Wordless Sequence and Narrative Experiment

TITLE

To visualise a sequence of events that heighten suspense and tension in a narrative.

INTENT

To communicate a building of suspense or tension, using a wordless narrative.

EXAMPLE

"All work and no play makes Jack a dull boy" - The Shining. (1)

ANALYSIS

The above clip made creative use of camera angles and movements throughout. The presence of slow panning shots and decreasing symmetry as the clip goes on reflects the character's descent into madness. This is complimented by the slow crescendo of stringed instruments in the background. A particular camera angle favoured in this clip is from below, looking up at the character(s), which conveys an element of vulnerability - increasing the suspenseful atmosphere even more.

Storyboard for "All work and no play makes Jack a dull boy" - The Shining.

When filming sequences that build suspense, it is important to have subjectivity. In the movies of Alfred Hitchcock, this is used to share the experience between a character and an audience, so that both feel suspense. "The audience will believe it is sharing something personal with the character. This is what Hitchcock calls "pure cinema"." (2) Another important element when building suspense is the ability to increase tension in the sequence. This can be done by having the audience receive information that the character does not possess, leading them to wonder what will happen when the character finds out for themselves. "Let the audience know something that your characters don't. If the audience is hooked, they'll want to know what happens, and if it matches what they believe." (3)

EXPERIMENT/CONTENT

I have illustrated a journey that I normally take, and have applied the devices analysed in the aforementioned film clip to add a sense of tension and drama to my sequence. The sequence is without narrative and drawn using fineliners and promarkers.

EVALUATE

I am pleased with the experiment, as I have managed to present suspense throughout by using different angles and changing the focus of the panels. The effective use of grey and black give form to shadows and mysterious elements - such as the silhouetting of the two figures. In this, I believe I have presented appropriate lighting - one example being the light filtering through the bus windows and onto the seats. I have replicated the repetition of shot seen in "The Shining" in the second and third panels, which demonstrate movement of the character while keeping the focus on the bus stop. Another effective element of the sequence is my use of perspective, which is noticeably consistent between the fourth and final panels.


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(1) YouTube. (2016). THE SHINING (1980) - "All work and no play makes Jack a dull boy" [HD]. [online] Available at: https://www.youtube.com/watch?v=jeOevu4zC5o [Accessed 4 Apr. 2016].

(2) The Art of the Guillotine. (2016). Suspense Film Editing | Art of the Guillotine. [online] Available at: http://www.aotg.com/index.php?page=suspense [Accessed 4 Apr. 2016].

(3) Perry, C. (2015). How to Keep the Audience on the Edge of Their Seat. [online] Film Slate Magazine: Your Hub for Moviemaking Tips and the Insightful Commentary on Indie Film, Television and Hollywood. Available at: http://www.filmslatemagazine.com/building-suspense-how-to-keep-the-audience-on-the-edge-of-their-seat/ [Accessed 4 Apr. 2016].

Research Project proposal

My Research Project will be focusing on concept art and science-fiction, as well as sci-fi for different audiences. I will be illustrating my response to, and interpretations of, different artistic themes surrounding science fiction. This will be done in the style of digital and traditional concept art.

For this project, I intend to educate my personal artistic skills and expand the range of mediums at my disposal. I will also put a larger focus on digital work, in order to become more proficient, and inform my own practice through my personal interests of concept art and sci-fi.

I plan to conduct several experiments during my research project. The first of which is “Anthropomorphism in sci-fi,” where I will research and respond to examples of humanised creatures / characters in different mediums of science-fiction. The second will be “Metaphor in sci-fi,” and will relate to the comparison between themes or ideas in sci-fi, and how they are visually described. For my third experiment, I will look into “Surrealism and symbolism in sci-fi,” or the dreamlike and symbolic qualities held by certain aspects of the genre. The next experiment will research “Sci-fi for children’s audiences,” specifically focusing on the presentation of characters and narrative in science-fiction aimed at younger audiences. My final research experiment will cover the “History of sci-fi,” and how developments with technology have changed, with examples from old and new films.

(1)    Sci-Fi Art: The 12th Colony 2321 – 2D Digital, Sci-fiCoolvibe – Digital Art (above)

Shows an example of digital concept art used to visually realise an idea, within the sci-fi genre.

