Project: Composition and Viewpoint
Arranging the bigger picture elements
- Space (separation).
- 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:
Meanings associated at this level may vary culturally
Project: Diagrammatic illustration
System of interpretation
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.