[Kimberly_Elam]_Line_Icons_A_graphic_design_proje(BookFi.org).pdf

ALaura Temple

Line Icons A graphic design project guide

Kimberly Elam

CLine Icons

A Graphic Design Project Guide

Kimberly Elam

DOther books by Kimberly Elam

Expressive Typography, Van Nostrand Reinhold, 1990

Geometry of Design, Princeton Architectural Press, 2001

Grid Systems, Princeton Architectural Press, 2004

Typographic Systems, Princeton Architectural Press, 2007

Paper Food, ebook, lulu.com/kelam

Graphic Translation, ebook, lulu.com/kelam

Typographic Contrast, Color, & Composition, ebook, lulu.com/kelam

Additional Titles: StudioResourceInc.com

All works shown, except where noted, are from Kimberly Elams Introduction to Graphic Design course at the Ringling College of Art and Design, Sarasota, Florida.

2006 Kimberly ElamAll rights reserved

No part of this book may be used or reproduced in any manner without written permission from the publisher, except in the context of reviews.

Errors or omissions will be corrected in subsequent editions.

Elam, Kimberly, Paper food / Kimberly Elam.

Book & Cover DesignKimberly Elam

Cover IllustrationLaura Temple

ELine Icons

Kimberly Elam

Student Work Results

30 Alligator

32 Bass

34 Butterfly

36 Cat

38 Cow

40 Crow

42 Dragonfly

44 Duck

46 Eagle

48 Elephant

50 Flamingo

52 Giraffe

54 Goldfish

56 Gorilla

58 Greyhound

60 Hammerhead Shark

62 Hammerhead Shark Drawings

64 Hippopotamus

66 Iguana

68 Kangaroo

70 Lobster

72 Monkey

74 Penguin

76 Rooster

78 Seagull

80 Shark

82 Snail

84 Tarpon

1 Project Description

Overview of Creating a Line Icon

2 Project Goals and Objectives

Essential Skills

Project Books, Materials, Tools, Software

3 Project Process

Process Phases

4 Selecting the Subject

5 Determining the Creature Essence

6 Writing Exercise

7 Selecting the Pose

8 Visual Research and Editing Images

11 Continuous Line Drawing

14 Drawing Exercise, Pigeon

16 Drawing Exercise, Pig

18 Drawing Exercise, Hare

20 Critique of Drawing

21 Computer Drawing

24 Critique of Drawing

25 Working With Wire

28 Critique of Sculpture

Table of Contents

1Project Description

Overview of Creating a Line Icon

Icon design is a complex activity that involves the merging of the representational and the stylized. This project details a focused methodology in creat-ing an icon with a single continuous line. This line fluidly describes the object silhouette as well aspossible interior features, details, and surfaces. The methodology guides the student through a design process with optimal opportunities for both creativ-ity and success.

Using the visual research as a template, the student traces over the template to experiment with how a continuous line can best describe the subject. These drawingsareanalyzedandrefinedtocreateafinaldrawing that will be scanned and used as a computer drawing template. The computer drawing will further stylize the subject through vector drawing tools to created a crisp line icon. Finally, the student uses the computer drawing as a template to create a three-dimensional wire sculpture.

Marcos Roman

Hand-Graphic DrawingUsing found visual research as a template, the stu-dent traces over the template to experiment with how a continuous line can best describe the subject. Shown is one of a series of drawings that experiment with describing the subject with a single line.

Computer-Graphic DrawingThehand-graphicdrawingsareanalyzedandrefinedtocreateafinaldrawingthatisscannedandusedas a computer drawing template. The computer drawing is further stylized with vector drawing tools tocreatedacrisplineicon.Shownisafinalrefineddrawing of the subject based on the best of the hand-graphic drawings.

Wire SculptureInthefinalphaseoftheproject,thestudentusesthecom-puter drawing as a template to create a three-dimensional wire sculpture. Shown is a three-dimensional representation of the subject, crafted in wire, based on the computer-graphic drawing.

2Project Goals and Objectives

GoalsThe purpose of this project is to help the student gain an understanding of visual abstraction, reduc-tion, and icon design with a working knowledge of the visual principles and practices as they relate to graphic communication.

ObjectivesBy the time the project is completed the student should be able to:a. Conduct and document visual research with both the library and internet.b. Analyze and critique professional work and work produced in the class.c. Apply the principles of design to preliminary and finaldrawings.d. Apply appropriate hand-craft to a three-dimen-sional wire sculpture.

