Line Icons: A graphic design project guide

Line Icons A graphic design project guide Kimberly Elam

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Line Icons A Graphic Design Project Guide

Kimberly Elam

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Other books by Kimberly Elam Expressive Typography, Van Nostrand Reinhold, 1990 Geometry of Design, Princeton Architectural Press, 2001 Grid Systems, Princeton Architectural Press, 2004 Typographic Systems, Princeton Architectural Press, 2007 Paper Food, ebook, lulu.com/kelam Graphic Translation, ebook, lulu.com/kelam Typographic Contrast, Color, & Composition, ebook, lulu.com/kelam

Additional Titles: StudioResourceInc.com

All works Kimberly course at Sarasota,

shown, except where noted, are from Elam’s Introduction to Graphic Design the Ringling College of Art and Design, Florida.

© 2006 Kimberly Elam All rights reserved No part of this book may be used or reproduced in any manner without written permission from the publisher, except in the context of reviews. Errors or omissions will be corrected in subsequent editions. Elam, Kimberly, Paper food / Kimberly Elam. Book & Cover Design Kimberly Elam Cover Illustration Laura Temple

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Line Icons Kimberly Elam

Table of Contents

Student Work Results 1

Project Description

30

Alligator

Overview of Creating a Line Icon

32

Bass

Project Goals and Objectives

34

Butterfly

Essential Skills

36

Cat

Project Books, Materials, Tools, Software

38

Cow

Project Process

40

Crow

Process Phases

42

Dragonfly

4

Selecting the Subject

44

Duck

5

Determining the Creature Essence

46

Eagle

6

Writing Exercise

48

Elephant

7

Selecting the Pose

50

Flamingo

8

Visual Research and Editing Images

52

Giraffe

11

Continuous Line Drawing

54

Goldfish

14

Drawing Exercise, Pigeon

56

Gorilla

16

Drawing Exercise, Pig

58

Greyhound

18

Drawing Exercise, Hare

60

Hammerhead Shark

20

Critique of Drawing

62

Hammerhead Shark Drawings

21

Computer Drawing

64

Hippopotamus

24

Critique of Drawing

66

Iguana

25

Working With Wire

68

Kangaroo

28

Critique of Sculpture

70

Lobster

72

Monkey

74

Penguin

76

Rooster

78

Seagull

80

Shark

82

Snail

84

Tarpon

2

3

E

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Project Description Icon design is a complex activity that involves the merging of the representational and the stylized. This project details a focused methodology in creating an icon with a single continuous line. This line fluidly describes the object silhouette as well as possible interior features, details, and surfaces. The methodology guides the student through a design process with optimal opportunities for both creativity and success.

Using the visual research as a template, the student traces over the template to experiment with how a continuous line can best describe the subject. These drawings are analyzed and refined to create a final drawing that will be scanned and used as a computer drawing template. The computer drawing will further stylize the subject through vector drawing tools to created a crisp line icon. Finally, the student uses the computer drawing as a template to create a threedimensional wire sculpture.

Overview of Creating a Line Icon

Hand-Graphic Drawing

Using found visual research as a template, the student traces over the template to experiment with how a continuous line can best describe the subject. Shown is one of a series of drawings that experiment with describing the subject with a single line.

Computer-Graphic Drawing

The hand-graphic drawings are analyzed and refined to create a final drawing that is scanned and used as a computer drawing template. The computer drawing is further stylized with vector drawing tools to created a crisp line icon. Shown is a final refined drawing of the subject based on the best of the handgraphic drawings.

Marcos Roman

Wire Sculpture In the final phase of the project, the student uses the computer drawing as a template to create a three-dimensional wire sculpture. Shown is a three-dimensional representation of the subject, crafted in wire, based on the computer-graphic drawing.

1

Project Goals and Objectives Goals The purpose of this project is to help the student gain an understanding of visual abstraction, reduction, and icon design with a working knowledge of the visual principles and practices as they relate to graphic communication.

