ART 222 Illustration Materials and Techniques
Instructor: Laurel Long
Email: laurel.long@csun.edu
Office hours: Monday, Wednesday 5:00-6:30pm
Office/Classroom: ACD 506/507
Catalog Description
Prerequisites: Art 124B. Introduction to the use of materials and techniques used in a variety of art areas and specifically in the
field of Illustration. Emphasis is on understanding media potential and the development of refined technical skills required for
the successful executions of illustrations. Covers wet and dry media, tools and techniques.
Course Description
This class introduces students to materials, processes and techniques used in illustration, graphic design and fine art.
Black/white and color media in drawing and painting techniques will be explored. Professional illustrations require a high
degree of technical skill, design ability, personal style and conceptual creativity. Illustration Materials and Techniques focuses
on technical skills, rendering and design in a variety of media.
Art Department Program Goals Addressed in this Course
• Acquire a basic knowledge, theories, and concepts about art; develop a foundation of art skills and a high level of craft;
communicate ideas and concepts through writing, speaking and art making; acquire a competency with the tools and
technologies associated with the visual arts.
• Broaden knowledge of ancient through contemporary art; develop an understanding of the theoretical, cultural, and historical
contexts of art.
• Apply processes of generating and solving problems in art.
• Develop an appreciation and tolerance of diverse perspectives dealing with art, culture, teaching and learning.
• Develop a career path for an art profession or an art-related field; develop an understanding of the demands and
expectations of that area of art profession or art field.
Course Student Learning Objectives
• Demonstrate and apply knowledge of illustration techniques and skills.
• Develop and demonstrate technical craft as it applies to illustration materials and techniques
• Communicate ideas and concepts through artistic development and art making
• Acquire knowledge of contemporary and historical art and illustration techniques and movements.
• Apply processes of generating and solving problems in art within specific art assignments
• Consider the application of illustration materials and techniques into an individual art or art-related career
• Use appropriate critical vocabulary to describe and analyze works of artistic expression
• Recognize and apply illustration materials and techniques used by professional illustrators.
• Recognize personal preferences and strengths regarding art materials and techniques.
• Apply illustration materials and techniques for self-expression and effective visual communication.
Course Activities
Assignments fall into two categories: practice work and finished work. Practice works will help students gain confidence with
the media. The techniques learned will be applied to a finished work. These works will be from various subject matter including
still life and photography. As necessary and announced on a daily basis, in-class work will need to be continued and
completed at home. There will be techniques, which may be challenging and require additional practice outside of class time.
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Academic Dishonesty
Academic dishonesty is a serious offense for which a student may be expelled, suspended or awarded a failing grade to an
assignment or the entire course. Academic dishonesty includes cheating, fabrication, facilitating academic dishonesty and
plagiarism. A student found to be committing academic dishonesty will be reported to the Office of the Vice President for
Student Affairs. The student code of conduct is on page 586 of the University Catalog or on the CSUN
website:http://www.csun.edu/studentaffairs/pdfs/standards_student_conduct.pdf.
Student Conduct Code
Students are expected to "act at all times with integrity and with respect toward all members of the campus community. The
University assumes that all students will conduct themselves as mature, responsible, and law-abiding citizens who will comply
with University policies and regulations." See the current University catalog.
Classroom rules
• Cell phones must be turned off or put on vibrate. Phone talking or texting in class is not allowed.
• No headphones.
• No laptop use during lectures. Using your laptop to work on anything outside of this course during class time is not permitted.
Violations will affect your final grade.
• You are welcome to bring food and drinks into class. However make sure that all drink containers have a tight fitting, spill
proof lid. Keep all food items and drinks away from art work at all times.
Missed Class Policy
Lectures and demos cannot be repeated. Contact a classmate for missed information.
Name_____________________________________Contact info _____________________________________
Attendance Policy
Attendance is required. The following will be applied in determining the final grade in the course.
• Three absences are allowed without penalty. More than three absences will result in a lower final course grade
• Save your three absences for emergencies or illness.
