Unveiling Wonderland

For our APPs (Advanced Professional Practice) we had the choice of whether to create our own design brief or follow one of the competition briefs listed by our lecturers. The Serco Prize hosted by both the Association of Illustrators and Serco really caught my eye; it involved portraying a London story or stories in a single narrative.

 

I delved into London folklore as I had a keen interest in fantasy and fairy tales. I wanted to create an amalgamation of both well-known and lesser known narratives, and the ones that really stood out to me were Sherlock Holmes, Dick Whittingham, William I and Sons, Spring-heeled Jack and Witch Well. 

 

Even though I was unable to fully complete my illustration in time for the Serco Prize deadline, I continued with it and produced a poster design to submit as my university project. I initially had produced a different A3 version which you can see here, but after following the feedback from my lecturers and classmates who had all agreed that they preferred the Double Royal poster version. I thus adapted my A3 poster design to reflect this one so that it would mirror the Serco Prize's existing poster designs. 

Illustration

Poster Design

APP Home (AOI): Converting Double Royal to A3

After much thought I decided to try taking the poster composition used for the Double Royal poster onto A3. Even though I have tried doing this before and highlighted that the type was extremely small, I still would like to print it out to see if it actually looks better on paper than on screen. 

I opened up the two documents - the A3 and Double Royal version - and first copied and pasted the illustration onto A3. I then copied and pasted the text from the Double Royal version onto the document. Once it was on the document I shifted everything into place and then adjusted all of the text.

The text pt. size wasn't actually as small as I had thought before, so I decided to carry on with this design and saved it. I opened up Photoshop so that I could add the logos for the final touch. I took reference from my Double Royal poster design as it was just another version of it. 

APP Home (AOI): Evaluation

The Final Piece
My aim for this piece was to show a different perspective on the city of London, having been inspired by the work of Jan Pienkowski and storyboard techniques. I wanted to produce that magical appearance to portray London as being ‘Wonderland’ and the home to many little stories that are silently significant to the development of it as a city.
By using purples and blues I have set London in a surreal night time scene and also created connotations of magic. Purple is a colour heavily associated with this as it’s incorporated into all things Halloween as well as being used in fantasy art.

Most of my learning outcomes mention being able to undertake a project in a professional manner and produce an effective piece. I believe that my illustration is effective and is a perfect amalgamation of known and unknown methods; I was able to explore into the territory of digital painting, and yet I could also rely on my knowledge of watercolour and inking.

Drawing the Buildings - Perspective and Composition
In regards to my project as I whole I found drawing the buildings and perspective most challenging. I haven’t really drawn buildings before so I had to look carefully at my references to make sure that they were done accurately. I wasn’t able to do all of the tiny details in great detail, but I had managed to draw the general outline.

I explored with the perspective and used what information I had gathered from my research to achieve this. I would like to experiment with perspective in my other projects because it’s a really handy tool and I quite enjoyed creating an unusual composition. Even though my experiment with my second perspective wasn’t as effective as the first I learnt that larger objects leads the eye, so I should’ve drawn the Big Ben at the bottom and shifted the bus to the side. I did try this out in Photoshop (as shown in my experiment) but it didn’t turn out so well. This is because each of the buildings were drawn for the first perspective so when everything was shifted around, the perspective had to shift, which was quite hard to do even with the warp tool. Maybe next time I'll draw the Big Ben and the Bus at the bottom of the page so that it was bottom-heavy, but as I've already mentioned this was my first time I explored with an unusual perspective. At least I'll know for next time!

Poster Sizes
I have created two versions of my poster, one fit for A3 so that I may include it in my portfolio, and one in Double Royal.
The Double Royal poster design was more effective with the type placed beneath the image so that I could show the full illustration, and although the A3 version doesn't obscure any objects of the illustration I just find that the type sits more comfortably in the Double Royal. Unfortunately when I tried to carry this composition across to A3 the text would've been at a very, very small size, and I would have to cut it down so that it was actually smaller than A3 as the illustration wouldn't fit otherwise. This is why I thought it best to have two versions and present my Double Royal poster as a mockup.

Research
Initially, it was quite difficult to research into London folklore until I found one of the books done by Helen East. If it weren’t for this book then I’d still be stuck trying to figure out stories to portray and would’ve gone for the ‘obvious’ ones such as The Portrait of Dorian Gray or Sherlock Holmes. By looking more into the lesser-known narratives I was able to widen my knowledge and learn more about London.

