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.
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.
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.
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.