In addition to my headed paper and compliment slip I also decided to produce some promotional bookmarks to promote both myself as an illustrator and also “In Memorium”

I used illustrations from my story “In Memorium”, and adapted them using a bookmark template. I then laminated the bookmarrks and added tassels and tiny keys to represent the keys from the “time-lock” pocket watches featured in the story. I was really pleased with the way these turned out. On the back of the bookmarks I presented my contact details.

As part of professional development we were required to design some promotional material. I decided to design and produce a professional letter-head and compliment slips, and also some promotional bookmarks featuring my illustrations. I chose to keep the design simple for the letter-head and the compliment slips ….. using a aged effect background and a simple illustration of a cat ( which is featured in my story In Memorium ) and this tied in with my business cards which also feature an illustration of the cat.  This is the design for the letter-head:

The design for the compliment slips:

and this shows how the designs match up with each other:

Storyboards are graphic organisers in the form of illustrations or images displayed in sequence for the purpose of pre-visualising a film, animation or interactive media sequence.

The storyboarding process, in the form it is known today, was developed at the Walt Disney Studio during the early 1930s.

A film storyboard is essentially a large comic of the film or some section of the film produced beforehand to help those involved visualize the scenes and find potential problems before they occur. Often storyboards include arrows or instructions that indicate movement. In creating a film, a storyboard provides a visual layout of events as they are to be seen through the camera lens. And in the case of interactive media, it is the layout and sequence in which the user or viewer sees the content or information. In the storyboarding process, most technical details involved in crafting a film or interactive media project can be efficiently described either in picture, or in additional text.

In animation the storyboarding stage may be followed by simplified mock-ups called “animatics” to give a better idea of how the scene will look and feel with motion and timing. At its simplest, an animatic is a series of still images edited together and displayed in sequence with a rough dialogue and/or rough sound track added to the sequence of still images (usually taken from a storyboard) to test whether the sound and images are working effectively together.

Some writers have used storyboard type drawings (albeit rather sketchy) for their scripting of comic books, often indicating staging of figures, backgrounds and balloon placement with instructions to the artist as needed often scribbled in the margins and the dialogue/captions indicated.

As I will have to develop the skills necessary to create storyboards if I am to follow a career in the field of concept art, I initally wanted to create a storyboard for a sequence of scenes from my story “In Memorium”  In order to familiarise myself with storyboarding further, I purchased a book from the Walt Disney Studios Archive Series, entitled “STORY”

This beautiful book  lavishly showcases the most brilliant story artwork created by Disney artisits such as Bill Peet, Don DaGradi, Joe Rinaldi, Roy Williams, Ub Iwerks, Burny Mattison, and Vance Gerry for such films as Steamboat Willie and Snow White and the Seven Dwarfs, Alice in Wonderland and 101 Dalmatians, Beauty and the Beast and The Little Mermaid. Some of the storyboards from the book are shown below:

I found this book to be stunning and inspirational, and it inspired me to work on a storyboarding sequence for the scenes I would be portraying in my comic book pages for In Memorium:

Below are some of the storyboards I produced for In Memorium:

Pocket Watches :











Key Wind Pocket Watches as featured in “In Memorium”

Pocket Watches

One of the important features of the story “In Memorium” is the use of pockets watches. The pocket watches are used by the characters as the means by which they can enter the underworld. The pocket watches used are known as “time-locks”, and are based on the earlier key wind pocket watches.

In the late 16th century, watchmakers began using brass instead of iron, and  watches became smaller and light enough to fit into the pocket of a jacket or  vest.  According to Stevens, the pocket watch was the most popular style of  watch for more than two centuries.  Until the 19th century, pocket watches were  handmade and fairly expensive, so they were considered luxury items and mostly  worn by the upper class and merchants.

Types of pocket watches

There are two main styles of pocket watch, the hunter-case pocket watch, and the open-face pocket watch.

