Note: SEE ARTIST RESEARCH PAGE FOR 'MARY BLAIR' ANALYSIS INTO COLOUR
AND HOW THIS INFORMED MY DECISIONS
http://torupsonfmp.blogspot.co.uk/p/research-duplicate-from.html
My pre- Christmas experiments have determined my colour choices; blue red and pink. Over Christmas I spent a lot of time thinking about the story of Beauty and the Beast and reflecting upon that in relation to my objectives. It occurred to me that my previous storyboards, although contextually correct, simply were not 'daring' or 'controversial ' enough. The sinister twist that I hoped to achieve, therefore, was not evident in my imagery. Fundamentally, all of the elements were there but the story needed to be shorter, more intense, as did the imagery. I had successful in November , found a style and media that suited my communication objectives, the black ink adding a darkness (looming-always foreboding) and the red a blue an amalgamation of innocence and severity.
To better help me to understand how to intensify the story and get across the passion and 'intensity'of this slightly sinister relationship, I turned to film and looked into film techniques and camera angles. From this, I took the knowledge that Beauty and the Beast was best Illustrated using close-up, mid-shot and or high-angle shots to show the beasts perspective. This helped me to be 'suggestive' without having to really show anything. The love affair is applied only through hands and feet, close proximity (you fill in the blanks). In addition, this effectively, makes my comics child-proof, in that, even though I am certainly not targeting a young audience, it would not be that offensive that they would take anything much from it (other than pretty pictures).
The main downside with the composition, is that the imagery does not vary; despite my experiments with camera angles , looking specifically at God shot and tilt shot. However, I am keen to tell the story from a set perceptive. The use of close-up shots to reveal half a picture is something that was used a lot in old motion pictures of the 30's and 40's, when there was something the census objected to, the camera would pull in to the hands or feet, or even pull of to the side on a track. This is how they got past tricky situations that were happening on film , that they didn't wish to be overly apparent, i.e 'Madonna of the Seven Moons,' 'Picnic,' 'Gaslight' etc. This technique has suited my purpose well, and is only enhanced by the use of colour, which enriches the imagery.