The first experiment will be a concept for anthropomorphised characters that could live in a sci-fi world, based on examples from other artists. The second will be concepts for different representations of themes in a sci-fi aesthetic, with reference to metaphor in other creative mediums of sci-fi. The third will be experimental concepts of surrealism and symbolism found in sci-fi, created in an unrestricted artistic way to better reflect the messages symbolic imagery conveys. The fourth experiment will be simplified and colourful sci-fi concepts relating to child-focused cartoons/comics, with reference to presentation techniques learned from a previous Illustration for Children module. For the final experiment, I will create several concepts of differing styles to show the changes in technology from old to modern sci-fi films.

Instead of a final experiment, I decided to undertake artist research, focusing on a specific (concept) artist. This process involves a more personal critique of their work, visual responses, and an in-depth interview with them about their work and process. I have chosen to focus on concept artist Kory Hubbell for the artist research.

Research methods of experimentation in my research project are from concept art books, sci-fi movies and television shows, and internet resources. These mediums help me to analyse the style of sci-fi and concept art in different forms. The idea development strategies for the research project are similar to my FMP, and include imagining the aesthetic of different characters and locations in the story and creating extremely varied styles of concepts for them. From there I will chose a particular style and form for the object I like and continue visually creating down that path. This is particularly helpful when presenting obscure themes or unique environments.

(2) The Moon God – Kory Hubbell (above)

I believe I am prepared for the research project, as I understand and have responded to the topics I am aiming to explore in the project, but am not proficient enough in my ability to produce concept art in different mediums. This can be resolved by practicing my digital art skills and expanding the range of things I choose to illustrate. The Major Research and Project Planning module has helped me better understand how to analyse and interpret different artist’s work in relation to their intentions, in the sense that I have learned how to critically approach illustrative work. Because of this, I now have a greater understanding of my own practice and intentions, and am able to judge more clearly what works and what doesn’t when communicating through illustrations.

Bibliography

(1)   Science and Nature. (2016). Sci-Fi Art: The 12th Colony 2321 - 2D Digital, Sci-fiCoolvibe - Digital Art... - Science and Nature. [online] Available at: http://scienceandnature.xyz/?p=376  [Accessed 26 Mar. 2016].

(2)   Hubbell, K. (2015). The Moon God. [Digital] [online] Available at: https://www.artstation.com/artwork/WKnZN [Accessed 31 Mar. 2016].

Final Major Project proposal

My Final Major Project will be a science-fiction graphic novel in the style of a space adventure opera, based on my own personal written narrative. As the format will be mainly visually-based, I shall simplify the pre-existing narrative to better fit into a short graphic novel.

For this project, I intend to entertain, while provoking thought about deeper philosophical and existential subjects, such as morality, purpose, and what it means to be human. The graphic novel is aimed toward a young adult audience, and I hope to challenge them on topics that they may have never given thought to, as well as creating an emotional connection between this audience and the characters in the story.

The graphic novel will be a physical A5 32-page book, with traditionally drawn images and a digital formatting and printing process. The finished book will be bound or stapled together. It will be mostly black and white with graphic detail, accompanied by text interlaced with the illustrations in a standard graphic novel style.

Some skills I might need for this project are the ability to replicate a graphic novel format through placement of text and drawings, as well as being able to apply the correct shadow and line weight to the traditional illustrations. Other skills required include proficiency in editing software, such as GIMP and InDesign.                    

(1)    Page 6 from TMNT Tribute by Arena Comics. (above)

Demonstrates panel/text formatting amongst illustrations of varying sizes. Notice how the limited colour adds a focus for the reader.

The story of the graphic novel is a condensed version of a larger narrative, and as such, a lot of it will be told through the visual illustrations. It will be titled “Extinguish” as it places a heavy emphasis on the first part of a four-part narrative – the “Invasion of the Cryp’lar Series.” This leaves open the possibility of creating three other graphic novels in the future to complete the visualisation of my narrative.

The artistic techniques of creating the graphic novel are based on my own abilities to draw characters and locations. Other techniques and ideas for the format of each page have been influenced by a book called “Artists on Comic Art” by Mark Salisbury (2) – a compilation of interviews with renowned comic artists about the creation of their work. This is a useful resource and will help me to interpret and visualise my graphic novel better.

My primary research for this project will be based around character design, including the creative differences between alien races. Added to this, I will develop my own spaceship / city structures from various pre-existing sources. Also, it will be important for me to research potential future advancements in science and technology, in order to more accurately build a universe not set in our time.