Project Books, Materials, Tools, Software

Book: Line Icons, Kimberly Elam

Hand-Graphic Materials & Tools: tracing paper, 8.5 X 11pencils & eraserwire, gauge and length is dependent on project solution wire cutterneedle nose plierswooden base, approximately 3 X 6drill & bits or hammer & nails access to photocopieroptional - set of french curves, triangles & t-square

Computer-Graphic Tools & Software: computerwithinternetconnectionportablefilestoragediskorlocalharddrivescanner&scanningsoftwaredigitalmanipulationsoftwarevectordrawingsoftwareprinterdigitalcamera

Essential Skills

This project can be accomplished with either a strictly hand-graphic tools and materials or a combination hand-graphic plus computer-graphic tools and ma-terials. The results shown are from a combination hand-graphic and computer-graphic approach.

Hand-graphic essential skills include:DrawingwiththeuseoftemplatesCraftingwirewiththeuseoftemplates

Computer-graphic essential skills include:Facilitywithcomputerscanningandbasicdigitalimage adjustment and manipulation.Facilitywithcomputerdrawingsoftwareespeciallydrawing and controlling bezier curves with the free-hand pen tool.Facilitywithworkingwithcomputercolor,importingswatch libraries, pattern making and editing, making and controlling gradients.Facilitywithdigitalphotography,imagemanipula-tion and retouching, and printing.

3Project Process

The project process has been designed to help the student meet the project objectives, and when followed enhances the probability of success. The process of assessment occurs throughout the project through both informal and formal means. Informal assessment is conducted by the student as work progresses, through self-analysis, interaction with peers in the class, and through instructor guidance. Formal assessment generally occurs at the conclusion of each phase of the project.

Process Phases

0. Critique ProcessCritique process is on-going and happens during all project phases. Critique provides an opportunity to contribute to personal success and the success of others through visual and verbal review of ideas and work. critique focuses on the work and criteria critique acknowledges good work through analysis what went right and why? critique acknowledges struggling work through analysis what went wrong and how can it be revised?

1. Visual Research AssignmentProvides practice in gathering, sorting, and evaluating visual research for the purpose of evaluation and design. Students are encouraged to not only locate and document images of their subject but also look at other resources that may yield visual clues for abstraction such as jewelry, sculpture, and pottery. images are from a variety of resources (not just the internet) images are of high quality and can be scaled to size images are well organized and labeled with resource information imagesreflectanappropriateposeandanimalessence

2. Hand-Graphic DrawingProvidestheopportunitytorapidlytest,develop,andrefinevisualideasaswellas share those ideas with the class. Students work with the images from the Visual Research phase of the project and use them as templates by drawing with trace placed on top of the images. drawing series has a variety of methods of representing the object drawings indicate starting and stopping point drawingsexperimentwithloopoverstodefineinteriordetails drawings are clean and communicate clearly

3. Computer-Graphic DrawingProvidesanopportunitytorefinecomputerdrawingskillsandcrisplyvisualizerefinedworkofprofessionalcalibre.Studentsscanthebesthand-graphicdrawingandrefineandformalizethelinebytracingwiththepentool. drawingrefinesthehand-graphicoriginal drawing reveals a facility with control of the pen tool line weight is in sync with the gauge of wire

4. Three-Dimensional SculptureProvides an opportunity to develop hand skills and visualize the line in three dimensional space. wire gauge is appropriate sculpture is balanced over base turns in line and loop overs are smooth eyefluidlyfollowswireline

4Selecting the Subject

Students are assigned three related subjects, in this case animals, and conduct visual research for all threebeforemakingafinalselection.Byresearch-ing three related subjects the subtle differences in subjects become more apparent and there is a higher level of sensitivity for the subject. The reason for the assigning subjects rather than permitting selection is to mitigate student angst and indecisiveness in the selection process; a task that could occupy too much time.

It is also possible to develop this project with man-made subjects. Many common objects will work well as line icons and would also lend themselves to icon design.

