Interview and Presentation

Be on time.

Make corrections.

No backpack.

Breathe beforehand.

Make them feel important.

Don't take calls.

Ask if they would like commentary while browsing your portfolio.

Be excited and confidant.

Never apologize for your work.

Pretend as if you want to work there. It's better to get the worst job at the best place than the best job at the worst.

Know that for the interview, saying yes involves risk while saying no won't result in them being fired.

For portfolio, show something they recognize but wouldn't notice without you.

Show your range.

Lighting and Color for Reference and Drawing

Floating cube have six-sided shadows.

The lighting on the moon reveals the lighting on objects.

It is whiter near the horizon due to particles riled by the wind.

The ocean absorbs red. It doesn't scatter red.

Rain is only apparent against a dark background. Each drop reflects the sky.

Refer to albedo chart for reflective percentage.

Shadow will always dominate pattern.

The entire sky is a light source due to the atmosphere. The moon has no atmosphere and therefore the shadows there are pitch black.

Rayleigh scattering scatters the blue wavelength on a short scale. It scatters red eventually and that's why the sunset appear red since the viewer looks through so much atmosphere.

Mie scattering scatter white and it deals with larger particles while rayleigh deals with smaller.

When blue scatters, it causes the air to illuminate as blue light.

Cones in eyes turn off at night and things appear as black and white.

Looking straight up at the sky (90 degrees), that's considered as looking through 1 atmosphere.

Looking 30 degrees above the horizon is 2 atmosphere.

10 degree is 5.7.

5 is 10.8

0 is 45.

At 0 degree, all light is scattered and things appear whiter near the horizon.

If the atmosphere was 10x thick, there would be white light everywhere.

If it is 1/10 then there would be black everywhere and a blue sunset.

Note: Clapp thinks damnyouautocorrect.com, the museum of bad art, and overheardintheoffice.com is funny.

Also he believes that Alex Ross sucks.

Shoot reference with a small aperature and long exposure. When working on a film, try to use the same lens.

For a view that simulates the eye, use 52mm lens. 35 digital.

For digital camera, it's all about the lens and not the megapixels.

Tonal drawing is about:

• edge
• shape
• value

Critique:

Squint with your glasses, not without.

Observe what you don't know.

Leaving out details is acceptable. Adding isn't.

Compare things across the board.

Don't overemphasize contrast.

Utilize soft and hard edges.

Artist List

1. Hiroshi Yoshida
2. Andres Francois
3. Martin Lewis
4. Boris Artzybasheff
5. Rockwell Kent
6. Ludwig Hohlwein
7. Harry Clark
8 .George DeForest Brush
Walter Crane
9. Honore Daumier
10. Edmund Dulac
George Grosz
Mary Petty
11. Andrew Wyeth
12. Kathe Kollwitz
13. Stamatis Laskos
Virgil Finlay
14. Al Parker
15. Kay Neilson
16. Ben Shahn
17. Tomer Hanuka
18. Rick Sealock
19. Jenny Saville
Mary Blaire
20. Heinrich Kley
21. Hugh Ferriss
22. Abbott Thayer
23. Arthur Rackham
24. David Stone Martin
25. Henrik Drescher

Peter Laird
Comic

Sargent
Portrait

Rembrandt
Portrait

Spencer Drate
Graphic Design

Chip Kidd
Graphic Design

Victor Ambrus

Nathan Fowkes

Jenny Saville
Painterly
Portraits

Utamaro
Composition

Hokusai
Composition

Titian
Composition

Velazquez Veroneze
Composition

Dorothy Lang

Neil Campbell Ross

NC Wyeth

Maxfield Parrish

Walter Everett

John Constable
Cloud

JMW Turner
Constable's rival

Alex Bierstadt

Head of Story
Jennifer Yuh Nelson
Philip Craven

Character Animation
Dan Wagner

Character Designer
Nico Marlet
Devin Crane
Carlos Grangel
H.B. Buck Lewis
Olivier Malric
Tony Siruno

