Magazine 2 Print Spread

8/2/2019 Magazine 2 Print Spread

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Contents

page 6

page 31

page 16

VAO

1 Vision


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Orchid

Original Photograph: Jon Sullivan

ShapeIllustration with Shapes and Layers2 Visions


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This image on the next page was created us-

ing Adobe Illustrator. A picture of a real ower

was chosen and put into AI. Then, using the

pen tool, individual colors of the image were were

traced to create the shapes that the image is made

up of. The biggest shapes were drawn rst and then

the next biggest and so on. Using the eye droppertool and selecting colors from the original photo-

graph, the color was lled into that shape. The big-

gest shapes were traced and then the smaller de-

tailed pieces were added as additional layers on

top. Different layers were created in order to keep

each shape of the ower organized. The layers were

named the part of the ower that it was from, for ex-

ample, purple parts and left petal. This helped the

nal stages of editing the image by keeping the parts

seperated from each other.

In this nal version of the trace project, tech-niques such as gaussian blur and gradient was used.The petals that are further away have the gaussianblur applied in order to give the image depth.The pet-

als that are further away are blurred in order to ex-emplify the foreshortening of the ower. As for thecompostition, the viewer sees that it is a ower rstand then will notice that it is an illustrated verstion ofone. The different colored shapes give the impres-sion of shadows and curves within the ower. Thesefeatures also exemplify the illustrated versions real-istic look. The overall use of all of these techniquescreates a uent illustration of the orchid.

Illustrated Version

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4 Visions


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Va

riation

Each of these nine owers were created

using Adobe Illustrator. By selecting all

and choosing different brushes and color

schemes the ower transforms. In the rst top line of

owers only the colors of the images were changed.

The rst left hand top corner is the original

traced drawing. In the second and third top square,

only the color was changed. The second square waschanged to monochromatic color under the impres-

sionism setting. The third top ower was made by

using by using the Russian Poster Art color scheme.

In the second row, both the brush and the

color was changed. Yet, the colors similarly reect

the rst row of colors. The rst ower, in the sec-

ond row, the stroke was changed into chalk. The

second was a combination of the use of the brush

stroke chalk and the color being changed to mono-

chromatic baroque. The third owers brush stroke

was changed to artistic ink with the use of Russian

poster art compound 2 for colors.

The last row of owers are a little more ex-treme versions of the former. The rst owers brush

stroke was changed to artistic splash and the color

was not changed. The second ower uses artis-

tic splash for the brush stroke but the colors were

changed to middle ages monochromatic 2. The

third ower is in the bright color scheme along with

the scroll pen brush stroke.

For each of these owers, the image in the

center is the rst thing that someone would see.

What one person sees may be different from what

someone else sees. The rst three are denitely

owers, just in different colors. The other owers

are not as recognizable because of the changes inbrush stroke. Someones eyes may bounce around

on the images that arent as obvious to what it is, as

opposed to the ones that look like the original ow-

er. In the images that arent as recognizable, one

may see the bright white spot in the foreground area

more so than any other part of the image. But, the

eye is led throughout the drawing by the abnormal

lines and colors.

While each image is created using the

same rst image of a ower. Each image transforms

the ower into a different abstract, not so real form

of the same image. The viewer may see different im-

ages than what it is. The uses of the different brushstrokes can take an oridinary obvious illustration of

a ower and make it into something different. Some-

times the image looks more interesting and unique.

Other times, the image can become so distorted that

the image is not pleasant to look at.

Another Take on the Same Image

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Vessels

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Va

riation

These images are of one of the value

cups on page . Much like the Lily varia-

tions, these were done my chaning the

brush stroke and colors. By changing the brush

stroke, the image of the cup almost completely

disappears. If you look closely at the image on

the bottom of this page, you can see the ink

drops in the middle show an outline of the cup.

The images on the opposite page are

done with a scrolling pen brush stroke and a char-

coal sketch brush stroke. The two images with the

same brush stroke vary in color only, but they still

look like very different images.

