Narrative Sketching

97

description

Whatever I want to say

Transcript of Narrative Sketching

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TABLEOFCONTENTS

SDSDSD

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TABLEOFCONTENTS - - - - - - - - - - - - - - - - - - - - - - - - -

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VOCABULARY

VOCABULARYLIST

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VOCAB Lay-in: de!nes the gesture in its simplest formGesture: movement of the body or limbs that expresses or exphasizes an idea or attitudeGesture drawing: act of making a sketch with relatively loose arm move-mentsContour: the outline and other visible edges of a mass, !gure, or objectCentral landmark: landmarks on the center of the form to help with the accuracy of your drawingRotation: circular movement of an object around a centerLine variation: lines that vary from thin to wide, from light to dark, etcValue: refers to the lightness or darkness of a colorForeshortening: a way of representing a subject or an object so that it conveys the illusion of depth, so that it seems to thrust forward or to go back into space.Negative space: sempty space in an artworkCore shadow: where the form transitions from light values to the dark valueRe"ected light: a light ray that bounces o# a re"ective surface at the

ULARY

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Cast shadow - The dark area that occurs on a surface as a result of something between the light source and the surface.Highlight - Small areas on a painting or drawing on which re"ected light is the brightest.Composition - The act or art of composing, or forming a whole or integral, by placingtogether and uniting di#erent things, parts, or ingredients. Two-dimensional axis - The horizontal axis of a two-dimensional Cartesian coordinatesystem. Three dimensional axis - one of three primary axes used to de!ne and control motion ina three-dimensional space, and is usually de!ned by an imaginary line that runs throughthe center of a craft or vehicle from the front to the rear.

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Mid point- a point at near the middle of both ends.Gradation- any process or change taking place through series of stages.Crisp edge- having small curls, waves, ripples.Narrative- a story, the art, technique, process Thumbnail Sketches - small drawing, small size version of drawings.Storyboard - graphic organizers in the form of illustrations or images displayed insequence.Mood - emotion of state that is described in the drawing.Point of View - Artist’s thinking process, re"ect-ing passion contemporary thoughts.Sequence - the story, graphic storytelling and convey information like comic.

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3 panelstoryboard

Line variation refer lines that vary from thin to wide, from light to dark, etc

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WEEK 1

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storyboardof the week

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Theme: A Day in the Life of...

Title: A Day in the Life of an Assassin

Media: Ink pen and Copic markers on post-its

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line- - - - - - - - - - - - - - - - - - - - - - - - -

Line variation refer lines that vary from thin to wide, from light to dark, etc

This drawing on the right captures the essence of thick lines in a

stroke that also creates an illusion of thin lines

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Front

lay-inmethods

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Creating lay-ins before starting to draw the entire gesture is essential, espe-cially in capturing a speci!c gesture. Lay-ins are created using chamois smeared with charcoal dust and applied on the paper using !nger

Side

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WEEK 2

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storyboardof the week

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Theme: How to make the world’s best...

Title: How to make the world’s best fried rice

Media: Ink pen and Copic mar kers on post-its

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Shadow

Core shadow

Re"ectedLight

Highlight

Coreshadow

spherediagram

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APPLYINGDARK/LIGHT

IN TORSO

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CHARCOALSMUDGE

TECHNIQUE- - - - - - - - - - - - - - - - - - - - - - - - -

To create a slight 3D e#ect, charcoal can be applied beforehand on the whole page to create a gray background. The smudge can be manipulated to create certain shadow or highlight in addition to that.

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WEEK 1WEEK 3

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storyboardof the week

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Theme: Comic strip

Title: The Ballad of the Jaw-breaker

Media: Ink pen and Copic markers on post-its

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headstudy

Original drawing2b pencil on a4 paper

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3TOP OF THE SKULL

HAIRLINE (OBSERVE)

BROW (OBSERVE)

MIDPOINT

CHIN

NOSE

MOUTH(BOTTOM)

EYE

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4-WAYROTATION

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FACIALEXPRESSIONS

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bodystudy

- - - - - - - - - - - - - - - - - - - - - - - - - To create a slight 3D e#ect, charcoal can be applied beforehand on the whole page to create a gray back-ground. The smudge can be manipulated to create certain shadow or highlight in addi-tion to that.

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1

2

3

4

5

6

7

88 1/3

8 1/3

Rib cage

Sternum

Bottom of pec

Wrist

Knee

Waist andelbow

bodystructure

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FEMALEBODY

- - - - - - - - - - - - - - - - - - - - - - - - - To create a slight 3D e#ect, charcoal can be applied beforehand on the whole page to create a gray back-ground. The smudge can be manipulated to create certain shadow or highlight in addi-tion to that.

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WEEK 4

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storyboardof the week

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Theme: Starbucks commercial

Title: Awaken your every nerves

Media: Ink pen, brush pen, and Copic markers on post-its

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clothedfigure

Class workCharcoal on Sketchpaper

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bodyundercloth

- - - - - - - - - - - - - - - - - - - - - - - - - In drawing costumed !gure, the costume or the clothing worn by the !gure must exact-ly re"ect the body gestures. We must feel the body under the fabric.

