7C: Major Assignment 1
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7C: Major Assignment 1
80
Newest
@shayy02
3d
Title: "Goodnight Moon"
Publisher: Harper & Brothers
Audience: Children
Page Size: 7.3 x 8.8 inches
Bunny is saying goodnight to a everything in his bedroom. 3 Bears in chairs, 2 kittens, pair of mittens, toy house, mouse, comb, brush, mush, moon, quiet lady whispering hush etc...... I imagine Bunny in his bedroom, one of his walls in a wall of shelves. All of these items have their own place in the shelves, Besides Quiet Lady who watches over Bunny.

Roberto Vespa
23d
Title: The War of the Worlds
Author: H. G . Wells
Publisher: Only Classics
Audience: Young Sci-Fi Readers
Illustration for Chapter 5: The Heat Ray
”After the glimpse I had had of the Martians emerging from the cylinder in which they had come to the earth from their planet, a kind of fascination paralysed my actions. I remained standing knee-deep in the heather, staring at the mound that hid them. I was a battleground of fear and curiosity.
…
Then I saw some cabmen and others had walked boldly into the sand pits, and heard the clatter of hoofs and the gride of wheels. I saw a lad trundling off the barrow of apples. And then, within thirty yards of the pit, advancing from the direction of Horsell, I noted a little black knot of men, the foremost of whom was waving a white flag.
….
Suddenly there was a flash of light, and a quantity of luminous greenish smoke came out of the pit in three distinct puffs, which drove up, one after the other, straight into the still air.
This smoke (or flame, perhaps, would be the better word for it) was so bright that the deep blue sky overhead and the hazy stretches of brown common towards Chertsey, set with black pine trees, seemed to darken abruptly as these puffs arose, and to remain the darker after their dispersal. At the same time a faint hissing sound became audible.”
Pamela D
1mo
I chose Moby Dick as I loved that Ishmael is drawn to the sea and I can identify with that, remembering as a toddler I wouldn't get out of the sea, even when turning blue!
I chose the three thumbnails that I believe show the sea at it's most mesmerising. First thumbnail depicting the 'Indian' coral below the sea, contrasting in scale with the distant city in the background. Second thumbnail draws on the need to be as close as possible to the sea, to watch the waves break before you and finally riding on the crest of the wave.
Liking the idea of using the icon 'rope' used a lot in sailing to communicate the idea of being pulled or tied to the whaling venture. First subliminally in the early illustrations and later in contrast to the ropes and harpoon lines aimed at capturing Moby Dick later in the book.
เจษฎากร อินต๊ะวิชา
2mo
Ko
2mo
I chose "Hound of Baskervilles" and landed on Chapter 4.
I really enjoyed this assignment (and found it challenging)!
I think what I discovered was that I tend to think really figuratively because I went into it with the sketchbook page (4th image).
Summary of Chapter 4:
Baskerville arrives at Holmes' house and says that he received a threatening letter telling him to stay away from the moor. Baskerville also says he lost a shoe. Holmes and Watson follow Dr. Mortimer and Baskerville on their morning walk, and discover that a hansom cab was following them on the other side of the street.
adam burke
2mo
The scene I chose to illustrate comes from a chapter in Stephen Kings' "Pet Sematary", where the protagonist is taking a bath and the freshly resurrected cat reappears.
Dead drunk eyes, the looming woods outside, and the spiral flowing in the bathtub—which symbolizes an inevitable or slowly closing trap—were symbols that appeared throughout the sketching process.
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2mo
@adam burke All of these are intriguing solutions. I may be most compelled by number 3 and I wonder if cropping in even tighter and showing less of the figure is a possibility. I'm a bit of a sucker for unorthodox approaches and number 2 takes the prize there. I did a bit of a paintover, pushing the figure further down in the composition and the cat further up. The idea that the cat on the toilet was a suprise; it presents an opportunity to introduce a shower curtain as a blinding/framing element, to give room for the bather to be surprised. All professional work here.
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2mo
Woah. Super cool. I love how dramatic these are. I think the first one is my favorite. The silhouette of the cat reads really strong and his unsettling expression gives the whole composition a creepy feel.
I had a blast sketching over top of it. I wanted to give more energy and depth to the composition.
This is a really cool idea that you could add a lot to. Maybe some flys buzzing around the cat, a crooked picture on the wall, or some more knick knacks on the back of the toilet could add to the story too.
Keep going with this one. It’s cool.

Gwynn
3mo
I chose The hound of hound of baskerville and chapter 7 at random. Not much action in the chapter so I worked with what I had. Any suggestions on how I could improve these?

