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مقابلة مع الفنان الكبير Jason Seiler

هذا الموضوع : مقابلة مع الفنان الكبير Jason Seiler داخل الرسم اليدوي والخط العربي والزخرفةالتابع الي قسم 2D Programs-Video Edit : Interview with Jason Seiler المقابلة هذة رائعة جدا أنصح بقراءتها بالكامل ومفيدة لكل فنان خصوصا من يحب الرسم الكاريكاتيرى ... ...

  1. #1

    الصورة الرمزية M.algalad
    عضو مميز

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    مقابلة مع الفنان الكبير Jason Seiler

    Interview with Jason Seiler
    المقابلة هذة رائعة جدا أنصح بقراءتها بالكامل ومفيدة لكل فنان خصوصا من يحب الرسم الكاريكاتيرى ... ربما تكون طويلة بعض الشىء ولكنها ممتعة جدا وأعجبتنى جدا مما زاد اعجابى اكثر بهذا الفنان الرائع ..... المقابلة منقولة من الcgarena ...... ومن يجد صعوبة فى قراءة الانجليزية فيمكنه الاستعانة بمترجم جوجل ..


    Hello Jason, could you tell us a bit about yourself and your background in CG and from where you have taken the training?
    Sure. Well, I am an artist currently living in Chicago with my wife Kat and my two awesome daughters, Isabeau (6) and Ava (3). I have painted for publications such as TIME, GOLF Magazine, MAD, The New York TImes, The New York Observer, The Village Voice, The Wall Street Journal, The Weekly Standard, KING Magazine, and Penguin Group, to name a few. I also had the pleasure of working as a character designer for Tim Burton’s Alice in Wonderland. I worked on characters such as the Red Queen, the Bandersnatch, the Executioner, March Hare, and the Tweedles. That was a great experience. I also teach a high end advanced class on Caricature for Schoolism. For more information on that, please visit www.schoolism.com
    As far as my background in CG, there really isn’t much to say. To be honest, I never wanted to paint digitally and avoided it for quite a while. I didn’t really like much of the digital work that I was seeing at the time; it seemed to look too digital, too smooth and perfect. I am mostly self-taught, but I studied for a couple years at The American Academy of Art in Chicago. I love traditional painting the most, especially watercolor and oil.
    A few years back, my friend Joe Bluhm talked me about painting digitally. So, I bought the cheapest and smallest Wacom tablet that I could find, I think it cost me a $110. The first week that I had the tablet, I was called by Muscle Magazine to paint Arnold Schwarzenegger. I decided that it was a good time to start digital painting, and did my first ever digital painting for publication. I never had any sort of training at all when it comes to digital painting. In fact, I am horrible when it comes to computers. If there’s ever anything wrong with my computer, I have to call one of my friends to help and fix the problem. All that I knew when I started painting digitally is that I wanted my paintings to look more traditional than digital. I keep it simple, I don’t use much, I don’t manipulate or distort with the computer. I draw, and I paint. I use the paint brush tool and sometimes use layers.
    When I first started painting digitally, I was interested in painting everything as photorealistic as I could, and if you know how to render, achieving photo realism when painting digitally is easy to do. So my digital work at the beginning looked too digital for my taste. It’s taken me a few years or so to develop my painting technique so that it feels more traditional. I prefer to see brush work and layers of paint showing through, I enjoy texture in my work. So, when I paint digitally, I paint in the same sort of way that I would paint if I were painting traditionally. I sometimes start off with an under painting as you would when painting in oils. I can still get a very realistic look, while keeping the work brushy. The one thing I really love about painting digitally is that I can experiment so much. There’s so much you can do, and I learn so much with each painting I do.
    Please tell us while painting caricature which things to watch or required for nice looking caricature.
    Obviously the most important thing is making sure that you capture the subject’s likeness. Exaggerating the subject’s features seems to be the most important thing to beginners, but it is important to understand how to exaggerate correctly.
    This comes from studying and understanding the skull and the muscles attached to the skull. Understanding the structure and foundation of what makes up the human face is good place to start. I would recommend buying a skull to study and draw. Draw people as much as you can realistically with no exaggeration. Try to find and locate the skull within their face. When I start a caricature, I make sure that I have at least 3 to 5 pictures of the person, from different views if possible. I look at their face and I decide where I feel the “weight” of their face is. Do they have a larger or high forhead, and a smaller chin, or a large heavy chin with a smaller forhead. Or, some people may have a long stretched out head with a high forehead and long chin. Does the person have a wide face or a narrow face? What’s the shape of the person’s head? Does it look like a box, a peanut, or an egg? Next I look at the eyes, nose, and mouth and decide where within the face they reside. How much space is around the inner face? Now look at the individual features, are the eyes close together, or farther apart, are they large or small, popping out, or sunken in. What’s the relationship between the eyes and the nose?
    Is it a long line nose, or a short chubby nose? What’s the relationship between the nose and the mouth? Is there a lot of space between the nose and mouth, or no space at all? How much space is there from the eyes to the mouth, or the mouth to the chin? These are some of the questions you must ask yourself when starting a caricature. After I have agreed on the shape of the person’s head and the placement of their features, I focus the rest of my attention to the subject’s eyes and mouth. The eyes MUST be 100%, if the eyes are wrong the entire caricature will suffer. I believe the eyes and mouth hold the key to capturing the essence and true character of a person.
    Q. Broadening forehand or chin, increase the size of ears, cheeks, shrinking nose, eyes... Is this caricature? What’s the actual definition of perfect caricature?
    For me “caricature” is not about picking out one feature and exploiting it. It’s about the face as a “whole”. Everything about a person’s face is special and unique. I pay close attention to a subjects eyes, nose and mouth, but I pay just as much attention to the subjects ears. For every action, there is a reaction. You cannot just exaggerate someone’s nose without it affecting the rest of the face. All features and structure must follow. Caricature is simply exaggerating the truth. Taking what really exists and pushing the truth while maintaining a solid likeness. If done correctly, a good caricature can capture a person so accurately that it can sometimes look more like the person than a photo ever could. By exaggerating the elements of truth found within their face, you can bring the subjects true character to the surface for all to see. I believe subconsciously our brains remember people in an exaggerated form of one way or another. For example, you can immediately pick out a close friend of family member out of a crowd of people without directly looking right at them. It’s because your mind remembers the shape and form as well as the placement of features that make your friends or family members recognizable
    Did anyone ever get angry on you for painting his/her caricature?
    No, not that I know of? But I am sure that there must be people who got upset or annoyed at how I have drawn or painted them. I know that a lot of the political work that I have done for The Weekly Standard has been seen by the subjects themselves. I have painted Obama several times now, and I’m almost certain that the President has seen at least a few of my paintings. I’m sure he’s more annoyed than upset. This past year I painted the Mayor of New York, Mayor Bloomberg, on the cover of The New York Observer. The New York Observer is on every street corner in the entire city, you can’t go anywhere without seeing it. So, I know the Mayor had to of seen my painting of him. Knowing this cracks me up and pushes me even more to do something memorable and more humorous with his face
    .