Experimenting with Different Materials
As it was a purely illustrative piece it pushed my boundaries as an illustrator. I have played with aspects I wasn’t experienced in, experimented with watercolour, and managed to mix both traditional and digital media effectively. It has shown me that even though digital painting is difficult it all pays off in the end, and the methods of experimenting with colours are endless.
I have also found my ‘signature style’, which was something that relied on detailed line drawing and also watercolour painting. I would’ve like to do something entirely watercolour-based but wasn’t able to with this drawing as I hadn’t converted it onto watercolour paper. Next time I hope to try it out with watercolour!

I found experimenting with watercolour most enjoyable, because not only did it make me use unusual materials that I wouldn’t normally even think of, it made me realise that unsuccessful results were okay (the rock salt was perhaps the only method that worked). It was all part of the learning process.  Now it only makes me want to try more experiments!

Update - 14.12.13
I'm glad that I left my adjustments a couple of days after I had produced my design because I was able to look at it with fresh eyes. Even though I haven't managed to find the time to tackle a new composition I was able to change the layout of my poster so that it resembled the Double Royal poster but in A3 size. I preferred this text layout, and it was more consistent with previous AOI and Serco Prize Poster designs.

APP Home (AOI): Unveiling Wonderland

Update: To see my updated version, please click here

As I've mentioned in my previous post, I am going to produce two designs for submission; one as an A3 poster, and another as a mockup of what the Double Royal would look like. I'll also submit my illustration as a standalone.

This illustration was... Challenging. I haven't really ventured into digital painting that much so there were some parts where I struggled but I'm very pleased with the results nevertheless. It's really nice to see that it is possible to mix traditional and digital media without looking too 'artificial'.

A3 Poster Version

APP Home (AOI): Further Experimentation, Take Two

I decided to give my experimentation another try after looking at the newer perspective I created (which somehow didn't seem that 'comfortable' in my opinion). I'm going to try just shifting the bus around as that might be the reason why the newer perspective was a bit 'uncomfortable' for me as well as the other elements so that they cover one side of the illustration, leaving plenty of space for the silhouettes.

I first started by duplicating the most recent file because I didn't want to lose any adjustments I had made previously, and then I used the lasso tool to draw around the bus. I only selected the line layer first that's what I wanted to focus on. I duplicated this to a new layer "Bus on own". I then moved this layer to sit in front of the Big Ben and the other building as well as the coloured bus layer. Duplicating this Big Ben layer ("BB Edited") I erased the areas where it overlapped with the bus.

I used the same method for the bridge although had to make some more changes: I shifted the end of the bridge to the place just before the original bus, then erased this bus. After this I moved the layer and turned it, placing it behind the Big Ben. I erased any overlapping areas.

APP Home (AOI): Further Experimentation - A New Perspective

Following the crit I had with my classmates and lecturers I have decided to try out a new perspective where the Big Ben would be at the bottom and the bus at the side, so I'm shifting everything once over (if that makes sense). 

The first thing I did then was open up my original painting file and then duplicate it, placing it under the name 'New Composition'. I then deleted all of the unnecessary layers and created two groups: one for the line art (which was done previously) and one for the colour. I made the background layer grey and hid all of the coloured layers. 

Using the lasso tool I went around each building and duplicated the selection onto a new layer, making sure that everything was separate so that it'll be easier for me to move, and then I moved and 'transformed' them so that they fit in their new space.

APP Home (AOI): Double Royal Size Screenshots

I was curious to see how the poster would look at a larger size, so I picked one of the dimensions provided in the brief and created a new document in InDesign. Then I went along and placed all of my text and illustration (leaving the logo until the very end) and I noticed just how large the pt size of the text had to be. Out of curiosity I went to see how big it actually was: it was bigger than A1!

Here’s me copying and pasting my Double Crown version onto the A3 document, just look at the difference in sizes!
Another problem I found as well as the differences in sizes was that the illustration had to be reduced so that it was very thin in order for everything to fit on the page, meaning that it would actually be smaller than A3 in width. So it might be better to just print out the Double Crown version as a mock up to show what it would look like when printed larger, and then have my A3 version.

