End of Module Self Evaluation OUIL 504

I have come to really enjoy this module. It has been such a long developmental period, that I really think I have on the whole benefitted from.

Although this module has been split into three main briefs, I have found that my progress and development has been down to an intertwined learning experience and journey of all them all combined. For example some of my early character development in my visual journal, helped to inform my initial etching designs, and also the way I went about conveying my characters in my animations - but then as I went on to progress with these briefs, I found that the work and imagery I had been creating for that was then coming back and informing my visual journal.

Overall I am a bit disappointed with the quantity and quality of work produced for my visual journal however, my drawing has really evolved over this module, I have begun to develop a confident way of representing and drawing characters, that are becoming more and more expressive and communicative as drawings. I hope that the evidence of this can be seen in my final outcomes for my animations. Finding the right drawing too and paying closer attention to contextual research has helped this certainly. Quentin Blake is perhaps the best example of how a drawing doesn't have to be incredibly detailed or accurate to convey across a wonderful sense of expression charm and character. Tool wise, getting and playing with a brush pen has helped to make my drawings, and especially characters even more carefree and expressive, and I believe now that I could really be on to something with a dip nib and ink - this allows me wonderful delicate lines and necessary refinement. Combined with my developed use of, particularly ink based, textures - that afford me lots of lovely expression. I still have such a long way to go with this - more and more drawing is needed to get even more expression that communicates across these characters and drawings. It is something that I hope will continue to evolve and refine itself for as long as I draw, but this module has definitely provided such a good focus and catalyst for its development.

Moving images has been something completely new to me, animation requires such a different level of thought and consideration. You have some much more scope to communicate, but then the challenge comes with choosing how to go about carefully making the most of this and creating something that is actually effective whilst balancing these with your actual ability to make these pictures move, and what is feasible and possible in the time available. Animation is very time consuming and not easy, somethings - especially for me at my early and incompetent stage  - are just more possible than others. 

I have really found that this has helped me to think about how I can get so much more out of just a still drawing. Especially under dragon frame, when I was drawing straight under camera, I really came to appreciate the value of a line when just a few simple brushstrokes can seem to change the entire look of your drawing. I felt that my practices at animating Death especially taught me this - by the end I felt like I could make his whole facial expression change just by adding a little bit of texture and some more lines. 

Overall I think that I have managed to have some successes with animation, such as initially one of the first animations that I made with cut out collage had some lovely textures that do convey across quite well when put into motion. That was only on a very basic level though, it was a struggle to create refined or quality images this way. Animation has been quite an addictive thing, I wanted to just keep trying to improve them and edit them more and more on after effects, but there comes a point where you have to accept that there is a deadline and many other things to be negotiated first. 

Successes I have had in animation have been with my sense of playfulness and character, and with regards to my finals although technically there are so many errors in them, and my use of aftereffects is quite shoddy and painstaking, I am happy with the sense of character and playfulness that they convey, I think that I did just about manage to answer what I set out to do - which was convey they wonderful, humorous, magical and strange aspects to Terry Pratchett's fantasy and hopefully spark some intrigue with my animation stings, their short nature doesn't should hopefully leave viewers curious as to why for example they librarian is very much an orangutang, or what Death is doing with a stick of party food. 

There are far too many mistakes and the look of them isn't that good - my technical skills as an animator need a lot more honing! (not to mention my storyboarding abilities) But I am still happy with the overall effect, and especially how much the music gives them a humours and playful feel. These animations are very me, which perhaps isn't a good thing but then again I suppose Illustrators all have practices that are very personal to them, it's best to stick to who you are and what you love and just improve that instead of trying to invent something different.

So perhaps I have learnt that there is more to animation and indeed printing than just having perfect visuals for the final outcomes, as these are such hugely process driven practices. You can still have a satisfying end result that does answer what you set out to do without them being perfect, because the overall effect that they have is accountable to so many more things than just a perfect drawings or a super polished animation.

Printed pictures - successes: I have really enjoyed getting to experiment and learn about so many print process. Especially the more handcrafted ones, such as lino and etching, I have enjoyed and connected with. I have fallen a little bit in love with etching, it is a process that suits me and my practice well. I gained an understanding of it through much hands on practice, and through contextual research especially has helped me to see what etching is capable of and where I might take it, alongside interesting techniques - such as etching the lines over different time periods, so that some lines can be made to be bolder than others. It it is something that I believe I could continue to further develop and actually have a chance at getting good at (in the future, these prints and this module has just been the start - I believe I could with time get much much better at it). 