Objectives By the time the project is completed the student should be able to: a. Conduct and document visual research with both the library and internet. b. Analyze and critique professional work and work produced in the class. c. Apply the principles of design to preliminary and final drawings. d. Apply appropriate hand-craft to a three-dimensional wire sculpture.

Essential Skills This project can be accomplished with either a strictly hand-graphic tools and materials or a combination hand-graphic plus computer-graphic tools and materials. The results shown are from a combination hand-graphic and computer-graphic approach. Hand-graphic essential skills include: • Drawing with the use of templates • Crafting wire with the use of templates Computer-graphic essential skills include: • Facility with computer scanning and basic digital image adjustment and manipulation. • Facility with computer drawing software especially drawing and controlling bezier curves with the freehand pen tool. • Facility with working with computer color, importing swatch libraries, pattern making and editing, making and controlling gradients. • Facility with digital photography, image manipulation and retouching, and printing.

Project Books, Materials, Tools, Software Book: Line Icons, Kimberly Elam Computer-Graphic Tools & Software: • computer with internet connection • portable file storage disk or local hard drive • scanner & scanning software • digital manipulation software • vector drawing software • printer • digital camera

Hand-Graphic Materials & Tools: tracing paper, 8.5” X 11” pencils & eraser wire, gauge and length is dependent on project solution wire cutter needle nose pliers wooden base, approximately 3” X 6” drill & bits or hammer & nails access to photocopier optional - set of french curves, triangles & t-square

2

Project Process The project process has been designed to help the student meet the project objectives, and when followed enhances the probability of success. The process of assessment occurs throughout the project through both informal and formal means. Informal assessment is conducted by the student as work progresses, through self-analysis, interaction with peers in the class, and through instructor guidance. Formal assessment generally occurs at the conclusion of each phase of the project.

Process Phases 0. Critique Process Critique process is on-going and happens during all project phases. Critique provides an opportunity to contribute to personal success and the success of others through visual and verbal review of ideas and work. critique focuses on the work and criteria critique acknowledges good work through analysis – what went right and why? critique acknowledges struggling work through analysis – what went wrong and how can it be revised? 1. Visual Research Assignment Provides practice in gathering, sorting, and evaluating visual research for the purpose of evaluation and design. Students are encouraged to not only locate and document images of their subject but also look at other resources that may yield visual clues for abstraction such as jewelry, sculpture, and pottery. images are from a variety of resources (not just the internet) images are of high quality and can be scaled to size images are well organized and labeled with resource information images reflect an appropriate pose and animal essence 2. Hand-Graphic Drawing Provides the opportunity to rapidly test, develop, and refine visual ideas as well as share those ideas with the class. Students work with the images from the Visual Research phase of the project and use them as templates by drawing with trace placed on top of the images. drawing series has a variety of methods of representing the object drawings indicate starting and stopping point drawings experiment with loop overs to define interior details drawings are clean and communicate clearly 3. Computer-Graphic Drawing Provides an opportunity to refine computer drawing skills and crisply visualize refined work of professional calibre. Students scan the best hand-graphic drawing and refine and formalize the line by tracing with the pen tool. drawing refines the hand-graphic original drawing reveals a facility with control of the pen tool line weight is in sync with the gauge of wire 4. Three-Dimensional Sculpture Provides an opportunity to develop hand skills and visualize the line in three dimensional space. wire gauge is appropriate sculpture is balanced over base turns in line and loop overs are smooth eye fluidly follows wire line

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Selecting the Subject Students are assigned three related subjects, in this case animals, and conduct visual research for all three before making a final selection. By researching three related subjects the subtle differences in subjects become more apparent and there is a higher level of sensitivity for the subject. The reason for the assigning subjects rather than permitting selection is to mitigate student angst and indecisiveness in the selection process; a task that could occupy too much time.

It is also possible to develop this project with manmade subjects. Many common objects will work well as line icons and would also lend themselves to icon design.

