Exploring Communication

Joy Lofthouse and Mary Ellis. The women who flew Spitfires

 

Joy Lofthouse (93 years old) and Mary Ellis (99 years old) pictured, were part of the ATA, Air Transport Auxillary, during the second world war. During an extrodinary time they flew, solo, grade I and grade II planes. Delivering them to airfields across the country. Grade I planes were single engine fighters such as the Miles Majester, pictured lower right. Grade II were twin. Mary also flew bombers including a Wellington, on the left, and Lancaster’s. For Joy her favourite were the Spitfire’s.

 

Development

As a starting point from the research I would like to create packaging of a model Spitfire with Joy and Mary as the pilots. I felt this was a charming interview and from further research discovered that Joy has a love for speed including sports cars.

  

Illustrated are some examples of model spitfires including an orthographic construction of the interior. In addition are some World War II posters. What is striking is the simplicity of the design. As a development process I would like to recreate the packaging to include Joy and Mary as pilots using this style as a starting point. From here I would include a brief outline of their story, the missions and routes that they would take with the statistics of how many planes they delivered

Rough Ideas For Posters and Packaging

   

 

 

Music Collaboration

This collaborative project developed around the idea of David Greenberger monologue ‘Snakes’. The principle concept was divided and then articulated  based around various styles and how that can be achieved in context. Some members of our group explored gifs and landscapes. I attempted to create a short animation of type.

Background

David Greenberger

 

Click on link below for the first rough cut

 

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Rough Cut

Hummingbird

In addition to the sequences of type I also complied a sort animated piece of a hummingbird that could be used during the monologue as part of the visualisation of narration.

 

Collabe

The following are pieces that were emailed for later discussion.

 

Further to the work I attempted digital collages, again to be used with the dialogue. Timing the work to the speech patterns of Snakes was an real challenge. There are sections that are slightly out of time. This was very frustrating. Each piece was then edited to both George and John for editing. There were issues regarding communication and time management which did impact on this project.

Edited Work

 

Trees

 

Rough Cut

 

Final Cut

 

Critical Analysis

The introduction to utilising our environment and therefore structuring a narrative was really a frustrating process.  Using  key elements of the dialogue, once edited,  built a more semantic short film relying  on these components to propel the narrative which seemed hectic and disjointed. Visually I think my animation is scrappy and underdeveloped however it does convey the general idea. Developing technically the ideas needed to be more coherent. The overall composition was still not completed by the time of the final crit. In the presentation another version had been shown that had further edited my work out of the film, which was with out my knowledge. This was a very steep learning curve and was an extremely challenging project.

 

 

 

 

 

 

 

 

 

 

Ideas and archaeology: Anthropomorphism

Concept:

My initial interest with this brief was to explore the subject of anthropomorphism. Something that I felt would be best illustrated by the cartoon character Mickey Mouse. I wanted to de-construct the famous scene from Steam Boat Willy. I started by locating a skeleton of a mouse on the internet, that once arrived had to be re-articulated into the pose from the cartoon. This was an extremely challenging process due to the delicate nature of the skeleton. It was very easy to dislocate the anatomy. I started with some preliminary sketches that transposed the inner structure into how it would be constructed. I then started to re create the scene by using additional materials such as millput and balsa wood.

Above are some extracts from the first batch of sketches.

 

Process

I documented the process as part of a progression of the idea. On reflection I think this should have been filmed and edited in the style of a cartoon. This would have illustrated a more clearer vision of my original intention. This brief offered me the opportunity to explore this subject and try something that I have never done before. Each part of the process was very time consuming. The glueing and re-articulation required a lot of patience and a steady hand.

At the start of the project you can clearly see all the ribs, however by the finished product many had been broken in the process.

 

 

Articulation:

 

 

Shadowboy

In addition to the previous project I created a story called the Shadowboy. This was meant as another exploration into anthropomorphism. This time with a short story about a scarecrow that curses a small boy to never be able to go into daylight and has to stay locked up in a barn.

During one of my tutorials I was encouraged to pursue the imagery of the shadows as part experimentation to create a more dimensional visual.

     

Process

Research

 

Shadowplay

I started by cutting out pieces of paper to recreate some of the key scenes. Then I photographed them using a torch to direct the shadows, hopefully contextualising the narrative.

  

More examples

Outcome

In conclusion, this is a story that I would like to explore at a later date. There is potential for this to development and having taken the feedback on board I would like to develop this further into a more finished project.

Critical Analysis

Within the exercises I have attempted to draw upon the experimenting utilising storyboards as a means of exploration and structuralism with the subject matter. Identifying this contemporary setting I incorporated my experimentation into the final composition. Overall the final outcome was rewarding. The project pushed my limits of illustration with a medium that isn’t forgiving and would benefit from more work. The blocking and shading required an attention to detail to the overall composition.