Land Creatures

monkey baboon gorillaskunk, ferret, weasellion, leopard, cheetahhorse, donkey, zebramoose, elk, deerpheasant, peacock, roostergecko, iguana, komodo dragoncow, ox, horsecat bobcat cougarpanda koala bearwallaby kangaroo tasmanian devil

Water Creaturesdolphin, whale, porpoisecrab, lobster, urchinshark hammerhead great whiteperch bass piketurtle tortoise snapperfrog bullfrog toadalligator caiman crocodilegrouper sailfish angelfish

Air Creaturesegret, ibis, flamingorobin sparrow crowowl, eagle, vulturedragonfly bee waspfly mosquito gnathawk eagle ospreypelican tern seagullbutterfly moth firefly

5Determining the Creature Essence

Eachstudentconductsvisualresearchtofindimagesof their animals to help in the selection of the pose of the animal for the project. Before beginning research, however, the question was asked, What is the vi-sual essence of your creature? This means what characteristics make one creature only that creature and none other. The answer to this question is key in determining a pose that would expose the animal essence to its best advantage. For example:

Elephant Essencetrunk, tusks, ears, small tail, blocky body

Eagle Essencehooked beak, wings, talons, wings, feathers

Giraffe Essencevery long neck, spots, small ears, spindly legs

Kangaroo Essencelong thick tail, short front legs, humped body

Flamingo Essencelong spindly legs, long neck, hooked beak

Pelican Essencelong beak, pouch, wings, webbed feet

blocky body

tail

tusks

trunk

An assignment that helps students understand the essence of their creature is a writing assignment. The assignment is quick and can be done during class time. Assignment: Secretly, without telling anyone what your creature is, write a description in twenty-fivewords or less. Descriptions include creaturescale, environment, color, and essential features. Students then read aloud their description and the class guesses as to what the creature is.

Elephant Essence Writing Example:I am gray and as big as a truck. I move slowly with cylindrical feet. My tusks move objects and I grab food with my trunk.

Goldfish Essence Writing Example:Iswimandfinshelpmesteer.Bulgingeyesallowmeto look through the glass.

large ears

6Writing Exercise

Write a description for each of the creatures below in twenty-fivewordsorless.Theobjectiveoftheexerciseistoincludethe essence of the creature in your written description.

7Selecting the Pose

In many cases, when developing an icon, a descrip-tivesideviewwillworkbestbuttherearedefiniteexceptions to this rule. Each designer needs to determine the best pose for the selected creature or object and the essence characteristics help in evaluation and selection.

The examples at the right show three poses for an elephant. The top pose is a front pose and too many of the essence details are missing: tusks, blocky body, and trunk. The middle pose is a three-quarters pose, which is better but the leg positions are con-fusing and the trunk is not readily recognizable. The bottom pose is by far the best. All of the essence features can be readily recognized.

Front PoseNot enough detail.

Three-quarters PoseConfus ing legs and trunk.

Side PoseAll details are obvious and silhouette is immediately recognizable.

8Visual Research and Editing Images

The internet is an excellent resource for visual re-search if the image is of high resolution so as to be enlargedtofitcomfortablyonan8.5X11page.Copyright restrictions prohibit the use of anothers photo or drawing for reference but the result of this project is so abstract that there is rarely a con-

Original Pelican Body ScanThe body of the pelican is in a good position for communica-tion but the turn of the head is awkward.

Manipulated ScanTheheadandneckoftheoriginalbodyscaniscutandflippedto create a better pose.

flict.Dover publicationshas an excellent rangeofcopyright-free image resources and a favorite for this project is Animals, 1419 Copyright-free Illustra-tions of Mammals, Birds, Fish, Insects. Images can be scanned from this book and enlarged or reduced to a comfortable scale.

9Pelican HeadThe head position is good but the body is needed.

Pelican BodyThe body position is good but the head is awkward.

Collage of Body and HeadThe head of the pelican, left, and the body of the pelican, below left, are collaged to create a better pose for drawing.

Visual Research and Editing Images

Frequently, images will be found that show part of the creature quite well, but need to be altered to cre-ate a better pose, such as the pelican image below. In this case the turned head and beak are awkward and very tight to the body. A solution is to roughly collage two images of the same scale, one image of

the head and another of the body. The collage allows thedesignerthebenefitofhavingtheentirecreatureportrayed in a good pose for the drawing phase of the project. Another solution, shown on the next page, istoreplacetheheadwithafishinthepouchwithanother head that has a simple closed beak.

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Visual Research and Editing Images

Editing of images can occur through collage and also through drawing. The original mouse image, right, has a tail that curves around behind the creature.Whilethisposeisfineitcouldprobablybe improved. Redraw the tail on the mice below. The stump of the tail has been retained so that you can see where it meets the body.

