Denial is directly lifted from my script work for Hellbent/Heavensent. As I'm planning to turn my thesis project into future work, I decided to test out my compositional skills digitally. I first started with a pencil sketch on a pad of normal sketchbook paper, then scanned the rest of the piece into the program Medibang Paint. After retracing the image for its lineart, I found the colors were a bit to saturated with the program. Instead, I attempted to lower the overall opacity of the image while adding glowing marks to keep it still weighted on the main character.
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Grief was the first piece that I worked on throughout the course, and the one that I felt most comfortable working forward with. At the time, I'd never attempted a shadowbox before, and I wanted to tell a story through silhouettes. This is an Act II lowpoint for Basil in which he feels he's lost everything due to his faith.
Just like Denial, Grief began as a paper sketch. After cutting each individual layer of cardstock and vellum with an X-acto knife, I held the piece together with glue. When I didn't have a light source, I decided to use my computer as a mock back-light for Grief, which definitely solidified my decision in furthering the idea. |
While working on a second class that dealt with stage composition that I know call The Theater Project, I was inspired to compose a scene similar to those with my thesis project. Because I enjoyed the tonality that silhouetted figures gave for Grief, and also the bright colors I experimented with for Denial, I decided to ultimately cross the two for this final image. In order to achieve this and meet the requirements for 2-D, I used acrylic paint to bring out the colors, while still hand-cutting each layer with an X-acto knife.
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