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Among the many pleasures of drawing is a somewhat altered state of consciousness that is familiar to artists, writers, and musicians or anyone deeply immersed in a compelling project. In this altered state, time just seems to fly by, hours can disappear, and you feel happy and relaxed, though very concentrated on what you are doing. Some report that this state feels rather like floating, or an out-of-body experience, while others call it being involved in the moment or the now.
Chances are you will end up with a few different journals. Lisa, a writer, keeps one journal in her nightstand for those random middle-of-the-night flashes of brilliance, another on her desk to jot down thoughts that have nothing to do with what she's working on at the moment, a third by her reading chair, and another in her car (you probably don't want to be on I-25 when Lisa's recording one of her inspirations in the next lane). And then she has an additional journal where she copies down great quotes she's come across in her reading, snatches of (or entire) poems, and thoughts from other writers she tries to collect in one place.
I wish also to point out certain characteristics of the mediums themselves, and the inherent qualities of each which are not always obtainable in another. It is hardly necessary to go into the formulas for materials, paint-mix inland so forth, since this has been expertly covered by other writers. The permanence of your materials I do not consider especially important at this pointt since the problems presented here may be looked upon as practice and exercise or experiment on your part.
A CD or better still a DVD writer enables back up copies to be made of valuable data and copies sent through the post. An A4 flat bed scanner enables site location plans or manufacturers' trade literature to be scanned into CAD drawings. A 4 megapixel digital camera can provide a photographic record of existing buildings and topography, saving a return trip to site.
Another benefactor of this information is the contemporary artist. Traditionally, artists learn about the craft of painting directly from masters, contemporary accounts of studio practices written by artists (Giorgio Vasari in his Lives of the Artists and The Craftsman's Handbook by Cennino d'Andrea Cennini, for example), and from artist's journals. The texts most used today were compiled by or with the assistance of scientists. Rutherford J. Gettens, George Stout, Ralph Mayer, and Max Doerner are a few of the modern writers on painting materials and techniques whose work is based on scientific investigation.
Writer Erla Zwingle observes, Irresistible lure for dreamers, doers, and the desperate, urban areas will soon hold half the world's people. She gives the following numbers in 1950, only New York contained 10 million people, but by 2015, there will be 25 cities of roughly 10 million or more, 6 of those over 20 million. The number of urban areas with populations of 5 to 10 million is also pro
In the mid-thirties, no model sheet of the characters was official until it bore the seal. OK. J.G. Joe Grant, artist, writer, designer, and. at one time, producer, was the studio authority on the design and appearance of nearly everything that moved on the screen, and his taste and judgment were largely responsible for the pleasing style that identified the Disney product during that period. He collected under his wing, in the Character Model Department, a strong group of very talented artists who made inspiring and
The writer has learned by experience that the artist has not much more than one hour to set down his subject before the light begins to change. If you try to paint too long and then have to go back over your sketch to warm it up, because it looks too cold in the later light, the original color relationships will be thrown out of balance and the sketch will become progressively worse and inaccurate.
While it's true that the writer dictates how many panels are on a page and has a general setup of the point-of-view for each panel, it's still the artist who decides how those panels are laid out on the page. He or she is the one who has to look at the page and decide what the best way to convey the story visually is. This probably doesn't sound like a big deal. All you do is draw some stuff, make sure there's enough room for dialog, and you're done, right It isn't as easy as you would think. Ask any professionals how many times they may go through a series of thumbnail sketches before they find the perfect setup that best expresses what the writer is trying to convey. v Did the artist convey the scene or mood that the writer intended (Does the art match the writing )
The AAEC was officially formed in 1957 by a small group of newspaper cartoonists led by John Stampone of the Army Times. It was created to promote and stimulate public interest in the editorial cartoon and to create interaction between political cartoonists. The annual AAEC convention is held around June of each year in various cities around the country. These conventions are popular and allow cartoonists to meet with others from the journalism community, including publishers, writers, historians, and collectors. Members of the AAEC include nearly every major editorial cartoonist working today.
A frequent fault of writers on perspective is to present the matter in an unnecessarily arid and abstract way. A beginner will certainly get a better grip of the subject by following the experimental method of study at the start. Let him either look through the window, or better still, set a pane of glass upright wxyz (Fig. 26) in a saw-cut yz made in a board ghij, and place the apparatus on a table at some little distance from its edge. At the edge of the table let him pile up three or four books and rest his chin on them, while he looks through the pane of glass at another book lying on the table a foot or eighteen inches beyond the glass, one edge of the book being parallel to the glass, and the book being placed centrally.1 Fig. 27 shows in lmno approximately what he will see as perspective shape of the book. The lines lm, mn, no, ol, representing the sides of the book, should be now traced on the glass with a brush holding some colour just too thick to run down the upright glass....
Wherever there is an audience artists perform their skills at weaving magic and fantasy. Comics, children's classics, adult fiction, theatre, movies, videos and record sleeves are all media which provide space for creating images from the imagination. The great fictional writers, past and present, have invented special worlds to which artists have responded by developing their own visual forms.
