I was struggling a bit with getting the finals RIGHT. I talked to Emma from my course about it and she suggested I try my hand composition as a square like in my second roughs, which helped me to develop the strongest three I think.
Teresa helped me to re-think my drawings, as I was initially going to just expand on my roughs, but she helped me to consider the form of them more. I took this techniques through to the moon and hand as well, as I think the detailed but 'rough around the edges' feel works better for Yutang's imagery, as he talks a lot about how even the imperfect is just right in most ways.
Initially I was struggling with how to decide on the final layout, so once I'd drawn out my final main illustrations, I used Kat's suggestion of tracing paper to trial different colour compositions and basically have a play.
I then asked some of my friends from my course which one's they prefered and why, which meant I was confident with my ideas and knew that they had some grounding to the subject.
What did they say/I decide?
- For the landscape moon, my coursemate Marnie said she felt the wrap around works best as it creates a natural line of sight from top left to bottom right whilst strongly linking all parts together
- I was concerned about having the hand square, and although my peers said it wasn't quite as effective as when it was landscape, it still worked and felt balanced with the negative space
- I wasn't too sure about the colours for the portrait, as the people I asked prefered the varying tones, but I felt that would make it too different from the other two with only one tone.
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