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VESSELS: 100-stroke sketches .............................4-7 .............................8-13 .............................14-19 .............................20-25

CONTENTS:

Color and Texture Value Drawings Variations WOLF: The Lone Wolf

.............................26-27

Wolf Photo vs. Wolf Drawing Comparison .............................28-29 Shape Drawing Wolf Variations .............................30-33 .............................34-39

DISCLAIMER: The photograph in this magazine is cited on the page that it is located. The fonts that were not originally found in the standard iMac in the Visual Art Center (Saint Xavier University) are from the website: http://1001freefonts.com/.

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VESSELS
1OO-STROKE SKETCHES

Craft:
I created these sketches with the program Adobe Illustrator, the Bamboo touch pad, and the Bamboo pen. I also collected a wide variety of vessels that are used in the every-day household. I started by getting used to the Bamboo pen and experimenting with long, short, thin, slightly thicker, horizontal, diagonal, and vertical lines, and also with the different color schemes available.

LINE DRAWINGs

Concept: Wine bottle

Concept: Metallic coffee containers Concept: Maple Syrup bottle

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Concept: Glass vase

Concept: Wine glass

composition:
Concept: Crystal vase

Concept: Six Flags drinking cup with straw

I arranged the elements the way I did because thats how I could compromise between the reality of the object and the assignments directions of only drawing the object with 100 strokes each. I used one color to draw out the main color shown by the vessel. As far as the directions of the lines went, there was no real purpose to their direction. I tried using both opposing directional-lines when it came to the syrup bottle and the crystal glass vase to show the border of the vessel (outline) a little bit better. I wanted the person to see the outline of the shape first (to know what it is), the color second, and the thickness of the lines third. The thickness would symbolize the materials frailness or toughness.

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VESSELS :
COLOR and TEXTURE Craft (both):
To create these shaded drawing, I utilized Adobe Illustrator (mainly using the paintbrush tool), a Bamboo pad, and a Bamboo pen. I made these drawings by drawing a rough outline to guide me. Then I filled in the object with one single color. I started with a plain color with no value to it and started adding layers of dark and lights to that color. I combined all types of strokes, ranging from 1 point to 20 points in thickness.

LINE DRAWINGS

Composition (color):
To really bring out the shades and make it look 3-D I kept on adding layers of thick and thin lines. After getting a solid 2-D figure, I worked my way up to 3-D by adding many thick and thin lines of different values of the same color. I tried focusing on the on the light, shiny parts, and the dark, shaded parts. This enable one single color to be stretched across and transition from a light to a dark smoothly or drastically, depending on the material the object was made out of. If the object was made out of glass, I noticed a lot of the lights and darks did not transition and overlapped. On objects that were dull, such as plastic, there was more of a smooth transition from lights to darks. Concept: Bottle of Patron Tequila

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Concept: Glass vase

Concept: Gatorade bottle

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Concept: Wine bottle

Concept: Large round vase

Composition (texture):
This was a little bit more challenging since it does not coincide with my style of drawing. I had difficulty repeating the same numbers over and over again, especially when you just got good at unconsciously repeating the number 8, and now you have to draw the number 5. I tried to make small numbers for finer detail and larger ones for broader strokes to take up more room. I used one color in the background that was complementary to the color of the objects so that it made the object really come forward and pop out.

Concept: Martini glass

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VESSEL SHADINGS
VALUE DRAWINGS

Concept: Metallic coffee container

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Concept: Plastic milk bottle

Concept: Small ceramic coffee mug

Craft:

To create these shaded drawing, I utilized Adobe Illustrator, a Bamboo pad, a Bamboo pen, the CS5 Macs at the VAC lab, along with items found in the gallery, and the labs own artificial lighting. I made these drawings by trying to replicate the actual item and capturing the image in black and white. Even though some items where in color, black and white would help show the value of the object and show a more three dimensional figure. I began with a rough sketch of the outline and worked my way to the darker and lighter ends. I combined all types of strokes, ranging from 1 point to 20 points in thickness.

Concept: Coffee paper cup

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Composition:
To really bring out the shades and make it look 3-D I kept on adding layers of thick and thin lines. I also focused on the objects width versus length. If the width was greater then I focused more on horizontal lines. If the length was greater, then I focused on vertical lines. I wanted the viewer to see the image as a whole at first and then realize that it is all just made up of mono-directional strokes. The parts of the object that seem to be colored in are also thick strokes followed by the smaller detailed strokes. The third thing I wanted them to notice is that I go through the entire spectrum of greys, from black to white, in order to show a bigger contrast, which makes the drawing really come to life.

