Illustration

Layout and Format

Story Boards and Comic layout.

12/02/15

Story Boards:

A simple story board with descriptions

A story board is part of the development and mapping process before an animation or anything alike can become a finished product. Usually consisting of multiple boxes that will show still frames of something and will show in chronological order how you want something to happen. A Story Board is meant to inform someone how it will be translated into film, while only showing them key parts or scenes. A story board is also where the style and intensity of detail is decided, as well as the medium.
Under each different box, there will be a description of what the box shows. Once the first stage of the story board is complete, it then goes through various stages of development, during which and boxes are changed, more description or frames added, and the whole thing fine-tuned before any more work can start.

A story board for Harry Potter

 Comics:

A comic is set up in a very similar way to a story board, however, which a story board is the development and mapping process, a comic is the finished product, and is a lot more fluent.

The layout of a comic is very important in determining the fluency of the story.

A coloured story board for Star Wars

There are many different techniques when it comes to laying out a comics.

System of 3rds:

The System of 3rds is where a page is divided into 3 even panels

Panel Gutters:

This is the space that separates panels in a comic

Differentiated Gutter Sizes:

This creates more panels, differentiating in size

Panel Staggering:

This creates bigger spaces and rivers. Rivers are a guide to viewers in which direction to follow the panels.

 The panel sizes within a comic vary depending on the importance of the scene shown within them. Frames around the panels are used to make each separate panel distinguishable from another. colour and shading is also used to fluently guide the viewer through the comic.
The placement of speech bubbles is also very important, once again the size determines the amount text within it. They also have to be small enough so that they do not dominate the rest of the panels contents. Breaks in the speech bubbles can signify a change or break in the characters voice.

Proportions

system of 3rds

panel guttering

differentiated panel guttering

panel staggering

river/ direction panels flow in

Vorticism and Futurism

Vorticism and Futurism

Final piece

11/02/15

For my final piece I have made a sculpture out of clay that focuses on the shoulders and collar bones. Once it is dry, I will then begin painting it in a similar style to my watercolour painting. I will be combining the style of Vorticism by using angular shapes, and will be using the bright and angry colours used in a lot of Futurist work. I hope to achieve a piece that, while simple, will be at first undeterminablez, however, at a closer glance will look like more than just an oddly shaped block. I want the sculpture to be smooth in texture however,upon touching it, will have the bumps and shape if a humans shoulders and body shape, specifically a males. 

The painting style will not be smooth, but will be neat and the shapes I use will be distinguishable.

Upon contemplation, I decided to remove the small wing like fixtures at the back as I didn't feel that they tied in with the sculpture. What I was aiming for was a simple and smooth realisticky shaped male body. The vorticism would be shown in the colour and shaped used rather than the actual sculpture.

The colours I plan to use will be yellow, orange, red and blue, and will transition from light to dark.

Before putting on the colour, I first painted it white so that the colours would be brighter and also had a base.

After this, I then moved on to adding white for contouring and reflection, it would also help the shapes and sculpture look more shapely. 

I then added an dark brown to bring out the collar bones and any indentations on the sculpture.

The end effect, while messy due to the paint strokes and the way that I applied the paint, using pointillism, however it is also neat because of the clean cut shapes I have used. The colour scheme I interpreted after looking at Umberto Boccioni.

After looking at the sculpture from afar, I feel that the green I had used was a little too white, so it blends in with the yellow and the white. The sculpture also isn't obvious and cannot be easily determined, which is what I was aiming for. Some of the shapes can't be easily determined simply because I used the same colour organisation and they were together, so they blend together. 

Human form and Portraiture

Further testing

Mod Rock, Chicken Wire and Glosses

3/11/14

Continuing the testing I had been doing previously, I did a gloss test on paint and clay to see what effect it had. PVA Glue mixed with water didn't do a lot, and after a few coats, just PVA Glue began to make a slight sheen on the paint. The clear varnish has yet to be tested.

