Creative Identity- problems and reflections

009

when producing the final outcome for this brief I was struck by some of the issues that I have encountered.  firstly is best practice. when compiling both research and development of the piece i had two main ares. the first is my log book. the second a working folder with which to take to the client when updating them on the project. though this addressed the issue of presenting the work to the client in a clean professional manner and see the piece at every stage it would mean that future assessment may not have a clear progression through the production and development stages. to address this and to avoid it in future projects i think it would be best to generate the pieces in only one format and only create a separate presentation folder if required.

other issues this project raised where the grammatical errors that occur within my work. to address this for future projects and to help improve the presentation of my literal work. I will be needed to re read text again and apply spell check more often whether the piece is formal or informal.

during the project for this brief and the getting connected I often worked on both briefs and inadvertently mixed elements of the two.  this caused information that was valid in one, not to be available for the appropriate presentation. re reading the brief would have helped to clarify which brief required which elements, and would have addressed this issue.

Digital Environment-problems reflection

producing work for the digital environment is not an issue, publishing it and presenting it often is.  an example of this is below.  this large scale painting when viewed in person has more depth and is very representative of the actual horse and setting.  when the image is photographed with an Iphone or Ipad it some details are lost and because unlike the studio setting the lighting is not even the image incurs shadow.  then the image is processed though a program to be presented.  at this stage the image may lose some of the resolution or require cropping to remove the shadow and so loose compositional elements of the piece.  the repositioning may also affect the narrative or remove a vital component that adds to the visual impact or understanding of the final piece.

 

if possible the due to scale the image may require scanning in or photographed with a higher resolution camera and then up loaded with the best performing program where available004

Reflective Statement – Developing Production Skills

DEVELOPING PRODUCTION SKILLS

When commencing this presentation I was immediate struck by the surprising variation of production skills we had covered since the begining of the course, not only that the probabilities and possibilities that they might present us with.

Our initial tasks were to create a blog, and then to begin researching both zines and Youtube production.  Apprehensive about all three I decided to tackle each in turn allowing the development of each to e enforce each other.

Taking the issue of a blog I began looking at which programme presented me with the best medium to present my work. I have previously only worked on tumblr which though sufficient for a foundation year was limiting in the level of presentation that I wanted for this new challenge. After considering several blog sites I decided apron word press. Though it is not as flexible in adding video and gifs to their site its overall presentation possibilities were exciting and I knew that if I wished I could add videos by link.  Still apprehensive about all the processes in using the site I looked into ted talks and reviews and learned that the site itself as a more than adequate steps learning programme.  Following this I was able to quickly master the site and then link it to both my portfolio but also to my tumblr site creating scenery source material for prospective clients to consider and to allow me to access any reference material from previous projects that I might wish to re consider for use when generating or considering processes for producing new outcomes.

With my blog in place the next focus was the zine. After looking at the history of zines and their content I realised two avenues of exploration. The first being the most represented popular music promotion while the second was political or social activism. This seemed the more interesting of the two avenues. Having considered the area I began looking at different fields of social activism, considering animal welfare then human.  Through amnesty international I came across free Tibet. Realising that I was incensed by the situation and passionate about its resolution I began first of all sources from current sites on the matter and then by email to several international sites I began collating my information. I wanted it to be both relevant and factual while its content could fully and accurately inform. To ratify all my facts I chose to confirm each source from both the Tibetan and Chinese authorities’ point of view.

Initial structuring of the zone was done on word and developed through Indesign. This seemed the strongest way to manipulate both word and illustration.  Initial test pages were constructed in the fashion of photo journalist Dan Eldon, however proved that the volume of information and too many photographs made the pages appear to be more of a magazine article and lacked the distinction of characteristics that occurred in there earlier predecessors.  To address this I reused not only my initial research but also the primary research I was able to source from Tibet and from the V&A in London.   Simplify both the volume and content of the pages attempt to style the illustrations in a style akin to Sonham Yeshi, and so create a sound bite effect and holds the attention span of the intended audience more easily.  Less being truly more.

The images have been adapted by vector tracing my own illustrations so that the entire content is of my own production and so no external risk of playgerisum can and will occur.

