Week 1 - Action!
Taking your cue from the practical session you are asked to produce visuals for a series of scenarios. To make life simple we'll imagine they are full-page, colour illustrations for a hardback book and will therefore be executed in a portrait format. Start with a series of quick, (meaningful) thumbnails 60mm high X 40mm wide, executed on paper using appropriate media, colour and tone (spend no more than ten minutes on any). As your ideas/compositions evolve work the idea up into a more finished client visual. This you can spend up to an hour on and, if working with analogue materials, this should be 135mm high X 90mm wide.
The titles/scenarios are as follows:
Ambushed - two figures - a city's back streets - night
Vertigo - a steeplejack - daytime - windy day
Tango - two figures, movement, sexy, close, exotic, café
Systems Failure - one figure, spaceship, physical struggle
A Giant Leap - rooftop chase, three figures, peril, bravery
January Sales - claustrophobia, queuing, doors opening, multiple figures
The titles/scenarios are as follows:
Ambushed - two figures - a city's back streets - night
Vertigo - a steeplejack - daytime - windy day
Tango - two figures, movement, sexy, close, exotic, café
Systems Failure - one figure, spaceship, physical struggle
A Giant Leap - rooftop chase, three figures, peril, bravery
January Sales - claustrophobia, queuing, doors opening, multiple figures
We had a class challenge to thumbnail the prompts "Winter Sports" and "Hanging out the washing"
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I started out by creating small mind maps for each prompt, so I could expand on my ideas more.
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Here I sampled my guashe paints, and drew four very rough sketched for each prompt before I tackled each individual one. 
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Ambushed
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Vertigo
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Tango
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Systems Failure
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A Giant Leap
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January Sales
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Week 2 - Body Language
Taking your cue from the practical session you are asked to produce visuals for a series of scenarios. To make life simple we'll imagine they are full-page, colour illustrations for a hardback book and will therefore be executed in a portrait format. Start with a series of quick, (meaningful) thumbnails 60mm high X 40mm wide, executed on paper using appropriate media, colour and tone (spend no more than ten minutes on any). As your ideas/compositions evolve work the idea up into a more finished client visual. This you can spend up to an hour on and, if working with analogue materials, this should be 135mm high X 90mm wide.
The titles/scenarios are as follows:
Angry Boss - two figures - an office setting
Good News - a single figure holding a phone - 1950s
Mum can we go now? - two old friends meet on the street, the teenage daughter of one doesn't want them to talk for long
The Anniversary - a couple celebrating an anniversary in a restaurant. They hate one another...
The Big Jump - a figure in an aircraft just before having their first parachute jump
Genius at Work - serious concentration in an academic or scientific setting
The titles/scenarios are as follows:
Angry Boss - two figures - an office setting
Good News - a single figure holding a phone - 1950s
Mum can we go now? - two old friends meet on the street, the teenage daughter of one doesn't want them to talk for long
The Anniversary - a couple celebrating an anniversary in a restaurant. They hate one another...
The Big Jump - a figure in an aircraft just before having their first parachute jump
Genius at Work - serious concentration in an academic or scientific setting
We were set a class challenge, where we had to portray emotion through body language.
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I started out by creating small mind maps for each prompt, so I could expand on my ideas more.
I started out by creating small mind maps for each prompt, so I could expand on my ideas more.
Angry Boss
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Good News
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Mum, can we go now?
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The Anniversary
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The Big Jump
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Genius At Work
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Week 3 - Communicative colour
You have been allocated one of three texts, each of which have accompanying Art Director's instructions which specify the mood/atmosphere you are required to create. Other than these instructions, you are to base the imagery of your final illustration on the text itself.
You may use any technique/approach you feel suitable from analogue through to digital as long as the illustration exploits the communicative potential of colour.
The illustration will feature as a full-page image within a high-quality, Folio Society production and will be reproduced full bleed on a page size of 220mm high x 155mm wide.
Multiple thumbnail visuals which should be developed and refined to produce a finished illustration to be reproduced full bleed, at a page size of 220mm H X 155mm W.
An extra 5mm should be added to the page size to accommodate the bleed meaning your final, digital file should be 225 X 160 mm, saved as a CMYK file at a resolution of 300 d.p.i.
Your initial research and all stages of the the work should be visually documented on your website/blog.
You may use any technique/approach you feel suitable from analogue through to digital as long as the illustration exploits the communicative potential of colour.
The illustration will feature as a full-page image within a high-quality, Folio Society production and will be reproduced full bleed on a page size of 220mm high x 155mm wide.
Multiple thumbnail visuals which should be developed and refined to produce a finished illustration to be reproduced full bleed, at a page size of 220mm H X 155mm W.
