Portfolio PM6000 by Karoline Marka

K1642433 KAROLINE MARKA

PORTFOLIO GRADUATE DIPLOMA IN CREATIVE PRACTICE

PM6000

TABLE OF CONTENTS SUBJECT

CORE

IV. PROCESS

TARGET AUDIENCE GIRLS ARE WEIRD

II.

REMIXING GLOBALIZATION

III. ITERATION

OLGA DIMITROWITSCH IWANOWA

ANIMATION

OBSERVATION NEIGHBOURHOOD

VI. EXHIBITION PRESENTATION

VII. STARTING POINT BRIEFING

I. TARGET AUDIENCE GIRLS ARE WEIRD

SUBJECT TARGET AUDIENCE

GIRLS ARE WEIRD My decision for teenagers as my target audience was relatively easy. To illustrate something for children was not really what I wanted to do. I thought about making a story for adults as well, but then I decided against it, because I think it could be really hard to come up with a story that appeals to people who have decades of life experience more than I do. To raise my target audienceâ&#x20AC;&#x2DC;s interest I decided to pick one of the most obvious and widespread teenager problems as a topic for my story. Which is getting along with the opposite gender.

I wanted to illustrate a short comic, and I was keen on trying watercolours. Nevertheless, I was worried if I would be able to finish the project in an adequate amount time if I had to learn a whole new technique. So I decided to make a combination. I planned to paint the backgrounds with watercolours and the characters with photoshop. But after I received feedback from my peers and tutor, I came to the conclusion that these two styles do not really complement each other. So I followed the recommendation of my tutor to try to paint the characters with watercolours as well.

SUBJECT TARGET AUDIENCE

STORYBOARD

SUBJECT TARGET AUDIENCE 9

I did not really practice first, I just started straight away with painting the pictures for the comic. I think that is the reason why I had to repaint a lot of them later on. My skills had improved during the process and after some time I was not happy with the quality of the pictures I painted in the beginning anymore. I painted almost every picture in the whole comic at least twice.

SUBJECT TARGET AUDIENCE

DIGITAL CHARACTERS

Every time I finished a page I looked at the general impression and made changes or repainted some of the pictures if the page did not appear that well composed to me. That is something I probably should have done in the storyboard already. It could have saved me a lot of time. I also tried out different ways of depicting the text. I wanted to use my own handwriting, but I was struggling with the choice of technique. In the end, I decided to keep it all analogue and wrote the text with painting brush and watercolours. In that way text and pictures harmonized best with each other.

COLORED SPEECH BUBBLES

In the earlier versions of the comic the speech bubbles are painted and colourful like the rest of the pictures. But after closer consideration, I thought that they were rather overloading the page and distracting from the actual picture. So I changed them to plain, white surfaces filled with text.

SUBJECT TARGET AUDIENCE

Retrospectively spoken, I am generally happy with my final outcome. But by now I am aware that I definitely should have done more research. The project lacks of primary as well as of secondary research. I kind of did primary research when I tried out watercolours for the first time. But as already mentioned, I just started with the comic straight away and ended up having to repaint most of the earlier pictures. Furthermore, unfortunately I did not really look at other authorâ&#x20AC;&#x2DC;s comics or graphic novels. Neither in general, nor at some which are specifically for teenagers. It certainly would have been interesting to look at different methods of using watercolours too. But guess I was just too keen to start painting to hold myself up with research. But it was my first project in this course. I think I just did not have the hang of it jet.

SUBJECT TARGET AUDIENCE

CONCLUSION

II. REMIXING GLOBALIZATION

GLOBALIZATION

SUBJECT REMIXING

Globalization is a form of remixing. As my project depicts the process of various cultures getting mixed up, I considered, 'Globalization' as a quite fitting title. I got the original idea of doing this kind of flip book from a childrenâ&#x20AC;&#x2DC;s book. Its pages are divided into three separated parts as well, but it is about animals, not about humans. The remixing part of the project is up to the viewer of the book. He or she has to turn the divided pages separately. The result is a remix of the different parts of the illustrations.

As a first step I made three pencil sketches of different women on paper, cut them in three parts and tried how the flipping concept worked with that. I was quite happy with the result. I repeated this test several times throughout the project. I printed out my illustrations and tried how they worked together. Through that I got sensitive about what to take care of. Neck and hips obviously always had to have the same width. But I wanted to draw the women in different poses. Because of that, it sometimes got quite difficult to stick with my self set template and to make it look natural and anatomically correct. Except from that I hardly had any problems with the drawing part at all, as I have already worked in Photoshop many, many times before. To use Photoshop as a tool for this project was a good choice insofar as I could easily make correcting changes in different parts of the illustrations without having to redraw the whole character.

