Proposal Questions

What was your subject research at Level 4?

At Level 4 my subject of research was on The Auteur theory. My conclusion was that the Auteur theory is a very romantic notion which may inspire some, but the final definition lies with the British Film institute, the term has a specific cultural and political history, beginning with the politique des auteurs, a manifesto drafted in the 1950s by a group of French film directors and critics who celebrated the role of the director as the 'author' of a film, particularly in the then 'Hollywood studio system'. (BFI, Glossary) These days the Hollywood Studio system isn’t as fundamental to cinemas as it was, today there are many more independent films accessible to a wider public. Auteur filmmaking isn’t just about meeting the criteria defined by Sarris. If a film doesn’t have the technical competence, a signature imprint for audiences to remember, or interior meaning that the audience can relate to in theory it may not be a classical masterpiece remembered in history. Wes Anderson does not need to be classed as an auteur, film makers can just be artists in their own right, his films have the aesthetics, technical ability and leave the audience in awe. Therefore the label is irrelevant. Although the term is used regularly in the industry it remains irrelevant in comparison to being labelled a master. In the end that’s all that matters, one aim’s to be a master not an auteur.

What was your subject research at Level 5?

At Level 5 my subject of research was how animation has developed as a craft, through the fusion of the haptic of traditional techniques and the digital age. I came to the conclusion that it is drawn to be believed that all are crafts, if a person is passionate about drawing, and produces drawn illustrations that is their craft, thus, for animation the same would apply. More often than not the skills intertwine, stop motion films like The Boxtrolls, require the collaboration of many craftsmen; artists who paint and draw in their own right, puppet makers, set designers and animators. Collectively these would still be considered a craft. Furthermore in summary to this essay, collaboration acts a key theme. Focus has not been on those films that have been purely made by traditional techniques or those that have purely been made by CG techniques, the focus is the intertwining and coming together of skills to create something innovative. Because in this modern age there aren’t many films that are created with the sole use of one craft yet all individual roles and techniques are relevant in some way but it is there intertwining that is seen more frequently. Glen Keane is an american animator born in 1954, he has seen technology develop and the industry evolve, who better to quote in conclusion: ‘ I feel whenever technology crosses my path it forces me to become a better artist. What I didn’t what to do is just give up my pencil... I don’t believe that hand drawn animation is over, I feel that with technology it has now been liberated to become much more expressive.’ (Keane, G. 2015) Those who have succeeded have embraced this philosophy with hybrid processes, by making labour intensive traditional techniques, speeding up the process to be affordably slow with crafted results. This development is a constant learning curve in the industry and the hybridity of the processes allows for thousands of combinations to come in the future as the digital age progresses.

What research needs to be undertaken into the general and specific contexts of your practice?

I have decided to continue and develop the research I have already undertaken, instead I would like to return to my roots of painting and develop a keen understanding of matte painting. Preferably in a non photo realistic way but I am willing to try it especially when trying out digital matte painting, although I am more keen to stick to oil on glass. In context I will need to research the history of matte painting and specifically the traditional techniques of film processing compare this to the digital techniques and with my creative practice find a way to combine the two to embrace the best of both practices. I would also like to spend some time researching more into the technical side of painting, including, light, pigment, colour theory, and drawing the eye into a focal point, to apply this into the matte paintings and draw attention to the live action of the piece. I would also like to use my contacts in Australia and include a primary source interview on a current matte painter who still uses traditional techniques I would also like to approach other matte painters in industry to get there input on the technique as it is such a niche part of the film and entertainment industry.

What approaches will you take and what processes, methods, materials and tools are to be involved in research into your practice?

• Oil on Glass matte painting
• Acrylic on Canvas matte Painting for a city scape maybe?
• Digital matte painting, not composition though I don’t want to get carried away because I think it could be confused with concept art
• Live action footage to show it’s a matte painting or can I just think about this?
• Light boxes to present the oil on glass matte paintings?
• Photographic Research
• Editing tools like AE and Premier Pro to composite final piece
• Drawing for initial ideas etc

What preparation or investigation do you need to undertake for your creative practice to take place?

So to get started on my creative practice, I would first like to research into the technical aspect of painting so I can apply this to the work. I will also need to find some toughened glass panels, I also need to decide on what they are going to be a part of, if it will be a narrative, what story would be told, I also need to do rough drawings of whatever they are going to be. I also want to explore digital matte painting and this might involve learning new software including Nuke and 3DMaxs. I think it’s going to be really difficult to not get carried away with special effects, because I’d really like to try animated smoking chimneys or something in the matte painting or moving clouds. I think this would work best with the clouds being digital onto of a traditional matte painting. I also really want to try a bit a of oil on glass animation as part of PPP but inspired by this COP study and I think this will be challenging as I don’t want to be swayed off by it.

What research do you need to take regarding on who your creativity is for?

Ultimately my creative practice isn’t for anyone other than for myself and my portfolio. So it would be good to get advice of current matte painters from my mini interviews, and also get advice on turn the oil on glass paintings into light boxes to present in a professional manner.

Perceived problems or difficulties.

The biggest problem I am having is that I do not know how to go about the creative side of work, because I don’t know what subject to do matte paintings on, also should there be a narrative? I have no idea where to begin with this task. Starting is always difficult. I also do not want to make the task too ambitious because I know painting is a slow process but I don’t want to have to little work for the end of the module.

Primary sources of information.

I have a contact in Australia called Xin Li, who although he specialises in Oil on Glass animation but he has also worked on matte paintings in the past so I plan to utilise this connection. I have also already done some research into the industry and current practitioners, including Robb Crabbe, David Edwards and Frank Ozra which I shall also email to see if I can get there voice on the subject.

Secondary Sources

See Bibliography Slide from Presentation.