@Jeremy-Ross I saw that post. Master copies like that are always useful!
Posts made by davidhohn
RE: Share your book dummy process?
@xin-li Happy to share! I see that you are already setting your book up in this kind of storyboard format.
What I try to do these days is be very clear what the intention of each spread is. What is happening at this point in the story? And how do I want the viewer to feel as they make the page turn and experience the spread? I try to boil it down to one or two "keywords". These keywords go a long way toward suggesting composition, camera placement, character pose, value structure and color choices.
And I've found it's MUCH easier to dissect other illustrator's work first. Then apply that way of thinking to my own books.
I hope you give it a try with your favorite books. But don't overlook the value of doing this to books you hate. Especially if they are super popular. It may well give you an insight into why that "terrible" book is doing so well!
RE: Share your book dummy process?
@Laurel-Aylesworth There are no rules to laying out a dummy. Every book is going to be different. I'm a fan of taking various books that are either similar in subject matter or that "feel" similar to the book I'm dummying up. Photographing each page and laying it out as thumbnails. Then looking to see what choices the illustrator made. I find it's easier to see patterns in pacing, compositional choices, color scripting etc.
For example in Dan Santat's BEEKLE it's clear the choice to deviate from full bleed spreads is a choice rarely and carefully made. Everything is full bleed spreads except two where he uses vignettes to both speed up (pg 21-21) and slow down (pg 36-37) the action.
The first time I read it, I found the tree spreads on pgs 26-27 and 28-29 to be oddly flat and out of place with the other illustrations in the book. It wasn't until I laid this out that I realized Dan was trying to mimic/foreshadow Alice's drawing of the same tree on pg 35.
Also the desaturated/monochromatic quality of the images starting on pg 18 and continuing through pg 23 becomes more obvious.
I'll also often go through and try to simplify the images into simple black, white and grey shapes so see how value and silhouette affect the experience of the book.
When I did that to BEEKLE I realized that the little white shape of Beekle always appears on the right page of the spread -- except for pg 18-19, 22-23, 26-27 and 28-29. These are the moments in the book where Beekle is feeling unsure or overwhelmed.
These are some of the highlights from this particular book breakdown. Do this to a few other books and you'll start to see how other illustrators approach laying out books.
RE: need your help. Spec Spread
@CatOnPaper Sure! BTW, took a moment to check out your website. You do great work! I saw that you are in Glasgow. Are you familiar with Association of Illustrators? They have licensing/pricing information as well as a pricing calculator.
I can't vouch for that last as I'm not a member, but my overall impression of AOI is positive. Here in the states I would encourage you to review Graphic Artist Guild's Pricing and Ethical Guidelines to get at least a ballpark pricing number. Seems like AOI would be UK version.
RE: need your help. Spec Spread
Right. This is really a "sample piece" or "sample spread". But it does imply that if the client does not like your work you'll be paid for the time spent and that will be the end of your involvement with the project.
Also on the quote: It is nearly impossible to offer a suggestion without additional information about the scope of the project as well as the rights licensed (the copyright you are allowing the client to use).
It would be important to know if it was 14 spreads, or 10 spreads and 8 full page, or 10 spots and 4 spreads and 12 full page. You get the idea.
You might also want to know how much the book will sell for as that may give you an idea of the value of the images to the client.
RE: Perspective question! :-)
Looking at the original photo I would define it as a one point perspective system. The foreground building are essentially on a grid (that is the majority of buildings are in line with each other like mid-town Manhattan) The background buildings (those behind the Thames river) are so far away as to make linear perspective irrelevant.
Next you look at the vertical sides of the buildings. They are effectively parallel to the left and right sides of the picture plane. Next look at the horizontal tops of the buildings. They are parallel to the top and bottom of the picture plane. This setup is the definition of a one point perspective system.
@K-W is technically correct that the vertical sides of the buildings do eventually converge on a vanishing point very far below the picture plane, but the angle is so slight as to be inconsequential for this photo.
I would disagree that photos are not reliable to build grids off of. They are a two dimensional representation of a three dimensional space. You can build a grid off of them. That said, photos can get needlessly complicated if you try to recreate them exactly. Not impossible, just not much fun. So @Aleksey recommendation that the artist pick the system that "works best" is a good one. (with the understanding that "works best" is a subjective term that not all artists will agree on)
RE: Author/illustrator resources, and writting courses?
