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honoria in ciberspazio

gallery + reflections

Looking for Graphic Designer
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SXSW artist sketchnotes

Artist (client) will do live sketchnotes in the SXSW edu Conference (March 6-9, 2017) and the SXSWInteractive Conference (March 10-15, 2017).

Artist is seeking designer to process the sketchnote files in a timely manner as they are produced. The task is to process them in Photoshop and upload the processed image files into the artist's gallery. The goal is that presenters at the conference can buy prints of the drawings shortly after they present at SXSW.  Saatchiart will do all printing and fulfillment.

-- Artist/Client

Artist produces 1-4 drawings per hour in Paper53 app on iPad Pro.  Artist will share these files in dropbox or google drive for the designer to process.  The first drawing of the day may be ready as early as 11 am. The artist attends presentations all day and afterparties.  So drawings will continue and need processing until 9 pm.

Format of Drawings

Paper 53 app on the iPad pro saves as png file

W: 2732 H: 2048 ~264 ppi

-- Designer

Processing will be the following steps:

1. Open drawing and add enough matching background to make the whole file W: 3000 H: 2400.

2. Save the file as a jpg as required by

Saatchi's print image instructions are at

3. Upload the file to and make it available for sale as a 20 x 16 inch print on canvas and on fine art paper using Artist's ID.

4. Repeat for each drawing.

Artist will promote the sale of these prints throughout the conferences.

Interested graphic designers should find me on FB - honoria starbuck

Observational Drawing Student Essays
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The essay question on the final exam asks a student to step into his or her own future.

You have been out of school for 10 years. You are a successful professional.  A student from ART108 Observational Drawing comes to interview you and asks, “How do you use what you learned in observational drawing in your profession?”

Use your growing professional vocabulary to reflect back on your learning in this class. Tell the student from the future how what you learned in Observational Drawing relates to your successful career.


·       One well-formed paragraph with beginning, middle and conclusion.
·       3 professional terms used in correct context.
·       Answer is focused on the question

Here are some answers that make me feel that the student has applied and integrated the lessons from the term to be used as they develop as a professional:

NS: As an animator/illustrator I still make use of several things I learned through observational drawing.  The most important of these is Light Logic, which is the way that light predictably falls on an object.  Even when drawing expressively from imagination I utilize Light Logic to dictate where my highlights and shadows fall.  Other things I learned that I still apply to my art today are how to apply contrast to establish a focal point, and how dynamic composition can make a piece more expressive and set a mood to the overall picture.  With all these concepts in mind, I can confidently manipulate each of my drawings to tell a story true to what I have in mind.

AA:  When it comes to the gaming world there is almost always a light source within a game.  One of the main things that my observational drawing class taught me was the use of chiaroscuro in my projects.  When creating an animated world you want to bring your characters to life, especially in 3D, you'd want your characters to pop off the page. When it comes down to the light logic of an object with a light source, there will always be a shadow and a dark and light side. The object will also be concave and convex in ways where you need to ad depth to that figure.  Then there's the factor of what type of mood you want to create, whether it's darker or lighter, not to mention when you add color you can manipulate the story.  When it comes to character design, you kind o need to understand the proportions of the face.  So, thanks to this class, it has take me one step closer to being a better game designer.

BS: I've learned a lot from my first quarter at #AIAustin and Observational Drawing was the first to teach me about the importance of light logic, following proper proportions, and chiaroscuro.  As you know, my games feature extremely realistic graphics with fantastic colors.  By using atmospheric perspective I'm able to create a world that the player can see for miles and would be able to get a feel of distance and space.  Also the shading brings out the shape, form, and even colors of the many different players and objects in the game.  Thanks to fundamentals learned in Observational Drawing I can create a world that players can really dive into and enjoy.

What will students take away from the lessons and use in the future?  Reading these short essays gives me insight into what students value in the class.  By asking students to see themselves in the future gives student authors the freedom to write in a personal fiction style rather than how they might answer a question on a final exam.  I am happy with the information I get from this little question because it verifies understanding, and at the same time, gives me information on student values that I can apply to the next class.


Zen Chicken Happening
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You are invited to a Zen Chicken Happening.
Dec 8th 7:30 - 9:30 at
BigBerthas Paradise.
See my latest zen chicken scratches and join us for wine and cheese.

Drawing Book: Shapes Basic Shapes
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honoriartist Description: lick to hear
Volume or solid of spiral shape that turns at a constant angle.
cylinder Description: lick to hear
Volume or solid generated by the rotation of a straight line (generatrix) moving along a curved line (directrix).
regular octahedron Description: lick to hear
Volume or solid with eight triangular sides of equal area; it has six vertices and 12 edges.
parallelepiped Description: lick to hear
Volume or solid with six sides (parallelograms) that are parallel in pairs.
cube Description: lick to hear
Volume or solid with six square sides of equal area and six equal edges; it has eight vertices.
pyramid Description: lick to hear
Volume or solid generated by straight lines (edges) connecting the angles of a polygon (base) to the vertex and whose sides form triangles.
cone Description: lick to hear
Volume or solid generated by the rotation of a straight line (generatrix) along a circular line (directrix) from a fixed point (vertex).
torus Description: lick to hear
Volume or solid generated by the rotation of a circle at an equal distance from its center of rotation.
sphere Description: lick to hear
Volume with all the points on its surface the same distance from its center; the solid thus delimited is a round ball.
hemisphere Description: lick to hear
Half sphere cut along its diameter.
Tags: ,

Drawing Book: Shapes: NURBS
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Part of the Mathematics glossary:

NURBS (nonuniform rational B-splines) are mathematical representations of 2- or 3-dimensional objects, which can be standard shapes (such as a cone) or free-form shapes (such as a car). NURBS are used in computer graphics and the CAD/CAM industry and have come to be regarded as a standard way to create and represent complex objects. In addition to curves and surfaces, NURBS can also represent hypersurfaces.

