A few further experiments in shape and colour for this Henri matisse inspired Kick about. I could have kept going with this prompt as I never tired of hastily drawing out those swirly shapes and moving and placing them in areas to brighten up the canvas – a very therapeutic practice indeed!
With this weeks kick about prompt being the cut outs of Henri Matisse I wanted to produce something quickly – full of shapes and colour. This felt very much like a meditative practice in which I lost myself in the process of creating such colourful squidgy shapes. In Photoshop the lasso tool in particular was the main modus operandi used to create the shapes which were then simply filled with colour using the paint bucket tool. Initially I made a bunch of shapes that resembled plant forms or algae as well as blocks of shapes that could be used behind the plant forms, then having a plethora of shapes at my disposal I could move, invent and create the grander picture of them all as one. I wanted to keep things as practical as possible and revert from any overly cerebral thoughts so a lot of these designs took a life of their own and I throughly enjoyed letting them be.
This weeks prompt over on Reds Kingdom is the art of Peter Mungkuri of the Aṉangu Pitjantjatjara Yankunytjatjara Lands of north western South Australia who’s illustrative drawings celebrate the life of trees – an important part of the community’s culture.
My mind instantly wanted to create some cyanotypes, with their mesmerising deep Prussian blue and infrared white, a process that is always a joy and I never tire of. The best part about cyanotypes is its unpredictability, simply letting the cuttings of foliage and flora place where you think and letting the sun do the work always gives a unique result each time.
I purchased the chemicals in powder form added water and coated them on some toothy cold pressed A3 size watercolour paper, adding a minuscule amount of the formula to achieve that rich blue and vivid white.
When reading about Sheila Legge’s inspiration behind her walking real life surrealist exhibition for this weeks Kick About and how she was so inspired by the paintings of Dalí, I decided to create some Dalí-esque dream-like landscapes while paying homage to Legge’s face full of flowers. The female models were downloaded and imported into Maya where on their heads I glued an abundance of multicoloured flowers- tiger Lilly’s, Dahlia’s, Delphinium’s, African Lilly’s and Daisy’s. Combined with a quick and dirty rig and skin of the figures as well as some mountains in the background to complete the scene and move the figures to my every whim. The rig on the figure on the left of the above image messed up and I loved how fluid and melty the resulting movements turned out – I tried to replicate this mistake with the other rigs but my efforts did not gratify, It was one of those moments where a mistake tuned out to be a blessing but could not be recreated.
This prompt also reminded me of one of my favourite films – Annihilation (2018). In particular when the team walk across a baron land called “The Shimmer” where their bodies start to turn into plant matter. It is a strange and beautiful film that left a lasting impression on me, much in the same respect that surrealist paintings do.
Previous to my last post now that I knew the print was a fail and that I would rely on the edit to superimpose my head in the jar I started setting up the scene with the manner of props. I relied on a bunch of different things to achieve the final output, to get the jars filled with vivid colour like that of an alchemists apothecary I used yellow and red food colouring, a few drops was all that was needed to turn the clear water into a garish blood and greenish goo. I also used a trick I knew from creating my own halloween costumes as a young lad that was obsessed with zombies by combining corn syrup with red food colouring to make a blood like consistency as well as water colour paint for some different coloured jars and a tattered wig.
Lighting the scene was extremely important as I wanted it to reflect the coloured lighting seen in many horror and slasher films. I relied on bicycle lamps, head lamps and little fairy lights that were the saving grace that I bought for the upcoming short film – The Lighthouse Keeper. the lights were hidden behind the jars and behind angles behind the camera, the same red gel and crumpled it over one of the head lamps to give the a more reddish hue. I accidentally broke the main head jar a few weeks ago and it actually worked out in my favour as it was leaking the entire time but it added more of a theatrical sheen to the gloss of the table top which meant that the light bounced off the surface more.
One of my desks that usually contains most of my plants has a little hole in it – I would assume for cables and wires, I wanted to take advantage of this and place a light underneath the hole so that it projected though the largest head jar and light it up from underneath, with initial tests I had to put the timer of my camera on to ten seconds and quickly duck under the desk and hold the light up to get it just right However, I did manage to eventually wedge the light in between a wooden slat so that I didn’t have to stick my lanky self under the desk which was a win in itself, here is a not so glamours behind the scenes look at what that looked like.
The scene was now set, One of the most enjoyable aspects was experimenting with the lighting and placing the jars in places that reflected and bounced the light, all the while taking a plethora of photos from a range of angles.
Previous to my last post with this weeks prompt over on Red’s Kingdom being “Souvenir” here I document the process of achieving such a grisly scene with my mug in a jar and various stumps and limbs being plopped into fluids as a cute keepsake. There is a lot of smoke and mirrors that has gone into creating the scene which I will get into, but first it needs to be explained the trials and tribulations of inserting my head into the jar in the first place. Because I didn’t want to rely too heavily on the edit, I decided to shoot the photos of me for the head with the red coming from dramatic lighting rather than editing. I simply tied a red gel cellophane sheet around one of my standing lamps to turn my room into a makeshift darkroom and continued to make myself look hideous by pulling faces all the while smushing my face against the glass of a picture frame to get the perfect ghastly shot and mimic as if my head was pressed against the inside of the jar. It was tricky at times because I had to angle the glass correctly so that the viewfinder and various screens and lamps would not obstruct the shot of my face and end up having to edit those reflections out. Here are some photos that did and didn’t make the cut. Enjoy.