• A doctor’s note will not excuse absences beyond the three allowed. If illness requires more than three absences, a medical
withdrawal from the course is recommended.
• Roll is taken every class. Three late arrivals and/or early departures will be counted as one absence.
• You may ask at any time for your attendance and grade information.
Grading
Final Grading is based on: Projects grades, effort and attendance (see above).
• Projects are graded on the basis of demonstrated knowledge of course content, effective and ambitious solutions to
problems, technique and presentation
• Projects and exercises not completed on deadline will not be accepted.
• Unpreparedness and projects not worked on during class time will lower the final project grade.
• Assignments that have met the deadline requirements can be revised and resubmitted for a higher grade.
To earn an A or A- you must do the following:
• Earn an overall grade of at least an A- on the assignments
• Meet all deadlines
• Have no more than three absences
• Be on time to class and do not leave class early (unless emergency)
• Have the necessary supplies to work in class
• Take notes and/or sketch lecture material
• Demonstrate a commitment to the subject and be involved in class.
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Grade Point Scale
Grading is in accordance with university policy: A, A-, B+, B, B-, C+, C, C-, D+, D, D-, and F
A= outstanding, B= good, C= average, D= unsatisfactory, F= failure
A = 95 – 100, A- = 90 – 94, B+ = 87 – 89, B = 83 – 86, B- = 80 – 82, C = 73 – 76, C+ = 77 –
79 C- = 70 – 72, D+ = 67
– 69, D = 63 – 66, D- = 60 – 62, F = 0 –
Supplies
Continental Art Supply (7041 Reseda Blvd, 818-345-1044) has all the supplies you need. If you shop there, tell them you are
in Laurel Long’s Art 222 class and they will know exactly what you need. Many of the supplies can also be purchased at
Michael’s. Register online or download Michael’s app to receive 20-50% off weekly coupons. Do not buy new supplies if you
already have supplies from other classes. If you are not sure about supplies please ask me.
Surfaces
• One 20x30” Strathmore 500 Series Heavyweight Illustration Board, cold pressed cut into
six 10 x 10” pieces. ($10.99 per 20 x 30 “ board- available at Continental Art Supply, some Michael’s)
• Two 8 x 10” stretched canvases
• One 11x14” Strathmore Vellum Bristol pad or Mixed Media pad
Paint Media
-Watercolors: inexpensive pan or tube set
-Oil paints: Gamblin Art Sketching Oils, Grumbacher Academy or Van Gogh are recommended
-Acrylic paints: Golden Heavy Body Matte, Liquitex Heavy Body, or Holbein Acryla Gouache are recommended (if you already
have student grade acrylics, get an artist grade acrylic titanium white)
-Colors for both oil and acrylic paints:
• Alizarin crimson
• Cadmium red light (any warm red)
• Cadmium yellow medium (any warm yellow)
• Ultramarine blue
• Pthalo blue
• Titanium white
• Burnt umber
- Folk Art, Americana or Craft Smart Acrylic paint (Michael’s)- 2 mat, opaque colors, a dark and a light
-Small gesso
Brushes
• Soft brushes only, Simply Simmons Studio white nylon acrylic and oil 6 brush set E
or Artist Loft Necessities white or golden 10 brush set recommended
• One medium eye shadow brush: Target up & up brand ($2.49)
• 1 or 1 ½” hardware store bristle brush
Drawing Media • Waterproof black India ink (Winsor Newton, Sumi or Bombay)
• Pens: individual or sets (Sakura Pigma Micron or Artist Loft illustration pen
or Prismacolor Premier illustration pen- 005, 01, 03, 05, or Staedtler Pigment Liner .1-.7mm)
• Optional: Ballpoint pen- (Staedtler 924 or Pilot G tech C3), #104 fine point dip pen
•.5mm mechanical pencil (H)
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Other Supplies
• Disposable poly-coated palette pad: 9 x 12 inches
• Calque CansonTracing paper pad 9 x 12 “
• Sandpaper 100, 320 grit
• #11 x-acto blade with replacement blades
• 2-3 small plastic or glass containers
• Magic tape, drafting tape
• Small spray bottle
• Natural sponge
• Small linseed oil
• Small desk lamp
• Small T-square
• 10” triangle
• Metal not plastic palette knife: Michael’s- Artist Loft, Trowel #102
Art Supply Stores (take student ID as most stores give student discounts)