Things to improve on, as always are my compositional skills. I have really tried to tackle this with the printed pictures brief, and I have come away with a small degree of success, but in general they are still not that good at all, they're very basic and could be pushed. 

The neatness of my prints is not so good either, some of them are a bit squint, with the stray finger print. This really bothers me as I would love to achieve perfection from this process that I have come to enjoy so much, but the thing with etching is that it is a long process with many different components to it which all influence the look of the final print. It is not just a case of having a beautiful line drawn image - the texture of the inks, the colour blends, the history of the copper plate, how long you put it in the acid for, even how long you soak your paper for all play their parts in defining the image. So although I do wish that my final prints were better, both compositionally and with regards to the colours and the printing of the line work, I think that I can get away with some of these, as the overall effect, look and feel of the etchings is enough to just about make them successful. I should not be disappointed with them.

Things I will do differently for next time, firstly I have found that with my compositional development, I can't improve them just by re-sketching again and again, the only way I can really improve them is to actually have a go at printing them, or making my final, then after that I could see the successes and weaknesses and evolve from there.

An important lesson learnt has been to keep things simple! every time I would get very stuck or confused with this module it was generally because I was trying to attempt something very big and a bit mad. It's very natural for me to want to whizz off on a tangent, but in this module I referred back to the brief and tried to refresh what it was that I should be aiming to achieve and apply it to where my work it at. Rereading and evaluating my progress against the original brief is such a valuable thing to do and  is something that I need to always do in the future. Sometimes aiming to answer something as simply as possible has provided me with the scope to create my optimum outcomes.

My attendance has been decent, and my work ethic certainly towards the end of this module has been stronger I would say than previous modules, which I think has really benefitted my final outcomes. I almost never produce final outcomes that are of a respectable finished quality or that I feel stand up to the likes of my peers, this time however I think I have had the time to develop and evolve my outcomes that little bit further and that one step further that has made all of the difference to the overall quality. They are a long way from perfect here, but considering that these are two process that have been completely new to me at the start of this, I am happy and maybe even the tiniest bit proud to hold my head up and put my name to them. I hope that in the future I can continue to find the time to further develop my final concepts just those few times more, it makes the difference between just passing the module and actually heading towards answering the briefs.

Project Proposal Forms

OUIL504 Illustration 1: Process & Production

STUDIO BRIEF 2 PROJECT PROPOSAL: Moving Pictures

I intend to produce ……

4 animated stings, advertising Terry Pratchett's Discworld Series.

The content will focus on (identify 3 specific themes, texts or concepts)

1. The characters from the Discworld. I will base one sting on four quite iconic characters from this series. 2. The humour's nature of these characters, and thus the series in general. 3. The magical, creative, and strange nature to it. 4. Celebrating the wonderfulness of the characters and the series.

I will be aiming to communicate (identify 3 specific messages, ideas, moods etc.)

1. The humour of this series. 2. The inventiveness of these characters, and thus a reflection of the Discworld. 3. The strange, magical and quite different tone of it.

To an audience of ….. (name 3 characteristics)

1. Younger people, perhaps even children - This might spark their interest. 2. Fan's and lovers of the Discworld and it's many iconic characters. 3. People who do not know about Terry Pratchett or the Discworld. BA (Hons) Illustration - Level 05 OUIL504 Illustration 1: Process & Production STUDIO BRIEF 3 PROJECT PROPOSAL: Printed Pictures I intend to produce …… A series of 6 or possibly eight prints, of very small etchings, possibly in a square format. (would like to produce eight but will see how it goes as it is a lengthy process. They will be of motifs and key imagery which show off the themes and content of Terry Pratchett's novel Equal Rites. Perhaps even as part of a specialist series of illustration for the book, so two could well be the cover and end page and the rest could be found at the start of the chapters. Use magic/sea life imagery to create relevant backgrounds. I would like these etchings to be a beautiful celebration of the book and story. The content will focus on (identify 3 specific themes, texts or concepts) 1. Iconic/key imagery and motives from equal rites. 2. Magic 3. Humour I will be aiming to communicate (identify 3 specific messages, ideas, moods etc.) 1. The over sense of Equal rites, the basic (odd and brilliant) characters and motifs. 2. The humorous strange qualities of This book and some of its many striking imagery.  3. The overall undercurrent faint but constant theme of the book of misogyny, and how it can't be justified other than with the argument 'just because!'. To an audience of ….. (name 3 characteristics) 1. Quite a general audience, it could appeal to quite a few, but most of all it might be of particular interest to any who know the book. 2. Fan's of Terry Pratchett's work. 3. Book and prints lovers.