Land Creatures monkey skunk, lion, horse, moose, pheasant, gecko, cow, cat panda wallaby

baboon ferret, leopard, donkey, elk, peacock, iguana, ox, bobcat koala kangaroo

gorilla weasel cheetah zebra deer rooster komodo dragon horse cougar bear tasmanian devil

Water Creatures dolphin, whale, crab, lobster, shark hammerhead perch bass turtle tortoise frog bullfrog alligator caiman grouper sailfish

porpoise urchin great white pike snapper toad crocodile angelfish

Air Creatures egret, robin owl, dragonfly fly hawk pelican butterfly

flamingo crow vulture wasp gnat osprey seagull firefly

ibis, sparrow eagle, bee mosquito eagle tern moth

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Determining the Creature Essence Each student conducts visual research to find images of their animals to help in the selection of the pose of the animal for the project. Before beginning research, however, the question was asked, “What is the visual essence of your creature?” This means what characteristics make one creature only that creature and none other. The answer to this question is key in determining a pose that would expose the animal “essence” to its best advantage. For example:

An assignment that helps students understand the essence of their creature is a writing assignment. The assignment is quick and can be done during class time. Assignment: Secretly, without telling anyone what your creature is, write a description in twentyfive words or less. Descriptions include creature scale, environment, color, and essential features. Students then read aloud their description and the class guesses as to what the creature is.

Elephant Essence trunk, tusks, ears, small tail, blocky body

Elephant Essence Writing Example: I am gray and as big as a truck. I move slowly with cylindrical feet. My tusks move objects and I grab food with my trunk.

Eagle Essence hooked beak, wings, talons, wings, feathers

Goldfish Essence Writing Example: I swim and fins help me steer. Bulging eyes allow me to look through the glass.

Giraffe Essence very long neck, spots, small ears, spindly legs Kangaroo Essence long thick tail, short front legs, humped body Flamingo Essence long spindly legs, long neck, hooked beak Pelican Essence long beak, pouch, wings, webbed feet

blocky body

large ears

tusks tail

trunk

5

Writing Exercise Write a description for each of the creatures below in twentyfive words or less. The objective of the exercise is to include the essence of the creature in your written description.

6

Selecting the Pose In many cases, when developing an icon, a descriptive side view will work best but there are definite exceptions to this rule. Each designer needs to determine the best pose for the selected creature or object and the “essence” characteristics help in evaluation and selection. The examples at the right show three poses for an elephant. The top pose is a front pose and too many of the “essence” details are missing: tusks, blocky body, and trunk. The middle pose is a three-quarters pose, which is better but the leg positions are confusing and the trunk is not readily recognizable. The bottom pose is by far the best. All of the essence features can be readily recognized. Front Pose Not enough detail.

Three-quarters Pose Confusing legs and trunk.

Side Pose All details are obvious and silhouette is immediately recognizable. 7

Visual Research and Editing Images The internet is an excellent resource for visual research if the image is of high resolution so as to be enlarged to fi t comfortably on an 8.5” X 11” page. Copyright restrictions prohibit the use of another’s photo or drawing for reference but the result of this project is so abstract that there is rarely a con-

fl ict. Dover publications has an excellent range of copyright-free image resources and a favorite for this project is Animals, 1419 Copyright-free Illustrations of Mammals, Birds, Fish, Insects. Images can be scanned from this book and enlarged or reduced to a comfortable scale.

Original Pelican Body Scan The body of the pelican is in a good position for communication but the turn of the head is awkward.

Manipulated Scan The head and neck of the original body scan is cut and fl ipped to create a better pose.

8

Visual Research and Editing Images Frequently, images will be found that show part of the creature quite well, but need to be altered to create a better pose, such as the pelican image below. In this case the turned head and beak are awkward and very tight to the body. A solution is to roughly collage two images of the same scale, one image of

the head and another of the body. The collage allows the designer the benefi t of having the entire creature portrayed in a good pose for the drawing phase of the project. Another solution, shown on the next page, is to replace the head with a fi sh in the pouch with another head that has a simple closed beak.

