Line Of Enquiry. Unit X.2

Beginning the development of ideas around our research, I began looking into William Wilde’s style and responding to some of the shapes and features that recur in his work. These are some experimental designs of patterns and styles that we could use in our own characters. I liked experimenting with mixing fabrics like some of Wilde’s inventions. I am assigned to creating an environment for our production and this gave me some ideas on using patterns to overlay textures within a stage scene.

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Here are some more refined responses I created with the reference images of old and new theater. I had contemplated using a wide shot so an audience could be seen as silhouettes in the foreground; we could have implemented a variety of animal heads as spectators enhancing the bizarre surrealism. However, this would make the stage too small for any real detail to be used on the main subjects and leave limitations to how we could develop the camera moments later on.

Colour is a significant factor in Wilde’s work which is why I think it is crucial to get the correct compositional balance without over or under compensating. Here is a selection of colour samples I put together with reference to some of Wilde’s collections. I prefer the white and blue designs as they refer to the collection that the client presented to us at the briefing but I can see this being too bright in the scene and takes away from the subject at the center. This could be fixed with readjusting the hues and making a bolder version of the patterns on a dress that the character is wearing.

When presenting these to the group they seemed to like the yellow and black designs overall so I will use these to develop the shape composition of a border but will consider having a colour variety for the final film. Perhaps we could create a border that matched in tone or texture to the outfit worn by each character iteration. Of course, I will keep in mind that this must be toned down as not to make them overly distracting from the central characters.

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I built a mock-up of what a possible composition for the stage curtains could look like and split them into movable layers. This yellow and checkered design is the variant that my group mates preferred but we agreed this is too loud. Seeing the checkers on a much bigger screen also proves to be slightly sickening with the warped illusion. I will revise the tone and pattern in this combination but I will also look into a less basic set of assets. When looking back over mu research I have decided to explore the use of embellishments on the designs such as chains, gemstones, and lace. A want to push the grandeur of the traditional ball that may have inspired the minds of the 16th century Cinderella retold through a surreal pigmented collage.

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In our recent group meeting, we focused on what kind of characters we are going to have appeared in the scene. We didn’t want them to be real living humans so we discussed using mannequins or stitched dolls to enforce the fantastical and bizarre myth of a storybook. Of course, our version of the story will contain a little more of Wilde’s risqué appreciation of the female form and a nod to the punishment it must experience in its transformations; Cinderella’s in particular. I implemented the heads of some of the animals found in various versions of the story and picked some with traits associated with strength, fertility, sensuality and adaptability. I referred to 50’s pinup girls for engaging poses that express a range of personalities.

For the next stages of production, I will design a range of fully furnished sets and further explore the designs of the character and style we wish to convey. Perhaps overlaying animated textures and shadows will improve upon the very 2D aesthetic of the current mock up. Hopefully, we can develop a greater atmospheric depth with a collage paper vs liquid ink variety of design choices. We will also go further into appropriate music and sound that reflects the ideas that are presented.

LUKA

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Luka is the bizarre creature who appears out of the forest and leads Kala on a path to find out the truth of her people and her family.

He communicates with the individual through morphing the runes that appear in his fur. He himself is a shape-shifter and is very careful never to be seen without intending it.

He is rather cunning by nature. He is a free spirit and wanders the woods alone. However, he knows to avoid the Ghast’s and the creatures further up the mountain.

His spirited nature prompts him to tease unsuspecting tribe members with playful tricks but is careful never to interfere with the Kyr too often as not to offend the Ghast’s.

HERD KYR

They are cared for by the Sikari. It is believed that centuries ago that the herd was vast and populated the whole mountain.

The Sikari prospered as a thriving civilisation, however they became careless and allowed the herd to almost be wiped out. The Sikari were then punished and the forest consumed the cities. Later the Devoid threatened to eradicate them but offered them redemption if they could rebuild the herd then they may rebuild their society.

They are worshiped because wherever they graze will flourish with natural life.

They decorate the cattle with the same red thread in their hair as a symbol of protection and kinship connecting them to the forest.

Bunny Butler and Thing With Turnip.

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Benson’s final designs are greatly simplified from the base version and this is down to aid his continuity and recognisability. I also felt the character needed particular features that link him to the Baron without necessarily being  ‘equal’ in  social status. as a result, the back of his waistcoat has the same stripes as the Barons shirt. also as a further enforcement of the Barons influence, he insists that Benson (and any of his underlings) paints a red diamond around their left eye in homage to his own eyepatch. This acts as a symbol of loyalty and support of the Red Baron.

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The final troll design takes some influence from the Magicville minions’ use of masks. The trolls seem to be naturally magical creatures. That is to say they have misterious cultural traits such as wearing enchanted masks that move and show expression. Presumably, this is to hide something much less friendly beneath from other beings that live in  the kingdom.