    Please tell us about your correspondence course and which things you cover inside this?

    I teach a class on Advanced Caricature for Schoolism.com. How it works is students will watch a lesson which is usually two hours long. The student can pause, go back, take notes, sketch and so on. After watching the lesson of the week, the student is then given ten to fourteen days to complete the assignment. This deadline changes from week to week depending on what is expected that week for homework. Once the assignment is finished, the student uploads their home work to the Schoolism site, leaving questions and comments for me to go over with them. I then download their work and record a 25 to 30 minute critique on their work and then upload that critique to their file at www.schoolism.com I work on work done by each student, and every student is at a different place artistically, so each critique I do is very different. And one of the cool things about this is that the students at Schoolism have access to the rest of their classmates critiques as well as past critiques from previous semesters. So there are literally hours and hours of demos and critiques to soak up while taking the course. My critiques are honest and to the point. I look for each students strengths and then push them further in that direction, helping to develop their style. We work together to improve on areas that need work, and as long as the student puts in the time and effort, they always come out on top!I really enjoyed working at CIS on Invictus. I found the studio to have a relaxed attitude and working conditions were great. I keep going back there for short stints when they need me and like being able to jump around on a bunch of different areas of film work instead of just working in one area.
    Caricature is not only about how much you can exaggerate a person, there’s so much more to it than that. My course covers everything from sketching, and the importance of thumbnails . . . developing character, likeness as well as the essence of a person. How to exaggerate and push the features while keeping a strong likeness? Exploring shape and form as well as the unique relationships between the features on the face, finding the weight and so on. The course also covers painting in values as well as color temperature, and palettes. I go over skulls and understanding the anatomy of the face as well as teaching my techniques for painting hair. Finally, the last three lessons of the course are dedicated to creating a final piece of art that the student can use in their portfolio. These lessons cover techniques that I use for my editorial and illustration work. Putting all previous lessons together to create one final painting.