 

Commission

 

Commission

During the first part of this semester I approached an idiot with the aim of producing illustrations for his project, which was a children’s book of poetry about farts.

It turns out this was a waste of my time. The author was very specific about the style that he wanted, which was Quentin Blake. Below are a series of attempts at translating his work in a visual style similar to Blake’s. I was not comfortable with this request to have them be so directly imitative his work. Although the drawings I produced bare a resemblance I attempted a tighter style and came up with the original concepts of translating farts using clouds.

I submitted these concepts but never heard anything back. The last correspondence was that the author wanted to consult an outside party with my illustrations.

Roughs

 

Revisions

 

Quora Summer Project

Project One

At the start of the summer we were asked to source questions on the website Quora. For my starting point I came across the following question,

Have you ever met someone who was so strange they could have walked straight out of a horror movie?

One of the answers was a short story about a girl who, whilst visiting the city, encounters a strange man on a bus that would not stop staring at her. As he continues to stare the young girl starts to feel more and more uncomfortable. She tells her mum who then confronts the man when they get off of the bus.

It turns out that this gentlemen had previously been a bank robber and had been in jail almost all his life. This was the first time he had ever been in the outside world and it was the first time he had ever seen a girl with red hair, which he thought was quite beautiful. As a result he could not stop staring at the little girl.

First Roughs:

 

   

I thought this was a great little story and started to rough some ideas and characterisations. The challenge was to present this narrative in a brief and clean style. Not over complicated by detail but a  simple series of renderings.

Final Draft

  

  

 

All the original drawings were composed onto tracing paper then inked. On reflection this was a poor choice of material as the final scans appeared fuzzy when printed.

 Project Two

Intrigued by a question regarding the ‘worst ranged weapon in history?’ I found, through researching, the Apache Revolver.

         

You’ve got a revolver, a knife, and a brass knuckle. All bundled up into a small yet lethal package. You can put some lead into a person with the revolver part before they can get near you, then if they do somehow survive that you can easily finish them off by either shanking them or giving them a tasty knuckle sandwich with the knife and brass knuckles respectively. But it doesn’t live up to the hype that you may had for it. You see, the problem with the revolver is that there is something critical missing: THE BARREL. The thing is that with revolvers and guns in general is that there must be a way to make sure that the bullet goes to where you want it to go. The barrel does exactly that. Whereas, the Apache revolver doesn’t even have anything close to a barrel. Making it unreliable even in a short range. .

The Apache Revolver is the worst ranged weapon due to the lack of a barrel, the part of the gun that is the shooting tube. Interestingly this weapon was used as a status symbol by Parisian Gangs in the early 20th century.

Project Three

This body of work came from the question, ‘what is the most accurate science fiction film?’ The answer given was Jurassic Park. Primarily on the scientific accuracy of the genetic engineering part of the story. Through research it appears that there are current programs adopting  similar techniques in the genetic field. Most questionably, the re-engineering of chicken DNA into a dinosaur. Known commonly as “Chickenosaurus”.

This project is the mastermind of Palaeontologist Jack Horner.

Horner has long supported the idea of modifying a chicken to look like a dinosaur, and unlike the researchers on the latest study, he actually wants to raise a live one. And why stop there? By understanding how and when to modify certain molecular mechanisms, countless changes could be within reach. As Horner pointed out, a glow-in-the-dark unicorn is not out of the question.

There are four major modifications needed to make a so-called chickenosaurus, Horner said. To turn a chicken into a dinosaurlike beast, scientists would have to give it teeth and a long tail, and revert its wings back into arms and hands.

The creature would also need a modified mouth — a feat accomplished by the researchers who did this latest study, he said.

“This dino-chicken project — we can liken it to the moon project,” Horner told Live Science. “We know we can do it; it’s just there are … some huge hurdles.”

From this basis I wanted to create a short silent comic about a crazy scientist.

First Drafts

Final Draft

  

  

   

 

Keeping the overall composition to a minimum was a challenge. Again I did not want to over complicate the drawings with too much detail and instead tried to create a more gothic look from my first project.

I decided I would like to develop this idea further trying to re visualise the creature as a more user friendly beast.

And as a consequence tried to create a three dimensional sculpture.

  

This is still in process. Using epoxy clay, which takes 24hours to harden, I have to gradually build up from the shaped styrofoam the dinochick structure then drill the details.Hopefully this will be completed soon.

Text and Context: Frankenstein

Frankenstein: Workshop

Research

From tutorials I discussed the idea of translating Frankenstein into a modern enviroment such as an once.
Here the story follows a new member of sta that rises to become the boss only to then re the member of sta that showed them the ropes. Seeking revenge the former employee returns to work and kills the boss, becoming a monster.

 

Gene Colan 1926-2011 was comic book artist that worked with a series of my personal favourite comics called ‘The Tomb of Dracula’ from the 1970’s by Mar- vel. His work is extrodinary with the archetype style of Marvel but an intense lev- el of detail. I decided to create a short comic of 12 pages in a similar style. Using heavy black shading in an attempt of recreating a Gothic horror narrative.

