final campari poster

it has been close to an age working on this piece, however i can say now i am done, positioning and palette tweaks have been accounted for and i am happy with the final image. In the end i settled upon colouring pencil as the best means of adding colour and expression, thinking about how Michael Gillette used some humble felt tips made me want to get back to basics.

the end result i am very happy with, i have shown it to the subject Michael and he is happy for us to start collaborating on an album and series of promotional artworks of him and the band. 

the pencil marks i used in the end to add some more colour, i kept things fairly simple trying to block in entire areas safe in the knowledge i could take bits out or place them in accordingly. 

rough pages

below are some of the fore mentioned scraps of paper used to create marks for overlaying in photoshop, incorporating this into my design process has greatly improved efficiency and opened up a new working process in the computer altogether.

 combining this sort of mark making with digital fills in the case of the above can quickly give an idea of the sort of palette or aesthetic the final image is going to take on. the page below could be dropped straight on top of the original sketch, the marks are so solid a colour fill would be unnecessary, usually a couple of basic adjustment filters can make all the difference.

Campari poster

Having finished the initial painting i took my image for critique, both to my tutors and to Michael Campari himself. The criticism was almost unanimous- more colour. My initial inspiration Michael Gillette used it in a very sparing manner and i remained attached to that resolve. However my tutor persuaded me to go rather mad with the colour loosening up.

as you can see free of inhibitions things take on a different energy altogether, seeing the potential of this kind of mark making made me experiment.

 my initial experiments involved using the halftone filter in photoshop, it gives everything a very vintage edge quite alike to a Lichtenstein. i experimented with lines dots and circles overlaid on a piece of digital colouring. however i have to say the end result was disappointing, even with the filter on the most extreme settings you still had to zoom in really close to notice any effect, it also seemed to turn the shade of red quite garish.  

 my second experiment involved overlaying a digital onto a watercolour texture, a very quick and easy process that gives a solid fill that much needed warmth and expression of marks. When i was working in this way i was simply blocking in areas with the polygonal lasso tool, perhaps with a bit more time it would look half decent, there was still something to clinical about the other quality of the colour so i decided against computer aid.

opting for a far more sporadic approach, again working on separate sheets of paper to put down the loose marks and then pulling it together digitally. In this case it was a bit of oil pastel, my only gripe is how the pastel stuck to the paper its both a quality i love and hate, the irregularity of the pigment would prove to be a problem in reproduction one i could do without.

Campari poster development

The poster for Plymouth based entertainer Michael Campari had been through very gradual changes from the point of conception, various critiques had highlighted so,every simple changes that needed to be made. Extending the portraits to a full bleed, completing the hat and choosing a more appropriate font, I settled on a tall slender almost deco font to help suggest the kind of evening Michael hosts. Other changes like a washed border for the type helped bring a much needed consistency to the final image. There is some more development to show the progression to the final image a little clearer I'll upload it soon.  

 

The original drawing shows some of the minor changes that went in to making the top image, slightly like a spot the difference, I see 7 altercations, might be more. The most obvious being the bleed, the original crop looks very sloppy, finishing off the hand and the hat also contributed to a more final looking image. Having the piece of work critiqued by various outside eyes ensured no stone wasleft unturned, it was a very productive exercise that continues to push my work further. 

fanny adams narrative

this is a project i have previously posted about, however with time constraints and conflicting deadlines the final resolve failed to meet expectations. Fortunately with time and some freedom to further research and develop the narrative, i am now at a point where the story is taking shape. these are initial roughs for the progression of the narrative, being that i am primarily enthused by image making it is somewhere between a children's book and a graphic novel. The main intention is try and tell the tale in images rather than dialogue, using subtle references to draw attention to certain motives.

they were sketched at a6 so the whole page layout was considered, although they are quite rough it gives a good outline of the story and how the plot progresses- they read left to right. 

pub sign development

this project has been in work for some time going through countless altercations but i think it is close to finished, i have been saying this for a little while but a change in the colouring process has made it seem all the more final.

 when i was water colouring and layering inks over the top the more organic subjects benefited, it complemented the textures of fur and the natural world in general. However the more graphic elements looked little more than a mess, getting a solid fill with water colour is something of a difficult task best left for the digital, and yet

 when i was applying solid fills of digital colour to the more graphic elements the whole image looked disjointed, fortunately after a bit of experimenting and tutor advice i decided to combine the two techniques- watercolour swatches and digital fills to give solid colour some texture. the end result is below and looks the most final of all the various outcomes i have produced for this brief.

this rather scruffy page is the swatch that has been repurposed all over the above image, any digital colouring was layered with an amount of water colour texture. It softens the otherwise quite heavy and dull digital colour that comes with a solid fill of digital colour. 

campari poster

having attempted the text in a free form calligraphy style i found it distracting from the image. so with a little bit of research i found some excellent examples of text and hierarchy in 50's gig posters- predominantly the covers michael does. the bold and huge focus on the name of the act really highlighted the error of my ways.

this is my poster with improved text and red banner to reinforce the colour palette, it has been suggested that the near full body portrait be moved or stretched partially upwards since making altercations, with any luck it could be another brief close to finished.