drawing is lost. Lost and found edges are ok, but don't let the drawing disappear completely into the washes. If ink is applied with brush…brush marks and lines flow together well. Other Pen and Ink craftsmanship criteria apply as well. Clean, not muddy color. Washes and textures that are interesting to look at.

Create depth with thick/thin, Hard/soft, Dark/light.

STYLE GUIDE

For all styles:

•Composition: Create an interesting arrangement of positive and negative space avoiding uncomfortable tangents. Repetition with variation in shape and size (big, medium, small), rhythm, focal point and balance.

•Communication: Clarity and readability.

Historical or Favorite Artist Style

•Draftsmanship, Craftsmanship, Composition, Communication, Creativity: Consistent with the influencing artist.

Fully Rendered Realism

•Draftsmanship: Accurate and precise rendering and realistic representation of three-dimensional shapes, forms, textures and proportions.

•Craftsmanship: Precise, controlled enough for accurate representation of the subject.

•Communication: Clear, convincing and readable.

Flat Graphic Shapes

•Draftsmanship: Similar to silhouette, except use a variety of values and colors. Realistic, Stylized, Geometric, Cartoon, or distorted flat shapes informed by strong foundational drawing.

•Craftsmanship: Precise, clean edges.

Contour, Expressive, Thick-Thin and/or Hatching

•Draftsmanship: Use any or all of the following: Linear/tonal/graphic/expressive- hatching, crosshatching, or stippling to create value gradations, textures, patterns or three-dimensional rendering. In a variety of thicknesses: flowing, angular, straight, curved marks, accidental marks, straw and splatters to create designed, graphic and spontaneous effects.

•Craftsmanship: Precise, clean edges

Silhouette

•Draftsmanship: Accurate contour edges; flat shape based on a precise structural drawing with correct circle and ellipse shapes.

•Craftsmanship: Precise, clean edges

Cartoon

•Draftsmanship: Simplification and stylization of reality appealing and fun to look at. Distortions or stylizations informed by strong drawing foundation.

•Craftsmanship: Clean, consistently rendered throughout.

•Communication: Easily readable with a fun message or story conveyed. Make us laugh.

Distortion or Exaggeration

•Draftsmanship: Distortions or exaggerations informed by accurate foundational drawing.

•Craftsmanship: Clean, consistently rendered throughout.

•Communication: Avoid distorting or exaggerating so much that readability is lost.

Geometric Shapes or Stylization

•Draftsmanship: Use templates and rulers to make curves and lines exact. Circles should be perfect circles; squares contain perfect right angles, and straight lines straight, etc.

•Craftsmanship: Clean, consistently rendered shapes.

DESIGN GUIDE

For all designs:

•Composition: Create an interesting arrangement of positive and negative space avoiding uncomfortable tangents. Repetition with variation in shape and size (big, medium, small), rhythm, focal point and balance.

•Communication: Use your design to communicate something—make a point, tell a story, or intrigue the viewer.

•Creativity: Something we haven't seen before.

Cropping

•Composition: Instead of just drawing your objects in the middle of the page with white space all the way around them, trying zooming in and cropping areas.

•Communication: Readability; we still need to be able to identify the items. A step further would be to convey a message or make a point.

Scale Reversal

•Composition: Make your small object big and your big object small. Better yet….make one HUGE and one TINY. Be careful that in reversing their scale you don't accidentally make them the same size in your composition!

Substitution

•Composition: Make your items switch places. Use one for the other, replace one for the other.

Combine or Metamorphosis

•Composition: Combine your items in some way. One could grow into the other. One could have a few characteristics of the other. Both items could be contained in one whole. Whichever combination you choose, try to make one item dominant, and the other subordinate in the combine instead of half and half.

Shape Window

•Composition: One item becomes a silhouette shape that is actually a window that we see the other item through. Feel free to add more elements than just the two items.

Action or Movement

•Composition: Items can appear in motion themselves OR shapes can be arranged in a way that the eye moves in a rhythm, speed, or flow.

Positive Negative Reversal

•Composition: Positive and negative spaces reverse, dark and lights reverse, or the positive or negative in one reverses into the other, or vice versa.

