CG S12 MHackert Magazine Spreads

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Transcript of CG S12 MHackert Magazine Spreads

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  Vol. 1, Issue 1 1

Table of 

2  6 10 14 20 24 28 34 

shape drawing

variation of shape drawing

line

value

texture

color

pencil drawing

oil pastel drawing

Contents 

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  Vol. 1, Issue 12 Hoosier Hysteria

 shapewritten by Marie Hackert

drawing

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  Vol. 1, Issue 154 Hoosier Hysteria

Images showing the process from the original to

the nished Illustrator image.

I am trying to convey the image of Sameer, the

lead singer from the indie rock band Young the

Giant. I wanted to create a piece of vector art

from a photographic image.

 

craftTo create these images, I used Adobe

Illustrator and a mouse. I rst found an originalphotographic image. I then used the pen tool to

create shapes around areas with similar shad-

ing. After that, I used the dropper tool to select

the color needed for the area from the color of 

the original image. I repeated this step in

multiple layers until I got the desired color effect

to create a similar looking reproduction of the

original photographic image.

My goal was to arrange the colored shapes in or -

der to get the viewer to see the object as a whole.

I wanted the viewer to see the shaded objects

coming together as one image rather than focus

on the separate colored shapes that made up the

image. After nd the original image, I worked layer 

by layer, slowly building up colors

“After finding theoriginal image,

I worked

layer by layer,

slowly

building up,

to produce

one single image.”

composition

concept

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  Vol. 1, Issue 16 Hoosier Hysteria

Variations with the Shape Drawing

written by Marie Hackert

Panel of  V ar iations done on Adobe Illust r at or .

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  Vol. 1, Issue 18 Hoosier Hysteria

Craft:To create these images, I used Adobe Illustrator. I took

an original piece of vector art that I had already created.

I used the color guide to create both a monochromatic

color spectrum and a vraious color mixed spectrum. Iapplied this to color to the vector art. I then selected

different brush types to change the stroke and variate

the image. In the rst row of images, I only applied color 

changes. In the second row, I used both color changes

and selected a subtle stroke change. In the last row of 

images, I selected both a color change and a denitive

stroke change.

Concept:In these images, I was trying to convey Sameer from the

Indie rock band, Young the Giant. I wanted to show

variations in stroke and color for each piece of vector 

art in order for the viewer to understand how color and

stroke can both positively and negatively affect an image.

Composition:My goal for these images was to create a panel of im-

ages that shows how variations can alter an illustrator 

image. I learned to use different strokes, sizes, and color 

combinations.T                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                            h                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                       e                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                  c                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                  o                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                   l                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                           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w                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                    i                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                           n                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                  d                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                          o                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                   w                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                    

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                                                                                                                                                              .                                                                                                                                      

“...variations

can alter an

Illustrator

image.”

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  Vol. 1, Issue 1 110 Hoosier Hysteria

Linevertical and horizontal

 written by Marie Hackert

strokesthe

thatthe 

object.”

FORMED

"I wanted the

audience to

see the

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  Vol. 1, Issue 1 112 Hoosier Hysteria

explore

LINE

   (   L  e   f   t   )   I   l   l  u  s   t  r  a   t  o  r   d  r  a  w   i  n  g  s

  o   f  v  a  s  e  s   d  o  n  e  w   i   t   h  a  p  e  n  a  n   d   t  a   b   l  e   t  u  s   i  n  g  o  n   l  y  v  e  r   t   i  c  a   l  a  n   d   h  o  r   i  z  o  n   t  a   l   l   i  n  e  s   t  o  c

  r  e  a   t  e  a  n   i  m  a  g  e .

To make this I used the Bamboo tablet and pen

to create a stroke drawing on Adobe Illustrator.

I rst selected the color and the stroke width,

then I proceeded to use the paintbrush tool. I

used stroke marks both vertical and horizontal

to create the image of a vessel starting from the

top to the bottom.

I am trying to communicate a vessels through

the used of lines. The motion and direction

of the lines help express a 3D vessel. I used

the motion of the line to dictate the shape and

roundness of the object. 

I arranged the elements in this manner in or -

der to draw the viewers eyes towards the lines

rather than the object as a whole. I wanted the

audience to see the strokes that formed the

object, rather than the object itself.

Concept:

Composition:

Craft:

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  Vol. 1, Issue 1 114 Hoosier Hysteria

valueCREATED USING LINEsWritten by Marie Hackert

Value drawing done on Adobe Illustrator by using gray scale and lines.

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  Vol. 1, Issue 1 116 Hoosier Hysteria

the shape.”

“...and have those values

express

craft:To make this group of images, I used

the bamboo tablet and pen and Adobe

Illustrator. I rst selected the pen tool.Using this tool, I started at a medium

swatch of gray and worked my way

throughout the gray scale moving from

white to back to create an image with

vale. concept:

I am trying to communicate a bowl

or a cup, depending on the image.

In each drawing, I worked hard to

exhibit value rst.

composition:

I arranged the elements in sucha manner, as to express value

in the shape without drawing too

much attention to the shape as

a whole rather than the values.

I worked to have the viewer seethe values rst, and have those

values express the shape.

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  Vol. 1, Issue 1 118 Hoosier Hysteria

Value dr awing done on Adobe Illustrator by using gr ayscale and lines.

“I started with a medium gray and

worked my way

moving from white to black to create an

image with value.”

through the grayscale

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  Vol. 1, Issue 1220 Hoosier Hysteria Marie’s P

texture Written by Marie Hackert 

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  Vol. 1, Issue 1222 Hoosier Hysteria

 craft: I used a Bamboo pen and tablet.