INSPIRATION

SUBJECT REMIXING

FIRST SKETCHES

SUBJECT REMIXING 20

I did some imagery research for every country on the internet. I wanted the characters to be as unambiguous as possible. So I thought google images would actually be a good source for picture research because it is such a widely known channel. If I type in 'indian woman' the first few pictures show what the broad mass

imagination of an Indian woman looks like. That may not be especially authentic, but it was quite useful as a starting point for my further research and it always gave me a rough idea of how the character will have to look like to be recognized.

SUBJECT REMIXING

SUBJECT REMIXING 22

First, I wanted to keep the illustrations, black and white. I wanted the general impression of one remix to be as evenly as possible. But one of my peers encouraged me to try to add colour. So I did and it turned out to look even more striking, and the colour differences did not even disturb the general impression that much.

My book only shows women. I also tried to build in illustrations of men. In that case it would have had a transgender tolerance message in it as well, which would have been nice. But unfortunately it just did not work visually. As I mentioned on the previous page, it was already difficult to make two female characters in different poses look anatomically correct when they were remixed. To mix up illustrations of men and women in different poses turned out to be hardly possible. But I am thinking about doing a second version with illustrations of men in the future.

SUBJECT REMIXING 23

In the end, I added background as well to show that this cultural remix happens all around the globe. I tried some different styles for the background and decided for a rather simplistic one. I kept them in grey tones so that the background would not influence the effect of the colours in the character illustrations.

SUBJECT REMIXING

ORIGINAL CHARACTERS

SUBJECT REMIXING

REMIXES

SUBJECT REMIXING

I really loved to play around with the illustrations and to remix them. I guess other people would enjoy it too. So I think the project is quite successful. Additionally, if I look back at 'Target Audience' I improved myself in terms of research. I think the imagery research I did really helped me to create interesting characters which are recognizable as people from a certain country. On the other hand, I did not really learn anything new in terms of techniques. I already knew how to illustrate like that in Photoshop. But after all I think the style suits the project. And there will be other opportunities to learn new techniques in the future. Unfortunately, I ran out of time before I could do more than six different countries or finish the project in book form or as an interactive PDF.

SUBJECT REMIXING

CONCLUSION

III. ITERATION OLGA DIMITROWITSCH IWANOWA

SUBJECT OLGA DIMITROWITSCH IWANOWA

OLGA DIMITROWITSCH IWANOWA The idea I decided to implement in the end was actually my last idea. My first two ideas came to my mind very quickly. I hardly had to think around the corner. But I needed a third idea so I kept brainstorming about iteration. At some point I remembered the Russian Matryoshka dolls which I absolutely loved when I was a child. And they fitted perfectly with the iteration topic. So I kept thinking about it. I did not want to do a set of ordinary Matryoshkas, I wanted to make them original. In the end, I came up with the idea to show the 'layers' of the human body: skin, muscles, skeleton, organs and...? First, I wanted to paint the heart and veins on the smallest doll. But this did not really fit in the concept (because veins are all over the body and not only on the innermost inside). But then one of my housemates had the great idea to make the smallest doll the soul.

First, I did some research about the human body and looked for templates. I even watched a video of a brain autopsy on YouTube to get an idea of how a real human brain actually looks like. Because if I googled for photos of brains, there were only drawings and plastic models.

SUBJECT OLGA DIMITROWITSCH IWANOWA

RESEARCH

SUBJECT OLGA DIMITROWITSCH IWANOWA

2D SKETCHES

Then I did some first pencil sketches. After that I bought acrylic color and ordered an unpainted wooden Matryoshka doll set on the internet. It took me some time to find a provider who was able to deliver them on time. As a second step I painted all of the layers with acrylics into my sketchbook. Just to get familiar with this kind of paint. I am glad that I did that. It was really a different thing to paint with acrylics than to paint with watercolors. First, I was a little worried if I would be able to paint on the smaller Matryoshka dolls in closer detail because I already had some problems in doing so on paper. I knew that I would have to practice painting on 3D objects too before I started painting on the Matryoshkas.

I looked for wooden objects to paint on but I hardly found any. In the end, I bought only one small wooden figure and six unpainted cardboard mash Christmas baubles instead and started painting on them. Throughout the process of painting on the baubles, my earlier worries disappeared. I really improved through practicing. After I had finished painting on all of the six Christmas baubles I tried to paint on the wooden figure. But I did not take the time to finish it, because I already felt confident enough to start with the Matryoshkas. This turned out to be a mistake shortly thereafter.

