Part Three – Working it Out

Project: Composition and Viewpoint

Arranging the bigger picture elements

  • Placement
  • Scale
  • Contrast
  • Shape
  • Space (separation).

Compositional structure

  • Horizontals & Verticals: holding in place
  • Diagonals: Dynamic
  • Zig Zags: Dizzyness,disorder
  • Floating without an horizon
  • The frame

Hierarchy in the Image

  • Choosing the focus
  • Colours – ‘Hot’, based on Red or Yellow
  • Key to conveying the meaning

Project: Visual Properties

The hierarchy is the ‘space within an image’

Established mechanisms / conventions of use

  • Hot colours demand focus
  • Cool colours receed
  • Hot focus upon cool ground is most prominent
  • Contrasts draw attention:
    • Contrasts in texture
    • Tonal contrast
    • Shape contrasts
  • reverse is also true – less important areas show cooler colour and lower contrasts

Areas of greatest visual interest are where the message is placed.

Format – cropping affects the image and it’s message.

Project: Abstract Illustration

Absence of a ‘scene’ from the depicted image.

An abstract approach may lead on to further ideas which may not be abstract. Focus is on elements to be developed:

  • Colour
  • Texture
  • Shape
  • Structure

Meanings associated at this level may vary culturally

Project: Diagrammatic illustration

Freestanding  elements

System of interpretation

  • Maps
  • Charts

Project: visuals

Visuals (or “roughs”) for approval by a client prior to creation of finished work

Roughs: Exploration, energy

Thumbnails: cycle of development for illustrator’s internal process (not visuals!)

Scaling: Aspect ratio… composition in roughs/thumbnails… maintain proportions

Client Visuals: Those which ARE shown to the client. Not finished work, but carefully selected to help client understand the intent. Possibly… drawn by illustrator in their style upon request of creative team.

Line visual: no tone or colour. Just a ‘fine liner’ or similar

Clients sign off on a ‘Client Visual’… final artwork should only be different to this version in its rendering.

Client visuals may be used to factor several parts of a final work that are outside of the illustration – text placement and graphic elements. The client visual therefore needs to have enough structure to enable the other teams to tie their work in with the proposed illustration. It may be shown to other ‘directors’ who are not visually trained and may need annotations and notes in order to convey the intent.

Become confident as a ‘draughtsman’ – comprises ability to distil complex visual scene.

Project: Creating Mock-ups

A mock-up/prototype reveals finished function.

Communicates to your client on many levels – factual, trust, moral and ethics.

 

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