Like “cat by the window“, I drew this piece also as one of the key visuals for my next pen-drawing animation. Actually, I had not tried preparing any key visuals for my animated films before; I always started with music selection and putting the selected songs directly into the video editing software. Looking back, that was why I then had to struggle to determine how I could harmonize all the visuals of each one of the scenes I created for one animated film. Looks like my next animation is going to take about 30 minutes, and probably the film production would come to a deadlock very quickly without determining the overall artistic direction in the beginning.
Therefore, I am now working on this key visuals preparation.
Once I tried doing this, I realised how important this process is. Because you actually can come up with new episodes and/or scenes in the process of developing some key visuals; something that you did not think about before drawing these pieces.
Now that I know the advantages of this preparation, my revised film-making plan is:
a) to keep drawing some more key visuals
b) to think about the details of the episodes/scenes which are developed in this process
c) to revise the current storyboard by including some of the new episodes/scenes
I think this way I will be finally ready for making this film.
Due to the serious pandemic issue, I decided to postpone my solo exhibition planned for this period of time till sometime in the latter half of this year.
Thanks to this decision, I can concentrate on my film making, which is my top priority anyway.
Well, the making of this gondola cat piece is introduced in my Instagram page:
The outline completion of this work took me 8 days, while the shading took only 4 days. This is because I needed to do a bit of research of other master pen artists’ works to find some new techniques I could learn and incorporate into this work.
Specifically, I took in the building wall textures from an artist who specializes in the drawing of old buildings in Scotland, and the expression of trees from an Italian artist who draws mainly wild landscapes. I think I learned how to draw the brick wall textures pretty well from this experience, but as to trees expressions…I have to admit I ended up with something halfway. My initial plan was to utilize the technique of this Italian artist to express the blurred leaves of the trees in the sunlight, but my trees were not supposed to have so many leaves in the first place. So I realised I could not try the technique in this particular piece. I am hoping to try and master it in other works in the future.
I tried preparing the dark-grey and sepia versions of this piece so that I can use it for the calendar design.
I love these different colour versions as well!