Contents

VAO
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1 Visions

Orchid

Original Photograph: Jon Sullivan

Shape
Illustration with Shapes and Layers
2 Visions

Illustrated Version
final stages of editing the image by keeping the parts seperated from each other. In this final version of the trace project, tech-

his image on the next page was created using Adobe Illustrator. A picture of a real flower 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 first and then the next biggest and so on. Using the eye dropper tool and selecting colors from the original photograph, the color was filled into that shape. The biggest shapes were traced and then the smaller detailed pieces were added as additional layers on top. Different layers were created in order to keep each shape of the flower organized. The layers were named the part of the flower that it was from, for example, purple parts and left petal. This helped the

niques such as gaussian blur and gradient was used. The petals that are further away have the gaussian blur applied in order to give the image depth.The petals that are further away are blurred in order to exemplify the foreshortening of the flower. As for the compostition, the viewer sees that it is a flower first and then will notice that it is an illustrated verstion of one. The different colored shapes give the impression of shadows and curves within the flower. These features also exemplify the illustrated versions realistic look. The overall use of all of these techniques creates a fluent illustration of the orchid.
3 Visions

4 Visions

Variation
Another Take on the Same Image

ach of these nine flowers were created using Adobe Illustrator. By selecting all and choosing different brushes and color schemes the flower transforms. In the first top line of flowers only the colors of the images were changed. The first left hand top corner is the original traced drawing. In the second and third top square, only the color was changed. The second square was changed to monochromatic color under the impressionism setting. The third top flower 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 reflect the first row of colors. The first flower, in the second 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 monochromatic baroque. The third flowers brush stroke was changed to artistic ink with the use of Russian poster art compound 2 for colors. The last row of flowers are a little more extreme versions of the former. The first flowers brush stroke was changed to artistic splash and the color was not changed. The second flower uses artistic splash for the brush stroke but the colors were changed to middle ages monochromatic 2. The

third flower is in the bright color scheme along with the scroll pen brush stroke. For each of these flowers, the image in the center is the first thing that someone would see. What one person sees may be different from what someone else sees. The first three are definitely flowers, just in different colors. The other flowers are not as recognizable because of the changes in brush 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 flower. 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 first image of a flower. Each image transforms the flower into a different abstract, not so real form of the same image. The viewer may see different images than what it is. The uses of the different brush strokes can take an oridinary obvious illustration of a flower and make it into something different. Sometimes the image looks more interesting and unique. Other times, the image can become so distorted that the image is not pleasant to look at.

5 Visions

Vessels

6 Visions

Variation
T

hese images are of one of the value cups on page . Much like the Lily variations, 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 charcoal sketch brush stroke. The two images with the same brush stroke vary in color only, but they still look like very different images.

7 Visions

8 Visions

Stroke
Creating Images with Line

ll of these images are of the same teapot. In order to create these images, a drawing pad and pen were used. The idea was to draw the teapot using only lines. Some of the images are made up of lines only going in one direction. This confirms the

ject. These images were also created very quickly. By creating 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

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-

curve of the drawing pad and pen. It can be difficult to create lines for a drawing to be exact as if using a pencil and paper. By doing the image quickly, one doesnt have the time to think whether or not each stroke is placed exactly.

9 Visions

Line

10 Visions

Drawing with Lines in Monochromatic Color

Color

hese 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 darker and lighter hues of each color were applied to give each image three dimensionality. By changing the saturation 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 highlights helps draw the eye around the image. It also helps suggest where a light source may be coming from. Darker hues were used to give the image dimension. This helps give the image the idea of where the shadows are. The variation and scale of color helps make

the image a whole and gives it realistic qualities. The paint brush tool was used in different sizes to apply the color. When thinner lines are used in conjunction with thicker lines, it helps give the image realistic attributes. Individual 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 first 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 painterly look to them which in turn make the images more conceptual and less realistic.

