The Empty Canvas Project - Essay Example

THE EMPTY CANVAS PROJECT Student’s Name: Code + Course name Professor’s name University City, State Date Introduction Laura Laine is one of the most famous illustrators born in Finland in 1983. Laura has focused on female illustrations that depict a surreal representations that play a pivotal role in advertisements. At the onset of her career, the artist used pen and pencil. However, she has turned to glass to develop the illustrations to depict the life tales found in the sea. She refers to the glass illustrations as the “Wet Collection” (Laine 2015). Laura developed a passion in passion design. Consequently, she studied fashion design at the University of Art and Design Helsinki. Some of the patrons of the Scandinavian encompass Zara, Vogue Nippon, New York Times T magazine, Telegraph, the Guardian among others. Following the completion of her studies, the artist was a freelance fashion illustrator. Moreover, she participated in the training of other fashion illustrators at the university. The most common attributes of her artistic works include are their anxious, humorous and fanciful nature. She loved making drawings to reveal her expressions at the moment of developing the illustration. Designing costumes also sufficed to be one of her major areas of interest in fashion illustration. The illustrations revealed the passion for fashion illustration of the artist and love expressed by the drawings. The Relationship between history, theory and practice As a fashion illustrator, it is apparent that she has obtained motivation from several other illustrators. For instance, she loved the artistic illustrations of Harry Clarke and Edward Gorey. At the onset of her career, she developed black and white illustrations. However, the quest to enhance the drawings compelled her to develop colored sketches. The sketches also display unbelievable and passionate contours; that prove the work of a professional fashion illustrator. She likes the star print transparent lace paneling to make the drawings. In order to make her illustrations attractive, she used covering fabrics and multi-variable surface textures to develop the illustrations. The artist works both as an individual or partners with photographers, art directors and stylists. She has inspired on a number of areas including approaches towards fashion and style, sculpture, art and journalism and painting. The figures below represent some of the fashion illustrations of the artist. Figure 1.0 Figure 2.0 Figure 3.0 Techniques and the Media in the artist’s work and Fashion Illustration It is ostensible that the artistic works of Laura Laine is exceptional. Consequently, it has contributed positively to my studies and passion for fashion illustration. Prior to using the techniques that she adopted in developing her sketches, I found it necessary to identify the tools of trade in the world of fashion. Having the mind of a designer turned out to be the most important tool of trade that fashion designers ought to have. Just like Laura, she had the designer mind and passion for designing. The tool requires the illustrator to be on the constant hunt for new ideas in the industry. In essence, the designer ought to “cool hunt”. In the quest to achieve the objective, I have developed the mind of searching for exciting, different and new ideas that will attract the attention of the viewers. As a fashion illustrator, it is imperative that I should have a visually adept mind that will ascertain that will enable me to record the researched information and transform into the fashion sketches. It is evident that Laura developed sketches from her mind; with particular emphasis on what she was thinking at the moment. The second critical tool that a fashion illustrator ought to possess entails having the capacity to design illustrations and sketches of what is running through their mind (Hagen 2014). Designing exceptional designs and sketches suffice to be the most important aspect for a fashion illustrator. They reveal the visual expression of the artist to the world thus marketing the artist. They also reveal the interaction between the mind of the artist and the outside world. I learnt that the design illustrations play multiple functions. One of the roles concerns communicating the design ideas to the workplace and classroom. By so doing, the sketches prove the worth of the artist by expressing an exciting portfolio of sketch representations of the real world. Consequently, they attract high-level jobs, publicity and enhance the presentations to the design directors and the buyers. Thirdly, from her works we see that the computer and hand tools also influence the process of developing the fashion illustrations. However, it is proper to note that the hand tools play a major role since they express the talent of the artist to the buyers and design directors. However, before embarking on the actual sketching, the illustrator should identify the topic of interest. In reference to Laura, female fashion illustration was her primary area of concern since all her drawings and sketches refer to the topic. Orderliness suffices to be the other attribute that guarantees the effective drawing of sketches (Hagen 2014). Planning for the art tools and understanding their function is imperative to the success of any fashion illustration assignment. Having a deep understanding of the tools enables the trainer to use less time and resources in the acquisition of the tools from the stores. Apparently, developing “killer” visual and personal style images necessitates the understanding of the tools required in the design process. The fact that Laura’s artistic work appeals to the eye of the viewer implies that she planned and utilized the tools correctly prior to embarking on the sketching exercise. The other fundamental aspect concerns having the appropriate drawing skills that will enable the sketching of visually appealing images that express the actual interaction between the illustrator’s mind and the targeted