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Aim: 

To see how I could create folkloric backdrops.

To see how modern artists could transmit the stories through a different world.

These experiments were successful because I explored a range of ways to create folkloric compositions. I pushed my use off paper cuts through different formats to decide how I could create a folkloric background, using layering.

However, I some of the marks were messy and fading, and I wanted to make them bolder to be clearly understood visually.

Inspirations:

- Van Gogh

- Morgana Wallace -Paper Cinema

-Theatre and visual culture

Experiments in:

Distance and composition

 Colour 

Form/ negative space

Papercut

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I reused the same pieces but experimented with animation in order to see if I could bring folklore to life through this medium

THis was successful, and a viable option to move forward. 

But I wanted a piece to be performance based, as would be seen in person, rather than as a recording. 

I experimented with cloud arrangements and how they might move. I opted for a successful , clock-like composition, with elements moving around a base. This was aimed with the movement of clouds in mind. 

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I also experimented with shadow, inspired by Indonesian Shadow puppetry as another way to interpret folklore.

I wanted to push the paper cuts as far as I could, to experiment with a range of ideas.

This was successful because I conveyed the shapes somewhat clearly. I also liked the cuts around the moon, which were inspired by Van Gogh, and wanted to continue with similar marks.

However, the shapes could have been clearer. I could have utilised a thinner material or stronger light.

Inspirations: Indonesian Shadow puppetry

Andrea Dezsö’s paper cut illustrations.

Van Gogh

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1 Aim: To generate ideas as to the composition, colours, and layers for the folkloric papercut using the basic methods of Ben Charman.

I met this aim perfectly as I experimented with different triskele inspired forms, and the shapes of trees to create my main paper cut design.I contacted the artist to find out more- He told me that he cuts his art working from the outside in. I decided to utilise this method as well, which was very effective.However, I think some of the experiments could have been completed in more depth.

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The construction:

Picked a suitcase as the container as a metaphor for the way folktales are spread around the world, carried through generations of moving people.

I went through a process of deciding where the paper cut should be. I originally deliberated having a screen inside, so that the papercut could be visible even with the suitcase closed, like a television, but I decided not to on account of how impersonal it felt. Originally I wanted the papercut to encompass the whole inside of the suitcase, but decided that It would be better suited to a smaller box inside so that it could be taken out and removed when needed. This also left me the freedom to expand on it.

If I could complete this again, I might create the same screen but have it fixed inside, like an old fashioned television set, with old dials, as a metaphor to the increasing reliance on the visual television, mobile phones etc, in the modern age to convey folktales.

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A

This outcome successfully conveys  my ideas- that folklore is a harmonious construct that is essential to humanity. It also is fluid and moves through people.

The use of celtic symbols and the ongoing levels successfully convey this. The shapes become smaller, as the papercut deepens.

The use of LED lights will allow me to focus on the mood created from the differing colours (the Adventures of Prince Achmed). They are bright, and easily transitional.

However, moving forward, I want to elevate the cut and expand it to the rest of the suitcase, so that the piece flows.

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This another personal ongoing project of mine. 

Inspired by :

the work of Saira Vargas

 Aaron Blaise

(Their expressive characters) 

I want to develop this to explore issues faced by people with different conditions-like these people the music people are unique and important in their own ways beautiful in their music, abilities and appearances. 

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These preliminary  sketches were successful as they explore my initial thoughts under the question: What if music people existed?

I reflected  upon the struggles of certain characters. For example, would the violin girl struggle to sleep for fear of making noise?

However, I think that I could have made some gesture sketches for the man with a cymbal on his head to further expand upon the character.

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Another planning sketch c- I explore the character of Piano man, who is able to touch surfaces and emit a piano sound, although I may develop this to envelope his entire body, so that he perhaps is the instrument himself.

Main Aim: To explore the piano man as a character.

Looks at : 

Expression

Body language

Texture

And creating an un-intimidating character.

This works because I explore his expression and costume in part, and experiment with his hands, as well as his face shape. It gives the impression that he is soft, and likeable as intended. 

But I know I need to further study anatomy in order to push my poses and expressions, and push the character design itself to involve the instrument throughout their entire design.

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One of my recent outcomes:

Aims: 

To use shape language where I can to give the viewer insight into a character’s personality

This worked because I was able to create forms that expressed the character’s personality through expression, gesture, and costume, incorporating piano esque colours, the moustache reflecting the cymbal man’s experience versus the expression of Piano man, which represents his lack of experience and naivety. 

However, I think that some of the shapes are rather flat, and I would have liked to expand upon the characters by making them interact with one another.

Inspirations: 

Aaron Blaise, who is a former Disney animator who focuses on expression, and gesture which create convincing characters. 

I want to further expand my use both expression and gesture to push character design, and show the audience/ viewer aspects of character through my work.