Whilst these were in development tests have begun into filming interview and an animation.  The interviews are with several individuals who have travelled in the region and can give first hand accounts of there experience and so make the telling become more personal to those who hear and see them.  As part of this experiment it became apparent  that my current level of experience with the equipment though  functional could be improved to do this I have experimented with several short clips which I have attempted to edit and alter to enhance the level at which I work.

This concern is also shared in my animation. I have produced my initial character designs and developed them into 3d sculptures in both Fimo and Sculply.  Having generated them next is to experiment with the base material of the set. Through paper, card, foam moulding, print and finally clay. I have tried to match the creative style so as to unify the piece but will not know how successful I have been until initial filming has begun and a critical evaluation by me and my peers has taken place. At several stages I have used the critics to gage reaction and understanding of the project.

Time has been a concern however setting production targets each week has proven most effective to date.

Getting Connected- Reflective Statement

Reflective Statement

When considering this module it is hard to summarise the extent of its reach.  The brief was to explore avenues and means of connecting ourselves and our work to the wider world. The initial point was the blog which presents the opportunity for us as creators to put some of our work, practices and processes out there for others to explore and relate to.  The initial number was slow but as connections develop it acts as a central point and as an opportunity for people to discover our work by accident.  By following the training programme within the site I was able to maximise the potential.   Combining this with various search options allow potential clients the opportunity to review and search the site with ease.  The one area that does need reinforcing is the main menu which has since had sub menus added to it to try to rectify this issue.

The next method was emailing other practitioners. Initially the response was varied, some supportive, some explanatory overall though they help to form a strong sense of the benefit of making, maintain such contacts.  This combined with the lectures reaffirmed this fact.  They also help to define which sites I would added to reinforce the blog I already had.

Following the completion of the intended YouTube, and Facebook pages the connections were made, each feeding into the other.  An Etsy account finalised the set… each drawing potential clients into the blog or Etsy accounts respectively.  From speaking to several artists it both wise and practical to have the sites branded so that a client will see instantly that the sites are related to the same source. Though followed the original idea and branded each the same. In viewing it’s possible to see that each site could also benefit from a individualising them to show the potential for different exploration. For instance the YouTube channel though branded with a banner relating to the blog which depicts some of my animation work, it does not relate directly to the puppets and there creation. Perhaps creating a banner depicting the puppets with the banner in a lower or upper corner will look more professional.

This level of manipulation though simple can help convert the site making them feel more professional and acceptable to a potential client and further research into other sites may help this further.  The project I have produced for the client as part o our creative identity brief would also benefit from this process.  By presenting the piece in a more business and professional manner may take the project more seriously and make any potential clients more inclined to choose this project over others they may be interested in.

This being auctioned even in part has increased the people viewing my work to treble in less than a week and shows the real benefit of casting such a broad net.  In returning to the brief I realised that time constraints may make the fuller alteration difficult but not impossible.  The best thing now to improve the likelihood of success will be to timetable the next few weeks tightly and keep to I. if I do not I will not be able to finalise each of the pieces prior to the exhibition.  By prioritising the pieces as well I may be able to achieve each of my targets.

The internet also allows constant two way communication with client allowing the project to move freely forward without the constraint of time delays caused by attempting to match schedules and arrange meetings. This medium of communication has speed up the creative processes and allows the client to view the projects creation allowing them, the opportunity of feeling in control and part of the creative process. A feeling that strengthens there inclination to continue, and be part of the outcome.

Without the various sites such as the Facebook page and the blog I may not have been able to achieve the goals set in the brief. Because of them the foundations have been laid for me promotion and generating new clients. As with other briefs constant referrals to existing sites and practice can only enforce and improve my own practice.  It has also help to show ways in which sites can be placed, layouts and presentation that can help make each relatable to a potential audience. For instance if your intended market is the youth of today, you would not use a protracted and formal introduction as it would cause the audience to look elsewhere rather than at your work. The sites need to be constantly manages and updated to keep the relevant and appropriate. Without research this may not be possible so maintain research into other sites in mandatory if my own sites are to remain approachable and applicable for potential clients.