aspect in the real world (Hagen 2014). Laura’s sketches and drawings reveal a perfect representation of her mind in the form of a drawing. From the exceptional images, it is apparent that Laura organized her space and drawing tools properly in all her illustration exercises. Towards achieving the objective, it is imperative that the artist should develop a “thick skin” and a fearless attitude. The attitude plays a paramount role in encouraging the artist to continue developing the sketch regardless of the challenges that she/he may encounter before completing the exercise. The artist should be able to put up with criticism from the critics so as to avert their negative influence on the completion of his/her work. Regular criticisms have always stunted the growth of the skills of the illustrators by compelling them to surrender projects (Hagen 2014). In order to handle criticism, it is proper for the artist to regard it as a positive force for growth. Subsequently, the illustrator should use criticism as a stepping stone. I have learnt to be honest and kind rather than patronizing my peers. Laura’s effective utility of symbolism in her drawings reveal the work of a professional fashion illustrator that has proper drawing skills. Apparently, it is frustrating to have the correct information or idea and lack the drawing skills that will communicate the idea to the buyers or design administrators (Borreli 2008). Tools do not create sketches for the artist; but rather it is the ability of the artist to use the tools appropriately that enables him/her to develop exceptional representations of wonderful ideas. One of the drawing tools necessary for the illustration career is the prismapencil. They are waxy and combined with markers. The graphite-drawing pencils are the other tools that a professional artist requires in his career (Hagen 2014). A3 Illustrations The Face The face is the soul of any sketch diagram. Developing sketches for the face requires the use of the 50% rule regardless of whether it is the male or the female face as demonstrated by Figure 4.0. The artist should place the eyes in the middle of the vertical with the nose bridge being in the middle of the face’s horizontal guide. It is proper for the artist to understand that the nostrils mark the center of the face’s lower part (Konrath 2005). Moreover, the artist should position the mouth at the center of the lowest quarter of the face. The female face is round whereas the male counterpart is square. A wide chin and an accentuated jaw-line characterize the male face. The Adam’s apple is also visible on the male face with the eyebrows being low. Sketching the Adam’s apple is important since it makes the face appear masculine so as to distinguish it from a female face. Avoiding the make-up effect while sketching the male face is important. The artist avoids the effect by making the lips and eyes less strong. On the other hand, the female face speaks an oval shape. It consists of round and smooth lines that yield an aesthetic and soft impression. The artist should draw full lips and eyes and also include lashes to make the face appear feminine rather than masculine. It is also important to add fierceness to the face in the event of accentuation of the cheek bones. The artist should also place the female eyebrows slightly higher than the position of the male eyebrows so as to enlarge the area for the eye. Figure 4.0 The Human Figure The female figure consists of a classic stand characterized by loose and relaxed arms, and straight legs. Sketching the female figure also necessitates understanding the fashion figurine that represents an overstretched female figure. It represents the overstretched female figures exhibited by models whenever they catwalk. It is imperative for the artist to divide the human body into different proportions starting with the head. Apparently, the head stands out as the smallest proportion on the human figure. For a normal individual, the height of the person is approximately five times his head. However, under fashion illustration, the height can be eight to nine times the head of the human figure on the illustration. The width of the shoulders and hips should be equal (Konrath 2005). Increasing the width of the shoulders would make the figure to appear masculine rather than feminine. The illustrator should also draw the elbows and the waist on the same level and position the crotch above the wrists. It is also important to observe that the lower section of the female legs are longer than the upper sections that consist of the thighs. In the case of the male figure, the illustrator should understand that the shoulders are broader and the hips smaller. Moreover, the waist is almost absent. The upper and lower sections of the leg have an almost equal length in the male figure. More muscles and less fat transform the male human figure into a chisel-like and sharper figure. Playing with the –V- shape of the body is useful in achieving the sex of the illustrated human figure (Konrath 2005). Conclusion Laura Laine is a widely-known female fashion illustrator. Having passion in fashion design, the illustrator managed to develop exceptional sketches that communicate the interaction between her mind and the real world. Becoming a professional fashion illustrator necessitates understanding the drawing tools and concentrating on the design career. The drawing tools encompass both the computerized applications used in sketching and the pencils, erasers and markers. Sketching the human face requires the adoption of the 50% rule. However, it is important for the illustrator to understand the different attributes of the female face and figure as compared to their male counterpart. Reference List Borrelli, L 2008, ‘Fashion illustration by fashion designers’, Thames & Hudson. Hagen, K 2014, ‘Fashion illustration for designers’, Otis College of Art and Design. Konrath, T 2005, ‘Fashion Illustrations’, Raffles International College. Laine, L 2015, ‘The Wet Collections’, Press Release. Read More

