{"id":431,"date":"2013-05-18T15:30:01","date_gmt":"2013-05-18T22:30:01","guid":{"rendered":"http:\/\/plugoarts.com\/blog\/?p=431"},"modified":"2013-05-22T11:06:06","modified_gmt":"2013-05-22T18:06:06","slug":"illustrating-little-monk-and-the-mantis-pt-3","status":"publish","type":"post","link":"https:\/\/plugoarts.com\/blog\/illustrating-little-monk-and-the-mantis-pt-3\/","title":{"rendered":"Illustrating Little Monk and the Mantis: pt. 3"},"content":{"rendered":"

Previously<\/a>, The story now titled Little Monk and the Mantis: a bug, a boy and the birth of a kung fu legend has been broken down into thirteen key images, one of which has been completed.<\/em><\/span><\/p>\n

After nearly a year of development and the deadline for completed artwork fast approaching it was decided that the remaining twelve works of art would be painted somewhat simeltaniously. The vision for producing this artwork would be as follows:<\/p>\n

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  1. Rough drawings based on the previously refined color layouts would be taped to sheets of one quarter inch thick frosted plexi-glass twelve by twentyfour inches in size.<\/li>\n
  2. Over each drawing, a sheet of twelve by eighteen inch water-color paper would be mounted<\/li>\n
  3. A camera would also be set up above the drawing table to record the process. This element would be key as a means of reviewing the illustration process for the sake of creating greater effeciency and to identify when and were time is wasted.<\/li>\n
  4. With a collection of eleven boards mounted in this fashion (one of the 13 pieces would be painted in a more traditional wet-on-wet manor, with the soaked water-color paper mounted on an illustration board) and a color pallet worked out in advance, judicious use of a lightbox would be key in the success of this project.<\/li>\n<\/ol>\n