(Studio created in my bedroom with a roll of white paper)
Taking consideration my experiments with 3D paper modelling, it was clear that it was a) taking me too long and b) they were difficult to photograph due to their size. This meant that there was no context to the objects making them in my eyes unworthy for final images. I was becoming more and more stressed by my lack of development. After a tutorial with Marcus and taking time to look back over the project, it was clear that the most successful and visually pleasing images were the 2D paper cut images. Despite the images being 2D, I didn't want them to be just 2D flat images. This didn't fit in with my interests with creating illustrations that were theatrical and performative. So, instead I decided to follow my initial proposal in my learning agreement to create theatre sets. With the time I had left, I decided not to make three but one model as a base and then hand cut scenes to compose 3/4 sets. These images would be cut in layered images that would be slotted into the model, making it easier to light and photograph without the nuisance of hanging them up with invisible as tried before with the anchor/chandelier.
Living with an Interior architecture student, I had some scope on making models. She advised me that I could feasibly build a set with mountboard and superglue. Here are pictures of the stages of constructing the set box.
I was able to cut and build this model box in one evening. This achievement was much more satisfying than the long process I had experienced making 3D objects.
For the papercut images, I was initially influenced by the combination of regency interiors and naval imagery that I had explored with the anchor/chandelier. I felt this juxtaposition of imagery conveyed the social divide emphasised in Austen's writing. The idea of faded wealth was also discussed in my initial meetings with the costume students and the director of the Persuasion production. I saw a lot of similarities between regency wall paper patterns and images of seaweed:
The above images are drawings I did in preparation to make paper seaweed for the anchor chandelier. The photos of the anchor chandelier do not show the intricacies of the paper cut seaweed, this is a shame, as I felt it added character to the object. I really love these drawings, and they really stood out for me as scope to develop my ideas. You can see how I have started to visualise the seaweed as interior detailing.
It also became apparent to me that I needed to look more into other interiors. My meeting with Rhyannan allowed me to see what direction her set design was going in. We talked about how the application of black and shadows could be reflected in the poster. She also has designed frames that could portray both windows and doors. I really liked the idea of using a window in my own set designs to convey the social divide. It also suggests the sense of the character being out of reach of what she wants, instead she is trapped within the expectations of society. In a general sense, the windows can give an indication of whether the scene an interior or exterior scene.
The following images are from the first photoshoot I did:
For the papercut images, I was initially influenced by the combination of regency interiors and naval imagery that I had explored with the anchor/chandelier. I felt this juxtaposition of imagery conveyed the social divide emphasised in Austen's writing. The idea of faded wealth was also discussed in my initial meetings with the costume students and the director of the Persuasion production. I saw a lot of similarities between regency wall paper patterns and images of seaweed:
(Sourced from pinterest: http://www.pinterest.com/esillustration/persuasion/)
It also became apparent to me that I needed to look more into other interiors. My meeting with Rhyannan allowed me to see what direction her set design was going in. We talked about how the application of black and shadows could be reflected in the poster. She also has designed frames that could portray both windows and doors. I really liked the idea of using a window in my own set designs to convey the social divide. It also suggests the sense of the character being out of reach of what she wants, instead she is trapped within the expectations of society. In a general sense, the windows can give an indication of whether the scene an interior or exterior scene.
The following images are from the first photoshoot I did:
Taken with flash photography, the image shows the different layers of the scene. I have tried to replicate the faded wealth I mentioned earlier. (The protagonist's father has spent all the family's money on his vanity and extravagant lifestyle). There is also some reference to the naval references in the novel. By having the ship in the window, there is an indication of something being out of reach for the voyeur. Each of these scenes have been drawn straight onto the paper and hand cut.
Experiment with typography as a layer in the scene. It is definitely too much, and would work much better with less intricate paper cutting.
Despite being pleased with the results with the paper cut layers, it was clear that not much was being reiterated to the audience with the image. I needed to keep in mind that even though I am creating scenes, I needed to present the images with an illustrative methodology. I reflected upon what I wanted to portray, which was a sense of claustrophobia in this environment. I wanted the audience to feel the same chaos, Anne, finds herself caught in the middle of. Looking back over my previous imagery, I had attempted to bring people into my project. Austen creates satirical characters, often flamboyant or snobbish. It is was important for me to demonstrate the humorous representations of people in my paper cuts. I tried to apply this in my drawing style, giving the character large features through quick drawings. I do regret not having the time to source my own photographic sources. In the time I had left I had to resort to drawing reference from film adaptations of the book. In conclusion, the drawings of the people lack the expressiveness I was looking for.
However, I did like one of my character papercuts, that being the representation of the protagonist's father. I felt I captured an expression of distaste successfully. Also his vain personality is clearly demonstrated through a hand mirror prop.
In this first photo shoot, I also tried to bring shadow play into scene. This has been created by shining a LED torch through a smaller window paper cut. The window is much smaller as i wanted to emphasise even more how far away the character is from what she wants/needs. I also it adds to the claustrophobic feeling I was aiming for.
There are a few issues I have with this first photo shoot:
- It is way too dark between the layers, making it hard for the viewer to see all the details.
- The model box looks clunky and the white on the inside of the mountboard distracts from the images.
- I need to work more on the compositions of the photos. They look far too amateur and lack the 'wow factor'.
If I had started experimenting with photography earlier in the project, I could have seeked help from a photography student. This is definitely an idea for the final major, especially as I will want the best quality photographs. In the meantime it is important for me to understand the lighting and camera settings needed for the shoot.
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