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Contents
page 6
page 31
page 16
VAO
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Orchid
Original Photograph: Jon Sullivan
ShapeIllustration with Shapes and Layers2 Visions
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This image on the next page was created us-
ing Adobe Illustrator. A picture of a real ower
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 rst and then
the next biggest and so on. Using the eye droppertool and selecting colors from the original photo-
graph, the color was lled into that shape. The big-
gest shapes were traced and then the smaller de-
tailed pieces were added as additional layers on
top. Different layers were created in order to keep
each shape of the ower organized. The layers were
named the part of the ower that it was from, for ex-
ample, purple parts and left petal. This helped the
nal stages of editing the image by keeping the parts
seperated from each other.
In this nal version of the trace project, tech-niques such as gaussian blur and gradient was used.The petals that are further away have the gaussianblur applied in order to give the image depth.The pet-
als that are further away are blurred in order to ex-emplify the foreshortening of the ower. As for thecompostition, the viewer sees that it is a ower rstand then will notice that it is an illustrated verstion ofone. The different colored shapes give the impres-sion of shadows and curves within the ower. Thesefeatures also exemplify the illustrated versions real-istic look. The overall use of all of these techniquescreates a uent illustration of the orchid.
Illustrated Version
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4 Visions
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Va
riation
Each of these nine owers were created
using Adobe Illustrator. By selecting all
and choosing different brushes and color
schemes the ower transforms. In the rst top line of
owers only the colors of the images were changed.
The rst left hand top corner is the original
traced drawing. In the second and third top square,
only the color was changed. The second square waschanged to monochromatic color under the impres-
sionism setting. The third top ower 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 reect
the rst row of colors. The rst ower, in the sec-
ond 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 mono-
chromatic baroque. The third owers brush stroke
was changed to artistic ink with the use of Russian
poster art compound 2 for colors.
The last row of owers are a little more ex-treme versions of the former. The rst owers brush
stroke was changed to artistic splash and the color
was not changed. The second ower uses artis-
tic splash for the brush stroke but the colors were
changed to middle ages monochromatic 2. The
third ower is in the bright color scheme along with
the scroll pen brush stroke.
For each of these owers, the image in the
center is the rst thing that someone would see.
What one person sees may be different from what
someone else sees. The rst three are denitely
owers, just in different colors. The other owers
are not as recognizable because of the changes inbrush 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 ow-
er. 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 rst image of a ower. Each image transforms
the ower into a different abstract, not so real form
of the same image. The viewer may see different im-
ages than what it is. The uses of the different brushstrokes can take an oridinary obvious illustration of
a ower and make it into something different. Some-
times the image looks more interesting and unique.
Other times, the image can become so distorted that
the image is not pleasant to look at.
Another Take on the Same Image
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Vessels
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Va
riation
These images are of one of the value
cups on page . Much like the Lily varia-
tions, 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 char-
coal sketch brush stroke. The two images with the
same brush stroke vary in color only, but they still
look like very different images.
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8 Visions
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StrokeCreating Images with Line
All of these images are of the same teapot. In or-
der to create these images, a drawing pad and
pen were used. The idea was to draw the tea-
pot using only lines. Some of the images are made up
of lines only going in one direction. This conrms the
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-
ject.
These images were also created very quickly. By cre-
ating 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
curve of the drawing pad and pen. It can be difcult to
create lines for a drawing to be exact as if using a pen-
cil and paper. By doing the image quickly, one doesnt
have the time to think whether or not each stroke is
placed exactly.
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Line
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Color
These 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 darkerand lighter hues of each color were
applied to give each image three di-
mensionality. By changing the satu-
ration 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 high-
lights helps draw the eye around
the image. It also helps suggest
where a light source may be com-
ing from. Darker hues were used
to give the image dimension. Thishelps give the image the idea of
where the shadows are. The varia-
tion and scale of color helps make
the image a whole and gives it realis-
tic qualities.
The paint brush tool was used
in different sizes to apply the color.
When thinner lines are used in con-
junction with thicker lines, it helps
give the image realistic attributes. In-
dividual 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
rst 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 paint-
erly look to them which in turn make
the images more conceptual and less
realistic.
Drawing with Lines in Monochromatic Color
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TextureDrawing with Textured Lines in Monochromatic ColorU
sing Adobe Illustrator with a drawing padand pen, each image was produced in
monochrome
colors manually pro-
duced using the new
swatch button. The
background and bottles
are created with the
repetition of one letter
or number. The rst bot-
tle is drawn with all 3s,
the second is the letter
W, and the third is As.
Each was created byrst laying down a back-
ground 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
nding a mid tone of the
color used and then cre-
ating darker and lighter
hues of that color. The
image was able to be
drawn using differentbrush sizes, but always
using the same letter or
number.
The letter or
number used to create
each bottle were ar-
ranged 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 numberor letter. The background of each bottle was cho-
sen 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 thebottle rst, the back-
ground 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 col-
or. By placing slightly
different values of the
same color near each
other it produces a re-
alistic look. By usingthe 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.