Final Outcomes for Printed Pictures

Set One:

Set Two: 

Set Three:

Presentation:

I am presenting my final designs in the form of a booklet, with quotations in tracing paper over each etching that describes some of the key themes of the book, over all the etchings and the quotations communicate the essence of the book. 

I would like to include one extra print of the witches hat as a sort of title Ilustration, as this motif is one that simply and best gets accross the essence of what this tale is about.

I want to use this print as it contains all of the colours that the rest of the etchings contain, which i feel helps to sum them all up and stand for the three sets as a whole and more totally. 

I chose tracing paper/this quite special type of newsprint paper to interweave with the quotations, as the delicate, translucent and textured nature of it brings out the best of my prints. It is unobtrusive to my designs, simply adding to the over delicate and very hand crafted sense that they give off. For this reason also I decided not to trim down my etchings, as currently as this little booklet it has quite a nice feel to it, and by slicing all the edges off I would lose this handcrafted feel. (Or perhaps it might not, but I'm fond of it the way it is, and would be sad to ruin it all now. - For next time I shall do some trimming and cropping tests to gauge.)

I am presenting them in this book format as this is what I originally proposed, that these etching be suitable for a limited edition copy of the book!

Overall the drawing quality isn't as good as I would like or believe that I could get, but in the time that I have spent on it I am very happy with the development and evolution of my printing journey as a whole, and think that this set of prints has come together well for me, as a personal achievement, as usually my final resolutions are some sort of compromise and are not well resolved at all. So although these are not as good as I would like them to be, they are something that I am a little bit proud of. 

Moving Pictures Final Outcomes

My Final Animation Stings:

Death at a Party from Jessie Broad on Vimeo.

Rincewind and The Luggage from Jessie Broad on Vimeo.

Witches from Jessie Broad on Vimeo.

The Unseen University Librarian from Jessie Broad on Vimeo.

The Visual Journal

Etching Paper Tests

For my final Prints I printed them onto Somerset paper, and this made a huge difference to the general quality and feel of the prints. I tried some prints on the Silver antiquated version of this paper, and they were quite lovely too, however the more creamy colour to the paper just didn't contrast with my prints enough to do justice to all of the delicate little detail, so I opted to stick with just printing all of my finals onto the white Somerset paper. The tests of these can be found in the set of etchings titled reject final prints. Taking a picture and uploading it onto the blog just wouldn't be enough to do it justice.

Creating my Final etchings

Eventually I came up with a decent system for placing my paper in the right place on top of my etchings. I drew out the size of my paper in bold red pen on some newsprints, then I would place my etching onto tissue paper that was see through, and then just shift the tracing paper around until it was central to my page - this method meant I didn't scrape ink everywhere and could just reuse these templates!

 

The texture of the plates has printed best of all on this plate. Although not all of the plates had a texture, some were just plain. I tried to pick the textured plates to go with a composition that I think it would suit the most, and how well they would hence work in their sets.

Here was the photo etching failed copper plate that I got to make my finals with. It has some really ideal marks on it that I am actually really pleased with how they came out. They added a good amount of texture, which as it wasn't such a deep indentation on the plate, printed far more lightly.

The drawing and line work really isn't good. The balance of the composition is very off, but since the texture of the background adds to the effect, and I didn't have a second plate with that, and also due to time constraints I didn't really have a chance to re draw a new one.

The colours almost worked. I decided to ink them in pink and blue, blue being for the wizard and pink for the witch in the individual hat prints. This was to be a bit of a play on gender cliches, such as blue representing males for a baby, and pink for a female. I used this to highlight out the general gender wars and misogyny which is perhaps the strongest running theme of the book. On this one were they clash I switched them around as a way of communicating the curious mix up and bewildering struggle for Esk being the first ever female Wizard - that isn't initally allowed or supposed to be one!

This was the print that I added right at the end to complete the third set of etchings. As an image conceptually it could be pushed much more, the hand should really look quite strange and wizzardy, and the roll up should look more silly, and clear that it is a roll up. Sometimes though with etching at this small scale it is quite hard to depict that level of detail, but there could still be an improvement on this.