Concept: Small teapot

Concept: Large teapot

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VESSEL VARIATIONS
VALUE DRAWINGS

Craft:
The first coffee cup was the original, which portrayed the neutral values, ranging from white to black. The second one has the same principle only in the color red. The third variation not only incorporated more than one color but also included transparency. Unlike the second one, which was just monochromatic and differed in values, the third had values of blue as well as hints of purple and green. The transparency was set to Multiply, which allowed for mixing of dark colors and white colors; thus almost reaching pure black and white in some areas. The fourth illustration varied solely on brushstroke. I used the Watercolor- Wet brushstroke along with the Width Profile 1. This was also used with variation numbers 5 and 6. Variation 5 interweaves the appearances of number 2 and 4 showing a jagged and spiky cup. Variation 6 incorporates the elements of number 3 and 4, which surprisingly regain more of its shape as a cup. The multiply option gives the figure a sort of aura or form of radiating blue energy around the cup. The seventh, eighth, and ninth variations concerned a more extreme brushstroke, as demonstrated by the Floral Stem 5 type of brush. Illustration 7 only uses the floral stem 5 brush, while number 8 intertwines variations 2 and 7, and illustration number 9 combines variations 3 and 7.

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Composition:
The foundation for all of these was the first variation, otherwise known as the original. Painting number 2 was designed to show a single chroma, ranging from a dark crimson to a light pink. Number 3 had multiple hues, but focused mostly on the shades of blue, along with multiply transparency. This brought about a sort of aqua feeling to the design- giving the feeling of water and fluidity. The interesting aspect of variations 4 through 6 is that they change relative to your position to the screen. When focusing on the vertical axis, if you look down on the screen, they seem to fade, almost vanishing. When it is tilted away, it becomes much more defined and it looks darker (personally think it looks better).

In a way, the cup loses its shape and it almost seems like it can be a map with a multitude of mountain ranges, showing the shadowed side and the lighted side. This, in turn, gives a sense of depth and dimensions. Variations seven through nine seem like they would hurt to try to sip coffee from. Like the second row, they give the impression of being spiky and look like they would feel like thorns. Nevertheless, they do not seem as rough nor have a sense of depth, with the exception of the ninth cup. The seventh and eighth cups look like they are beautiful decorations that seem 2-dimensional. They look like tattoos or interesting stamps. The ninth cup is not as abstract and is by far the most interesting. This is because it captures the essence and structure of the cup, while still showing artistic value and intricate designs. The aura gives it a shinning look to it, while the blue values keep your eye going in a wave pattern, like water.

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Concept:
These are all different forms of the same coffee cup. What started off as a black and white cup, has transformed into many variations. Color and brushstroke alone do not suffice, but when they come together and blend into one, you get results that you would not think to get. These are the extensions of something simple: a simple cup developed into a work of art.

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THE

LONE WOLF
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Comparison View between real photograph and Adobe Illustration

Photo by: Courtesy Kewl Wallpapers. Located at: http://howlingforjustice.wordpress.com/category/wolf-delisting-lawsuit/

Concept:
I wanted to really depict the wolf as accurately as the photograph. One thing that really kept me from that is that Adobe Illustrator supposedly encountered frequent errors and reached its limit concerning space for my drawing. There were an incredibly large number of brush strokes that went into making that wolf which might be why it halted Adobe from working properly, as well as the mass use of blur effect. The real goal of this work of art was to recreate a certain level of realism with human abilities and replicate an accurate illustration of what technology is able to produce through absorption of light (cameras).

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SHAPE DRAWING
First Trace
We humans fear the beast within the wolf because we do not understand the beast within ourselves
-Gerald Hausman

Craft:
The tools I used to trace this photo were the pen, eyedropper, and layers tools in Adobe Illustrator. I saved the picture of the wolf and placed it in the adobe file. From there, it was a matter of tracing the outline of the wolf. Tracing the whole wolf with just one consecutive outline was not the most effective approach. Therefore, I would work from background to foreground in order to make several layers that would help overlap certain aspects. I would start with the body, neck, and ears and place the face, mouth, eyes, and nose on top of those in a specific order, so as to not overlap the face over the eyes. I also used a different range of hues and values for both the fill and the pen stroke. After initially starting the trace of the wolf picture, I further enhanced the accuracy of the drawing by giving it more detail. The tools I used for this task were the brush tool, gradients, transparency, and blurs. There was a specific brush stroke that resembled hair which was perfect to depict the wolfs fur. There was another brush stroke that seemed like a smearing effect and was appropriate for some areas requiring blending. I used a large array of values and hues and thickness of brush strokes. They ranged from 0.25 to 1 thickness and utilized shades of greens, whites, blues, browns, yellows, and other greys.