Carter Sexton
M–F
9–6
Continental Art Store
M–F
10 – 7
5308 Laurel Cyn. Blvd.
Sat
9 – 5:30
7041 Reseda Blvd.
Sat
10 – 6
N. Hollywood
Reseda
818-763-5050
818-345-1044
Dick Blick
M-F
9–8
Pearl Art Supplies Inc.
M–S
9:30 - 8:30
44 S. Raymond Ave.
Sat
9–7
1250 S. La Cienega Blvd.
Sun
11 – 6
Pasadena
Sun
10 – 6
Los Angeles
Utrecht Art Supply
M–S
9–8
San Clemente Art Supply
M–F
10 – 6
11677 Santa Monica Bl.
Sun
10 – 7
1531 N. El Camino Real
W
10 – 7
San Clemente
Sat
10 – 6
626-795-4985
310-854-4900
Los Angeles
310-478-5775
949-369-6603
Swain’s
M-F
9–7
M – Sat 10 - 8
537 N. Glendale Ave.
Sat
9 - 5:30
1718 N. Vermont Ave.
Glendale
Sun
10 - 5
Los Angeles, CA 90027
Blue Rooster Art Supplies
818-243-3129
Sun
10 - 7
323-661-9471
There are several good catalog art supply companies.
www.danielsmith.com
www.aswexpress.com
www.jerrysartarama.com www.DickBlick.com
www.UtrechtArt.com
www.RexArt.com
www.cheapjoes.com
Assignments: Subject Matter
Use still life objects and/or your own photographs when possible. A desk lamp will be needed for still life objects. Photographs
must have clear and defined focus, detail and lighting. If you use public domain digital images of your subject, you must draw
from a variety of images of your subject. Consider nature subjects or man made subjects for example:
Plants
Rodent
Vegetables
Insects
Architecture
Machinery
Shells
Fruit
Birds
Anatomy
Flowers
Human face
Animals
Marine life
Reptiles
Assignments: Format
1/2" minimum margins- Do not draw or paint up to the trim edges of the illustration board. Both sides of the Strathmore
500 Series Heavyweight Illustration Board can used. Canvases can be painted to edges.
Presentation
Clean, squarely cut board flapped with tracing paper that is neatly taped with magic tape and trimmed to board size.
Continental will cut the illustration board for you.
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Assignments
1. Ink: Realism
-Media/Tools: fine tip ink pen, ballpoint pen or fine point dip pen, Bristol pad, tracing paper, lamp
-Techniques: hatching, crosshatching, stippling, transferring
-Your drawing must have convincing value gradations, textures, three-dimensional rendering and clarity.
- Subject: with texture and mass from still life reference
Assignment: Draw a lit still life object that has texture and mass (garlic, onion, artichoke, asparagus, mushroom, egg,
flower etc.) in fully rendered realism
Exercises:
1. Practice drawing a variety of small lines: straight, curved, scribble etc. Draw quickly and lightly. Use the pen like a
brush. Do not press hard. Lift up on the pen so that the lines taper away at the end.