It was quite difficult choosing which prints I would keep in my final set. Most of my prints were't that good, or just not quite right. I tried to pick ones that worked best as a set, going for ones with a similar density level, clearness and quality of line. They are certainly a lot stronger as a set in general, the over all texture and general look and feel of etching prints very slightly overrides the drawings and inking's not being as good as I might have liked them to be.

Organising my etchings into sets

My tutorial made me consider how my prints work together. My tutor pointed out that already some worked together. So I shall now consider them in sets.

The staff images can be a set, and the witches and wizards hat's can work as a set. And if I have time I will make a third set with the final images which are the orangutang librarian holding some books, and death holding a cocktail stick of party food. My final etching image was an owl in a tree, which was based on Granny and the Witch craft of mind 'borrowing', where she often borrows the body of an owl, which in this case she is talking to the tree that was once a wizard. Out of the final three the owl image fits in the least well, so I shall discard it, and think up another design to complete this third and final set.

The third set is based on some of the characters from the story, Equal Rites, (the more interesting and strange ones!) holding unlikely things. I hope that this set should get across the strange, humorous, and somewhat more light-hearted nature of Terry Pratchett's fantasy Discworld.

I went and re-referred to the book again to find some inspiration for the final character.

I considered using Granny Weatherwax, and some of her strange mysterious herbs, but then I remembered Cutangle and all the roll up cigarettes that he smokes (he is quite a senior Wizard at the Unseen University). The time scale of a wizard and smoking a 'roll up' don't quite match, so hopefully by creating an image based on this contrast it will come across as being humorous,

Refinement of my final compositions

Creating the compositions for my Etchings

For creating the compositions of my etchings I create the actual image by looking at a series of different references, some of them being my own hands and others being more photographic. My drawing is at it's best when it's at it's initial exploratory, inquisitive, light hearted and just-testing-so-I-don't-have-to-worry stage (sounds like I'm being far too complimentary about my drawing, I also currently incapable of finding a shorter way to describe it.) So to keep it at that stage I like to draw my compositions nearly for the first time on the actual plate. So far I would say that yes it doesn't get the best drawings ever, but I'm not sure of if be capable of them anyway, and it does give my images a certain natural quality and expressive charm that cannot be manufactured or gained through over drawing the drawing (for these sort of line drawings of mine at least.)

I would say that this approach is very true of the way I went about creating my animations, hence why I am tagging that brief in this post - and would say that this realisation is a development (and hopefully small improvement!) in the way I 'competently' create images! (Relavance of the visual journal!)

I use little scraps of appear and especially tracing paper to layout and test out compositions for creating my etchings:

Here are my final proposed tests for Printed Pictures, neatly presented and documented to see them at their best:

Creating my final stings

I created my final stings under camera in dragon frame with a bit of frame by frame with a light box underneath. This approach suited me well, it allowed me to try and add lots of expressive texture as movement, and it was okay to make some mistakes as I could just work with these and work them into my drawings as they progressed. The finished result is quite imperfect but this works with the way that I have gone about drawing them, the characters have a slightly greater sense of movement. I didn't really get them to move or do anything as exciting or impressive as I might have liked, but to add much more complication to the image sequence might not have come out very well in such a short space of viewing time as I had. 

The backgrounds and textures that I used could be better, it would have been cool if I could have had time to create some more relevant back grounds for what was going on for each character. I would have liked to have developed perhaps some looser and more expressive scenes to go into the background so as not to be over complicated. Unfortunately I wasn't so clever and far enough ahead  to develop these :(. Maybe it would have over complicated the image anyway...

My final stings are quite shoddy, and this is partly down to my struggling abilities with after effects, I need to have a lot more practice with that software. I am however quite pleased with the music, I think that it just makes the animations and gives it the perfect humorous and a bit mad vibes that I wanted. I spent quite a lot of time editing the music and trying to pick the perfect sections the accent what was going on in the image sequence. I hope that people will watch these and take joy in the strangeness of them, I kind of want people to laugh at them in a good way!

I had many practice attempts at trying to get the right sort of had written font for the text:

Story Boarding:

My story boards were very sketchy, but I made one A3 page like this for each of my stings which roughly detailed and described how my drawings for them would go. I found these much more natural to make than filling in lots of boxes.

As I was creating each sting in dragon frame I would use scrap bits of paper to roughly lay out and test where and how they would look, adjusting them as I checked them on screen.

After Effects

My documentation of completing my stings in aftereffects this final decision making process is not top notch picture wise - the computer wouldn't let me screen grab any frames to sho  w on here.