 (PVA coat still drying in image)

As well as this, I tested making a mask onto a flat piece of chicken wire and made a face cast. The face cast made is to be painted as well as added to with wire and another material

Material testing for snakes (to be added to face cast)

This part of testing is still ongoing as both materials tested were not suitable.

Nest I will try just paper mache as well as using thicker wire or wrapping the wire numerous times around it's self to see if this will allow the paper mache to stay on the wire. Mod Rock will not be used as the material itself is too heavy.

Human form and Portraiture

Final testing stage

Paint swatches, final gloss test and further experimenting with snakes

10/12/14

Gloss test: After finally remembering to bring in the clear nail varnish, I discovered that this was the best gloss to use out of all tested, however, decided that the other glosses I tested would also be useful

The clear nail varish would be used for details such as the eyes, where high gloss is needed, and the PVA mixed with water would be used to add a slight sheen to the face cast its self, so as to make it a little more lifelike.

After this, I then moved on to paint swatches, so I knew exactly what formula I needed to create the same colour again in the future. I did this for both the natural face cast and the Medusa face cast

I then moved on to evaluation of the first face cast (the natural one)

Further evaluation is necessary, and evaluation of the Medusa mask is needed.

Vorticism and Futurism

Vorticism and Futurism

Research

12/01/15

This assessment uses the life drawings I have previously done and will continue to make to create something that will eventually be a 3D structure in the style of Vorticism, Futurism or both.

What is Vorticism?

Vorticism was a short lived art movement, formed in London, that was first announced during 1914, however was quickly dismissed with the first world war. The founder of this movement, Whyndam Lewis, tried to but failed in reviving the movement in the 1920's. It was an avant- garde group that aimed to create art that expressed dynamism in the modern world and the relationship between machine and the urban environment. Vorticism was partly inspired by Cubism and cubist fragmentation.

What is Futurism?

Futurism was a rather aggressive and liberating movement that started in 1909 in Italy. It was a movement that rebelled against the norm, rejected anything old and looked towards the future, as the past culture was seen as oppressive. The aim of this movement was to free Italy of it's museums containing old art, referring to them as 'countless cemeteries'. This movement celebrated the modern world of industry and technology. Umberto Boccioni helped to shape the aesthetic of this movement.

The Vortecists

Whyndam Lewis was deeply hostile towards the Futurists, and believed art before Vorticism was exhausted. He was an artist, writer and polemicist, and published a Vortecist manifesto in a magezine called 'BLAST'. Lewis was a very opinionated man, and so was pushing the Vortecist movement forwards. However, with the arrival of WW1, the Vortecist movement ended, as it was seen as too much of a grim reminder to the use of mechanised weapons used within the war, and how such weapons had killed many people the Vortecists knew or were related to.

'Red Duet'
1914

'Workshop'
1914-1915

Sir Jacob Epstein, was a sculpture and while not actually associated with the Vortecist movement, was tied into it due to his work with the relationship between man and machine. His most notable piece of work, 'The rock drill' was dismantled after WW1, However was replicated and was displayed in a Vortecist exhibition within the Tate in 2011.

'The Rock Drill'
1913-1915

Edward Wadsworth was directly associated with the Vortecist movement who was, as well as being a painter, was also an engraver of wood and copper. His work did not finish after WW1, however, as he continued to paint with a nautical theme afterwards. He was a signatory of the manifesto published in 'BLAST' 

'The Port'
1915

'Rotterdam'
Woodcut
1914

'BLAST magazine'
1914

The Futurists

Umberto Boccioni was a principle figure within the Futurist movement and was an influential Italian sculptor and painter. He drafted 2 Futurist manifestos in 1910 and 1912 that elevated the force and energy in contemporary life. This particular art movement amplified the speed, violence and machine age.

'We declare a new beauty... A beauty of speed... A racing motor car is more beautiful that the Victory of Samothrace'

'Dynanism of the human body'
1913

'Elasticity'
1912

'Unique forms of continuity in space'
1913

Filippo Tommaso was the founder of the Futurist movement and posted his manifestation on the cover of the Paris newspaper 'Le Figaro' within which he declared that art was 'Art, in fact, can be nothing but violence, cruelty and injustice'