Delivery

Illustrators and designers often use several medias of platform to get their creations across to their fans and to the general public, and in todays new modern age, there has never been more ways to achieve this. Illustrators have so many options, from gallery exhibitions, to plush toys, billboards to clothing design, the opportunities are endless and forever growing. Jon Burgerman, a british born designer and illustrator, uses as many possible platforms available to him and his designs, and is a brilliant example of an artist that uses more than one platorm throughout their career. Burgerman has worked on several types of surfaces, thus reaching out to a large audience. Burgerman's main platform is 2d work, wether it be wall illustrations, to poster design. Burgerman's wallpaper design is completely unique and inspiring to other creators. Not only has this delivery got the option to be mass produced, but it is also going to be seen by hundreds, and last a long time, not just like an exhibtion. It is inspiring to other designers, as it is inviting them to colour and draw all over it. Another piece of 2-D work of Burgerman's, a front page cover of 'Computer Arts' magazine, a popular choice of creatives and designers, is classically set in his style of cartoon drawing, using the space and colour wisely. Front cover design on a magazine of such high reputation would of boosted the interest in Burgermans work, creating more enquiry and a bigger interest in his styles, methods and thoughts on art. However, Burgerman doesn't just design on 2-D designs, and has produced many fantastic pieces of 3-D modelling. His design on the 18" graphic model 'munny', was extrememly popular when exhibited, promoting both the design and the branding, and showing that they can work together. The 'munny' is very bold and busy, which completely signifies Burgerman in every drawing, as it is covered in his almost randomly designed yet prefectly placed together characters. 

In conclusion, Burgerman always very carefully chooses his platform to deliver his illustrations, and yet, it always works, and would quite possibly always word on just the same piece of paper. He makes sure that the work he has created is placed on the right playform for maximum potential audiences, and the maximum inspiration. As new delivery method's modernise, I would not doubt Burgerman, or other illustrators will be experimenting within it, to find even more exciting ways of expressing their work.

Bibliography

http://www.jonburgerman.com/Work/category/2d_work/P6/

http://www.jonburgerman.com/Work/category/3d_work/

Interpretation

Throughout time, books and plays have been modernised and regenerated to suit the times they are being interpreted in. Doing this keeps the stories alive, but interpreting them into the modern day, means that audiences are forever captured, watching and reading images that they are used to, instead of images that are dated.

Within 50 years of the story been published, Peter Pan was made into a movie and musical adaption. In 1950, Leonard Bernstein produced the first musical theatrical performance of the novel. The play poster, designer unknown, was very bright and captivating, almost removing the innocence of the story with its strong appearance. However, it is clear from the poster design that Peter Pan has now been completetly visualised as the caricature of the flying boy wearing green. In 1953, Walt Disney interpretated the story of Peter Pan, bringing it to movie screens. Once it was bought out on video and DVD, the covers continuously changed, so that they were suited to the times they were being re-released in. The most recent one, using the most modern technologies, still holds onto the same idea's that have been used in previous designs for the past, such as Peter wearing the same green 'elf' costume, Mary wearing the blue peticoat, which was originally seen in Attwell's illustrations. The use of colour and editing gives the image the most mystical and magical appearence it has had. The innocent and magical characters would capture children of the millenium generation, as this is an image they would understand in comparison to the originals by Bedford.

In conclusion, artworks for stories, movies and productions will be constantly edited and changed as they stand the fight against time. This is mainly so that they will continuously appeal to and suit their targeted audiences as well as developing possibilities of development in different medias, keeping the novel's alive for years to come.

