Personal Brand Identity Development

Further development of the business card focusing on the strength of the illustration image on its own with the underlying grid of rectangular shapes speaking to my work in comic books and delivering colour information.

Possible logo and letterhead designs, I hand lettered the typography based on a font from the IM Fell Types class of fonts.

Business Card Concepts

I have been working up some different concepts for my business card.

This is my previous card and I like the duality element conveyed by the mirrored faces, it illustrates for me the different roles that I can inhabit as an artist. So I would like to retain some element of this while bringing in an indicator of the new reality of pursuing animation roles. The image gives a sense of my style as an illustrator but does not indicate an idea of animation. 
When talking to John Sherwin he recommended exploring the use of colour, hand lettering and emphasising the style that my work contains.
Here are a few samples.

Animation Production Diary – How does your carpet grow?

Early on I identified for myself that Scene Two could be a quick gain in terms of production. It contained some tricky transitions too which would be good to solve early. One of those transitions is the growing of a carpet from a full black screen. I had the idea to create one instance of a carpet fibre growth then multiply it to produce a full floor.

 First Test
 Second Test – More fibres

Third test – ready to be multiplied in after effects.

Background inspiration

One of my favourite production design styles was employed on the Disney feature 101 Dalmatians. I really admire the sketchy line work that they used and the blocks of colour overlapping the outlines of objects. For me it contributed hugely to the sense of energy in the film and I hope that my backgrounds can be as effective in communicating, in this instance, a sense of otherworldliness to high energy to calm.


Backgrounds

My film will be employing a black and white aesthetic in keeping with the comic art from the original story. In producing the backgrounds I also wanted to hold to the rendering style of the comic books. To that end I drew the backgrounds in pencil and inked them using the same techniques and tools as I used on the comic book. I see this as the base layer which may or may not require further working up. This depends on how the background will play with the animation. I’m conscious that the style was used for static images and may very well require more when interacting with motion.

Opening Scene


 Floorboards exposed

Floorboards painted


Between Floors

Dark Stage

Gallery Room first view

 Gallery Room Front View

Gallery Room Pan

Gallery Room Overhead

Clawing Hands



In the middle conflict of my film, my protagonist is pulled down into darkness by grasping hands. The inspiration for this comes from many places. First I’d have to mention The Black Cauldron’s villain, The Horned King. The Black Cauldron was the first animated film I went to see in the cinema and myself and my family enjoyed it so much we stayed in our seats for the next showing! It was the villains clawed hands which really stuck out for me as sinister.

I also have to reference the boiler man character from Spirited Away, Kamaji, with his extremely long arms which stretch across the boiler room. I think the idea of outsized limbs really contribute to the creation of an other worldly feel. I also took inspiration from this device for the arms pulling up the carpet in scene three of the film.


Backgrounds Work in Progress

Opening scene background concepts with minimal noise and halftone patterns over scanned note paper.

Climactic scene background explorations using different blending effects with a fabric texture overlay.

Same scene, this time using a granite pattern overlay. This has created a kind of star-field effect which is interesting. I also added a slight blur to the house spot for the last rough, which I think would add to any of the concepts.