Hidden Image

•Composition: Hide one item within the other, or hide one image within a pattern of the other.

Exaggeration in Amount

•Composition: Exaggerate the amount of one item in proportion to the other

Illustration #2: Creative Problem-Solving

LEARNING GOALS

1. To learn new ways of coming up with ideas and to increase creativity.

2. To reinforce knowledge and application of media, style and design.

3. To build a strong conceptual skill-base.

4. To learn creative approaches for giving visual form to abstract concepts and ideas that can be carried through

to future illustration assignments.

OVERVIEW

This is an introduction to the conceptual strategies available to the visual artist, the crucial link between text and image, and. Particular emphasis is on matching form to content, risk-taking and non-literal thinking. The objective is to communicate abstract ideas using familiar symbols and to illustrate conceptual themes using visual metaphors.

Each of you will pick words from an envelope. Five pairs of words will be drawn for each day (Wednesday to Sunday). Use the methodology for creating ideas as outlined in the class lecture. Do thumbnails and one refined drawing for each word pair. On Monday’s class, the class will choose for each student one of the sketches to develop into a finished piece. Related to editorial, advertising, book. For methodology example, go to Nate Williams site at: wp/1937

INSTRUCTIONS

1. Brainstorming

Step 1: Get the dictionary meaning for your words. Word association: list all the ideas and images you can think of each of your words. For example: STOIC PASSION. Word 1: Stoic- nun, crash test dummy, statue, pope, scarecrow, philosopher, rock, Victorian Wright brothers, pillar etc. Word 2: Passion: red, flame, sex, turbulent water, heart, crucifixion, tears, artist, wind, stormy sky, Baroque etc.

Step 2. Combine images from the word association lists. For example: Scare crow and crash dummy having sex, proper Victorian Wright Brothers flying over choppy sea in stormy skies etc.

2. Thumbnails

Do at least ten thumbnails for each of the five word pairs. Vary your formats and compositions. Refer to the “Media, Style, Design” chart to guide your idea making. Make media, style and design choices that communicate your concept and subject effectively.

3. Refinements and Final Drawings

Do one clear, 8 x 10 inch drawing for each of the five word pairs that resolves composition and details. Present the five drawings to the class. Caption each drawing with the appropriate word pair. Refine the thumbnails that are most exciting to you. Use these drawings as foundations for your illustration. These drawings can still be in line only.

4. Final Art

Select one of the drawings for final art. Complete final illustration in size and medium of your choice.

RESEARCH

Nate Williams website (go to about then to articles then to ideas and methodology), Pol Turgeon, Tim Schneider, Brad Yeo, Craig Frazier, Max Grafe, Matt Mahurin, Istvan Orasz,, Brad Holland, Matt Mahurin, Maria Rendon, Greg Spalenka, Pol Turgeon, Noah Woods, Marc Burckhardt, Cynthia von Buhler, Marti Somers, Anthony Freda, Susan Tibbles, Brian Cronin, Jeffrey Decoster, Jason Holley, Rafal Olbinski, Anita Kunz, Brian Cronin, Rene Magritte, Dali, Max Ernst, De Chirico, Milton Glazer, Jason Holley, Brad Holland, Jon Krause, Jordan Isip, Olaf Hajek, Gerard DuBois, Colin Johnson, Cathy Gendron, Christopher Silas Neal, Richard Mia, Anthony Freda, Christian Northeast, A. Richard Allen, Mark Bender, Genevieve Simms, Anna Balbusso, Sam Weber, Edel Rodriguez

FORMAT & PRESENTATION OF FINAL ART

Any media or mixed media, two or three dimensional, digital option. The format, size and orientation are your choice. Digital art must be printed as high quality ink jet prints. All flexible art must be mounted. All boards must have a tracing paper cover that is trimmed to the board size. All of your thumbnails, process sketches, photo reference, media experiments, failed attempts, etc. should be placed In a 12 x 15.5 inch envelope. Put your name on the top right corner of the each envelope. Do not seal the envelopes.

Illustration #3: Portrait

LEARNING GOALS

1. To reinforce knowledge and application of media, style and design.

2. To build skills in the visual communication of complex ideas related to contemporary portraiture: identity and psychology.

