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Final Magazine

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Page 1: Visions Magazine
Page 2: Visions Magazine
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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 Layers

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This image on the next page was created us-ing Adobe Illustrator. A picture of a real flower 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 first and then the next biggest and so on. Using the eye dropper tool and selecting colors from the original photo-graph, the color was filled 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 flower organized. The layers were named the part of the flower that it was from, for ex-ample, ‘purple parts’ and ‘left petal’. This helped the

final stages of editing the image by keeping the parts seperated from each other. In this final version of the trace project, tech-niques such as gaussian blur and gradient was used. The petals that are further away have the gaussian blur 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 flower. As for the compostition, the viewer sees that it is a flower first and then will notice that it is an illustrated verstion of one. The different colored shapes give the impres-sion of shadows and curves within the flower. These features also exemplify the illustrated version’s real-istic look. The overall use of all of these techniques creates a fluent illustration of the orchid.

Illustrated Version

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VariationEach of these nine flowers were created

using Adobe Illustrator. By “selecting all” and choosing different brushes and color

schemes the flower transforms. In the first top line of flowers only the colors of the images were changed. The first left hand top corner is the original traced drawing. In the second and third top square, only the color was changed. The second square was changed to monochromatic color under the ‘impres-sionism’ setting. The third top flower 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 reflect the first row of colors. The first flower, 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 flower’s brush stroke was changed to ‘artistic ink’ with the use of ‘Russian poster art compound 2’ for colors. The last row of flowers are a little more ex-treme versions of the former. The first flower’s brush stroke was changed to ‘artistic splash’ and the color was not changed. The second flower uses ‘artis-tic splash’ for the brush stroke but the colors were changed to ‘middle ages monochromatic 2.’ The

third flower is in the ‘bright’ color scheme along with the ‘scroll pen’ brush stroke. For each of these flowers, the image in the center is the first thing that someone would see. What one person sees may be different from what someone else sees. The first three are definitely flowers, just in different colors. The other flowers are not as recognizable because of the changes in brush stroke. Someone’s eyes may bounce around on the images that aren’t as obvious to what it is, as opposed to the ones that look like the original flow-er. In the images that aren’t 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 first image of a flower. Each image transforms the flower 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 brush strokes can take an oridinary obvious illustration of a flower 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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Variation

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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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 confirms 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 isn’t much thought put into how you’re 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 difficult to create lines for a drawing to be exact as if using a pen-cil and paper. By doing the image quickly, one doesn’t have the time to think whether or not each stroke is placed exactly.

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Line

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ColorThese 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 darker and 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. This helps 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 first 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 Color

Using Adobe Illustrator with a drawing pad and 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 first bot-tle is drawn with all 3’s, the second is the letter W, and the third is A’s. Each was created by first 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 finding 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 different brush 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 number or 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 the bottle first, 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 using the 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

I used 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 room’s 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 and paper. 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 light source and a shadow to each image adding to their dimensionality. The lines aren’t 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 the cups. These highlights and

shadows are crucial to each of the imag-es composition. This is where the viewers eye goes first. 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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Figure Drawing

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Drawing with Ink and Water on PaperInk

Drawing from a live figure 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 figures 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 figure 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 flow to it. One can almost feel the model’s 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 figures that are represented in this article are drawn 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 viewer’s eye flow 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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PencilDrawing Skeletons in Pencil

The human form is determined by its skeleton. Skeletons are the ‘bare bones’ of figure draw-ing. An understanding of the skeleton is es-

sential in creating a successful human form. Know-ing where each bone is and how it is shaped helps one understand what one is looking at on a nude model. If the clavicle protrudes, it helps that the art-ist understand exactly how that bone fits in with the rest of the bones in that area and also helps with the proper placement under the skin. The hips of a model are also important to understand. The pelvic bone is one large piece that moves all together. It is essential to understand where the bones in the legs connect into the pelvis and how they move within their sockets. Also, understanding the angels that the pelvis sits on helps one figure out how the hips move and sit under the skin of a model. The study of the skeleton is much different than studying a live model. It’s a maze of three di-mensionality. Behind the rib cage one can see the spine, which is much more intricate than the ribs that you see up front. Determining how to navigate through the maze is an essential step in the skel-eton drawing process. I found it best to determine the negative space from the positive space. Know-ing where there are large gaps and spaces helps form the shape of each bone. This way one can tell how far or close bones are from each other. This also helps with the cavities in the skull and pelvis. Sometimes by drawing those negative spaces first help properly form the bone.

The two drawings on page 16 were done dif-ferent. The one on the left was drawn from a famous drawing. The drawing was of a woman with her arms behind her, over the ledge. A sketch of the original drawing was done first. Then, using a model skeleton, the bones were placed within her form. I had to deter-mine how the skeleton would look and form within the shape while also accounting for fat and the lack of fat. There are some places on the body where the bone comes right up to the skin while there are other places where there is a great deal of muscle and/or fat in be-tween. Being able to use your self as an example of these places helps to create this realistically. Feeling the bone in you shin is easier than feeling the bones in your upper arms. By understating this, one can place the bones appropriately and naturally. In the second drawing, a live nude model was used. A simple drawing of her outline was drawn to de-termine the shape of her body. After the quick sketch was done, the skeleton model was used. While it is impossible to form a limp skeleton into the same posi-tion as a live model, one can form the skeleton into the pose. An understanding of the movement of the skel-eton is essential in performing this task. In order for it to look natural, the skeleton has to be posed correctly within the skin of the model. Using the skeleton to practice human form is important for future drawings of people. Everybody looks different on the outside, but on the inside, every-one looks the same.

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Photography

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CloseUp

Imagery Abstracted by Closeness

The image on the left may be difficult 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 finger was over the flash and picked up on the color of my skin. It was all coincidence that it hap-pened that way. This image’s 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 someone’s interest for quite a while as they are trying to figure 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 first 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. This can 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 first 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 the foreground 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 inanimate object. The bright blue on the black background enhances the images’ composition.

Various (continued...)

“The many squares and corners contrast the

soft 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 Plutchik’s 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 I developed is very similar to printed versions of Plut-chik’s 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 difficulty outwardly sharing and some would say that I’m 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

five weeks one day

hours and many different paintings, these paintings were the final product. Each painting has different compositional elements. The first, ‘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 first 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 final product and pattern of color hadn’t been seen until the final 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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AcrylicThis 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 I’m 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 I’m 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 first 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 flame and glow from the lighter. The eye then follows up the cigarette into the face of the comedian. What’s 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 flower. 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 flower.

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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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I’m an Art/Secondary Education major atSaint 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 first digital classes that I have taken. The photography was from my first Pho-

About the Artist

toshop class and the computer graphics draw-ings are from the first 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”

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