SUBJECT OLGA DIMITROWITSCH IWANOWA

CHRISTMAS BAUBLES / WOODEN FIGURE

SUBJECT OLGA DIMITROWITSCH IWANOWA 34

It took me almost three days to finish the first and biggest doll. It was a mess in the beginning. After all the practicing on the cardboard mash, I was surprised because the wooden surface turned out to be way more different than I expected. It was smoother, and the color kind of behaved differently on it. Somehow I did not notice that when I was painting on the wooden figure. That is probably because I only painted one of its arms. Additionally, I was not happy with the looks of the color. Somehow I used to much red, and the whole doll was very pinkish. I added lots and lots of layers and tried to use more yellow, brown and blue. The longer I worked on the doll, the

better I liked it. I went from using the biggest to the smallest painting brush and after three days of working I finally was happy with the result. The second doll took me two days to paint. It was already a lot easier because I knew what to expect and how to use the color on the wooden surface. It was the same with the three remaining dolls. I finished all of them in only one day. Now that I was finished, I wanted to seal up the color and bought a high shine spray. First I tried it out on the Christmas baubles. Then applied it on the Matryoshkas and let them dry.

SUBJECT OLGA DIMITROWITSCH IWANOWA

Additionally, I have to say that I am really glad that we had to come up with three different ideas for the subject projects we did this semester. Because I picked my last idea for all of the three projects. Although I liked my first ideas for all of the projects already, somehow the third and last one always seemed to be the most interesting.

I think that is the most important thing I have learned in this course so far. To take time, to try out and to research really, really pays off in the end. Of course I already theoretically knew that all of those things are important. But I have never experienced it in that way. In my time during the graphic design school in Vienna me and my classmates used to be annoyed by teachers telling us to do research, and quite often we just more or less skipped the research part and went straight to work. I think the projects we did were not bad because of that, but if I look back now I think they could have been way better if we would have taken those things more serious.

I really loved working on this project. And I am also very happy with my final outcome. It was new to me and really fun to paint on 3D objects. Until now I mostly painted or drew on paper or in Photoshop. I enjoyed painting on the Christmas baubles as well as on the Matryoshka dolls. Although I am satisfied with the final result of how the dolls look, I probably should have finished painting the wooden figure before I started painting on the dolls. It would have helped me to deal with the difference of the surfaces. If I would have done that I would not have struggled with the first doll that much. As in 'Target Audience' my impatience to start cost me time again.

SUBJECT OLGA DIMITROWITSCH IWANOWA

CONCLUSION

IV. PROCESS ANIMATION

CORE PROCESS

ANIMATION To picture my creative process I decided to make a short animation. First I thought of some kind of decision tree. I wanted to draw it in Photoshop and record the process of drawing it with a screen recording. After closer consideration, I decided that this would be too difficult because I would have to draw it all at once and I would have to zoom in etc. So I still wanted to do an animation, but I discarded the idea of the decision tree.

I wrote down my thoughts, my way of working and structured it into six upbuilding steps. Some of them also had subcategories. Basically the animation shows the process of writing down all of the six steps as well as of drawing some accompanying illustrations to support the message. I think the illustrations are essential to make the video memorable and to keep the attention of its audience. The animation tells the 'story' of my creative process, as well as it actually shows it while it is done.

CORE PROCESS

SKETCHES / STRUCTURING

'DRAW MY LIFE' VIDEOS 26

CORE PROCESS

I have seen this way of animating in several videos on the internet before. There is a trend which is called 'draw my life'. There are hundreds of videos in which people are telling their life stories by illustrating them and recording that process. A lot of them are drawn by hand and filmed by a camera. Although this rather analogue style would have suited my project as well, I

decided to do my animation with photoshop and screen recordings. I was afraid of running out of time, as I was not even close to finish my very time consuming project for 'Target Audience'. Looking back, I have to admit that this probably is not the best reason to make a design decision. But after all, the photoshop style fitted the project as well.

Throughout the process I got more and more into the substance and I changed my planned sketches a little bit, as some new ideas came my mind of how to tell the story in a funnier way.

