Strong pose and sil­hou­ette

Pas­cal Cam­pion quickly il­lus­trates a scene with a range of char­ac­ters, light­ing and a key focal point

ImagineFX - - Contents -

See how Pas­cal Cam­pion brings to­gether char­ac­ters, light­ing and a focal point.

With this work­shop I want to paint a ro­man­tic en­counter be­tween two char­ac­ters, and place them in a scene with a strong nar­ra­tive. The idea is to cap­ture a mo­ment that’s part of a big­ger story.

I’m go­ing to con­trol the viewer’s vis­ual read of the com­po­si­tion through the use of focal points, and cre­ate a back­drop of char­ac­ters who will re­in­force the sense of re­al­ism and add some con­text to the story.

One key el­e­ment that sug­gests emo­tion is light­ing, so to gen­er­ate mood and an­chor the mo­ment in a spe­cific time and place, I’m go­ing to light the scene to re­in­force the bond be­tween the char­ac­ters. By do­ing so I’ll be build­ing a world that lives out­side of the frame of the im­age. In turn, this gives the viewer the sense that the world they’re look­ing at has its own time­line. Events have been tak­ing place in this world be­fore the mo­ment cap­tured on the can­vas, and will be hap­pen­ing af­ter this point, too.

I be­lieve if an artist can con­vey the sense of pas­sage of time in a com­po­si­tion, then they’ll have a nar­ra­tive that works in space and time. This is the foun­da­tion of any type of sto­ry­telling ex­er­cise.

Fi­nally, we’ll talk about how colour af­fects the per­cep­tion of a story. It’s com­pa­ra­ble to how the tone of your voice is just as im­por­tant as the words you’re say­ing. Okay, let’s get started.

Set­ting up the file

I open Pho­to­shop and cre­ate a new im­age that’s 50x30.5cm with a res­o­lu­tion of 450dpi. I’ll mostly be us­ing a Round de­fault brush for this piece, but set Scat­ter to 28 per cent and make use of the Jit­ter op­tions. I set the mode of my pen­cil to Dis­solve rather than leav­ing it on Nor­mal.

Per­spec­tive grid

I use Pho­to­shop’s Poly­gon tool to cre­ate a two-point per­spec­tive grid. I set the size to one pt and the num­ber of sides to 99. I cre­ate two van­ish­ing points and place them on the same hor­i­zon­tal level, and then put them on each side of the frame, but cru­cially out­side the edges of the can­vas.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.