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...A Work in Progress

Composition:
In order to overlap the layers and still bring out the accurate image representing the wolf, I had to trace the outside. Some segments are made a little bigger in order to avoid overlapping lines. After accumulated a lot of layers and sub-layers, I went back and tried to find the color that best defined the photos color. With the eyedropper I managed to give fill to the shapes I had traced out with the pen tool. The one notable thing I tried to mess around with was the gradient tool to transition from a dark color into a light color. This transition is in the wolfs face, above the eyes and down towards the nose, expanding out-ward toward the exterior fur. At this point, I really wanted to bring the wolf to life by making a lot of layers for the eyes. This detail in the eyes really brings the attention of the spectator. From the eyes I think the viewer might look at the nose, and how it has shine on it. The last thing I wanted people to notice was the smooth transition from one color to the next by using values of different hues and gradients. Mixing different grays allowed me to make a soft blend between hues. It was very difficult to portray the exact coloration of the fur, considering there were countless hairs and a great number of hues of hairs. I tried using the first layer of basic shapes as my foundation to the general color in that area of the wolf. The hair that I placed stroke-by-stroke was laid on top to cover the shapes. This gave the illusion of a very detailed coat of fur, while not having to completely cover the wolf in single hair pieces. For the very small areas that the hair did not cover, the shape that lied underneath made sure to act as a good buffer. Since most of the picture was wolf fur, I had to take quite some time to fill it with appropriate amounts of coloredhairs. When I was done using the general hues, I moved into more complex values of each color in order to build layers on top of one another. By using this stacking technique I was able to achieve a lever of three-dimensionality. After that, I focused on the eyes, the nose and the background. For the eyes and the nose, I tried to give them a glistening and blending effect while still keeping them very detailed. This gave a level of life and emotion in the wolf. To finish, I blurred the background to contrast the foreground with the background and really make the wolf pop out and grave the spectators attention.

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WOLF V ARIA TIONS

SHAPE DRAWING
Craft:
Picture number one is the original, depicting the wolf as it is in the actual, real-life photograph. It has as much color and detail as was necessary to duplicate the photograph through artistic means. The second wolf is the first monochromatic variation. I chose blue values for most of the wolf and background, but made the eyes values of yellow. Variation number three uses a plethora of hues, ranging from reds, to grays, to blues, to purples and greens. When dealing with this extreme chromatic change, I also used different colors to contrast the fill and the outline colors. Illustration number four through six use a subtle brush called Marker- Rough for most of the picture, with the exception of some fine hairs and the eyes. Variation five mixes numbers two and four and their respective elements. Variation six also combines numbers three and four. When we get to third row (numbers seven through nine), we see the less subtle brush, Text Divider 1. Again, variation eight brings together features from both prior variations, number two and number seven. This also applies for variation nine, acquiring its present form from a combination of variations three and seven.

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Composition:
All variations come from the basic source- the first completed wolf. From there they branch off into different types of art forms that concentrate either on color, brushstroke, or both. Illustration two was one of the more simple, yet interesting outcomes. By combining values of blue, I was able to contrast the shades of yellow in the wolfs eyes. The values complemented each other while the hues could not be more opposite. This contrast allowed for a fierce-looking wolf that had life-like eyes that pierced the speculator. Variation number three combined a large amount of hues but not as many values. At first, I wanted to do an all hot-colored wolf (yellows, reds, and oranges) but it came out looking like a lion. After that, I decided to focus on black and white, with the hint of other colors to capture an evil looking wolf. For variation four through six, I used the marker -rough paintbrush. This was not much different from the regular, plain brushstroke I used in Row 1, but it did seem like the painting was less focused and less defined. This brush made the illusion of a foggy blur, without actually using the effect Gaussian Blur. Variations five and six follow the same combinations as seen in the above Craft. Row 3 was not expected but did seem to have some positive outcomes. The text divider 1 brush is very noticeable and inspired me to keep it for the outside borders and not the inside hairs. The brush was not applied to the eyes again because it distorted the eyes, which I believe are a keen aspect to preserving the soul of the wolf. This brush had a very intriguing effect on the outside, where it stretched and made the lines overlap, zig zag, and exalt the sharpness and rigidity of the outer hairs. I did not like how it looked when it was applied to the fine, inner hairs but the Illustrator program seemed to have trouble taking off this brush. Even if this was not intended, they still seem like the wolf have a more digital look, similar to works of art which use ones and zeros to portray an object. The recurring pattern looks like something from the movie, Matrix.

Concept:
The wolf that resembled a photograph is now something more that a simple depiction of an animal. It is a continuation of different elements and effects that make up new designs. Through many trials and errors, I was able to get many wolf variations that appeal to my eye as well as many that dont. In either case, good taste does not matter when interpreting the various different shapes and colors.

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