Have a look at this resource:
The story construction info here is not unique solely to Pixar but I appreciate how they put it all together in this nice package!
RE: Do I belong at SVS?
@Jenna-Jenks Great thread. I was pleased to see everyone's responses to the topic of different styles/levels of realism. Even more so when the issue of copyright came up and the discussion remained so level headed.
With that spirit in mind I wanted to clarify a point you mentioned "... but technically drawing an actor/actress isn't someone's property"
I may have misunderstood you , but I believe what you are referring to is legally known as Right of Publicity. And this is something that the actor/actress does control.
The case that where I was first exposed to this concept was a t-shirt depicting The Three Stooges.
I don't point this out to put you off the kind of work you might want to do, but rather so you can move forward with a clearer understanding of the legal landscape. (Plus I just really like talking about copyright since it's how illustrators generate their income)
RE: Basic Perspective Drawing class
@BichonBistro That's kind of amazing that you were able to find a photo of a different angle of that building! Are you just familiar enough with Toronto? (only after REALLY looking at the original photo did I finally notice the Canadian flag)
I was able to guess at the stair stepped structure because of the silhouette of the building against the sky on the upper left side. I also knew it must be at an angle because of the clear rectangular grid structure of the streets. The only way you can get that green line to a new VP ( that you drew) is if the building itself had a face that didn't line up with the street the camera is pointed down.
Glad that this helped! Way to really dig into that particular video!
RE: Basic Perspective Drawing class
Great that you are taking photos and looking to identify HL and VP's!
My apologies that I chose a photo that included a building that didn't conform to a basic rectangle. The building in question is not a rectangle. So one plane will go off to its own vanishing point, which you have nicely identified!
When working with photos you will likely never find a perfect one where all lines converge neatly. Humans just don't build cities that way. With photos like this I tend to go with the "majority" of orthogonal that converge to find the major VP's and kind of ignore the rest.
As for the bottom of the building. It could land nicely on the HL, but my guess ( and it is only a guess) is that the bottom of the building is oh-so-slightly below the HL. And honestly probably not enough to matter in a drawing.
RE: picture book proof copy/test prints
I consider color proofs/ test prints vital for digital art.
Most publishers will print them out and send them to the artist for approval. I am genuinely surprised to hear that this is one of the largest publishing houses in the country and that they don't do it.
That said, I still don't think it makes as much sense to send a digital file and then get color proofs back for the artist to make notes on. "Too dark" or "More green" is hardly an accurate way to critique color proofs.
My own method (when I REALLY want the color to be right) is to print up my own color proofs and send those to the publisher along with the digital files.
This way the publisher has both the digital files and the color/values that I want the files to be in their hand. It's as close to comparing a color test poof to original physical art as you can get.
It seems to me that this would be a reasonable compromise for your situation. It communicates to the art director that you really care about the color and value of your work without being a "problem".
RE: Literary agent vs. Illustration agent ?
@idid If you know you are going to be an illustrator-author would suggest going for a literary agent.
In my experience, both personal and from attending talks at SCBWI events, illustrator agents are not prepared to handle an illustrator-author project. Whereas literary agents do AND are often set up to handle illustration only projects for their illustration focused clients.
RE: Why editorial illustrations look so similar these days (article)
Great article. Need more time to properly digest. I don't work in editorial market, but always aware of it's issues and impact. It could be argued (to a point, and I'm not sure it's a hill I'd die on) that children's books have a similar "style" issue. Arguably for much the same reasons.
RE: Basic Perspective Final Assignment - Worm's Eye
Bold POV! I like it!
RE: Basic Perspective Class, Final Assignment
@Random-Fluffers One of the things that I notice in this drawing is the attention you paid to how things are built. How one piece of wood in joined to another. Notably in the bed and side table and toy chest. That is so often overlooked! I always enjoy getting the reference needed to fill in these kinds of details, as it tell me more about the person who lives in this space.
Not to give more "homework" but if you are interested(and when you have a chance), try adding in the tonal information. It can be as simple as what you did in the first version of this assignment. The illusion of 3D space on a 2D plane will really start to pop!