Confessional Statement: Visual Response EXTENDED

This is not for anything in particular, but I was so pleased with the set I made for the thought experiment that I wanted to make use of it and see how it worked in action.

Placing characters within the set. I already had these dolls around and quickly made them some costumes for the Halloween theme. Although I am going to try and improve on my model making skills and make more professional puppets than these, it was useful to have these on hand and to be able to see how models work within the scene. Combining the new element with the old...

The painted backdrops make the image so much more interesting to look at as a work of art than if I'd used natural scenery. I also felt proud looking at these images and knowing that I had controlled and produced everything in the image, from the doll right down to the fence.

By making the scene, I was also responsible for all of the colours in the shot which allowed me to design my own colour scheme. 

Statement of Intent

The action plan is left blank at the moment until I make a definite decision on which briefs I'm going ahead with.

Confessional Statement: Visual Response

My Response & What Went Well

Taking time to do what I've wanted to do for so long but have avoided since I've been spending so much time making dolls. I finally made a scene! Really happy with how it looks, it does look ready to use for an animation. 

Used really simple painted backdrops inspired by Chris Sickels and his combination of 3D props and flat illustrated backdrops. Worked well, adds a lot more interest than a boring plain white wall and demonstrates more skill and more imagination than using the garden all the time...

BRINGING BACK PLAY! I had fun making this. Building the scene allowed me to make, place, change, re-arrange until I was happy with how the whole thing looked. Reminding me of my How Hill project in Level 4 and how much I enjoyed controlling the whole scene I made of the landscape in felting wool.

To Improve:

The lighting could be improved: I couldn't arrange my lights to cancel out the shadow on the back.

The photography could be improved: I was using a 50mm lens which got a nice foreground/background distance but it was difficult to use since it doesn't zoom and I think I could have achieved a clearer, sharper photo if I used a better lens. Something to look into!

Very simple composition - BE DIFFERENT, PLAN IT OUT, ROUGH!

See how characters work in this scene...

Would maybe be better with a house on the hill or something else in the background - even more trees? 

Start animating? See how the elements move? Can I make it look like it's windy? 

This might look like it's my usual work and that I've not pushed the boundaries too much. I've not inverted my practise massively but I have tried to change my perspective and look at the very thing I've been leaving out all year. I don't think it would have been beneficial for me to work with digital or something just because it's not a process I usually use.

Update: Have I done this wrong? Other people have illustrated their fears but I thought that was just an example?

Confessional Statement

In first year I approached briefs with an open mind and tried to be innovative. Taking risks and being explorative was important to me, but over the second year I lost that playful quality.

I got used to the same process of making dolls and relied on this because it felt comfortable. Experimentation with media was unnecessary because I’d found something that worked.

Making to the same ‘formula’ was restrictive. I never allowed myself chance to make in different materials/improve. I became quite arrogant and my work became stiff.

There was some success in this: an exhibition and lots of commissions, however, I’m bored of making that work and want to break away from my habitual process.

Also found myself holding back from making sets/scenes/props because I was spending so much time making dolls. I’m bored with using the same garden backdrop and really want to construct scenes!   (148 words)

Comfort zone = papier mache dolls, same routine process.   Photographs in garden backdrop – boring and not much effort gone into the photos as illustrations.

Aims this year = make dolls differently! Experiment again! Use different media. Change and improve dolls.   Make real sets and scenes! More props! Consider everything and PLAN USING A SKETCHBOOK. Take your time, don’t rush things but DO BE PRODUCTIVE!

(This was so difficult to write CONCISELY!)

Dark Crystal Character Design Competition

http://www.darkcrystal.com/design_contest.php

Design a New Creature for The Dark Crystal: Age of Resistance!The world of Thra is full of incredible characters of all kinds. Now it’s your chance to imagine an all-new character and have it brought to life by Jim Henson’s Creature Shop.

Draw, by hand or digitally, an original creature concept for the world of The Dark Crystal and submit your design online. The winner will be awarded $500 and their concept design will be crafted and built by Jim Henson’s Creature Shop™ to make a possible cameo appearance in the upcoming Netflix original series The Dark Crystal: Age of Resistance.

This small, woodland creature must be a brand new concept – it cannot be a variation of an existing species, e.g., Skeksis, Mystic, Podling. All ideas are welcome, as long as they feel true to the world of The Dark Crystal, without being a variation of an existing Brian Froud drawing. Please include at least a front and side view of your new creature. In addition, please provide a paragraph of 50–100 words about your new creature, including a name, brief back story and characteristics of the creature.

Your submission should include one or more still images submitted as JPGs or PNGs. Pencil drawings, paintings, digital drawings, digital paintings, and digital models are all acceptable, however the final submission must be as JPG or PNG files.

Contestants may submit more than one entry.

Judges may include the Froud family – Brian, Wendy, and Toby Froud (or other experts selected by The Jim Henson Company in its sole discretion).

