Flag Gesture Drawing #3: Sharp Fold


Not the easiest object to draw, but also not the hardest. It doesn’t have incredible detail and is not very complex, put it is not simple. It has It’s own personality to it, not being a flat and plain while also not being complex and hard to understand. Much like a tent, one line with something draped over it.

The black lines contrast the white lines, causing the white lines to almost disappear into the background. The value of the paper at the fold is brighter from the light being closer to that line. The shadows near the paper have sharper lines, and slowly blur out as the paper gets further away from the ground.

The fold is good, wish the fade on the highlight at the top of the fold was smoother, but besides that it gives the impression of a fold. The repeating lines are inconsistent in size, each changing in weight as they go up, and the lines on the other side being bigger or smaller than the ones in front.

Never finish a drawing until you see that everything is in the right place. This is why the lines are inconsistent, there was no multiple checks of how big they were.


Labyrinth Tree Poster Project


-Original Image



Through photography and human creativity, we can make inanimate objects take new forms and even give them life.

The original image of a tree was reimagined into a character, waving at the viewer with a star in his hand. The waving hand seemed neighborly, so I entitled the poster neighbors, giving the figure a sweater to make him more human. The word has a stark contrast between the yellow and blue fonts. I gave his sweater a generic checkered pattern. The word neighbors is enclosed in an outline so it does not feel blended with the image.

Political Dadaism Poster #2


Once again using Dadaism and tackling the issue of nuclear missiles and their existence in the world, this piece is closer to dadaism than the first poster was. It has more nonsense in it, making it less of a whole piece that fits together. The man to the left is Robert Oppenheimer, one of the creators of the atomic bomb, but began to despise his creation as the weapons grew more destructive. On the right is Kim Jong Un, current leader of Communist nation North Korea, and regularly boasts the nuclear arsenal of the country, even though he has never used it after he threatens to. Almost all of the articles are from newspapers, with exception to the one on the left, that pertain to nuclear weapons in some way.

The two foreground objects create asymmetrical balance, however they could have been made bigger as so there wasn’t so much negative space. The sepia tone of the newspapers adds contrast the the black and white, bright foreground figures. The word stop repeats on Oppenheimer’s hand, each letter being on a different finger. Some of the images could have been better quality, mainly the image of Kim Jong Un and the nuclear missile being fired.

Flag Gesture Drawing #2: Knee, Hip, & Shoulder Height


Much like the first, these images are all around decent, while having their own problems as well. The proportions on the top two measure up well, however the bottom one seems too long on it’s left side. The side corners on the bottom one could also use some work. The dip from the stand that the hip high image sat on is made visible, as is the folded corner on the shoulder high piece.

The shading on the corners is done well, but could have been used to define the corners better. Though I attempted at atmospheric perspective by using a white pencil, but the highlights got lost. The alternating black and white lines are inconsistent in size.

This exercise showed that you should continuously check the object you are drawing for proportions, relations, and scale before you start drawing, and even while you are drawing.

Gallery Write Up: Mario Prisco

James Stephens

Professor Pennisi

DGMA. 1413-70 SET305/1:00

19 October 2016


One aspect of the art world is how artists attempt to create forms throughout their pieces. However, many choose to focus on all parts of the image, the details, the interaction between different elements, instead of focusing on their own created form in itself. The artist Mario Prisco chooses form over detail, wanting the viewer to focus on the figures and shapes he has created. It was less about the interaction throughout his work and more of the simplicity, the basic nature of figures and forms.

Mario Prisco, the former Dean and professor at Alfred University School of Art and Design, was born and raised in Southeastern New York.  Almost his entire life has been dedicated to art and the education of others in the subject of art, starting in 1947 at age 17. His influences mainly stem from cubism and other abstract artistic movements like impressionism, specifically Picasso being an artist he calls upon the most, quoting him and modeling his artistic process after him. Prisco has spent nearly four decades at Alfred, teaching each generation of students how to develop their artistic style and endow them with knowledge about the art world. His art is displayed in multiple galleries such as the Everson Museum of Art and Civic Museum of Philadelphia. Prisco had a hand in the creation of the design program at Alfred University.

In his figure drawings, Mario Prisco is not elaborate with the designs. He does not exaggerate them, nor does he modify them. He gives you the human form and nothing but the human form, it is as basic as you can get. He does not focus on the details on the face, giving you just enough to give you the impression that this is a person, but not so much that it distracts you from the body, the centerpiece of each drawing. His gesture work is incredibly smooth, on the outlines, keeping them basic and thick, while his shading is cross hatched and rough. The poses and postures of the figures are realistic, their bodies proportionate. Each of his figure drawings are a testament to the beauty of humans in their most bare and basic form, without the losing the humanity of the figures.

Prisco’s imaginary landscapes are more complex compared to his figure drawings. Each image has multiple parts to it, each being split into their own sections, sometimes connecting two or more boxes with each other. Inside of each box is simple, abstract objects that vary between geometric and organic. Everything is separated so you can focus on one piece at a time to start, examining the qualities of each individual. Many of the boxes on their own have no relation to each other, but fit together like an abstract puzzle. The landscapes have a variety of colors, and it is easy to tell that Prisco has excellent control over the painting medium.

Through almost 70 years of experience, Mario Prisco has developed and refined his art style. His images are simple, yet they convey so much, like how Prisco focuses mostly of the form of the images. It isn’t about how hyper realistic it looks, it is about creating forms that are appealing, and forms that connect with one another. Whether it be nothing but the human form, or abstract sections of a composition, Prisco will want the viewer to pay attention to how things are drawn, less so why they are drawn.


