So I've also been carrying on doing storyboards, I've been in contact with TJ and using a shared google document to get the shot list and show the rest of the group any progression with storyboarding.
TJ and I met up to discuss the shot list and go over exactly what he wanted each shot to look like.
This is only the first half of the shot list and I will soon be completing it.
For my own project, I'm still doing my three paintings, of three fairytale characters; Alice in Wonderland, Red Riding Hood and The Little Mermaid. I chose these stories because I feel they have complex characters in the middle of stories with a lot of psychological interpretations which I thought would make it much more interesting to paint them.
I began looking at illustrations I found online and by looking at them purely as colour blocks I started to think about what colour palettes I wanted to use for my paintings.
I started right off with Alice in Wonderland which was possibly not the best idea as I hadn't really made a colour palette before and there are so many different colours in Alice in Wonderland it was a bit overwhelming at first.
I knew for Alice I wanted a bright colour palette, something to stimulate the eyes of the viewer as Alice in Wonderland is such a visual story, so I chose the most prominent colours I could find in the drawings and used them as part of my colour palette.
For Red Riding Hood I wanted a slightly more muted colour palette. The
tones in this story are very different to Alice in Wonderland; there are a lot
of earthy greens and browns, and the greys of the wolf and shadows. The colour
red is also very important to the tale, and will be key to the painting.
Something else I enjoy about this colour palette is
that of course the story is quite dark, so I wanted to emulate that in the colours
I chose to put in my palette. So the usual greens and browns you would have in
the forest I made sure were really dark and rich in tone.
My colour palette for The Little Mermaid was
similar to Red Riding Hood in that the colours really worked together. The deep
blues, purples and greens of the ocean were very satisfying to put side by side
and the fiery red of her hair, which is something I am taking from the Disney
adaptation, stands out nicely against the other blue tones.
I've put together some diagrams on how I think the paintings could be displayed in the installation piece, as I am still considering different options and what I end up choosing will be based on the space I am allocated to display my work.
Each
painting is going to be A0 in size, with dimensions of 841x1189mm and will be
spaced out with a gap of 200mm between them.
The first idea is to have a projector opposite my
paintings, projecting shadows and creating the illusion of movement onto the
work. I am considering whether or not I want the space to be dark or not, and
it could be beneficial either way.
Of course if the environment is darker, the
projection will stand out a lot more and be easier for people to see. On the
other hand if I place the paintings in a lighter environment people will be
able to see what they are more easily, but the projection will be less evident
However I have been thinking that even in the
daylight you are not unable to see projection, it’s just fainter. On that note,
I have been thinking it could actually be quite effective to have fainter
projection over the top of the painting as it would be a much subtler effect of
motion.
My other plan was to project something onto the
floor of the location, and have it link to a fairytale environment and
hopefully be a bit more immersive for the viewer.
By this I mean to maybe have either like a body of
water or a forest environment projected onto the area so that the audience feel
as if they are in a fairytale environment themselves.
A third idea could be to have one painting on three
walls of a room, with three projectors in the middle each pointing towards a
wall. They would project a vision of an environment that is associated with
each painting such as an underwater scene for The Little Mermaid or a dark
forest for Red Riding Hood.
Sound
For my sound design I am planning on have either one piece to play aloud for all three paintings, or three individual sound pieces that will be played through headphones for each piece. If I do one soundscape it will be linked enough to the paintings so that there are homages to all three of the stories but not so much as is overwhelming.
If I do three, they will be
individualised to each painting and the story it is based on. I have been
listening to lots of various soundscapes I can find online and also using my
knowledge of film soundscapes to think about what I know has been used for
magical fantasy scenes in the past.
The links for these are in my production pack.
Budget
Schedule