Conclusion:
This made me come to the conclusion that I’ll have two designs: one for the ‘real’ poster (the Double Crown) and another for my portfolio (the A3 version). Unfortunately my type and illustration arrangement that I did in my Double Crown couldn’t be carried across on A3, and I will explain this in my evaluation.

APP Home (AOI): Developing the Illustration into a Poster

Even though the competition asks for just the illustration I have decided to take it that step further and incorporate it into a poster design, much like the ones that will were shown around London. I looked at past designs done for the same competition (as this is their third year doing it) as well as a few more, and all of these are shown on my Pinterest board ‘posters’: http://www.pinterest.com/lizjowen/posters/ 

Sketches 

With these ideas in mind I jotted down some notes on what I wanted to include in the poster and roughly sketched out some initial ideas. I found myself to be quite limited because of the nature of my illustration: the border and dimensions of my poster made it difficult to work with. It would work fine if it was printed at a standard poster size but I stuck with A3 in order to be able to present it in my portfolio.

Working on InDesign

After laying out all of my ideas on the page I decided to carry them across to InDesign, creating an A3 sized file and then placing my illustration onto it. I had a bit of play with layout, as I just wanted to see what the illustration would actually look like with each idea. 

APP Home (AOI): 'Unveiling Wonderland Screenshots' Contin.

After doing a test print on A3 I was able to pick up on some of the things I could develop, so I went back into Photoshop to develop it further.

Refining the Glow

One of the things I picked up on was that the glow surrounding the Big Ben weren’t refined enough, as the line art was too visible. I created a layer named ‘light fixes’ and with the soft brush in a very light blue (slightly lighter than the glow that was already there), I went around the Big Ben and Westminster Palace again. I made sure that the brush was very small so that it was more obvious. I also went around the bus and the bridge. 

Deepening the Shadows

Due to the fact that the glow was much brighter meant that I had to deepen the shadows, and so I started to add in darker shadows on the areas where it was closest to the glow. I also noticed that I hadn’t shaded the windows, so I also added shadows there as well. I made a new layer for all of these dark shadows called ‘Shadow Adjustments’, and for the light on the windows I had to create a new layer. I used a low opacity soft brush to do the reflection, as I didn’t want it to be too distracting.

Cleaning the Lineart

There were some areas where the pen had blotted on the page, so I tidied this up as best I could by using both the lasso tool and deleting it, and the eraser tool.

Blurred Watercolour Background

One aspect that was quite worrying was the slight blurriness of the watercolour layer, so I tried to resolve this by sharpening the layer. 

This, however, didn’t seem to make much of a difference so instead I just scanned the painting again.

I realised that the painting was just a little bit bigger on A4 so where it went over the scanner it blurred slightly; I put two and two together and realised that this was the cause of my problem. I scanned in two versions: one where the top went over the edge, and the other the bottom.

I brought up these two versions in Photoshop and decided that the one where the bottom went over the edge was better, so I placed the one with the top over the edge on the upper layer. Then I erased the areas around the top so I could keep its “bottom”, as it were. This solved my problem! I had the perfect top, and perfect bottom, which was a combination of these two scans.  

The result

Conclusion:

By printing out my painting I was able to look at all of the adjustments that I needed to make a lot more clearly. This is because I could see how it would look when up on the wall, and it was at a larger scale so I could have a closer look at it.

Luckily I didn’t print out on ‘proper paper’, or I would’ve realised my mistakes all too late! This has shown me the importance of test printing. 

APP Home (AOI): 'Unveiling Wonderland' Screenshots

With my final sketch now complete I could move onto drawing it accurately so that I could ink it (with biro pen) and then work on it digitally.

Transferring the Sketch to the Final Drawing

My first step was to transfer the sketch to the final drawing, and I did this by tracing it with Layout paper. Layout paper is very much like tracing paper, yet it is ‘whiter’ and has that appearance of ‘normal’ paper when laid flat. 

I noticed that the witch and girl were running away from the scene, and I wanted them to run towards the centre so copying it onto a piece of paper I then lay it beneath the layout pad (erasing the original) and then re-traced it.

I then went over the pencil with biro pen. This took an incredibly long time as I wanted to get it as detailed as possible (especially the buildings!)

With that done, I move onto the watercolour background. 

