TABLEOFCONTENTS

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

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

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.

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.

3 panelstoryboard

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

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WEEK 1

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

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

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

WEEK 2

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

Shadow

Core shadow

Re"ectedLight

Highlight

Coreshadow

spherediagram

APPLYINGDARK/LIGHT

IN TORSO

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.

WEEK 1WEEK 3

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

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

4-WAYROTATION

FACIALEXPRESSIONS

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.

1

2

3

4

5

6

7

88 1/3

8 1/3

Rib cage

Sternum

Bottom of pec

Wrist

Knee

Waist andelbow

bodystructure

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.

WEEK 4

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

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.

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

WEEK 5

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

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.

waysto

createmood

- - - - - - - - - - - - - - - - - - - - - - - - - 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.

WEEK 6

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

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

GESTURALLAY-INS

mikki’sperspective

class

STUDYOF SHOE

PERSPECTIVEE

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

ellipsisstudies

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

bottles

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.

2-pointperspective

1-pointperspective

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

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.

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

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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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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To create a slight 3D echarcoal 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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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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