So this is how the model for my final box looks. I’m really glad I added the light, because it looks a lot better now. Also the interactiveness is something I wanted right from the beginning. The ice doesn’t look exactly how I wanted it, but I’m still fairly happy.
This box is supposed to be the climax of the narrative, and it’s the first one that shows an outright conflict. The gates of Dis in the last box, is to separate passive transgressions and active transgressions. And I think that the difference between them, is the inclusion of the Superego. If I get time, I want to animate these guys, I think it’d look really cool.
Also, here’s a better picture of my Gluttony box;
I wasn’t very happy with what I’d created for my styx layer. It was ok in composition and colour, and I’d liked the boat and the character, but the background had been way too flat and light, and the stalagmites weren’t brilliant. I’d experimented with using silicon sealant to make them, hoping that they would let light through and look ghostly, but they didn’t. In this one I have instead used papier mache to make the stalagmites bigger and as if they are connected to the ceiling (I believe they are called pillars when a stalagmite and stalactite connect). I think it looks a lot grander. I also papier mached the back, and used acrylic paint instead of water colour to get a more solid layer. I think there’s a lot more depth to this gif, and I much prefer the colours and how the water moves when his rowing stick (?) goes through the hair gel (that’s what the water is made out of). I also am very proud of the way the light reflects off the water. I hope people notice it.
But how does this fit within the story, the rest of the boxes, and the concept of the subconscious? This section of the story is supposed to represent the journey through the brain, the exploration of the subconscious that Freud was so intrigued by. The light at the front at the boat is both the illumination of knowledge, and also the supposed purity of the Super Ego.
I like to think about what Freud would see if he saw this gif. He would probably comment on the phallic imagery of the staff and the pillars. And also perhaps the shapes in the background and placement of the farthest stalactite.
After a talk with Amelia I decided that I should have lights in the boxes with models in. A lot of my work is about the strong contrast of light and shadow, and the models speak best when they are lit dramatically. I had some buttons that were threaded with a nut at the back so that they could screw into a hole, so I drilled some holes in my boxes (really carefully as the models were already glued down!), and wired some LEDs in. The battery packs and light bulbs will be hidden by a frame around the sides of the box, that also serves the purpose of hiding the scenes within, unless you are looking into them.
I wasn’t sure how these boxes were going to turn out, but I’m fairly happy with how they look. I like the fact that they were 3D, then they were 2D, and now they’re almost 3D again.
This one is for the ANGER layer. It’s supposed to represent the gate to Dis, the inner circle of hell, where the active sins are separated from the passive sins. In the poem, the souls fight each other in the swampy water of the river. I’ve instead pictured them reaching out of the mud, as if they’ve been sucked down, to represent the superego reaching for something more moral than the Id (the mud represents the id, as it it base, and dirty and of the earth). The door to the City of Dis is slightly ajar, to carry on the feeling of the viewer travelling through the boxes, and to add intrigue.
This is the box for ENTRANCE, the first box that you see. The camera gave some glare off the paper, it’s not really that shiny. The three animals are the three main components of the id, lust, violence,and hunger; the leopard, lioness, and wolf respectively. I tried to make the leopard look a bit slinky, and less scary than the others. The lioness has scratches as if she’s been fighting, and a claw up and the wolf has a visible ribcage.
Virgil is there beckoning the viewer into the gate, another way of connecting the boxes together.
This is the last week that we have for finishing work. And it’s been such a hassle. It’s been really stressful and I’ve been feeling as if my work is not of good enough quality to display.
I spent a lot of my time trying to figure out laser cutting the boxes so that an iPad would fit in there, and they would still be a good size for the models. I made them with finger joints that I’m quite proud I managed to figure out on Indesign.
These are some pictures of the boxes as they were a few days ago. The black boxes are for the iPads. They have holes in the side for the wires, and I will make some frames to cover up the sides of the iPads. I’m hoping that the colours are going to all work together.
This is the animation I made for the part of the story where Dante and Virgil travel across the River Styx, and into hell.