APP Home (AOI): Final Sketch

After doing all of my compositions I settled on the idea of the road going around the border of the image, with the Big Ben, Westminster Bridge and the London Eye in the corners and running alongside it.
I start by drawing lots of little lines leading off the dot in the centre, just so that I could lie out my perspective. Then I drew my buildings according to these lines and drew an outline of my characters.

Conclusion:
Now that this is done and all of the character's are in place I can take it to the final drawing, which I hope to do in more detail so that I could scan it in and work on painting it digitally. This is because I want to create an amalgamation of both digital and traditional media.

APP Home (AOI): Drawing the Characters

Now that I’m working on sketching the characters I shall look up on Google for some reference images and to also find out some little details about them so that I could jot it down in my sketchpad and use as inspiration.
Most of the inspiration for my characters was taken from the bullet-points I had constructed when reading on London folklore. It was easier for me to jot down these notes at that time because I find that I often produce images in my head when reading.

Mood Board

Image sources: http://downloadwallpaperhd.net/cat-wallpaper-hd/; http://www.warrenphotographic.co.uk/05858-ginger-cat-sitting-looking-round; http://www.alertstillness.com/2013/05/11/boy-sits-overlooking-the-sea/; http://dgsmith.org/tag/matthew-shepard/; http://www.flickr.com/photos/50305674@N08/galleries/72157623942802815; http://www.northamptonshirewildlife.co.uk/npton/sys2.htm; https://www.rspb.org.uk/wildlife/birdguide/name/g/goldeneagle/index.aspx; http://www.allaboutbirds.org/guide/Golden_Eagle/id; http://birdart.lanius.ro/flying-raptors-paintings/368; http://eagleman6788.wordpress.com/2012/09/23/the-mystery-of-collective-intelligence-stunning-2/; http://sorrowolf777.skyrock.com/1378867860-Jack-Talon-a-Ressort.html; http://lindowyn-stock.deviantart.com/art/Dance-with-Me-3-43670262; http://www.layoutsparks.com/pictures/disney-0; http://www.visualphotos.com/image/2x4543542/a_young_woman_holding_a_bowl_of_soup; http://liam-stock.deviantart.com/art/Black-Magic-22-129082887;  http://rpartridge.deviantart.com/art/Spring-Heeled-Jack-2-179489163; http://www.portlandmaine.com/event/sherlock-holmes-camp/; http://www.mhpbooks.com/lawyer-set-to-challenge-the-sherlock-holmes-estate/        

I made sure to collect as many references as I could because I didn’t just want to copy them, but adapt them into how I wanted the characters to be posed. I focused more on the birds because I wasn’t very familiar with the species – especially goshawks and starlings – and it was important that I could see the differences between each one for when it comes to the sketching stage.

Sketching

Taking all of these references into account I then started doing some sketches, using the ‘line’ technique shown in my storyboard research.
At the corner of the page I jotted down some notes I took when looking at these reference images, and also when I briefly researched into the three different birds to understand the hierarchy between them.

Conclusion:
With all of my characters sketched I can now place them ‘within the scene’. I have decided to not do the Blind Beggar’s Daughter because it resembled Disney too much, and I wanted to choose something that isn’t similar to other stories. This is why I had decided to do Sherlock in the end because it would be nice to include a better-known narrative to show that they all take place in London.

APP Home (AOI): Developing Ideas - Experimenting with Compositions

I decided to explore into the idea of portraying the London city line and tried to think of ways of how the character's were to be displayed with it. The problems I had were that (if I did go with the idea of the woman as My Fair Lady) that either London would be too small or the characters would be. So I tried to think of different compositions and ways to place the characters.

After sketching the city line with the two giants – Gog and Magog – floating in the sky I went along to conduct an experiment, focusing on how I was going to lay out London and see what colours I could possibly use for the sky. I settled for purple and blues to create that 'magical' atmosphere – taking inspiration from Jan Pienkowski – and used black ink for the silhouettes.

I wasn't so sure on this idea because although I loved the colours used, I wasn't very keen on the city line. I couldn't decide whether or not to draw all of the landmarks of London or just to focus on one area.

APP Home (AOI): Compositions and Drawing Characters

Storyboard Tutorials

Having been inspired by the storyboards I analysed, I wanted to research further into their composition methods to figure out how they made their scenes trigger emotions as well as create depth.