Citations Page

Jordan, Jason. “Former Alfred Dean Still Inspires through Art.” The Evening Tribune. The Evening Tribune, n.d. Web. 20 Oct. 2016. http://www.eveningtribune.com/article/20140930/News/140939967

Flag Gesture Drawing #1: Floor Height


With the right hand motions and a careful eye, one can recreate objects that are right in front of them through gesture drawing. In the case of this black and white flag, it obtains some of the feeling of the real life counterpart. It has clockwork circles to check and adjust the corners. It has scale, as well as a grid box to keep the size consistent.

The corner at the top of the image could have been brought down more as so it doesn’t look so much as a top down perspective of the flag, or possibly the corner to the right could have been dropped as well. The shading under the front-most corner is decent, it looks better from afar, but as the viewer gets closer they begin to see how the shadow hasn’t blended well. The boundary lines on the white stripes could have been lighter due to the actual white stripes seeming to blend into the ground and become invisible. The black stripes are colored in well enough, but they lack the atmospheric gradient from lighter on the top to darker on the bottom. The image is nice, however it could use a bit of work.

Through this exercise I have come to the understanding that though graphite is messy, it can be consistent, and can blend well throughout the image. It is well-rounded in use, being able to create lighter lines, as well as creating pure shades of black. This has also taught me more than other experiences that gesture drawing takes time and patience. You will not get it right on your first go, you have to assess and adjust multiple times throughout the drawing process until it gives way to the form you will it to be.

Stop Motion Research on Ray Harryhausen and Animation Storyboard




Through the inspiration and tutelage of King Kong animator Willis O’Brien, Ray Harryhausen used his knowledge of stop motion animation and creative thinking under a budget to create his most prolific style of animation.  Throughout his career, Harryhausen developed and mastered dynamation.

Dynamation being where Harryhausen took a prerecorded live action sequence, placed it in a projector, showed it on a thin screen, took a camera on the other side of the screen with a clay figure on that side, and went frame by frame through the live action sequence, all while moving the figure in stop motion. The entire process was to make the appearance of the clay figure seem like it was in that live action sequence. For its time, it was a very advanced technique, not only because of the new possibilities it opened up for fantasy cinema, but also the money and time it saved by not having to paint and create miniature towns for the stop motion figures to rampage through. Ray Harryhausen’s method of dynamation was well received for the almost life like interaction that it gave. An example being in the movie Jason and the Argonauts, during a scene where they fought Claymation skeletons. The clashing of the actors swords against the clay skeletons almost seemed real. During The Beast from 20 Thousand Fathoms as well, the creature in that movie was somehow able to pick up a policeman with its mouth and eat him. The interaction he created between live action and stop motion was new and innovative. The closest thing to it during his time was King Kong, but they used painted backgrounds and easily spotted mattes.

Speaking of mattes, something Harryhausen was prevalent in using was mattes. He used a glass pane with black paint to cover up parts of the foreground that the monster would be behind, and then played the same footage again, but this time covered up the area that would the monster would be in, which is everything but the foreground. This technique made creatures fit in well with their environments, one such being from The Seventh Voyage of Sinbad, with the flawless entrance of the cyclops coming out of a cave entrance. The matte for the mouth of the cave is barely noticeable when the cyclops passes by it. His mastery of mattes however would not be shown until 1981’s Clash of the Titans, during the Medusa fight. He created reflections of his stop motion figures in the shields of the actors. Besides the reflections, he was able to turn a man from being a living breathing person to a stone statue, all in the same scene as the reflection on the shield. Not only was the shield reflection innovative, but Harryhausen used it as an integral plot point in that fight. Using his own techniques to drive a story shows how advanced his dynamation was for its time.

Political Dadaism Poster


This image comes from my dissatisfaction for the abundance of nuclear weapons that are currently in the world, as well as the lack of concern for them. They are incredibly dangerous to our planet, as well as having the capability to wipe out the human race. They should be dismantled, and the use of nuclear energy should be used as a means to better society instead of destroying it.

With having so many nuclear weapons, I thought of a garden when they are grown on a regular basis, and people are consumers eating up the idea that these weapons are a means for security and safety. The fact of the clouds from the explosions of nuclear weapons being called mushroom clouds gave me the idea to have a mean eat them as a delicacy, and grow more weapons so he could create more mushroom clouds to consume.

In relation to Dadaism and photo collage, this image could have been better. It lacks the nonsense that made Dadaism so popular, and instead it shows more of a cohesive piece. Someone can see how everything relates in the image instead of everything seeming to be random. Is it nonsense that a man is eating a mushroom cloud and is growing nuclear warheads in his backyard? Yes. But does it all seem random and doesn’t correlate with each other? No. So therefore it somewhat fails to relate to Dadaism.


Bezier Curve Project




When two anchor points connect, it becomes a line. When that line is moved via control points, the line becomes a Bezier curve. Bezier curves allow designers to easily make free form organic shapes on the computer.

All of my images contain irregular characters and some objects that were made with the curvature tool. Each have simplistic backgrounds.

Perspective Project


One Point Perspective


Two Point Perspective


Three Point Perspective


Perspective is how a viewer views something. In design, it is the arranging of two-dimensional objects to give the illusion of three-dimensional space. There are three types of perspective, one-point, two-point, and three-point.

For my one-point perspective, I wanted to go with a less man-made feel and more of a nature feeling, with my own twist, adding the purple sky for more color variety.

The two-point perspective image was the first I worked on. I didn’t use the nature concept until the other two images. This was very simple, the hardest part was putting the text on. This is my favorite of the three because of the writing.

Three-point perspective was when I decided to move to nature instead of man made structures. A majority of my images have gradient overlays to add some patterns and texutres to my images.