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Continuous Line Drawing

Drawing is done by placing tracing paper over the research and drawing in pencil. The icon is drawn as a single continuous line of the silhouette and the drawing stops or starts at the base. As the object is drawnthesurfacesshouldbestylizedandsimplifiedwith careful attention to the essence features.

Dragonfly 1Initial drawing focuses only on the silhouette.

Dragonfly 2Interior details of eyes and wing ellipses are added as loops andrepetitionoftheopenloopsinthebodyarerefined.

Dragonfly 3The wings have become more geometric and elliptical and theopenloopsarerefined.

Loopscanbecreatedtodefineinteriorsurfacesofthecreature or provide details. If appropriate rhythm and repetition can be created. Looped lines also create a visual rest as the eye follows a single line.

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Gorilla 1Initialdrawingfocusesonsimplification.The line beginning and the ending are unresolved.

Gorilla 2Refinementoflinebeginningandend-ing are resolved and the eye becomes a loop.

Gorilla 3Pose is adjusted to bring rear leg up, and emphasize rhythm intherepetitionoffingersinthehandissimplified.

A series of drawings is needed to try variations on the line treatment. Designers need to remember that the drawing will be rendered in three dimensions with wire so the scale of the object and balance on the base will eventually come into play. Remove the tracing paper drawing from the object and allow the eye to follow the line. The eye should flowfluidlyalong the surface contour.

The drawing will need to be both visually balanced and physically balanced when created with wire. Long cantilevers will not work in three dimensions unless exceptionally stiff wire is used in the three-dimensional sculpture.


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Goldfi sh Reference ImageThesideviewofthegoldfishisagoodposefortheprojectbecause all of the descriptive features are apparent; fins,tail, and bulging eyes.

Goldfi sh Tracing DrawingTracingpaperisplacedontopofthegoldfishreferenceimageand drawn in pencil. Attention is given to the silhouette of thegoldfishaswellasdescribingtheeyeandtopandbottomfinswithloops.

Goldfi sh Drawing


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Drawing Exercise, Pigeon

Use the small gray images to try different ways of creating a line icon. After exploring your ideas in smallscaledevelopafinaldrawingusingthelargerimage.

LabelbeginningandendingpointofyourlineRetainarecognizablesilhouetteSimplifydetailsWhereappropriateuserhythmandrepetitionUseloopstocreateinteriorfeatures

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Drawing Exercise, Pigeon

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Drawing Exercise, Pig



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Drawing Exercise, Pig

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Drawing Exercise, Hare



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Drawing Exercise, Hare

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Loops

Critique of Drawing

Loosely tape the three of the best tracing paper drawings to white paper and post for class discussion and comment. The following questions can help guide the class discussion:

Is the creature recognizable?Is the pose engaging?Is the essence of the creature apparent?Is the silhouette descriptive?Does the eye follow the contour of the line?Are loops used for interior surfaces or details?Is there an opportunity for rhythm & repetition?Is there an opportunity for a looped visual rest?Is the line beginning satisfying?Is the line end satisfying?

Rhythm & Repetition

Rhythm & Repetition

Loop

Originally, the alligator was drawn with the full body. This pose became prob-lematic due to the scale of the creature, because the details became so small. The designer focused on the head in order to communicate the essence fea-tures of the creature: long snout, jagged teeth, and bumpy texture.

Thegoldfishemployedmoreloopoversthan any other creature which added to the communication of a curvilinear fluidform.

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Computer Drawing

Oncethedesignerhascraftedandrefinedahand-graphic drawing of the subject, the best drawing is scanned. This scan becomes a template that guides the designer in drawing the subject with vector soft-ware. During this phase the details of the drawing are developed geometrically. Lines are straightened, curves are smoothed, and a gray rectangle is used to simulate the wooden base that will eventually be used in the wire sculpture.

Marcos Roman

The scan is scaled so that designers work in the actual sizeofthewiresculpture,andmostfitonan8.5X11 paper. The line weight should approximate the gauge of wire that will be used in the wire sculpture. Both scale and wire gauge are at this point a logical guessastothefinaloutcomeandmayneedtobeadjusted as work develops. The template layer is locked to prevent the scan from being moved, and the drawing is made on another layer. Curves are adjusted and smoothed to create a line that moves fluidlyfromstarttofinish.