2. Crosshatch a full value range gradation in a 2x4” box
3. Contour hatch a 2x3” cylinder using small straight or curved lines.
4. Draw a 2 ½” sphere. Include highlight, ¼ tone, ½ tone, core shadow, reflected light and cast shadow.
5. Draw a feather from photo reference, work out technique on tracing paper over photo
- Research artists: Ben Tolman, Jack Unruh, Edel Rodriguez, Alan E. Cober, Lars Henkel, Bagram Ibatoulline, Peter Sis,
Murray Tinkelman, Henrik Drescher, Geoffrey Moss, Edward Gorey, James Jean, Rembrandt, Albrecht Durer, Van Gogh,
Da Vinci, Michaelangelo, Thomas Nast, Sir John Tenniel, Gustave Dore, Aubrey Beardsley, Henry Ford
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2. Ink: Graphic
-Media/Tools: ink pens, small round brush, ink, Bristol board, tracing paper
-Techniques: designing, drawing graphic lines, patterns and shapes to create textures and volume
-Your drawing must have a graphic quality
-Subject: with texture and mass from photo reference
Assignment: Draw in ink on tracing paper over your photo subject to work out the design of the lines, textures, patterns
and shapes. Transfer your design to Bristol paper. Draw the subject graphically in ink.
Exercises:
1. Using brushes and ink draw a variety of lines: thick to thin, flowing, angular etc.
2. Draw in pen on tracing paper over your feather photo. Work out the design of the lines and shapes.
3. Draw with a small round brush on tracing paper over your feather photo
4. Draw with a small round brush on tracing paper over your four photos of faces
- Research artists: Jeffrey Decoster, Aaron Horkey, Cathie Bleck, Melinda Beck, Edel Rodriguez, Yuko Shimizu, David
Hughes, Marcos Chin, Fernanda Cohen, Jillian Tamaki, Josh Cochran, Andy Friedman, Philip Burke, Jeffrey Fisher, John
Hendrix, Dushan Milic, Kako, Kagan McLeod, Dominic Bugatto, Jared Purrington, Michael Sloan, Mark Todd, Ward
Schumaker, Karen Davison, Patrick Arrasmith, Scott McKowen, Nate Williams, Aaron Hogg, James Jean
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3. Ink: Expressive
-Media/Tools: ink, pens, brushes, straw, illustration board
-Techniques: line variety: thick, thin, flowing, angular, straight, curved lines, splatter, washes, spray, hatching,
crosshatching, stippling-optional)
-Your drawing must have a dynamic and expressive quality
-Subject: with texture and mass from photo or still life reference
Assignment: Draw the subject with expressive, dynamic elements using ink techniques. 9x9” max image
Exercises:
1. Practice: using pens, brushes and straw, draw and paint a variety of lines, brushstrokes and shapes: thick, thin, flowing,
angular, organic, straight and curved, splatter
2. Paint eight values from dark to light using in ink washes
3. Draw your feather photo using pens, brushstrokes and washes
-Research: View the websites of the following artists: Ralph Steadman, Jonathon Wayshack, Joe Morse
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4. Ink and Color Washes
-Media/Tools: ink, pens, brushes, watercolor paint, illustration board, palette
-Techniques: watercolor washes, ink drawing
-Subject: A lit still life object or photo reference
Assignment: Draw the subject using any of the ink techniques from assignments 1-3 and color washes. The painting and
ink drawing can overlap but do not have to align, or they align to create 3D volumes and textures, 9x9” max image
Exercises:
1.Gradated wash dark to light – wet on dry
2.Gradated wash dark to light – wet on wet, clear water first
3.Layer two primaries to create secondaries– wet on dry
4.Layer primaries and secondaries to create tertiaries– wet on dry
5.Layer complementaries to create neutrals– wet on dry
Research: Bagram Ibatoulline , Cathie Bleck, Jack Unruh, Fernanda Cohen, Ralph Steadman, Sam Weber, Jillian
Tamaki, Henrik Drescher, Joe Ciardiello, Andy Friedman, Philip Burke, Jeffrey Fisher, John Hendrix, Lars Henkel, Dushan
Milic, Dominic Bugatto, Jared Purrington, Michael Sloan, Peter Sis, Edmund Dulac. Arthur Rackham, Beatrix Potter
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5. Acrylic Backgrounds
-Media/Tools: acrylic paint, craft paint, gesso, brushes, hardware store bristle brush, sandpaper, sponge, palette, palette
knife
-Techniques: dry brushing, creating surface texture, layering, sponging, sanding
Assignment: Tape edges of 4x4” square, gesso each square
1. Paint entire box with gesso to create a textured surface, let dry. Paint dark color first, let dry, dry brush a slightly lighter
color, let dry, repeat layers with increasingly lighter colors to create a gradation
2. Paint dark color, let dry, dry brush light color over with bristle brush, apply wet paint, slant/drip
3. Mix 5 values of a color, paint half of the box with the light color, let dry, paint overlapping shapes and lines in the next
value, let dry, repeat layers brush. Repeat in other half of box reverse the value sequence.
