Rotation 4: Storyboarding

Figure 1.1 Lesson 1

From this lesson, I was most intrigued by some of the more subtle yet potent principles of composition that go beyond using a basic grid. I learnt that composition does not solely rely on using basic structures such as a compound curve orientation or radiating lines but also consider factors including contrast, balance, focus, pattern, proportion, unity etc. in which they all function concurrently to compliment each other and form a harmonious piece. All these elements along with various cinematic camera angles aid in insinuating the illusion of space. In regards to this, I applied these principles to create an alluring storyboard panel revealing a monster chasing a boy. I initially found it difficult to create a sense of depth but too alleviate this I lightly drew a grid so I could decipher the direction of the motion/movement as well as the focal points. Overall, I was very pleased by the outcome and feel this lesson was highly insightful in which I intend to apply/imbed these principles to many future projects and everyday drawings.

Figure 1.3 Storyboard Rough Draft

Figure 1.4 Developed Storyboard

For the prompt of storyboarding a conflict between two people in a cafe, I chose to take a more humorous and comical route. Hence, I revolved the story around siblings arguing as their mom takes a important call, as the situation escalates and more food is thrown around, the moon comes back to discover a mess. I initially struggled to simplify the drawings and distinguishing the characters using minimalistic figures but I found that working on a smaller scale was more useful in resolving this as it limits the amount of detail that could be added. I also followed a star like body form for my rough draft to further restrain myself from giving in to my inclination for detail. While I essentially enjoyed creating this storyboard I also struggled to dictate what is the most effective camera angle and visually pleasing route. I predominately relied on medium and close up shots to amplify the humour inherent n the narrative. The medium shot gives this sitcom feel where the viewer feels part of the table. The closeups are intended to heighten the comedic elements and emphasis the tension building between the siblings. Other strong point, is the ambiguity of the mother figure alluding to Tom and Jerry. As an extension, I would be interested to recreate this storyboard in a different medium to discover whether it communicates the narrative differently or hiders/enhances the tone/mood of the story, ultimately inquiring into how the composition/cinematography can be reinterpreted by the audience.

Figure 1.5 Lesson 3: Observational Drawing

I found this lesson to be highly useful which it encouraged me to look at singular independent elements of observational drawing, fundamentally breaking down my wholistic view on observational drawing and allowing me to hone in on the core points. I loved contour drawing the most as I’m fond of the minimalistic way you can capture an object, giving an illustrative tone to your work in contrast to a more traditional fine art appearance. On the other hand, I found drawing without looking highly challenging as it requires you to lose control and let loose with your work which I am not inclined to do as a perfectionist. Nonetheless, it was refreshing stepping outside my comfort zone and the idea of having to rely on my reference alongside my instincts as opposed to my eyes is very endearing. The most challenging of the four prompts was the last one, in which you build your canvas as your draw as opposed to knowing the size of your canvas before starting. This restricts you from actually having spacial awareness and an idea of size and proportion. This was a good opportunity to strengthen these skills ad practice working on larger scales as I tend to draw on A4 paper. Overall, I feel within this lesson alone I was able to really advance my skills, notice my strengths and recognise areas that need more focus. Furthermore, I am excited to combine all these skills today including texture, contour drawing, spacial drawing and reference drawing to optimise my technicality as well as creativity when it comes to my observational drawings.

1.6 Trip to Tate: Observational Drawings

I loved this experience, while I did attend life drawing prior to this, capturing a subject in a real moment as opposed to a stationary model adds a greater layer of depth/multiplicity to the work as a story can be derived from it. I loved how the process was invasive in a sense as you subtly attempt to draw the subject without hindering what their doing or creating a disturbance which would essentially halt your own drawing. I also like that loss of control once again where you can’t tell the model to hold still, in that sense I was pushed to be efficient and capture the essence of the pose. I also had to make thoughtful assumptions about their figure if they moved at times, becoming more intuitive and familiar with the basis of human anatomy. This was also the downfall of the project in which I struggled to always be efficient at points due to the unpredictability of whether the subject would move. To ease myself into this process and alleviate this problem, I honed in on figures who were hypnotised by their phones, appeared to be sitting our waiting in line. Overall, I felt like my life drawing skills were becoming better by every passing drawing hence I intend to apply this fieldwork to my daily practices by going out more often with the overarching purpose to observe and draw people.

1.7 3 Panel Story Project

Throughout these two weeks I was fundamentally given the opportunity to exercise my ability to judge what is the most effective route to take when drawing in terms of composition and cinematography. As a byproduct, I feel I have become more intuitive and developed a liking towards challenging prompts such as drawing without looking in which I was encouraged to lose control and let loose with my work which I am not inclined to do as a perfectionist. Nonetheless, it was refreshing stepping outside my comfort zone and the idea of having to rely on my reference alongside my instincts as opposed to my eyes is very endearing. I throughly enjoyed the final brief as I was fond of how I could apply a duplicity of life drawing elements such as spacial awareness and contour drawing. I was intrigued by the idea of using a real life observational drawing as the foundation to a narrative due to the contrast between imagination and reality inherent in the final outcome. To capture this, I chose to mimic the style of a minimalistic comic book, giving an illustrative tone to the work in contrast to a more traditional fine art appearance. When at the Tate, I was intrigued by the various relationships between people and the dynamic of their interactions (refer to figure 1.6). I noticed many couples and friends but was intrigued by the exasperated mom whose child wouldn’t sit still. I found I could create a very playful storyline around this hence my 3 panels depict a story of a boy allured by this artwork when all of a sudden the figure within painting comes to life, the boy attempts to capture the moms attention but fails as she drags his supposedly ‘crazy’ butt away. Overall, I was very pleased with the final outcome and intend to combine all my newly enhanced skills from the duration of the rotation including texture, contour drawing, spacial drawing and reference drawing to optimise my technicality as well as creativity when it comes to any future projects.