Pelican Head The head position is good but the body is needed.

Collage of Body and Head The head of the pelican, left, and the body of the pelican, below left, are collaged to create a better pose for drawing.

Pelican Body The body position is good but the head is awkward.

9

Visual Research and Editing Images Editing of images can occur through collage and also through drawing. The original mouse image, right, has a tail that curves around behind the creature. While this pose is fine it could probably be improved. Redraw the tail on the mice below. The stump of the tail has been retained so that you can see where it meets the body.

10

Continuous Line Drawing Drawing is done by placing tracing paper over the research and drawing in pencil. The icon is drawn as a single continuous line of the silhouette and the drawing stops or starts at the base. As the object is drawn the surfaces should be stylized and simplified with careful attention to the “essence” features.

Loops can be created to define interior surfaces of the creature or provide details. If appropriate rhythm and repetition can be created. Looped lines also create a visual rest as the eye follows a single line.

Dragonfly 1 Initial drawing focuses only on the silhouette.

Dragonfly 2 Interior details of eyes and wing ellipses are added as loops and repetition of the open loops in the body are refined.

Dragonfly 3 The wings have become more geometric and elliptical and the open loops are refined. 11

Continuous Line Drawing

A series of drawings is needed to try variations on the line treatment. Designers need to remember that the drawing will be rendered in three dimensions with wire so the scale of the object and balance on the base will eventually come into play. Remove the tracing paper drawing from the object and allow the eye to follow the line. The eye should flow fluidly along the surface contour.

The drawing will need to and physically balanced Long cantilevers will not unless exceptionally stiff dimensional sculpture.

be both visually balanced when created with wire. work in three dimensions wire is used in the three-

Gorilla 1 Initial drawing focuses on simplification. The line beginning and the ending are unresolved.

Gorilla 3 Pose is adjusted to bring rear leg up, and emphasize rhythm in the repetition of fingers in the hand is simplified.

Gorilla 2 Refinement of line beginning and ending are resolved and the eye becomes a loop. 12

Continuous Line Drawing

Goldfish Reference Image The side view of the goldfi sh is a good pose for the project because all of the descriptive features are apparent; fi ns, tail, and bulging eyes.

Goldfish Tracing Drawing Tracing paper is placed on top of the goldfi sh reference image and drawn in pencil. Attention is given to the silhouette of the goldfi sh as well as describing the eye and top and bottom fi ns with loops.

Goldfish Drawing

13

Drawing Exercise, Pigeon Use the small gray images to try different ways of creating a line icon. After exploring your ideas in small scale develop a fi nal drawing using the larger image. • Label beginning and ending point of your line • Retain a recognizable silhouette • Simplify details • Where appropriate use rhythm and repetition • Use loops to create interior features

14

Drawing Exercise, Pigeon

15

Drawing Exercise, Pig Use the small gray images to try different ways of creating a line icon. After exploring your ideas in small scale develop a fi nal drawing using the larger image. • Label beginning and ending point of your line • Retain a recognizable silhouette • Simplify details • Where appropriate use rhythm and repetition • Use loops to create interior features

16

Drawing Exercise, Pig

17

Drawing Exercise, Hare Use the small gray images to try different ways of creating a line icon. After exploring your ideas in small scale develop a fi nal drawing using the larger image. • Label beginning and ending point of your line • Retain a recognizable silhouette • Simplify details • Where appropriate use rhythm and repetition • Use loops to create interior features

18

Drawing Exercise, Hare

19

Critique of Drawing Loosely tape the three of the best tracing paper drawings to white paper and post for class discussion and comment. The following questions can help guide the class discussion: Is the creature recognizable? Is the pose engaging? Is the essence of the creature apparent? Is the silhouette descriptive? Does the eye follow the contour of the line? Are loops used for interior surfaces or details? Is there an opportunity for rhythm & repetition? Is there an opportunity for a looped visual rest? Is the line beginning satisfying? Is the line end satisfying?

