Wednesday, April 25, 2012

SS2- So far...

Due to unforeseen circumstances, I had to re design my production schedule in a way that I first get all my effects shots out of the way, ensuring that i have my effects and painting running simultaneously in production. Below are a couple of image scans of how i color coded shots from my storyboard. This essentially helped me keep track of what I'm forgetting and what has been done.

Monday, April 23, 2012

SS2- Color Scripts: Incubation Chamber

In terms of color, a shade of color comes in various tonal values. In this case, the color green is not just ordinary green, leaf green, or bottle green but rather a combination of several greens. This had to be  determined on the basis of the material of the element (glass in this case) that is green, the content within the material (liquid in this case). So I played around with a variety of shades till I reached a palette well suited for a radiation liquid filled incubation chamber.



Saturday, April 21, 2012

SS2- Texturing around



Combination of dirty brick wall textures

Option 01 (Without black blotch)
Option 02 (With black blotch painted over)

Tuesday, April 10, 2012

SS2- Storyboard revisions

Stories tend to undergo major changes or minor ones along the way. As I discussed my editing pattern with one of the cinematographers from my Uni, I was suggested to make a series of changes in my transitions which would help my story not only be more effective but fit the narrative technique of a graphic novel.


Friday, April 6, 2012

SS2- Micro Project: Technique of Painting

After talking to the student illustrator about his work process, I picked up the same technique and applied it using my own method by applying it onto a screen grab I took from a movie, as the shot was matching the ambience of the first scene of my film.

Before the application of Yens technique, I tested out the method with a color palette test. In addition Figure 3 depicts my own technique which I usually practice for most paintings. In the end I decided to you the combination of both the techniques wherein I would use my regular painting approach(Fig 3) for the backgrounds and Yens approach (Fig 2) for my characters. Reason being, Yens approach of using color over a black & white layer enables the image to stand out in a more graphic style, which suits the mood of my story which is of a graphic novel theme.
Movie still from Sweeney Todd (2007)

My photoshop version depicting the conversion of the original image
into Black and White and then coloring over it using the technique I tested above using the purple monotones. 

SS2- Advice from a Professional

Cinematographer, Jon Wood made a visit to the University campus to give

us a workshop on lighting a scene. I took the opportunity to get a practical demonstration from him on the kind of lighting I intend to use for my project. In addition, had the privilege to have a one to one discussion of my project, receiving valuable suggestions and inputs, therefore involving him in the process. In the end, made it a point to not only earn his last business card left but also have him as a LinkedIn contact.
Sharing the experience on linkedin

One of the subjects he introduced in our discussion was 'Lith Photography'.
He suggested I looked into this style of photography particularly known for it's approach of creating sharp contrasts to give a 'Noir' visual. I can then incorporate a 'Noir' ambience for my story as it will suit the theme. Some of the samples I found are below.


SS2- Deriving technique from inspiration

Looking through some of Yens work, I stumbled upon one in particular that showed a painting technique which I was familiar with but did not apply practically to my work. I asked Yen about the method he used to finished this piece and I came to realize that this was an efficient way to make the visual stand out more on screen. 

Work of Chen Hui Yen
The link to this art work can be originally found on his deviantart page link,

This technique is particularly relevant to me, as I will be using a monochrome color palette for my visuals. Therefore, instead of intricately painting different values of a color to my characters, I can paint using Black and White with grey as a neutral tone, making it easier to notice true values of highlights and shadows. I then add a new layer of a single base color above the Black & White layer ensuring I enable the 'Blending Mode' on the color layer. This can be further understood from the test and screen shots I've done below.

Testing out Yen's technique as above, but using a simple monochrome palette
to compare and see which technique is least time consuming
but with favorable results.

1) Manually applying different values of Purple using a brush with 100% opacity. True colors but time consuming when trying to achieving sharp contrasts.

2) After painting a monochrome layer of B&W using a 50% brush opacity, I then added the color purple over the B&W layer with the 'Overlay' blending option. This method makes the contrast pop out better and is also more efficient when working with B&W values.

3a)  Similar to test 1, but only using a brush with lesser opacity. This would be quite a time consuming technique to create highlights as it will take a lot of intricacy to play with different values of purple.

3b) Similar to test 3a but instead creating shadows. 

Therefore, the idea technique would be step 2 as it not only gives a desirable effect but much more easier to play with in terms of color values.

SS2- Finding a muse

In the midst of my research for visual stylization, I fortunately came across a series of Concept Art Illustrations displayed in the reception area of my University. An array of illustrations were set up by the students of the Illustration department. 

'Chen Hui Yen' is amongst one of the students who specializes in Movie Pre-Production, particularly Concept Art. Instantly grabbed my cell phone to capture some of his work below. I then approached the Illustration tutor 'George Hart' to enquire about getting in touch with his student. I fortunately discovered that Yen works most of the time in the same computer lab as I do. Didn't really take too much of stalking to get in touch with him. I managed to track several website links of his work and also took the opportunity in University to personally ask him about his painting methodologies. Probably then I could incorporate his technique to my work if it suits me.


Thursday, March 22, 2012

SS2- Mood Devpt.

Mood development on the basis of early reference material as below. Turns out this one
is really warm and rather cheery in comparison to a post apocalyptic scenario which should contain more purple and blues.

Derived mood and color from this live reference image taken
as a photograph in Goa's diwali market in India.

SS2- Handy Book References

A collection ranging from books for Digital painting techniques,
color scripting, caricaturing and graphic novels
These books particularly helped me with understanding the process of color scripts, mood boards,
painting techniques, art of compositions and all the key elements to a good pre-production.
A set of graphic novel books to understand the art, colors and stylization. In addition, the book in the middle
is like that of a graphic novel encyclopedia which contains different genres of graphic novels along with their cover designs to help me get an idea of the art style used in different books. 
In order to develop an efficient method of designing characters, I decided to explore caricaturing
and decided to pick this one to help me learn it's techniques. It essentially taught me how to create a face with accuracy but exaggeration from it's original form and reference.

SS2- Character Doodles

SS2- Visual Storytelling & Early Concepts

Learning to tell stories through pictures rather than words
Renowned artist Ian McCaig from GNOMON, elaborates the process of Visual Storytelling

Having viewed the above tutorial, I applied the similar visual storytelling procedure to my concept. The process is very straightforward. One does not need to work in a linear pattern where the shots are arranged in it's final place. The idea is to put down our imagination onto paper through a series of sketches in different papers without giving preference to logical sequencing of events. It is not about accuracy. All one should have is the idea of the story, and develop solutions for the narrative through random drawings. Towards the end, the papers can then be arranged according to your desired sequence for your story. Therefore, prior to my storyboarding process, I underwent this procedure to flesh out key events from my story.