Visual Storytelling

1. Demonstrate a comprehensive and critical understanding of the techniques and methods relevant to visual storytelling in various contexts.

There are a number of varying methods in that are relevant to Visual Storytelling.  One of the main ways to achieve this is to create a series of ‘Key Moment’ concepts.  The images often take a small section of the story, script or game, and represent the actions in a visual way.  The actions can vary dramatically from a dangerous, action orientated car chase to a more ‘gentle’ encounter when two of the main characters meet for the first time.  The context of the image is not important, so long as the narrative or story is conveyed correctly.

Methods similar to Key Moments are thumbnails, speed paintings and colour studies.  While these images do not have to represent the same finished quality as Key Moments, they can still be very reliable in communicating storytelling in visual ways.

Other methods included storyboarding.  Working closely with a director, storyboards can help plan out an entire sequence of events before a camera crew or animation department have even begun.  The visuals used in the storyboard can convey the director’s vision in a timely, and cost effective, way.

 

2. Demonstrate a systematic and critical understanding of the breadth and depth of knowledge in a range of techniques and methods appropriate to the field of visual storytelling.

The images below demonstrate a breath of knowledge, through a variety of different techniques, relating to Visual Storytelling.  They consist of three, largely different yet equally important, images that convey the mood of the overall project; one being a highly rendered Key Moment, another a Teaser poster and finally a Storyboard.

3. Research and synthesise diverse visual materials to inform design solutions.

These are some of the examples of official storyboards that have informed my own work.  I looked at current action films, such as Captain America: The Winter Soldier, to see how a modern storyboard for a film can convey a sense of narrative and action.

4. Develop argued conclusions regarding industry and professional requirements.

Creating visuals within the industry requires an attention to detail while reading a clients brief, as well as creating the best artwork possible in the shortest amount of time.  One of the best ways to achieve this is through constant communication between the artist and client.  This way the client can give feedback and suggest changes as the image develops, rather than receiving a final product that is completely against what the client is after.

Another key component is to stick to the deadlines outlined in the brief.  Creating an effective pipeline, as well as planning and developing your work appropriately is a sure way to avoid going over deadlines.

5. Plan and implement appropriate skills in the creation of visual work.

The following images demonstrate an appropriate plan work the creation of visual work.  The image begins with basic compositional studies, a 3D model base to work with and then developed towards a final piece.  Planning on how to create this image saved a substantial amount of time.

6. Systematically gather and evaluate information from a diverse range of sources relevant to visual storytelling.

These images demonstrate I have gathered and evaluated information from a range of sources relevant to story telling.  Again, I looked at current action films, such as Captain America: The Winter Soldier, to see how a modern storyboard for a film can convey a sense of narrative and action.

7. Demonstrate independent learning and continued personal development.

All the work I have created for Visual Storytelling was created independently.  The skills and techniques I have used through my images have been ‘self-taught’ by watching and studying tutorials from a variety of different artists over a couple of years.  This is something I continuously try to do as I’m always looking to improve my work further personally and professionally.

8. Reflect on practice and identify strengths and weaknesses in own work.

I believe my practise is getting stronger, especially with environment paintings, however I could benefit massively from speeding up my work process.  My initial development work (compositional studies, sketching, research etc.) moves at quite fast pace, however I’ve recently got caught up in trying to achieve ‘realistic’ results in the final painting which, unfortunately takes a long time to create.  I also feel this is making my work appear more rigid and confined, and I think this is quite apparent in my Key Moments.  I need to start finding a balance between the techniques I know and use, and combine it with a more ‘painterly’ approach.