Rhythm & Repetition

Loop

Originally, the alligator was drawn with the full body. This pose became problematic due to the scale of the creature, because the details became so small. The designer focused on the head in order to communicate the essence features of the creature: long snout, jagged teeth, and bumpy texture.

Rhythm & Repetition

Loops

The goldfish employed more loop overs than any other creature which added to the communication of a curvilinear fluid form.

20

Computer Drawing Once the designer has crafted and refi ned a handgraphic drawing of the subject, the best drawing is scanned. This scan becomes a template that guides the designer in drawing the subject with vector software. During this phase the details of the drawing are developed geometrically. Lines are straightened, curves are smoothed, and a gray rectangle is used to simulate the wooden base that will eventually be used in the wire sculpture.

The scan is scaled so that designers work in the actual size of the wire sculpture, and most fi t on an 8.5 X 11” paper. The line weight should approximate the gauge of wire that will be used in the wire sculpture. Both scale and wire gauge are at this point a logical guess as to the fi nal outcome and may need to be adjusted as work develops. The template layer is locked to prevent the scan from being moved, and the drawing is made on another layer. Curves are adjusted and smoothed to create a line that moves fl uidly from start to fi nish.

Scan of Original Tracing Drawing

Marcos Roman

Computer Drawing on Top of Scan The computer drawing closely follows the tracing paper drawing. Curves and loops have been refi ned and smoothed. Marcos Roman

Final Computer Drawing

21

Computer Drawing

Scan of Original Tracing Drawing

Final Computer Drawing

Hammerhead Shark, Computer Drawing on Top of Scan This is a complex creature that underwent additional refinement in the computer drawing. Small details such as the teeth have been eliminated, and the beginning and endings of the line refined. 22

Computer Drawing

Scan of Original Tracing Drawing

Final Computer Drawing

Iguana, Computer Drawing on Top of Scan The designer wanted to show many of the details in the iguana and chose to work with only the head and upper torso. Since the drawing was highly detailed the line weight used in the computer drawing is thin. Rhythm and repetition became important in the ruffled surfaces of the back and neck. Loops on the feet also reflect the idea of repetition.

23

Critique of Drawing Designers print at least one variation of their computer drawing for critique. The same questions that were used in the hand-graphic drawing phase of the project guide the discussion of the critique of the computer drawing, with the addition of computer craft questions. Deficiencies found in the earlier drawing should be corrected by this phase. Is the creature recognizable? Is the pose engaging? Is the essence of the creature apparent? Is the silhouette descriptive? Does the eye follow the contour of the line?

Are loops used for interior surfaces or details? Is there an opportunity for rhythm & repetition? Is there an opportunity for a looped visual rest? Is the line beginning satisfying where it meets the base? Is the line end satisfying? Does the figure feel visually balanced? Are all curves and joins smooth? Is every change in line purposeful? Does the computer drawing improve on the hand drawing? Which drawings are the strongest & why? Which drawings are the weakest & why? Where is there an opportunity for improvement?

Notes About the Pen Tool Understanding and learning to use the pen tool is one of the most difficult aspects of vector drawing. The computer software has an unfamiliar logic to the process of drawing and until the designer begins to think in terms of bezier curves it is impossible to draw well with the pen tool. Software manuals and third-party software texts have excellent exercises to assist learners in understanding how to draw with the pen tool, and the importance of practice can’t be overemphasized.

Laura Temple

24

Working With Wire There are many varieties of inexpensive wire available at local craft, hardware, and home improvement stores. Often wire can be bought by the foot, which is ideal as it enables the designer to test a number of options before deciding upon a final choice for the wire sculpture. A favorite of students is plastic coated wire and is available in a variety of colors and gauges. The down side to plastic coated wire is that the plastic coating is easily nicked when it is being bent and twisted with tools, and must be handled carefully.

