Yorkshire Oddities Comic

Model Drawing Tutorials

Above and Below: Illustrations from Fatality (Hellblazer no. 30), written by Jamie Delano. [Copyright© DC Comics Inc.] Right: Illustration from Yorkshire Oddities, written by S. Baring-Gould. [Copyright © Smith Settle Ltd.] Opposite, bottom left: Illustration from Gumboot Practice, written by John Francis. [Copyright © Smith Settle.]

This fundamental double-meaning of each ingredient is a I means by which we may capture the viewer's emotions, too. Some objects may be drawn in such a way that the shapes they I make on the paper are reminiscent of quite different objects. The threat posed by the bearded gentleman in the illustrations on the I left is increased not only by the way the bayonet or the hand juts out towards us but also by the shape of his scarf fluttering about | in the wind. Its shaggy ends are analogous to the groping shapes of skeletal hands or spiders' legs. In this way, intimations of horror I are added to the threatening aspect in the message of the picture, f

The large picture at the bottom right of this page is an illustration I to the story of a man whose mind became unhinged when he was I jilted on the eve of his marriage. He went to bed and never got upl for the rest of his life. The crazy, distorted bed, in which he I appears to be imprisoned, emphasizes the pathos of his pre-| dicament.

Similarly, jubilation is expressed in the courtroom scene by the| lively, dancing shapes of limbs and faces.

Above and Below: Illustrations from Fatality (Hellblazer no. 30), written by Jamie Delano. [Copyright© DC Comics Inc.] Right: Illustration from Yorkshire Oddities, written by S. Baring-Gould. [Copyright © Smith Settle Ltd.] Opposite, bottom left: Illustration from Gumboot Practice, written by John Francis. [Copyright © Smith Settle.]

Yorkshire Oddities Comic

Of course, horror, pathos and jubilation are all sufficiently strongly defined emotional states fortheir visual equivalents to be readily identified, but every possible human feeling can be communicated in visual form by these means. We use the shapes of the things we draw and the shape-combinations created by overlapping, delineation of shadow areas, and so on, to communicate feelings on a subjective level.

There are other means whereby the emotional message of a picture may be communicated. The viewpoint we choose can add a great deal to the viewers' response to the subject.

In the first illustration of the small child with the teddy-bear she is warm, comfortable and secure. In the second she is obviously alone in the house; we take a high, downward view and place her in an empty area, away from the furniture, to emphasize her loneliness. The foreground banister adds depth, which again increases the feeling of loneliness.

In the third picture, her frightened vulnerability is stressed by accenting her small stature (through contrast with the height of the door) and by showing the threatening shapes of the dark shadows around her.

The difficulty with the picture on this page was to place all the figures in a lively arrangement without allowing the big wizard figure to dominate too much. I'm not sure it was entirely successful. Perhaps the dancers should have been slightly bigger and the windblown garments of the wizard rather less heavy. Opposite are some preliminary sketches.

The requirements for this illustration presented another conundrum. The chief of police had to be depicted walking uninterestedly away from the scene of the murder. Showing him walking out of the foreground tended to lead the reader's eye away from the centre of interest. By ensuring that all other lines direct the eye towards the two main characters I attempted to diminish his significance in the composition. How would you have done it?

Walking Toward You Drawing

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