CORE PROCESS

SKETCHING / PLANNING

HTTPS://WWW.YOUTUBE.COM/WATCH?V=XTI_GJBORVQ&FEATURE=YOUTU.BE

CORE PROCESS

SOUND BY WWW.ORANGEFREESOUNDS.COM

I knew that I would have to deal with programs I never really had worked with before. But fortunately a friend of mine, who is studying filmmaking, was able to explain the basics of Adobe Premiere Pro to me. I did some test sketches in photoshop, recorded the screen while drawing them and tried out if the whole idea works. Surprisingly, it turned out to be not as difficult as expected. So I did not have a lot of problems with the implementation at all. I showed the first versions of my animation to some of my housemates and asked them how they liked it and if it was understandable, if the text was readable, if it was too fast or too slow, etc. And then I made changes considering their feedback.

I wanted to add music as well and I spent some time looking for license free background music on the internet. My friend, who also helped me with Premiere Pro, knew some good websites to check out. Nevertheless, it was quite hard to find something suitable. I only found three different tracks which I considered as at least kind of fitting. Most of the others were either too cheery or too serious or just conveyed a mood which did not fit at all. In the end I had to choose one of them because I just could not find anything better. At first I was not really happy with it. But the more often I watched my animation with the track I chose the better I liked it. The website I found it on was www.orangefreesounds.com.

CORE PROCESS

When I first looked at this project to prepare for my portfolio I thought 'oh no, again a project that lacks of research'. But after closer consideration, I realized that I actually did primary research as well as secondary research. Primary research in terms of recording test sketches, trying out different speeds and sounds and collecting feedback. Secondary research as I watched a lot of the above mentioned 'draw my life'-videos. Somehow I did not recognize that at first. During the process I was a little worried that the video might get too long and that the audience would lose interest halfway through it. But when I showed it to my peers and tutor it seemed to be well received. By now I am quite satisfied with the outcome. I also posted the video on Facebook and Tumblr and got a lot of positive feedback from my friends as well.

CORE PROCESS

CONCLUSION

V. OBSERVATION NEIGHBORHOOD

CORE OBSERVATION

NEIGHBOURHOOD Through this project I learned, amongst other things, that trying out ideas which do not seem that promising at first can take you further. I knew that I wanted to have some kind of visual/ illustrative outcome. So I thought about what could be interesting to observe and was possible to implement visually at the same time. The first idea I had was about changes in light throughout the day. I was not really sure about that idea, but I tried it out anyway. I took some photos of the house I could see through my window with a five minute gap in between every photo. But I did not really know how I could implement that in a way which was not too time consuming. But through this came to my final idea.

When I looked at the house I remembered my first trip to England last year. I have been to Liverpool and I was really surprised that all the houses looked so similar. Most of them looked almost the same. So I decided to observe houses. I wanted to take photos and make small reproductions that show the smallest differences that make every house unique.

CORE OBSERVATION

CHANGINGS IN LIGHT

CORE OBSERVATION

So I changed my plans and tried to find houses which looked as extraordinary and different from each other as possible. And I found some really stunning ones.

But then, when I was actually walking around in my neighbourhood taking photos I came to the realization that not all houses looked as similar as I had thought. Although some houses really looked very alike, there often were more than small details that made a difference. Most of the houses are built in a similar style, but still they all (or most of them) have something special that makes them unique.

WALL PATTERNS

BRICK PATTERNS

CORE OBSERVATION

ROOF PATTERNS

I already pictured the small houses in my mind and I decided to do them in Adobe Illustrator. I was ambitious to try out the pattern function for this project. At the beginning I spent some time playing around with it and to teach myself how it works. It was a trial and error process.

But after some time I got the grips of it and started to create many different patterns for the different houses.

CORE OBSERVATION

I think I fulfilled the task quite well. I had an impression that had kind of grown in my mind, but after I went outside, observing the subjects of interest, this wrong impression was refuted. I am also satisfied with my outcome. But I wished I would have had more time to produce some more of the little house models. Additionally, if I look at them now I think I could have added even more details. For example, rain gutters, light reflections and shadow, wooden structure or even gardens with plants. Furthermore, I would like to do something with them and put them in some kind of context. Maybe in a card of the neighbourhood or something similar.

CORE OBSERVATION

CONCLUSION

VI. EXHIBITION PRESENTATION

EXHIBITION

CORE EXHIBITION

On the day we went to London I saw a lot of different ways to influence the impression of art which I had not thought about before. Basically, I had not really thought about that issue before at all. But throughout the day I got sensitive for details. ARRANGEMENT The most common way to arrange pictures seemed to be in a straight and tidy way with enough free space around them, on white or (more rarely) on black walls. That is probably because this way of presenting keeps the attention of the viewer on the artwork itself and does not distract from it. But anyway, depending on the gallery and the style of the exhibited art the way of arranging differed. The rather elegant and classy galleries which presented mostly fine art kept everything tidy and clean. Other galleries showed some more experimental ways of arranging the pictures. Nevertheless, they appeared professional, but maybe a little less elegant. The style of the exhibited art influenced the perception as well.