Digital Environment -Reflective statement

REFLECTIVE STATEMENT

As we were to develop a Zine, I began with Initial research into the history and predominant reasons for zine production and the styles applied to them. The most common reason to produce a Zine was to distribute information concerning a sub or underground culture and promote an event, project or ideology.     Having now understood their original premise I began researching and considering different areas which even in the modern technological climate, may be considered as either a sub culture or underground group within our society .Through research into first animal then human cruelty I progressed to Amnesty international where I first became aware of the Free Tibet Campaign.

Having been personally outraged by the events I discovered I resolved that this was a subject I could be passionate about and hoped that in using it as my  subject matter, I hoped to convey my sentiment to a wider audience and  to elicit a reaction to the events.  It was possible to use both library and the internet to source my initial information about the subject. Having done so I wanted to confirm the facts by contacting directly the governments involved. With the facts compiled from the various Emails and subsequent sites visited, I choose six main subjects. Each main fact I hoped at this point to produce as separate articles within the zine.

I began processing the ideas that I would create a basic printable zine and then develop it through the matrix to see different ways I could enhance the project. My selection at this point was animation; instillation and 2d which could be processed as theatre, posters and film. The remaining elements to consider were humour, political and culture.

Having set these targets from the creative matrix I began researching and developing possible outcomes. Then set myself target goals and running parallel projects and where possible developing outcomes within other areas of my study. I was able to test my poster ideas whilst attempting print work within my creative strategies. I was also able to begin working with Photoshop. A programme I am not familiar with. The minor projects also allowed me to assess the necessary time frame required to either learn to work with unfamiliar programmes and or to alter my practice. This reflection on my working practice I believe helped me to produce both a realistic timetable and help me later in deciding the best programmes to apply to some of the tasks I would set myself.

In researching the events in Tibet and its artists such as Sonam Yeshi and Norbu Tsering I soon realised the strong cultural links between both countries and believe that by drawing on culturally relevant imagery, style and practice I could cause my outcomes to be more relevant to my audience and attract people from both cultures. In this I looked at art, theatre, costume, jewellery, religion, politics to utilise similarities and differences. In this I was able to produce several two dimensional images. When reflecting on these I selected three which I felt would add to the impact and visual interpretation of the zine. I elected to scan the images into Photoshop, and then used Indesign to place them. Initially I produced each of the internal pages so that it could be used when separated as a poster to promote each subject I was covering.  After viewing the work of Sonam Yeshi I attempted the enamelling processing which though fascinating and with a visually appealing outcome I ruled as being inappropriate for the zine project.  Later after a group critic and a discussion with one of my tutors it became apparent that too many differing fonts and placements of the text were weakening the effect of the piece. At this point the text was standardised and repositioning of the images lead to a stronger outcome, this issue also highlighted my need to reassess my text for both spelling and grammatical errors.

Because the successful management of production time and manipulating when to work on each of the pieces I was able to book working slots within both the 3D department and with the technicians and tutors available. This meant that as well as producing the zine as a paper outcome I could process it through Ethos into a wooden model linking the project again into both cultures. I chose to do this as original books within both countries were previously produced as wooden slats bound together. I choose leather for the bind but after reflection choose to use red ribbon to comment on Chinas binding of Tibet. The process produced an outcome which is both visually and culturally relevant to the subject and one which allowed me to develop my skill with both Indesign and Ethos. I would defiantly repeat this process as I feel it was extremely successful way to produce and develop a professional outcome.

The last main task I set myself was to develop an animation for the project. Having begun this it soon became apparent that generating the source cells and filming the animation through either Windows Stopmotion or Adobe Animate was not an issue. Editing itself can be relatively quick with some experience of the programmes. The only issue due to the nature of how it was originally drawn was that colouring would require more time than was available. To this end I attempted several ways of overcoming the issue but in assessment ruled it out as an outcome for this project but have kept it to develop it at a later date when I can apply the relevant time to the issues I have encountered. In reflection I can also better assess the impact in viewing artist such as Norbu Tsering had an impact on how I chose to manipulate some of my images to allow them to have a greater impact. The final realisation at the end of the project is that we may start as passionate about a subject such as this one but the outcome through manipulation may not fully show our passion. In being aware of this I can now address this in future projects. Within this project I feel in producing so many pieces I have buried the original passion in present facts.  I feel however this presents the zine as a less subjective piece and allows the audience to choose their own reaction to the information. This project has raised my awareness of the need to research my intended audience to a greater level so as to reach them as appropriately as possible.