Scan of Original Tracing Drawing

Final Computer Drawing

Computer Drawing on Top of ScanThe computer drawing closely follows the tracing paper draw-ing.Curvesandloopshavebeenrefinedandsmoothed.

Marcos Roman

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Final Computer DrawingHammerhead Shark, Computer Drawing on Top of ScanThisisacomplexcreaturethatunderwentadditionalrefinementinthecomputerdrawing. Small details such as the teeth have been eliminated, and the beginning andendingsofthelinerefined.

Computer Drawing

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Final Computer Drawing Iguana, Computer Drawing on Top of ScanThe designer wanted to show many of the details in the iguana and chose to work with only the head and upper torso. Since the drawing was highly detailed the line weight used in the computer drawing is thin. Rhythm and repetition became important intheruffledsurfacesof thebackandneck.Loopsonthe feetalsoreflecttheideaofrepetition.

Computer Drawing

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Critique of Drawing

Designers print at least one variation of their com-puter drawing for critique. The same questions that were used in the hand-graphic drawing phase of the project guide the discussion of the critique of the computer drawing, with the addition of computer craft questions.Deficienciesfoundintheearlierdrawingshould be corrected by this phase.

Is the creature recognizable?Is the pose engaging?Is the essence of the creature apparent?Is the silhouette descriptive?Does the eye follow the contour of the line?

Are loops used for interior surfaces or details? Is there an opportunity for rhythm & repetition? Is there an opportunity for a looped visual rest? Is the line beginning satisfying where it meets the base? Is the line end satisfying? Doesthefigurefeelvisuallybalanced? Are all curves and joins smooth? Is every change in line purposeful? Does the computer drawing improve on the hand drawing? Which drawings are the strongest & why? Which drawings are the weakest & why? Where is there an opportunity for improvement?

Notes About the Pen Tool

Understanding and learning to use the pen tool is oneofthemostdifficultaspectsofvectordrawing.The computer software has an unfamiliar logic to the process of drawing and until the designer begins to think in terms of bezier curves it is impossible to draw well with the pen tool. Software manuals and third-party software texts have excellent exercises to assist learners in understanding how to draw with the pen tool, and the importance of practice cant be overemphasized.

Laura Temple

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Working With Wire

There are many varieties of inexpensive wire avail-able at local craft, hardware, and home improvement stores. Often wire can be bought by the foot, which is ideal as it enables the designer to test a number of options before deciding upon a final choice forthe wire sculpture. A favorite of students is plastic coated wire and is available in a variety of colors and gauges. The down side to plastic coated wire is that the plastic coating is easily nicked when it is being bent and twisted with tools, and must be handled carefully.

Wire that is too thin or too soft will not hold its shape and has a tendency to collapse. Wire that is too thick or too stiffwill be difficult to bend andwill resistholding the bends upon completion. Selection is de-pendent on the subject and the amount of detail to be crafted. Designers should buy and test a number ofkindsofwirebeforemakingafinalchoice.

One of the most interesting aspects of the wire sculpture is that it forces the designer to balance and supportthefigurethatisbeingsculpted.Thisoftenplaces the starting point of the sculpture at the felt axisofthefigure,whichisvisuallycomfortableandappropriate.

Copper WireCopper wire was chosen for the shark because it is stiff enough to hold its shape and soft enough to be workable. The wire curves up from the base to support the sculpture.

Lamp WireLamp wire was chosen for the kangaroo because the plastic coating softened the curves.

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Working With Wire

Line icons can be crafted freehand in wire but there is a tendency for the wire to twist and be come mis-shapen. A template with nails at key bending points oftenhelpskeepthewireflatandmakesaccuratecrafting far easier to accomplish.

Below are drawings of the rhino that show the shape and details of the animal. In the drawings the legs are evened out and an eye is added. The wire rhino will be free standing and the leg design is based on an idea by sculptor Alexander Calder in his Elephant wire sculpture.

Initial DrawingThe initial drawing captures the essence of the rhinohorn, small ears, blocky body, and short legs. Adjustments need to be made to make the legs the same length, a bit wider, andflatatthefeet.

Refi ned DrawingThe feet are now all resting on the same horizontal line and legs are of approximately the same thickness. An eye has been added and the ears have been made more symmetrical.

Beginning PointEnding Point

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Nail Bending JigThe drawing is lightly glued to plywood, below, and small finishnailsareplacedat locationswhere the linechangesshape or direction. The beginning and ending point have been changed to the tail location, because the rhino will be free standing. The wire is wound around each nail in turn to create the rhino.