How to Create Depth in Four Ways

According to the Storyboard Tips from Dreamworks (http://nofilmschool.com/2013/09/storyboarding-tips-dreamworks/), they have listed four ways to create composition:

• Avoid flat staging
  This basically means to have a point of perspective, and it's generally better to use more than one (they have advised to use three vanishing points). 

• Use grids
  This will allow me to figure out where to place people instead of having them dotted randomly that it almost looks as if they're floating in mid-air. The grid will provide a sort of ground, and this will help me work with my perspective point as well.

• Use foreground, mid-ground and background 
  This means placing objects at different 'levels' in order to create depth. For example if we were on the Westminster bridge looking at the Big Ben, the Big Ben will be in the far background, the cars on the bridge on the other side in the background, the cars on the our side in the mid-ground, and we're at the foreground. 

• Group multiple characters
  This wouldn't necessarily apply to my illustration as I'm not doing a storyboard, but if I was I could make it easier by grouping multiple characters together and labelling them so I know where each one is as I move onto the next board.

Composition

I went onto Google and soon collected a small list of various compositions, drawing sketches beside them to help me to understand them a bit more.

However what I couldn't really understand was the golden ratio; it was quite difficult to see how it actually works, but I think it follows a smooth curve...

APP Home (AOI): Sketching London Landmarks

Looking at my research that I had done previously, I picked out and printed some of the key landmarks that I wanted to include in my illustration and drew right next to them. 

I also made small annotations next to my sketches and photos that I needed to take into consideration when drawing my final image.

Conclusion:

I realised that not all of the chosen buildings would fit on the page so I decided to leave out the Sea life centre. This is so that I would have more space for the characters and I also wanted to include some form of transport into the piece. 

The most difficult building to draw (even though they would all be quite challenging) would be the big Ben and Westminster Palace, because they are incredibly detailed. I haven’t drawn buildings before so I would need to make sure I draw them as accurately as possible… Although hopefully people wouldn’t mind if I missed out a thing or two!

APP Home (AOI): London in Illustrations

I’m still a bit unsure on how I’m going to bring together all of the London stories that I’ve read and have found interesting, but I know that one of my ideas involved laying out London as a map and pin-pointing all of the stories at key landmarks. With this in mind, I looked at infographics, maps and illustrations of London. 

Another reason why I wanted to look at existing illustrations is so that I could get a general idea of what has been done before so that I could use them as an inspiration but then create something entirely different. 

Mood Board

Image sources: Arunas Kacinskas http://www.behance.net/ArunasK; The Design Surgery (2) http://www.behance.net/thedesignsurgery; Simon http://www.simonsgallery.com/001commissions.php; Jane Gardner http://janegardnerdesign.com/; Lizzie Mary Cullen http://www.lizziemarycullen.com/;  DxC http://www.behance.net/DeeAit; Chetan Kumar http://www.behance.net/cheism; Mcdonald Gill http://www.macdonaldgill.com/; David Ryan Robinson http://davidryanrobinson.com/; Chris Martin http://mrchrismartin.co.uk/index.php; Charlotte Trounce http://www.charlottetrounce.co.uk/; Dieter Braun http://www.brauntown.com/; Migy http://www.migy.com/; Lab Partners http://lp-sf.com/; Jenny Leonard http://jenny-leonard.com/               

APP Home (AOI): London Landmarks

During my trip to London I took photos of the Big Ben and the surrounding area. On a recent Facebook status of mine where I asked people to name me three of London's most popular tourist destinations, all of them mentioned the Big Ben. I'm not too sure if I'm going to couple the Big Ben with other tourist attractions as I think I don't want it to be overloaded with that and “too London-y”. 

Therefore I am going to experiment with the idea of drawing both the Big Ben and surrounding area, and Big Ben with other tourist attractions.

Here are the photos I had taken:

As you can see from my photos, I was either too close or too far, and the sun was really low in the sky so you could only see the silhouette of the buildings. Therefore I went into Google Maps and took some screenshots of the area as well as looking at Google Images to see what I could find.

My main focus was on the Big Ben because, as mentioned above, it was the most popular location choice.

APP Home (AOI): Inspirational Film Posters, Book Covers and Storyboards

I have also looked at film posters and book illustrations to see how they portray a whole story in one image. Even though mine might be slightly different, it’s important for me to understand how they managed to pick particular parts to represent the whole story. 