 Bibliography

http://en.wikipedia.org/wiki/File:Peter_Pan_1915_cover.jpg

http://www.fanpop.com/spots/fairy-tales-and-fables/images/732364/title/peter-pan-photo

http://upload.wikimedia.org/wikipedia/en/b/b8/PeterPan-1950-ArthurKarloff.jpg

http://findmeapirate.com/Pages/Captain%20Hook/Images/Peter%20Pan%20DVD%20cover.jpg

A classic example of interpretation within stories is J.M Barrie's novel Peter Pan (1904), which was later adapted twice into two new novels, Peter in Kensington Gardens (1906) and Peter and Wendy (1911). The original book cover illustrations, by F. D. Bedford, are quite typical for the era they were designed in. Using engraving and ink, Bedford has created a very mystical and detailed picture, with peter looking like an ordinary boy, a far cry from the caricature of the mystical boy in green.
In 1921 Mabel Lucy Attwell illustrated another publication of Peter Pan, bringing it into the new decade, and new generation of children. Attwell introduces colour to the characters, and starts to illustrate Peter as a more magical character. The colours are soft and innocent, giving it a more friendly feel compared to Bedford's illustrations. The characters have more detail in their faces, representing their personalities and the angelic theme of the story.

Pre-production: Character Design

Getting the right personality for a character in a movie or tv production is vital for the screenplay to work. The main three traits to a character are their appearance, actions and interaction. If a character doesn't look the part, or interacts with other characters in the right way, it could fail the complete production.

I will use The Joker, out of the 2008 production of The Dark Knight, a film about heroes and villains, the Joker being the main antagonist. (See left for images.)

APPEARANCE: The Joker's appearance is very unsettling, 

a theme that is typical of a film's villain. The face paint and the hair are dirty and messy, showing that they are trying to look rough and haggered, threatening compared to someone that is well put together. His stance is crouched over and hunched, in a defensive yet strong pose. He appears threatening and nerving, seperating him instantly to the other characters and the mixture of heros and villains.

INTERACTIONS: The Joker is very threatening and demanding throughout the whole film, proving that he is the main villain fighting against Batman. He is a killer, and this is clear in the way he reacts with people and plans against them. Throughout the whole production, he doesn't have many long conversations with other characters, unless they are threatening or plotting, proving that he doesn't give away too much information, but only the information that is needed to spur characters on. It is obvious that he is more of the 'doing' character than a talking character, which only emphasises his evil and wicked character.

ACTIONS : With the Joker being the main villain in The Dark Knight, he is the main source for wrong doing and wicked games. His actions of murder and immoral plans are completely stereotypical for a villain in a superhero movie, however, unlike most stereotypical villains he doesn't hide away the fact that he does it. He is open about his plans, makes characters in the production act upon his ideas.

The Joker is a very strong character in The Dark Knight, and is brilliantly presented to the audience as to what the film is about and what his character is about. He is the perfect representation of the character The Joker, and is brilliantly executed in all areas of character design.

  Bibliography

http://messageinthemedium.files.wordpress.com/2008/08/dark_knight_joker_heath_ledger_poster.jpg

http://thequarterbin.com/wp-content/uploads/2009/01/heath-ledger-the-joker-in-the-dark-knight5.jpg

Three Act Structure

Beginning : Middle : End

30 : 60 : 30

Establish : Crisis : Resolve

Film annotation for a Three Act Structure is "The Dark Knight", Christopher Nolan, 2008.

Many screenplays and films have a Three Act Structure. The three acts are the beginning: the set up of characters, location and the original dilema that the characters will have to persue, the middle: where the obstacle is tackled, and the end: where the problem is bought into a climax and usually resolved. In a typical 2 hour film, the beginning and the end are roughly 30 minutes, where the middle when the majority of the action happens is 60 minutes.

Fitting The Dark Knight into a Three Act Structure is difficult, because there are alot of story lines and plots mixed into one overall script. However after watching the film, I have broke it down into three different acts.

ESTABLISH

Introduction to characters and location (Gotham)

Joker's Conmen raid banks

Batman is called by Gotham

Joker claims he will kill until Batman reveals his identity

Joker Kills targets

Batman fights Joker

Joker sets new targets

CRISIS

Batman sets out to capture the Joker

Joker sets more targets against the government and police service

Batman hides evidence of himself to avoid tracking

Harvey hands himself as Batman to protect the real one (Bruce Wane), gets transfered to jail

Joker chases Harvey, thinking he is Batman

Batman chases Joker

Joker is captured

Harvey and Rachel are Kidnapped

Joker gives option to save either Harvey or Rachel, Police go to save one, Batman the other