3. To build skills in the visual communication of emotion and mood.

4. To give visual form to an audible art form.

5. To learn methods for using photographic reference effectively.

OVERVIEW

Create a portrait of a musician. Think creatively and symbolically. You can tell a story. You can create a mood. The portrait can be simple and direct or complicated and obscure. Create something original and personal. Connect directly with the viewer to communicate your thoughts and feelings about the subject and the music. The illustration should communicate the emotion, mood and style of the musician’s music, personality, message and style.

What makes art powerful and lasting is that it can communicate emotion, mood and ideas the way music can. Art also has visual rhythms that reflect musical rhythms. Consider Piet Mondrian’s painting “Broadway Boogie Woogie” which captures the rhythms of flashing lights and the jazzy beats of Broadway musicals. Related to editorial, advertising, book, entertainment.

INSTRUCTIONS

1. Choose your subject.

-It should be a musician that you have information about and whose persona and music you have thoughts and feelings about. to Collect at least 10 photos of this person and any other related imagery or background. Get as much reference as possible, print it out and bring it to class.

2. Sketchbook practice

-Listen to the music. Draw while you listen with eyes open and eyes shut. Try to capture the rhythms and sounds. Use color and black and white media. Use these music drawings as foundations for your illustration.

-Listen to the music and identify in writing the emotions, mood and ideas you want to communicate.

- Do tracings and drawings of your musician.

3. Thumbnails

-Do at least twenty thumbnails for your illustration. Vary your formats and compositions. Refer to your music sketches, and tracings/drawings of your musician. Refer also to the “Media, Style, Design” chart to guide your idea making. Make media, style and design choices that communicate your concept and subject effectively.

4. Refinements and Final Drawings

-Refine the thumbnails that are most exciting to you. Do one clear, minimum 8 x 10 inch drawing that resolves composition and details.

5. Final Art

-Complete final illustration in size and medium of your choice: Any media or mixed media, two or three dimensional, color and black and white, digital option.

RESEARCH

Joe Ciarediello, Jack Unruh, Edel Rodriguez, Yuko Shimizu, David Hughes, Marcos Chin, Fernanda Cohen, Ralph Steadman, Sam Weber, Michael Deas, Rob Day, Mark Ryden, Tim O’Brien Jody Hewgill, Andrea Ventura

FORMAT & PRESENTATION OF FINAL ART

Any media or mixed media, two or three dimensional, digital option. You can use found objects. The format, size and orientation are your choice. Digital art must be printed as high quality ink jet prints. All flexible art must be mounted. All boards must have a tracing paper cover that is trimmed to the board size. All of your thumbnails, process sketches, photo reference, media experiments, failed attempts, etc. should be placed In a 12 x 15.5 inch envelope. Put your name on the top right corner of the each envelope. Do not seal the envelope.

Illustration #4: Illustration for Merchandise and Licensing

LEARNING GOALS

1. To explore the application of illustration to a variety of formats both two and three dimensional.

2. To create a “collection”. A unified and varied iapplication of illustration to different products.

3. To strengthen knowledge and application of design principles.

4. To practice a professional presentation in a digital format.

5. To gain a foundation of experience in fine art and digital media.

OVERVIEW

This assignment requires the creation of an illustration that can be applied to a variety of products.

Decorative products that use Illustration have altered the discourse of contemporary design. Through merchandise and licensing, Illustration has reestablished itself in a new setting and a new market: furnishings, fabrics, home goods, apparel, paper products, toys etc. This is an emerging market. Develop a series of products that transform your illustrations from the two dimensional page to a three dimensional form.

INSTRUCTIONS

1. Choose your subject. You will create an illustration that will be applied to three different products. Remember that your three illustrated products must have unity and variety and come across as a coherent collection. Choose three products from the following list. Alternatives are okay with approval.