I’ve tried again to subtly incorporate the shape of neutrons, hopefully along with the water, it looks a bit like he’s travelling through a brain. I didn’t include Dante in this scene, even though he is present in the boat. I wanted the viewer to feel like they were Dante. Dante very much takes on the role of spectator and judge in the poem, and I want the viewer to feel the same.
The lantern is also present because it hopefully it helps to paint the picture of the superego as a kind of moral force, trying to control the less moral urges of the subconscious.
This part of the story is really about delving into a journey.
This gif is to represent the FRAUD level of hell in Dante’s Inferno. I think I might redo it. I do like the set, and how the feet are moving, but I also think that it could be a little better. If I get time to re do it, I would change the lighting, how Bertrand is holding the head, the mud around the feet, and the stance of the body.
The man holding his own head is called Bertran de Born in the poem. Bertran is singled out by Dante as having a punishment that particularly mirrors the sin. He caused a rift between the King and his son, and as that relationship was divided, so now is he. This goes back to the cautionary tales that I looked at in the first and second term, and also speaks of how the subconscious is also split.
Again, feet, hands, and head are key to this image, but also cut off. They seem to be swallowed by the scenery. Submerged, fighting against the id.
This was my plan for how I wanted the box to look. I drew a neat image instead of the usual scruffy sketch, so that Nigel from wood work could help me cut the wood, and actually understand what I was talking about!
I also sketched out plans of all the individual pieces I needed, and the dimensions and all bits that are cut for the half lap joints. (Excuse the strand of hair that fell into the frame when I was taking the picture)
And this is the finished box! I couldn’t take any photos while I was making it because the camera on my phone is broken, but I can promise I did everything apart from the cutting! Even the drilling and nailing, I was very proud of myself. It says Ross on the bottom because Ross ordered it the wood on the phone for me, so when it came it had his name on it.
And these are my wonderful cams! One of them is unfortunately too big (because I fucked up the box, and didn’t leave quite enough room in the bottom), but I think the rest of them will be fine. I’ll fix the other one next week I think
I spent a long time thinking about these animals. About how they looked last time, what I wished I had dome differently, what they were supposed to represent, and lastly, how I was going to make them movable. Firstly, they are supposed to represent violence, hunger and lust, and last time I didn’t think they really worked as that. So this time, I tried to make the leopard more flesh toned, and the tail is going to be waving around in a kind of slinky way hopefully. I made the tail more movable by making it out of sections of plasticine on a thread. This seemed to work really well.
Last time, I thought that the lioness should have some scars on her to make her look like she’d been in fights, seeings as she represents violence. I also made her front paw movable so that she could claw at things.
I’ve changed the wolf the most. It no longer has fur on, because I think it makes them all look a bit more uniform. I also made it skinnier, and the jaw able to move, as the mouth is associated with hunger obviously. It seemed like the right thing to move to represent hunger. Let’s hope this works!
I’ve tried to encompass some of the greed and temptation that the story of Adam and Eve warns about. I originally made heads for the snakes, that I was planning on showing, but I thought, looking back at my past illustrations, and tutorials, often by not showing the face, you make the image more ominous and creepy.
I wanted to include multiple textures, but also make them very distinct. For the fruit, I used glue over plasticine. The bubbles were an accident but a happy one.
I’m really happy with a lot of these. I think struggling with the animation really helped me focus on the things I wanted to say, and how I wanted it to look. I think I want to think more about colour in my animations, because I think a lot about colour in my 2D work, and less in my 3D work.
I also want to think about the shape of the frame, like i have done here.
I think that these illustrations, while I’ve been looking mostly at greek mythology, also lend themselves to the christian story of Adam and Eve, and the forbidden fruit. Really, that story sums up my ideas about gluttony and consumption.
While the last story I looked at, I really wanted to focus on the cyclical nature of greed, and blame, this time I’ve found I’ve focused more on the all consuming greed, with the water swallowing them up and the falling. I think this might be an interesting path to follow.