Lesson for Art Class: How to draw a detailed head

Message to Art III

-Eat Right
-Don't Do Drugs
-Stay in School
-Never rush your art to get it done. It wll all be worth it in the end

AP ART PORTFOLIO - 5/20/08

HOW DOES THE WORK IN YOUR CONCENTRATION DEMONSTRATE THE EXPLORATION OF YOUR IDEA?

In order to achieve my concentration, I would start a work with a simple sketch. I would advance the sketch further by making pencil outlines more detailed. Once everything in the picture has been mapped out in more detail with pencil, I utilize ink or chalk depending on the subject in the picture I am starting to improve first. For instance, I would color a sky with chalk and a window pane or the paint on a car I would color with ink. Sometimes I would even use ink as a foundation for the color I wish to intensify with chalk. Once all the color chalk and ink have been laid down, I would use grayscale ink and or grayscale chalk to create the shadows of the figures, objects, and structures in the picture. This would be the last stage of completing a work for my concentration.
My work haven’t necessarily gotten more gothic, but they have developed in their imagery. The imagery of my work is sustained by its details, but most importantly, its narrative. My ability to tell the story of a person or place in a drawing has enhanced over the months through factors as simple as a character’s clothing, a character’s appearance, and objects in the environment as well as objects possessed by characters. My work has also progressed through my technique. I went from using just pencil to ink, and then, from just ink, to chalk, color ink and India ink. I was inspired to use India ink by the graphic novel artist and author, Frank Miller, who only uses the colors black and white in his drawings to narratively convey his sequences of art.

WHAT IS THE CENTRAL IDEA OF YOUR CONCENTRATION

The central idea of my concntration is mysterious figures, objects, structures, and places, which are masked with shadow and or smoke.

AREA OF CONCENTRATION_4-1-08

"Somewhere Beyond The Wall" is a large picture I am currently attempting to finish. This is a drawing of a man that has left a violent and destructive world only to discover a vast new world of serene beauty.

KODY CHAMBERLAIN - GRAPHIC NOVEL ARTIST

THIRTY DAYS OF NIGHT - BLOODSUCKER TALES: "DEAD BILLY DEAD"

Human Figure Artist. Distinct style of strict pen and ink. The absence of more soft medium enhance the features of the characters.

FRANK MILLER - GRAPHIC NOVELIST AND NARRATIVE ARTIST

DWIGHT McCARTHY - FRANK MILLER'S SIN CITY

Frank Miller is best known for his grim film-noirish comic book stories using characters like Batman and Daredevil as well as original works like Sin City. For Sin City, Frank Miller's art technique is quite simple in terms of composition and for that reason is so striking. The simple black and white contrast clearly conveys the image and adds much drama and character to the image. The black and white create a main focus on emotion rather than realism. For instance, Frank Miller may exagerate physical characteristics of many of his characters, but that small element of pushing the qualities of the character over the edge highlight the feeling and the factor of realism is outweighed.

PORTFOLIO

(soon to come)

FRANZ VON STUCK - SPIRITUAL ARTIST

LUCIFER

Franz Von Stuck is an artist of gothic work and fades the edges and lines of figures and setting in his work to emphasis the extreme drama of each picture.

AREA OF CONCENTRATION

Bowman's area of concentration is anything and everything dark - dark expressions, dark environments, dark figures, etc.

TIM BRADSTREET - NARRATIVE COVER ARTIST

FRANK CASTLE - THE PUNISHER

Tim Bradstreet is extremely talented at creating eye catching covers for graphic novels, such as The Punisher series and Hellblazer series. He starts off by photographing models then converts the photographs into a format in which they begin in black and white. Bradstreet, at this stage, paints in the monochromatic image and it becomes a stunningly realistic painting.

For The Punisher, Tim Bradstreet has his model in several different positions that best convey character's staunchness and seriousness. When he groups his common icons within his Punisher covers (Frank Castle, skull shirt, and various weapon), he accomplishes presenting the character with great power and authority. These iconic factors combined with the realism of the piece contribute more to the idea of the reality of this character's existence in the world and less to the fact that he is a cartoon, making his persona all the more powerful. Bradstreet also has his figure, Frank Castle, placed in some rough situation or environment in which he seems to be quite powerful.

URBAN WARRIOR

SMILEY

This was an experiment with India Ink.

