Julie2017

ARCHITECTURAL MODELS AND MAQUETTES 4-PARTS

PART 1 OF 4 – MODEL-BUILDING – BASE AND TERRAIN – 25 MIN

PART 2 OF 4 – MODEL-BUILDING – IN FOAMCORE-LOWRISE TO HI-RISE- 9.5 MIN

PART 3 OF 4 – MODEL-BUILDING – HI-RISE TOWER – 9 MIN

PART 4 OF 4 – FINISH TOWER AND DETAIL SITE – 10 MIN

‘MANIKIN HEAD’ BLOCK-IN, SEMIAHMOO ARTS, VIDEO #3 OF 5 (DAY ONE & TWO)

Please note: Some video tutorials are exclusive to students currently enrolled in courses at Emily Carr. If you are already logged in but you cannot access this content, if may be because you do not have the required membership level. Please contact Tony if you are interested in a course.

‘MANIKIN HEAD’ BLOCK-IN, SEMIAHMOO ARTS, VIDEO #4 OF 5 (DAY ONE & TWO)

‘MANIKIN HEAD’ BLOCK-IN, SEMIAHMOO ARTS, VIDEO #5 OF 5 (DAY ONE & TWO)

CEDR 162: Perspective Drawing at Emily Carr Continuing Studies, Weekends

CEDR 162: Perspective Drawing

This course is essential for artists, designers, illustrators and animators who wish to create convincing images of form, depth and space. Regardless of the form you work in, you will improve the impact of your work with an understanding of this powerful drawing technique. You will be guided through step-by-step exercises, moving from rough layout sketches to more carefully proportioned images of world architecture, vehicles and the human form.

https://www.connect.ecuad.ca/programs/courses/CEDR/162

GESTURE DRAWING is good for you!

Everything has ‘gesture’. Just imagine ‘miming’ a bouquet of flowers or even a rock with your hand gestures. If your movements could leave a charcoal record on paper – that’s a gesture drawing. Kinda like ‘air guitar’. Here is a step-by-step demonstration, including the use of a ‘reference frame’, useful for keeping to a scale or staying within a drawing space.

GRAPHIC NOVEL SEMINAR

I am going to attend this. If you have an interest in the subject, please CLICK for more info and check it out.

COLOR WHEEL & COLOR AS VALUE

A very useful perception to add to your mental toolkit for painting is the ability to see color as ‘value’. The ‘lights’ create piccolo sparkle, ‘mids’ create violin richness/sublety, ‘darks’ create tuba gravitas. Deduct the lights and you have somber/moody. Deduct the mids and you have a kind of annunciation, readable from afar, but not all that interesting up close. Deduct the darks and you have ‘ethereal’, pixies dancing at twilight. Together and they give a full orchestra – but there is still the problem of ‘dominance’ – equal amounts of piccolo, violin and tuba are boring.