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CONTENTS:
VESSELS:
100-stroke sketches
Color and Texture
Value Drawings
Variations
WOLF:
The Lone Wolf
Wolf Photo vs. Wolf Drawing Comparison
Shape Drawing
Wolf Variations
.............................4-7
.............................8-13
.............................14-19
.............................20-25
.............................26-27
.............................28-29
.............................30-33
.............................34-39
DISCLAIMER: Te photograph in this magazine is cited on the page thatit is located. Te fonts that were not originally found in the standard iMacin the Visual Art Center (Saint Xavier University) are from the website:http://1001freefonts.com/.
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1OO-STROKE
SKETCHES
LINE DRAWINGs
Craft:I created these sketches with the program Adobe Il-
lustrator, 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 avail-
able.
VESSELS
Concept: Metallic coffee containers
Concept: Wine bottle
Concept: Maple Syrup bottle
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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 drawin
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 rea
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 ves
sel (outline) a little bit better. I wanted the person to see the outline of the shape
rst (to know what it is), the color second, and the thickness of the lines third.
The thickness would symbolize the materials frailness or toughness.
composition:Concept: Crystal vase
Concept: Glass vase
Concept: Wine glass
Concept: Six Flags drinking
cup with straw
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VESSELS :COLOR and
TEXTURE
Craft (both):To create these shaded drawing, I utilized
Adobe Illustrator (mainly using the paint-brush tool), a Bamboo pad, and a Bamboo
pen. I made these drawings by drawing a rough
outline to guide me. Then I lled in the object
with one single color. I started with a plain
color with no value to it and started adding lay-
ers of dark and lights to that color. I combined
all types of strokes, ranging from 1 point to 20
points in thickness.
LINE DRAWINGS
Concept: Bottle ofPatron Tequila
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 gure, 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 darksdid not transition and overlapped. On objects that were dull, such as plastic, there was more
of a smooth transition from lights to darks.
Composition (color):
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Concept: Gatorade bottlConcept: Glass vase
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This was a little bit more challenging since it
does not coincide with my style of drawing. I
had difculty 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 ner 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.
Composition (texture):Concept: Large
round vase
Concept: Wine bottle
Concept: Martini glass
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VESSELSHADINGS
VALUE DRAWINGS
Concept: Metallic coffee container
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Concept: Coffee paper cup
Concept: Plastic milk bottle
Concept: Small ceramic
coffee mug
Craft: To create these shaded drawing, I utilized AdobeIllustrator, a Bamboo pad, a Bamboo pen, theCS5 Macs at the VAC lab, along with items
found in the gallery, and the labs own articial
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 gure. I began with a roughsketch 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.
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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 rst 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.
Composition:
Concept: Large teapot
Concept: Small teapot
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VESSEL
VARIATIONS
Craft:
The rst 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 dif-
fered 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 Prole 1. This was also used with variation
numbers 5 and 6. Variation 5 interweaves the appearances of number 2 and 4showing 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 gure a sort of aura or form of radiating blue energy around the
cup. The seventh, eighth, and ninth variations concerned a more extreme brush-
stroke, as demonstrated by the Floral Stem 5 type of brush. Illustration 7 only
uses the oral stem 5 brush, while number 8 intertwines variations 2 and 7, and
illustration number 9 combines variations 3 and 7.
VALUE DRAWINGS
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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 ex-
ception of the ninth cup.
The seventh and eighth
cups look like they are
beautiful decorations
that seem 2-dimen-
sional. They look like
tattoos or interesting
stamps. The ninth cup
is not as abstract and is
by far the most interest-
ing. This is because
it captures the essence
and structure of the cup,
while still showing ar-
tistic 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.
Composition:
The foundation for all of
these was the rst varia-
tion, otherwise known
as the original. Painting
number 2 was designed
to show a single chroma,
ranging from a dark crim-
son to a light pink. Num-
ber 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 feel-
ing of water and uidity.
The interesting aspect of
variations 4 through 6 is
that they change relative
to your position to thescreen. 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 dened and
it looks darker (person-
ally think it looks better).
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These are all different forms of the same coffee cup. What started off as a black and white cup, has trans-
formed into many variations. Color and brushstroke alone do not sufce, 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.
Concept:
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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 il-
lustration of what technology is able to produce through absorption of light (cameras).
Comparison View between realphotograph and Adobe Illustration
Photo by: Courtesy Kewl Wallpapers.
Located at: http://howlingforjustice.wordpress.com/category/wolf-delisting-lawsuit/
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and the pen stroke.
After initially starting the trace of the wolf picture, I
further enhanced the accuracy of the drawing by giving
more detail. The tools I used for this task were the bru
tool, gradients, transparency, and blurs. There was a sp
cic brush stroke that resembled hair which was perfec
to depict the wolfs fur. There was another brush strok
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. The
ranged from 0.25 to 1 thickness and utilized shades of
greens, whites, blues, browns, yellows, and other greys
The tools I used to trace this photo were the pen, eyedrop-
per, and layers tools in Adobe Illustrator. I saved the
picture of the wolf and placed it in the adobe le. 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 specic
order, so as to not overlap the face over the eyes. I also
used a different range of hues and values for both the ll
Craft:
SHAPE DRAWINGFirst Trace
We humans fear thebeast within the wolfbecause we do not un-derstand the beastwithin ourselves-Gerald Hausman
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Craft:
WOLF
VARIATIONS
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 rst 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 ll 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 ne hairs and
the eyes. Variation ve 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 num-
ber seven. This also applies for variation nine,
acquiring its present form from a combination of
variations three and seven.
SHAPE DRAWING
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All variations come from the basic source- the
rst 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 interest-
ing 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 erce-looking wolf that had
life-like eyes that pierced the speculator. Varia-
tion number three combined a large amount of
hues but not as many values. At rst, 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 themarker -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 dened. This brush made
Composition:
the illusion of a foggy blur, without actually using the
effect Gaussian Blur. Variations ve 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 ne, 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. Therecurring 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 mat-
ter when interpreting the various different shapes
and colors.
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