Last week I posted some gentle little watercolors, and briefly described the process. Here, as promised, is a more detailed view of that process.
Step one: Draw your shapes in pencil.
Step two: scan the drawings, and import to Adobe Illustrator. Trace the shapes using the pen tool, refining as you go, to create your idealized vector shapes.
It’s time for some updating and new colors. I’ve been thinking about some new colors for awhile, and went to browse the chips this afternoon.
When I got home, I checked them all out in the rooms and against the light and existing paint, then gave them a quick run-through in Photoshop, as I can’t resist that sort of thing.
Two shades of yellow for the kitchen; a rustic sort of dark Naples yellow for the walls, with pops of a true, bright yellow (this tint named “Cheerful!”)
I’ve rather always regretted how very subtle my choice was for the kitchen— looks barely a color in that West-facing room. Time to make right.This exuberant yellow will appear in two pops, on walls directly opposite one another— in the recessed shelves and on the double pantry doors. Can’t wait to see it up!
And in the teeny, tiny bathroom (which has done really well in a nearly-black brown color for 7 years now) shall be updated with a color pulled from a couple of the tchotchkes in there, eg. the bath salts tin— a sort of burnished aqua tone.
I’m hoping that it will make the awful dusty-rose tiles appear more neutral, and disappear in its high-key presence. Distraction is often a key component— a designer’s sleight-of-hand.
Beyond the Red Oak v6 from Elizabeth Daggar on Vimeo.
I haven’t had time the past two weeks to get much farther with this, but I’m hoping to get back to it on the weekend. Here’s where I left off in my motion tests and atmospheric meanderings.
Here are a couple stills from a scene into which I’m working that oak tree drawing and the landscape I’ve been working on. I’m still getting the hang of working with cameras, and messing about with focal lengths and such, to get the depth of field. It’s slow going, but enjoyable.
A Snow Story [in progress] from Elizabeth Daggar on Vimeo.
Here are the bare beginnings. (And more Ravel, as it happens.) For context, see this post and this post.
I’ve embarked on a project that has decided it wants to be something much larger than I’d planned, which is awfully exciting (to me). What began yesterday as just a few drawings of trees and birds to layer into another snowscape has planted the seeds of a short film, a proper story. The spark has been lighted and no going back!
These are two stills from the scene I worked on today using yesterday’s drawings. I’ll share a sneak peek at some motion soon.
I must quiet my mind.
Sometimes it can be done with reading on the train. And sometimes it needs to be done by formulating, or finding, some clear thing out of the jumble of tangled strings and wires— the ones that formed knots in one’s head during the tumult of the day.