But I just played about with stretching out the length of them a bit, so that some of the detail was easier to notice, and to edit the levels of them so that they were much more clear. I did quite a lot with the editing of the hue and saturation as well, to try and get the right feel to them. I had a go at making it zoom in and out of some bits of my drawings, but this made them even busier, and made it hard to pick up all of the detail. I would have liked to have learnt how to speed up some bits of my animations and slow it down in others though. With regards to the finish of these, it really could be a lot better, but since these are my first animations and I think the overall effect just about works I'm not too disappointed in them!

Animating is such an interesting process, it really makes you consider how much a simple brush stroke can change the whole tone and feel of your drawing - and how much you can communicate with just simple drawings. It has made me I think slightly more aware of how to try to get an image to communicate, for example what sort of impressions that they would give an onlooker - what I would want them to think is going on, like with the expressions of my characters etc.

responsive - 15th of January

Music For my Animations

The obvious thing/first thing to think of doing sound wise for my animations would be sound effects or noises that quite literally go with what is on the screen, like some monkey noises for the librarian one. But as they are so simple I think they need something a bit different to give them some more depth. I like the idea of perhaps some different music that suits the playful, humorous and very imaginative nature of these characters - and perhaps the general madness of Terry Pratchett's Discworld.

I really like the idea of using some sort of sixties style, get away/racing music for the Witch animation. It just add's some humour and a strange sort of sense of character to a currently relatively dull piece of animation.

https://www.youtube.com/watch?v=zEtWmvP8Lz8

Death Dropped in from his party:

It is quite hard to find the perfect sound as really they are quite short.

I especially want to get across the light hearted and quite different to the cliche sinister grim reaper nature of this character death.

Here are some different sounds I kind of like the idea of:

https://www.youtube.com/watch?v=JvfG9uFswis&list=PLA69A8144734AA55A

https://www.youtube.com/watch?v=f5hOn3oQvhE&index=3&list=PLA69A8144734AA55A

https://www.youtube.com/watch?v=BMPJZGoW0to&index=4&list=PLA69A8144734AA55A



I found this playlist which is the best for inspiration!

https://www.youtube.com/watch?v=ExRdQtqHyac&index=7&list=PLTbfT0tS1eOahHJB4uDwGiZsHTJAUrLgQ

Interflora - research

check out ephemera for grandparents day - interflora

Spoke to a friend who works at interflora, or at a florist that supplies and deals with interflora

She says that they get to ship flowers all across the world for it.
no one in the UK gets it think its another holiday/novelty celebration/money making thing.

First Animation in its early stages!

So I spent the whole day today in the AV SUITS.

Questions to ask Mike

• Is it possible to slow down some parts of my animation, but to keep the others quicker?
• How do I include sound into my animations?
• What is the best way to add textures and such forth to them?

Getting deaths facial expression right

When drawing out my animations I would have some difficulty starting, as I wanted it to be as good as I could get it. which meant that Death's eye sockets had to have the perfect amount of expression in them. Here are a few of my practices at drawing some out in my visual journal. 

My character development in general with this project has really come on quite a long way, it's been great to have this aim of representing some characters which I am very find of and think very highly of - being that bit closer to it/it meaning more to me seem's to have been good incentive.

Progress Tutorial - January 9th.

General

• I have a good quantity of testing, I just need to be sure that this us all well and clearly documented on my blog.
• I have found out a lot more about myself as a drawer, and what I want to get out of drawing. (making note to include and discuss in my final evaluation.)
• Remember the emphasis is not on the end product, only 20% is on technical quality. 
• Visual Journal - This is "a bit chaotic". I ought to make an Issue collection, which documents the general story of my sketchbook. At the moment this is definitely not clear enough. I should mark out the best bits and highlights.

To Potentially Test:

• Animation with handwritten annotations.
• Male and female magical hats - could I use blue to signify boys and pink for girls? Just to further drive home my cliche men v woman point?

Moving Image - 

• "simple effective visual concept that captures the quality of your media"

Pointers to improve on/advice.

• I really must set myself specific timescales for production and really stick to them.
• Use one image, of hand created text which I can use for all of my animation stings - this will save me some valuable time and probably mean that it is of a better quality.
• Simplify down what I am creating, so as to have definitely answered the brief! Later I can add more to it potentially. 
• Following on from those lines, I should really just focus on creating three stings.
•  I should consider just including some of my handwriting, with some little annotations and quotations. 

