Friday, November 7, 2008

Contest


Roughneck's nightmare: Lighting, plus a tornado, near an oil rig, with the comforting presence of Sarah Palin nowhere in sight!
I am utterly convinced that this photo is bogus, a composite.
I am going to give two books, one on perspective for comic-book artists, one by popular artist Barnaby Ward, to the person who can list the most legitimate clues to its fakiosity.
You'll need to click above and study the large version.
Good luck! Please email the answers to me, rather than commenting here.

(CONTEST OVER AND WON! CONGRATULATIONS, ALIYAH!)


JH

Reality Check

Some artist-allied groups say the worries about the Orphan Works bill are unfounded. For now it doesn't seems to be going anywhere, so I'm not gonna worry about it.
JH

Wednesday, May 21, 2008

Time to Act!

Got this recently:
FROM THE ILLUSTRATORS’ PARTNERSHIP

Call to Action
Last Thursday the Senate Judiciary Committee endorsed their Orphan Works Act.
It is now headed for the full Senate.

If you’ve written before, now’s the time to write again.
Urge your senator to oppose this bill.

Because it has been negotiated behind closed doors, introduced on short notice and fast-tracked for imminent passage without open hearings, ask that this bill not be passed until it can be exposed to an open, informed and transparent public debate.

We’ve drafted a special letter for this purpose.
You can deep link to it here:

Contact your Senator in opposition to S.2913 NOW
The House Judiciary Committee is considering H.R. 5889, the companion bill now. Please write them again:

Contact your Congressman in opposition to H.R. 5889 NOW
2 minutes is all it takes to write your senator and representatives and fight for your copyrights. Over 68,000 e-mail messages have been sent so far.

Don't Let Congress Orphan Your Work

Please forward this message to every artist you know.

If you received our mail as a forwarded message, and wish to be added to our mailing list, email us at: ipa@twcny.rr.com
Place 'Add Name' in the subject line, and provide your name and the email address you want used in the message area.

Thursday, April 17, 2008

Too soon to hit the barricades?


As, you know, my boss Chuck sent around a copy of an article today urging advocacy against a bill on "Orphan Works."

Well, like nearly everything else in the world, this issue appears to get more complex the closer you get to it. Which in my case is not very. But still I learned some things:

There are some legitimately good reasons for the Congress to act on this issue and indications are that they will act this year. The Copyright Office explains why works with unknown copyright holders matter:
"Concerns have been raised that the uncertainty surrounding ownership of such works might needlessly discourage subsequent creators and users from incorporating such works in new creative efforts, or from making such works available to the public."

I checked the Congressional Record online, and the bill is still in committee and a hearing was held last month. So there is no bill yet.

The question is, will the bill be written in such a way that big corporations can easily get away with using your work without paying you if they make some perfunctory pseudo-attempt at finding you?

It's already the case that it usually costs more to fight a copyright battle than you're likely to receive in settlement. That's presumably true whether you're suing Time-Warner or a t-shirt vendor. It's a sad, angering feature of our legal system, not this bill. Will the bill now being written make this situation worse or create new problems? We can't know now.

Nothing I've read leads me to believe that the Copyright Office is going to absent itself from the registration business (what government bureaucracy happily gives up its reason for being, come to think of it?), counter to the suggestions in the Mark Simon column.

The Graphic Artists Guild was concerned that a failed earlier incarnation of the bill 1n 2006 didn't require the Copyright Office to oversee the question of what constituted "due diligence" in terms of trying to find the copyright owner, implying that this would allow Disney, say, to set their own standards as to how much diligence was enough. This is mistaken reaction to a non-issue, I think. Due diligence is a matter that would be settled in court cases, following legal precedent, not in some new Wild-West, Darwin-on-steroids nightmare future legalscape.

Here's the latest from the "Advocacy" page of the Graphic Artists Guild website--no shrinking violets when it comes to standing up for artists. Note that it says a bill was anticipated last year:

Orphan Works - Current Status

We expect Senate Judiciary Committee Chairman, Senator Patrick Leahy to reintroduce a new version of the Orphan Works Bill in 2007. We continue to work closely with both House and Senate Judiciary Committees on this legislation. Please do not write letters until a draft bill is introduced, and we know what the specific terms are. We will keep you informed as soon as we have news.

JH

Tuesday, April 8, 2008

Week 10 Assignment


Art by Frank Miller, Sin City

2PV
High Contrast

On a reasonably sturdy piece of approx. 11”x14” or larger paper, do a high-contrast inked drawing of a 2PV scene. Include realistically cast shadows and be prepared to justify them (A simply done overlay would be a plus. Moonlight is a natural for a high-contrast approach.)

Light source may be local or natural.

Draft your forms carefully but avoid unnecessary detail in the finish. Stark white and fully black shadows.

Ink the border late in the inking, taking care to respect the "Setup" rules below and the one on p.159 in order to avoid distortion.

MULTIPLE PRELIMINARY THUMBNAILS ARE A MUST (but I don’t need to see them)

This is a natural for “Dante,” Storytrackers.

Setup:
Never have both VPs in the composition. At most one VP can inside border--just inside. Right and left borders of composition should approach VPs only with caution.

More Miller available at
http://www.heebink.com/ill193/week1.htm Scroll down a bit.

JH

Wednesday, April 2, 2008

Cue the heavenly chorus...




I haven't been able to find the "crazy-quilt" drawing I got when I tried to use the Ch. 7 subdivision methods to make the reflection of a checkerboard tile floor.

In its place, I offer a new drawing of what I think is the ultimate answer: Using the admittedly rough Ch. 7 method to draw the object's reflection, then letting that suggest VPs for the reflected object, then drafting in accordance with those! With those VPs established you could add a tile floor to infinity if you wanted. Or anything else, just using the Ch. 7 method for establishing landmarks.

(If you have a station point established so that you can make sure those two new VPs are 90 degrees apart, so much the better.)

The above illo should make this clear.

JH

Friday, March 14, 2008

Have a great spring break!

When you get back, there will be a sub, for that week.
JH

Thursday, March 6, 2008

Solution


This is going to see hopelessly complex to some of you, at first.
The thing is, it's all based on the right triangle and the Law of Parallels.
When the pink triangles (nice choice, John) appear, watch for where the light is throwing the shadows of the boxes' corners.

JH

Tuesday, March 4, 2008

Assignment

art by Linh Phan

The latest homework, due Tue 11 March, is to finish or redo your 1pp-with-rotated-object drawing and tone it using the shadow plotting methods we reviewed in class today.

I HIGHLY recommend you get some tracing paper or vellum and create an overlay to put your a- and d-lines on .

Then put that overlay under the final art on a lightbox or animation table, trace through the points that are the corners of the shadows and fill them in on the original drawing. If you like, you can even put the shadows on their own overlay or composite the thing in Photoshop using layers.

The art above is an example of the kind of shadow-constructing overlay I'm talking about.

JH

Tuesday, February 5, 2008

The Solution


Here's how this one plays out. The most advanced and tricky part is putting the shadow on the box at the left side (NPQR). Note: the shadow of F falls onto the side of it. Below the shadow of F, the Law of Parallels takes over, and the shadow edge runs straight down the side of the box.

To the right of the shadow of S (the "top" corner of the object), the shadow edge runs back to its origin, the unseen plan of S.

Click on the art to see it bigger.

JH