T-shirt

Shoes

Tote Bag

Journal cover

Button

Sticker/Decal

Wallet

Bag Pack

Stationary

Pencil Case

Poster

Calendar

Notepad

Greeting Cards

Packaging

Mouse pad

Skateboard

Button/Pin

iPhone/iPad Case

Pillow

Luggage

Lunch Box

Laptop Sleeve

Mug

Car Sunshade

Home Décor

Clothing

Gift Boxes

2. Research

Go to stores. Go online. Look at collections and product lines that you like. Look at collections you don’t like. How would you improve it? Take pictures, make sketches, bookmark or print and save to your sketchbook or to a digital ideabook. Look at: -packaging/retail, Lisa Hederling, Karen Greenberg. Sasha Barr, Sandy Haight, Steven Salerno, Lisa Evans/ Etsy link, Betsey Walton, Obey, Paul Frank, Lisa Frank, Rob Reger/Emily the Strange, Urban Outfitters, World Market

3. Thumbnails

- Create two illustration solutions. You will be selecting one of the two for final art and presentation.

-You can crop into your illustration to make three different but unified products. You can create more than one illustration as in a series. You can change the color palette of your illustration for the three products. You can vary color, cropping, image, design etc as long as the collection is unified.

- Collect visual reference and source material for your image if needed.

- Do 2 clear thumbnails of your illustration (size: minimum 3” on any side to fit 81/2x11” paper)

- Do rough sketches of the illustrations as they would appear on the products. Scan your thumbnails and sketches to present to class on digital projector.

- Refer also to the “Media, Style, Design” chart to guide your idea making. Make media, style and design choices that communicate your concept and subject effectively.

4. Refinements and Final Drawings –

- Select one thumbnail for final art.

- Refine the thumbnails that are most exciting to you. Do one final, clear drawing each for the illustration and its application to the three products that resolves composition, and details. Provide a color palette.

5. Final Art

- Final art will be in digital format. Scan the illustration at 300dpi, jpeg format. Or create the illustration digitally at 300dpi. Digitally apply it to the three products. You will be graded on presentation. Your presentation should include the illustration and images of its application to three products. It should be clear, clean and professional. Do not use low res product photography. Do not clutter or confuse your presentation.

FORMAT & PRESENTATION OF FINAL ART

-Your presentation should include the illustration and images of its application to three products. It should be clear, clean and professional. Do not use low res product photography. Do not clutter or confuse your presentation.

- All of your thumbnails, process sketches, photo reference, experiments, etc. should be placed In a 12 x 15.5 inch envelope or be contained in a digital folder.

Calendar (Dates are subject to change)_______________________________

Mon, Aug 27 Introduction to course, supplies, keynote presentation

Wed, Aug 29 Assignment #1: Media, Style, & Design Explorations

Mon, Sept 3 Labor Day

Wed, Sept 5

Mon, Sept 10

Wed, Sept 12

Mon, Sept 17

Wed, Sept 19

Mon, Sept 24

Wed, Sept 26

Mon, Oct 1 #1 ASSIGNMENT DUE/CRIT

Wed, Oct 3 Assignment #2: Creative Problem-Solving

Mon, Oct 8

Wed, Oct 10

Mon, Oct 15

Wed, Oct 17

Wed, Oct 22

Wed, Oct 24 Assignment #2 DUE/CRIT

Mon, Oct 29 Assignment #3: Portrait

Wed, Oct 31

Mon, Nov 5

Wed, Nov 7

Mon, Nov 12

Wed, Nov 14 Assignment #3 DUE/CRIT

Mon, Nov 19 Assignment #4:

Wed, Nov 21

Mon, Nov 26

Mon, Dec 3

Wed, Dec 5

Mon, Dec 10 Assignment #5 DUE/CRIT

Wed, Dec 12 Exam time 10:15am-12:15pm

Trite Imagery

Below is a list of ideas/thoughts that can often be unsuccessful as themes in art. Remember that rules are made to be broken; however, through experience many of these ideas will not be successful unless done in an innovative way. This list does not prohibit you from these ideas, but does let you know that they are often overdone and can lack maturity. If you do decide to tackle one of these ideas, look to the following to guide you: draw from life, consider unusual perspective, complexity of composition, repetition and pattern, interesting color, or unique use of media.