4. Use sponge to apply paint in layers of colors that have similar value
Research: Jason Holley, Camille Rose Garcia, Nathan Ota, Clayton Bros., Olaf Hajek, Genevieve Simms, Anthony Freda,
Anna Balbusso, Steve Adams, Pol Turgeon, Curtis Parker, Dan Page, Brad Holland, Esther Pearl Watson, Gizelle Potter,
Monika Aichele, Aaron Meshon, Yosh Ito, John S. Dykes, Nate Williams, Juliette Borda, Caleb Brown, Donna Ingemanso,
Sara Fanelli
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6. Acrylic: Realism
-Media/Tools: acrylic paint, brushes, palette, palette knife, illustration board
-Techniques: drybrushing, layering brushstrokes to create gradations and textures
-Your painting must have convincing value gradations, textures and three-dimensional rendering.
-Subject: A lit still life object with texture and mass
Assignment:
Tape edges of board ½”margin and gesso. Paint a background using one of the background techniques used in previous
project. Paint your subject over the background in fully rendered realism.
Exercises:
1. Rule four 3x3” boxes. Bring in 4 swatches from magazine photos. Paint to match each swatch.
2. Mix 5 values of a color. Paint a middle value background, let dry. Draft and paint a 2.5” circle with the darkest color, let
dry, paint next value, let dry, repeat layers use small brushstrokes to create a sphere
Research: Ted McGrath, Haoto Nattori, Rafal Olbinski, CF Payne, Robert Williams, James Jean, Jody Hewgill
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7. Acrylic: Graphic
-Media/Tools: acrylic paint, brushes, palette, palette knife, gesso, illustration board
-Techniques: dry brushing, layering flat shapes
-Your painting must have a graphic quality
-Subject: photo reference with strong value contrast
Assignment:
1. Design and draw over your subject on tracing paper to work out the design of the lines and shapes.
2. Tape edges 9x9” box and gesso. Paint a background using one or a combination of techniques used in Acrylic
Backgrounds assignment, let dry. Paint your subject in layers of graphic lines and shapes.
Exercises:
1. Mix colors to match each color of the color palette used in a contemporary color illustration.
Research: Tim Biskup, Philip Burke, Olaf Hajek, Genevieve Simms, Anthony Freda, Shag, Kill Pixie, Mark Reihill, Jeff
Nichol, Nick Spanos, Ken Taylor, Tracie Ching, John Vogl, Laurent Derieux, Johan Jaccob, Rhys Cooper, Mishka Westell
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8. Oil: Realism
-Media/Tools: oil paints, brushes, linseed oil, stretched canvas, palette, 320 sandpaper, 8x10” photo, gesso
-Techniques: priming, toning, blending, glazing
-Your painting must have convincing value gradations, textures and three-dimensional rendering
-Subject: Face from your own photograph
Assignment: Paint from a photo that you take of yourself or another person. The photo must have lighting contrast and
clarity. You can paint the entire face or a cropped portion. 8x10” canvas
Exercises: 8x10” canvas
1.Rule a 2.5” circle with 2H pencil. Using 5 values of a neutral color, paint a sphere with cast shadow. Paint around the