Nail PlanThe drawing is printed or photocopied. The black dots show the positions of the nails that will be used to wrap and craft the wire. The eye is a tight loop and a thicker nail or dowel will be used.

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Critique of Sculpture

The change from the two-dimensional to the three-dimensional is startling. The creatures seem to come alive when sculpted in space. Designers show their hand-graphic and computer-graphic drawings as well as the wire sculpture for critique. The same questions that were used in earlier phases of the project guide the discussion of the critique of the wire sculpture.

A critique method that works well at this point in the project is to divide the students into small critique groups of two or three persons. Each group is re-sponsible for selecting a Best in Class sculpture and severalrunners-upforanidentifiedsetofcriteria.Each group must make selections in their category

and justify their selections with an explanation. At the conclusion of each groups selection the class is also invited to cite works that may have been over-looked in that category.

The intent of the critique method is to have students make choices and selections based on criteria that have developed throughout all phases of the project. Critique groups mark their choices with removable self-adhesive dots so that the class can remember which works were cited in each of the categories. This enablesthebestworkintheclasstobeidentifiedand also enables students to see that often works are strong in some categories but not all categories.

Group 1, Pose & EssenceWhich sculpture has the most engaging pose and the best depiction of the creature essence?

Group 2, Contour Line & Visual PauseWhichsculpturehasthemostfluidcontourlineandthe best use of loops?

Group 3, Rhythm & RepetitionWhich sculpture most appropriately uses rhythm and repetition as part of the contour?

Group 4, Beginning & EndingWhich sculpture has the best beginning from the base and the best ending?

Group 5, CraftWhich sculpture has the best craft and improves upon the drawings?

Rhino Wire SculptureThefinalwire rhino looksverysimilarto the drawing. Details were refinedduring the crafting process to give the sculpture more stability and create a logical beginning and ending point. The ears are twisted to keep them from pulling apart. The beginning and ending point is now the tail, where the wire has been twisted.

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Line Icons

Examples of Student Work

Alligator

Bass

Butterfly

Cat

Cow

Crow

Dragonfly

Eagle

Elephant

Flamingo

Giraffe

Goldfish

Gorilla

Greyhound

Hammerhead Shark

Hammerhead Shark Drawings

Hippopotamus

Iguana

Kangaroo

Lobster

Monkey

Penguin

Rooster

Seagull

Shark

Snail

Tarpon

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Alligator

Felicia Koloc

The alligator line icon was originally drawn with the full side-view body. It was immediately apparent that the full side-view was problematic because so many of the details were diminished in size. The designer decided to focus on the head, where many of the es-sence features were located, and draw the alligator as if it was emerging from water. The use of the loop to create an eye and brow is effective as is the use of repetition in the bumpy texture and teeth.

Computer Vector Drawing

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Hand-graphic Drawings

Final Wire Sculpture

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Bass

Ashley Raynor


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Butterfly

Phillip ClarkJeff Bleitz, Instructor


As with a number of line icons the initial drawings focused on the silhouette. While the silhouette is descriptive, it leaves much to be desired in describ-ingthebutterfly.Theadditionofsymmetricalwingsegments that are described by interior loops add considerably to the visual description. The wings are offset by a zigzag line that is the body and curved line thatlaunchesthebutterflyfromthebase.

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Christopher Haslup

Cat

Chris Haslup


Initially,thecatlineiconwasnotstalkingabutterfly.However, the active pouncing pose felt incomplete andabutterflywasadded.Thewirefromthecattothebutterflycurvesand restson thebase,whichgave the cat needed structural support.

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Rob Kautz

Cow

Rob Krautz


The cow was sized so that both the front and rear legs would touch the base and give the creature an appropriate sense of stability. A large interior loop becomes a spot on the cow and a color change in wire creates emphasis. The loop in front of the rear leg bothdefinesthelegandcreatesanotherspot.

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Hand-graphic Drawing


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Crow

Carinda Roestorf



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42Michael Reuter

Dragonfly

Michael Reuter


Throughout the drawing process the dragonfly evolved from an irregular silhouette to a study in symmetry. The segments of the body are articulated as a series of curves leading to the wings. The wings are symmetrical ellipses that are detailed with small loopsthatalsodefinetheeyes.