An extra 5mm should be added to the page size to accommodate the bleed meaning your final, digital file should be 225 X 160 mm, saved as a CMYK file at a resolution of 300 d.p.i.
Your initial research and all stages of the the work should be visually documented on your website/blog.
M. R. JAMES - OH, WHISTLE, AND I'LL COME TO YOU, MY LAD
"I might walk home to-night along the beach," he reflected—"yes, and take a look—there will be light enough for that—at the ruins of which Disney was talking. I don't exactly know where they are, by the way; but I expect I can hardly help stumbling on them." This he accomplished, I may say, in the most literal sense, for in picking his way from the links to the shingle beach his foot caught, partly in a gorse-root and partly in a biggish stone, and over he went. When he got up and surveyed his surroundings, he found himself in a patch of somewhat broken ground covered with small depressions and mounds. These latter, when he came to examine them, proved to be simply masses of flints embedded in mortar and grown over with turf. He must, he quite rightly concluded, be on the site of the preceptory he had promised to look at. It seemed not unlikely to reward the spade of the explorer; enough of the foundations was probably left at no great depth to throw a good deal of light on the general plan. He remembered vaguely that the Templars, to whom this site had belonged, were in the habit of building round churches, and he thought a particular series of the humps or mounds near him did appear to be arranged in something of a circular form. Few people can resist the temptation to try a little amateur research in a department quite outside their own, if only for the satisfaction of showing how successful they would have been had they only taken it up seriously. Our Professor, however, if he felt something of this mean desire, was also truly anxious to oblige Mr. Disney. So he paced with care the circular area he had noticed, and wrote down its rough dimensions in his pocket-book. Then he proceeded to examine an oblong eminence which lay east of the centre of the circle, and seemed to his thinking likely to be the base of a platform or altar. At one end of it, the northern, a patch of the turf was gone—removed by some boy or other creature feræ naturæ. It might, he thought, be as well to probe the soil here for evidences of masonry, and he took out his knife and began scraping away the earth. And now followed another little discovery: a portion of soil fell inward as he scraped, and disclosed a small cavity. He lighted one match after another to help him to see of what nature the hole was, but the wind was too strong for them all. By tapping and scratching the sides with his knife, however, he was able to make out that it must be an artificial hole in masonry. It was rectangular, and the sides, top, and bottom, if not actually plastered, were smooth and regular. Of course it was empty. No! As he withdrew the knife he heard a metallic clink, and when he introduced his hand it met with a cylindrical object lying on the floor of the hole. Naturally enough, he picked it up, and when he brought it into the light, now fast fading, he could see that it, too, was of man's making—a metal tube about four inches long, and evidently of some considerable age. By the time Parkins had made sure that there was nothing else in this odd receptacle, it was too late and too dark for him to think of undertaking any further search. What he had done had proved so unexpectedly interesting that he determined to sacrifice a little more of the daylight on the morrow to archæology. The object which he now had safe in his pocket was bound to be of some slight value at least, he felt sure. Bleak and solemn was the view on which he took a last look before starting homeward. A faint yellow light in the west showed the links, on which a few figures moving towards the club-house were still visible, the squat martello tower, the lights of Aldsey village, the pale ribbon of sands intersected at intervals by black wooden groynes, the dim and murmuring sea. The wind was bitter from the north, but was at his back when he set out for the Globe. He quickly rattled and clashed through the shingle and gained the sand, upon which, but for the groynes which had to be got over every few yards, the going was both good and quiet. One last look behind, to measure the distance he had made since leaving the ruined Templars' church, showed him a prospect of company on his walk, in the shape of a rather indistinct personage, who seemed to be making great efforts to catch up with him, but made little, if any, progress. I mean that there was an appearance of running about his movements, but that the distance between him and Parkins did not seem materially to lessen. So, at least, Parkins thought, and decided that he almost certainly did not know him, and that it would be absurd to wait until he came up. For all that, company, he began to think, would really be very welcome on that lonely shore, if only you could choose your companion. In his unenlightened days he had read of meetings in such places which even now would hardly bear thinking of. He went on thinking of them, however, until he reached home, and particularly of one which catches most people's fancy at some time of their childhood. "Now I saw in my dream that Christian had gone but a very little way when he saw a foul fiend coming over the field to meet him." "What should I do now," he thought, "if I looked back and caught sight of a black figure sharply defined against the yellow sky, and saw that it had horns and wings? I wonder whether I should stand or run for it. Luckily, the gentleman behind is not of that kind, and he seems to be about as far off now as when I saw him first. Well, at this rate he won't get his dinner as soon as I shall; and, dear me! it's within a quarter of an hour of the time now. I must run!"
Art Direction: supernatural, unease, a discovery followed by the realisation that it will soon be dark. A low, windswept English coastline, the sense of being followed and/or watched.