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8 Visions


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StrokeCreating Images with Line

All of these images are of the same teapot. In or-

der to create these images, a drawing pad and

pen were used. The idea was to draw the tea-

pot using only lines. Some of the images are made up

of lines only going in one direction. This conrms the

idea that though only using line; a recognizable image

can be made. The strokes are also formed to create

a shape to the vessel. By curving the line slightly in

areas such as the body of the teapot, it can be shown

that this drawing is of a tangible three-dimensional ob-

ject.

These images were also created very quickly. By cre-

ating a fast stroke there isnt much thought put into

how youre creating the image only to create an image

that is recognizable. This also helps with the learning

curve of the drawing pad and pen. It can be difcult to

create lines for a drawing to be exact as if using a pen-

cil and paper. By doing the image quickly, one doesnt

have the time to think whether or not each stroke is

placed exactly.

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Line

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Color

These three bottles were

drawn on Adobe Illustrator

using a drawing pad and

pen using monochrome colors. A

base mid tone color was applied to

give the bottles their initial shape. In

this case, a midtone blue, red, and

green were applied. Then darkerand lighter hues of each color were

applied to give each image three di-

mensionality. By changing the satu-

ration and value of the original base

color new swatches were made.

There was no use in black or white,

only a change in hue.

Adding light hues as high-

lights helps draw the eye around

the image. It also helps suggest

where a light source may be com-

ing from. Darker hues were used

to give the image dimension. Thishelps give the image the idea of

where the shadows are. The varia-

tion and scale of color helps make

the image a whole and gives it realis-

tic qualities.

The paint brush tool was used

in different sizes to apply the color.

When thinner lines are used in con-

junction with thicker lines, it helps

give the image realistic attributes. In-

dividual lines were arranged closely

together to create the image of each

bottle. These particular drawings look

like they could have been done with

paint because of the way in which

they were composed. Each image

against a dark background makes the

highlights of the image pop. On the

rst blue wine bottle, the horizontal

lines against the vertical lines create

a contrast that makes the image look

like a realistic object. The red bottle

and green bottle have a more paint-

erly look to them which in turn make

the images more conceptual and less

realistic.

Drawing with Lines in Monochromatic Color

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12 Visions


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TextureDrawing with Textured Lines in Monochromatic ColorU

sing Adobe Illustrator with a drawing padand pen, each image was produced in

monochrome

colors manually pro-

duced using the new

swatch button. The

background and bottles

are created with the

repetition of one letter

or number. The rst bot-

tle is drawn with all 3s,

the second is the letter

W, and the third is As.

Each was created byrst laying down a back-

ground color that would

contrast nicely with the

color of that was going

to be used for the bottle.

Then the image of the

bottle was created by

nding a mid tone of the

color used and then cre-

ating darker and lighter

hues of that color. The

image was able to be

drawn using differentbrush sizes, but always

using the same letter or

number.

The letter or

number used to create

each bottle were ar-

ranged closely together

to give the illusion of using solid color, yet, if one

looks closely, the texture that each image has is

created by using the repetition of chosen numberor letter. The background of each bottle was cho-

sen because it would

contrast nicely against

the bottle, giving the

bottle the foreground

and where the eye is

drawn. There is also a

contrast in the use of

larger brush strokes

in the background and

smaller brush strokes

for each bottle. The

viewer should see thebottle rst, the back-

ground second, and

then the number or

letter that was used

to create the image.

The values used were

created along a value

scale of one main col-

or. By placing slightly

different values of the

same color near each

other it produces a re-

alistic look. By usingthe texture technique,

it gives each image a

surface unlike using

straight lines. They

look blurry and almost

furry. This technique

also makes the images

look like they were done in paint or even in color

pencils.

