Foundation Art and Design-Final Major Project

This project is where we decide for ourselves what we want as an assignment brief. I had panicked for some time when I was thinking of a concept to be able to bring to life. I had always had some rough ideas and concepts before getting to this final unit. I understand that at this moment, this is where we get to choose what we do and have some more independence. Some of us were anxious, some of us were excited about this. I honestly felt a combination of both. Of course, I had eventually decided on creating an animatic focused on my characters named ‘Sophie’ and ‘Dante’ (their surname is Connor). I thought that it would be better since I have had some experience with making a storyboard for older story concepts. I have often practiced animating characters and facial expressions (shown from my video posts on this blog) as well.


 

 

 

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   fdA&D   BTEC Level 3 Foundation Diploma in Art and Design

Trimester 3: Confirmation

Unit 10: Final Major Project in Art and Design

40 credits.  240 guided learning hours

 

 

 

statement of intent (SOI)                                                           

This section to be completed by student.

 

Centre Name: Farhath Hussain, Student No.597093,  City of Bristol College, College Green, Bristol, BS1 5UA

Pathway Specialism: Sketching, Painting etc.

Working title or theme: Animatic of a Music Video

 

 

 

This section to be completed by tutor:

Projected Grade (insert on completion of the SOI):

Foundation Tutor                                                Signature                                                             Date

Your Statement of Intent (SOI) must provide an outline brief of your Final Major Project (FMP). The brief will normally be of your own choosing. If you decide to work on a team/group brief (with other students) ensure that you explain how you will respond individually to the brief and the extent of your individual responsibilities and contribution.

 

Prepare your SOI carefully, referring to the guidance in each section below. The guidance should be seen as a prompt and not be regarded as being prescriptive.

 

The SOI must be a minimum of 400 and must not exceed 500 words (excluding the APPENDIX). Each section, One to Four, has a guide to the number of words to best structure your statement to meet the grading criteria for the Confirmatory Stage.  You are reminded that the bibliography and timescale should be included in the APPENDIX and will not be included in the overall word count.

 

The SOI must be word processed.

 

 

 

SECTION ONE – Your Final Major Project (guide 150 words)

What is the title of your Project? What will you work towards producing and what is your proposed end point? Explain how this relates to your work and ideas from the Pathway Stage and how it extends your knowledge, understanding and creative ability.

 

I plan to make an animated/animatic music video as a tribute to a range of characters. These characters a part of an old story concept that I have kept for a while and haven’t really touched up for some time now. It’s a horror/fantasy story which focuses on two siblings named Sophie and Dante, their distant relationship and their dilemma (I will add more info about them as I develop the story). I remember creating a storyboard and concept art for this story as well. I wanted to add some effects and backgrounds this time around (my last animation assignment didn’t have that since I was focused on the main character). I thought that I could incorporate some storytelling in there and possibly develop some older concepts that I have had in the past. I have often written some short stories that are linked in with my original characters.

 

SECTION TWO – Influences, Research, Sources and Ideas (guide 150 words)

What are the influences, starting points and contextual references and why are they relevant to your ideas? Indicate the subject areas you intend to research and the likely sources of information including any museums, specific locations, performances, etc. you plan to visit. However you should not make extensive lists in this section. Instead you should compile an accurate bibliography correctly acknowledging all references including texts, periodicals, websites and video/DVD’s etc. Enter your bibliography in the APPENDIX . 

 

I plan on looking at other artists and visiting locations (e.g. Felix Road Adventure Playground) that I’m familiar with in my childhood as that often helps me to bring any form of inspiration for ideas as well for understanding relationships between human beings. I took a look at Melanie Martinez for her musical content of her own dark fictional world hidden behind bright-colours and child-like imagery. It’s good for showing contrast which can throw you off when you understand what really going on. With that I could put that same sort of spin onto my characters. I found a book in a library called ‘The Nature of Unhappiness’ by David Smail. I thought that if I wanted to have a better understanding of how to look at the dissatisfaction that my own characters suffer through in the fictional world that I had created to make them realistic and likable too.