LIGHTNING Another thing that differed from gallery to gallery was the lighting. Some galleries only used synthetic light, some of them had mixtures of both synthetic and natural light. If there was natural light used, it sometimes was softened by white fabric which was spanned over the window. There was one gallery which completely turned the common concept of lightning around. The room was dark and the pictures were projected on the wall. So the pictures were the light source themselves. SURROUNDINGS Most of the galleries presented pictures, art prints and paintings. Basically things than can be hung up on the wall. I think that is why in most of them there was hardly any furniture or interior equipment. As far as I noticed there was only interior equipment when it was relevant to the art. There was one good example of that in the ICA.

CORE EXHIBITION

It was the sound installation by James Richards. The sound was played in a light room with white walls. One of the walls was covered with a curtain. Except for that there were only benches in the middle of the room surrounded by speakers. When we came in there, a lot of people sat down on the benches, facing the curtain. This detail was crucial. The curtain somehow seemed to define the front side of the room. The speakers which surrounded the benches did not play the same sounds. The whole impression of the

sound was a mixture of different sounds coming from different speakers. And that is the reason why it made a difference which direction people were facing when they sat down. Where the different parts of the sound collage come from makes a difference in the way it is perceived. So the curtain, which marked the front of the room was actually relevant to the art. I think that was the reason for it being in there.

I never thought about different forms of exhibiting art to that extend before. I am rather a person who walks through a gallery or museum and just lets the art work its magic without thinking too much. Either the artwork appeals to me or it does not. That is why I did not really like this project that much at the beginning. But by now I have to say that I really learned something from it. I discovered a parallel between forms of exhibition and graphic design. The way work is displayed or exhibited plays a role of great importance for the impact and perception of it. Every piece of art has to be presented in a way that complements it or in a way that strengthens the impression or the mood the artist/graphic designer wants to trigger in the viewer. Nothing should distract from it and it should be shown in the right context.

CORE EXHIBITION

CONCLUSION

PRESENTATION

CORE EXHIBITION

Me and my team members met three days after we had been at the twelve galleries. We talked about the impressions we had, discussed the differences we noticed and which galleries we liked best. We reread the briefing and also talked about what we thought the assessment was about as well as what our presentation should include. We agreed quite quickly on some kind of system to divide the work. We picked three galleries that presented art which strongly differed in style and which were also very different in the way they exhibited it. Every person should talk about one of the galleries and the fourth person should make a conclusion. I volunteered to be the person to make the conclusion as well as to make the visual presentation. Sometimes I feel quite insecure within a group work and I am hardly ever 100% satisfied with the outcome, because things never run exactly the way I want them to. Obviously. I guess that is one of my weaknesses. But still, as I knew this about myself, I thought the conclusion part would be good for me because I could kind of give the whole presentation a certain direction or a general message in the end. So even if I was not perfectly fine with the rest of it, that would satisfy me in the end. I know that it is really an important thing to be able to work collaboratively. Especially in the design business. But I think I am the kind of person who would rather do other peoples work as well, than let it get presented in a way I am not happy with. But I am also afraid of seeming rude, that is why I try to hold myself back on telling people what I think they should do differently. And if I say something critical I try to do it as politely as possible.

Considering that, being some kind of group leader might probably be the most pleasant role for me. Not because I want to lead, but because I feel more comfortable if things go the way I prefer and if I know what everyone is doing. My team members sent me their texts when they were finished with elaborating it and I inserted it into the presentation. This part really went well, all of them sent me their texts on time and everything seemed to fit in. But if I am being honest, I was not really happy with how the presentation went after all. We never rehearsed as a group. Everybody prepared ones own part and then we presented one after another, without knowing what the other ones are going to say in closer detail. We definitely should have rehearsed. And additionally we should have tried to unify the information about the galleries and compare them in some points and not just say anything about them without any coherency to the previous part of the presentation. But even though I am aware of all that I still have problems when it comes to group work. I feel like I am rather a loner when it comes to creative work. I talked about this to a friend of mine, and she suggested that maybe I just have not been in a group that works for me until now. I think she could be right.