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ValueDrawing with Lines from Black to White
Iused Adobe Illustrator and the draw-
ing pad and pen to create these im-
ages of cups and
mugs. The brush tool,
different size brush
strokes, and different
shades of grays were
used. Each of these im-ages 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. Us-
ing the pen and draw-
ing pad allowed me
to sketch each image
in the same fashion I
might with a pencil andpaper. Instead of pick-
ing 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 gradu-
ally adding other grays to
give the illusion of a 3D ob-
ject. This also creates a lightsource 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 impor-
tant features are the high-
lights and shadows, espe-
cially on the inside on thecups. These highlights and
shadows are crucial to each of the imag-
es composition. This is where the viewers
eye goes rst. Then, each images high-
lights bring the viewers eye through the
image. The lack of a background makes
the image the only focal point.
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FigureDrawing
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Drawing with Ink and Water on Paper
InkD
rawing from a live gure is a different experi-
ence 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 gures that are represented in this article
are drawn from a live nude model and under ten min-
utes. The drawings are also in different mediums,
which poses different challenges.
This gure 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 ow 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 brush-
strokes along the lines of the body in order to empha-
size the idea that this is a real person.
Most of the gures that are
represented in this article aredrawn from a live nude model
and under ten minutes.
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CharcoalDrawing with Charcoal on Paper
The drawing of the lounging woman is that
of a famous painting. The image was cre-
ated using charcoal on paper and using
a grid method. A grid was made on top of a pho-
tocopy 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 shad-
ows 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 ow 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.
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Photography
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CloseUpImagery Abstracted by Closeness
The image on the left may be difcult to deci-
pher. What could it be? By taking pictures in
the macro setting of a digital camera it is pos-
sible to create abstract pieces of art without abstract-
ing 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 nger was over the ash and picked up on the
color of my skin. It was all coincidence that it hap-
pened that way. This images colors were slightly en-
hanced 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 composi-
tion 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 gure out what exactly it is.
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VariousDifferent Types of Photo Imagery
These photographs were taken for a digital pho-tography class. They each demonstrate differ-
ent 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 pro-
duced also alters how the viewer sees an image.
The rst 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. Thiscan 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-
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ment is interesting in the sense that it is obvi-
ous 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 rst photograph. Tak-
en close up, the content is distorted. The compo-
sition is also interesting as there is a bright back-
ground. The imprinted numbers up close are so
detailed that one can see the paint chipping of
the edges. The numbers and letters are in theforeground 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 inter-
esting observation. The old man with the bowl
sitting outside a restaurant creates many differ-
ent 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 win-dows 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 ques-
tions 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 inanimateobject. The bright blue on the black background
enhances the images composition.
Various (continued...)
The many squares andcorners contrast thesoft edge that the man
creates
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Wheel of EmotionAcrylic Paintings with Meaning
one month three days
Painting
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This series of paintings is based on psycholo-
gist Robert Plutchiks color Wheel of Emo-
tions in which there are eight primary bipo-
lar emotions-each with a common directional thread
that only vary in intensity of color. The color palette Ideveloped is very similar to printed versions of Plut-
chiks theory, which could be compared to a color
wheel.
Each painting is representative of my emo-
tions over different periods of
time that vary from one hour
to one full day. The naming of
each painting gives a clue to
how much time that particular
piece covers. These paint-
ings together, as a series,
explore the range of emo-
tions I felt over the last year, which I have difcultyoutwardly sharing and some would say that Im un-
emotional all together. Each painting is a piece of
my personal emotional history, which can be read
almost like a diary. Leaving the viewer to question
what emotion each color represents was intentional
as it can be equated to how people who know me
personally wonder what my feelings are. This series
of paintings were a yearlong process. After many
fve weeks one day
hours and many different paintings, these paintings
were the nal product. Each painting has different
compositional elements. The rst, one month has
many different canvases to accompany the self-
portrait in the middle. Some squares from the self-portrait are pulled out and feature an added detail
of what may have caused that particular emotion.
The second set of paintings, three days also fea-
tures many hours within each day. The two paint-
ings on the outside feature the
same hours, developed in dif-
ferent ways. The rst is very
linear way and the other is
done in more of a conceptual
way. The middle painting is the
same hours feature through
different versions of colors.
Five weeks was much more of a discov-ery process. While it was done in the same way,
each day is a different canvas and the nal product
and pattern of color hadnt been seen until the nal
construction of the piece. The last painting in this
series, one day is hours within one day on a clock.
The clock is representative of time going by and the
idea of the emotions changing with the hour.
Each painting is
representative of my emotions
over different periods of time
that vary from one hour to one
full day.
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Acrylic
This next section features paintings that I
have done. The one on the opposite page
is of William Burroughs. I like doing por-
traits 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 val-
ues 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 paint-
ings are done very dry without much watering
down of the paint. By painting this way, each col-
or 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 val-
ues 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 paint-
ings are done very dry without much watering
down of the paint. By painting this way, each col-
or is individually mixed and applied to the canvas.
Acrylic Paintings
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 rst is that
of Charles Bukowski. It was painted from an
original black and white photograph. The back-
ground was omitted because of the busyness
of it. This way Bukowski could be featured in-
dependently. 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 ame 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 sugges-
tions 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 ower. 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 ower.
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Poets Never Die
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Comedy
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Flower
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The End
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Im 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 Col-
lege 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 rst digital classes that I have
taken. The photography was from my rst Pho-
About the
Artist
toshop class and the computer graphics draw-
ings are from the rst 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 vali-
dates 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
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Ari