Project Two - Year 3 Graphics - Random Acts (LP)

“The Madness of Television Circuits” 

Random Acts Treatment for Channel 4 by Lauren Richards-Evans 

An eerily, atmospheric setting with an air of Brothers Quay, the purpose of this animated short is to influence the viewer’s imagination to ask “Just how alive is my television?” – basing it on the myth that today’s technology can lead what we have created to have a life of its own, to the point where IT even begins to experience its own nightmares and “demons”.  

Plot 

Within a darkened living room, the “camera” will move into what appears to be a dormant television; the innards designed to replicate a box – or a simple stage. 

There’s nothing until a thick black liquid materializes in the middle of the floor, not moving as if it’s surprised it’s even there. After a while, it will become confident, starting to morph into its designated shape: a humanoid upper torso with black eyes, and no real hands, the rest the liquid it manifested from. 

Upon realizing its ability to create life, it will smile. It begins to experiment further, creating what looks like a weapon out of its left arm. In front of it, the “wall” of the television dissolves into numerous electrodes; the creature’s large, black eyes capable of visualizing the transformation.  

The creature’s true purpose becomes clear.  

As it will greedily plunge its arms into the wall, into the warmth of the circuits within, the “camera” will pan out to the television, to show the consequence of its actions…a fuse, resulting in the creature’s form retreating into its natural state.  

It recovers grudgingly, relieving itself from the aftershock just to come to stare at the other wall, admiring the circuits within.  

The same happens again, ruining the opposite side, steam escaping, turning the exceptional mass in a state of euphoria. Now, when it reinstates a manageable form its attention will be brought onto the back of the “stage”, black masses for eyes greedy. What beholds behind the shield is the mainframe of the television, the source of the power.  

The mass smiles, before the screen goes black.  

What is heard is an overload of electricity, accompanied by a loud “pop”, emphasizing something has given way. When imagery comes back to the viewer, what is seen is the inside of the television – the stage – it was like nothing happened, and as camera retreats to see the outside view…it’s a wreck, with each side of the exaggerate with a jagged punch hole, blackened by smoke as sparks fly out.  

The film cuts.  

Approach

Expressing deep interest in the mechanics of Stop-motion, and animation – the goal with this 3 minute short film is to reproduce the skills and techniques observed in original Victorian era films. With the tattered appearance of the characters, and the grainy supplements found traditionally in Super 8 film. This is a method currently used in modern day experimental cinema.  

To maintain the fluidity of the scenery and to contrast with the complex detail of the “actor”, the lining of the television and stage within will be kept simple – giving the gesture of a dream in comparison to reality.   

©

Lauren Richards-Evans

University of East London 

BA Hons Graphic Design and Illustration

thechocolatier@hotmail.co.uk

 

 

Mid-Year Exhibitions - Year 3 Graphics - Proposals

VERSION 1

“Morphine” Music Video

Mini Exhibition Treatment by Lauren Richards-Evans 

Experimenting with the practice of showing the visual development behind a music video/short film, expanding into all the details acquired without seeing the finished product; – the premise, placing oneself into the mind set of Tim Burton, if he ever had the chance to collaborate with Michael Jackson, as this was an accomplishment neither party had a chance to experience.  

The song of which will be illustratively shown upon this exhibition will be Morphine, found on Jackson’s 1997 album Blood on the Dancefloor: HIStory in the Mix known for hits Blood on the Dancefloor, Ghosts and Is It Scary. For this purpose of representing the depth of the song, the storyboards, moodboard, character, costume designs, and the scenery will be treated as if the director, Tim Burton is going through the scenario himself, as he would treat every project – using Jackson as a real life manifestation of his sorrow, in addition to letting the singer express his own anger.  

Premise

Morphine tells the story of the protagonist struggling with drug addiction with Michael narrating the story, allowing the listener to experience the inner turmoils, and disastrous outcomes.  

http://www.youtube.com/watch?v=mXAjmIhPAMY

Michael Jackson will appear as the protagonist, and split into three sets of personalities, playing on Sigmund Freud’s theory of psyche apparatus; the mindset of the brain demonstrating triple levels of sub consciousness; the Id, the Ego, the Super-Ego. Each “character” will be physical demonstrations of each level, consequently elaborating on the exasperated efforts of his own conscious and unconscious struggles. 

Visuals

This will be further verified when the characters Jackson portrays will wear various costumes with a design which will define the mood of the short film/music video, whilst adopting the plot of the psyche apparatus. An aspect of the singer will represent the super-ego – an area of the subconscious with aims of unrealistic aspirations – Jackson portraying a sophisticated physician. The secondary aspect will characterize the ego – the conscious repressing the ambitions, and setting a realistic goal. The chosen costume will use inspiration of the astrictive, leather suit of Pfeiffer’s Catwoman and Depp’s Edward Scissorhands, combining that of the clawed/scissor hands, displaying restrictive movement. The third aspect will ultimately approach the ideal of the id – the primitive instincts, and uncontrollable desire of an individual. – the artistic adaption of the costume will present Jackson in a docile, fetal state, unable to experience individual thought, or a single movement (the most fatal reaction of drug overdose, where the patient is close to brain-dead) – relying on the super-ego, like a father figure – as explained by Frued in his own descriptions.   