Gwynn
3mo
I was not really happy with my thumbnails, so I did a lot more. I also tried to work digitally instead, and found it was a lot easier to move things around and play with light and shadow.
Mandy Valin
3mo
This assignment was difficult ! I chose Charlottes Web, the chapter where the goose shows Wilbur how to escape his pen
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2mo
Hi @Mandy Valin I really like your drawing style for this story. It's a very good fit. I'm drawn to the image of Charlotte stepping through the sideboards. It reads a bit more clearly to me going left to right and the introduction of light can help communicate story (light=freedom), as well as enhance the aesthetic of the scene.
Mario Klingeberg
3mo
I chose the Hound of the Baskervilles.
Main theme: Rational vs. Supernatural - Man vs. Nature
Chapter 2 Synopsis: The origin of the legend of the hound is traced back to the tale of an evil baron who was killed on the moor by a horrific beast. In the present day, a descendant of that baron is found dead under mysterious circumstances, leaving behind a vast fortune.
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3mo
@Mario Klingeberg Very thoughtful compositions here and I love the notes. This is such a helpful way to present the work for the Art Director to understand your intention. All the sketches are interesting, but 3 is very unique in composition and staging. You are using light as a strong tool in your story telling and I think the reader would be delighted to see a finished image with this much layering in the visual communication. I also like No. 1, too and it could be approached nearly as a graphic, flat solution in the foreground and rendered in the background. Most of the emotion could be conveyed in the horse's positioning and you wouldn't necessarily have to get the details of the rider's faces in there. Cheers!
Dax Hansen
3mo
One of my favorite scenes from Moby Dick is when Ishmael wakes up to Queequeg snuggling him. I thought it would be fun to show him with the New Zealand (shrunken) head. However, after re-reading it's clear that the shrunken head was packed away before Queequeg hits the sack. And it was made clear in the assignment instructions - STAY TRUE TO THE NARRATIVE.
So with that, I literally opened my copy to a random chapter and was greeted with Chapters 89/90 - chapters on the Fast-fish/Loose-fish laws where it in essence explains that a whale which is beached or loose, even if pursued by a ship with the crew's harpoons in the whale, it becomes property of the Crown. Then explains that the King gets the head and the Queen gets the tail.
I'm envisioning a designed, graphic feel. Play with division of land/sea, of king/queen and heads/tails.
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2mo
@Dax Hansen Both of these approaches are valid. In the sketch with Queequeg- you are taking on the role of an illustrator with a fully narrative approach to the work. I don't know that you need the shrunken head in the image, as the connection between the quilted pattern and tattoos could be very interesting. I may encourage that the entire piece becomes pattern dominant as the first read and the figure's faces pushed to the top corner as a second read. In the alternative approach- you are taking on the role of a designer, using graphic elements as symbols to tell the story. Both work in very interesting, but different ways. Which is the more natural fit for the type of work that you want to make? I've been both in my career and ultimately, these approaches can be blended and paired together quite nicely, but it take an understanding of each of their roles. I'm drawing to the graphic solution as an idea, but it might not hold the page and viewer's interest and much as the illustrative sketch to the right.

@edel82
3mo
I went with The Hound of the Baskervilles. Landed on chapter fourteen.
In the first thumbnail I liked the visuals described in the book about the fog looking like an ice field and the house a floating ship.
Second thumbnail is after the Hound has been shot with Watson examining the body.
The third is upon discovering Mrs. Stapleton tied to a beam in the center of a room used as a gallery for a butterfly collection.
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2mo
@edel82 Rich and evocative thumbnails, Edel. No.3 has an amazing setup for storytelling. I don't know the intimate details of the scene, but I'm assuming Mrs. Stapleton is found dead? I feel like she can become more of the centerpiece of the illustration- brought around the beam, towards the viewer. Additionally, if you can lift her off the ground- it becomes that much more terrifying. Use light and additional elements for framing and you have yourself a very powerful setup for your piece.
Sita Rabeling
3mo
Inspired by Peter Rabbit.
I wanted to keep it very simple.
First idea was the 3rd image. Mr.McGregor small (loser) escaping Peter big (winner).
Idea process: silhouettes - different colours - a few riming words.
These are thumbnails, first ideas, so I didn’t work on it further, but:
- still to find one drawing style for Peter
- and I’m not sure about keeping the text as it is.
(maybe add: “away from the angry man” in the last cel)
- more corrections I don’t know yet
I hope I stayed within the rules, but the ideas took over in a way.
oh and the choice of colours was just 3 for each cel.
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2mo
@Sita Rabeling In sketch 1- the introduction of a light source and shadow can add more visual interest to your sketch. In the second sketch, I'd advise avoiding showing Peter straight on. There will be more visual interest if he is turned. I hope this helps!
Eduardo Rubio
3mo
Dracula
Chapter VII.
1- The dead sailor’s hands tied to the wheel of the schooner Demeter, clutching a crucifix.
2- One of the sailors, during his night watch on the ship, encounters the mysterious, extremely tall and pale man.
3-As the Demeter runs aground on the sandbank in Whitby, a huge black dog leaps onto the shore and runs inland.
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2mo
Very nice work, @Eduardo Rubio. I'm drawn to the potential in number 2. My impulse is to make the Dracula figure secondary in value and to be selective in the particular moment in time. I haven't read that specific passage, so make sure to stay true to it, even if my art direction is a bit off. If you can flip the movement of the foreground figure's body language to push away from where he believes Dracula is, it may give a better sense of storytelling. The more you can force him into the lower left corner, the more he will visually read as being trapped. Continue to use light to your advantage to design your picture.
Gannon Beck
3mo
Well done!
Sita Rabeling
3mo
Brilliant!

Danny Smith
3mo
Moby-Dick: Chapter 48, The First Lowering - Couple of views from the first part of the chapter.
1. Ahab sets out with the hunting party (which is not normal), with secret crew members that were just revealed. A black shape, like death himself, a harpoon & ropes. Framed by the shape of the Pequod.
2. Pequod hunting crew, a black mass, all hands, ropes, ores, coats, sleeves, harpoons. (thinking of what the whale sees!)
3. Still a black mass of hands, harpoon, ores, small boats framed by the coming storm clouds - which cause a lot of problems on the hunt.
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2mo
@Danny Smith These are all strong designs. I'm drawn to the abstraction in sketch 3. In all of these, I'd encourage you to push your shape-welding event further by merging your darker values where you can.
Gannon Beck
3mo
Fantastic work. The second and third options are particularly strong. I would have a hard time picking between those two.
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3mo
All 3 of these are great! The figures look strong and mysterious. The low horizon line and dramatic perspective pull the viewer into the scene.
and the spears and tools give it all a really cool silhouette.
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From rocket ships to rock stars, NASA to Rolling Stone; I draw pictures that speak louder than words. Artist & Professor