 

 

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Contextual-What is the place of the werewolf in visual culture

The placement of Werewolves or Lycanthropes and its portrayal in visual culture when explored fully may ratify or disprove the symbiotic nature with which this myth and its subsequent mythology have changed with visual culture.  It is understood that many mythologies have basic tenants originally defined as a way of recording and understanding an individual society’s origin or beliefs, or as a means of portraying acceptable and safe social practice amongst its members. One of the most singularly reoccurring and central figures in mythology is the wolf, werewolf, lycanthrope or grim.

Fig 1, 2, 3

The wolf as deity or origin story occurs in four of the seven continents. The two most predominant of these myths in antiquity is the Egyptian, and with the pre Muslim Turks, Asena. Some religious theologians such as Desiderius Erasmus have speculated that “man is to man either a god or a wolf” Erasmus, D. (2013). Eloge de la folie. 1st ed. Paris: D. de Selliers.

Fig 4

This paradigm is repeated in the myth associated with the origin of the word lycanthrope, which has become synonymous for werewolves, and is from the Greek myth concerning King Lycaon, who attempted to serve Zeus the entrails of his son. Outraged at this Zeus turned Lycaon and his children into wolves. In Hendriks Goltzius’s illustration in 1589 Lycaon is portrayed using the symbolism of a man with a wolfs head, to visual imply the duality of the nature and the change occurring

Fig5, 6

This symbolism is repeated in the myth of the Cynocephali, a singular island   community ,depicted in this painting showing the journey of Marco Polo from the 13th century France and in this Icon from a 5th century Orthodox churches. Scholars have speculated that this portrayal may be due to a misunderstanding in the translation of Cainite to dog like. This style of visual representation ended due to the Great schism of 1054 and the subsequent changes in doctrine, implemented by Pope Leo IX.

Fig 7, Fig 8.Fig

In isolated cultures such as Britain, source of comparison or inspiration were the church icons or heraldic symbols. Which as you can see created a distinctly different portrayal syntagmatic of earlier Celtic iconography and interpretation

Fig 9, 10, 11

Fig 12,

The Nordic nations show equally singular images based on oral tradition of recounting mythology. Which depict of Fenrir as an enlarged wolf. This characterisation has often been utilised by modern artist and later in theatre and film in their interpretations of werewolves.

As printing techniques and education improved in central Europe, depictions of werewolves divided into two categories.

 

Fig 13, 14

 

Such as in Eschenbach in 1685 in a case of fratricide.  Which contrast with Lucas Cranach the Elder, who selected the use of indexical signs rather than feral and lupine attributes. The word Lupine itself a derivative of the Latin for moon (Fig 14) which become a metonymy with the word lunatic. Which was first printed in the King James Bible in 1611 and may account for the change.

Fig 15

The predominant factor in the central European cases is brutality and cannibalism which may through fear and association to the mythology have led to each case being referred to as a werewolf attack. Disassociating the crimes from human perpetrator and so vilifying the wolf.

Rollo May is stated in his book Existential psychology as saying “A myth is a way of making sense in a senseless world. Myths are narrative patterns that give significance to our existence. “(May, 1969)

Fig 16

As cultures has developed, society has restructured both its religious and social definitions, we have simplified and rationalised myths to re-appropriate them. Making both the visual and written more palatable, as in the case of little red riding hood which originally contained cannibalism and death with no hero.

Through colonisation and the sharing of ideology, education and reforms many earlier cultural referencing to the wolf and werewolves were suppressed or adapted.

Fig17

While Photography and medical studies allowed the reclassification of hypertrichosis prevented the persecution of individuals as werewolves.  Growing technological and social expansion saw the

Fig 18, 19

The Reich appropriated the mythology. Using it to instil primal fear of isolation and prey.  From 1941 to 1945 Hollywood released four wolf man films. David J Skal has speculated that the visual representation and narrative of the film were created as counter propaganda to this primal fear of the wolf which symbolises war and German itself stating that “it is the beast that must be defeated”.

Fig 20

As film, television and the internet have reinvented the myth has evolved again now being visual represented as anti-hero, victim, lover. Each portrayal has shown the human fear of our own duality and what we are capable of. Contemporary digital arts such as Slawomir Maniak still portray the beast, the lunatic the werewolf the man the myth.