Wire that is too thin or too soft will not hold its shape and has a tendency to collapse. Wire that is too thick or too stiff will be difficult to bend and will resist holding the bends upon completion. Selection is dependent on the subject and the amount of detail to be crafted. Designers should buy and test a number of kinds of wire before making a final choice. One of the most interesting aspects of the wire sculpture is that it forces the designer to balance and support the figure that is being sculpted. This often places the starting point of the sculpture at the felt axis of the figure, which is visually comfortable and appropriate.

Copper Wire Copper wire was chosen for the shark because it is stiff enough to hold its shape and soft enough to be workable. The wire curves up from the base to support the sculpture.

Lamp Wire Lamp wire was chosen for the kangaroo because the plastic coating softened the curves. 25

Working With Wire Line icons can be crafted freehand in wire but there is a tendency for the wire to twist and be come misshapen. A template with nails at key bending points often helps keep the wire fl at and makes accurate crafting far easier to accomplish. Below are drawings of the rhino that show the shape and details of the animal. In the drawings the legs are evened out and an eye is added. The wire rhino will be free standing and the leg design is based on an idea by sculptor Alexander Calder in his Elephant wire sculpture.

Beginning Point Ending Point

Initial Drawing The initial drawing captures the essence of the rhino–horn, small ears, blocky body, and short legs. Adjustments need to be made to make the legs the same length, a bit wider, and fl at at the feet.

Refined Drawing The feet are now all resting on the same horizontal line and legs are of approximately the same thickness. An eye has been added and the ears have been made more symmetrical. 26

Nail Plan The drawing is printed or photocopied. The black dots show the positions of the nails that will be used to wrap and craft the wire. The eye is a tight loop and a thicker nail or dowel will be used.

Nail Bending Jig The drawing is lightly glued to plywood, below, and small finish nails are placed at locations where the line changes shape or direction. The beginning and ending point have been changed to the tail location, because the rhino will be free standing. The wire is wound around each nail in turn to create the rhino.

27

Rhino Wire Sculpture The final wire rhino looks very similar to the drawing. Details were refined during the crafting process to give the sculpture more stability and create a logical beginning and ending point. The ears are twisted to keep them from pulling apart. The beginning and ending point is now the tail, where the wire has been twisted.

Critique of Sculpture The change from the two-dimensional to the threedimensional is startling. The creatures seem to come alive when sculpted in space. Designers show their hand-graphic and computer-graphic drawings as well as the wire sculpture for critique. The same questions that were used in earlier phases of the project guide the discussion of the critique of the wire sculpture.

and justify their selections with an explanation. At the conclusion of each groups selection the class is also invited to cite works that may have been overlooked in that category.

The intent of the critique method is to have students make choices and selections based on criteria that have developed throughout all phases of the project. A critique method that works well at this point in the Critique groups mark their choices with removable project is to divide the students into small critique self-adhesive dots so that the class can remember groups of two or three persons. Each group is re- which works were cited in each of the categories. This sponsible for selecting a “Best in Class” sculpture and enables the best work in the class to be identified several runners-up for an identified set of criteria. and also enables students to see that often works are Each group must make selections in their category strong in some categories but not all categories. Group 1, Pose & Essence Which sculpture has the most engaging pose and the best depiction of the creature essence? Group 2, Contour Line & Visual Pause Which sculpture has the most fluid contour line and the best use of loops? Group 3, Rhythm & Repetition Which sculpture most appropriately uses rhythm and repetition as part of the contour? Group 4, Beginning & Ending Which sculpture has the best beginning from the base and the best ending? Group 5, Craft Which sculpture has the best craft and improves upon the drawings? 28

Line Icons

Examples of Student Work Alligator Bass Butterfly Cat Cow Crow Dragonfly Eagle Elephant Flamingo Giraffe Goldfish Gorilla Greyhound Hammerhead Shark Hammerhead Shark Drawings Hippopotamus Iguana Kangaroo Lobster Monkey Penguin Rooster Seagull Shark Snail Tarpon

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Alligator Felicia Koloc

The alligator line icon was originally drawn with the full side-view body. It was immediately apparent that the full side-view was problematic because so many of the details were diminished in size. The designer decided to focus on the head, where many of the essence features were located, and draw the alligator as if it was emerging from water. The use of the loop to create an eye and brow is effective as is the use of repetition in the bumpy texture and teeth.

