This exercise required me to choose a photograph or artwork, and use it to create 10 different compositions. I next had to select an appropriate word for each format, before making an illustration and creating a poster. I decided to use Leonardo da Vinci’s “The Last Supper”, as I thought the piece was lively and would present numerous choices for this activity. I printed ten copies of the image, before placing two L shaped pieces of paper on each page; experimenting with the positioning of each placement. I have recreated this through photoshop for this blog post:
Fig. 1. “Suspicion” 
Fig. 2. “Tranquillity” 
Fig. 3. “Crave” 
Fig. 4. “Muse” 
Fig. 5. “Divide” 
Fig. 6. “Attention” 
Fig. 7. “Detached” 
Fig. 8. “Discussion” 
Fig. 9. “Disgust” 
Fig. 10. “Traitor”
Each composition is unique; the painting is extremely busy, creating many options for this exercise. Each individual is expressing a different emotion or pose. I believe, due to the amount of drama that is happening in the image as a whole, cropping it very much removes drama; it moves the attention towards specific areas of the piece. Some of the compositions are much calmer than the original image; particularly fig. 2 “Tranquillity” and fig. 4 “Muse”. I noticed that cropping the image would remove the context and give the piece a new meaning; especially, fig. 3 “Crave” which focuses on the food on the table rather than the characters, and fig. 10 “Traitor” which isolates a hand holding a knife.
In conclusion, cropping the image can shift the focus and remove all context, creating a new narrative. The more the image is cropped, the more the original subject of the piece is taken out of context or made less important. Especially with this particular painting – I think every individual is equally as important and vital to the meaning/narrative. Removing any one of them would alter the ideas that were trying to be portrayed. Eliminating areas of the wall, floor or table would be less significant, however.
Moodboard & Sketches
Fig. 11. Cycles Perfecta (1902)
I made a small moodboard; a collection of images and materials that I thought I could use in my illustration. I chose to take fig. 2 “Tranquillity” forward; I enlarged the cropped image and added it to the page. “Cycles Perfecta,” by Alphonse Mucha, was a piece of artwork that I briefly studied during my first year of college; its distinctive style came to mind when I decided to use “Tranquillity”. I like the simple, yet elegant appearance. Da Vinci’s work has become very damaged and aged; keeping the style simple seemed necessary, as there are areas that are no longer visible. It allowed me to follow the basic shapes of Da Vinci’s work – instead of making up some of the details. I created a quick drawing, combining the two pieces together, on the right. I also added some colour samples; I used acrylic paint, Indian ink and markers. At this point, I had decided that I wanted to collage the coloured elements together; I created some backgrounds of blue Indian ink, orange marker pen, and flesh-toned acrylic that I later cut out to create the face, hair, sky and hills. I found some star-patterned clear plastic and blue and gold bird-patterned paper that I added to the page. I experimented further with the composition of the illustration, by creating some quick thumbnail sketches to the right.
Final Illustrations
My tutor advised me to practise drawing from real-life; to create this piece, I looked at my original image, as well as my own face in a mirror. I started by cutting out the basic shapes to make up the sky, mountains, face, and hair. The mountains took several attempts; I had initially tried using lighter colours for the closest peaks, but this had no depth. I experimented with different backgrounds before settling on using three different shades. I used a black Posca paint pen to add the line details. I also used a gold Posca paint pen for the woman’s top and lips. I was unsure whether I wanted to use the star-patterned plastic in the sky; therefore, I scanned the piece before and after sticking them down.
Making a Poster
(Please click an image to view the gallery)
Fig. 12 (Font: Kefa) 
Fig. 13 (Font: Kefa) 
Fig. 14 (Font: Andale Mono) 
Fig. 15 (Handwritten font) 
Fig. 16 (Handwritten font) 
Fig. 17 (Font: Superclarendon) 
Fig. 18 (Font: Superclarendon, light italic) 
Fig. 19 (Handwritten font) 
Fig. 20 (Handwritten font) 
Fig. 21 (Handwritten font & Superclarendon) 
Fig. 22 (Handwritten font) 
Fig. 23 (Handwritten font)
Fig. 24. Handwritten Text
I experimented with different fonts, text positions and borders through Photoshop. I tried using both versions of my illustration: with and without stars in the sky. For the border, I scanned a sheet of paper that I had coloured using the same blue Indian ink. I corrected the colours and blended the edge between the sky/mountains and the border, making them appear seamless; this took several attempts – you can see slight differences in each of the experiments. I used the clone, smudge and sharpen tool to do this. I tried several different fonts: ‘Superclarendon’, ‘Andale Mono’ and ‘Kefa’ (as well as many that I didn’t like enough to save copies of). I also wrote the word with my own handwriting, before scanning it, removing the background and using it as another text option. I played around with the position, scale and colour of the text. I was looking for something loose and casual that added balance to the piece. I didn’t want to make it too large or prominent, to complement the quiet atmosphere. For my final piece (see below), I also moved the position of the neck; I think this improved the drawing greatly.
Final Piece
I am reasonably happy with the result of my poster. I was unsure about whether to include the stars; some of my peers suggested that the starless sky looked more tranquil and still; I think they look quite ethereal and mystical. The image I had in my head included quite divine, heavenly imagery – perhaps related to the subject matter of the painting itself, or possibly influenced by my idea of what ‘tranquil’ means. The stars also add another layer of texture and balance/distribute the darker colours more evenly. I chose to use one of my handwritten fonts, as I liked how the bold, loose style complemented the thick lines used in the drawing. I think the element of untidiness also adds a sense of freedom and relaxation that very much relates to the theme of ‘tranquillity’. I am pleased with the style of the drawing; it was enjoyable to create and works well in the context. It is a style that I’d like to explore more in the future. I also enjoy the colour scheme; the sky and mountains in the background contrast with the woman in the foreground due to the opposing colours. I think the combination of gold and blue looks quite regal and luxurious.
Some elements could be improved. As much as I enjoyed the font that I selected, I think it could have been more readable. For example, some may read it as ‘franquillity’ due to the way that I write my t’s. I think the stars are slightly ‘hit or miss,’ which might be an effect that I’d want to avoid in a professional situation. If I were to create the piece again, I would consider making the black mountain face the opposite way; I think it would make them appear more balanced and central.
Final Thoughts
If this piece were printed and sold as a poster, I would consider making the gold elements metallic/shimmering – I think this would add to the atmosphere that I was trying to create. It was interesting to see how many different formats I could discover within one painting, and how each one had a different meaning; this shows how important it is to consider the arrangement of an illustration carefully. Decisions about what you may add or remove can affect someone’s interpretation of an image.
Marianne Williams 