 

SECTION THREE – Techniques, Processes and Timescale (guide 150 words)

Refer to any techniques and processes you intend to use. Describe the range of media and materials relevant to your project and how you may use them to explore and develop your ideas. Include aspects of studio practice, workshop procedures or the use of particular equipment and software etc. Provide an indicative timescale for your project and indicate the manner in which you intend to divide your time in order to investigate, develop, produce and evaluate your project appropriately. This should be a meaningful plan to you and should be personalised to your project. You may wish to write your plan as a daily or weekly schedule in which case enter your timescale in the APPENDIX . 

 

I would start off sketching and building up my line art using HB pencils and fine liner pens. Though with colouring it in, I would use programs such as GIMP, Photoshop or may be even Paint Tool Sai to colour in each frame. I want to work with a combination of traditional and digital media with my work. I would scan in most the sheets that I create onto my hard drive and on my USB memory stick. With Windows Movie Maker, I can sort out the timing with the images and the audio so that they are synched together. But before I go onto that stage of creating my final outcome. I will spend the first week researching and planning the storyboard (which will be a rough presentation of what will go on in the music video). The second week will be experimentation finding the materials and appropriate techniques.

 

SECTION FOUR –  Method of Evaluation (guide 50 words)

How will you critically review and analyse your work and determine if it is successful? How will you identify directions for ongoing development? Do you have a method to record the critical response to your ideas? How do you propose to assess the success of your Final Major Project and what will be your methods of evaluation? Unit 10 requires you to produce a supporting statement at the end of your project. This section can inform your analysis.

 

I will go to other peers for feedback and asking for any form of constructive criticism which can benefit me in some way, shape or form. I do plan on making any changes based off of the feedback that I would be given. I would also self-reflect on my work.

 

APPENDIX

Use this appendix for the bibliography and timescale for your Final Major Project.

 

Materials- Gouache, water-based paints, oil pastels, HB pencils, fine line pens, acrylics (for experimentation and planning).

 

Week1-researching/planning (storyboarding)

Week2-begin with the concept (sketching frames)

Week3-experimenting

Week4-developing

Week5-finish final outcome

Week6-produce outcome

Would like to include suicide, emotional/physical abuse, dysfunctional relationships, cult etc.

—————————————————————————————————————————————–

 

 

IMG_0667
Design sheet and visual designs

When I introduced my idea to the class (we needed to present our concept for five minutes). At the time, my classmates and Tutor were interested in getting to know about what characters I would use in my animatic. I thought, at that moment, that it would be wise to get a head start on visually designing my characters and the antagonist. I only stuck with using regular biro pens and colouring pencils for shading in the designs. I wanted to get the basic colour scheme. I thought that getting the design sheets would emphasise the concept and how I would go about making it. I have some peers comment on the good use of detail put in the visual designs for the main characters. It was useful for me to look at Jamie Hewlett (an influence for my developing style). This would make some good line art for creating animatic frames. At the time, I wanted the majority of the work to be made digitally, using either Adobe Photoshop, Paint Tool Sai or even GIMP. Where I can edit the line art and density and hue. I wanted my work to be fluid and bold like his work. I have been told from my Tutor and peers that I have a good amount of detail and proportion put into my work, but I never really seem to ever include other body parts when displaying characters in different poses. Raymond Pettibon was another artistic influence when it can down to my dark line art.

FullSizeRender (13)
My contextual research

Our Tutor wanted us to find some references and artists that would be linked within our project. This would mean visiting exhibitions, looking at books, magazines, taking photos etc. I have included artists such as Jamie Hewlett, Melanie Martinez, Aunia Kahn, Gillian Ayes etc. Each have their own influence on myself when it comes down to line work and colour scheme.

 

IMG_0669
mistakes and experimentation

 

When it came down to experimentation and making photocopies, I had some mistakes with selecting the right size, scale, print format setting for this. I have messed up a few times before going to my Tutor for some help and suggested that I should crop my image instead to make it easier. For this, I wanted to explore the use of colour and materials. I went on ahead with using an inked sketch as a template for testing out gouache, chalk, graphite, felt tip pens etc. If I could pick my favourite, it would be the gouache painting for the effects that I was able to achieve (lighting, adding shadows, tones and highlights). Blending was so much easier with these paints. Within the moment I wanted to have a go with the acrylics, the techniques of wanting to blending in the lights, shadows and tones had failed miserably. The images looked as if the character had been engulfed in a smoke bomb. However, some people in my class seem to have liked that sort of effect that I made by mistake. Looking at Aunia Kahn (a digital mixed-media artist) was a good example to have an understanding of colours and contrast between the back outlining of my experimental sheets and understand the use of different materials.

