magazine jtorres finalexport interactive

8/2/2019 Magazine Jtorres Finalexport Interactive

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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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