Joker blows up police station, freeing himself

Batman saves Harvey, his face is severely burnt, birth of two-face, Rachel dies

Joker blows up hospital, publicans flee to boats

One boat is full of criminals, one of civilians

Ferry enginges stop, find detinators for bombs on the other boat on both ships

Cop's family are kidnapped by two-face

Resolve

Chase to save the cop's family and boats

Joker fights Batman

 Criminals throw away detinator

Joker is caught

Cops go after kidnapped family

Two-face threatens to kill them all

Batman arrives, saves family

Two-face dies

Batman Light in Gotham is turned off

Batman goes into hiding

As you can see, as detailed the film is, it can still be broken down into a 3 Act Structure. The beginning sets the scene, the agenda and introduces many of the main characters. The middle is full of solving issues, and the ending is resolving the main problems, and tying up the story into a couple of scenes. Most films, when analysed, break down into this structure, no matter how complicated they are when watching, and no matter how many story lines are wrote within just one.

“Every movie needs to have a beginning, a middle
and an end, but not necessarily in that order.”
Jean-Luc Godard

Bibliography

http://www.nolanfans.com/thedarkknight/

Working By Hand

Drawing is a technique that is quickly dying out, however it is the greatest skill an artist can have. Getting ideas down on paper, scenes they have seen means that ideas are not lost, and can constantly be revistited at any time of life. It engages a physical connection between the three most important tools any person can have, the hand and the brain and the eye.

 There is no limitation on what can be used within a drawing, or indeed what can be used. The obvious would be pen and pencil and a drawing of what the eye see's, however this takes minimal imagination and exploration into the wide varieties that can be experimented with. Text, photographs, paints, chalks, food, almost anything can class as a drawing. Often there are feelings of limits, due to critisising of the brain, analysing the work in which it thinks wouldn't work or wouldn't look right. But there is no right or wrong when it is our own creation. Drawings, good or bad, masterpieces or a rough two second sketch, explain themselves, yet don't need an explanation, don't need a reason or a meaning.

Anyone can draw, create something that noone else has seen, put down their ideas and imaginations, dreams and thoughts. Not neccessarily creating art, but instead creating idea's that could spure on a new generation of style, instead of nesting away in the head, and not taking to life.

 

"A drawing is simply a line going for a walk."

Paul Klee

Bibliography

http://www.utrechtart.com/community/images/kdh_sketchbook.jpg

http://www.boingboing.net/images/_Everyday_month_days_page160.jpg

http://www.brainyquote.com/quotes/keywords/drawing.html

Utilising the Creative Brain

Everyone has two seperate sides to their brain, both specialising in two different qualities. The right hand side, effectively used more as a child or in the art industry, is more creative and playful. It is spontaneous and innocent, curious and carefree. Using the right hand side of the brain is difficult as artists grow up, as the left hand side of the brain, the side which is organised and evaluating, concious and critical oftern takes over, in terms the left hand side is more mature than the immaturity of the right hand side. 

When working in RVJ's and other sketchbooks, having a prominent right hand side is the best tool when creating quick sketches and work that we can later return to and reference from. For example, Henry Moore used his right hand side for quickly sketching possibilities for a new sculpture. These drawings were not in very much detail, instead were drawn up with just a few lines very quickly. Like a child's drawing, to anyone else these few lines would not mean much, but they are carefree and experimental, instead of creating 3D analysed and critical drawings. However, when creating a piece of work, concious awareness is always the best way to make use of the most ingenius tool we have been granted with as artists. Analysing work is an important factor because it reminds the artist and potential work collegues as to where the idea came from, where the idea could potentially go and how it could be edited. Critising work helps when developing ideas, in showing where the piece is going, whether the annotations are in alot of detail, or just summed up in two or three words, could really give a design life and a clear path.

Neither side of the brain is more important than the other, as the brain needs to both explore and analyise, be aware of what is on the paper. The brain needs to both breathe, yet be tamed, as it could be the most useful blessing or most dangerous plague on a potential masterpiece.