For anyone that is reading this that isn’t familiar with 3D texture unwrapping, basically I used one of the above photos as the “centre piece” and then in photoshop I stitched together a left side and a separate right side shot of my head into one merged image. I did this so that when I printed the resulting image out it could be physically bended in a cylindrical curved shape and placed into the jar and behave like a real head.
I created an edit of the red to give the option of a sickly yellow and green.
However, my roommates printer started to run out of ink while printing and the A4 paper was too small, the ears and side of my head also needed be closer to the middle and I wasn’t going to use all his printer ink on my printing out my face. To alleviate the paper turning to mush inside the jar I was going to carefully stick strips of sellotape across the page to seal it in, although I kind of liked the thought of seeing what it would look like disintegrating. I knew I could get the results I wanted by manipulating the head photos in photoshop on top of the plate image of the scene and not have to print anything out but I wanted to give a whirl to the print out method.. and maybe pull a prank or two…
In the next post on Gentle Giant I will go into detail about the plethora of props used for the final scenes. Stay tuned.
With this weeks prompt over on Red’s Kingdom being “Souvenir“ I don’t know about anyone else but I have felt a shift in the air with things starting to feel more autumnal and I always connect this time of year with the cosiest of films. I may have been watching too many of the horror and slasher type, but with this prompt my head went straight to the macabre. There was lots of trickery and doing and trying with this project, I will be sharing all the fun revolving around the in’s and out’s of how I got the resulting photographs up to this point in the coming days. Stay tuned.
This weeks kick about over on Red’s Kingdom revolves around the life and times of German animator Lotte Reinager who was the pioneer of shadow puppet animation. The responses from all the creatives offer an eclectic bunch of contributions to feast your eyes on. When doing research for the Howard Sooley – Prospect Cottage prompt I came across the inspiring work of Reinager and since then I have been busy cutting, gluing and making for a shadow puppet animated short entitled The Lighthouse Keeper which centres around the peculiar landscape of Dungeness and a couple of burley blokes. Creating something for the sake of creating and figuring out the hurdles and bumps is what proves most enjoyable about delving into a fresh medium that I have yet to attempt. The stage is now set, the characters are ready to move, the lights are on and with it the sheer joy of seeing the cutout shapes and silhouettes lit up ablaze brings a smile to my face that makes the absolute bomb site of my shrinking bedroom all worth it.
I am sharing the majority of the cut out shapes, the stage and silhouettes that will feature in the film as well as some lighting and staging tests that feature the main protagonist. I will be showcasing all the nitty and gritty process here, things that worked, things that didn’t and how I plan on animating elements that would require more than just my two hands.
This weeks kick about over on Reds Kingdom revolves around Fundus Photography. When looking up images of fundus photography I was reminded of Olafur Eliasson and his otherworldly The Weather Project, but also the people that got to experience such an event. With all this in mind I have been yearning to do some digital painting as it has felt like yonks ago since I have held my wacom pen and got lost in some jazz music while painting away. I envisioned a blazing sun from a planet where the sun fills the air in a misty orange hue – a sprawling metropolis materialised with vivacious characters and stories between them, feeling so close but far away. It was a thoroughly enjoyable prompt to flex those digital painting muscles again.
This weeks kick about over on Reds Kingdom where artists from all across the lands provide a creative response is an exert from Haruki Murakamis 1Q84 where he describes the transcendent moon as a perceptive but mute watcher over the earth and all it encompasses.
I feel like with the words of Murakami, the moon has an element of ominous brooding and a spark of stoicism at remembering what used to be. The light I am capturing with these long exposure shots, which rim the highlights of ornate wood panelling and makes the hard wood floor sing with colour, makes me wonder who used to reside in this old house previously? Who wandered through the hallways? Who ran their fingers along the wood panels? Who tended to the rose gardens? Who hung up all the photos that still have a small circular imprint on the ancient stained walls? I imagine the original family in black and white or faded sepia, posed on an old chaise lounge, looking dapper but serious.
This old creaky house with its not so glamorous leaks and constantly breaking faucets still has so much charm to it, bursting with history as high as its ceilings. The mammoth floors above us are now converted into flats, but one wonders how it all looked in its original form? How would the moon have shone into those vast rooms above me? I can only fantasise.
The process of producing these photos was relatively simple. I used long exposure photography to take the initial photographs (seen below) – curbing my preference for large swings of a light source, instead opting for a central steady point so that the light source would not bleed out from where the moon would be placed. From the Scientific Visualization Studio site I downloaded a HD colour and displacement map of the moon which I then plugged into a simple sphere within Maya so that I could get some nice renders of the moon with depth and texture. I then plopped the renders of the moon on top of the long exposure shots and edited to my hearts content so that the makeshift moon look as though it is the original light source.