Thursday, 31 March 2011

End Papers

To do the end papers, I drew a little picture of one of the characters in "Imp", inked it and scanned it in. 


Then I copied and pasted the image a bunch of times to make a pattern...


...then had a play about with angles and the colours.



Monday, 28 March 2011

Dummy Book

Evaluation4 exam planning and development by hatty





Front Cover Mock-Up

Inking


 

Photoshopping





Acetates


Cleaning Screens 


 




Oooff, oh dear, my roots need doing.

Screenprinting




Second Colour







Third Colour

 

 

Exam development - Characters

I started out using old character designs of mine, before any ideas for my exam final piece began to solidify.


However, because I felt that the designs were becoming tired and the style wasn't really comfortable to draw in anymore, I decided to do an overhaul, changing the characters, style, and plot that would follow them. 

I started out by doing some straight pen-to-paper sketches of some character ideas I had in mind. 






This next character's development happened seperately from the others', starting out as a doodle in one of my notebooks. 
It was inspired by me and my mum coming up with the theory that an imp was what was causing some of the weird or unexplainable stuff that goes on in our (seemingly haunted) bathroom. (Long story.)
As soon as I had drawn it, I knew I wanted to use it for my final piece. 



Exam Development - Environment

I used a picture I had previously sketched using a grid square of my graphics classroom (room 41)  as a reference for when I drew the establishing shot for my final piece book.

Case Study









TEXT VERSION:

Case Study - "Adrift" by J.P. Coovert

PERSONAL RESPONSE

What drew my attention first was the attractive and deceptively simplistic style, and the use of only 2 colours: white and navy.

It reminds me of something which I can’t quite put my finger on – possibly something like Scott Pilgrim or some webcomic I’ve once read.

I love the symbolic feeling it has. I also love the style. It’s hard to find things I dislike about it.

Although I liked it the first time I read it, I’ve grown to like it even more. From analysing the book and the drawing techniques used, I feel like I’ve learned from it.

It gives you a sort of dream-like panic, the feeling of being lost, trapped and in danger, and then a false sense of security before the real rescue happens – and then it ends with an open (but evidently positive) ending. If you can call it that – its as if it is not truly an end and anything could happen next.

FORM

The colour palette is simple but effective – navy and white, which contrast greatly and effectively.

The work holds together throughout, and I love the basic “banner” around each page which is often breached by the drawings within.

I imagine the artist used these colours and techniques for a minimalist and dream-like effect. The colours in particular add to this effect, as well as also add to the oceanic theme – like the water and foam.

Evidence for the hand that made it include the white lines on the blue of the ocean which are all wibbly and uneven, an effect that looks as though a computer couldn’t recreate it and enhances the hand-made look.

The composition is organised in a structured way – its structure seems to have a clear plan with a beginning, middle and end.

Everything seems controlled with the occasional splurge of random lines within the drawing that look as though they were left to chance.

Due to its simplistic style, a lot of the textures are absent and so left to the reader’s own knowledge and imagination. “Visual rhymes” are used – such as a bird’s feathers drawn using the same technique as the splashing waves are drawn.

Space – or the white parts of the drawings – is used to great effect.

It has a traditional perspective.

CONTEXT AND CONTENT

“Adrift” is a near-wordless small-press comic book with one panel per page. Both the “boarders” around the drawings and the pages themselves have curved corners – few sharp or straight edges are used.

It is about a man who is lost at sea and the troubles and dangers he encounters whilst searching for rescue. It could be interpreted as symbolic, for example it could represent an actual event or episode in the artist’s life.

The title – “Adrift” – seems to describe the whole story in one short word.

There is no textual narrative. However, it follows conventions in the way that it does have a plot with a clear structure, with conflict and a main protagonist who must overcome this.

It seems as though it was made for fun and artistic expression, as well as possibly for profit.

PROCESS

The front-cover is screen-printed on blue card. The book is of good quality and the processes – while possibly harbouring cheap materials (e.g. the paper) to construct it – are professional and appealing.

The process seems to be more modern than traditional; it is likely that a computer was involved during the book’s construction.

Skills required to create such a piece would probably have to include drawing, inking and painting, as well as knowledge about computers and artistic ideas and integrity.

Books studied

Evauation2 exam influences by hatty

"Adrift" by JP Coovert

 

"Nobrow number 1: Gods and Monsters" By Nobrow Press



 

"Hildafolk" by Luke Pearson (I love this book the most)