You are currently browsing the monthly archive for April, 2009.
We’re into some lessons on linear perspective in the course.
It’s a big subject, of course, that has preoccupied the intellects of artists from Leonardo Da Vinci to David Hockney. But no discussion on it today is complete without a mention of Dick Termes of Spearfish, South Dakhota, who has learned how to turn the world inside out.
I’m nuts about this artist and his website and his videos and creations. His meticulous painting reminds me a little of the art of late great children’s illustrator Barbara Cooney. Except his illustrations employ vanishing points to your left and right, below and above, in front of and behind you — all on the surface of a beach ball — or rather, a “Termesphere.”
The largest exhibit ever of these brain-bending orbs, Thinking in the Round is on display at the Dahl Art Center in Rapid City South Dakota through May 31.
Meanwhile, in case you’ve ever wondered, refrigerators, too can be exquisite vehicles of self-expression.
So can children’s nonfiction. And when you combine the two, you can get something like
Chill: Discover the Cool and Creative Side of Your Fridge by Allan Peterkin (Kids Can Press, Toronto, Ontario. 2009) 
With chapters named ”History”, “Theory”, “Practice”, ”Business” and “Resources”, you know this is the definitive self help book on the subject of refrigerator art. It even tells us how refrigerator magnets are made. Animator and children’s television program director Mike Sheill provides the zany, sometimes gross though appropriate (in a Sponge Bob sort of way) cartoon art — and endpapers that feature what else but refrigerator contents. Chill proves that you can make an entertaining children’s nonfiction book of almost any topic, which is the attitutde kids take in seeing the world, anyway.
This Google Video clip from the promo documentary Finding Lady: The Art of Storyboarding has been circulating around the art and cartoon blogs recently.
Disney animator Eric Goldberg explains how the Disney artists have always used storyboards as a developmental first step in their animation productions.
The clip goes on to show how movie makers from Alfred Hitchcock to Kevin Costner have used them as perhaps the crucial planning tool in a film.
Finding Lady came out to herald the 1991 release of Disney’s Beauty and the Beast and the “renaissance of the animated film” that some say began with The Little Mermaid in 1989.
It’s not exactly the way storyboarding is covered in our course on how to illustrate children’s books.
The storyboard thumbnails we talk about are quite different animals from the sketches and drawings you see tacked up on Disney’s storyboard wall.
But the same big ideas apply: Using the storyboard to work out the the ”bits” of stagecraft, the action and gags. Pacing, story flow and the economy of the viewer’s or reader’s attention.
For the movie director, storyboarding saves costly waffling around on the set, the video points out. Because the details and the sequences have all been worked out in advance, the director can “edit in the camera.”
For the children’s book artist, storyboardings helps to gestalt the entire book on just one page. The simple very exercise of it can spring ideas free and save weeks of unecessary drawing and painting.
To enlarge the video for better visibility, click on the Google Video box, then hit the enlarge screen button under the video on the Google Video page.
For information on the online Children’s Book Illustration 101 course” look here.
Or to check out the free color lessons from the course (while they’re still available) click here.
Laura Jennings drawing for Shard Studios
Laura Jennings grew up surrounded by animals in the Texas Hill Country town of Kempner.
“I trained my first dog, a Rottweiler for obedience when I was 12,” she says.
Maybe that’s why the dynamic animals she’s created for the role playing game Shard look like people you might know — almost old friends you wouldn’t mind going with you on a harrowing adventure.
Oh, humans played their parts in her youth, too, and books – fantasy novels mainly — and video games. “I used to sit and watch my brother play Zelda and Mario for hours,” she says.
After studying fine arts at Central Texas Community College and Texas Tech University, Laurie enrolled in the design art programming and animation sequence at Austin Community College, She has set her sites on the fields of video game art and character creation.
“The Lion King changed my life. I loved the action, the movement. I don’t have the patience for animation, but that’s what I’m into,” she says.
“At school we’re doing the old pegboard animation, like the crews did for Bambi , they still ask for the same kind of detail in the industry.