LAIKA Portfolio Advice

I found some advice online from LAIKA's Creative Director (Kirk Kelley) on what makes a good portfolio:

1. Focus on what you do well. You don’t need to do many things well; you absolutely need to be able to do one thing really well. If you’re applying for a concept designer internship, you don’t need to show that you also took a class in stop motion animation.

2. Creativity. Show work that showcases your talent and what makes you unique.

3. Put your best work first. Grab my attention right away with a bang. Don’t save your best work for last.

Portrait

Ideas:

1. Me holding model crows or puppets/dolls PHOTOGRAPH (would be too detailed and wouldn't show well on such a small icon, needs to be simpler)

A PUPPET of me as a witch - doing what? Just smiling? Waving a wand? Holding up a smaller doll?

Sketches:

Development:

Who am I? Self Portrait task: Sculpted a clay head to demonstrate my passion for making and my ambitions to move forward as a model maker.

Used Newplast plasticine to sculpt the hair and clothes (I would usually use wool and fabric), need to look at what is used PROFESSIONALLY in the industry and become FAMILIAR with these INDUSTRY STANDARD MATERIALS/PROCESSES.

Character - exploring my creative persona as a witch, a creative person who sees art as magic and loves a spooky vibe (spurred by my research project on Edgar Allan Poe in Level 5 and continued with my investigation of primal magic and ritual in COP3)

The final icon. A classic portrait framing - centred, close up shot, face-on, selfie-style. I'm happy with the image as it clearly communicates the idea that I am a witch but I do think it is a bit boring and bland. Maybe the colours aren't right? Blacks could be darker/colours could pop more? Pinker hair?

Is it boring that I'm just looking at the camera? Much more expression than my other dolls have (simple dot eyes) and I do like the surprised/nervous half smile as it says a lot about my personality.

This image uses the space of the frame much better than the side profile and it does fit well as an Instagram profile photo. Clients would be able to tell who I am and get an idea of what I do if they see this rather than a photo of my actual face.

Self Portrait in Progress

Going with the persona of me as a WITCH established in my COP dissertation. The maker as magician. But still trying to maintain a friendly, innocent tone.

Using materials I am less familiar with but want to get better at using!

Clay face sculpt... if I could get really good at this it would be brilliant to make casts and moulds of characters to make art toys!

Plasticine hair and hat. Because this is just a portrait I am only making the face-neck, not doing the rest of the body but might revisit at some point.

Feedback from Presentation

What went well:

My presentation was professional, clear and entertaining.

It showcased my unique tone of voice and suited the idea of me being a 'storyteller'.

I have a clear direction and aims for this year. I am beginning to think about 'Life after Uni'.

What to work on:

Do more research into post-Univeristy options, including finding application forms, portfolio requirements and financial research. Don't avoid freelance just because it's scary.

Contact professionals. Revisit contacting Chris Sickels - be a friend and keep in contact!

Don't put yourself down. Be confident and celebrate success. Be ambitious this year and have fun. Keep playing!

Choose briefs that are RELEVANT but also EXCITING. 

Script

The Witch from Jay Stelling on Vimeo.
(Title)
Let me set the scene: Gloomy Yorkshire, drizzling rain in the sleepy town.

(Chapter 1: The Maker)
5:30 am, the Storyteller wakes.
In the hermit's loft, she prepares for another day of making.
Bodies and parts, segments, pieces.
Magic happens in the quiet studio when nobody else is around.
Busy fingers sculpting, awakening the corpses. Frankenstein's monster.

(Chapter 2: Collections)
Collections, Curiosities. All that she gathers are treasures.
Precious finds, her pirate's loot.
Each item a memory, perhaps, from another person, another story.
She is the observer. Appreciating the Craft. Her fellow makers, the coven.
Sharing energy. Casting spells.
Those old photos of mysterious, lost souls.
Cameras once used and travelled, now stored. Sacred.

(Chapter 3: The Challenge)
The same ritual, she got lost in the forest. All the trees became the same.
Blizzard. Maze. Labyrinth.
An escape route, she changes the ritual and explores once again.
A different approach, fresh eyes now.

(Chapter 4: The Journey)
Crows caw by the window, the black cat watches.
The witch longs to touch the trees and run through the forest,
but today, like most days, she has art to make.
Typing of keys. Cackling witch.

(Chapter 5: Weakness)
Pages turning. Falling in, her weakness.
Trapped, squished. Too much!
Carefully, this time, watch your step. A treacherous path.

(Chapter 6: Passion)
Touch. A passion to feel the textures of life.
The maker holds in her hand, the thing.
The object. The figurine. The doll. The puppet. The prop.
Feeling the power, the spirit, the magic.

(Chapter 7: The Future)
Ambitions, where she'll go once she leaves the nest.
She will make magic, she decides.
She will continue making but will make BETTER and BIGGER than before.
A Queen, a creator, a magical Shaman.
She puts on her cape, looks into the abyss.
Leans forward, eyes open not closed.
A witch.