Illustration Project - Check List to date & forthcoming Drawing Tasks

So far you should have the following work in your books:

• Research into Roald Dahl (1 page is fine)
• Research into Quentin Blake's illustrations for Dahl's books, include reproductions of his work, background information, analysis of his style and at least one visual response. (2 pages)
• Research into 2 films inspired by the works of Roald Dahl, some background information, justified personal opinion and images from the films (1 page for each film).
• At least 3 pages of storyboarding for your photoshoot, this should be a mix of quick sketches and annotation. Sketches should explore potential compositions for photos; annotation should include quotes from the book that you are illustrating and lists of requirements (models, postures, expressions, locations, props, costume, make up, lighting etc.).
• 1 or more pages showing some good examples of existing storyboards, with brief analysis.
• Contact sheets of prints from your photoshoot.
• Larger prints (A4/A5) of a range of your best shots.
• Research into one narrative photographer with fantastical elements - e.g. Annie Liebovitz, Ruven Afanador, Viona Ielegems, Tim Walker. 2 pages with imagery, background and some of your own analysis of a couple of specific shots, consider what practical steps went into creating the image we see. So discuss location, models, postures, costume, props, make up, composition, lighting, camera angle, post-production.

Now you have some exciting photographic imagery to work from it is time to get stuck into some drawing, which is after all a key skill in illustration.
By Monday 14th March you should complete the following:

• At least 2 sustained full page careful observational drawings from your photographs, use different media for each of these - e.g. one tonal image in pencil, and one piece in biro. Fine liners or coloured pencils might be other media to consider using for these controlled pieces.
• 4 or more quick expressive drawings - we will complete these in class against the clock!
• Research into 2 narrative illustrators, these MUST be one historical and one contemporary practitioner. In this research it is important to give background biographical information on each illustrator, analyse some specific images in terms of content, technique and media and justify your own opinions on the work. You also need to compare the illustrators from different eras and describe how you feel illustration has changed over time. This research is set to meet the requirements of the Narrative Illustration Unit, so MUST be done well. Choose one from each of these lists: 

CONTEMPORARY:

Chris Haughton

Axel Scheffler

Shaun Tan



Oliver Jeffers

Hope Gangloff

Dave McKean

HISTORICAL:

Randolph Caldecott

E.H. Shepard

Arthur Rackham

Beatrix Potter

Sir John Tenniel

Walter Crane


After you have researched your 2 illustrators you will need to produce some visual responses to their work. These responses should be undertaken in a similar way to how we approached the responses to Fashion Illustrators in the Trashion Project.

• Using your own photographs as inspiration produce 2 interpretations of your images in the style of each illustrator you have researched - that is 4 illustrations in total. Take time over these and do your best to really replicate the style and use appropriate media.
• Also over the next 10 days you should complete a second photoshoot so you have fresh imagery for printmaking the following week. If you used the studio for your first shoot then try to do something on location, whilst you may use some common elements (like the models for specific characters) you should aim to investigate different scenes from the original Dahl text you are basing your project around.

Illustration Project - WEEK 1.

Quentin Blake

• Research into Quentin Blake's illustration (print out several examples of his work and include personal analysis of his technique, background information and at least one visual response).

Fantastic Mr. Fox, directed by Wes Anderson

Research into at least 2 Films that are based on works by Roald Dahl. Again include vital information: director, year made, lead actors, some personal written response and good images from the film. It is particularly valuable to find "behind the scenes" information about the making of these films, for example storyboards and Artist's visualisations.
• Photoshoot storyboarding for 3 scenes from your chosen Roald Dahl story with annotation.                                                                Carefully read some specific scenes from your chosen story, photocopy these sections (say 2/3 pages of text for each scene selected) and go through with a highlighter picking out key aspects to consider for your photoshoot (these could be descriptions of locations, characters, or action). Then use your analysis of the text to complete at least 3 pages of storyboards with annotation, also include breakdown of requirements for your shoot/s (models, location, props, make up, lighting etc.).
• Examples of good existing storyboards presented in your sketchbook with some analysis (e.g. work by Josh Sheppard).

You should be aiming to prepare for photoshoots either on location over the weekend or in the studio at the early next week. Book your studio times well in advance and get technical help from Ben [Photography Technician] to use the studio lights properly.

New Project - Illustration

BTEC Extended Diploma in Art and Design

1^stYear Project Brief

“It’s Illustration Dahling!"

James Carver-Grenside - Matilda

Specialism: Photography & Illustration

TIME: 7 Weeks

COURSE UNIT COVERAGE:

UNIT 38 – Mixed Media Image Making
Target criteria
P1		Use experimental and non-traditional graphic media techniques and processes
P2		Use mixed media in producing graphic image outcomes
P3		Select reproduction techniques towards graphic image outcomes.
M1		Explore coherently, experimental and non-traditional graphic media
M2		Design an effective graphic media product which uses experimental and non-traditional graphic media practices
M3		Explain, with reference to well-chosen examples, reproduction techniques used towards graphic image outcomes.
D1		Explore independently, diverse experimental and non-traditional graphic media
D2		Design an innovative graphic media product independently, which uses experimental and non-traditional graphic media practices
D3		Evaluate, with reference to detailed examples, reproduction techniques used towards graphic image outcomes.
UNIT 48 – Narrative Image Making
Target criteria
P1	Investigate relevant examples of narrative imagery
P2	Review the processes used in illustrating narratives
P3	Develop ideas for narrative imagery in response to given themes
P4	Present narrative imagery
M1	Apply detailed investigations to inform narrative image making responses
M2	Analyse the processes used in illustrating narratives
M3	Develop coherent ideas for narrative imagery using effective visual language
M4	Concisely present resolved narrative imagery
D1	Integrate in-depth investigations and evaluation with development of innovative narrative image making responses
D2	Present diverse imaginative outcomes which demonstrate skilful narrative image making

ASSIGNMENT OUTLINE:

In this project you will be responding to a piece of narrative text (selected from the works of Roald Dahl), initially through photography, which will give you the imagery to develop towards making illustrations in a range of media.