Computer Vector Drawing

30

Final Wire Sculpture

Hand-graphic Drawings

31

Bass Ashley Raynor

Computer Vector Drawing

32

Final Wire Sculpture

Hand-graphic Drawings 33

Butterfly Phillip Clark Jeff Bleitz, Instructor As with a number of line icons the initial drawings focused on the silhouette. While the silhouette is descriptive, it leaves much to be desired in describing the butterfly. The addition of symmetrical wing segments that are described by interior loops add considerably to the visual description. The wings are offset by a zigzag line that is the body and curved line that launches the butterfly from the base.

Computer Vector Drawing

34

Final Wire Sculpture

Hand-graphic Drawings 35

Cat Chris Haslup

Initially, the cat line icon was not stalking a butterfly. However, the active pouncing pose felt incomplete and a butterfly was added. The wire from the cat to the butterfly curves and rests on the base, which gave the cat needed structural support.

pulsaH rehpotsirhC

Computer Vector Drawing

36

Final Wire Sculpture

Hand-graphic Drawings 37

Cow Rob Krautz

The cow was sized so that both the front and rear legs would touch the base and give the creature an appropriate sense of stability. A large interior loop becomes a spot on the cow and a color change in wire creates emphasis. The loop in front of the rear leg both defines the leg and creates another spot.

Computer Vector Drawing Rob Kautz

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Final Wire Sculpture

Hand-graphic Drawing 39

Crow Carinda Roestorf

Computer Vector Drawing

Hand-graphic Drawings 40

Final Wire Sculpture

41

Dragonfly Michael Reuter

Throughout the drawing process the dragonfly evolved from an irregular silhouette to a study in symmetry. The segments of the body are articulated as a series of curves leading to the wings. The wings are symmetrical ellipses that are detailed with small loops that also define the eyes.

Computer Vector Drawing 42

Michael Reuter

Final Wire Sculpture

Hand-graphic Drawings 43

Duck Olivia Posani

44

45

Eagle Lenna Dahlquist

The hunting pose of the eagle is very active. The bird is swooping down to capture prey with wings spread to slow for the attack. The wings have been simplified to highlight the feathers at the tips and the tail is a study in repetition. The single loop focuses attention at the eye.

Computer Vector Drawing 46

Final Wire Sculpture

Hand-graphic Drawings 47

Elephant Marcos Roman During the initial drawing phase of the project the line beginning changed from the rear leg to the front leg in order to better describe the silhouette. Loops are an effective device to more fully describe the wrinkles in the trunk, the knees, and the small wisp in the tail.

Computer Vector Drawing

48

Final Wire Sculpture

Hand-graphic Drawings 49

Flamingo Laura Temple The elegant form of the flamingo is apparent in both the line icon drawing and wire sculpture. Three loops at the eye, wing and knee create a harmonious contrast to the line. The single leg extends from the base as if it is standing in water.

Computer Vector Drawing 50

Final Wire Sculpture

Hand-graphic Drawings 51

Giraffe Renata Molnar Jeff Bleitz, Instructor The initial drawings of the giraffe were highly complex as the line described the spots in negative space in a maze-like fashion. When sculpting the giraffe from wire, the initial concept became too complex and the visual description of the spots was simplified.

Computer Vector Drawing 52

Final Wire Sculpture

Hand-graphic Drawings 53

Goldfish Roy Chasteen The first drawings of the goldfish were simple silhouettes. As work progressed the details of the goldfish became more interesting and included rhythm and repetition of the fin edges and a number of loops. The repeated loops of the eye become a visual rest and focus attention. Loops in the fins show the wire moving as fluidly as the fish does in water.