Fig 21

Thank you any questions

Fig 22

 

 

 

 

 

 

BIBLIOGRAPHY

Hardy, C. and Frith, F. (2001). Francis Frith’s Rhys, J. (2004).

Celtic folklore, Welsh and Manx. 1st ed. Honolulu, Hawaii: University Press of the Pacific. Isle of Man. 1st ed. Salisbury, Wiltshire: Frith Book Co.

Crellin, A. and Miller, S. (1994). Manx folklore. 1st ed. Onchan, Isle of Mann: Chiollagh.

Broome, D. (1963). Fairy tales from the Isle of Man. 1st ed. Norris Modern Press.

Callow, E., Skowerski, M. and Karkut, D. (2009). Phynodderre. 1st ed. Sandomierz: Wydawnictwo Armoryka.

Wilson, P. (2001). Traditional tales of long, long ago. 1st ed. Bath, Eng.: Paragon Publishing.

www.BenjaminRadford

http://www.livescience.com

http://www.mythfolklore.net

www.nationalhistoricalmuseumstockholm.com

www.historicmysteries.com/history-of-the-werewolf-legend/

https://talkfreethought.org/showthread.php?2861-The-Greatest-Werewolf-Art-Of-The-Middle-Ages-And-Renaissance

http://www.bl.uk/onlinegallery/sacredtexts/lindisfarne.html

http://ilovewerewolves.com/werewolf-movies-list

http://listverse.com/2012/01/25/10-true-life-werewolves

en.oxforddictionaries.com/definition/lunatic

http://thegrimsociety.com/tag/precognition/

http://college.holycross.edu

http://www.constellationsofwords.com/Constellations/Lupus.htm

http://www.ebyzantinemuseum.gr

http://www.britannica.com/event/Schism-of-1054

 

Reference

Erasmus, D. (2013). Eloge de la folie. 1st ed. Paris: D. de Selliers.

GOOGLE BOOKS. (2017). 8. [online] Available at: http://SUBVERSIVE HORROR CINEMA [Accessed 7 Apr. 2017].

May, R. (1969). Existential psychology (1st ed.). New York: Random House.

 

Illustration list

Fig 1 & 2 http://www.metmuseum.org/art/collection/search/544742

Fig 3 Asena pinterest source unknown

Fig 4 King Lycaon, on an engraving from Ovid’s Metamorphoses Book I, made by Hendrik Goltzius, 1589

Fig5 Dog-headed men from Livre des merveilles du monde, a 13th-century travelogue with stories told by Marco Polo

Fig 6 Kermira, Cappadocia St Christopher depicted with the head of a dog. From the 5th century

Fig7 Buxheim St Christopher 1423 woodblock print – College of the Holy Cross

Fig 8 Giraldus Cambrensis 1123 AD illuminated manuscript -Topographia Hibernica

Fig 9 Lindesfarne illuminated Manuscript, the British Library

Fig 10 Ardross Wolf, Highland museum 5thc

Fig 11 wolf heraldry, British Library

Fig 12 “The Binding of Fernier” (1908) by George Wright

Fig 13 the werewolf of Eschenbach, Germany, trapped in a well, 1685

Fig 14 Werewolf, by Lucas Cranach the Elder, c. 1512-

Fig 15 the Beast of Gévaudan, “a calf-sized men-eating wolf” that attacked about 210 people, resulting in 113 deaths (98 of them were partly eaten), between 1764 and 1767

Fig 16 Little Red Riding HOOD 1881 Karl Larsson

Fig 17 Jo Jo the dog faced boy

Fig 18 https://legionmagazine.com/…/the-wolf-pack-attacks-the-battle-for-one-world-war-tw

Fig 19 http://www.sovietwarposters.com/posters-1944

Fig 20 top 150 films wwwilovewerewolves.com/werewolf-movies-list

Fig 21 Slawomir Maniak, digital illustrator Poland 2010

Fig 22 readers digest amazing stories unknown artist 1978

 

 

 

 

Contextual- Reference list

Referance

Anon, (2017). [online] Available at: http://markwallinger [Accessed 15 Feb. 2017].

Anon, (2017). [online] Available at: http://jonathanalardyce [Accessed 15 Feb. 2017].

