After a series of traditional roughs, most of which focussed quite tightly on a seated protagonist, I decided to make more direct use of my collected reference. Roughly trying to pick out elements from each of the categories (Architecture, Art, Design, Film & TV, People & costume, Surface pattern, Transport) I felt a serendipitous connection to a particular photo of James Dean, seated appropriately in a tubular aluminium folding chair (an innovation of the late '40s & early '50s). From there I made several distinct digital prototype compositions simply by dragging, adding, removing and resizing elements. Audrey Hepburn even had to endure having her leg chopped off and rotated. In the end I settled on a limited range of vivid subjects that I hoped would immediately engage the attention of the proposed--teenage--audience.
The kitschy look of a completely pasted-up image didn't appeal to me and I felt the elements lacked unity, so I printed my final composition out and redrew it free-hand looking at a tracing, searching for a feeling of earnest hand finish. The printed wallpaper image and the Pollock painting, funnily enough, both proved prohibitively tricky to reproduce traditionally, so I determined to re-introduce them as digital elements.
So this illustration ended up being very experimental for me in some ways. It was really interesting to digitally mix and collage found and altered images. I was let down by my poor painting skills, though at the same time the lyricism and softness of the treatment conveys an appropriately 'vintage', illustrative feeling that I enjoy and seems to fit here.
Hi James,
ReplyDeletethis is from Jo Davies!
This set of images is interesting because it represents further attempts to move away from a comfort zone and to investigate new territories. Built on a foundation of research which is exemplary , you succeeded in creating a starting point visually which itself is resolved pictorially. In diverting from this you have shown a strong understanding compositionally and the editing through to the final frame is strong structurally.
I think that whilst there is a logic in the way that you have used the combination of media they don't live together comfortably asethetically.It may be that to employ a more restricted range of colours here and use "hots" to bring focus where you choose it to be placed , may work .There are,however, interesting qualities within the image and the soft focus in the watercolour has an allure .There's also something intriguing about that hard edge combined with the softness. I would hope that future opportunities my bring even greater enlightenment about these new ways of working.