    Please tell us something about your work “Scott Storch”
    .
    Well, I knew nothing about Scott Storch before doing this job. I was told by the art director that he was a slimeball and a jerk, and that they wanted him to be sitting on a toilet as if it is his throne. And because he is known for being a coke-head, they wanted him to have a bloody nose with an open shirt, and possibly holding a “pimp goblet”. This was all I was given as to what they wanted. I then read the article and found myself frustrated with Scott Storch, and downright disgusted with how he treats his mother and family. So, reading the article fully fueled my artistic attack on Scott Storch. I decided rather than painting a King-like toilet throne, that I would make this piece look disgusting and paint him in some random nasty public bathroom, with cockroaches, and so on. The overall look is more powerful. And I was told that the cover was the talk of Miami, was on the news and so on. My reference for Scott Storch was pretty bad, so I used many references of him to create the one face, and then I took pictures of a friend of mine in a bathroom for my pose and scenery. After gathering enough reference, I sketched out the piece and once the sketch was approved I began painting. I decided to paint with a grimy sort of palette, lots of greens. All of the gross elements such as the nasty toilet, blood, and stained walls, were made up, painted from my imagination. The bathroom that I shot pictures of for reference was actually a pretty nice looking bathroom in comparison



    When you received a commissioned work then which type of project details you generally receive from the client?

    It all depends really. Sometimes they don’t give me much at all and I have to come up with the idea. I don’t really prefer to work that way, because most times I am not familiar with the subject that they want me to paint. The way it usually works, is the art director will give me an idea of what they are looking and then I will take it to a new place. I’ll take their idea and come up with something that is hopefully more interesting to look at. Every job is different and every job has its challenges.

    What hardware and software you use for your painting work and why?

    I work on a 21” Cintiq and a Mac Pro tower. I don’t know much more about my computer to tell you the truth. I don’t know all that much about computers. I know how to paint and draw and I use it as a tool. For my digital painting I prefer to use Photoshop. I like Photoshop the most because it’s simple. I only need a couple brushes, I set them the way I like and I paint... it’s not much more complicated than that. I also use Sketchbook Pro for sketching.


    Please tell us about your hobbies and average daily day?

    I don’t really have any hobbies. I get up pretty early on most days. I work all day long with maybe a 20 minute break, sometimes longer depending on what I have to work on that day. Sometimes my days are filled with critiques for Schoolism, and other days, I have to pack and ship books and DVD’s that people have ordered. Sometimes I need to just get out, so I will leave my studio for a couple hours and just go sketching somewhere in the city. No matter what I am working on, I try to finish my day by 4:30 P.M. or 5:00 P.M. in order to be home with my wife and kids. My kids go to bed around 8:00 P.M. so this only gives me a few hours to play with my kids, take them to the park or out to eat. And keep my weekends free from work; weekends are for family, going to the movies, or the zoo. I still sketch and draw on the weekends, but more casual as I hang out with everyone.

    Any piece of advice would you like to give to the upcoming artists?

    Sure. The only thing standing in your way is you. If you want something badly enough, you can do it. Push through the hard times; stay faithful to your dreams and goals as an artist. Work hard and it will pay off, if you quit, you will not succeed, simple as that. It is important to remain humble; you will always have areas in your life that need growth. So, remain humble, and teachable, and always move forward

    .Web: Jason Seiler - Illustrator

    muhammad algalad
    http://algalad.multiply.com/
    "سأعود عندما تشرق الشمس "

  2. #2

    الصورة الرمزية الفنان العاشق
    عضو مميز

    الحالة
    غير متصل
    تاريخ التسجيل
    Feb 2010
    الدولة
    ×؛°”?`”°؛×(Aswan) ×؛°”?`”°؛×
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    رد: مقابلة مع الفنان الكبير Jason Seiler

    ده فنان كبير جدا وانا بحب شغله جدا جدا ....... تسلم الايادي يا أستاذ محمد على الموضوع الاكثر من رائع
    بسم الله الرحمن الرحيم
    ـــــــــــــــــــــــــ

    وَقَالَ رَبُّكُمُ ادْعُونِي أَسْتَجِبْ لَكُمْ إِنَّ الَّذِينَ يَسْتَكْبِرُونَ عَنْ عِبَادَتِي سَيَدْخُلُونَ جَهَنَّمَ دَاخِرِينَ
    صدق الله العظيم

    http://hlali.com/up/uploads/a1f60b6945.gif


    WWW.CGWAY.NET

    قسم الرسم والخط والزخرفــــة


    "Mohamed Elansary"





  3. #3


    الصورة الرمزية 4MAX
    الإشراف العام

    الحالة
    غير متصل
    تاريخ التسجيل
    Jul 2009
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    فى القلب
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    رد: مقابلة مع الفنان الكبير Jason Seiler

    جميل جدا اتمنى تفيد الجميع ان شاء الله
    ان لله عبادا اختصهم لقضاء حوائج الناس
    حببهم للخير وحبب الخير لهم
    اولئك هم الامنون من عذاب الله يوم القيامه
    =====

    بروا آبائكم يبروكم أبنائكم




    ĎΞs!GŖ

    مركز طريق الجرافيك التعليمي

  4. #4

    الصورة الرمزية Haitham Zaki
    مشرف القسم الاسلامي

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    غير متصل
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    رد: مقابلة مع الفنان الكبير Jason Seiler




 

 

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