How this will be visually achieved, is matching the pictorial approach of Tim Burton, basing it upon his earlier films Batman Returns (1989), Edward Scissorhands (1990) – where the use of morbid, mournful shades of black, and grey with the dinginess of dark violet, blues and reds are regular, within the characteristics of the people, or surroundings of that character. This practice, outside of film is found in Burton’s various water colour pieces. The depth or lack will establish the power or weakness of the scene and the actions of the character. Using the study of the meaning of colour, that colour will validate the authority of Jackson’s manifestation.  

For example, the variants of white will be worn by the super-ego and id – only the complexity of the shade will differ. The false protagonist (in literal terms antagonist/dueteragonist), as a physician will be attired in a pristine (snow) white medical jacket, for the egotistical illusion of admiration, placing status above everything else. While a dingier shade (ex. eggshell white) will be adorned by the tritagonist, to form the concept that the id is considered the lesser aspect of the human psyche – thus the most hated aspect of Michael (the drug abuser) himself.  

The true protagonist, the ego, alternatively will be dressed in black, addressing the “reality” of the situation, and instinctively standing out of the conflicting impressions of the subconscious.

Programmes & Technique  

Watercolour; definition of colour

Pencil; sketch work, rough layoutBoth will be used for storyboards, moodboard, scenery layout, and character and costume design. Adobe Photoshop; strengthening the colour

Once the storyboard, moodboard, designs for costume and character, and scenery layout is set; all aspects of the process will be taken into computer and adjusted so the definition of the imagery is heightened to a more professional finish. 

Storyboard and moodboard will be structured to be of A1-A2 quality, once all three parts are combined into one image, while scenery, character and costume are envisioned to be of A3 position once printed, to enhance the semi-realistic detail, wanting the illustrations of Michael Jackson to be of hyperrealism so it replicates the astounding excellence found in only photography.

©
Lauren Richards-Evans
University of East London
BA Hons Graphic Design and Illustration
thechocolatier@hotmail.co.uk
_________________________________________________

VERSION 2

Soon

Project One - Year 3 Graphics - Big Bang (Microwave Graphic Design)

 

Big Bang (Microwave Graphic Design) Animation

One Day Project - Year 3 Graphics - Make A Rainbow

Make A Rainbow (Day Project), October 10th 2012

 

Group Members - Raicail Vale, Natalia Nicols, Leanne Ross, Lauren Richards-Evans

Reflections of a rainbow within bubbles

Graphic Design - Year 3 - Digital Arts & Visual Communication Graphic Design Presentation

 

From left to right; Tim Burton, Johnny Depp, Michael Jackson, Brothers Quay and Damien Echols

 

 

From left to right; Victor, Corpse Bride, Moonwalker, Street of Crocodiles and Life After Death

 

 

Graphic Design (Year 1) project; Sony Touch Bloggy

 

Graphic Design (Year 2) projects; Internet TV & What Is Graphic Design?

 

Graphic Design (Year 2) project: Waiting for a Disaster to Happen

Project Eight - Year 2 Graphics - Impressions of London

Project Seven - Year 2 Graphics - What Is Graphic Design

Brief

DV2100                                                            Jonathan Clark & Tim Foster…oh, and Edward Gill. 05/06 March ’12

What is Graphic Design?

Graphic design is an artistic and commerical movement which has stimulated into the modern world, replicating nearly every acknowledged art bravura and technical format. It is one of the most in demand advertising tools, and has been so for less than 100 years. The first form of promoting was released back in 1914 - it was the promotion of the very first model of Ford; Ford Model T Touring - the techniques evaluated for the poster appropriated what was used with Newspapers, printing by hand. The result? Typographic posters.

Twenty five years into the future, WWII, the second largest world war to ever occur in human history, began using the notorious manifesto of propaganda marketing, initiating graphic design to stimulate activity from the public, as a means of supporting the opposing sides of the war, Adolf Hitler, the founder of the Nazis, and Winston Churchill, Prime Minister of Britian. The crowds interacted with not only the people behind the propaganda, but with the imagery itself. The Nazis began wearing bands upon their forearms with the signature symbol, flags covered the Germanic towns. The Union Flag was in the Nazi’s place in the United Kingdom. The German Jews were forced to wear a Star of David upon the windows and doors of their homes, and upon themselves to acknowledge what was to come.

Propaganda publicizing I feel, was the inspiration of what is known today as Guerilla advertising; where the instrument of placing yourself into an unknowing image, which is representing a point to surrounding viewers is a common association.  Although the main purpose of propaganda and guerilla advertising alternate differently into what direction they are distributing to, there is a matter of similarity; and this is where you come in.

For this project, your goal is to combine the differed aspects of Guerilla marketing and Propaganda to creative an interactive image which is advertising a propaganda movement that uses the element of the unseen messages, because the message works around who passes by it i.e. New World Order, or Illuminati.  

To help you think of how you’ll approach this task; consider:

What is propaganda? What is guerilla marketing? Are they currently appropriate in how they dispense their messages? If not, how can you change the direction of the message? How can you forewarn to all ages what is occurring in regards to the New World Order?

Final Critic: 19/20^th March ‘12

Please provide all of the usual subjects:

Sketchbooks brimming with ideas, budging research folders full of investigations.

Blogs flowing with examples and interests

& Portfolios crammed full with momentous and exciting outcomes.

Jonathan Clark E&OE

Project Six - Year 2 Graphics - Mirrors

Project Five - Year 2 Graphics - Disaster Waiting to Happen

Animated/Visual

Disaster Waiting to Happen Intro

Leaflet

To be added. 

Project Four - Graphics Year 2 - Brand New