PRESENTATION SLIDES

Three galleries marlbourough DaviD zwirner James richarDs

Wen lUo

YiZHen WanG

Karoline MarKa

marlbourough

painting

entrance

painting

CORE EXHIBITION

3 paintings in a row

painting window

KePenG lU

VII. STARTING POINT BRIEFING

CORE STARTING POINT

SESSION / IDEA In the first session of 'starting points' we did a workshop in which we had to come up with ideas in a limited amount of time. We had to combine our keywords, ideas and topics from the first part of the session with the things our group members came up with. Through that we discovered connections between the aforementioned which we had not thought about before. At the end of the session we had to elaborate an idea and to present it in front of our peers. The session was really fun, and I remember being surprised how fast it can go from random keywords to an actual idea and concept. I think this playful process can really open one's mind and help to develop ideas and stimulates creative thinking as well. However, in this case I did not need to rely on these exercises to find an idea for the capstone project as I already had one before the session. It is something I am really passionate about and what I have always wanted to do.

I love stories. And as I love illustration as well, I am a big fan of telling stories through pictures. I have always loved movies, especially animated ones, and since my early childhood, I have written my own stories and illustrated them as well. This fascination never disappeared. During puberty, I had a big obsession with manga and anime and started trying to draw comics myself, but I hardly ever finished one. Later on I discovered graphic novels. By now I am still really fascinated by the art form of graphic novels and I am dreaming of doing one myself. A lack of time, as well as of know how and confidence has always stopped me until now. But I am determined to take this opportunity and to make a graphic novel as my capstone project.

CORE STARTING POINT

I already have an idea for the plot as well. This story has been developing in my mind in the last three years. It also changed significantly throughout that time.

CORE STARTING POINT

PLOT (ROUGHLY SUMMARIZED) The main character is a young woman, about 2123. She gets into a hostage situation. She and her hostage taker fall in love with each other throughout the story. They never talk about how they feel. At one point, close to the end, the woman gets the chance to escape and takes it. She actually does not want to, but she has a bad conscious towards her family and friends who are probably worried to death. Actually, she hopes that he will stop her from escaping, but he does not, although he would have had the chance to do so and furthermore although he would also have wanted her to stay. MEANING So it is kind of a love story without a happy, but with an open ending. It is supposed to be mainly about feelings and the inability of a lot of people to reflect on their own feelings and also to communicate them, as well as about the fear of making oneself vulnerable through confessing feelings. This is the rather philosophical side, but I also want to include psychological matters in the story.

I am going to do a lot of research about the Stockholm syndrome. It basically describes the situation if hostages starts to sympathize with their hostage taker as well as abuser and victim relations. It is obviously very relevant to my story. As well as the Lima syndrome, which is kind of the opposite to the Stockholm syndrome. It is about hostage takers starting to sympathize with their hostage/s. And connecting to those two syndromes it is also about the question what love is and if there are 'wrong' forms of love. In the example of my story, if the hostage and the hostage taker fall in love with each other, are their feelings real or are they just a product of special circumstances and as a result of that not relevant or honest? Feelings and the way they make people act and think have always fascinated me. That is what a story has to consist of to excite me. And that is how I want my story to be. The more experiences and different feelings I go though in my life the more I am fascinated by them. It is my second big obsession next to illustration. Psychology, human behaviour, as well as philosophy are fields which utterly fascinate me.

autumn and winter. I want to focus on the special moods of seasons and try to emphasize the feelings/moods of the characters through colors and the looks of landscapes/surroundings.

ILLUSTRATIVE STYLE I also thought about styles already. As I have been practicing with some different analogue techniques, such as watercolors, gouache and acrylics throughout this semester I like the idea of using one of those techniques for my graphic novel. The style I have in mind would also fit the rather thoughtful content of the story and help creating the mood I want to convey. Especially

CORE STARTING POINT

32 33

36 35

Do research about the different relevant fields in this project. Including graphic novels and visual narration, as well as storytelling in general and psychology, especially in hostage situations (Stockholm syndrome etc.) Try out different illustrative styles. Do research about it. In terms of watching tutorials as well as in exploring other artists work. Iterate and experiment until you find a style that can convey the wanted mood and in which it takes an acceptable amount of time to finish a picture.

AIMS • Entertainment (main aim) • Conveyance of messages/issues in a subtle way • Make the readers think/interpret by themselves READING LIST • ROBERT MCKEE Story - substance, structure, style and the principles of screenwriting • LINDA SEGER Creating Unforgettable Characters • DR JOSEPH CARVER Love and Stockholm Syndrome: The Mystery of Loving an Abuser • WILL EISNER Graphic Storytelling and Visual Narrative: Principles and Practices from the Legendary Cartoonist

CORE STARTING POINT

BRIEFING Elaborate an authentic and story with a thought through dramaturgy and plot. Create strong characters who change/develop throughout the story by dealing with the experiences they undergo. Convey feelings, moods, needs, intentions, wishes, fears, etc. of the characters through text as well as through pictures.