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12 Visions

Drawing with Textured Lines in Monochromatic Color

Texture

sing Adobe Illustrator with a drawing pad and pen, each image was produced in monochrome colors manually produced using the new swatch button. The background and bottles are created with the repetition of one letter or number. The first bottle is drawn with all 3s, the second is the letter W, and the third is As. Each was created by first laying down a background 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 finding a mid tone of the color used and then creating darker and lighter hues of that color. The image was able to be drawn using different brush sizes, but always using the same letter or number. The letter or number used to create each bottle were arranged 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 number or letter. The background of each bottle was chosen 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 the bottle first, the background 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 color. By placing slightly different values of the same color near each other it produces a realistic look. By using the 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. 13 Visions

14 Visions

Drawing with Lines from Black to White

Value

used Adobe Illustrator and the drawing pad and pen to create these images of cups and mugs. The brush tool, different size brush strokes, and different shades of grays were used. Each of these images 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. Using the pen and drawing pad allowed me to sketch each image in the same fashion I might with a pencil and paper. Instead of picking 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 gradually adding other grays to give the illusion of a 3D object. This also creates a light source 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 important features are the highlights and shadows, especially on the inside on the cups. These highlights and shadows are crucial to each of the images composition. This is where the viewers eye goes first. Then, each images highlights bring the viewers eye through the image. The lack of a background makes the image the only focal point.

15 Visions

Figure Drawing

16 Visions

Ink
D
Most of the figures that are represented in this article are drawn from a live nude model and under ten minutes.

Drawing with Ink and Water on Paper

rawing from a live figure is a different experience 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 figures that are represented in this article are drawn from a live nude model and under ten minutes. The drawings are also in different mediums, which poses different challenges. This figure 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 flow 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 brushstrokes along the lines of the body in order to emphasize the idea that this is a real person.

17 Visions

18 Visions

Charcoal
Drawing with Charcoal on Paper

he drawing of the lounging woman is that of a famous painting. The image was created using charcoal on paper and using a grid method. A grid was made on top of a photocopy 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 shadows 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 flow 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.

19 Visions

20 Visions

he human form is determined by its skeleton. Skeletons are the bare bones of figure drawing. An understanding of the skeleton is essential in creating a successful human form. Knowing where each bone is and how it is shaped helps one understand what one is looking at on a nude model. If the clavicle protrudes, it helps that the artist understand exactly how that bone fits in with the rest of the bones in that area and also helps with the proper placement under the skin. The hips of a model are also important to understand. The pelvic bone is one large piece that moves all together. It is essential to understand where the bones in the legs connect into the pelvis and how they move within their sockets. Also, understanding the angels that the pelvis sits on helps one figure out how the hips move and sit under the skin of a model. The study of the skeleton is much different than studying a live model. Its a maze of three dimensionality. Behind the rib cage one can see the spine, which is much more intricate than the ribs that you see up front. Determining how to navigate through the maze is an essential step in the skeleton drawing process. I found it best to determine the negative space from the positive space. Knowing where there are large gaps and spaces helps form the shape of each bone. This way one can tell how far or close bones are from each other. This also helps with the cavities in the skull and pelvis. Sometimes by drawing those negative spaces first help properly form the bone.

Pencil
Drawing Skeletons in Pencil

The two drawings on page 16 were done different. The one on the left was drawn from a famous drawing. The drawing was of a woman with her arms behind her, over the ledge. A sketch of the original drawing was done first. Then, using a model skeleton, the bones were placed within her form. I had to determine how the skeleton would look and form within the shape while also accounting for fat and the lack of fat. There are some places on the body where the bone comes right up to the skin while there are other places where there is a great deal of muscle and/or fat in between. Being able to use your self as an example of these places helps to create this realistically. Feeling the bone in you shin is easier than feeling the bones in your upper arms. By understating this, one can place the bones appropriately and naturally. In the second drawing, a live nude model was used. A simple drawing of her outline was drawn to determine the shape of her body. After the quick sketch was done, the skeleton model was used. While it is impossible to form a limp skeleton into the same position as a live model, one can form the skeleton into the pose. An understanding of the movement of the skeleton is essential in performing this task. In order for it to look natural, the skeleton has to be posed correctly within the skin of the model. Using the skeleton to practice human form is important for future drawings of people. Everybody looks different on the outside, but on the inside, everyone looks the same.