My secondary research for this project will highlight the narrative and visual sources of inspiration for the graphic novel. More specifically, the writings of Eric Nylund and Joseph Staten, which brought the aforementioned themes and world-building into a universe of their own. The visual sources of inspiration are founded by the Halo videogame series, as well as artists working in the sci-fi genre.

(3) Cover art for Halo: Uprising Marvel comic series. (left)

The influences on my narrative can be seen here, with the alien invasion, armoured heroes, and sci-fi war.

Research methods of experimentation in this project are varying internet resources, comics, and art books where I can analyse the style of artists’ work in the same genre. The idea development strategies for my graphic novel include imagining the aesthetic of different characters and locations in the story and creating extremely varied styles of concepts for them. From there I will chose a particular style and form for the object I like and continue visually creating down that path. This is particularly helpful when designing the unique alien technology or world-building.

Bibliography

(1)   Old.brokenfrontier.com. (2016) TMNT Tribute By Arena Comics – Broken Frontier – Comic Book and Graphic Novel News & Community | Blog. [online] Available at: http://old.brokenfrontier.com/blog/p/detail/tmnt-tribute-by-arena-comics [Accessed 26 Mar. 2016].

(2)   Salisbury, M. (2000). Artists on comic art. London: Titan.

(3)   Bendis, B. and Maleev A. (2008). Halo: Uprising. New York: Marvel.

Organic Research

Yellow

The word 'yellow' is defined as being "the colour of egg yolks or ripe lemons...cowardly...become slightly yellow with age." (1) This shows that the word has a wide range of meanings depending on the context used, though it is mostly used to describe the visual properties of an object.
          Yellow is seen as a colour that represents warmth, as it is linked with the sun's light. As such it adapts the underlying emotional effects of being in the sunlight; when a person sees yellow, they may emotionally connect it to happiness. The sun affects your mood dramatically by giving off Vitamin D, and for many people that have enough exposure to it, there is an increase in levels of happiness. (2) This representation is applicable across many forms of media. Within the art world, yellow is one of the three primary colours that can be mixed with each other to create all remaining colours - making it one of the most important tools in creative expression. As with all elements of art, yellow has a much deeper assortment of meanings than simply warmth and positivity. While lighter tints of yellow can represent things that are bright, new and joyful, darker shades are more commonly associated with envy, sickness and decay. (3) 
          One example of such artwork that incorporates lighter yellow tints is Van Gogh's painting of sunflowers (right). (4) As can be seen in this famous painting, bright tints are used for the fresh, blossoming sunflowers. There is an overall atmosphere of joy and peace in this artwork, which ironically does not mirror the condition of Van Gogh at the time of its creation. He grew increasingly unstable over his adult years, in what some would call his 'descent into madness,' before he committed suicide. During this breakthrough period, Van Gogh experienced a bout of intense activity - painting seventy canvas pieces in just as many days. (5) This simply shows that you cannot judge the creator's personality on the nature of what they have created. 


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In researching the word 'yellow,' I first used a dictionary to find its definition, in order to get a solid description of what the word represents. Then I went onto the Internet to explore the representations of yellow as a colour, including a scientific explanation of the link between the colour and the warmth of sunlight. Next, I found it appropriate to research yellow's importance in the art world, including how variants of the colour have a larger array of artistic meanings than once thought. Afterwards, I continued to use online resources to find an example of artwork that would justify one of the aforementioned representations of selected variations of the colour yellow. I felt that the natural conclusion to this research would be to further divulge into the life of the artist behind this example, using information found online.

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(1) Hawker, S. (2006) Colour Oxford English Dictionary. Oxford, England: Oxford University Press.

(2) The Huffington Post, (2016). Simple Lifestyle Change Linked To Improved Moods. [online] Available at: http://www.huffingtonpost.com/2013/10/06/sunshine-happiness-behavior-mood_n_4014477.html [Accessed 15 Feb. 2016].

(3) Finearttips.com, (2010). The Color ‘Yellow’: The Hidden Meaning for Your Art & Design - The Art and Fine Art Tips with Lori McNee. [online] Available at: http://www.finearttips.com/2010/07/the-color-yellow-the-hidden-meaning-for-your-art-design/ [Accessed 15 Feb. 2016].

(4) Van Gogh, V. (1888). Still Life: Vase with 12 sunflowers. [oil on canvas] Munich: Neue Pinakothek.

(5) Thorpe, V. (2000). Van Gogh letters shed new light on his 'madness'. [online] the Guardian. Available at: http://www.theguardian.com/uk/2000/dec/10/vanessathorpe.theobserver [Accessed 15 Feb. 2016].

