The Shadow Box Diorama.

[JohnReid]

This is the back and its Christmas bulb type wiring going through the roof.The tongue depressors are painted black on the back as they are very thin and I didn't want any light showing through other than through the cracks and spaces between the individual boards.I wanted a barn siding like effect.
The unpainted portion on the left is the garage door when viewed from the inside.On the right is a viewing port for taking pics that has yet to be painted.

[JohnReid]

[JohnReid]

This side view shows my mickey mouse wiring that would never pass the code.I installed it for picture taking only ,as I liked the effect it gave to the interior of the diorama ,which will now have to be sacrificed for safety sake.

[JohnReid]

[JohnReid]

The subject matter is not what is important here as the could be a boat shed or a truck barn whatever.What is important is the lighting and how it sets an atmosphere or mood.With shadow box dioramas this is under your direct control, like it would be if you were creating a movie or building a sound stage.Fun huh!

[JohnReid]

Now as far as our storyline goes lets see how many clues we can pickup just from this one picture.
Well it is either sunrise or sunset or mid winter in the northern latitudes judging by the angle of the sun through the boards.It is an aircraft construction scene of WW1 why? wooden biplane and old chart on the wall,parts on the floor.It is an American hangar probably in France.How come? look at the walls ,the German cross has been hung as a trophy and at an angle, where the American "hat-in-the-ring" squadron signal is treated with respect.Little subtle things like this that help to tell your story.

[JohnReid]

Please note!
Someone,on another forum, gave the shadow box dioramas thread a poor 2 star rating, and I would like to thank them for doing so.Why? because it made me re-read what I had written in this thread.
Sometimes in my enthusiasm for dioramas I go overboard and say things that some may find hurtful.For this I would like to apologize.
I in no way meant to denigrate the work of any of my buds here on the forum.In fact I highly admire those who work so very hard at what they love to do ,working in small scale, using photoetch and creating little masterpieces in miniature ,something I have tried and only wish I could do myself..
I am posting this not because a moderator asked me to do so or because someone send me a private message but because I truly value the friendship of all my buds here on the forum.Everyone here has always treated me with kindness and respect for which I am truly grateful.Thank you! Cheers.John.

[JohnReid]

[Nortley]

Playing detective is one of the main pleasures in looking at your work, John. Not just "how did he do that?" - as in building the model, but working back into the story from the front and finding the supporting props. I will admit too that part of the detective work is looking for historical anachronisms, but I always do this when looking at any art.

[JohnReid]

Storyboard dioramas are normally planned from the inside out.If your main idea centers around say, a group of figures in a room,you would arrange the figures first.Then determine the size of the room.Next decide on the size and angle of the viewing window.Last determine how much extra room is required for the outer case.
This last pic shows only part of a much larger diorama but it would have potential as a room type diorama itself.The viewing angle eliminates much of the squareness associated with a room,which is a good thing.The scale will be determined of course by the objects used.
Now I could imagine a lot of different story lines here.This could be a barn,hangar or boathouse.I have seen boathouses that open directly to the water, while the boat resides inside.The floor could be cut to allow for the display of the boat inside and actually on the water.You could leave the doors slightly open and using a color photo or a painting you could open your diorama to the outside world beyond.The boat could also be tied up outside or halfway in or out of the doors.
With the proper lighting this could make for a great little scene with light shining through the siding and onto the water.A few pics or posters on the walls could also help tell your story of maybe 1920s gangsters on a rum run.

[JohnReid]

[JohnReid]

This is the same 1/16th scale barn-like structure with some interior light on.The structure is made from coffee stir sticks of various sizes,tongue depressors and pre-cut pine from the wood store.It is painted with flat acrylics and weathered with pastels.

[John]

Hi John,
I appreciate your work very much. I have attached some pictures of the mothers of all diorama's. As a six year old I stared at the Lone pine diorama and became a modelling addict. The addiction has lasted forty eight years and is still running.
Keep up the good work.
John

[JohnReid]

Thank you John and thanks for the pics!

[JohnReid]

Now that we have chosen a scale and have a idea of the final overall size of our diorama we will have to decide on having figures in our diorama or not.Usually the storyboard type of diorama would have figures but not always.Sometime the hint of human presence can be even more powerful than actual figures.A couple of examples just off the top of my head, would be human footprints in oil across a garage floor or a yellow patch in the snow near where the tail had been of a long departed aircraft that was sitting on the ground.Every pilot could relate to the "nervous pee" syndrome before a mission.While maybe not enough to build a whole scene around, but it could be an interesting starting point.

If we decide to use figures,their proper positioning will be crucial to the ultimate success of our storyboard diorama,shadow box or otherwise.Avoid stiff and formal poses unless the general is inspecting the troops.Personally I use a lot of figures just talking to each other in relaxed poses.It is very easy to do and engages your viewer right away in the scene wondering about what they are talking about.In the larger scales facial expressions would be critical as we all know how to read faces and the emotions implied by them.In the smaller scales body positioning can to used to the same advantage.

Avoid scenes that are square and figures that are too evenly spaced or look like they were posed.Never put anything parallel to the edge of the base unless there is a good reason for it.But also avoid large empty spaces unless there is an obvious reason for it.Avoid placing objects at right angles to each other,always think of random positioning, remember only man plants trees in rows.If you have a lighting effect in mind try to take that into consideration.Dark places are not always bad and can add a lot of drama to your scene if used properly.Unless it is your intention to do so, don't let just one object dominate the scene but let the objects play off one another.It can be a delicate balance between order and disorder to get it right.Too much going on ,on the other hand ,can actually distract the views attention away from your storyline .
My style is old and weathered,I love barns,sheds and old hangers.Try to develop a style of your own based upon things that you love.Also think of the era that you are depicting.You wouldn't want a 60's car in a 50's scene .Also little things like time of year can be important,fall leaves with spring flowers for example or a bird in spring plumage in a fall scene.to be cont......