TARGET AUDIENCE • Young adults (maybe rather women) • People who are interested in the way the human mind works / in the development of relationships between two people

BRIEFING

LIST OF REFERENCES REMIXING 1

LIST OF REFERENCES

BALL S., (2011): 33092632z.jpg. Available at: http://www.buecher.de/shop/pop-upbuecher/krogufant/ball-sara/products_products/ detail/prod_id/33092632/ (Accessed: 12 December 2016)

HENNYDONOVANMOTIF, (n.d.): chinese-flowers-c20.jpg. Available at: https://www.hennydonovanmotif. co.uk/chinese_flowers.htm (Accessed: 11 December 2016)

CHINALONGHAIR, (n.d.): 20120309112313591.jpg. Available at: http://home.chinalonghair.cn/picture/ ShowArticle.asp?ArticleID=883#.WE1XJaLJwXo (Accessed: 11 December 2016)

OLAUSSEN, TRINE LISE (2009): Africa. Available at: http://www.elftown.com/_Triola%20 Portfolio%202 (Accessed: 11 December 2016)

KEMPER, THOMAS (2012): 24362-dirndl-frisuren-2013.jpg. Available at: http://www.cosmopolitan.de/ dirndl-frisuren-fuers-oktoberfest-24463.html (Accessed: 11 December 2016)

AELIDA, (2014): luxe-streetstyle-outfit.jpg. Available at: http://aelida.com/fashion/how-toget-classy-womens-fashion (Accessed: 11 December 2016)

DEUTSCH-LEDER, (2016): itm_l_191.jpg. Available at: http://www.deutsch-leder.com/ products.php?IDZ=----2 (Accessed: 11 December 2016)

PETER HAHN, (n.d.): seeberger-baskenmuetze-anthrazit-347263_DET_D7_020615_115743.jpg. Available at: http://www.peterhahn.de/seeberger-baskenmuetze-anthrazit-347263.html (Accessed: 11 December 2016)

NATIONALCLOTHING, (2015): dirndl.jpg. Available at: http://nationalclothing.org/europe/37-germany/51-traditional-bavarian-germany-folk-dress-dirndl-dress-and-lederhosen.html (Accessed: 11 December 2016)

THE TELEGRAPH, (2012): french_2413103b.jpg. Available at: http://www.telegraph.co.uk/news/ worldnews/europe/france/9710132/Behave-likea-French-woman-arrive-late-and-enjoy-theflattery.html (Accessed: 11 December 2016)

UTSAV FASHION, (2016): Embroidered Georgette Saree in Navy Blue. Available at: http://beta.utsavfashion.com/ product/embroidered-georgette-saree-in-navy-blue-sbz2556 (Accessed: 11 December 2016)

UTSAV FASHION, (2016): Embroidered Brasso Saree in Blue. Available at: http://beta.utsavfashion.com/product/embroidered-brasso-saree-in-blue-syc3333 (Accessed: 11 December 2016)

SAGA TOURS, (n.d.): mc012b.jpg. Available at: http://www.sagatours.com/bogolan/ mudcloth.html (Accessed: 11 December 2016) KING, WEN-YAN (2007): Incredible balance. Available at: https://www.flickr.com/photos/38225109@N00/407752340 (Accessed: 11 December 2016)

MODERN QIPAO, (n.d.): Short-sleeve-blackand-white-floral-silk-traditional-Chinese-dressZB7004-781-011.jpg. Available at: http://modernqipao.com/product/ short-sleeve-black-and-white-floral-silk-traditional-chinese-dress/ (Accessed: 11 December 2016)

SHUTTERSTOCK INC., (2016): 485273668. Available at: https://www.shutterstock.com/pic485273668.html (Accessed: 11 December 2016) TENNTATO, (2016): Botas Altas de encaje hasta el Muslo de Tacรณn en 2 colores. Available at: http://tenntato.com/t/botas-altas-deencaje-hasta-el-muslo-de-tacon-en-2-colores/ (Accessed: 11 December 2016)

FUR HAT WORLD, (n.d.): Model # 1-5000. Available at: http://www.furhatworld.com/ womens-coyote-fur-trapper-hat-with-pompoms-p-1833.html (Accessed: 11 December 2016)

