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SCRIPT BOOK
To display Harrison’s written work I decided to make a small book,
- I gutted and cut down a hardback book to the size I wanted
- formatted, printed, cut and stuck pages, zine style (back to back)
- stuck leather onto the hardback, lining the inside and cleaning it up
- sticking the text into place
- Using the laser cutter to make a stencil for the title, then using gold paint and a sponge to add a faux-embossed effect for the title
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HIDDEN LIGHTING BOOK
For the first model I really wanted there to be overhead lighting, so using the cut off half of one of the books I put on the bandsaw, I glued the edges of the pages, then carefully cut and gutted the inside, cutting a hole for lighting to go through, which I then stuck on top of the walls of the model
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DISPLAY SHELF: ATTACHING MODEL, BOOKS, AND BACK
Using wood glue (so I could at a later date carefully remove the model) I attached the model and figures into their places
While most of the books are just stacked normally, a couple are stuck in place because it’s important they stay where they are, and a few (which were placed directly infront of the models) were cut in half on the band saw.
I also used a drill bit to cut holes for the lighting to go through, stained the back to match the rest of the planks, and made (stained) clips for the lights to clamp onto, it was then attached to the back
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LONE SOLDIER FURNITURE:
After assembling the table and chair, I had to remake the table as it was wonky and then instead of painting it, because it would always have a painted vibe, I used white spray paint and a gloss spray on the furniture to make it look synthetic and like white IKEA plastic.
Assembling the radio was much easier, I kept it neutral and brown, the vibe of the soldier’s era, one more thing he’s clung onto, just as he is so attached to the song that plays from the radio.
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CAD: SILHOUETTE AND FURNITURE
- laser cutting an audience silhouette for the lift
- chair + table for the lone soldier - want it to be stark and white, boring and lonely, I used a very basic IKEA template
- radio for the lone soldier
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TOP OF SHELF: LONE SOLDIER FLOOR
Filler-ing and painting the left corner white for the lone soldier to make the stark plain feeling
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MAKING FABRIC: PRINTING ON TISSUE PAPER
Using the plotter to print on tissue paper to have prints + tapestry decoration
- masking tape A4 tissue paper on A3 paper, make sure there it is compeltly flat
- feed into the plotter
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FINAL WRITTEN PIECE
+ A change to the script presentation; instead of presenting the whole script my writer requested that I present excerpts so I picked a few of the ones that support the scenes I’m modelling/painting
1| MODEL - The Finder emerges
The space is filled with bookshelves, glass cabinets, wardrobes, etc. cordoning off the playing space - these are here for the audience to peer through. The sense they shouldn’t be watching.
The room is filled with organised chaos, very much how the antique shop can be found but exaggerated (A hoarder's dream): newspapers on top of lamps, books, clothes, consoles, chairs on the ceiling, jars of teeth the tooth fairy never claimed, keys, wallets, draft three of the Magna Carta, the unfinished Mona Lisa. With objects and furniture constantly coming in from the window/porthole; “New Arrivals” flashing above it -
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A figure emerges from [a pile of clothes]; FINDER I; ageless, genderless, a being outside of time but still a victim of it. The FINDER emerges from the pile cloaked in various items of clothing that evidently pleases them. Notably all human items. A dress made of ties, multiple pieces of fabric, a necklace made of human trinkets -
They check off their clipboard before attaching a label to a coat.
They’re always moving, in constant flow.
2| MOMENT PAINTING- The Finder at work
Ding!
A green vase that’s handles loop back around as if hugging itself. Cute.
The FINDER pulls it out - they sniff it, bite it, lick it, log it (the new bop-it). Before placing it somewhere in the room. Organised chaos. On the wall? Dimensions don’t mean anything when you’ve seen them all.
The FINDER begins to sing/hum. ‘The Finder Song.’ (an accumulation of sounds, trills, noises, sirens. Some known to an audience, some alien).
Ding!
3| MOMENT PAINTING - The Arrival of the Case
A suitcase is found inside the window -
The FINDER reaches in and pulls the case through, shutting the window. Then placing it on a stool, (almost second nature - so used to new arrivals)
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The FINDER goes to open the case but stops. The humming stops. They examine the case - locked tight, muddied blue, imprinted ���K I N G & COUNTRY” on its side, but “COUNTRY” has notably worn away. The FINDER sniffs it, licks it, bites the edges before placing an ear on the case.
No luck.
4| MOMENT PAINTING- First Interaction
The case lid lifts slightly revealing a pair of human eyes in the dark.
FINDER
(relief) *trill sounds*
“KING”
I beg your pardon?
The Finder adjusts. They recognize this speech pattern.
FINDER
*bird sounds*
Beat.
“KING”
Sorry I didn’t quite catch that.
Finder assesses.
FINDER
*opens mouth and SFX sounds of wind, thunder*
“KING”
Quite the language barrier.
Finder begins playing charades.
Six fingers.
“KING”
Ah! Six words.
Two fists.
“KING”
Um...
FINDER fans their knee.
“KING” (cont’d)
Novel?
No good. KING sees a scrabble board on one of the bookshelves and points towards it.
FINDER takes it. Pulls out the pieces. Eats one.
From here FINDER uses BSL whilst speaking. Incorporated into their way of moving.