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EXPLORATION Exploring character development: Miss MoffatLooking at: Children’s illustration

Shape language

Gesture

Attire

Characteristics/ struggles Disabilities

Culture

Expression

Abstract approaches to character design

Struggles of having no arms-Makes link to Russian Babushkas.

This  Independent piece/ character design was designed with children’s illustration in mind. I explored abstract colours and shapes, and  wondered how  the character would move, act, and keep herself. She was designed with the idea that she is disabled- having no arms- and has to find her own way to live her life the way she wants. She is also specifically bald, because I see no shame in it and believe children’s books should be diverse and represent everyone. I considered an older appearance, but it took away the life from the character. 

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1) -Used rounded shapes to create impression of warmth.

Exploring Character development 

Looking at:

-Stance

Proportion

Expression

Gesture

Attire

Personality

Aims to show Lars as :

Warm, inviting approachable character.

Often wears beret, large jumper and tie with scholarly, historical clothing

Clothing makes link to being a history buff

-The antithesis to his husband

2

I use:

Colour to reflect mood

Facial expression

Gesture

Pattern

Different ways to apply tone

Inspired by :

Saira Vargas, who is  very expressive with her work and uses shape language within her characters and gestures.

I tried to incorporate this in my work as well. He is short and squat. Where the second character is more triangular.  However, I think I could have further exaggerated this element to push the characterisation.

I use:

This is successful because the characters are individualised and unique. I  use the haircuts to reflect their state, The second reflects the regime of war, and the first the freedom and healing  experienced.

But, I would like to further study anatomy and fully push the poses and expression to get the most out of the narrative dynamic.

Saira Vargas  uses shape language in her work, which conveys immediate meaning about the character to the audience/ viewer. 

[aveleonimaginx]

1

Aim: To generate ideas as to the composition, colours, and layers for the folkloric papercut using the basic methods of Ben Charman.

I met this aim perfectly as I experimented with different triskele inspired forms, and the shapes of trees to create my main paper cut design.

I contacted the artist to find out more- He told me that he cuts his art working from the outside in. I decided to utilise this method as well, which was very effective.

2

Aim: 

-To experiment into colour palettes for the paper cut

-to look at shapes for the final design.

These experiments were mostly unsuccessful. I did like the colour palette, however the paper cut needed  to be left blank, in order to reflect the light successfully Ben Charman’s lightboxes use LED lights at the back, and any additional colours may ruin the effect.  But the composition was successful, particularly the depth of field.

- I was inspired by Richard Finklestein and Dan Archer.

3

This outcome successfully conveys  my ideas- that folklore is a harmonious construct that is essential to humanity. It also is fluid and moves through people. 

The use of celtic symbols and the ongoing levels successfully convey this. The shapes become smaller, as the papercut deepens.

The use of LED lights will allow me to focus on the mood created from the differing colours (the Adventures of Prince Achmed). They are bright, and easily transitional.

However, moving forward, I want to elevate the cut and expand it to the rest of the suitcase, so that the piece flows.

[aveleonimaginx]

This piece is successful ultimately as it draws the eye in.. The foreground is unfocused to draw attention to the main character, and the secondary subjects are of softer, less vibrant colour palettes, while the tiger is more saturated. I personally love the outside perspective, looking in, as it raises questions about animals in captivity and the human eye.

This is one of Wallace’s personal pieces so I am uncertain about its true meaning, but the characterisation of the Tiger with his food dish, and suggestion of ‘luxury’ despite being behind bars, is rather comical to me. Their expression , combined with the flow of each arm make the piece very well composed- something I would like to work on within my own work.

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This is a scene from my favourite film currently- Wolfwalkers (2019) .

I love this film for its picturesque colour palettes and scenery, the difference between the stark, straight town, and the fields and forest which appear to melt away behind the two protagonists.

This scene in particular presents the unity between both girls. The flow of the branch underneath them to me represents the branching between their two warring cultures- the wolfwalkers, and the humans. I love the way that the leaves recede into the background, which is overall saturated with colour but utilises watercolour esque textures, which contrast to the clear character forms.

The character designs also reflect their inner most character. Meb, is small, bouncy, and energetic, and her nose is small and wolf like, reflecting her abilities as well as her character. She is extroverted and outgoing. Her hair colour also reflects her wildness. By contrast, she is prim- her hair is tied back rather than overflowing, and so it is clear that she is part of a more regimented society. Her blonde hair and blue eyes are fundamentally archetypal -she is meant to stay meek and listen to her elders, as seen when she becomes a scullery maid, to fit into society, but as the leaves in her hair suggest, she is slowly straying from this.

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ACADEMIC WORK

https://docs.google.com/document/d/1qgkYLuzZIqUMDCGhVHHA3U-Gb5PD09C5cqUIYh1P49Q/edit?usp=sharing

https://docs.google.com/document/d/1E6puYI3Z2kYxkmgOP0io20-nDoDbQ9QqmWqFuOEpqDg/edit?usp=sharing

Thorough examination of artwork is often required to understand them on a deeper level. This is something I find myself rather enjoying.