ETSY, INC., (2016): il_570xN.1083296290_hzsf.jpg. Available at: https://www.etsy.com/de/listing/492205353/70er-jahre-shearling-wildleder-wickeln?ref=market (Accessed: 11 December 2016)

PUBLITEK, INC. DBA FOTOSEARCH, (n.d.): k7908545.jpg. Available at: http://www.fotosearch.de/CSP790/ k7908545/ (Accessed: 11 December 2016)

YOGISTAR VERTRIEBS GMBH, (n.d.): das_ menschliche_skelett_web_1000.jpg. Available at: http://www.yogistar.com/ Das-menschliche-Skelett.html (Accessed: 11 December 2016)

UNIVERSITY OF UTAH NEUROSCIENCE INITIATIVE, (2013): The Unfixed Brain. Available at: https://www.youtube.com/watch?v=jHxyP-nUhUY&t=65s (Accessed: 11 December 2016)

SHUTTERSTOCK INC., (n.d.): raw pig heart close-up isolated on white background. Available at: https://www.shutterstock.com/de/ pic-386894119/stock-photo-raw-pig-heart-closeup-isolated-on-white-background.html?src=TLJP-yhH9jw2L2e3L5WY7w-1-2 (Accessed: 11 December 2016)

DREAMSTIME, (n.d.): menschliche-mnnliche-anatomie-innere-organe-allein-volles-atmungs-und-34769967.jpg. Available at: https://de.dreamstime.com/ lizenzfreie-stockfotografie-menschliche-mnnliche-anatomie-innere-organe-allein-volles-atmungs-und-image34769967 (Accessed: 11 December 2016)

WINSLOW, THERESE (2009): reproductivesystem_female_article.jpg. Available at: https://www.cancer.gov/espanol/ tipos/ovario/paciente/tratamiento-ovario-bajo-potencial-maligno-pdq (Accessed: 11 December 2016)

LIST OF REFERENCES

ITERATION

PROCESS

LIST OF REFERENCES

CASEY NEISTAT, (2015): Draw My Life - Casey Neistat. Available at: https://www.youtube.com/watch?v=V6Y-ahQFQDA (Accessed: 12 December 2016)

SWOOZIE, (2013): Draw my Life WooZie. Available at: https://www.youtube.com/watch?v=kQR08XFpSqY (Accessed: 12 December 2016)

J., HENRIK (2016): 80s Music Synth Pop. Available at: http://www.orangefreesounds. com/80s-music-synth-pop/ (Accessed: 12 December 2016)

EXHIBITION 29

BRUMFITT, STUART (2016): Mark-Blower-160920James-Richards-ICA-0001.jpg. Available at: https://amuse-i-d.vice.com/horrornostalgia-and-venetian-orgies-in-james-richardsica-show/ (Accessed: 11 December 2016)

STARTING POINT

WRONSKA, MAJA (2015): Maja%2BWronska%2BTutt%2527Art%2540%2B%25285%2529.jpg. Available at: http://www.tuttartpitturasculturapoesiamusica.com/2015/10/Maja-Wronska.html (Accessed: 11 December 2016)

ABSHEAR, DEBBIE (2016): Road_to_the_Lighthouse_in_the_Rain_6138_full.jpg. Available at: http://debbieabshear.com/landscapes/Road_to_the_Lighthouse_in_the_Rain/6138 (Accessed: 11 December 2016)

ABSHEAR, DEBBIE (2016): Craving_Cold_5930_ full.jpg. Available at: http://debbieabshear.com/landscapes/Craving_Cold/5930 (Accessed: 11 December 2016)

ABSHEAR, DEBBIE (2016): Ice_Fishing_5958_full. jpg. Available at: http://debbieabshear.com/landscapes/Ice_Fishing/5958 (Accessed: 11 December 2016)

MR. OTTER ART STUDIO (2014): How to paint a simple landscape in watercolor. Available at: https://www.youtube.com/watch?v=FBGfrwtQASE (Accessed: 11 December 2016)

ABSHEAR, DEBBIE (2016): Cold_Wait_5929_full. jpg. Available at: http://debbieabshear.com/landscapes/Cold_Wait/5929 (Accessed: 11 December 2016)

LIST OF REFERENCES

WRONSKA, MAJA (2015): Maja%2BWronska%2BTutt%2527Art%2540%2B%252818%2529. jpg. Available at: http://www.tuttartpitturasculturapoesiamusica.com/2015/10/Maja-Wronska.html (Accessed: 11 December 2016)