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Duck

Olivia Posani

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Eagle

Lenna Dahlquist

The hunting pose of the eagle is very active. The bird is swooping down to capture prey with wings spread to slow for the attack. The wings have been simplifiedtohighlightthefeathersatthetipsandthetail is a study in repetition. The single loop focuses attention at the eye.


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Elephant

Marcos Roman


During the initial drawing phase of the project the line beginning changed from the rear leg to the front leg in order to better describe the silhouette. Loops are an effective device to more fully describe the wrinkles in the trunk, the knees, and the small wisp in the tail.

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Flamingo

Laura Temple

The elegant form of the flamingo is apparent inboth the line icon drawing and wire sculpture. Three loops at the eye, wing and knee create a harmonious contrast to the line. The single leg extends from the base as if it is standing in water.


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Giraffe

Renata MolnarJeff Bleitz, Instructor


The initial drawings of the giraffe were highly complex as the line described the spots in negative space in a maze-like fashion. When sculpting the giraffe from wire, the initial concept became too complex and the visualdescriptionofthespotswassimplified.

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Goldfish

Roy Chasteen

Thefirstdrawingsofthegoldfishweresimplesilhou-ettes.Asworkprogressedthedetailsofthegoldfishbecame more interesting and included rhythm and repetitionofthefinedgesandanumberof loops.The repeated loops of the eye become a visual rest andfocusattention.Loopsinthefinsshowthewiremovingasfluidlyasthefishdoesinwater.


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Gorilla

Amanda Clark

The pose of the gorilla changed from static to active during the design process. Initially, the gorilla was standing at rest. By the conclusion of the vector drawing the base had become a platform with the gorilla stepping up and onto it. The face of the gorilla is expressive with a visual stop for the eye. One of the arms is partially hidden, which adds visual inter-est. Both the line beginning and ending are detailed with a loop.


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Greyhound

Heather Clark


Movement is part of the essence of the greyhound and from the start movement was important in the pose. The use of the curved line from the base enhances the sense of movement and the greyhound seems to be leaping over the base with outstretched legs.

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Hammerhead Shark

Mike Munger


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Hand-graphic Drawings Next Spread


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Hammerhead Shark Drawing Series

Mike Munger

The two initial drawings of the shark revealed prob-lems with pose and were discarded in favor of a more dynamic pose with a hammerhead shark. The hammerhead drawing series reveals the process of working out the details. The distinctive hammerhead shape transitioned in detail throughout the process to arrive as small bends. The interior of the body and detailswerealsosimplified.

Initial Drawings

Drawing 1 Drawing 2 Drawing 3

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Drawing 4 Drawing 5

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Hippopotamus

Gerard Zengle



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Iguana

Melike Turgut


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Kangaroo

Audrey Hughes

A jumping pose was chosen for the kangaroo, and the bent support from the base becomes a leg. The silhouette is highly descriptive and the thick tail balances the body and head. The wire is terminated in a loop reminiscent of the spring-like gait of the animal.


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Lobster

Jennifer Miranda


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Michael Johnston

Monkey

Michael Johnston

Inspiration for the monkeys pose came from a mon-keynecklacewherebythefigurehungfromachain.A similar pose was used and required that the wire start from the base as a pole from which the monkey couldhang.Theposeisdelightfulandthefigurehasa sense of motion. Of particular interest is the loop thatdefinesthemonkeysshoulder.


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Penguin

Yuri Priamo-Canales


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Rooster

Andrea Menndez

The irregular line work of the rooster is delightful and captures the essence of the bird. Instead of trying to stylize the tail feathers into a regular regimented pattern, theyre casual and irregular with loops at each change in direction. The same system is used for the wing, comb, and wattle that contribute to the sense of cohesiveness in the composition. The wing that occupies negative space adds visual interest.


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Seagull

Ben Buysse


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Snail

Thomas Pregiato

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j.k. Vu

Shark

Joseph Vu


Because of the linear form of the shark, balance was difficulttoachieve.Afairlyheavygaugeofcopperwire was chosen to support the weight from a single point. The designer initially visualized a straight sup-portfromthebaseandcontinuedtorefinetheformuntilthefinalsculpturewhenthethecurvewasusedto balance the weight of the wire and to increase the idea of movement.

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84

Tarpon

Brent Gonzalez


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[Kimberly_Elam]_Line_Icons_A_graphic_design_proje(BookFi.org).pdf

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