edges of the sphere blending to achieve different degrees of hard/soft edges
2. Let sphere dry. Glaze the sphere to add color.
Research: Mark Bender, Chris Buzelli, Alex Gross, Kinuko Craft, Michael Hussar, David Bowers, Chris Mars, Loren Long,
John Whipple, James Jean, Braldt Bralds, Michael Deas, Rob Day, Tim O’Brien, Lori Early, Mark Ryden, Marion Peck,
Christine Wu
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Art 222 Calendar (Dates are subject to change
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Mon, Aug 26
• Review syllabus and supplies
• Supplies for Wednesday: fine tip ink pen or ballpoint pen or fine point crow quill pen/ink,
bristol board, feather photo reference, tracing paper
Wed, Aug 28
• 1. Ink: Realism
• PowerPoint: Ink rendering
• Demo and Exercises 1-5, hatching gradations and textures, transferring
• Homework: finish exercises, bring still life reference, lamp, supplies
Mon, Sept 2
Labor Day- no class
• 1. Ink: Realism
• 1. Ink: Realism
• Supplies for Wednesday: ink, fine to large pens, brushes, bristol board, tracing paper,
feather and faces photo reference
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Wed, Sept 4
Mon, Sept 9
Wed, Sept 11
Mon, Sept 16
Guest Speaker: Jeffrey Decoster
• 2. Ink: Graphic
• 1. Ink: Realism due
• PowerPoint: Ink graphic
• Demo and Exercises 1-4
• Homework: finish exercises, bring in photo reference and supplies
Wed, Sept 18
• 2. Ink: Graphic
Mon, Sept 23
• 2. Ink: Graphic
• Supplies for Monday: ink, fine to large pens, brushes, illustration board, tracing paper, photo
reference, straw
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Wed, Sept 25
• 3. Ink: Expressive
• 2. Ink: Graphic due
• PowerPoint: Ink: Expressive
• Demo and Exercises 1-3
• Homework: finish exercises, bring in photo reference and supplies
• 3. Ink: Expressive
• 3. Ink: Expressive
• Supplies: ink, pens, brushes, watercolor paint, illustration board, palette, still life object,
lamp
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Mon, Sept 30
Wed, Oct 2
• 4. Ink and Washes
• 3. Ink: Expressive due
• PowerPoint: Ink and Washes
• Demo and Exercises 1-5
Mon, Oct 7
• 4. Ink and Washes
Mon, Oct 14
• 4. Ink and Washes
• Supplies for Wednesday: acrylic paint, craft paint, gesso, brushes, hardware store bristle brush,
sandpaper, sponge, palette, palette knife. illustration board,
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Wed, Oct 9
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• 5. Acrylic Backgrounds
• 4. Ink and Color Washes due
• PowerPoint: Acrylic Backgrounds
• Demo and Exercises 1-2
Mon, Oct 18
5. Acrylic Backgrounds
• Demo and Exercises 3-4
• Supplies: acrylic paint, craft paint, gesso, brushes, hardware store bristle brush,
sandpaper, sponge, palette illustration board, magazine photo swatches,
desk lamp, still life object
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Wed, Oct 16
Wed, Oct 23
Mon, Oct 28
Wed, Oct 30
Mon, Nov 4
Wed, Nov 6
• 6. Acrylic: Realism
• PowerPoint: Acrylic: Realism
• Demo and Exercise 1
• 6. Acrylic: Realism
• Demo and Exercise 2
•6. Acrylic: Realism
•6. Acrylic: Realism
•6. Acrylic: Realism
• Supplies for Wednesday: acrylic paint, craft paint, gesso, brushes, hardware store bristle brush,
sandpaper, sponge, palette illustration board, tracing paper, still life or photo reference
Mon, Nov 11
Veteran’s Day- no class
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• 7. Acrylic: Graphic
• 6. Acrylic: Realism due
• PowerPoint: Acrylic: Graphic
• Exercise 1
Mon, Nov 18
• 7. Acrylic: Graphic
Wed, Nov 20
• 7. Acrylic: Graphic
Mon, Nov 25
• 7. Acrylic: Graphic
• Supplies for Wednesday: oil paints, brushes, stretched canvas, linseed oil, acrylic paint, brushes,
hardware store bristle brush, 320 sandpaper, palette, palette knife, tracing paper, 8x10” photo of
face with lit and shadow sides, small containers
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Wed, Nov 13
Wed, Nov 27
Mon, Dec 2
Wed, Dec 4
Mon, Dec 9
Wed, Dec 11
• 8. Oil: Realism
• 7. Acrylic 3 Graphic Shapes due
• PowerPoint: Oil
• Demo and Exercise 1
• 8. Oil: Realism
• Demo and Exercise 2
• 8. Oil: Realism
• 8. Oil: Realism
• 8. Oil: Realism
• 8. Oil: Rendered Realism due
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MEDIA GUIDE
Pen & Ink
•Techniques Demonstrated: Hatching, crosshatching, stippling in a variety of line weights to create convincing value
gradations, textures and three-dimensional rendering. Use of brush, pen, straw to create calligraphic, flowing, angular,
straight, curved lines, splatters to create accidental effects.