As objects recede in space they not only appear to shrink in size, but tend to lose detail, contrast of values, intensity of color, and their edges appear less distinct the greater the distance from the viewer's eyes. This is the principle of Atmospheric Perspective. Some writers call it aerial perspective, but this is misleading, as the term, aerial usually pertains to flying.
Writers are at the forefront of those who appreciate drawing. D.H. Lawrence, for example, once noted, Art is a form of supremely delicate awareness meaning at oneness, the state of being at one with the object. But artists themselves have much to say as well. Here are some wonderful quotes from artists about the artistic process
The United States has about a dozen major syndicates, and most of them handle comic strips, along with columns and other specialty features. Some of the major syndicates are United Media, Universal Press, Creators, Scripps Howard News Service, King Features, Tribune Media, and the Washington Post Writers Group. You can do a quick Internet search to locate each company's Web site, which contains more information about them, as well as the current comics that each is currently promoting.
For Writers, Poets, Actors, Painters, Musicians-and Creative People in All Walks of Life JULIA CAMERON is an active artist who tcaches internationally. A poet, playwright, fiction writer, and essayist, she has extensive credits in film, television, and theatre and is an award-winning journalist. Cameron, author of the bcstselling books on creative practice The Right to Write and The Vein of Cold, has been teaching and refining her methods for two decades.
Ginny, a writer-producer, credits the morning pages with inspiration for her recent screenplays and clarity in planning her network specials. 4Tm superstitious about them by now she says.44 When I was editing my last special, 1 would get up at 5 00 a.m. to get them done before I went in to work
Just as a writer needs a notebook for jottings and thoughts and an athlete needs work-outs and physical-training sessions to keep in peak condition, so the artist needs a sketchpad to keep his or her skill and visual memory sharp. Your sketchbook is your most valuable asset and any artist who does not use one is the poorer for it. As a combination of diary, workbook and record of life around you it becomes an extension of both your learning power and your visual memory.
You probably are familiar with these ideas. As with the left right terms, they are embedded in our languages and cultures. The main divisions are, for example, between thinking and feeling, intellect and intuition, objective analysis and subjective insight. Political writers say that people generally analyze the good and bad points of an issue and then vote on their gut feelings. The history of science is replete with anecdotes about researchers who try repeatedly to figure out a problem and then have a dream in which the answer presents itself as a metaphor intuitively comprehended by the scientist. The statement on page 39 by Henri Poincare is a vivid example of the process.
Ra yox portr vitpre, to one who knows nothing of the method, seems not only very difficult, but almost unattainable, except after long years of study and practice. Even then many suppose artists are born, not made. The writer ot this article has been employ ed in teaching the art for several years, and could refer to many pupils who, after comparatively few lessons, were able to execute finished portraits of real merit. Any one wiio can learn to write can learn to draw, but a special method is necessary to enable pupils to work intelligently. Most other branches of art have been elaborately treated by able pens, but crayna drawing as a study, has been hitherto neglected. A ear
He traveled often, lived in Europe for much of each year as he learned the languages, and became acquainted with technicians in the studios and performers in the night clubs and in the films. He worked with the dialogue writers and interpreters in finding the best way to keep the spirit of a line rather than just the words, and used his training and his judgment in coaching the voice talent during the recording sessions. This recording was always done in the native country whenever possible, partly because of the availability of busy actors and partly for the natural feeling that came to the phrasing and expressions.
Teachers, preachers and professional chalk-talkers will find the book full of material that can be worked into illustrated lectures. Authors and humorists may illustrate their own writing. Commercial artists, ad writers and sign painters will find a wealth of humorous suggestions that can be applied profitably.
1 think it's something that happens to every beginning artist (1 know it happened to me) When he or she draws people, they all have a tendency to look the same (and no, changing the character's hair or adding a beard doesn't count as creating a different look ). Tom's book helps you get over that hump, as he shows how you can create unique characters of all ages, shapes, and sizes. Even more important is how choosing the right kind of design can really help you bring out the character's personality (hence the name of the book). 1 think that's a vital aspect to consider because knowing the character's personality certainly helps you know how that character can act or react in a scene. (Hey, the writer's words can only do so much, y'know )
A fallacy to which many artists subscribe is that a thing must be depicted so because it is so. If this were necessary, it would deprive us all from using any imagination. Truth can be dramatized, made simpler, glorified, and interpreted according to individual appreciation. The good writer does this all the time. He sticks to essential
Providentially, I was sent another blocked writer to work with and on at this time. I began to teach him what 1 was learning. (Get out of the way Let it work through you. Accumulate pages, not judgments.) He. too, began to unblock. Now there were two of us. Soon I had another victim, this one a painter. The tools worked for visual artists, too.
He tries to be proactive about the journal, making a daily drawing of some kind. Recently he set himself the task of drawing portraits of writers. Halfway into a clunky likeness of Aristotle, he grew bored and began playing in the margins with a loose sketch based on something he'd just read about Shel Silverstein. Abandoning the initial exercise altogether, he followed Silverstein, trying to figure out how the illustrator-cartoonist worked. Clapp calls this deconstruction of another artist's style a forensic approach and likens it to trying on someone else's hat to see how you look.
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