BACKGROUND
They say seeing is believing. But is it?
The interplay between understanding the real and imagining the utopic interests me.
To see the limitations of reality one must first desire for an ideal and both simultaneously play a large role in everything that has been a foundation for my work. Man, the space between two completes, that of complete feeling (the animal) and complete seeing (or knowing) (god?) - is lost in a world of forms. Sometimes when i touch an object as if i had forgotten everything i knew,i realise the human layers of sight (language/clothing/perception/learning) that ever exist between us and a thing.
As an artist, I have continuously dwelt on the distinguishing line between feeling (the complete emilination of sight) and seeing (man's reflective ability). Through my work, I continuously aim to separate the two as far from the other as possible – for both are meant to be differenciated yet complimentary to me- By understanding one better, i can eliminate the same from the other, eventually- and come closer to understanding my own self.
We, I consider, are living a ‘Dystopia’. Or that inevitable and natural way of being, which I see as what man can only be subject to by virtue of being something that is condemned to be "in-between". I want to convey the inescapable greyness of this space, with my ideas of a converse ‘ideal’, exaggerated into attempted fiction, in an interesting, very simple and metaphorised visual-narrative form.
BRIEF
To create a short graphic book (written and illustrated) which interprets the simple ideas on what is utopic through the creation of a narrative representing (what I would call for the purpose of this proposal) dystopic, in a communicable structure.
STRUCTURE/PLOT
The structure of the narrative deals with smaller chapters within the whole, which can independently connect to the larger idea, and follow a chronological continuity.
Given the nature of my ideas, I would like to go beyond the conventional narrative form in my explorations and experimentation as I decide on the final form of my graphic novel; yet attempt concentration on structural factors such as the identification of characters, the binding visual metaphors, and a clear pattern for storyline that is characterized by its constant and high points.
WHY THE CHOSEN AREA
The reason for taking upon this project lies in it being a continuing expansion of ideas which I wish to attempt giving a communicable form to, as much as in wanting to explore the learning applications a process of this nature can highlight specifically.
Although a first, it seems the most appropriate meeting point for my conceptual area of interest,my wish to illustrate, and in testing my areas of weakness.
the personal intention of this project is an enquiry into form when feeling is separated from seeing.
WHY THE CHOSEN MEDIUM
I am interested in the medium of visual narration,in exploring the balance between form and content.
To me the graphic novel is a very appropriate platter to express my ideas, go beyond
individualisation of form, and enquire subsequently into that balance within me between personal illustration and communicative narration.
CENTRAL INTENTION: area of contribution
The intention of this project lies in a contribution to the field of visual narration, and not the particular areas of concept as its worded. I would like to intend the concept to act as simply a narrative, although one that is volumed by research. These ideas might not create any complete framework towards any larger question for my research is not geared towards calling my narrative concepts objective ideas- they intent to be just a (complete/incomplete) personal view expressed in a communicable visual form.
I would also like to specify, that my ideas for the narrative are limited to my capacity of simple understanding, here, linked together in a fictional form.
PROCESS/APPROACH
The process involves first translating ideas by making the needed interconnections and identification of patterns tempered through research, weaving them into a narrative structure that can communicate them interestingly; giving them a visual form; and finally binding these together most effectively.
· Research and study – towards the development and voluming of concept
· Conceptualization –
ideation, identification of patterns, interconnections , visual as well as literary
translation of ideas into an interesting, connective and relevant structure of
storytelling.
· Structuring a narrative –
Translating ideas that emerge from research and conceptualization together into a narrative form – giving concepts an appropriate structure, looking at fulfillment of impact, clarity in characters, and overall connectivity.
· visual form– through a study on visual narrative styles, deducing the most appropriate visual style that aids my content as well as expression in the given medium, and not necessarily that which works as an inherent style of isolated illustration
· execution – inking
· Final output: Compilation of ideas through a visual and text interplay towards the appropriate look and feel of the whole – application of the various dimensions of graphic design
· Documentation of process
USE OF RESEARCH
· CONTENT or CONCEPTUALISATION
1. Periphery ideas (indirectly aiding the central ideas)
2. internal ideas (elaboration and study, exploring the visual metaphors i am using)
· VISUAL FORM
· STUDY ON MEDIUM : similar works, and existing image and text structures the medium utilizes
ELABORATION:
· CONTENT or CONCEPTUALISATION
1. Study of the periphery ideas-
More than for any certain direct or indirect application of these, these were relevant so as to be able to define my concept better through elimination, and help me with a better understanding of my own narrative.
reading:
· ‘An idealist view of life’ by Radhakrishnan, and ‘Utopia’ by Thomas More
(To generate an understanding of the various possible perspectives
of a created ‘perfection’,to measure my own space)
· Fables of Aesop (compilation by penguin), editor : E. V. Rieu
(as a study in the metaphorisation of concepts)
.
2. Internal research on concepts and observed ideas:
Studying my ideas better so as to understand a universal view to it or elaborate upon them.
This would include a research on chosen metaphors for representation, important in the
transition from content towards visual form.
3. Study and exploration of narrative structures:
Understanding the various narrative structures for effective communication.
Balancing the chosen mode of conversation with the communicability of a structure more than another.
· VISUAL FORM
Experimenting with the use of graphics to communicate most effectively within the medium, which considers the larger overview of the feel of the book on the whole.
· THE CHOSEN MEDIUM
Familiarity with the medium of the graphic novel, similar works in terms of either the larger idea or the chosen conversational style and narrative strcture.
Examples of (larger scale) Graphic novels on similar larger idea:
V for vendetta by Alan Moore
Montauk babies by O.H. Krill (a futuristic setting)
Nothing Left To Lose - Josh Farkas (online novel)
INTENDED LEARNING OUTCOMES
· The ability to take smaller ideas, develop upon them through research, and weave them into a narrative structure that translates their original form into an interesting, connective and relevant mode of representation.
· Evolving a practice in effective and suitable narrative structuring – given a larger length of narrative than attempted before, and in balancing the chosen mode of conversation with the applied communicability of a structure.
· An ability to aid conceptualization with appropriate research within the same space to expand upon ideas.
· Visual narration: translation of ideas into decisive visual equivalents for each stage, and their representation in a chosen graphic style which considers the whole.
· Achieving a balance of this binding process of ideation, text and visuals by experimenting with the conveyed mood/feel of the book.
· Allowing myself to rely upon the emergent results of the process at each stage, without loss in focus of the larger aim; besides a practice for me in the ability to mark ends within what is a means – i.e. in practicing a finality I feel the need to confer to.
· most importantly an enquiry into form when the intention varies from
personal expression to conceptual communication.
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