Ideally each storyboard image would be evaluated in its own right, and then an evaluation of the resulting whole considered. In this case, however, I think it is sufficient to work in generalities of the images as a whole. I would suggest that most of the images contain technical errors, but these aren’t sufficient render the image as a whole as unacceptable. In the “…and grabbed some food” scene, for example, the sleeve on the right hand side doesn’t read correctly as the line of the back of the sleeve was exaggerated. It was intended to overlap the sleeve, but it has been taken a little too far. In “the drive back” scene the horizon has been placed a little too high in the image, which has lead to a distorted feel to the image as a whole. There are similar issues in some, possibly most, of the drawings.
One potential issue in the construction is the differences in background tone of the different images. This stems from the use of a relatively informal photographic and image processing process being used to transfer paper and ink to the computer for processing. Either a more careful photographic process, or some extended post processing could resolve that. The reason that I didn’t do it is that I intended to process the images in Krita and add a level of colour using an ink-wash style. Unfortunately time didn’t allow this to be completed.
I quite like the flow of the directional arrows from scene to scene, and think that the overall story could be made to work if it ever was turned into a short video. It wouldn’t, however, be the most exciting video in the world. The storyboard is a significant improvement in terms of changes of scene style and visual approach from my original concept. This is due, to a large degree, to the thinking that flowed directly from the storyboard research I did after doing my initial sketch.
In this case I am including both the Austrian WOMAD and the Sculpture photomontages within the submission. These are included for different reasons. The Austrian WOMAD demonstrates where I have got to with Figure drawing, using a combination of pastels on paper and electronic techniques. The sculpture image demonstrates how I might use this approach in my sculptural practice. One of the major suggestions that my tutor made was to consider the interaction between my drawing and sculptural practices.
The shadows in the Austrian WOMAD scene need some work. I deliberately made them somewhat less defined than those of the sculptural scene. I think I may have made them a little too undefined as they’ve ended with an almost smoky feel. The shadow from the dancing girl in the foreground should also be (slightly) more to the right than it is to be fully consistent with the flag shadows.
In both cases I think the drawings work in an acceptable way within the scene as a whole. I is clear that they are drawings within a photo – but that was intended. There is, however, sufficient realism to them not to be a problem within that. The basic compositions work reasonably well, and the colour schemes of the drawings and the photographs match well enough. In the case of the tent drawing this required a degree of adjustment of the colour curves of the photograph of the drawing. It was too garish when first inserted into the scene.
Reflection and Evaluation
What went well?
As for the print project, the style I approach this project in was “do a bit, research a bit, reflect and repeat”. This seems to work well, and has produced reasonable quality results. All 3 pieces of work have come out fairly well, and are an interesting foray into different styles of working. I think the work has pushed me in an interesting and potentially very useful direction.
As part of the work I did some initial research, which stretched from the basics of photomontage through to figure drawing. The figure drawing part of this is still awaiting a full write up. In essence, however, it involved consideration of various Anatomy Drawing books, as well as Anatomy for sculptors. To this was added various research on the web for figure drawing hints and tips.
I also needed a certain level of investigation into photomontage techniques, and the uses of the photo editing and digital drawing software. Some of this, and the experiments that accompanied it, has been written up. I also included a level of examination of the historical context of photomontage. This help form the idea for the Austrian WOMAD scene , but it was my research in Drawing for Sculpture that lead to the sculptural forms. There were other areas I had expected to find the technique used but didn’t – especially in Archeologic reconstruction work. This work drove my experimentation and consideration, as did the investigation into the practical needs of driving the tool set.
What could have been better?
For both projects a few more iterations of “do-reflect-study-do” would allow the final results to be refined further. This is true of multiple aspects of each image, including the technical construction as well as the more aesthetic considerations. The production of these images has also made me consider more extravagant ideas that might be interesting whilst still fitting the brief. I have some photographs of myself and family swimming underwater, for example, which would be placed in the clouds with a landscape far below. Thus the landscape is the drawing and the figures the photo.
As predicted, the drawing of figures (especially faces) for the Austrian WOMAD scene was a struggle and to say I’m not completely happy is an understatement. I need to continue to practice my drawing of figures for a while yet, and get to the point where the basic form is sufficiently embedded in my drawing practice that I can start to bring out expression and character rather than just struggle to make them look human. This will, however, be a long term project. A worthwhile one, however, as this is a limiting factor in both my drawing and sculpture.
What other research might I have done?
There are a number of areas that will be of use for future consideration:
- Further research into digital drawing and image manipulation techniques. In particular, better approach to blending edges.
- Approaches to matching light effects in the photograph to the look of the drawn subjects;
- Approaches for sizing and positioning items within the photographic frame. This requires a slightly different approach to drawing in perspective, although it is clearly an aligned challenge.