Mushrooms

Ying-yangs

Peace signs

Corner suns

Daisies

Famous people

Race cars

Horses

Rock stars

Polka dots

Trucks

Planes

Cars

Ballet

Suns

Moons

Stars

Hearts

Feathers

School mascots

Athletics

Sports illustrated pictures

General flowers

Cd covers

Copyright materials

Furry animals

Drugs

Alcohol

Cigarettes

Eyes

Tigers and leopards

Snakes

Butterflies

Unicorns

Pegasus

Under the sea

Cartoons

Anime

Clothing and shoe logos

Dolphins

Rainbows

V or M birds

Dragons

Princesses

Balloons

Puff clouds

Stick people

Tears

Monsters

Western themes

Howling wolves

Wizards

Vampires

Aliens

Outer space

Lipstick tubes

Ipods

Love

Precious moments

Tagging

Seasonal themes

Ladybugs

Crowns

Angels

Mythical themes

Teddy bears

Bows

Simple fireworks

Close ups of watches

Half faces

Generic houses

Fire

Blood and guts

Pyramids

Deer heads

Tree frogs

National geographic copies

Makeup girl ads

Smiley faces

Roses with dew

Bats

People kissing

Drama masks

City skylines

Spiders

Spider Webs

Palm trees

Beach scenes

Umbrellas

Seashells

Hearts

Fairies

Scallop waves

Elementary trees

Dripping blood

Knives

Devils

Tulips

Bubbles

Dollar sign

Disney characters

Eight ball

Lips

Sun with sunglasses

Swords

Bubble lettering

Flames

Mermaids

Crescent moon

Skulls

Headphones

Sports equipment

Sports apparel

Athletes

Reality show people

Illustration Professional Practices

1. Professional Goals-

Five year plan, salary goals, cost of living estimate, self-promotion expenses

2. Portfolio- personal voice, market focus, how many pieces, presentation- physical, digital, website

3. Market Research- potential clients, what are they looking for and does it suit your work, submission policies, contact info

- Book- children’s, graphic novel, comics, self publishing

- Editorial- newspaper, magazine

- Advertising- posters, packaging, ads

- Institutional/Corporate- promotion, identity and product brochures, calendars

- For sale- prints, originals

- Merchandising/Licensing- products

- Galleries

4. Contacting Clients

- Mailers- mailing lists: , , , , researching bookstores and web

- Drop off- policies: who, what, where, when

- Artist Representatives

5. Affiliations

- Conferences/Discussions- , , , , ICON5

- Memberships- SI, SILA, SCBWI, CSUN Illustration Club, GAG, AIGA, Illustrator Partnership, SAGA

- Activities- SAGA portfolio review, association events, panel discussions, workshops

6. Self Promotion

- Competitions/Directories/Annuals- CA, 3x3, Spectrum, Creative Quarterly, American illustration, SILA, Society of Illustrators, Print, STEP Inside Design, HOW, Graphis CMYK

- Website and Blog

- Exhibitions- exhibiting, attending openings

- Portfolio Sites- , ai-, , ,

7. Professional Practices and Contracts

- Phone and email etiquette

- Terms- rights transferred, due date, payment date, kill fees, revisions, original art return, work for hire, all rights buy out, work on spec

- Letter of agreement

- Estimate

- Confirmation

- Invoice

- Copyrights- contract terms, securing copyrights, Copyright office: copyright

8. Resources and Websites

- Directories: Artist and Graphic Designer’s Market, Children’s Writers and Artists Market

- Graphic Artist Guild Handbook-Pricing and Ethical Guidelines

- The Society of Illustrators 

- The Association of Illustrators 

- Illustration Mundo

- DRAWN! The Illustration Blog drawn.ca

- Drawger

- Fecal Face

- Communication Arts 

- Illustration Friday

- Creative Latitude

- ICONIC

- The Flog

- Beautiful Decay

-

9. Competitions

1) Illustration Friday

2) Creative Quarterly

3) 3 x 3 Magazine

4) American Illustration 31

5) Communication Arts Illustration Competition

6) ILLUSTRATION NETWORK Awards

7) SILA Illustration West - Society of Illustrators Los Angeles

8) Society of Illustrators Student Scholarship Competition 2013

9) CMYK Magazine

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