the storyboards continue. Here are some pictures from the Judge’s song:
if the time you’ll not begrudge
For these kind words accept my thanks I pray, a breach of promise we’ve to try today
called to the bar
Here are some more storyboard illustrations from TRIAL BY JURY
I’ll tell you how
Above: for today in this arena
Below: the judge’s entrance: behold your judge
to your bright rays
we never grudge ecstatic praise
may each decree and statute rank
and never be reversed en blanc
Hark the hour
breathing hope and fear
in this arena
for these kind words accept my thanks i pray
For these kind words etc
A breach of promise we’ve to try today
All hail great judge etc
but firstly if the time you’ll not begrudge, I’ll tell you how I came to be a judge
Here are some more (the order is not correct)
hark the hour of 10 is sounding
hearts with anxious fears abounding
Upon the other side…
What he may say you needn’t mind
from bias free of every kind
oh listen to the Plaintiff’s case
the broken hearted bride
Here are some of the storyboard sketches for our TRIAL BY JURY project:
tink a tank
Here is a version of the current showreel:
with some additional imagery from “How pleasant to know Mr Lear”
From BBC 4
From A History of the Music Hall, Part 2. (Part 1 here:
From Juststeve: Μία Ζωή Στα Χέρια Σου | Mia Zoi Sta Heria Soy
From a film about the Odyssey (Zontul)
From Wasteworld, dir Andrea Niada
From A history of the Music Hall, Part 2
Captain Cod (Better off Out campaign)
Aubade- titles for a film about a guitar: dir Henry Astor.
Marie Lloyd from “A History of the Music Halls, part 2 by Tim Wilson” (Zontul)
Introduction/ overture to “Trial by Jury” in development (Zontul. Music David Watson, Kanon editions) Gilbert and Sullivan
Red is the colour of life: charity campaign and TV series in Turkey (Title sequence)
Burlington Bertie (Animation & Voice Tim, music David Watson/ kanon editions)
“Torture Cartoon” sponsored by Screen south, dir photography Richard Hering, animation by Tim. (Zontul)
Bread father- Darende a personal history
How to be Boss, What Plato says – Best animation 2012 (Reed) Animation by Tim, Music Juststeve.
How to write a good essay – by Professor Tim Wilson (Zontul) animation and presentation
Better off Out campaign 2016 – Betty Brexit
From British History’s Biggest Fibs Episode 3 (17 animated sequences throughout the series and titles by Tim) Produicer: Nick Gillam Smith, presented by Lucy Worsley for BBC4
From British History’s Biggest Fibs, part 1 (Richard III) 6 animated sequences by Tim
Episode 2: British History’s biggest Fibs (5 sequences animated by Tim)
Matilda sequence from “A history of the British Music Hall part 2” (animated by Tim, cel- painting by Necati Zontul), music by Kanon editions
The Judge’s song from “Trial by Jury” (Zontul) by Gilbert and Sullivan (In development)
Storyboard from Trial by Jury showing original blocking for the scene
How Pleasant to Know Mr Lear (vocals: Thomasin Tresize, music David Watson, Kanon editions, other storyboards: the night I appeared as Macbeth, vocals Tim Wilson, arr David Watson.)
Just getting to the point where the judge can be coloured.
The 19th Century woodcut illustration industry was very peculiar. So while Leech, Tenniel, Phiz (Halbot Knight brown), Dore and co produced very fine and very quick drawings, these were then copied by craftsmen called “woodpeckers” and turned into prints. In the case of the Punch cartoons, this process must have been accomplished in a matter of days and some of it is astoundingly complex. The best “peckers” in the business seem to have been the Dalziel brothers who worked on the Tenniel Alice illustrations of 1865 and 1871 as well as Moxon’s Tennyson poems of 1857.
The wood engraving process was different to that used in the late middle ages. The woodcut used the plank wood or side grain, and tend to be larger using bigger tools, but for Tenniel and co, the end grain was used on very hard wood (boxwood/ Buxus sempervirens, though lemonwood is also used) and the quality of detail compared favourably with copper and steel engraving or even etchings. The wooden blocks are often worked on stuffed leather pads which allow the craftsman to work at almost any angle, a bit like a modern Cintiq and the resulting block could be printed with ordinary letter-press rather than using a special printing press as in the case of steel, copper or etchings.
The wood engraving process was expensive and labour intense. Gustav Dore, for example, could not find a publisher prepared to cough up the funds to print his illustrations to the Inferno, so in 1855, he self-published the book which not only continues to be reprinted but both made him a household name and a tidy profit.
There were cheaper and quicker processes available. The Voltaic press (electrotyping) allowed for a greater print-run but the same woodblock seems to have been the starting point and litho-prints allowed for colour but until the late 19th Century had very limited print runs. The photomechanical systems introduced by 1893, the year Tenniel was knighted, pretty well destroyed the woodprint industry overnight.
Our “Trial by Jury” images try to nod towards the style of the “woodpeckers” and accordingly I have been “inbetweening” crosshatching effects. It demonstrates how time-consuming and effective was the original craft.
I posted this picture a while ago and here is the latest line-test with some corrections to the Right arm and the addition of the pigtail.
Here is a post on progress on the Judge’s song from “Trial by Jury”.
This is a line test of the first verse. The Right arm and some of the body is still missing as well as the earlier frames of the pigtail and the pupils.
The animation was completed on the Harmony/toon boom system though I note the production of the brilliant and recently-screened “Ethel and Ernest” on BBC was done with TV Paint which seems to offer so much more opportunity in terms of textures and usability. Harmony was a wonderful tool when it was run by the Vogelesang family, particularly Lilly and Joan, but they were taken over by Corus entertainment in 2014 or so and it does not seem to have been the same ever since. I have been teaching in a school in Moscow that apparently promotes the software and it was a devil of a job to get it actually to work at all on the school machines. So much for Industry standard! I note the company also acquired Animo, Pegs’n’co and the Cambridge animation system, rival 2d animating software and has not made any effort to update any of these since, effectively smashing the opposition and leaving precious little choice.
Here is an earlier version:
This is the finished “look”-
First combined image of background and character…