The final objective is to produce a book of your illustrations alongside text from your selected story. Your final images could depict a sequence of events or you may wish to  portray several different scenes from the same book.

WEEK ONE: Research and Storyboards

In the first week of the project you will need to select and familiarise yourself with a book by Roald Dahl, many of you will know these stories well, but refreshing your memory through some reading will help you to visualise characters and scenes more effectively.

A full list of Roald Dahl’s work can be found online at www.roalddahl.com but here are a few you may want to consider:

Charlie and the Chocolate Factory, Fantastic Mr. Fox, George’s Marvellous Medicine, James and the Giant Peach, Matilda, The BFG, The Twits, The Witches, The Magic Finger.

As soon as you have selected your text you need to start shortlisting scenes that interest you in terms of developing photographic and illustrational work. Choose at least 3 separate scenes. Now you need to deconstruct these scenes …what do they include in terms of characters? Props? Costume? Location? Make Up?

You need to consider all these things carefully as you will be need to be resourceful and prepared in order to get as good a photoshoot as possible. To help you prepare for this you need to complete several pages of storyboarding for your shoot.

Remember your final illustrations need to be placed alongside specific sections of text, so it is important that you recreate events from the story in your Photoshoot.

Simple Storyboard

Use your storyboards to work out shot composition, use of props and location, camera angles and lighting. A good storyboard usually combines visuals with thoughtful annotation. Find some good examples of these online and include them in your sketchbook with some analysis on why they work well.

Remember a storyboard should be a functional tool that helps you resolve potential problems and prepare effectively, if it also includes strong drawing and good layout that is a real bonus. You may also find making some lists of props, models, costume, make up and locations required is helpful to your planning. Think ahead, if you need to book studio time then do this in advance (use photography if possible, otherwise a small space exists within the Art department).

This week you should also look at how others have responded the work of Roald Dahl, this will involve collecting imagery and analysing Quentin Blake’s original illustrations and 2 films that interpret Roald Dahl's stories such as Tim Burton's Charlie and the Chocolate Factory and Wes Anderson's Fantastic Mr. Fox. You should also find and analyse 2 existing storyboards, try looking at Josh Sheppard's work at

www.thestoryboardartist.com

WEEK 2: Photography

This week you need to carry out your photoshoot(s). Remember the imagery generated from this shoot will be sustaining your work for the next 6 weeks. If you get fantastic photos you are already a huge step down the road towards a successful project, poor or limited imagery will make the next 6 weeks a real struggle.

Consider every aspect of your photos and be resourceful. If you have ambitious ideas about location shoots make every effort to carry them out, if you need time away from the college campus to do this, then this can be arranged, but staff must know of your plans in advance.

Use your storyboards for inspiration and direct your models to get the shots you need, don’t forget that dramatic lighting and camera angles can help create powerful imagery.

Take lots of photos and print off contact sheets for your sketchbook. Select your favourite 12 images to start your illustrations from and print these out at A5 or A4. You may need to tweak your selected images with Photoshop to ensure you have optimum colour, definition and contrast.

Alongside your photography you need to research at least 2 photographers who explore narrative or fantastical themes through their work. Some good examples of this are James Carver-Grenside, Ruven Afanador, Viona Ielegems and Annie Liebovitz.

WEEK 3 and 4: Drawing

Through weeks 3 and 4 we will be concentrating on making a range of good drawings from your photographic source imagery. We want to see you explore drawing more thoroughly than you have done before: sustained studies, quick sketches and experimentation with a range of media.

Research 2 Artists/Illustrators whose work is focussed on strong drawing technique for example David Foldvari, Esra Roise, Hope Gangloff, Emily Gravett.

WEEK 5 and 6: Printmaking and Mixed Media Experimentation

Some time will be focussed on producing strong monoprints and relief (gold card) prints from your photos. We will then use the work you have generated to this point in the project to experiment with a mixed media approach. Use the photocopier, drawn elements, text, image transfer, photomontage, collage, printmaking, paint, acetates, photoshop etc. to come up with some inventive responses.

Research the work of at least 2 of the following illustrators to gain ideas for ways of applying a mixed media approach Eduardo Recife, Martin O’Neill, Tim Marrs, Dave McKean, Nazario Graziano, Oliver Jeffers.

WEEK 7: Selection, Presentation and Evaluation.

In the final week of the project you will select, scan and save your best work from the preceding weeks then compose these images alongside original text from your story. You will need to make a small investment (approx. £10 - £15) at this stage to upload your images onto an online book provider (such as Snapfish, Mixbook, Shutterfly or Blurb) and order a hard copy. 

You should complete your project with a word-processed evaluation of 600 – 800 words (further guidance for this will be given out).

MINIMUM SUBMISSION REQUIREMENTS:

A full detailed list will be given towards the conclusion of the project, but the following will all be required:

1 (or more) Sketchbooks with all the relevant research, storyboards, photography, drawing, printmaking and mixed media work.

A suitably bound and presented final book of illustrations.

A word-processed Evaluation of 600-800 words.

REFERENCES: See the text in the brief. Use the internet, use the library, use your imaginations!