Looking for other artists who make funky 3-DIMENSIONAL ILLUSTRATIONS. Things that have the potential to move and that are made as PHYSICAL models but that also exist as FLAT, printed media. What transforms them into illustrations?
RED NOSE STUDIO - CHRIS SICKELS
Describes his work as 'sculptural and 3D illustration'.
He makes scenes that tell stories - a single frame that has a BIGGER PICTURE. So much work goes into these images - into making each element, placing them and photographing them. There are infinite possibilities for how the picture could look, depending on where each piece is placed, the lighting of the photograph... I wonder whether Sickels roughs out a plan of not just what the characters will look like, but of the composition of the page as an illustration, too.
RED NOSE STUDIO - CHRIS SICKELS
Describes his work as 'sculptural and 3D illustration'.
He makes scenes that tell stories - a single frame that has a BIGGER PICTURE. So much work goes into these images - into making each element, placing them and photographing them. There are infinite possibilities for how the picture could look, depending on where each piece is placed, the lighting of the photograph... I wonder whether Sickels roughs out a plan of not just what the characters will look like, but of the composition of the page as an illustration, too.
https://s-media-cache-ak0.pinimg.com/564x/dc/f9/c1/dcf9c13beac9971aa8c935695662351f.jpg
This model of Edgar Alan Poe interested me because he has solved the problem that I have been tackling. He's made a 3-Dimensional model in response to a classic legend.
It's not a traditional PORTRAIT - it's a recreation, a re-imagining, a miniature scale figure.
It's identifiable as Poe, but it has this otherworldliness to it, as though he has been through a weird Coraline-esque vortex that has changed him. YOU'VE CHANGED, MAN! It's obviously Sickels's work in style and form, but it's also obviously inspired by Poe himself.
Feeling like I should have made a lil' Jim! It just seemed too obvious...
I wish I had seen Red Nose Studio's work before I'd got so far into the project!
It's giving me confidence that what I do CAN be illustration.
https://s-media-cache-ak0.pinimg.com/564x/13/d9/f8/13d9f878a305bff0e1a319183da0764b.jpg
In this example, it's the type that brings the still frame into a graphic image. If I choose to make my posters and postcards into promotional material for the short film I made, this could be a simple way of contextualising it. Adding a masthead and details about the production in an overlay of type.
Traditional illustration - drawing/ink combined with the model-making process. So clever! I could play about on Photoshop to combine layers of scanned drawings and photos of my models.
I wouldn't have expected the two to work so well together, but the way that this artist has carefully cut around the model to collage it on top of the drawing is neat and seamless. Although the two media have a very different aesthetic style, it doesn't make the illustration look odd or out of place, it actually creates even more interest within the frame.
I'd liken this to the photographs of Jim Henson with his hand in a puppet - for some parents, this 'spoils the magic', but for others it just makes the art form even more enchanting - getting a glimpse into how these little things are made and where they begin as sketches.
https://s-media-cache-ak0.pinimg.com/736x/c9/de/01/c9de0143af4efa6e7ff42192d6ec4c83.jpg
The intricacy of his sets is breathtaking and gives the viewer so much to look at. There's textures, shadows, colours, forms, foreground, mid-ground, background. There's depth where objects overlap. There's the whole construction of a miniature world. Physical effort, making the houses stand up alone. Posing the model. Sculpting, placing, building, crafting, PLAYING.
For me, that's a lot more than a drawing can ever offer. Even if you spend 10,000 hours on a drawing, it's still only used one hand and a chunk of brainspace. Making a scene involves the whole body and both sides of the brainnoodles.
For me, that's a lot more than a drawing can ever offer. Even if you spend 10,000 hours on a drawing, it's still only used one hand and a chunk of brainspace. Making a scene involves the whole body and both sides of the brainnoodles.
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