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14 Visions


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ValueDrawing with Lines from Black to White

Iused Adobe Illustrator and the draw-

ing pad and pen to create these im-

ages of cups and

mugs. The brush tool,

different size brush

strokes, and different

shades of grays were

used. Each of these im-ages were also drawn

from real life. There

was an actual cup or

mug that the image was

drawn from, therefore,

all of the highlights and

shadows are true to the

rooms light source. Us-

ing the pen and draw-

ing pad allowed me

to sketch each image

in the same fashion I

might with a pencil andpaper. Instead of pick-

ing a different color pencil or marker, I

chose different swatches to represent the

different shades of the cups and mugs.

The swatches were made by changing

the value of a previous gray used. White

was added to make the color lighter and

black was added to make the color darker.

The images were created

by starting with the extreme

darks and lights and gradu-

ally adding other grays to

give the illusion of a 3D ob-

ject. This also creates a lightsource and a shadow to

each image adding to their

dimensionality. The lines

arent very clean and edges

are messy, but the idea that

these images are cups and

mugs and are something

that you could hold in your

hand is still there.

Some of the most impor-

tant features are the high-

lights and shadows, espe-

cially on the inside on thecups. These highlights and

shadows are crucial to each of the imag-

es composition. This is where the viewers

eye goes rst. Then, each images high-

lights bring the viewers eye through the

image. The lack of a background makes

the image the only focal point.

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FigureDrawing

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Drawing with Ink and Water on Paper

InkD

rawing from a live gure is a different experi-

ence than drawing from a still object. People

are alive. They move, breath, and feel. These

drawings are also usually produced rather quickly.

Most of the gures that are represented in this article

are drawn from a live nude model and under ten min-

utes. The drawings are also in different mediums,

which poses different challenges.

This gure was drawn with a paintbrush with

India ink and water on paper with a live nude model.

By adding water to India ink, different shades of the

ink can be produced. The more water that is added,

the lighter the ink gets. The purest use of the ink is

used where there are shadows and outlines.

First, the outline of the model was drawn,

quickly, without much thought. By leaving the lines

painterly and suggestive the body has a ow to it. One

can almost feel the models presence and feelings.

Then, the shadows were added. The brightest parts

of the body were left paper white and the darkest with

pure ink. The shadows were added with broad brush-

strokes along the lines of the body in order to empha-

size the idea that this is a real person.

Most of the gures that are

represented in this article aredrawn from a live nude model

and under ten minutes.

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CharcoalDrawing with Charcoal on Paper

The drawing of the lounging woman is that

of a famous painting. The image was cre-

ated using charcoal on paper and using

a grid method. A grid was made on top of a pho-

tocopy of the painting and then reproduced on a

blank sheet of paper. Each square of the grid is

drawn individually as shown in the grid from the

original painting. By using the grid, it is assured

that the image is kept in proportion to the original.

Charcoal gives the artist the ability to

produce lights and darks with one medium. The

amount of force given to the charcoal against the

paper is what makes a lighter or darker line. This

is how a suggestion of a shadow and dark shad-

ows are produced. This also makes the image

three dimensional. The woman looks like she is

lounging on something soft and pillow-y.

The composition of the piece lets the

viewers eye ow from one side of the picture to

the other. The extended arm produces a track for

the eye to follow. The eye starts at the darkest

shadows by her knees and follows the body up

and over to her furthest arm. The way that the

woman is lounging also lets the viewer wonder

what she is doing and what could she be looking

at over her shoulder.

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20 Visions


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Photography

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CloseUpImagery Abstracted by Closeness

The image on the left may be difcult to deci-

pher. What could it be? By taking pictures in

the macro setting of a digital camera it is pos-

sible to create abstract pieces of art without abstract-

ing the imagery yourself, literally. These abstracted

pieces of photography can be deciphered in many

different ways. The viewer will decide what they think

that it may be because it is human nature to give

something a name.