Open-face watches:

An open-faced watch, is one in which the case lacks a metal cover to protect the crystal. It is typical for an open-faced watch to have the pendant located at 12:00 and the sub-second dial located at 6:00. Occasionally, a watch movement intended for a hunting case (with the winding stem at 3:00 and sub second dial at 6:00) will have an open-faced case. Such watch is known as a “sidewinder.” Alternatively, such a watch movement may be fitted with a so-called conversion dial, which relocates the winding stem to 12:00 and the sub-second dial to 3:00. After 1908, watches approved for railroad service were required to be cased in open-faced cases with the winding stem at 12:00.

Hunter-case watches

A hunter-case pocket watch (“hunter”) is the kind with a spring-hinged circular metal lid or cover, that closes over the watch-dial and crystal, protecting them from dust, scratches and other damage or debris. The majority of antique and vintage hunter-case watches have the lid-hinges at the 9 o’clock position and the stem, crown and bow of the watch at the 3 o’clock position. Modern hunter-case pocket watches usually have the hinges for the lid at the 6 o’clock position and the stem, crown and bow at the 12 o’clock position, as with open-face watches. In both styles of watch-cases, the sub-seconds dial was always at the 6 o’clock position. A hunter-case pocket watch with a spring-ring chain is pictured at the top of this page.

There is an intermediate type, known as the demi-hunter (or half-hunter), in which the outer lid has a glass panel in the centre giving a view of the hands. The hours are marked, often in blue enamel, on the outer lid itself; thus with this type of case one can tell the time without opening the lid.

Types of watch movements

Key -wind, key-set movements:

The very first pocket watches, since their creation in the 16th century, up until the third quarter of the 19th century, had key-wind and key-set movements. A watch key was necessary to wind the watch and to set the time. This was usually done by opening the caseback and putting the key over the winding-arbor (which was set over the watch’s winding-wheel, to wind the mainspring) or by putting the key onto the setting-arbor, which was connected with the minute-wheel and turned the hands.

Stem-wind, stem-set movements

 In the 1850s, the stem-wind, stem-set movement did away with the watch key which was a necessity for the operation of any pocket watch up to that point. The first stem-wind and stem-set pocket watches were sold during the Great Exhibition in London in 1851 and the first owners of these new kinds of watches were Queen Victoria and Prince Albert. Stem-wind, stem-set movements are the most common type of watch-movement found in both vintage and modern pocket watches.

Stem-wind, lever-set movements

Mandatory for all railroad watches, this kind of pocket watch was set by opening the crystal and bezel and pulling out the setting-lever (some pre-1891 hunter cases have levers accessible without removing the crystal or bezel), which was found at either the 10 or 2 o’clock positions on open-faced watches, and at 5:00 on hunting cased watches. Once the lever was pulled out, the crown could be turned to set the time. The lever was then pushed back in and the crystal and bezel were closed over the dial again. This method of time setting on pocket watches was preferred by American and Canadian railroads, as lever setting watches make accidental time changes impossible. After 1908, lever setting was generally required for new watches entering service on American railroads.

Stem-wind, pin-set movements

Much like the lever-set movements, these pocket watches had a small pin or knob next to the watch-stem that had to be depressed before turning the crown to set the time and releasing the pin when the correct time had been set. This style of watch is occasionally referred to as “nail set”, as the set button must be pressed using a finger nail.

Most of the sketches I produced in preparation for my “In Memorium” project are contained in my sketch books, but I thought I would post a couple of my sketches on the blog. The first image shows the sketches I produced of St Stephen’s Tower, generally known as “Big Ben”:

I then produced the following inked sketch of my representation of Victorian London.

I have come to the realisation that drawing architectural structures is not really my strong point, but it is something that I will have to work on to improve my backgrounds when creating storyboards.

In order to produce a representation of the Big Ben clock tower, known as St Stephen’s Tower,  as part of my graphic work, I needed to research the architectural features by looking at photographs and illustrations of the tower, both from the present day and also images from Victorian times, which is the era in which my story is set. In reality the architectural design features on the tower and on the clock face is way too intricate to attempt to reproduce graphically within the timescale I have available, so I have based my representative of Big Ben on the actual clock tower, but using far less detail than in reality.