Research. Unit x.2

Aschenputtel is the Grimm Brothers’ name for Cinderella. She is not helpless, in fact, she seems to be more of a proficient witch. This is considering she needs no help in summoning enchanted birds and wishes from a magic tree. Charles Perrault (1697), Histoires ou

contes

du temps passé, Cendrillon is the French version of the story and the closest to the one that we all think of today. It marks the introduction to most of the ‘Cinderella’ tropes such as the Fairy God Mother, the Pumpkin carriage, and the glass slipper. From Egypt we have Rhodopis; originated in first century BC/AD adapted from the Strabo, historian, 64 BC – 24 AD – this version seems to cover similar ground as the ‘germanic slave girl’ narrative however wrapped in appropriate Middle Eastern politics and social situations. In fact, it seems pretty much every country has its own variation of a similar tale.

In breaking apart the elements of the story or various versions there usually, tends to be some kind of party involved. We decided this might be a good theme to base a suggested narrative around. We don’t intend to make something with a clear linear story, we would rather build something symbolic and simplified that will allow the critic to draw meanings upon the issues we suggest. The ball is something we discussed as having great potential for working some engaging imagery and an opportunity to showcase some of the stylistic traits within William Wilde’s work. This naturally drew us towards the theater and presenting the commentary as a performance constructed in front of the audience.

I begin my environmental design research with 1910-30’s theater. I think building a stage with an authentic style and

hybridising

it with modern pastel tones will give the atmosphere a surreal re-invention of classic aesthetic; much like what we see in Wilde’s dresses.

Masquerade

ball at the Carnival of Venice. This is a great source of inspiration for ostentatious theatrics. When we think of masquerade we naturally see the key component of a mask. The tradition began as the carnival marked a time when all social classes could mingle; the masks offered anonymity and the opportunity to see within (ironically). It offered to hide association with any form of identity, origin, age, gender or religion in a society where social classes are defined and unlikely to interact.

In the client briefing, William Wilde mentioned a few of his inspirations and the message he conveys. Feminine strength and breaking the convention of acceptable fashion. I Find his exquisite use of

colour

to be

complimentary

to the concept of femininity, and a striking statement of brutality the female body endures within the industry of fashion; latex is not easy to wear. I also admire the blending of vintage cut designs with 50-70’s style patterns. The use of latex captures clean liquid shapes of bold ink, enhanced by sharp lines morphed around an organic form.

unit x comic1

The group decided to have a female form be constructed on stage and torn apart and rebuilt. It conveys the nature of the modern ‘Catwalk’ in creating and recreating aesthetic while affirming the classic transformations that occur with every respective representation of Cinderella through history. This is a storyboard of the general

visualisation

of what we build. This is unlikely how the final will look specifically as we aim to modify and redesign the composition and

colour

of the set and perhaps modify the subject that is formed into something more abstract.

Bibliography

Keenan, V. (n.d.). The Grimm Brothers’ Cinderella: Summary & Characters Chapter 3 / Lesson 29 . Retrieved from study.com: http://study.com/academy/lesson/the-grimm-brothers-cinderella-summary-characters.html

Rhodopis (The Egyptian Cinderella). (n.d.). Retrieved from lit.scribbles: https://litscribbles.wordpress.com/fairy-tales/rhodopis-the-egyptian-cinderella/

Thorpe, J. (n.d.). 9 Things About The Original Brothers Grimm Cinderella Story That Are Nothing Like The Disney Version. Retrieved from Bustle: https://www.bustle.com/articles/61053-9-things-about-the-original-brothers-grimm-cinderella-story-that-are-nothing-like-the-disney-version

wilde, w. (n.d.). Latex Dresses. Retrieved from William wilde : https://www.williamwilde.com/collections/latex-dresses?page=1

Encyclopedia of Plague and Pestilence by George C. Kohn (ed.), Facts. on File, Inc., New York, 1995.

 

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DEVOID. GHAST’S

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Archaic spirits that live in the Red Wood. They are feared and believed to be the stolen souls of past tribe members that stalk their descendants.

The Sikari also consider them as the shepherds to the next life.

They are shrouded in thick draping fabrics aged with centuries of wandering the woods. Each Ghast is decorated with the robes reflecting the style worn by the tribe when it is ‘born’. What is beneath the robes is a mystery, they emit smoke and dust between floating limbs and empty burning eyes under their hoods.

 

JANGALA ENTITIES

Here are some of the native creatures that are sealed away behind the gate. They each have unique abilities that help with the preservation of the forest. The Sikari have never actually seen these creatures before but they have seen old drawings and books written about them by generations long past.

SIKARI

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They are a tribe of hunters charged with the preservation of the Kyr. They are led by the higher families within the tribe. Each family is charged with a designation serving to preserve the people or the cattle.

They are heavily superstitious and practice native magic and blessings and have based every aspect of their culture on accessing more powerful spells.

Their young are trained from very early on to one day take over a job from the older generations. The more essential the job, the more prosperity their family will have.

Their clothing is richly made from the cattle and the native resources found at the bottom of the mountain, they waste nothing and .

They have brutal laws against killing (particularly of the herd) and stealing. The accused are offered up to the Devoid of the Red Wood and are never seen again. They believe they are taken and turned into a Ghast and doomed to wander the mountain.

OKAHN

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The name Okahn Is derived from Mōcana – मोचन a Nepali word meaning ‘liberation’ and ‘redemption’. The village is built using mainly the red bark trees surrounding the settlement. Each individual building is carved and decorated with unique superstitious heraldry with historic meanings that echo stories from past generations

Every building presents runes that are specific to each family, they are bound together using ancient woven fabrics. This symbolises the oath taken centuries ago to rebuild the lifeblood of the mountain.

Within the red wood is an illusive portal. What is within?

Kala will have to find out.

Life Drawing Cache

10 second multi pose. I’m quite fond of this part of the session as it works as a warm up to mark making. I found after this my drawing became more fluid , plus it creates a very engaging piece.

   

Charcoal studies using shadow to build a form. The idea was to work from the lightest cast and build layers creating depth of the form. The figure are angular and primitive compared to the line based drawings. However, blocking in with coal meant I could build a form much faster. With practice, these types of study could be improved with graphite rather than soft coal.

 

Straight line based figure drawings. It was interesting to work this way when the emphasis is that all movement is based around arks. The temptation to curve a line made this kind of aesthetic a challenge to create – though the end product is pleasingly reminiscent to the kind of forms found in Cubism.

Blocking a silhouette with coal. Concentrating on negative space to build a form was quite different when working out proportions. It proved easier than I expected – possibly due to the demand for commitment as I try not erase at all during a session if I can help it.

This is an amalgamation of the same figure drawn at many angles as the model walked around the room. In essence this is a layered walk cycle. It was a challenge to construct a gesture with it being so fleeting however to capture something at a glance improves the pace of drawing and animating in general.

  

This last piece is similar to that of the moving model test, however we assigned colours to each portion of the figure and recorded the form piece by piece. This was much more engaging as you where encouraged to focus on particular aspects of every moving part of the walk – noticing far more subtle movements.