This picture was taken of a blue, plastic,

sponge. The gradient of color was produced because

my nger was over the ash and picked up on the

color of my skin. It was all coincidence that it hap-

pened that way. This images colors were slightly en-

hanced in Photoshop. Yet I did not alter anything else

about it. I simply upped the saturation and contrast

in order for the image to really pop. The composi-

tion of the piece is interesting as the color gradates

similarly to the pattern made by the looped strings of

plastic. Ones eye starts at the brightest white space

in the middle of the piece and follows the pattern of

the loops through the blues and reds. The piece can

keeps someones interest for quite a while as they

are trying to gure out what exactly it is.

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24 Visions


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VariousDifferent Types of Photo Imagery

These photographs were taken for a digital pho-tography class. They each demonstrate differ-

ent compositions and styles of art. The subject

matter in photography is important, as this is what the

viewer is looking at. How the photo is taken and pro-

duced also alters how the viewer sees an image.

The rst photograph (pg 25) was taken close

up with macro setting. By doing so, the imagery of the

shoes has a very crowded feel to it. This also gives

the viewer a closer look at the shoes themselves.

They are ripped, dirty, and obviously very used. Thiscan spark interest in the viewer. One may ask whose

shoes they are or what the person did in those shoes.

People may also relate to the style of shoes that they

are and enjoy this photo simply because the content is

something that they can relate to.

The blue photograph on the bottom of this

page, was taken by using an extended shutter time.

With this, I was able to take the picture and move the

object, capturing it all. The streaking suggests move-

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26 Visions


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ment is interesting in the sense that it is obvi-

ous that the photo is of an inanimate object. The

bright blue on the black background enhances

the images composition.

The image on the previous pages was

taken similarly to that of the rst photograph. Tak-

en close up, the content is distorted. The compo-

sition is also interesting as there is a bright back-

ground. The imprinted numbers up close are so

detailed that one can see the paint chipping of

the edges. The numbers and letters are in theforeground a take much of the focus away from

anything that is blurred out in the back. The fact

that the background is blurred forces the eye into

the foreground.

The photo on page 29 is another inter-

esting observation. The old man with the bowl

sitting outside a restaurant creates many differ-

ent compositional and observational inquiries.

First, the image is in black and white. This makes

all parts of the image within the same shades

forcing the viewer to choose content over color

when looking for a focal point. In the image, the

old man is the focal point. The whites of the win-dows bring the viewer to rest on the old man. The

many squares and corners contrast the soft edge

that the man creates. This image had only been

slightly cropped and changed to black and white

in Photoshop, otherwise no other effects were

used. The image is odd and leads to many ques-

tions about what is going on in the photo.

The last photograph, in the middle of this

article, was taken by using an extended shutter

time. With this, I was able to take the picture and

move the object, capturing it all. The streaking

suggests movement is interesting in the sense

that it is obvious that the photo is of an inanimateobject. The bright blue on the black background

enhances the images composition.

Various (continued...)

The many squares andcorners contrast thesoft edge that the man

creates

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29 Vision


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Wheel of EmotionAcrylic Paintings with Meaning

one month three days

Painting

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This series of paintings is based on psycholo-

gist Robert Plutchiks color Wheel of Emo-

tions in which there are eight primary bipo-

lar emotions-each with a common directional thread

that only vary in intensity of color. The color palette Ideveloped is very similar to printed versions of Plut-

chiks theory, which could be compared to a color

wheel.

Each painting is representative of my emo-

tions over different periods of

time that vary from one hour

to one full day. The naming of

each painting gives a clue to

how much time that particular

piece covers. These paint-

ings together, as a series,

explore the range of emo-

tions I felt over the last year, which I have difcultyoutwardly sharing and some would say that Im un-

emotional all together. Each painting is a piece of

my personal emotional history, which can be read

almost like a diary. Leaving the viewer to question

what emotion each color represents was intentional

as it can be equated to how people who know me

personally wonder what my feelings are. This series

of paintings were a yearlong process. After many

fve weeks one day

hours and many different paintings, these paintings

were the nal product. Each painting has different

compositional elements. The rst, one month has

many different canvases to accompany the self-

portrait in the middle. Some squares from the self-portrait are pulled out and feature an added detail

of what may have caused that particular emotion.

