betrayal edit

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;

gluttony edit

New STYX gif

edited styx.gif

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 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.

Gifs for HERETICS and LUST


I’ve finally gotten started making things to go into the boxes. I’m going to make the gifs first, because I’m worried about them the most time-wise. Here I’ve got the gifs for HERETICS and LUST.

For the HERETICS level of hell, Dante and Virgil come across fiery graves that the heretics emerge from and tell them their stories. When I looked up past depictions of this scene they seemed more like crypts that graves, and I decided to show them how I imagine classic gothic graves. I’ve also just included hands because I wanted to have the feeling of hidden things emerging through all of the images. Also the white hands reaching upwards out of the dirt are meant to symbolise the Superego reaching to overcome the Id. For me, hands, feet, and heads are of the superego, and the body is of the Id, because hands and feet and mind are a kind of symbol of our intelligence and separation from animal, whereas the rest of us holds the heart and stomach and reproductive organs that operate on the level of the subconscious.

You wouldn’t think that the second one would symbolise LUST, but I thought about how I wanted to portray it, and I decided on this. I hate that lust is always represented by a seductive woman all in red, why not a lecherous old man? And I didn’t want to represent the act of lust anyway, I wanted to represent the punishment that would fit it according to Dante. Dante describes for this level of hell, a hurricane of souls, and that is what I’ve tried to show. I think a hurricane of souls well represents the feeling of lust, as consciousness is swept aside for the desire of the Id.


So this week has been pretty dedicated to doing the porcelain and paper mache, I’ve also made a little boat for dante and virgil to stand in. It all seems like it’s going well so far, however, for some reason my porcelain didn’t get fired on Monday, so they’ll all just have to be in the same one next Monday. I’m struggling with ideas about how to make the backgrounds see through.

This is the boat, all painted up with watercolours, and also a box of lights and wires that my parents sent me. They’ve been explaining how I should wire all my LEDs and all about resisters and batteries and soldering.

Screenshot 2016-02-19 16.52.37

They also made me this handy diagram!

Here we gooooo…

So this week the process has started. I had 9 weeks as of today to build 9 boxes with working lights. I’ve spent the morning planning out exactly what I’m going to do each day (then Amelia came in immediately afterwards and told us about several all day workshops we have).


It shouldn’t be too much of problem, because I’m left a whole week for catching up on anything I’ve missed. And I’ve realised I’ve left a lot of time for paper macheing when I only have two boxes that really need it.

But then again, some things might take ages when I think they might only need a day (I’m looking at you lights and wiring). I don’t think it’ll be a disaster if I don’t get it all done in the time I’ve planned. I’ve only given myself 3 weeks to do 4 boxes. Then I want the next week to be making the next 5 wooden boxes. And then I’ll have 5 weeks to make the last 5 interiors. I’m pretty confident in my time scale at the moment. I’ll figure out the schedule and deadlines for the next five boxes when I’m little less bogged down with these. I think they’ll be fine too though, because I am going to be doing the time consuming things, like the porcelain and the wood at the same time I’m doing the things for the current boxes.

FYI, I’m making boxes 2, 4, 6, and 8 now and 1, 3, 5, 7, and 9 later. Chosen to do it this way round, because at least then I’ll have a range of scenes rather than a chunk.


This is the first layer of paper mache on Box 6. I’m doing it in paper mache rather than my usual expanding foam because I think it’ll be easier to cut out sections to fit wires into and under. I’m happy with how it’s looking at the moment, although I think it will look a lot better with a few more layers! Hopefully will do that later this afternoon and tomorrow.

Gate Image

So I have done the second image that I wanted to do regarding Dante’s Inferno. I have illustrated here the gate into hell that Dante and Virgil encounter. When I first thought about how I wanted it to look, I imagined a proper upright gate, but on further thought about what I wanted it to symbolise, I decided to have the gate horizontally on the ground.

I did this because I wanted the story to have an underlying theme of regression and reverting back to nature and the unconscious. I wanted the gate to have a sort of vaginal look, and thought that the hole in the ground, with the fiery light escaping from it would give that kind of theme. I also added some globular drips of clear glue around the outside to give a kind of moist, organic feel to the hole, but they didn’t reflect the light as I’d have hoped and you can’t really see them as much as I’d planned.

I also like that the rocks look a little bit like brains? Because this entry into the subconscious should physically reflect the themes.

Snakey Models

curled round bushes close up

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.