Printed Pictures

• 'Simple effective images that work well when I discuss them" - I was aiming for very minimalistic etchings that basically described/were of the key concepts of the book, so this is positive feedback. 

• I need consider how they all work together, some of them seem rather random, and they definitely have a confusing sense of continuity.
• So I will organise them into sets, already I can draw out two sets - the witches hat and the wizards hat, and the two clashing together - (which inspired my tutor to say that that basically is what sorcery is, which made me feel like I had achieved a little something!). A second set is the staff themed three, so that leaves the owl (granny mind borrowing and talking to the tree who was once a wizard), DEATH'S hand (who is holding a cocktail stick of party food from the party that he has just been summoned from), and the Librarian's arms holding some books. 
• Perhaps I could extend that set by continuing with the strange character holding something unlikely theme? That would just generally communicate a sense of how weird, wonderful, imaginative and humorous Terry Pratchett's characters are.
• Aesthetically speaking the "use of colour and texture works well but you need to ensure that line quality is defined". 

Photographing/viewing under clear perspex and against fresh white paper

I was also shown a very good way of presenting my etchings nicely, to take a picture of them and to see them in a much better environment that really improved how they looked and made all the colours and contrasts look vastly improved. Basically it seemed to improve their quality.

I also really need to consider how I want to present my final etchings. As they are loosely aimed at existing as book illustrations for the story ('Equal Rites) I should think of a more interesting, neat or just charming way of either packaging or presenting.

• I'm fond of using tracing/clear paper, so why not experiment with placing a sheet of this between each etching, maybe in a stack a bit like a book?
• What sort of order should I consider?
• I could include relevant quotations neatly hand written onto the clear paper, that would also help to better convey what each etching is about, also for me I think this could help them to seem far more engaging and really make the most of the lovely little size that the prints are/will be.

Orrautang refrence

Contextual Reference

Leslie White

I was using oranges, burnt sienna, prussian blue, aureolin and sepia to render her form. She was appearing more and more colorless as my painting progressed. I then remembered something Don Andrews taught in a workshop I took. He said the midtone colors were the brightest and what brought “color” to a watercolor painting.

make an issue to tell the story of my project

Animation Plans

The Librarian:

Here are some initial sketchbook development (my equivalent of storyboarding) and just general brain storming of where I want my animations to go. Here I have come up with the idea to draw in the Librarian from the face down, and when I get to his arms and hands to have them fill with a teetering tower of books. Then perhaps a banana could be lowered into view and we could see his eyes move to follow it. This sort of structure could suit the aesthetic of how I plan to create it (all under camera on dragon frame).

Image making for animation, and some successful image making from my visual journal:

Image making for animation, and some successful image making from my visual journal:

VISUAL JOURNAL

Witches

A cotton bud!

I happened across this as a tool to ink with quite by accident this morning. To avoid getting my hair wet in the shower I used one to pin my plait into a coil, and forgot to take it down again until I was in the studios, so thus I put the cotton bud into my drawing box, and the rest is history (well, as it were).

Using it and quink ink is what created this nice more half tone texture which in this picture is defining the witches clothing. The absorbent nature of it leaves this paler shade of the black ink which allows the gestures of the brushstrokes to be visible - giving the little drawing a much more interesting sense of movement.

Librarian

• Really good ink textures.
• Movement in these stills.
• The ink textures turned these fairly bad drawings into one's that are relatively successful.
• The jerky line quality adds to the sense of movement also.
• The pair of hands on their own are my favourite, they just have a nice balance of gestural brushstroke movement and boldness, but also sensitive movement and detail with the fine nib and ink line work of the hands.

ANIMATION

Witches

A thought towards getting this to move for my animation, is that if by using the frame by frame drawn animation technique, and a light box I could make this image change a little, then use after effects to play these few frames on loop!

Format of Etching Plates

 DECISIONS

This was my original chosen format, but its quite large and very square, and it is much more difficult to occupy a whole square with a composition.

This is the format that I have been doing my latest tests too. This is because my test pieces of copper plate were created from an adapted copped pipe, which is only 82 mm wide when rolled out. When printed though I like this format, it's slightly closer to an A format which makes it look more harmonious/acceptable on A format paper, and it also makes it more plausible as a format that would exist in a book as a book illustration (which is where these pieces are loosely aimed).

I will try and get some feedback from my tutors and peers and allow that to help influence my decision on format size for my final prints.