“Everybody going into this wants to design, do storyboards and be a lead character artist. It’s the very first graphic the public sees.
“I do go for games, and it is pretty astonishing – the emerging media and the economic growth that’s been predicted for games and computer art in the next 50 years.
“Austin has something like 50 studios; they’re mostly small. In this room there’s an animator and you can walk right next door and take it to the programmer.”
“Video game art is a combination of animated movie and comic book and it’s interactive. Some of the most gorgeous art I’ve seen has been in the animation of Nintendo and Capcom games, such as Squaresoft Final Fantasy series and Legend of Zelda.
Laura also feels pulled by graphic novels and children’s books and attends meetings of the Austin chapter of the Society of Children’s Book Writers and Illustrators (Austin SCBWI).
“People think children’s book illustration is easy. It’s actually cutting edge. There are similarities to game art, such as the storyboarding and the composition and how you have to know your story visually so very well. The work of James Gurney holds its metal against any fine art happening today and he (and others like him) have chosen literature, which I thank them for.”
"Puffy pants" character from the Shard land, drawing by Laura Jennings
Laura “liked the idea of puffy pants” for her fantasy
character for the game Shard, designed by art director Scott Jones.
”I was trying to turn a lot of the animal motifs on their heads. So I wanted to make this Aesop’s-like skunk a bit coquetish, like she’s waiting for Pepe Le Pew.”
Shard is a table-top role playing game “of heroic fantasy, set in the Realm of Dardunah, World of the False Dawn,”
the website says. “Players may choose from a wide variety of animal people who are the main cast of the many adventures the world offers.”
Dardunah is a medieval Shangrila, far east of Middle Earth. (I spent some time poking around the site. I must say I’m ready for the movie to come out.)
Laura recalls, “I don’t know what it was that got their attention, but they saw some of my art and told me, ‘We see that you’ve done a bunch of animal creatures.’”
“Actually there were three of us working on the game’s characters. We had to make it look like all of the illustration was done by one person. We each worked in our own category – I didn’t want the insects, snakes and reptiles so I raised my hand and said, ‘I’ll take the mammals!’ “
One of the animal people drawn by Laura Jennings for the RPG "Shard"
She had to research animals in their natural settings, and come up with props, costumery and accessories that ”fit” into this world with its Persian and Asian flavors, she says.
“I had to find out what old armour looks like, leggings and foorwear, what kind of robes students of a temple would have worn.”
For the fellow in the game at the right, a seashore dweller, she found photo reference of an otter, stopping by a river, panting.
Pencil drawings were scanned and values were added in Photoshop using the smudge tool and the dodge and burn tool.
“I had a lot of fun with the textures in Photoshop, learning to push things around.
“I was asked to re-do a squirrel monster because the armor looked too much like beat-up metal. Metal is a material of our world – whereas in Dardunah, the armor is made of crystal.
”The foundation was in natural media,” she says. “But there was a little bit of cleanup in Corel Painter 9, which replicates whatever natural medium you’re using — in this case it was pencil. The art was finished and polished in Corel Painter 9.
”There’s a lot of movement and dynamic in my own work,” Laura says.
“I’ve been very gestural for a long time. I’m only just now starting to work on the edges, the contour.
“My sketches are half reference — half imagination. Many of them are just from little thumbnail sketches. As I look at these I’m seeking that pose that speaks about inner character. I’m asking, ‘What has punch. What is moving, or defining,” Laura says.
“In video games, the silhouette is so important. Their silhouettes define who they are in the game.”
Ursine warrior realized by Laura Jennings. He's a character from the role playing card game, Shard.
Laura Jennings’ fun blog is now on our blogroll. You’ll find her art there, too and on her Deviant Art gallery page, where she’s posted some graphic novel panels, backgrounds and more of her exquisite characters. Deviant Art features concept art by teen and young adult artists from around the world.
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Mark Mitchell hosts How To Be A Children’s Book Illustrator.
Check out the free lessons of his short course, Power Color: The Keys to Color Mastery here.
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