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Revised Storyboard and Animatic

October 24, 2017

After having worked with my original concept for a while, I decided it wasn't challenging enough technically or artistically, and more importantly that it wasn't engaging enough with the artist's style. I did plan to use colour, texture and linework to reference it, but I actually love her expressionist work so much,  and can relate it to some of my still work as well, so I thought I should incorporate something like that in the film. Of course, that ended up changing my entire concept. The story is still technically the same as my last concept, but will hopefully be more attractive and engaged with what Paula Rego says in the audio clip.

 

 

I kept my favourite image, the character splitting in two, but rather than reforming, they release a wave of expanding morphing forms and characters. I like the idea of representing the artist, or maker, as a pair of eyes, to establish their character as a god-like entity, who's creation in a way battles with them for dominance. When the wave crawls back inside the eye, it is reformed (by the eye itself, as it tries to contain it and retake its control) to become its pupil, mimicking the introductory shot. It is then "cast" as an iconic art symbol, the Vetruvian man, or in this case, a woman. I found it a pity that I wasn't discussing any sort of feminist narrative, and while I perceive these puppet-like characters and genderless, this image is so iconically male, that I didn't want to leave it this way. Rather than replacing the pose with an iconically female one, like the Birth of Venus for example, I thought this was a clever and subtle enough way to discuss this. I didn't want to present a "feminine" female symbol because that's in complete contradiction with Paula Rego's rejection of the standards for femininity, in fact, her women often look masculine and particularly unfeminine. So having this masculine symbol represented in this way, even for less than a second, I feel works to engage with, or at least reference, that ongoing narrative in Rego's work. 

 

 

I'm really excited to work on the climatic scene, with the morphing and expanding characters. It will probably be that hardest part, but I have really wanted to do something like that for a while, and it'll be good to challenge myself for it. The image I made seemed a little off in certain colours, especially the reds and blues. I played a little with adjusting them to make them look more like Rego's colours, and also compiled a colour and texture pallete for reference when I start colouring my film. 

 

 

The main thing I need to consider at this point is the software I'm going to use. I'm still a little insecure with AfterEffects and the camera movement in Animate was a little problematic while I was making the animatic. I will see if I can possibly use some custom brushes in Toon Boom Harmony and whether that could work for this project, since I am relatively familiar with using it for drawn animation. But I also want to test out some of the skills I have learned so far in the course with Adobe software, so I might experiment a little and see what would work best. 

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