Tuesday, January 29, 2013

Tuesday, January 15, 2013

under there

{via iceboxtherapy}
{via cutcaster}

(repost) Anatomy of a Fictional Character

What would a PowerPuffGirl's x-ray reveal?
Above is Michael Paulus' guess.

Jen Corace peeks inside one of her characters here.

Find more from Michael Paulus' collection of famous cartoon characters' skeletons here.

Thursday, January 10, 2013

Video post script

Trailer for A Cat in Paris

RSA Animate's interpretation of The Divided Brain (Iain McGilchrist)

right, left, right, left march

Here is an article on right-left brain hemisphere tendencies as they relate to creativity.

I appreciate the article which I've linked above, because it challenges a common set of fallacies-- especially the one that assumes that only "right-brain" people can be artists. Each person, and each activity, needs both hemispheres of the brain. However, it is fascinating to begin to understand the way that each hemisphere's processing capacity can be consciously activated and realize that each of us might have a tendency to rely more heavily on one mode than the other.

Betty Edwards, who wrote Drawing on the Right Side of the Brain, is one of the names most associated with the study of the brain's hemispheres in relation to drawing. Her exercises and observations help people who feel that they cannot draw the world as it appears. By confounding the left hemisphere's forceful symbol-based logic, there are ways to get past what something "should" look like and arrive at an observational accuracy that has far more to do with curves and angles and distances than eyes and hair and teeth, for example. The result is that you can get people to look like people, and capture their particularities, with practice.

Gary Wood's drawing of Hugh Laurie

In contemporary illustration, these techniques are helpful if you are after a certain veracity. However, symbolic drawing also has a very privileged place at the table. A host of visual languages are employed and enjoyed by the contemporary audience.

Constanze von Kitzing

Tuesday, January 8, 2013

(repost) line as primary human language

Surviving human artifacts tell us something about the way that we seem to be wired. Some of the earliest examples of visual expression are created by the use of elegant contour line drawing:
Lascaux, France

This is interesting to me, because the bounding line is an entirely human abstraction, and has persisted throughout history:
Leonardo Da Vinci

In different time periods:
Medieval Westminster, U.K.

In all parts of the globe:
Japanese Ukiyo-e Block Print

Draw your attention (pun only half-intended) to the fact that black lines do not actually hold in the world around you. Line work is, instead, a human language short-hand to show where one object ends and another begins. It's all about the perception of edges. So what parts of an object are most important for determining a contour? What can be left out?
David Hockney
Egon Schiele
Student drawing

Wednesday, January 2, 2013

Oh... hello!

Gearing up for another quarter of Illustration class! Welcome, new students! For those of you who follow along, welcome back as well. This is your source for links and references that we use in class.

Sterling Hundley