Anthropomorphism Illustration Experiment

TITLE

Using non-human characters to enhance the narrative elements of a text.

INTENT

To instil fear and caution by using anthropomorphism.

EXAMPLE

Paula Rego - Nursery Rhyme Etchings.

ANALYSIS

Paula Rego uses subtle signs and clues in her Nursery Rhyme etchings that are effective in conveying a message of fear to the viewer. These include her use of monochromatic colours, and how she balances her use of black and white in each image. Also, she manages to portray a sense of loneliness through these images, which emphasises the fact that these nursery rhymes are often based on individuals.







EXPERIMENT/CONTENT

I looked at a poem by the name of "The Spangled Pandemonium" by Palmer Brown. Then, I created a visual response to this poem, which included an anthropomorphic character that has a sense of fear and horror. By using the traits I found in Paula Rego's work, I was able to create an image in her style, using my interpretation of the content presented within the aforementioned poem.

EVALUATE

My response to the poem shows elements of monochromatic colours, a good balance of black and white, and a sense of loneliness. The vastness of the landscape portrays this sense well, with the figures in the centre of the image also silhouetted against the pitch-blackness of the night. Another effective part of the image is the shape of the anthropomorphic creature that hides in the tree, as the viewer's eyes snake up the park trail before reaching the appendages of the Spangled Pandemonium. The hatched pen marks of the leaves and trail gives an element of the etching style favoured by Paula Rego, which works well when used to indicate the strength and direction of light from the moon.


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(1) Rego, P. (1989). Little Miss Muffet (III). [Etching and aquatint] Casa Das Historias - Paula Rego.

Encoding + Signs

For the first task of the new theory module, we had to complete several experiments related to encoding and signs. In this task, we focused on line, colour, composition, and setting a scene; then we applied our knowledge of these aspects to a famous piece of art. Afterwards, we researched the artistic stylings of a particular film director - adapting the aforementioned artwork to better fit the recognised characteristics of said director's style.


Line

In the first series of experiments, I drew eight of the given expressive lines in my interpretation. While the 'Gentle', 'Honest' and 'Warm' lines were soft and smooth, the more striking 'Savage' and 'Hostile' lines have a threatening look to them. My 'Unstable' line reinforced the fact that the behaviour is unbalance, but still remains on a line. On the opposite hand, 'Whimsical' is both bold and light with circular shapes throughout its unpredictable figure. The 'Anxious' line clearly shows worry and stress, with a bold line. I feel that this experiment was useful to me, in that it helped me to create my own vision of different expressions through the use of line.


Colour

In the second set of experiments, I created four abstract colour compositions from the given situations. The first is 'A calm morning' and combines blocks of blue, yellow and green into a Mark Rothko style composition. The light colours signify the freshness of the day. For the second composition - 'The ice cold sea', I combined shades of blue with the negative space of the page to give a chilling icy feel. The composition is presented in a fish-eye lense to further solidify the aquatic locale. 'A long day' is a horizontal amalgamation of the first composition's design, with colours to signify the passage of time throughout a day, The subtle directional arrow leads the viewer's eye from morning to sunset. The final composition, 'A loud conversation,' is one of the more minimalist compositions that draws on the previous line experiment to convey the volume and tone of a two-way conversation.The dark colours suggest the conversation is of an aggressive nature. This experiment was also useful as it allowed me to use colour liberally and portray my ideas in the most abstract manner possible.


Composition

In the third set of experiments, I created four small compositions using stickers. From left to right, they represent 'flowing,''chaotic,''lonely,' and 'static.' As the first and last compositions convey opposing expressions, I decided to portray them as the colour of water and electricity, respectively. 'Chaotic' is full of bright, unorganised colours while 'lonely' has only one sticker in the corner. Producing these sorts of compositions was easier than the other experiments, as we were given a set shape, colours and amount of stickers to work with, though this limited how expressive each composition could be.


Setting a scene

For the next task, we had to choose from one of few Edward Hopper paintings, and alter it to reflect a different artistic mood. I chose 'Sun in an Empty Room,' which can be seen on the left. I pursued the opposite effect of the painting, creating a 'twilight' version of the painting. This was created by using coloured pencil over an image of the original - resulting in a surprisingly effective night scene. My version uses various shades of blue and can be seen on the left below.