David Mold, L. (2017). Richard Phipps – Pen & Ink Engraving Illustrator, UK. [online] Illustrationweb.com. Available at: http://www.illustrationweb.com/artists/RichardPhipps [Accessed 15 Feb. 2017].

David Mold, L. (2017). Danny Allison Illustration Portfolio – Urban, Graphic Illustrator. [online] Illustrationweb.com. Available at: http://www.illustrationweb.com/artists/DannyAllison [Accessed 15 Feb. 2017].

Aardvark, N. (2017). Nathan Aardvark. [online] Nathan Aardvark. Available at: http://nathanaardvark.com [Accessed 15 Feb. 2017].

Motion, A., 3D/CGI, P. and Comp, S. (2017). Sharif Tarabay – Artist | John Brewster Creative Services. [online] John Brewster Creative Services. Available at: http://brewstercreative.com/illustration-artist/sharif-tarabay [Accessed 15 Feb. 2017].

Andycouncil.co.uk. (2017). Andy Council. [online] Available at: http://www.andycouncil.co.uk [Accessed 15 Feb. 2017].

Anon, (2017). [online] Available at: http://www.directoryofillustration.com/Artis [Accessed 15 Feb. 2017].

Miss Led Illustration. (2017). Home – Miss Led Illustration. [online] Available at: http://www.missled.co.uk [Accessed 15 Feb. 2017].

The Art of Derek Bacon. (2017). The Art of Derek Bacon. [online] Available at: http://www.unchartedbacon.com [Accessed 15 Feb. 2017].

The-artifice.com. (2017). The Art of Tim Burton: The Artist Before The Filmmaker | The Artifice. [online] Available at: http://the-artifice.com/art-tim-burton [Accessed 15 Feb. 2017].

Henson.com. (2017). The Jim Henson Company | Our Founders. [online] Available at: https://www.henson.com/our-founders.php [Accessed 15 Feb. 2017].

Jim Henson’s Creature Shop. (2017). Jim Henson’s Creature Shop. [online] Available at: http://creatureshop.com [Accessed 15 Feb. 2017].

Quentin Blake. (2017). Quentin Blake. [online] Available at: https://www.quentinblake.com [Accessed 15 Feb.

Anon, (2017). [online] Available at: https://www.yardgallery.com › Artists [Accessed 15 Feb. 2017].2017].

 

TV Tropes. (2017). TV Tropes. Retrieved 10 February 2017, from http://www.tvtropes.org

Hugo. (2017). Cinemablography. Retrieved 10 February 2017, from http://www.cinemablography.org/hugo.html

(2017) from http|//www.fxguide.com/featured/hugo-a-

HUGO: Scorsese’s birthday present to Georges Méliès. (2017). Observations on film art. Retrieved 10 February 2017, from http://www.davidbordwell.net/blog/…/hugo-scorseses-birthday-present-to-georges-melie

www.widewalls.ch/protest-art/art of our times.com

www.infoplease.com

www.britannica.com

History of Europe. (n.d.). Retrieved January 01, 2017, from https://www.britannica.com/topic/history-of-Europe

The Founding and Manifesto of Futurism. (n.d.). Retrieved January 01, 2017, from htt M. (2008).

 Carra – his quotes on painting art & Futurism. Retrieved January 01, 2017, from https://www.tes.com/teaching-resource/carra-his-quotes-on-painting-art-and-futurism-6326185

P148//www.italianfuturism.org/manifestos/foundingmanifesto/

Bibliography

O’Mahony, M. (2006). American art. London: Flame Tree.

Illustrations

Banksy- www.urbanartgallery.com

Ai Wei Wei- www.indiatoday.com

Joseph Stella- www.theartstory.com

Pablo Picasso- www.nationalgallery.com

Thomas Hart Breton- www.artnet.com

Costas Vartos- www.deceptology.com

Natalia Goncharova- www.artinrussia.org

 

Illustration list Hugo/film

(2017). Retrieved 10 February 2017, from http://www.study-of-modern-inventive-visual-effects

(2017). Retrieved 10 February 2017, from http://www.rogerebert.com/reviews/hugo-2011-arab

(2017) from http|/www.fxguide.com/featured/hugo-a-