2. lllustration takes the act of drawing to another level--Visual Communication. Being able to get across an idea, concept or emotion through an illustration is the illustrator's hardest problem. It takes research, thinking, experience, practice, and plain old hard work, but when it all comes together there's no better feeling of accomplishment.

3. Unlike fine artists, most illustrators get the assignment first and then do the artwork following a set working process. They usually are first given a concept and/or article to read by an art director. It is these items that the illustrator will base his artwork on. On the other hand a fine artist completes the artwork first, based on his own ideas or emotions he wants to express. He then tries to sell his artwork. This process also takes a lot of thought, observation, research, and work. The difference between commercial art and fine art is this. Commercial artists create artwork which must appeal to the masses. Fine artists typically create artwork which only has satisfy themselves.

4. The illustrator is usually trying to solve a visual problem for a client and does it for an established fee agreed upon before the illustration process is started. The illustrator works under deadlines (often times short) and answers to his client. The fine artist's work is sold after it is finished to someone who likes the particular piece and will pay the asking price. Sometimes the fine artist will do a commissioned piece (a work of art requested by a client). At that point the working process is very similar to that of an illustrator.

5. Illustration may be chosen instead of photography for several reasons. It can show something about the subject that cannot be photographed. It can demonstrate certain things more clearly than a photograph, by enhancing detail. For example, it can enlarge tiny engine parts that are difficult to see.

6. Photography is capable of creating surreal images...

7. …while Illustration is capable of turning out images of pure fantasy.

8. TYPES OF ILLUSTRATION Illustrations can be drawn, painted, sketched, assembled by collage or be computer generated. The purpose for an illustration may be to present a product, to tell a story or to demonstrate a process. It is usually categorized according to its intent in three main areas: ADVERTISING EDITORIAL SPECIAL SUBJECTS

9. ADVERTISING ILLUSTRATION Is intended to sell a product or a service—almost anything that can be offered to a consumer.

10. Examples include book covers, greeting cards, CD covers, fashion illustration...

11. … packaging, billboards, posters and print ads,

12. I like turtos…

13. EDITORIAL ILLUSTRATION This is the closest a designer can come to satisfying the same indulgence allowed a painter. In Editorial Illustration the designer / artists may concentrate upon the communication of emotion through an expressive treatment of line. This allows for freedom to experiment with different media. Editorial Illustration may accompany stories and articles in magazines, newspapers and books. CARTOON ILLUSTRATION may also fall under this category.

14. EDITORIAL ILLUSTRATION

15. SPECIAL SUBJECTS Special subject illustration is usually an area requiring absolute accuracy and attention to detail. The artist would often have to be just as effective if not more so than the camera itself. These illustrations are now almost exclusively rendered on a computer. Why is this so? Simply put, every area of illustration that is primarily information based is being created on computer.

16. SPECIAL SUBJECTS SPECIAL SUBJECT areas include medical illustration, repair manuals, architectural and scientific illustrations.

17. The most important concept I can try to impart is this: Draw what you SEE...not what you think you should see. Basic Shapes Basic Shapes One of the main goals and challenges of drawing is to give the illusion of three dimensions, using a two dimensional medium. The dimensions we have to work with are height and width. What we need to simulate is depth. If we take the basic two-dimensional shapes the circle, rectangle and triangle and extend them into three dimensions, we have the shapes that make up all elements of the objects we want to draw. These building blocks of drawing are the sphere, the cube, the cylinder and the cone.

18. For example, this bucket shape can be seen as a cylinder or a cone...it doesn’t really matter what you call it as long as you’re aware of the basic shapes involved and how those shapes can be rendered effectively. We simulate depth through the understanding and use of visual principles such as perspective, tonal quality, and shading. Let’s start with shading.

19. Shading is a result of light hitting an object, so the first thing to do is determine where the light is coming from. Once the direction of light is established, it is important to keep the source and direction consistent throughout the drawing. The point where the light actually hits the sphere is called the highlight. The direct opposite of the highlight is the core shadow. In this case, the sphere is resting on a surface, so there will be light reflected from that surface back onto the sphere. The area where the sphere blocks light from hitting the surface is the cast shadow. Put it all together, and it looks like the illustration to the right. Notice that the core shadow follows the contour of the object and the cast shadow follows the contour of the surface that it falls on.

20. Fleshing Out the Figure In order to draw the figure as a solid object with mass and volume simplify it down to the basic shapes. It is important to be aware of the light and shadow sides of an object, so practice drawing the figure as a series of modified cube forms. Determine the direction of the light and indicate the shadow side. When you have gone as far as you can with cubes start adding the spherical and cylindrical shapes. Round off and refine the edges and corners of the cubes.

21. A good exercise is to draw organic looking spheres and cubes, and join them together as if they were made of clay. Make them in all different proportions and twist them in various positions in relation to each other.

22. Using a Grid Using a Grid A grid is a very useful tool for getting correct proportions in a drawing from a photograph. You can make a grid using a sheet of clear plastic or acetate. Mark off horizontal and vertical lines one inch apart, measuring carefully, and draw lines with a permanent marker like a Sharpie. You should end up with eight squares across and ten squares down.

23. Paper clip or tape the grid over an 8x10 photograph or a letter-size printout. Using a Grid

24. Now it is a simple matter to copy the shapes you see in each box, and by smoothly joining the drawn shapes in each box, you will find you have recreated the original in the correct proportions. Using a computer drawing program you can create your grid and place it over scanned images, giving you complete control over cropping and sizing. Using a Grid

25. THE PARTS OF DRAWING ANIMATION SKETCHING Getting your simple ideas on paper

26. THE PARTS OF DRAWING ANIMATION RENDERING Fleshing out your sketches. Applying weight to an outline of each drawing.

27. THE PARTS OF DRAWING ANIMATION INKING Adding color, tone, shading, lights, darks, accents.

28. ADVERTISING Book covers, greeting cards, CD covers, fashion illustration, packaging, billboards, posters and print ads EDITORIAL Editorial Illustration may accompany stories and articles in magazines, newspapers and books. SPECIAL SUBJECTS Medical illustration, repair manuals, architectural and scientific illustrations IN SUMMARY Illustrations can be drawn, painted, sketched, assembled by collage or be computer generated. The purpose for an illustration may be to present a product, to tell a story or to demonstrate a process. There are three main areas of illustration

29. http://www.wetcanvas.com / http://drawsketch.about.com/cs/beginnerlessons/ IF YOU NEED MORE INFORMATION

30. YOUR ILLUSTRATION ASSIGNMENTS 1. CREATE A DETAILED SELF PORTRAIT USING A GRID or FREEHAND You will find a picture of yourself you would like to draw, or partner with a classmate top draw each other. 2. ILLUSTRATE ONE OBJECT IN SIX DIFFERENT STYLES Choose one item you feel you can draw well and illustrate it six times using a variety and combination of mediums. 3. ILLUSTRATE ONE OBJECT IN SIX DIFFERENT STYLES Choose one item you feel you can draw well and draw it using Photoshop. Then, apply the line effects details in illustration one.