Storyboards: The Man Who Shot Liberty Valance, part 5

Okay, I got busy teaching and have neglected this blog for far too long. Now that I'm catching up on my work, I can take time to correct the situation.
Here's the first part of Board 2 of The Man Who Shot Liberty Valance.

Again, the clean sharp line, just enough detail in the background, a concept I have issues with in my own work. I quibble with the definition of shot 9. Yes, it is an OTS shot, but I don't see that as its primary function.
Look what's happening here. The primary point of the shot is that the character moves but the camera does not. I would define this as a group shot, or by distance, a MLS, also known as a Cowboy shot (cowboys were shown from the waist up in TV shooting because they couldn't ride and were sitting on a saddle over a barrel).
I like the warmth of the French gray markers.
Students who lacked experience with hand skill based art would ask me constantly if they could do their storyboards digitally. Once, I relented, and the results were awful. For this kind of work, especially at this level, the best ways of working are either all hand work or a hybrid.

Photoshop: Markus Burke

Another approach to the movie poster assignment.
Markus is a deeply enthusiastic young man. His initial idea for this image incorporated a dozen small images and tried to tell the whole story of the film in one poster.
It didn't work.
After discussing his ideas, he came to an awareness of the power of suggestion.
He created an image that's about motion, energy and wild pacing.
Most significantly, he created an image that makes effective use of the program and says more with less.

 

There are still some legibility issues, and the novice's love affair with filters is evident. But Markus made giant strides in his understanding of design on this image.  

He learned that control of the tool is better than using it as a toy, at least if you aspire to be a professional.

Thoughts on studio vs. Liberal Studies classes

As I'm not teaching studio this quarter/semester (my schools are on different systems), I find I muse of late on the implications of that.
What are the advantages of one over the other, from a teacher's standpoint?
I love teaching ideas. The value of what's being done has to be part of doing it, and if what you're doing doesn't stand up to some measure of scrutiny, then it's just busywork. So studio courses clearly need a humanities/ liberal arts framework.
But ideas require context, and ideas about art need the context of the art itself. While it can be a self-conscious process, an awareness of the history and theory of the discipline in which one works can, and ought to, inform the work.
Any studio teacher worth their salt must incorporate some theory into their teaching. In order for a drawing to be most effective, it must incorporate design considerations, mathematical principles and a measure of psychological insight. Communicating that to a student, especially a novice, is challenging, to say the least. Students at that level often tend to take a defeatist tack- "I can't do that!" The studio teacher's challenge is to get them out of their own heads and into the work itself.
The humanities teacher, on the other appendage, must of necessity be a bit of a pedagogue. The implicit didact in this position has a measure of necessity. While ideas are fluid, core principles underlying those ideas form a foundation that is crucial to the successful absorption of any of the ideas presented in a humanities class. So the didactic position is necessary to get the work started, to say nothing of completed, if any such work can be said to be complete.
As I prepare for the paradigm shift of going from the digital arts studio back into the lecture hall as a primary arena for the first time in more than half a year, I find my thoughts turning to these concepts.
There's an associated, more universal concept, that I got from an early teaching mentor, William Wells.
We can't teach them anything.
All we can do is show them. It's up to them to learn.
This is both a sadness and a liberation, and applies equally to the studio teacher, the humanities teacher- any teacher.

Photoshop: Renardo McAffeee

I'm chagrined that I've not posted here for more than 3 weeks. As I'm teaching a humanities class and not studio courses this semester, I am posting older work again. I may post some of this quarter's papers, if they are strong enough.
This particular image is in response to the movie poster assignment. I suggested to Renardo (pronounced Renaldo) that he incorporate elements of Russian constructivism into his work on this one. He responded with a reduced palette, angeld type, and the line of silhouette figures grounding the image.
The posterization of the main images is quite effective. Given the way so many posters for these FX blockbusters are loud and over the top, this tightly controlled image and oh-so-clear typographic treatment are a welcome change of pace.
Renardo is a scary talented designer. His personal commitments make his course enrollment sproadic, but he alwasy delivers inspired, solid work.  I look forward to seeing his professional progress!

In the interests of contrast, here's one of the posters used for film's actual campaign. By contrast, louder and out of balance, certainly less appealing.
I hope to be a more faithful correspondent on this blog in the future!