The second set of paintings, three days also fea-

tures many hours within each day. The two paint-

ings on the outside feature the

same hours, developed in dif-

ferent ways. The rst is very

linear way and the other is

done in more of a conceptual

way. The middle painting is the

same hours feature through

different versions of colors.

Five weeks was much more of a discov-ery process. While it was done in the same way,

each day is a different canvas and the nal product

and pattern of color hadnt been seen until the nal

construction of the piece. The last painting in this

series, one day is hours within one day on a clock.

The clock is representative of time going by and the

idea of the emotions changing with the hour.

Each painting is

representative of my emotions

over different periods of time

that vary from one hour to one

full day.

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32 Visions


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Acrylic

This next section features paintings that I

have done. The one on the opposite page

is of William Burroughs. I like doing por-

traits that involve a lot of different facial features.

His wrinkles and old face intrigues the viewer as

well. Focusing on his face and making it the size

of the canvas not only makes it the obvious focus,

but changes the face into different parts that can

each be studied.

The under painting of this piece was blue.

This gives the whole painting a somewhat blue

hue. The face is made up of many different val-

ues of the same skin tone color. The background,while not seen very well, is a dark maroon hue

with a black Victorian pattern on it.

This painting was done using acrylic

paints on a stretched canvas. Most of my paint-

ings are done very dry without much watering

down of the paint. By painting this way, each col-

or is individually mixed and applied to the canvas.

Because Im not relying on the transparency of

the paint, there are many layers to the painting.

The under painting of this piece was blue.

This gives the whole painting a somewhat blue

hue. The face is made up of many different val-

ues of the same skin tone color. The background,while not seen very well, is a dark maroon hue

with a black Victorian pattern on it.

This painting was done using acrylic

paints on a stretched canvas. Most of my paint-

ings are done very dry without much watering

down of the paint. By painting this way, each col-

or is individually mixed and applied to the canvas.

Acrylic Paintings

Because Im not relying on the transparency of

the paint, there are many layers to the painting.

On the following pages, two of my

other paintings are featured. The rst is that

of Charles Bukowski. It was painted from an

original black and white photograph. The back-

ground was omitted because of the busyness

of it. This way Bukowski could be featured in-

dependently. The background was done in a

different style to separate it from the rest of the

painting.

The next black and white painting is of

comedian Doug Stanhope. This composition

is interesting as all of the light is coming from

the lighter. This creates very dark shadows and

very white highlights. This too was painted from

a photograph. The eye focuses on the brightest

spot of the painting, which is the ame and glow

from the lighter. The eye then follows up the

cigarette into the face of the comedian. Whats

interesting about this image is that there are

parts of the painting that there are only sugges-

tions of, for example, the microphone. There is

only part of the microphone that is actually in

the image, but the viewer can comprehend that

it is a microphone.

The last painting of that is featured in

this article is of a ower. This was done from a

photograph as well. The photograph was very

high resolution macro picture of the image. This

painting uses a little more watered down paint

which produces a transparent hue overlaying

the colors of the ower.

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Poets Never Die

34 Visions


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Comedy

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Flower

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37 Vision


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The End

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Im an Art/Secondary Education major at

Saint Xavier University. Many of these

works were done for classes that I took at

SXU, while some were done on my own and

others were done while I was a student at Col-

lege of DuPage.

The medium I enjoy most and am most

comforatble with is acrylic painting. The digital

art is a new medium for me and some of the

artwork shown throughout this magazine are

from some of the rst digital classes that I have

taken. The photography was from my rst Pho-

About the

Artist

toshop class and the computer graphics draw-

ings are from the rst computer graphics class

that I have taken.

Most of the paintings that I do are from

photographs that either I have taken or have

found through research. I enjoy the challenge

of creating art from something real, something

recognizable for the viewer. This is what vali-

dates the art. Even if the piece is in my own

style and has painterly qualities, if the viewer

recognizes the subject matter, that validates

the point that the image is trying to get across.

Ashley Olenick

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Ari

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