Most sophisticated graphic creation tools provide an interface for using NURBS, which are flexible enough to design a wide range of shapes - anything from points to straight lines to conic sections. NURBS are compact expressions that can be evaluated and displayed quickly. NURBS work especially well in 3-D modeling, allowing the designer to easily manipulate control vertices, called ISO curves, and control curvature and the smoothness of contours. NURBS are defined by both control points and weights. It takes very little data to define a NURB.

A spline is a usually curvy pattern used to guide someone shaping something large, such as a boat hull. The B-spline is based (the B stands for basis ) on four local functions or control points that lie outside the curve itself. Nonuniform is the idea that some sections of a defined shape (between any two points) can be shortened or elongated relative to other sections in the overall shape. Rational describes the ability to give more weight to some points in the shape than to other points in considering each positions relation to another object. (This is sometimes referred to as a 4th dimensional characteristic.)

This was last updated in March 2011
Contributor(s): Arun Nambiar
Posted by: Margaret Rouse

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The Creative Process is a Place

In the midst of a creation, an artist is not a creator separate from the work. Instead, the artist is IN the process. And the process is always moving.

Studio of the Mind

An artist inhabits a studio of the mind stocked with intellectual resources of imagination, experience, and wonder.

What emerges from the flowing mind studio? The arts! Visual art, music, poetry, ideas, dance, literature, culinary delights.  And what is the function of the arts?

Portal to the Creative Process

Each artwork functions as a portal back into the creative process.  When you buy a piece of original art you have a portal directly into the flow of creativity that produced it. The function of art is to engage the creative process, to get energy from and to give energy back. The ebb and flow of creativity irrigates the imagination and springs open the creative process.

Collaboration Blog on 21st Century Art Education
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For the last month I have been collaborating with my friend and Color Theory Master, Luanne Stovall.  We have been writing about 21st century art education.  You are cordially invited to view the last 4 weekly blog posts at  

Lemon Day 1 Summer Term 2016
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Summer 2016 Observational Drawing class with drawings of lemons in the background

The summer classes' lemon day was a success as you can see.  This recurring event is the highlight of my term each season.  This time I gave all the students some real toned pastel paper to use and the lemon drawings were even better because the art supplies were better.  Yay!

Student Comments

My use of texture to blend the components together as well as light logic gave a more 3-D perspective. - Austin A.

I feel I have a better understanding about local color.  It was interesting to see how light logic applies to it.  I feel like I have a better handle on how value and saturation apply to colors. - Wyatt C.

I'm getting a lot better at being able to show value in my drawings.  They're coming out more real. Also on the 2nd lemon drawing I had a little trouble with relationship in size of the lemons, but the more I played around with it, the better it got.  Lastly, my edges are becoming more realistic.  I don't always need a strong dark line to edge something out.  I feel I'm getting better at being able to draw what I see and it look like what I see.  - Sierra J

My drawing improved greatly.  At first I was really nervous and uninspired because I thought that I was going to do bad, but I gained my confidence in the skills wer were learning and my second drawing came out a whole lot better.  My second drawing had better shading and sizing, and the light logic was done correctly. - Kamera N.

Teacher Reflection
I can't afford to supply my classes this quality of paper, and they don't understand how much quality materials can benefit their professionalism and the success of their drawing.  So they don't buy themselves the good stuff.  However, on Lemon Day I have a stash of high-quality pastel paper for students to use. Using this paper, students are better able to control the pastel to craft the all-important chiaroscuro of 3-D.  As a result of focusing on lemons with good art supplies student confidence rises.  Students develop a willingness to tackle drawing with a more rounded, multifaceted approach.

Lemon Days of Summer
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Observational Drawing class in front of installation of their lemon drawings

Student Comments

Using light logic by creating highlights in my drawing. Used textured paper to better capture realism...Also using vertical location to show distance between object.  - Diejon B

I feel like I'm growing better with using pastels.  I am becoming more confident in blending, therefore overlapping some of the reflections over the shadows.  I am shocked at how amazied I am at the fact that you can use the eraser to block in the shapes.  I'm going to continue to use pastels.  - Chance C.

In my first drawing, you can see where I understood the concept, however the values weren't as dominant as I would have liked.  Moving forward with the second drawing, I was able to blend my colors more.  I also feel I was pretty accurate with the size relationships and being able to tell one lemon was in front of the other. - Kristianna G

How to write a Tragic Opera
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1. Review other tragic operas

2. Collage: Combine some really tragic and dynamic parts into a prototype.

3. Synthesize: Add your own story's character and unique language.

4. Create:  With the foundation of history and unique language move your charaters through their unique poetry in tune with the zeigeist of your opera.

Onward through the sorrow!


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