The second critical tool that a fashion illustrator ought to possess entails having the capacity to design illustrations and sketches of what is running through their mind (Hagen 2014). Designing exceptional designs and sketches suffice to be the most important aspect for a fashion illustrator. They reveal the visual expression of the artist to the world thus marketing the artist. They also reveal the interaction between the mind of the artist and the outside world. I learnt that the design illustrations play multiple functions.

One of the roles concerns communicating the design ideas to the workplace and classroom. By so doing, the sketches prove the worth of the artist by expressing an exciting portfolio of sketch representations of the real world. Consequently, they attract high-level jobs, publicity and enhance the presentations to the design directors and the buyers. Thirdly, from her works we see that the computer and hand tools also influence the process of developing the fashion illustrations. However, it is proper to note that the hand tools play a major role since they express the talent of the artist to the buyers and design directors.

However, before embarking on the actual sketching, the illustrator should identify the topic of interest. In reference to Laura, female fashion illustration was her primary area of concern since all her drawings and sketches refer to the topic. Orderliness suffices to be the other attribute that guarantees the effective drawing of sketches (Hagen 2014). Planning for the art tools and understanding their function is imperative to the success of any fashion illustration assignment. Having a deep understanding of the tools enables the trainer to use less time and resources in the acquisition of the tools from the stores.

Apparently, developing “killer” visual and personal style images necessitates the understanding of the tools required in the design process. The fact that Laura’s artistic work appeals to the eye of the viewer implies that she planned and utilized the tools correctly prior to embarking on the sketching exercise. The other fundamental aspect concerns having the appropriate drawing skills that will enable the sketching of visually appealing images that express the actual interaction between the illustrator’s mind and the targeted aspect in the real world (Hagen 2014).

Laura’s sketches and drawings reveal a perfect representation of her mind in the form of a drawing. From the exceptional images, it is apparent that Laura organized her space and drawing tools properly in all her illustration exercises. Towards achieving the objective, it is imperative that the artist should develop a “thick skin” and a fearless attitude. The attitude plays a paramount role in encouraging the artist to continue developing the sketch regardless of the challenges that she/he may encounter before completing the exercise.

The artist should be able to put up with criticism from the critics so as to avert their negative influence on the completion of his/her work. Regular criticisms have always stunted the growth of the skills of the illustrators by compelling them to surrender projects (Hagen 2014). In order to handle criticism, it is proper for the artist to regard it as a positive force for growth. Subsequently, the illustrator should use criticism as a stepping stone. I have learnt to be honest and kind rather than patronizing my peers.

Laura’s effective utility of symbolism in her drawings reveal the work of a professional fashion illustrator that has proper drawing skills. Apparently, it is frustrating to have the correct information or idea and lack the drawing skills that will communicate the idea to the buyers or design administrators (Borreli 2008). Tools do not create sketches for the artist; but rather it is the ability of the artist to use the tools appropriately that enables him/her to develop exceptional representations of wonderful ideas.

One of the drawing tools necessary for the illustration career is the prismapencil.

Read More