Action Sequences Supervisor
Simon Wells

Story
Alessandro Caloni
Philip Craven
Joel Crawford
Jed Diffenderfer
Alfred Gimeno
Rodolphe Guenodin Guenoden
Truong Son Mai Tron
Johane Matte
Januel Mercado
Catherine Yuh Rader
Bret Haaland
Mark Koetsier
Paul Mcevoy
Simon Wells
Chen Yi Chang
Ryan Crego
Derek Drymon
Ed Gombert
Li Hong
Rob Koo
Radford Sechrist

Jonathan Aibel
Glenn Berger
Sharon Bridgeman
Louie Del Carmen
Gary L. Graham

Arthur Guptill

Rien Poortvliet

Jane Wu
Storyboards

http://songportfolio.blogspot.com/
Story

Richard Macdonald
Sculpture
http://richardmacdonald.com/mobile/

Bill Cone
Pastel
Landscapes

RoboBrain
http://www.awesome-robo.com/2012/04/art-of-khang-le.html#more

Marc Taro Holmes
http://citizensketcher.wordpress.com/

Oliver Tossan
Graphic
http://www.oliviertossan.com/

http://timshumate.com/home.html
Color

http://www.patchoforange.com/blog/
Graphic

Craig Bowers
Linear
http://craigbowers.blogspot.fr/

Robert Valley
http://robertvalley.com/

Robert Hunt
Landscape
Oil
http://www.roberthuntfineart.com

Regina Pessoa
Jeff Gabor
Animator

Barry Reynolds
http://barryreynoldslifedrawing.blogspot.dk/

John Watkiss
http://johnwatkiss.blogspot.com/

Perspective

Dividing a line into parts

• From one endpoint, draw a line creating an angle around 45 degrees.
• The second line is measured into the exact number of parts that is desired for the first line.
• From the endpoint of the second line (the one that is not the corner), draw a line back to the endpoint of the first line.
• From each measuring point, draw a line parallel to the third towards the first to intersect it.
• The intersections divide the first line in the desired amount of parts.

Dividing an object into equal parts horizontally.

• 2 point perspective
• Measure the equal parts on the vertical and then bring the lines back towards the VP.
• OR using a ruler, place the ruler so that it aligns with the top and bottom of the line to be divided. Align it with ruler measurements that fits with the amount of parts or a multiple of it.
• Vertically
• 2 point perspective
• Measure the equal parts on the vertical and then bring the lines back towards the VP.
• Then draw a diagonal and the intersection denotes where the verticals go.
• OR create a RP on the EL.
• Run the RP to both bottom corners of the wall.
• Project a horizontal line from the nearest bottom corner. This is a measuring line.
• The intersection of the reference orthogonal with the measuring line denotes one unit.
• Measure another unit on the measuring line.
• Bring the end of it back to the RP. 

To translate a point situated in a rectangle.

• 1 point perspective
• From the point, trace two lines pass both back corners of the rectangle to the EL making two RPs.
• To make the new rectangle, decide on where a corner of the rectangle will go.
• Then trace from the original corner to its new counterpart to find a third RP.
• Trace the other corners back to the third RP.
• From the new corner, trace back to the VP, and using the information, you can replicate the first rectangle.
• From the first two RPs, trace back through the back corners and the intersection is where the point will be on the second rectangle.

To translate a square.

• 2 point perspective
• Pick the closest corner of the square and trace back to both the VPs.
• Find the DVP. Trace from the first corner to the DVP.
• Decide on how long one side will be and then from there, trace back to the opposite VP.
• The moment you hit the DVP line, follow the other VP out. That's a square.
• With a square in place already, decide where a corner of the new square will be. From the old to the new, trace a line through to the EL. That is now a RP.
• Trace the old corners and from the first new corner, extend to both VPS. Now you have all the information to make the rest of the square.

To translate a height onto a slope.

• Translate the height to the edge in which the slope begins.
• Find the auxiliary eye line.
• Determine the x-coordinate of the desired location on the slope.
• Run a line from the height at the slope's edge toward the desired point.
• The intersection of the line and the auxiliary eye line is a RP.
• The RP will determine the height on the slope.

Building a cube with pre-determined measurements.

