Sign & Digital Graphics

March '18

Issue link: https://nbm.uberflip.com/i/944757

Contents of this Issue

Navigation

Page 96 of 234

90 • March 2018 • S I G N & D I G I T A L G R A P H I C S MASTER'S TOUCH H&B Car Mural This incredibly challenging project sheds light on the possible gap between vector-oriented "sign painting" tech- niques and "mural painting" which is closer to studio oil painting. I asked the designer to generate high-resolution proofs that could be used to convert some of the art into a vector form via an overhead projector. At some point something similar has to happen before a studio painting is started. The artist has to break down the vision into a line form no matter what. Once the main elements of the art were transferred as lines to the wall, the more cloudy details and subtle shading had to be done by eye similar to creating a painted portrait. SDG Pounce pattern created by projecting the design onto paper. In essence a vector image is created by hand at this stage. As the work evolved the original digital rendering had to be used to go beyond the vector framework and develop the non-vector likeness from a studio artist's perspective. The completed mural is a happy medium between the designer's vision and the artist's inter- pretive painting skills, but I sure wish I had done some sketch studies of real clouds as addi- tional information as a studio artist would likely do.

Articles in this issue

view archives of Sign & Digital Graphics - March '18