HANNIBAL

GRIM

GARLAND

This piece is one of four works within one project where my goal was to illustrate the four senior AP art students in my class during my junior year. The objective was to, in some way, deform each student's portrait by either turning each person into some creature or adding extra elements to their faces, such as scars, piercings, or tattoos. This subject, Garland, is a machete wielding zombie.

SAMURAI

This is an imitation exercise in which the imitation is to resemble only some elements of the original print. The original artist decided to, or mistakingly, placed the samurai's left arm backward, making it look like his right arm was inserted into his left arm socket. So, I also decided to do the same with my piece.

ONE HUNDRED WORDS, PHRASES, THOUGHTS, and IDEAS

Abnormal Creatures and Abominations
Abysmal and Serene Oceans
Advanced and Creative Hand-to-hand Combat
Air Crafts
Anarchy
Architecture
Artificial Intelligence
Attempt to Reach the Unreachable
Breathtaking Helicopter and Car Chases
By Any And All Means
Cliche Images
Cold Graves and Cold Graveness
Complex Laboratories
Conglomerations of Chalk and Ink
Counterintelligence
Dangerous Spies
Deception
Deep Scars
Destroying the Usual Anticipation for The Triumph of Light
Detail
Duality and Dichotomy
Emotional and Physical Tension
Enmity and Animosity
Extensive Shadow
Frank Miller
Freedom and Containment
Ghosts and Specters
Gloomy Cells and Basements
Gritty Imagery
Grotesque Maws
Hannibal Lecter
Happy beginnings...tragic endings
Hate, Rage and Aggression
Human Annihilation
Humans are essentially good...or are they?
India Ink
Insanity
In time...
Invasion
Isolation and Solitude
James Bond 007
Leather Coats, Gloves and Black Sunglasses
Little Possibility of Hope
Love and Passion
Machines
Malignancy
Martial Arts
Melancholy Disposition and Depression
Meticulous Maps and Layouts
Mortality
Nightmares of the Mind Living in the World
Objectives and Subjectives
One man defeating an army single-handedly
Pain and Suffering
Panic, Chaos and Mayhem and their Potential Causes
Physical Comedy
Power
Profiles
Prolifically Experienced and Novice Villains
Provocative Eyes
Pushing the Limits of Non-fiction
Realistic Fiction
Red and Black
Revenge
Rock and Metal
Seductiveness
Sin and Vice
Sinister, Murky Streets and Alleys
Society and Government
Spontaneity
Strong but Struggling Antiheroes
Supernaturalism
Suspense and Mystery
Symbolism and Iconic Images
Technology
Terrorism
The Appearance of Fear
The Effects of Tragedy
The Entity, Guise and Countenance of Evil
The Fear and Gruesomeness of Death
The Foreboding of Violence to come
The Horror...the madness...the macabre...
The Manifestation of Hellish Surroundings and Demonic Characters
The Mind
The Potential Grit of an Image
The Presence of Darkness
The Punisher
The Striking Imagery of Destruction
The Thrill of Adventure
The Triumph of Dark over Light
The Uncontrollable Effects of Radiation
The Unique Style of Vintage Cars
The Value of Life
The Vile, Sullied, Ominous and Hectic City
The end will come and...
The future will bring...
There's gotta be a better world...somewhere
Treacherous Marine Animals
Visually Intriguing Colors
Wild Lust and Desire

ARTIST'S STATEMENT

ZACH BOWMAN:

Zach has been artistically affiliated since the age of four. He has a prolific history of art contests, art classes and harsh experiences that have helped establish his currently infamous style. Zach's particular work targets audiences who desire or appreciate the darkest and macabre level to which art can be pushed. The purpose of Zach's work is to convey to the audience the sinister and gritty imagery that can exist both in the real world and/or in the imagination. Zach's emphasizes his particualr image and style in an attempt introduce a darker side of the world. Zach's medium for which he chooses to compose his work consists mainly of pen, pencil, chalk, and marker. The pen and marker are used to define lines and create a rigid and gritty feeling to the work. The chalk and pencil are utilized to dull some of the rigid qualities in order to institute a more realistic sense in the work. Zach uses faded colors in his work to also generate realism and bright colors to stimulate the vitality of the work and direct the audience's attention to the areas of the work which are most important. The main framework for Zach's work is inspired and derived from films of genres such as "action," "horror," and "drama." As action-packed, horrific, or dramatic as films may be, Zach attempts to escalate the severity of each in his work.