IMG_0779
working bigger

I carried on with the colour experimentation on a much larger scale to try out a regular wall paint brush and a roller brush along with some acrylic paints. I thought that it would be good to add a little variety to my backgrounds for the animatic. This was useful for me to look at Gillian Ayes as an example of an artist that tends to paint how she feels as opposed to actually painting a background with a landscape. I was often used to painting with a different setting every time. This time, I wanted to present my work in an abstract form in order to evoke a response to the viewer. I didn’t want to carry on with a smaller scale. I thought that working on a bigger scale would give me more room for applying different colour schemes to my sheet. It was easier to use a roller brush to fill up the majority of the space. It evened out the paint as well. Other wise, I would have taken up more time in filling a large chunk. The artist herself had often worked on bigger surfaces to paint on. I thought that it would be a good change to do.

 

FullSizeRender (18)
ceramic experimentation

This was a good time to explore the use of ceramic materials for my animatic concept. Although I didn’t want to make a physical animatic, it was good to explore ceramics as a possibility for producing this sort of work. It made me realise that I would have to take even more time to complete each frame. This was a piece artwork attributing to a character from a game called Undertale. This was made as a tribute to the animatic idea. I included this in there to link it to my current project. It was made during my brainstorming stage where I had an earlier concept of storyboarding and wanted to experiment using ceramics. The worst part about this was the outcome after applying glaze on my ceramic tiles. I had preferred the original state before adding on the colours.

FullSizeRender (4)
Discussing arrangements for the exhibition

Since the exhibition is coming soon,  we had a class meeting to discuss how everything is to be laid out, what types and food and drinks that would be appropriate to provide for any future visitors (when the exhibition is open). We each needed to have some input on how much space we would each need for displaying our best work (including our final major project). This got me down to taking mental notes on how I can lay out my own best work. There were some students who even pitched in ideas for the layouts and visuals for our exhibition poster. This got me thinking about my own space to display my work.

 

FullSizeRender (6)
analysing and storyboarding

Eventually, when my Tutor had taken a look at my sketchbook, they had suggested that I should storyboard. As well as adding full body sketches of my characters (understandable as I prefer to draw portraits and profiles of other people). I’m also used to drawing in that format to avoid sketching characters in complex poses. This isn’t to say that I’m not able to draw certain body parts, but I would often take up a lot of time just to draw something as close to ‘perfection’ as I can imagine. This is useful for drawing characters in full view. This serves as a useful guideline for the structure and the basic purpose of the main characters are. I have started on practicing full body sketches ( as well as facial profiles). As someone who is interested in animating in the future, I need to get into the habit of exploring different perspectives and camera shots as well.

 

FullSizeRender (23)
getting into hand printing and splitting paint

I thought about fooling around a bit more when it came down to experimenting a bit more. I wanted to try a more abstract approach when using different techniques (hand printing, thumb printing, cardboard printing, paint splitting etc.) Watching one of my classmates try to thumb print had motivated me into using my hands for applying paint and using cardboard. I went with playing around with the paint just as Gillian Ayes had done with her work. The best part about that is that there’s more of an abstract approach and less of need for a detailed and complex background.

FullSizeRender (24)
exploring different designs

Based on the lack of concept designs, I wanted to quickly sketch up a few concepts. I had been told that I had a good use of biro pen. Even if the sketches themselves are presented as scruffy-looking. They still do a decent job of showing off the characters potential designs that I had made up on the spot. I’m thinking about sketching my characters in pencil before inking them in pen to give off a more ‘polished’ look in the future. My Tutor mentioned that I could detail it similar to how a fashion designer would label their designs.

Feedback so far

When presenting my progress to the class from the beginning to my current stage, a few of my peers seemed intrigued by  my animatic and the ‘colourful’ visuals that I want to present it with. When questioned about what I struggled with the most I had thought to myself in all honesty. When I first began the process for this animatic, I had mainly had trouble with thinking about the choice of colours and materials. The question about it from one of my peers got me into thinking how I went from wanting digital to combining traditional and digital materials.