After getting some feedback from the crit I also went to have a look at narrative illustration, storyboards and comics in particular, to see how illustrators produced the concept and into the final idea. I am most interested in how they lay out each ‘scene’ and the techniques they use. 

Mood Board

Image sources: Paul Shipper http://www.behance.net/paulshipper; The Brothers Hildebrandt http://www.brothershildebrandt.com/; The Dark Knight, Day Watch http://www.smashingmagazine.com/2008/10/12/50-beautiful-movie-posters/; Carlo Giovani http://carlogiovani.com/; Simon Bisley (2) http://www.simonbisleyart.com/; Dave Gibbons “Watchmen”; Demon Studios http://www.demonstudio.co.uk/; Nei Ruffino http://toolkitten.deviantart.com/      


Analysis of Inspirational Pieces

Simon Bisley – http://www.simonbisleyart.com/

What I’m most interested in in a storyboard is what each comic panel means; as shown in this example here done by Simon Bisley, each panel is a different shape. The larger panels demand more attention and the curve of the top two panels reflect the hand movement of the woman.
Even without any quotes or writing it’s clear what’s going on through the images and could feel the tension rise as the scene is zoomed in, almost suffocating the two people as the viewer can now only see their faces. The man’s shadow is drawn on the wall right beside the woman that shows just how close he is to his victim, and this adds a sense of fear as his hand is closing on her.
The way the woman is backed up against the wall only increases the tension as she claws at the wall to try and get away from the male, but upon realising defeat she turns into a terrible creature.
One of the key things I’ve noticed is that this storyboard has mainly focused on the character’s expression and reactions of each other’s presence. The woman-creature is clearly trying to get away from this mysterious hunter of some sort, yet at first she is portrayed as being an ordinary woman until the final frame where they’ve zoomed in on her face and revealed the monstrosity behind it. This then makes the viewer realise that the man is actually the good guy despite his expression, and would become more curious to see what was beneath that hood.

Conclusion:
I was really interested in this storyboard, so much so that I continued reading it right to the very end of his portfolio. I think it’s the way he has chosen different ‘camera angles’ to create drama. I too would like to create some sort of my excitement in my illustration so I shall research into comic panels a bit more and figure out their composition.

APP Home (AOI): Experimentation with Different Media

Wacom Inkling

My first experimentation was to see how well the Wacom Inkling works. I am a big lover of inking and line art, and because I find it difficult to do that with a tablet I had received this Inkling as a birthday present. I haven't yet used it properly so this was the perfect opportunity to see how it works.

To use the Inkling I had to attach the little 'box' to the top of my piece of A5 paper, turn it on, and then started to draw. Every time my pen was registered it sent off a signal to this 'box', and flashed green. 

It was actually really easy to use and so I got used to it relatively quickly. Once done I just detached the 'box' and then connected it to my computer using the USB cable provided. It then brings up Sketch Manager and from there I could choose to either open it up on Photoshop or Illustrator. It converts it to a vector in Illustrator, but as I would like to mainly focus on painting digitally in Photoshop I opened it on that software.

It had placed different sections on different layers, just as I asked it too. All in all, it was pretty successful!

Conclusion:

This experimentation was very successful and I would love to try out the Inkling again, and yet I found it quite difficult when doing the shading. This shows that I wouldn't be able to go into as much detail as I want to, and unfortunately I wouldn't be able to thicken any lines as it doesn't come in different nib sizes. 

APP Home (AOI): Initial Sketches & Ideas

I used the information I had collected while I was researching on London stories to draw up some initial sketches. These were going to be very 'rough' sketches because I wanted to get my thoughts on paper as quick as possible so that I could focus of the general idea rather than the details. 

I start by drawing up a mind map on one of my first stories – Alba to Brutus – and tried to think of as many related words as possible to describe a giant before working on my sketch. I find it easier to describe the character through mind maps first because it allows me to broaden my mind a little bit and I could also look up at some images for inspiration that are related to these words.

Here I explored the idea of Gogmagog and Corineas being guardians of London, and wanted to link that with the Domesday book that registers every occupant in London (and in Britain). 

However I realised that the giant is the main focus on the piece and I want my viewers to concentrate on the city of London more, so I tried a different perspective.

There was a problem with my idea... There was only one giant, and London has two! I went back to have a look at the brief to see if I could do two versions but it states that I needed to portray London stories in one image, so I scrapped that idea.