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3 valuestudies

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This particular assignment allows us to explore body gesture in 3 values. We only use 3 colors to capture the overall gesture: gray for skin, black for the black vest and hair, and white for the empty space or the white attributes

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WEEK 5

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storyboardof the week

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Theme: vampire Trailer

Title: The Secret Room

Media: Ink pen, brush pen, and Copic markers on post-its

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INKUSAGE

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This week, we got to explore a di#er-ent media, which is ink. We used gray and black inks in particular to apply shadows and incorporate lighting to the drawing.

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waysto

createmood

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WEEK 6

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napkindrawing

- - - - - - - - - - - - - - - - - - - - - - - - - This in class project is fun but brief. Yet we got a chance to try a completely di#erent and not to mention fragile medium (napkin from the cafeteria), to capture the gesture

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PAPERCUT

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We got to experiment with paper cut for this week, using the same concept as the 3 value studies assignment. We only had to use black con-struction paper for the medium. The paper is to be cut according to the model’s

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GESTURALLAY-INS

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mikki’sperspective

class

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STUDYOF SHOE

PERSPECTIVEE

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Applying shoe perspective in an environment,incorporating room in perspective as well as human !gures

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ellipsisstudies

Application of ellipsis in cylinders,glasswares, CD Cases, and chemistry

bottles

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3-tieredcake

- - - - - - - - - - - - - - - - - - - - - - - - - Still in the same week of ellip-sis studies, we are challenged to apply ellipsis studies into making 3-tiered cake. This cake is also to be made into the object of a 3 panel narra-tive storyboard.

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2-pointperspective

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1-pointperspective

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orthographicprojections

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(&)"# Lay-in: de!nes the gesture in its simplest formGesture: movement of the body or limbs that expresses or exphasizes an idea or attitudeGesture drawing: act of making a sketch with relatively loose arm move-mentsContour: the outline and other visible edges of a mass, !gure, or objectCentral landmark: landmarks on the center of the form to help with the accuracy of your drawingRotation: circular movement of an object around a centerLine variation: lines that vary from thin to wide, from light to dark, etcValue: refers to the lightness or darkness of a colorForeshortening: a way of representing a subject or an object so that it conveys the illusion of depth, so that it seems to thrust forward or to go back into space.Negative space: sempty space in an artworkCore shadow: where the form transitions from light values to the dark valueRe"ected light: a light ray that bounces o# a re"ective surface at the

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Gesture: movement of the body or limbs that expresses or exphasizes an idea or attitudeGesture drawing: act of making a sketch with relatively loose arm movementsContour: the outline and other visible edges of a mass, Central landmark: landmarks on the center of the form to help with the accuracy of your drawingRotation: circular movement of an object around a centerLine variation: lines that vary from thin to wide, from light to dark, etcValue: refers to the lightness or darkness of a colorForeshortening: a way of representing a subject or an object so that it conveys the illusion of depth, so that it seems to thrust forward or to go

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Cast shadow - The dark area that occurs on a surface as a result of something between the light source and the surface.Highlight - Small areas on a painting or drawing on which re"ected light is the brightest.Composition - The act or art of composing, or forming a whole or integral, by placingtogether and uniting di#erent things, parts, or ingredients. Two-dimensional axis - The horizontal axis of a two-dimensional Cartesian coordinatesystem. Three dimensional axis - one of three primary axes used to de!ne and control motion ina three-dimensional space, and is usually de!ned by an imaginary line that runs throughthe center of a craft or vehicle from the front to the rear.

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Mid point- a point at near the middle of both ends.Gradation- any process or change taking place through series of stages.Crisp edge- having small curls, waves, ripples.Narrative- a story, the art, technique, process Thumbnail Sketches - small drawing, small size version of drawings.Storyboard - graphic organizers in the form of illustrations or images displayed insequence.Mood - emotion of state that is described in the drawing.Point of View - Artist’s thinking process, re"ect-ing passion contemporary thoughts.Sequence - the story, graphic storytelling and convey information like comic.

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Line variation refer lines that vary from thin to wide, from light to dark, etc

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Line variation refer lines that vary from thin to wide, from light to dark, etc

This drawing on the right captures the essence of thick lines in a

stroke that also creates an illusion of thin lines

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Front

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Creating lay-ins before starting to draw the entire gesture is essential, espe-cially in capturing a speci!c gesture. Lay-ins are created using chamois smeared with charcoal dust and applied on the paper using !nger

Side

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Shadow

Core shadow

Re"ectedLight

Highlight

Coreshadow

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3TOP OF THE SKULL

HAIRLINE (OBSERVE)

BROW (OBSERVE)

MIDPOINT

CHIN

NOSE

MOUTH(BOTTOM)

EYE

CHIN

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!"!"!"!"!"!"!"!"!"!"!"!"!"!"!"!"!"!"!"!"!"!"!"!"!"In drawing costumed !gure, the costume or the clothing worn by the !gure must exact-ly re"ect the body gestures. We must feel the body under the fabric.

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This week, we got to explore a di#er-ent media, which is ink. We used gray and black inks in particular to apply shadows and incorporate lighting to the drawing.

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We got to experiment with paper cut for this week, using the same concept as the 3 value studies assignment. We only had to use black con-struction paper for the medium. The paper is to be cut according to the model’s

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