Final outcome development

As I’m working towards the end, I’m getting a head start on creating and colouring on the first frame as well as putting my frames and audio together. I wanted to get my animatic frames finished before my assessment. I had mainly focused on getting each frame made step by step. Sketching, Inking and colouring one sheet at a time.

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original sketch

This was the following image I wanted to test out (made with my animatic storyboard as a guideline). I made sure to start off with sketching in pencil before outlining in biro pen. I tried uploading it as a pencil sketch, but that made it difficult to colour and increase the density of the line art. So I thought to myself of re-uploading my images outlined in pen instead.

screenshot
edited colour scheme attempt

I originally wanted to just colour it in a flat colour scheme. I was pretty repulsed with how the visuals appeared on. So I ended up changing it up and adding coloured backgrounds from samples of my colour swathes. At this point, looking at Raymond Pettibon’s work had helped me with

I tested out trying different background textures (that I made using some of my own colour swathes). I was messing around at the time when I wanted to try to combine photography with my colour swatches with my edited line art. I have had two versions of the same image. One has been edited with the clone brush tool and applied blur, whilst the other has only been enlarged in size (keeping the texture in place). I had asked for feedback regarding these two frames and what background my class preferred. The majority of them had picked the texture over the non-texture.

 

animatic_frame_1
adding flat foreground colours

Eventually, (based on the class group feedback received) I decided to go along with using the textured background for the animatic frame. At the time, (when I made this frame), I had original plans for creating detailed backgrounds in my animatic frames. I had taken some good inspiration from Raymond Pettibon for his strong and bold line art.

 

unit 10 audacity edit
Editing the soundtrack and failing

Through the entire process, I never really got around to editing and adding sound onto my animatic. I tried to use a YouTube-MP3 converter to download an existing audio file, but the site had crashed and frozen every time I would attempt to download a file that way. It was frustrating for me to do since it normally wouldn’t fail like this.

 

animatic_frame_0(1)
adding more to the story

This was where I wanted to add some more context to the story of Sophie and her family drifting apart due to unfortunate supernatural circumstances. I went for a simplistic art style for this frame. I wanted to show the past victims who have been possessed (individually) by the entity before Sophie. They all met the same demise, but that doesn’t mean that Sophie herself will. The story itself is still in progress. I was pleased with the colours scheme and effects that I used for this image. A part of me was tempted to go with a black and white scheme, but thought to myself on the possibility of creating a contrast between the theme of death and the bright colours.

 

 

unit 10 screenshot
Putting all the images and audio together

I ended up editing the audio in VideoPad video editor instead of audacity. Every time I would attempt to import my audio (created from Audacity), it would fail. After several attempts I realised that it wouldn’t get anywhere. It’s fairly simple to use and can be effective in editing videos and audio. All you need is some audio and images/video footage and you immediately get started with editing. The easiest part was organising images and editing them to be in sync with the audio that I used as well. I only used a demo version of VideoPad, so I did work with a time limit in getting the footage and exporting it as a .mov file.

 

animatic credits
Adding credits

I realised that I haven’t used a Royalty free soundtrack for my project. I wondered about copyright issues that would come to pass. I thought to myself that there wouldn’t be any harm in adding in where I got the soundtrack from and which software programs I had used to be able to create my animatic from.

Project Report/Evaluation

I tried to summarise the entire process. This was there to evaluate my own project from the start to finish. This isn’t going to include everything I’ve done though.

Beginning

I remember that most difficult stage at the beginning of this was having to decide what I wanted to do for my Final Major Project. Of course, (in my sketchbook) I would have a few ideas ranging from an animation, live action music video, polished concept art and an animatic. I would even talk about the materials and processes that would be needed to fulfil my objective. Of course, I would even think about the timescale for my project as well for each rough concept that I had at the time. I had often discussed the final major project with students and my Tutor. Even if I had ideas of where to start I would try to think realistically about how to be able to create each idea thinking about the tools to begin the process. I would also wonder about the possible software available at home or at college. I remember about my last animation project where I had to create an animated adaption of Yallery Brown. I remember spending a lot of time on it, just to get one minute of animation completed on the deadline. The idea of creating a polished form of concept art seemed interesting to me at the time, but my Tutor had suggested for me to try a different idea as I have been creating traditional artwork through the whole course.