On the Wings of Nighthawks

(2)

In a group, we were then tasked with analysing the visual content of the above painting, 'Nighthawks.' To us, the painting looked cosy, calm and welcoming, featuring a favourite place (while retaining aspects of loneliness) at twilight in an American city. Afterwards, I looked at a mise-en-scene from a particular director (the arrangement of scenery and stage properties in a production) and researched their visual language. The director I chose to research was Stanley Kubrick. This allowed me to make thumbnails of the painting, with the influence of Kubrick's identity and associated traits within his movies. As can be seen below, I have created a series of thumbnails with visible aspects of the traits in each.

(Left to right: Extreme camera angle, extreme wide-angle lense, strong visual identity, extreme coldness, one-point perspective/symmetry, extreme close-up)

The above thumbnails were created using pencil, pen and coloured pencils. In producing them, I tried to convey each of the director's traits as well as I could. Many of Stanley Kubrick's movie characteristics lend themselves well to Edward Hopper's Nighthawks. In particular, his unique ability to provide his films with an atmosphere of extreme coldness, works in direct contrast to the painting's warm and welcoming feel.

Throughout these exercises, I have learned the importance of both recognising and portraying expression and character through line, colour and composition. By comparing physical artwork to modern cinema, I realised how connective the two artistic mediums can be, and that the qualities of encoding and signs apply to both in equal importance.


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(1) Hopper. E. (1963). Sun in an Empty Room. [Oil on canvas] Private collection.
(2) Hopper, E. (1942). Nighthawks. [Oil on canvas] Chicago, Illinois: Art Institue of Chicago.

Political Cartoon report

Political cartoons have portrayed the actions and traits of politicians for many years, serving as parodies to some of the most notable events in political history. These cartoonists strive to visually show the truth behind the country's figureheads and can put any unsuspecting politician in the spotlight.

Political Anthropomorphism

For the first report, I made a perfectly innocuous illustration of David Cameron giving a speech in front of 10 Downing Street, but gave him a pig's head instead. This refers to the scandal of him allegedly "having relations" with a pig, but also shows the stereotype of the Prime Minister being greedy in terms of the economy. (1)

Exaggerated Features

For the second report, I made a coloured illustration of Ed Miliband, looking distraught. In this image, I exaggerated his nose and lower half of his face, to emphasise the size of his nose and the looseness of his cheeks. I decided to make his face red with embarrassment and his suit is ruffled, maybe after coming back from a disastrous speech. I gave him a "Vote Bacon" badge as a reference to Miliband's idolization of David Cameron. (2)

Cartoon Strip

For the third report, I made a black-and-white political cartoon strip, referencing the recent involvement of ISIS terrorists with European attacks. Ironically, the fear-mongerers are scared off by the dirty nature of London's politicians - the "Rats". At the end, DaPig Cameron makes an appearance, which serves to show that maybe he shouldn't bad-mouth other politicians when he himself has his own political shortcomings. (3) (4)

Visual Metaphor

For the final report, I created a muti-layered graphic illustration, parodying the famous Obama "Hope" poster. In my version, "Pope," I used the likeness of Pope Francis to mirror the promises of himself and Barack Obama, during their initial year(s) as Pope and President, respectively. I managed to invoke the same thematic expression of the original work by using the same colours and style. (5) (6)

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(1) (David Cameron / 10 Downing Street reference image from The Telegraph - http://www.telegraph.co.uk/news/general-election-2015/11563550/David-Cameron-My-plan-for-the-Tories-first-100-days-in-power.html - Accessed 5/12/2015)

(2) (Ed Miliband reference image from The Spectator - http://new.spectator.co.uk/2015/04/how-ed-miliband-lost-the-jewish-vote/ - Accessed 6/12/2015)

(3) (Houses of Parliament reference image from e-architect - http://www.e-architect.co.uk/london/houses-parliament - Accessed 5/12/2015)

(4) (House of Commons reference image from The Telegraph - http://www.telegraph.co.uk/news/politics/11307612/How-weve-brought-the-House-of-Commons-into-the-21st-century.html - Accessed 5/12/2015)

(5) (Pope Francis reference image from Biography - http://www.biography.com/people/pope-francis-21152349 - Accessed 7/12/2015)

(6) (Barack Obama reference image from Esquire - http://www.esquire.com/news-politics/interviews/a35288/shepard-fairey-street-art-obama-hope-poster/ - Accessed 7/12/2015. Original poster design by Shepard Fairey.)