 

Location

Situated in Steyning is one of my favourite buildings. SME is an engineering company. The building has a simple aesthetic appeal that I wanted to utilise in my comic book. Dated from the 1960’s I wanted it to create a certain feel to the overall composition.

 

Roughs 

Starting with rough pencil layouts from a sketch book I developed various key scenes. Each frame was then blocked in ink before the nal detail was added. e characters were then placed in a sequence that illustrated the stories main plot points.

is was very difficult to achieve as each rendering and layout was done by hand therefore there was little margin for error. Working through my Marvel catalogue I noticed that the strong dramatic sequences were traditionally illustrated through a splash page. This was then reworked as title page within the inner cover. Both are examples of my attempt of this recreation.Trying to define the continuity of the story and merging the narratives was challenging.

         

Below are the final spreads that were then scanned into Indesign to create the comic. The sequence of pages were not exact to how they would be printed. is was an error on my part. e rst spread was the last spread completed. All the other run consecutively.

Final Drawings

Critical Analysis

Within the exercises I have attempted to draw upon the previous workbook utilising storyboards as a means pf exploration and structuralism with the subject matter. As an introduction to this brief we were encouraged to work on a particular theme from the original text. I attempted a brief outline. Identifying this contemporary setting I incorporated my research into the final composition. Overall the final outcome was rewarding. The project pushed my limits of illus- tration with a medium that isn’t forgiving. The blocking and shading required an attention to detail to the overall composition. This was then dependent as to whether a particular scene would work, or not .

 

Steam Punk Animation Project

Gigglefish Project: Steam Punk : 

Background: Research Steampunk.

Based around the world of steampunk which is influenced by the style of the 19th-century work of Jules Verne, H.G. Wells, and Mary Shelley. Steampunk’s  most recognisable features are the anachronistic technologies or retro-futuristic inventions that  people in the 19th century might have envisioned. It is a style rooted in the era’s perspective on fashion, culture, architectural style.

At the start of the year I contacted a fiim studio that was embarking on a full length stop animation feature film based around this world of a steampunk mine. The company ‘Giggle fish’ are based in Lancing and were looking for any volunteers to help make models and props.

I initially approached them with a few examples of my illustrative work. Explaining that I have zero experience of model or prop making they were happy for any help they could get.

On my first day I was asked to come up with some concept drawings of the uniforms worn by the miners. The director explained that he wanted a series of Thunderbird type uniforms with a sash and tool belt. I drew the main character wearing various outfits. Remembering the leather outfits that motorcyclists wear I then drew the main character wearing a similar uniform.

I drew him initially in white, then with direction from the director re-drew him in black with pads. Black costumes are cheaper to produce white.
The drawings were then used as costume blueprints for all the main characters. Concept drawings main character costume development:

 

     

Machinery Concept Drawings and finalised props.

The work load has been intense. In addition to model making I was asked to draw more concept designs for machinery that were then created by myself under guidance of the props team.

 

 

 

 

  

Model Making Development:

Every week I have been spending time at the studio. I have been shown how to shape styrofoam and then mould models of characters required for the lm. Working with materials such as clay silk and creating working armatures has been an incredible experience.

Continuation: These models are part of a backdrop scene. The characters are based on preliminary sketches that then need to be shaped and moulded with clay silk. Then using scraps of cloth I then had to create clothing and working arms that can be animated.

 

Styrofoam moulding is an extremely difficult medium. Using silicone the mixture is created and then poured into the moulds. To get the consistency correct takes practice and the results need to be consistent. The heads, once hardened, are then shaped with sand paper and passed onto the puppet making team.

Sets: The story is set in a steam punk mine where the characters live and work.

 

Each set is intricate to make and the level of detail required is a time consuming process. Using PVA and DAS clay the styrofoam is gradually built up to create a cooper type effect that is finished with metallic paint.

Shaping and prop making The following are models of chimneys for the houses. They are shaped in styrofoam and then textured with clay before finally being painted.

 

Each week the sets are built up to include pathways made of cobbles. This process requires individual cobble stones being moulded out of DAS then stuck into a path that has been carved out of the styrofoam.

 

 

 

 

 

Book arts

Bookarts

Throughout the second semester my Moday module was Bookarts. Each session introduced us to a series of stitching techniques and book design based around the tradition of book binding.The sessions were all day and required a level of craft and skill.

This was not my strong point. Thanks to a very patient Helen the aspect of paper folding was made less of a challenge. Each book was crafted within the session and then various stiches were practiced.

The beauty of binding was opening up to the realisation that so much work goes into the crafting of books. e individual consideration to how each project should be developed was extremely interesting. This then required additional thought to how each style could be applied to our projects. Most noted was my project of Grand Parade which was originally an exercise that was carried out at the start of level 5 from a sketch book.