1) Zugarramurdi, Witch Caves (pages 1-2)
With the first location I looked at both internal and external settings. The forested area beside the caves was mysterious and spooky, however I concluded that the caves were unique to this particular place.
Composition is vital yet can be difficult. I did enjoy some of the forest scenes, but I found that trying to cram too much information into the frame (forest floor, trees, caves, skyline, figures) made the area jumbled and confusing. Sometimes it's best to edit down chosen elements..
When I did small drawings of the caves, I liked the fluid, sloping lines of the rock surface. This sat well against the vertical forms of the witches. I wasn't thinking too much about colour at this stage, however I liked the idea of there being a glow/colour from the cauldron.
2) Salem, Crooked Houses and Mysterious Villages (page 3)
Following my research, I wanted the postcard for Salem to involve the witch house and similar architecture - wood panelled, painted black, blocky-looking, or a strange little village. My favourites are the close-up of the witch house, and the rough that shows a winding street with the narrow houses.
I think the house close-up is successful because it evidences the process of editing down information, only showing the necessary parts. The witch in the window is creepy and vague, and involves the figure in a subtle way. It could have the potential for colour to be used in an interesting way too.
I like the narrow street composition, how the tall houses match the pointed witch hats. I enjoy the idea of the witches existing quietly and being enigmatic. However I think it could be complicated to show perspective and depth accurately with very few elements. I don't want my postcards to look too representational, and this could be challenging if I needed detail to help portray something with accuracy?
3) Torsaker, Fire on the hill and Crying tale boys (page 4)
With this design, editing out things was also really difficult! The important parts are the little church, maybe the priest, and then the two figures of the boys (and of course the burning taking place..)
I guess these designs veered away slightly from *~witches~* and became more about the trial and historical events. I tried to claw back the idea of the witches by showing small silhouettes of them in typical witch-garb, in the fire on the hill.
I like the way the two boys have that clunky, slightly warped appearance similar to my earlier witch drawings. Having them side-by-side is strange and maybe a little creepy? Especially when the execution is quietly happening behind them.
An alternative to include the witches more (linking them to the other designs) was to show them congregating in the forest. However this could be too similar to other designs and forests are generally nondescript settings. (This is where I start to lose even more faith in my idea (´౪`) yeah!!) gfehe
4) North Berwick, The Old Kirkyard and Graveyard parties (pages 5-6)
So I thought the last one was difficult, this one was even more so. The main setting that occurred to me was the Kirkyard where the covens would take place. Ideas involved depicting the church, and the adjoining graveyard with small witches dotted around.
Then I went off on one drawing witches in outfits relevant to the time period. This wasn't good or consistent, and made no sense, so I won't be using any part of that. I found this particular location / event difficult to extract unique imagery from! As a result my roughs for this 4th postcard are pretty dire.
I plan on developing these sketches so there is still room for improvement (hopefully).
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