• 2 point perspective
• Have the closest corner and the vertical length for that corner.
• In ratio and relation to that line, draw a perpendicular line that extends to both the left and right side of the bottom end (for grounded cube).
• The lines should measure out to be the measurement for those sides.
• Find MPs for both VPs by measuring the distance of one VP to the SP and then marking that distance off on the EL starting at that same VP.
• From the ends of the perpendicular line drawn, go to the opposite MPs.
• From the bottom corner, extend to the VPs. The point at which it intersects the MP lines is where the sides end.
• Proceed as usual.

Diagonals can also show where a point's mirror point is on the other side of a rectangle. From the point, trace a line up to where it hits a diagonal, bring it over to the other diagonal, and then down to where it hits the orthogonal.

To find a DVP, you trace a 45 degree angle in between the 90 degree of the VPs from the SP. The DVP help to determine if a shape is a square are not.

Ellipses

• Major and minor axise always bisect at a 90 degree.
• The minor axis goes to the VP.

EL = Eye line

SP = Station Point

VP = Vanishing Point

DVP = Diagonal Vanishing Point

RP = Reference Point
MP = Measuring Point

Graphic Design

Graphic design is much different than illustration design.

Graphic design calls for:

• A minimum amount of contrast.
• Focus on the primary information.
• Utilizing blank space.

Model Sheet Critique:

My types could be quieter.

Types don't have to be the same font for both heading and body.

Smaller type actually can read well.

Be aware of the gaps in between the element.

Justification.

Group similar objects while separating different ones.

Landscape orientation

If there is no focus, take one element and either alter the size to be double or half size. Adjust the rest of the elements accordingly.

The amount of information does not matter when designing a page. A good page will be able to include all of it.

In order to divide up the page and never have objects be similar size, divide each length according to 40/60.

Mark McDonnell and Vilppu Lectures

McDonnell

Know the companies:

Are their graphics soft and round? Sharp with angles? Realistic? Or truncated? What mediums do they use and what is their target audience?

• Cartoon Network
• Audience: young males
• Realistic though Foster is an exception.

• Sony
• Manages to create a different style for each of their films.
• Pixar
• 2D shapes into 3D. Unrealistic.

Some companies create the character first and others create the story first.

• Those that create the characters first usually do so for products. Western.
• Those that create the story first usually have characters that are similar in appearances. Example given was Gibli studio. Eastern.

Create your portfolio with the company and their process in mind.

Television shows

• Allows for more exaggeration

You'll always be a student. You simply just hide that from the other professionals. Be humble because you're not as good as the old masters and have an air of professionalism.

With observation, know your market and what you're after. Without a goal, it's harder to find your way quite as fast. Draw with a purpose.

Paint traditionally yet know Photoshop

Sketchbooks are to learn and try new things without having to show it to people. Have multiple sketchbooks to try specific things.

Fail in order to succeed. Work through a bad drawing. You can place tracing paper over it or flip it.

The only time you need approval is when you're working as a professional. You're at the will of someone else, but any other time, you don't need approval for your work.

Ask about budget. You'll get an idea for if textures of cloth will be needed.

Flash is shape-driven. It's cheap and easy to animate.

The triangle shows direction, and action. This is why most action shows feature the triangle shape a lot.

Disney is a mix of soft and hard shapes.

Main characters are usually realistic so that people may relate with them. The more visually interesting characters have little screen time so as not to take away attention.

Design things in three. This allows for comparison and differences.

Don't be the greatest artist that goes unseen.

Be sociable. During crunch time, no one wants to work next to a grump.

Know what program will be required and who to contact.

For class, it's not about the material that you're learning, it's more about what the teacher wants from you based on that.

In brainstorming, usually the first 15 things are common. The next 15 are more difficult to find.
Think of what would sell in our culture instead of the reality.

Draw character-based, story-driven.

Draw outside your comfort zone so you can adjust in your career.

Design in 3/4s. Animators would then understand how to animate.

Make things easier for the animator.

Companies don't like you stealing from catalogs for ideas.



Vilppu

Never copy.
Use the best materials since that's what professionals do.
Always believe that you'll do well.

Composition is organization and helps communication of idea.

Opposing curves are transitions. They're organization and composition.

When you have a real model and you're only do one pose, you make the square torso but animators shouldn't do that since they have model sheets and are doing many poses.