•Craftsmanship: Confident, expressive line with variety in thick and thins. No bleeding into paper. Consistency in style…if using
hatching, be consistent with how you apply it throughout the piece. Contours more bold than less dominant details. Any
mistakes must be incorporated into the drawing, no corrections. Create depth with thick/thin, hard/soft, dark/light lines.
Acrylic Opaque
•Techniques Demonstrated: Brushwork to create rendered textures and gradations, layering, dry brushing, accidental effects,
textures, distressing, flat painting. If brush strokes are visible, let them be appealing to look at and consistently applied to the
whole piece. Create depth with thick/thin, Hard/soft, Dark/light.
Oil
•Techniques Demonstrated: Surface priming, imprimatura, under layer, glazing, ala prima painting, blending, palette
organization and color mixing. Brushwork to create rendered textures and gradations.
•Craftsmanship: Clean rendering, Clean and harmonious color. If brush strokes are visible, let them be appealing to look at
and consistently applied to the whole piece. Create depth with thick/thin, Hard/soft, Dark/light. Blended, smooth edges
required.
Mixed Ink Line and Acrylic or Watercolor Wash
•Techniques Demonstrated: Washes: wet-to-wet, wet to dry to create convincing value gradations, textures and threedimensional rendering. Brushwork to create rendered textures and gradations, layering, dry brushing, stippling, accidental
effects. Color theory and layering.
•Craftsmanship: Readability; Don't let the washes become so busy that the line drawing is lost. Lost and found edges are ok,
but don't let the drawing disappear completely into the washes. If ink is applied with brush, brush marks and lines flow together
well. Clean, not muddy color. Washes and textures that are interesting to look at. Create depth with thick/thin, Hard/soft,
Dark/light.
STYLE GUIDE
For all styles:
•Composition: Create an interesting arrangement of positive and negative space avoiding uncomfortable tangents. Repetition
with variation in shape and size (big, medium, small), rhythm, focal point and balance.
•Communication: Clarity and readability.
Realism
•Draftsmanship: Accurate and precise rendering and realistic representation of three-dimensional shapes, forms, textures and
proportions.
•Craftsmanship: Precise, controlled enough for accurate representation of the subject.
•Communication: Clear, convincing and readable.
Graphic
•Draftsmanship: Similar to silhouette, except use a variety of values and colors. Realistic, Stylized, Geometric, Cartoon, or
distorted flat shapes informed by strong foundational drawing.
•Craftsmanship: Precise, clean edges.
Contour, Expressive, Thick-Thin and/or Hatching
•Draftsmanship: Use any or all of the following: Linear/tonal/graphic/expressive- hatching, crosshatching, or stippling to create
value gradations, textures, patterns or three-dimensional rendering. In a variety of thicknesses: flowing, angular, straight,
curved marks, accidental marks, straw and splatters to create designed, graphic and spontaneous effects.
•Craftsmanship: Precise, clean edges
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