Werewolf Storyboard

My next practice exercise in illustrator Martín Tognola’s Animated Illustration in Procreate: Tell a Story with Movement Domestika course is to use word lists, mind maps and a ‘visual data dump’ to come up with an idea for a short looping animation.

As I’ve been thinking about my Baring Gould centenary show in Horbury’s Redbox Gallery for a while now, I’ve skipped the word list stage and gone straight on to a visual mind map. I’m a visual rather than word-based thinker.

I realise that I’m not short of potential material.

With mid-Victorian factory smoke and steam in the air plus the ‘Flame and Flood’ in the title of the novel inspired by his time at the mission at Horbury Bridge, I’ve got the basis of a swirling movement to frame the snapshots of Baring Gould’s life and literature that I’d like to include.

What, Who and Where-Wolf?

storyboard

Martín suggests looking for a not-too-obvious but not-too-obscure middle ground solution for an animation idea. His example is for an illustration to accompany an online editorial article but my animation will be stand-alone, so I’ve gone for instantly obvious versions of each idea, answering the questions what, who and where:

  • Baring Gould’s ‘Book of Werewolves’ clunks down into the frame and an assortment of historic werewolves pop out from the pages.
  • Carrying his carpet bag, Baring Gould, the new curate, arrives by steam train at Horbury Station, steps out of a billowing cloud of steam and introduces himself by doffing his hat.
  • We zoom in on a graphic version of the Redbox Gallery.

The Redbox Gallery sequence would be along the lines of the film production intros that precede a movie. I’m thinking of the intros that have a graphic, hand-drawn look such as those for Bad Robot and Ridley Scott’s Scott Free production companies.

Frame from hand-drawn animation for Scott Free intro, in which a running figure morphs into an eagle.

Redbox Format

If I’m technically able to show my animation in the Redbox Gallery, a former telephone box, a screen aligned in portrait format would be the most appropriate. To make the animation Instagram friendly and more versatile in general, I’ll set it up in Procreate in a square format but make sure that the main action is always fits into a portrait-format rectangle.

Autumnal Animations

falling leaves

My latest Domestika course is illustrator Martín Tognola’s Animated Illustration in Procreate: Tell a Story with Movement.

falling apple

Our first practice exercise is to ‘start testing and see how the animation tool works, discovering what each thing is for,’ so I’ve gone for some simple seasonal subjects.

fungus

‘I invite you to do your own experiments,’ he suggests, ‘Start by drawing simple objects and see how magical it is to animate them. This is the ideal place to make mistakes, learn and clear up doubts.’

bird

He starts us off by explaining how to animate this looping bird, this is my version, closely following his example.

Published
Categorized as Drawing

Rowan

rowan leaf

Rowan leaf from the tree in our front garden.

Published
Categorized as Drawing

Fur and Feather

fur and feather textures

Fur and feather textures drawn for my Naturalist Animal Illustration with Procreate
Domestika course by Román García Mora, using some of the virtual brushes he created.

St Pancras

St Pancras

It’s so long since I drew in London so I took the opportunity as we waited for a train to draw St Pancras from a bench in the welcome shade of the Francis Crick Institute.

Towpath

Along the towpath: buff-tip caterpillar; the brandy-bottle seed-pod (botanically it’s a berry) of yellow water-lily; an orb-web spider getting lucky and water fern turning red amongst the duckweed and floating pennywort.

Published
Categorized as Drawing

Homemade Card

ipad gallery

This handsome guy drawn by Florence kicks off my ‘Homemade Card’ gallery. Happy birthday to Florence and Ruby.

See new item on the main menu above 🙂

Red Ink

In the late ’60s or early ’70s, when handwritten balance sheets were becoming a thing of the past, my dad brought home this surplus-to-requirements 20-ounce (more than half a litre!) bottle of Parker Super Quink permanent red ink, ‘the only ink containing SOLVE-X for better pen protection’.

Ever since, I’ve been wondering how I might use it. Could a palette of black and red evoke the calm sophistication of Chinese calligraphy? No, it reminds me of the artwork for Roger the Dodger in The Beano, printed in two-colours on newsprint in the 1960s.