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Archive for the ‘Influences’ Category

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:

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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.

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Women’s Fashion

In the 1840s and 1850s, women’s gowns developed narrow and sloping shoulders, low and pointed waists, and bell-shaped skirts. Corsets, an ankle-length chemise-like skirt, and layers of petticoats were worn under the gowns. By the 1850s the number of petticoats was reduced and the crinoline was worn; as such the size of the skirts expanded. Day dresses had a solid bodice and evening gowns had a very low neckline and were worn off the shoulder with sheer shawls and opera-length gloves.

In the 1860s, the skirts became flatter at the front and projected out more behind the woman. Day dresses had wide pagoda sleeves and high necklines with lace or tatted collars. Evening dresses had low necklines and short sleeves, and were worn with short gloves or fingerless lace or crocheted mitts.

In the 1870s, uncorseted tea gowns were introduced for informal entertaining at home and steadily grew in popularity. Bustles were used to replace the crinoline to hold the skirts up behind the woman, even for “seaside dresses”.

In the 1880s, clothing worn when out walking had a long jacket and skirt, worn with the bustle, and a small hat or bonnet.

In the 1890s, women’s fashion became simpler and less extravagant; both bustles and crinoline fell out of use and dresses were not as tight as before. Corsets were still used but became slightly longer, giving women a slight S-curve silhouette. Skirts took on a trumpet shape, fitting closely over the hip with a wasp-waist cut and flaring just above the knee. High necks and puffed sleeves became popular.

Men’s Fashion

During the 1840s, men wore tight-fitting, calf length frock coat and a waistcoat. The waistcoats were single- or double-breasted, with shawl or notched collars, and might be finished in double points at the lowered waist. For more formal occasions, a cutaway morning coat was worn with light trousers during the daytime, and a dark tail coat and trousers was worn in the evening. The shirts were made of linen or cotton with low collars, occasionally turned down, and were worn with wide cravats or neck ties. Trousers had fly fronts, and breeches were used for formal functions and when horseback riding. Men wore top hats, with wide brims in sunny weather.

During the 1850s men started wearing shirts with high upstanding or turnover collars and neck ties tied in a bow, or tied in a knot with the pointed ends sticking out like “wings”. The upper-class continued to wear top hats, and bowler hats were worn by the working class.

In the 1860s, men started wearing wider neckties that were tied in a bow or looped into a loose knot and fastened with a stickpin. Frock coats were shortened to knee-length and were worn for business, while the mid-thigh length sack coat slowly displaced the frock coat for less-formal occasions. Top hats briefly became the very tall “stovepipe” shape, but a variety of other hat shapes were popular.

During the 1870s, three-piece suits grew in popularity along with patterned fabrics for shirts. Neckties were the four-in-hand and, later, the ascot ties. A narrow ribbon tie was an alternative for tropical climates, especially in the Americas. Both frock coats and sack coats became shorter.

During the 1880s, formal evening dress remained a dark tail coat and trousers with a dark waistcoat, a white bow tie, and a shirt with a winged collar. In mid-decade, the dinner jacket  was used in more relaxed formal occasions. Knee-length topcoats, often with contrasting velvet or fur collars, and calf-length overcoats were worn in winter. Men’s shoes had higher heels and a narrow toe.

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After much on line research and also looking at the type of business cards used by businesses in my locality, I began to look at the business crads used by other illustrators. It felt important to me that a business card promoting an illustrator should feature the work of the illustrator on the card, so that prospective clients could immediately see the style of the artist, and have an example of the artist’s work there in front of them. From on line research it appears that many illustrators do use their own art on their business cards, and some examples of cards that I found particularly effective and inspiring are shown below:

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I initally thought designing something as simple as a business card would be easy … until I began researching all the ways a business card can be designed. The important features of a business card are that it needs to be eye-catching, memorable and say something about what or who it is advertising …. after all, it is essentially a marketing device. It also needs to convey clear contact information such as name, website, email address, phone number etc.

The business card should ideally be small enough to fit in a wallet or purse, so the dimensions tend to be fairly standard, although beyond that there are many unusual and unique examples of business cards out there, which use different materials, shapes and other design features. Die-Cut business cards  use shape to say something about what or who they are advertising … these are particularly effective. Different materials can be used to produce business cards, the material often reflecting the business which is being marketed eg: metal, wood, perspex, fabric. Some designers move away from the traditional style business card totally.

Some of the most distinctive business cards I encountered on my research are shown below:

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One of the things I have become involved with this year has been Dr Sketchy’s Anti-Art School, which combines life drawing classes with Burlesque themed entertainment.

http://drsketchynorthwales.co.uk/

So what’s this really all about ?

Dr. Sketchy’s Anti-Art School North Wales lets you loose, to ‘draw’ inspiration from theatrical burlesque performers, the playground of the fun, colour, weird and wonderful
~ an excellent source for artists and non-artists alike.

Dr. Sketchy’s North Wales only wants you to have the very best kind of fun when engaging the right side of your brain, so each class will set the tone with a different theme, prizes to win, ability to drink booze whilst drawing and listen to the best old
timey tinkerly tunes. A feast for all senses I’m sure you’ll agree!

Remember! This is no place for rubbing out lines, tearing up work, only embracing
the now, for all skill levels.

Dr. Sketchy’s Anti-Art school is the little New York art event that became a
movement. Founded in 2005 in a dive bar in Brooklyn, by model and artist Molly Crabapple. Dr. Sketchy’s the world’s premier alternative drawing movement has now spread to over 120 cities worldwide. From Tokyo to Tennessee, to NYC and Paris!

The North Wales tale began in the autumn of 2010. Travelling the region for interesting haunts from castles to coal mines to bring you an art experience like no other! With Madame Ex at the helm to help both experienced and new artists on their way. It’s what a life drawing class would be like if they held them at the Moulin Rouge…

Expect a roomful of all kinds of folk from artists to beginners and back again. Quick sketches into longer ones, fun exercises (all sitting down of course) performances and prizes. Bring your own pens, pencils, charcoal, oil pastels, neat water coloured sets, sketchbooks and drawing boards. Although supplies of A4 sheets of paper and soft drawing pencils will be available on the night.

I have really enjoyed attending this life drawing class “with a difference” and have improved my sketching skills greatly. The class has also provided me with inpsiration for my University projects such as the Music brief, and has given me the opportunity to improve my ability with drawing the female anatomy.

Dr Sketchys Posters:

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One of our Year Two projects is to be based on a visit to Chirk Castle. To gain inspiration from the castle and the grounds I spent a day there taking photographs and sketching the architectural features, the grounds and the interiors. Some of the photographs I have taken:

This is just a sample of the many many photographs I took,  but I think this blog is becoming a bit photo-heavy, so I will upload the rest and post a link !!

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