FINDER
Oh, English.
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FINDER
This is where things get lost. Indefinitely. Coats, bags, dignity. They’re under the Peter Andre lost albums. Things that end up here have been completely forgotten. By everyone. Gifts at the back of the wardrobe one forgot to give away, sex stuff your Gran had hidden before she fell down the stairs.
So, imagine how rare it is for you to be here. Humans can remember the smallest of occasions; the time someone gave you their extra slice of pizza. Think of what it would mean for a human to be completely forgotten; everyone they have ever known would have to be wiped out; friends, family.
5| The LIFT
The Lift is how the audience travels between floors and through ‘eons of time, using a composition piece and lighting to make the feeling of ‘time-travel’ at a great speed. A key piece in the audience journey.
INT. LIFT V. twilight zone. Shutters close. The lift ascends. Sounds of trains zooming past, signals blaring, the mechanics of it all.
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INT. LIFT The lift acts as a passage through time.
6| MOMENT PAINTING - The Soldier reads his paper
The front of the space is war,, cosy, lived in. Same situation with the bookshelves and glass cabinets for the audience, Peering through we see -
KING sits reading a newspaper, resting his legs upon his case. We now see our KING is dressed in uniform: A World War Two soldier
7| MODEL - The Soldier is mapping out his territory while the finder ‘helps’
Outside of this area feels deadly, plunged in darkness, you wouldn’t want to stray too far - the east side of the room stretches down: haunted, no one wants to go near it. The audience would be wise to stay near. Separating the spaces - red string.
Our FINDER lives within this darkness. They emerge from the mounding pile that is confined to the outskirts of the room, towering and suspending over it.
This FINDER II has a slightly more human look as if the species has evolved, mutated, mirrored. They wear a wedding dress, one from the many mannequins scattered about, The FINDER II approaches the bookcase carrying a stack of books.
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KING points to the right-hand side of the room, also filled to the brim with objects. KING hands FINDER the end of a piece of red string.
“KING”
Pop down there for me, would you?
FINDER does.
FINDER II
What are you doing?
“KING”
Measuring. So, I can map out.
FINDER continues to walk back.
“KING” (cont’d)
Stop. Round-about there?
FINDER II
For what?
“KING”
Garden.
FINDER looks to the mountainous pile of objects between them.
FINDER II
What about all this?
“KING”
Well... just... can’t we shift them down a bit?
FINDER II
Why??
Ding. FINDER II turns attention to the window.
“KING”
Give, over, I’m only taking up a little bit more space.
8| MOMENT PAINTING - A pushed-to-the-limit Finder tries to throw the case out into time
Ding!! FINDER II looks down to the case. Let's go of KING and scratches at his face, causing him to leap back
“KING”
Ow! What are you -
FINDER II grabs the case and darts for the window -
“KING” (cont’d)
No! You can’t! It hasn’t been claimed! You’re damaging property -
KING chases. FINDER II opens the window which is rammed with items, THEY push the case it, squeezing it in, closing the door - It won’t go. KING almost reaches FINDER II before they give up and run through the east back to KING’s territory. Crossing the border.
KING (cont’d)
What are you doing! Do you know what you could have done? The damage you’d have caused.
FINDER II begins to cry - which angers them. They slam the case down on the table.
FINDER II
Damage??? I cry now! That’s genetically impossible! I need you to leave, don’t worry, I’ll help you pack your bags! -
9| MOMENT PAINTING- The Audience is SEEN
Audience enter. White, blank space. On the east side of the room is a circular chair facing the wall, covered in dust and cobwebs - lighting wise - it’s a dark spot, unlit. The west is lit, the space remains white, blank, empty.
The same song can be heard as on level 3. A radio in a corner of the room. As well as a poster: “KEEP CALM AND CARRY ON”
Around the corner is our KING. Sat on a matching chair with a table, smoking a cigarette out of the window, the case sits by his side. KING has aged. He dabs his cigarette and notices the audience. Taken aback:
10| MODEL- The Lone Soldier
Silence. The music has stopped. KING rushes to the radio. Hits it. Nothing. Drops the case. Shakes the radio. Begins to well up.
KING
Did one of you... remember this...?
Hand to his face. Trying to stop the tears. Back to audience:
KING (cont’d)
Can you just forget? Please. Just, just forget it. Oh, god.
Beat.
KING (cont’d)
No... no. You’re going to have to go. I don’t know what’ll happen to you but I need that song back.
KING begins to shuffle audience out of the room.
KING (cont’d)
Go on. Into the lift.
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LIGHTING TESTS
Making a back sheet on the back of the shelf to mark our where I need holes for lighting to be cut on the wooden back board + testing if the light is enough to draw the audience to view it.
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MOMENT PAINTINGS: ADDING TEXT
Testing if I liked the added text by writing on acetate, then permanently adding it in
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MOMENT PAINTINGS: PAINTING IN DETAILS
Trying to keep the accuracy I had in my linework while still inline with my impressionistic style.
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MOMENT PAINTINGS: BACKGROUND
Very roughly painted in for the true impressionist style look - mainly using a palette knife and a fan brush.
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MOMENT PAINTINGS: PREPPING THE SHELF
Filling the gaps in the planks and sticking on the linework + woodstain as a base tone
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