Creature Research

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 For the next part of the project we were to create and develop our own visual sequence. I chose the second  extension which looked at The Book of Imaginary Beings by Jorge Luis Borges. We were to reference its content (stated in the title) and fuel our imaginations.

 I read some of the descriptions of the mythical creatures within the book and decided to use my own imagination instead of seeing a physical image and so began drawing what I read. The two images above are two creatures from the book - both are not by me. The creature on the right is known as 'The Ass with Three Legs' which is huge in scale, has six eyes, nine mouths, a golden horn and of course 'three legs'. The left image shows the 'Ping Feng' which clearly depicts its own abnormality: a black pig with a head at each end.

 My mind is racing with ideas for these eccentric creatures and there is even the possibility that I could create my own 'imaginary beings'.

Sequence Technique

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 Looking at a graphic novel's perspective on things, sequence is number one priority. The same applies with comic books and all that related genre of storytelling.

 The image above is from the graphic novel Godspeed: The Kurt Cobain Graphic. It illustrates the life and troubles of Kurt Cobain through various sequencing techniques. For example in the image above, it portrays him as a child with his imaginary friend. It displays a brief montage of some of his childhood. Montages are used a lot in films to express emotions and messages. The montage above represents Cobain's short period of happiness and with it carries a strong sense of foreboding.

Pulp Fiction Sequence

 For the first part of our project we had to sketch out a scene from one of our favourite films. By this I mean I made a sequence of the on-going actions and changes within the scene. I deliberately chose the film Pulp Fiction due to it's unique camera shooting and iconic images; such as above.

 The particular scene I chose was when Vincent arrives at Mia Wallace's home to take her out on a date for his boss. The scene acquires close-ups, pan outs and even the perspective through a security camera. The scene is slick and applies little motion, however having to draw the change in shoots one after another took some time. The scene lasts almost three minutes, but in the time I finished it it'd been just under an hour. It shows that the time and effort needed for shooting a whole feature length film requires a lot of patience.