21 Visions

Photography

22 Visions

Imagery Abstracted by Closeness

Close Up

he image on the left may be difficult to decipher. What could it be? By taking pictures in the macro setting of a digital camera it is possible to create abstract pieces of art without abstracting 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 finger was over the flash and picked up on the color of my skin. It was all coincidence that it happened that way. This images colors were slightly enhanced 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 composition 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 figure out what exactly it is.

23 Visions

24 Visions

Various
Different Types of Photo Imagery

hese photographs were taken for a digital photography class. They each demonstrate different 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 produced also alters how the viewer sees an image. The first 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. This can 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-

25 Visions

26 Visions

27 Visions

Various

(continued...)

ment is interesting in the sense that it is obvious 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 first photograph. Taken close up, the content is distorted. The composition is also interesting as there is a bright background. The imprinted numbers up close are so detailed that one can see the paint chipping of the edges. The numbers and letters are in the foreground 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 interesting observation. The old man with the bowl sitting outside a restaurant creates many different 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 windows 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 questions 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 inanimate object. The bright blue on the black background enhances the images composition.

The many squares and corners contrast the soft edge that the man creates

28 Visions

29 Visions

Painting

one month

three days

Wheel of Emotion
Acrylic Paintings with Meaning
30 Visions

five weeks

one day

his series of paintings is based on psycholohours and many different paintings, these paintings gist Robert Plutchiks color Wheel of Emowere the final product. Each painting has different tions in which there are eight primary bipocompositional elements. The first, one month has lar emotions-each with a common directional thread many different canvases to accompany the selfthat only vary in intensity of color. The color palette I portrait in the middle. Some squares from the selfdeveloped is very similar to printed versions of Plutportrait are pulled out and feature an added detail chiks theory, which could be compared to a color of what may have caused that particular emotion. wheel. The second set of paintings, three days also feaEach painting is representative of my emotures many hours within each day. The two painttions over different periods of ings on the outside feature the Each painting is time that vary from one hour same hours, developed in difto one full day. The naming of representative of my emotions ferent ways. The first is very each painting gives a clue to over different periods of time linear way and the other is how much time that particular in a conceptual that vary from one hour to one doneThemore of painting is the piece covers. These paintway. middle full day. ings together, as a series, same hours feature through explore the range of emodifferent versions of colors. tions I felt over the last year, which I have difficulty Five weeks was much more of a discovoutwardly sharing and some would say that Im unery process. While it was done in the same way, emotional all together. Each painting is a piece of each day is a different canvas and the final product my personal emotional history, which can be read and pattern of color hadnt been seen until the final almost like a diary. Leaving the viewer to question construction of the piece. The last painting in this what emotion each color represents was intentional series, one day is hours within one day on a clock. as it can be equated to how people who know me The clock is representative of time going by and the personally wonder what my feelings are. This series idea of the emotions changing with the hour. of paintings were a yearlong process. After many 31 Visions

32 Visions

Acrylic
Acrylic Paintings

his next section features paintings that I have done. The one on the opposite page is of William Burroughs. I like doing portraits 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 values 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 paintings are done very dry without much watering down of the paint. By painting this way, each color 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 values 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 paintings are done very dry without much watering down of the paint. By painting this way, each color 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. On the following pages, two of my other paintings are featured. The first is that of Charles Bukowski. It was painted from an original black and white photograph. The background was omitted because of the busyness of it. This way Bukowski could be featured independently. 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 flame 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 suggestions 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 flower. 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 flower.

33 Visions

Poets Never Die

34 Visions

Comedy

35 Visions

Flower

36 Visions

37 Visions

The End

38 Visions

About the Artist

I
m 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 College 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 first digital classes that I have taken. The photography was from my first Photoshop class and the computer graphics drawings are from the first 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 validates 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

39 Visions

Ari

40 Visions