Exercise: Identifying tools and materials Materials: Plasticine – Sculpting tools Elliot Quince: Illustrator Elliott Quince has designed plasticine pyramids, hieroglyphs and Red Sea creatures for the cover of easyJet’s in-flight magazine, Traveller. The illustration promotes an article about diving and yoga holidays in Egypt and depicts ancient monuments and traditional hieroglyphs such as the Eye of Horus, a symbol of good health, and Ankh, which symbolises life (top left).Quince worked on the cover for around four days and began by sketching his design in pencil and adding a bevel in Photoshop. He then created a model twice the size of the magazine, which allowed him to easily manipulate the plasticine figures. As he told easyJet in an article on the making of the cover, it was a straightforward process – aside from a slight setback when he realised his cat had snuck into his studio overnight. “I spent the morning scraping off furry footprints,” he says. Quince – who was previously an art director at 300million – began experimenting with plasticine after buying some for his daughter and in 2011, released Plasticine Tatooine– a book featuring plasticine illustrations of Star Wars characters. “It’s equally frustrating and therapeutic – you have to take your time with it but it’s worth it in the end,” he says. http://www.youtube.com/watch?v=pz1TyQa5rqg More plasticine illustration from Elliott Quince. After watching the video and looking at photos of Elliott Quince’s process I learned how time consuming one piece could be. Very simple and clean illustrations yet detailed in the most important areas. For his inflight magazine, Traveller, he uses symbols and hieroglyphs to make connections with travel in Egypt. THe use of plasticine really give the cover a playful theme. Especially with whats going on in Egypt in the present, it helps the reader feel like its fun, historial, activity packed and easy to travel in Egypt. You can see how he has pushed his fingers into the background plasticine and with the use of colour, it give it a sandy natural element to the illustration. Suzanne Del Rizzo Fun images, intricate weaving and high attention to detail. I love these adorable illustrations made in plasticine. In the photo in the middle you can see her process of drawing directly on to the canvas and layering plasticine on top of that. Below is an exert from an interview she did with BookishNotations.com. The whole interview is interesting, but her challenges are something I feel I could relate to, maintaining character continuity. http://bookishnotions.wordpress.com/2013/07/21/interview-a-chat-with-illustrator-suzanne-del-rizzo/ BN: What was the most challenging part about creating the Skink on the Brink illustrations? What was the most enjoyable? SDR: One of the challenges I encountered while creating the illustrations for Skink on the Brink was how to maintain character continuity, that is, ensuring Stewie was recognizable as himself throughout the book even though he was growing over the seasons and changing colour. To help, I made a maquette, a little polymer clay model of Stewie, so I could position him or change his facial expression and view it in three dimensions. The entire process from preliminary sketches to final art was all immensely enjoyable. But one aspect I particularly enjoyed was researching, and incorporating other animals or habitat friends that would actually live within Stewie’s natural environment. I chose to incorporate a little deer mouse that follows Stewie throughout the story—he’s often hiding (in reality he’d be a potential meal) so the reader has to search the illustrations to spot him. I hope that the book not only inspires children to want to find out more about endangered animals and their natural habitats, but also reminds then to embrace their own uniqueness. Processfinal
When looking at her process for creating a scene. She has many photos for references to work off of. The illustrations are incredibly detailed and she also uses very interesting view points that shows great depth using perspective techniques. Barbera Reid This artist has a lot of information out there about her. On her website she offers demonstrations to create your very own three dimensional illustration using plasticine. Also useful info about plasticine and how to use the material. From watching the videos, I see that she works from the background to the foreground in layers. She thinks of the farthest thing away in her image and works toward her. She also begins by making some sketches before to work out her composition and what to include into the illustration. Reid recommended that upon deciding what you will make, you could head to a library and get resources. In her video, she was making a mouse so she got a scientific book with different mice. Her drawing that she made before beginning her 3D illustration was drawn on tracing paper. When she is working she often take her sketch and lays it on top of her illustration and with a pencil, marks where she wants foreground elements. Good tip! Mondongo The Mondongo art group is composed of three talented artists named Juliana Laffitte, Manuel Mendanha and Agustina Picasso. This Argentinian trio whose group name means “tripe” in Spanish uses plasticine to create a kind of work that is complex by its richness in color and texture. Similar to the shape and texture of tripe, their portraits consist of millions of vibrant and colorful strings molded together onto a canvas to give life to a realistic faces. From afar these images look like a mixture of watercolors with oil on canvas, but from up close, it becomes visible the myriad of forms and hues of the plasticine. -http://www.trendhunter.com/trends/mondongo-art-group This group of artists work is very differently to the others we looked at while still using the exact same material.
I actually made a booklet with these artists and I was going to write about them in to booklet but then started on the blog so I stopped. I will show you the booklet I made anyway because I made the cover our of plasticine!
For this exercise I was to take an illustration done in this course and do it again using the materials and techniques by a chosen artists. I chose Barbera Reid as an artist to retrieve my inspiration from. I decided to this illustration from Part 3 ( Image development) of the course. From the information gathered I began to make my reconstructed piece using plasticine. This was far more challenging then I expected. First of all; this is a scanned image. I will post a clearer photographed image later where I experiment with lighting. Lighting is obviously important when photographing these plasticine creations for publication. It could change the mood and atmosphere of the illustration. I started with the furtherest part of the image and worked towards the foreground. The grass is furthest so I laid the green down first. Then the blanket and then the figures. This was fun, messy and extremely challenging. I used different tools to create textures. Some tools are purposely for using plasticine and clay, and some of the tools were found objects such as pen caps, forks and the most used, my hands. I moulded the objects separately on wax parchment paper then applied it to the canvas. The proportions where difficult to achieve and the toughest was keeping the colours from getting dirty from left over residue on my fingers. I think a wet and dry washcloth by my side would have been helpful. As requested from the course outline, i did this a second time with a completely different illustration. After receiving feedback from my tutor saying that I should really explore with the elements that i produce that are already successful in my sketchbooks and doodle pages. So I chose this image from my sketchbook. (The one on the left hand side) From that I created this. Once again, its not a great photograph, but I plan on researching lighting and photography of plasticine illustrations then add them later. THe nose also go smashed from the scan! It went from mystical to creepy. The face and hair have changed and I also didn’t put in the antlers. Maybe if I add the antlers in it will be more playful. At the moment she looks extremely uncomfortable! I think once I add the photographed images and fix a few things here and there it will improve. I feel this one relates more with Elliot Quince’s work. We both used a flat one toned background and built a figure on top of that. Sort of similar to his “true grit” plasticine creation. (im not sure if we call it illustration or plasticine creation!)
It was a great medium to work with, i had a lot of fun and I have a lot of respect for artists who choose to work with it. I have very cheap plasticine, maybe I can further explore this medium again when I have a chance to buy good quality plasticine.