Screenplay Process: Part Four

The last post about the process for three Screenplay paintings, this shows the final inked piece--pre-watercolor.

 

I ran across this tintype early on, and used it and others for resource.

Most often, after the thumbnail sketches for any artwork, I collect a lot of resources. I use Pinterest in order to keep them organized. If you are interested, the link to my Screenplay resource folder is here:

Sarmo's Pinterest Board

 

Here's a sheet of thumbnail sketches for Projectionist. The sketches always seem to begin sort of motionless.

 

Originally envisioned as a young man reading a newspaper, the projectionist morphed into a kid. I thought the idea of a person smoking in a projection room with flammable celluloid would be humorous, but on second thought, not really.

 

So the human character became a kid reading a monster movie magazine. Frankenstein's monster plays a part in all the pieces.

After inking the outlines with a small brush, I use a very light 2H pencil as a shading guide, and begin layering the ink lines.

 

There are many layers of cross-hatched ink lines in a piece like this.

This section threw me a bit because of the glowing light from the magazine. I wanted the effect but hadn't a clue how to achieve it until I got to this point.

The pieces, like many of my works, are pretty much drawings with watercolor washes laid in afterwards. The hardest part of this stage was getting the washes to blend around the glow. I used Quinacridone Gold and Burnt Sienna for the washes.

This was also a section in which I knew I wanted the monster's face in the light beam but hadn't an idea how to accomplish it. Somehow it all worked out.

The rat was a compositional device. The projector, the projectionist, and the monster created three subjects at the top. The pic needed balance, so the rat came to the rescue.

Well that's about it. If you are in Denver for the Screenplay reception on October 30th or the month of November, head over to Helikon Gallery and Studios to see all three finished pieces. They will be there, along with Screenplay interpretations by 30 other fantastic and inspirational artists. Each of us got to create three, 12" x 12" artworks for the theme, and it is going to be a great show!

Thanks for following my progress here--I appreciate it!

 

 

 

 

 

 

 

Screenplay Process: Part Three

http://tomsarmo.com/

The second painting for the Screenplay series is about the Editor. In the first post about Screenplay, you can see the sketch of an "editing machine" by clicking here:  

Screenplay part one

I'm not one for sticking to factual representations of anything, machinery or otherwise*. 

Here is the new version, penciled, then inked onto watercolor paper. I used a brush and ink for the outline; for the the crosshatching a Crow Quill 102 nib.

I tried out a lot of heads before settling on the one I wanted.

Here's my original composition sketch, but the expression pretty much came from...

...this selfie. Eeesh.

Penciled in and adding ink outline (sorry for the poor quality photo).

http://tomsarmo.com/

More ink with the prelim sketch as reference. The final piece will be 12" x 12".

http://tomsarmo.com/

And a cropped detail of the nearly finished ink drawing. There are more layers of cross-hatching to go than I want to think about. Watercolor washes will follow, and that'll be faster.

Thanks, as always, for reading!

Next up: The third painting in the series; the Projectionist.

*My resource for the editing machine

Screenplay Process: Part One

http://tomsarmo.com/

I'm charged up to be part of an upcoming show at Helikon Gallery & Studios. The theme is film, and I was struggling to find a subject for the three, 12" paintings requested by the gallery. Luckily my wonderful muse gave me time to verbalize my difficulty.  She listened carefully, and then said "What about paintings that cover the the people and equipment involved in the process of film making; camera man, film editor, and projectionist? In your style of course." Perfect!

The thumbnail sketch above was the first idea for the camera man piece--along with a ghost...

http://tomsarmo.com/

...then I tried out some characters and equipment. This part of the process--besides getting the idea--is often the most trying for me. The idea's there, but hasn't congealed. It's just an amorphous cloud in my head. Somehow I have to give the idea-cloud form, while researching the actual details. Do I do it this way every time I approach a project? No. My process is all over the board every time.

http://tomsarmo.com/

 This time around I did more, mostly pathetic thumbnails...

http://tomsarmo.com/

...and then landed this one. Frankenstein's creature has always fascinated me, so he (and his bride in this case) became the film's subject. Along with some anachronistic Victoriana of course.

http://tomsarmo.com/

Then I got distracted by the sweet machinery involved with film editing, and worked this sketch up to a finish, just because it was pretty enjoyable. So much for a logical sequence.

Next time, more progress!

 I appreciate your interest--thanks for the visit. Check out Helikon Gallery's site here 

Helikon Gallery

and if you are in Denver, check out the actual gallery!