I rst picked the paintbrush tool,

stroke size, and color. I then

picked a number or letter and re -

peated it all over the entire page

altering from the color’s tints and

shades and stoke sizes. Next, I

picked a complimentary color and

repeated that same number or 

letter with different stroke sizes

and tints and shades to create

the image of a cup or bottle.

I was trying to create the image

or a cup or bottle by using the

repetition of numbers or letters. I

want the viewer to see the lights

and dark of the object and not

focus in on the numbers as much.

I used a combination of various

sizes of a number to create a

whole image. I created the imageof a bowl or cup out of this

combination of numbers. I

created the background with a

complimentary color to the image

I was drawing so the two would

not clash with each other and so

the audience can properly view

the subject.

 concept: 

 composition: 

“ I wanted the viewer to seethe lights amd darks of theobject and not focus on the 

numbers as much.” 

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  Vol. 1, Issue 1224 Hoosier Hysteria

colorWritten by Marie Hackert

Color illustration done on illustrator using pen and tablet.

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  Vol. 1, Issue 1226 Hoosier Hysteria

To create these images, I used a bamboo pen

and tablet. I rst selected the pen tool, and chose

a single color and stroke. I created an image by

altering stroke sizes and using a single colors tints

and shades.

I was trying to convey different vessels that

hold liquids. I wanted to give the contain -

ers either a sense of transparency in order 

to aide the viewer in understanding the

materal of the object.

I arranged the colors in a way as to express the lights

and darks of the object. I wanted to draw in the view -

ers to the different tints and shades, and not the object

itself.

craft

concept

composition

“...express

the lights

and darksof the

object.”

Color illustration done on Illustrator using pen and tablet.

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  Vol. 1, Issue 1228 Hoosier Hysteria

PENCILdrawing 

Pencil Drawing done with graphite pencil on white paper.

 Written and Illustrated by Marie Hackert

  Marie’s Portf olo28   Marie’s Portf ol

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  Vol. 1, Issue 130 Hoosier Hysteria

Pencil is a tool that has been used for centuries in the

art world. It is simple yet effective in the way its strokes

can convey an image. An artist utilizes pressure to cre-

ate the proper values for a drawing. These values cre -

ate texture, depth, and highlights in the image. Without

these three things, the image may not be conveyed in

the reality desired by the artist. Each time I used pencil

I worked to assemble a group of strokes that coincide

with each other. Sometimes this took hours, days, or 

weeks, but getting the proper combination gave me

striking drawings that came alive off the page. I also

draw with a very whimsical technique. I focus less on

the details of an object and really hone in on the lines

that create it. These lines help my drawing come “alive”

off the page, and make the viewer take a second look

at each and every stroke I created for the drawing.

P

N

E

IC

L

“Sometimes this took

hours, days, or weeks,

 but getting the

 proper combination gave

me striking drawingsthat came alive off the

page.”

PencIl Drawing done with graphite pencil on white paper.

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  Vol. 1, Issue 132 Hoosier Hysteria

his pencil drawing was done of a robe and a shirt

hanging on a clothesline. The focus of the drawing was

to center focus on the movement of the cloth. I as an

artist wanted to capture the movement in a way

that would make the viewer feel the cloth coming

off the page. I took an approach that centered on a

more gesture feel. The approach proved successful as

the robes jump off the page and almost appear alive. I

really wanted to show various values, from the

darkest darks to the lightest lights, but I also had to

really eliminate any values that would give the robe a

nonrealistic feel. I wanted to convey a sense of depthfor the viewer, and to make each layer of the robe

move and ow down as if it were really hanging on a

clothesline.

T

“I wanted to convey a sens

of depth for the viewer, and to

make each layer of the robe

move and fow down as iit were really hanging

on a clothesline.”

P  en c i  l  Dr  awi  n g d  on ewi   t  h  gr  a ph i   t   e p en c i  l   onwh i   t   e p a p er .

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  Vol. 1, Issue 134 Hoosier Hysteria

oil  An oil pastel image of Dwight K. Schrute from the American comedy the Ofce

Written by Marie Hackertpastel 

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  Vol. 1, Issue 136 Hoosier Hysteria

Oil pastel is a medium that explores

tool of color. Color can express an im

in a way that a simple black and whit

drawing cannot. It tantalizes the view

eyes more than simple graphite. Thi

drawing is of the Blues Brothers. I lik

explore drawing portraits of people t

I admire or am a fan of. Human face

contain such a variety of tones, shad

and colors. Each of these must be co

bined the right way in order to expre

realism. The human face is a delicat

subject, but I feel inclined to do my b

to express the faces and emotions othese people to my audience. I used

pastels by themselves to give the

drawing an artistic feel as the audien

can see each individual

stroke and mark of the pastel. Oil pa

has a sticky quality where when draw

over or blended, the different colors

and morph together to create a well-

mixed image.

    Blues    BrotherWritten by Marie Hackert

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  Vol. 1, Issue 138 Hoosier Hysteria

 just imagineWritten by Marie Hackert

In this image of John Lennon, I am trying

to show his true expression and emotion. I

want the audience to truly believe that he is

feeling, dreaming, and hoping. The oil pastel

is a great medium to show depth in color and

value. It provides layers and layers of color 

built up on one another to create one total

image. The amount of pressure applied to the

pastel gave me different results. Each stroke

on the face was applied with great care andgentle pressure in order for each layer 

applied to properly blend together, while thestrokes in the hair are hard and dened so

that each stroke is seen.

in color 

“Tthe oil pastel is a great medium 

 to show depth 

 and in value.” 

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40 H i H t i

Artwork created by

Marie Hackert