Class drawing challenge

Hello True believers,

I've been observing each and every one of you personally from an educational standpoint. You all have strengths and weakness with your artwork and your ability to focus and determination.

I'm asking a lot in this class. I'm holding people to high standards and being a hard critic, mainly because I believe in sincerity - it's a dis-service to tell you something is intriguing or powerful when it isn't. Again, effort translates in art.

I've been teaching you a lot and now I want to let you know I mean what I say and I imply the techniques taught in class.

Today's assignment we'll be observing my work and doing exercises based on how I've constructed 3 pages.

Above are selected panels from pages I've been working on.

NOTICE:

1. THESE ARE DONE IN PENCIL. This is because pencil allows me to EDIT with eraser. I get ideas down FAST and SLOPPY. I work both figuratively and with icons.


CLASS DISCUSSION:

Notice the above panel.

1. How is the telephone poll in the background drawn? Describe how it is drawn.

2. Observe all the gray in the panel. Where is there gray? What "tool" made the gray.


Look at this action panel. Comment on the line work. Describe the lines. Count how many lines are in the drawing. How does this penciled panel differ from your average INKED manga panel? Of the 3 types of drawing, what would you call the action lines?

I use an "emotional face" guide when I work (the faces I gave you in class). My characters have conflicting emotions and personalities. I attempt to blend emotions by using the guide. Their expressions are "ICONIC" and their figures are ... figurative.



Lastly, this page is done "BACKWARDS". The imagery and inspiration has come for the later part of the page, BUT NOT THE BEGINNING just yet. If you are stuck on a penel, JUST KEEP GOING.

I say this because Monday in class, to no fault of his own, ERIC sat and thought about a panel for a good solid 20 minutes with putting down marks. If you're stuck on a panel, write down quickly what occurs in the panel and then move on.

Here are what people are good at:

Ronnie: iconic drawing, backgrounds and clear story telling
Lyndell: figurative drawing and clear story telling
Deshaun: text and background and clear storytelling
Danilo: abstract fighting scenes and clear storytelling
Kevin: architectural monsters
Dujuan: Tone and greyscale/balancing black and white for contrast (more on this in a future class)
Denisse: Storyboarding and "the mundane"
Jose: costume design and concept
Sigi: sequence and abstract art
Nygel: Writing (when he's focusing), promotion and talking
Eric: figurative drawing
Alexis: detail - observational drawing (drawing from life, observing how drawing is done)
Mei Li: color
Matthew: Figurative Drawing and architectural drawing (buildings)

These people have been consistently creating work. If you're not on this list, don't take it personally, it's not that I don't like you, but you need to be producing more in class for me to OBSERVE. I can't help you if nothing exists.

ASSIGNMENT:

I'm challenging a drawing battle with you all. Consider me like ... Ken from the Fist of the North Star or something. Drawing and art is a SPORT (people forget this) its objective is just abstract.

I've made 2 pages and a 3 panel action panel.

In groups of 5 you must produce 3 pages. I may be older than you all, but there is only 1 of me. There are 5 of you. You will be given manga bristol board and I challengle you all to attempt to make something more AWESOME than these pencils drawings.

At the end of class we will critic and decide who made the sweetest 3 pages.

Writing:

What makes a story interesting?

Suspense?
Emotion?
Moral Dilemmas?

What is the moral dilemma in my comic?

Drawing:

Think about DIFFERENT TYPES OF DRAWING. ABSTRACT DRAWING, FIGURATIVE DRAWING AND ICONIC DRAWING. Try to utilize what you've learned in class.