Computer Vector Drawing

54

Final Wire Sculpture

Hand-graphic Drawings 55

Gorilla Amanda Clark The pose of the gorilla changed from static to active during the design process. Initially, the gorilla was standing at rest. By the conclusion of the vector drawing the base had become a platform with the gorilla stepping up and onto it. The face of the gorilla is expressive with a visual stop for the eye. One of the arms is partially hidden, which adds visual interest. Both the line beginning and ending are detailed with a loop.

Computer Vector Drawing

56

Final Wire Sculpture

Hand-graphic Drawings 57

Greyhound Heather Clark Movement is part of the essence of the greyhound and from the start movement was important in the pose. The use of the curved line from the base enhances the sense of movement and the greyhound seems to be leaping over the base with outstretched legs.

Computer Vector Drawing

58

Final Wire Sculpture

Hand-graphic Drawings 59

Hammerhead Shark Mike Munger

Computer Vector Drawing

60

Final Wire Sculpture

Hand-graphic Drawings Next Spread 61

Hammerhead Shark Drawing Series Mike Munger The two initial drawings of the shark revealed problems with pose and were discarded in favor of a more dynamic pose with a hammerhead shark. The hammerhead drawing series reveals the process of working out the details. The distinctive hammerhead shape transitioned in detail throughout the process to arrive as small bends. The interior of the body and details were also simplified.

Initial Drawings

Drawing 1

Drawing 3

Drawing 2

62

Drawing 4

Drawing 5

63

Hippopotamus Gerard Zengle

Computer Vector Drawing

Hand-graphic Drawings 64

Final Wire Sculpture

65

Iguana Melike Turgut

Computer Vector Drawing

66

Final Wire Sculpture

Hand-graphic Drawings 67

Kangaroo Audrey Hughes A jumping pose was chosen for the kangaroo, and the bent support from the base becomes a leg. The silhouette is highly descriptive and the thick tail balances the body and head. The wire is terminated in a loop reminiscent of the spring-like gait of the animal.

Computer Vector Drawing

68

Final Wire Sculpture

Hand-graphic Drawings 69

Lobster Jennifer Miranda

Computer Vector Drawing

70

Final Wire Sculpture

Hand-graphic Drawings 71

Monkey Michael Johnston Inspiration for the monkey’s pose came from a monkey necklace whereby the figure hung from a chain. A similar pose was used and required that the wire start from the base as a pole from which the monkey could hang. The pose is delightful and the figure has a sense of motion. Of particular interest is the loop that defines the monkey’s shoulder.

Michael Johnston

Computer Vector Drawing 72

Final Wire Sculpture

Hand-graphic Drawings 73

Penguin Yuri Priamo-Canales

Computer Vector Drawing 74

Final Wire Sculpture

Hand-graphic Drawings 75

Rooster Andrea Menéndez The irregular line work of the rooster is delightful and captures the essence of the bird. Instead of trying to stylize the tail feathers into a regular regimented pattern, they’re casual and irregular with loops at each change in direction. The same system is used for the wing, comb, and wattle that contribute to the sense of cohesiveness in the composition. The wing that occupies negative space adds visual interest.

Computer Vector Drawing

76

Final Wire Sculpture

Hand-graphic Drawings 77

Seagull Ben Buysse

Computer Vector Drawing

78

Final Wire Sculpture

Hand-graphic Drawings 79

Snail Thomas Pregiato

80

81

Shark Joseph Vu Because of the linear form of the shark, balance was difficult to achieve. A fairly heavy gauge of copper wire was chosen to support the weight from a single point. The designer initially visualized a straight support from the base and continued to refine the form until the final sculpture when the the curve was used to balance the weight of the wire and to increase the idea of movement.

uV .k.j

Computer Vector Drawing

82

Final Wire Sculpture

Hand-graphic Drawings 83

Tarpon Brent Gonzalez

Computer Vector Drawing

84

Final Wire Sculpture

Hand-graphic Drawings 85