The Concept

Soon, I went with creating an animatic (as animating would be time-consuming) to save more time. I would be able to create a series of still images and format it into a video. I started off with brainstorming with some story concepts. I went along with a few different genres e.g. Fantasy, Horror, Slice of Life, Tragedy etc. I eventually went through an older story for the Horror/Fantasy genre. It was an older concept I had for a while that was more along the dark fantasy genre about a boy named ‘Dante’, his Sister ‘Sophie’ and his Dog (who I have not given a name to). I had made slight changes so that it focused more on supernatural circumstances rather than a fantasy setting. This time I wanted dark themes included for this, but my Tutor and peers had been keen on my use of brighter colour pallets. So, I made it mandatory for me to include bright colours, rather than the dark, macabre colour scheme I tend to put on my own artwork.

I remember Dante from an earlier story concept that I made a storyboard with. So, it ended being the story that I wanted to touch up on. It started off as a regular dark fantasy story focusing on him, his dog, and his Sister, Sophie (as a side character). I never really developed that much on the characters themselves at the time and when it came to the FMP (final major project), I remembered this old concept and wanted to work more on developing the main characters and making some changes. I wanted it to focus on Dante and Sophie’s relationship as siblings. I even gave them the surname ‘Connor’ and explored different concept designs for each character too (including the demonic antagonist character that I added to the story as well).

Research/Experimentation

I thought that I should eventually get down to experimenting around with, but I needed to have a good idea on where to start. So, I had looked at artists that have had some influence or inspiration with my concept and work in general. Jamie Hewlett (for his bold and stunning visuals with the Gorillaz band), Raymond Pettibon (for his dark line art and use for portraying a message/story in his content), Aunia Kahn (for her skills in mixed media and use of digital software), Gillian Ayes (for her abstract method of working with a range of colours) etc. These were a few examples I had looked at as well as the RWA exhibition. It was useful to see the range of artworks and the materials used for each piece at the RWA. This managed to help me think of where to start off experimenting and what materials to mess around with. I got started with gouache, water colours, graphite, felt tip pens etc. It was good to get a head start when I had a better understanding of where to begin for the experimentation stage.

The great thing about looking at the following artists was that it gave me some ideas of how to use the variety of materials in my experimentation work. I took some inspiration from Raymond and Jamie’s work to create a sample of line art which was bold and stood out. From looking at artists such as Aunia Kahn, Gillian Ayes, and Melanie Martinez, I wanted to have a go with testing out how a brighter colour scheme would look on different sheets of line art. This wasn’t too bad to for me, as I only wanted to mess around with the various materials that were available in the studio at the time. In the end, Raymond Pettibon ended up being one of my strongest influences as I was progressing towards my final outcome.

Feedback

When making an animatic, I asked my Tutor to review my sketchbook (where I have included most of my contextual research, sketches, and brainstorms). This was helpful for me to understand what I was missing in terms of research and development. I managed to include my selected artists that link into my work, mood boards that link to my story with the siblings and sketches of my main characters as well. My Brother had advised me to expand more on the story as it seem to be underdeveloped in terms of the antagonist purpose in the story. I had thought about it myself, realising that I had spent more time on developing the main protagonists (especially the main female character). He even suggested the concept of a ghost killer. This has given me some ideas to mess around with in the future. The best about his thoughts on my story that I have a good idea on what I work on for my animatic in the future. I had Rama and Jo give their own thoughts which led me to be able to add on my experimentation pieces to my animatic frames.

Audio

Getting the audio for this was a bit of a hassle on my computer. I had tried to download the MP3 file from a YouTube video. I had selected a song called ‘Body’ by a band named ‘Mother Mother’. The song had the right dark, grim atmosphere to it (the message of the song at least). It was fitting for the theme of the animatic so I included the song. It would have been odd to have a video with no audio. Since Sophie (my character) had developed had slowly spiralled into anger, depression, confusion, frustration etc. She was still determined to be able to find hope and determination for finding a solution to getting rid of the demonic entity that had taken her as a host from time to time. For the sake of the animatic, I wanted the focus to be Sophie in her emotionally negative state.

 

 

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