So, about two weeks ago, I set aside some time with my assistant (she's currently an illustration freshman at SCAD who wanted to kind of shadow me to see what she's gotten herself into) so that we could both go through and look at some of the most awesome current illustrators there are in the biz right now, and WHY they're the most awesome. I decided to pick out a few names that I thought could be really good examples of solid story-telling, but at the same time, differ in terms of what kind of techniques they use in order to get to that polished image. A few people we looked at were Sterling Hundley, Jillian Tamaki, Sam Weber, Jon Foster - some of the basics that every freshman should get in there head I guess before they have the entire 'history of illustration' drilled into their skull (i wish i could list everyone). Granted, the names i mentioned are a FRACTION of who you should be paying attention to. But remembering how I was freshman year, I couldnt remember names/styles of anyone if you paid me. So like I said, I thought I'd start her off with names that she'll probably be hearing a lot.
Anyways, out of all the illustrations we looked through and critiqued to see why they are so amazing at story telling, I decided I would post a couple that we looked at and run through them in a bit of a critique form. I thought this could be helpful for anyone who might be practicing illustration (because i remember this really helping me) or even being a fun refresher to remember what this whole career is about- TELLING STORIES.
And after writing all this, I then came to the decision I'll only post one because my fingers are tired. But if you all like it then maybe I'll post more :]
This one is big, bad
Frank Stockton. Lets look over this image real quick.
What I love about this piece is that Frank just OWNS it. We have two scenes in one image (both of which are completely necessary) and it flows so, so, so well. Composition in a piece like this is important because it's all about reader perspective and what they can draw from each section of the illustration. This is where we drift from comics. If you were doing sequential, you could just throw in a second panel, and bam, you've got a separator and can easily distinguish two scenes. As illustrators, it's a little bit tougher if you need to show a double-perspective. This illustration tackles that challenge with ease by putting these two scenes side-by-side and dividing them organically.
On the left we've got the stage- harsh lighting, upper angled perspective giving us the idea we're looming over the scene, harmony in the line of singers leading our eyes towards the dark shape in the back with the...is that a?....yup! thats a GUN. It's almost as if our eyes are led through a trail RIGHT to where the artist wants us to go. RIGHT to the key element in the story. The gun in the unknown man's hand is so tiny compared to everything, yet it is just as integral to the story, even in just silhouette. If our eyes bounce back the other way, we can follow the line of hands creating an invisible line of motion, pushing us far right until we delve into the second scene.
Full of low saturation and moody tones, this scene on the right is pushed back farther than the left. It may seem like a subtle tactic, but by doing this, one can assume that the left scene (bolder, brighter, and more active) is probably the cause, and the scene on the right (more somber and receded) is the effect. The point of perspective is changed 180 degrees, and we suddenly find ourselves looking up, closer to the ground at an angled view. This also helps to wring in that emotional response of uneasiness. The most obvious connection we can make, as viewers, to this half, is the woman's body language and physical emotion that she's showing. She's sad. We get it. But it's not JUST about that. It's a story here, remember? So it's up to us to make some connections. She's clearly in a theater, so there is a basic relation between her and the men on stage. It may not even be the same theater! I'd also like to point out the fact that the singer's back is to the girl in the audience (not just that he's facing away from her, but also that his back is what alienates her) which could lead us to believe that she is reacting to him, while he is more focussed with what is at hand- being on stage. Everything in this drawing is necessary, and that's the key. Even that random light up at the top in the right scene- used to break up all that dark, negative space.
There are a million types of plots that could fit with this image, but that's why it's important. As in illustrator, it's not your job to draw a story. It's your job to ADD to the story. To enhance it for the reader. Your job isn't to regurgitate what's already written down on the paper! You have to manifest the connections. You have to further shroud any mystery. You have to add more to that world through your own talents. I don't know what this story was even about and even I'm curious. Your illustrations need to be a quick read of what is going on, but at the same time, you need to fill them with little clues of what's actually driving these characters or conflicts or whatever. And that's why I love this piece! It's an awesome example of all those emotions, relationships, and energy, hands down.
Thanks!
