0TASK 2 - Initial Project

Proposal Form

Launched: Week commencing 6

Feb

Review Date: Week

commencing 20 Feb

Task 2: Initial Proposal Form

To pass module 2, you must initiate a project based on the acquisition activities that tutors set at the
start of the module. To help you begin to identify your ambitions for this term, you will need to complete
this initial proposal form. This proposal form helps you to identify the themes, processes and mediums
that are inspiring for you and your development of a creative identity.

There is scope to refine this proposal at a later stage and your personal tutor will give you guidance.
However, to begin, it is important to engage with the prompts in this initial proposal and provide a
personal response to the questions. If you are finding a particular question difficult, it maybe because you
have not engaged fully with the project work on the module so far, or done enough reflection about your
own areas of interest.

At the mid module review point, you will share your proposal intention alongside your evolving work on
the Weebly site. The proposal form is a key tool in all project advice sessions or tutorials so spend time
working on this initial proposal to get the most opportunity for feedback.

Name Luke Fisher

Programme of study Illustration

What group are you in? B

1. Reflect on the studio work you’ve done so far on the module and consider the emerging
themes, concepts and questions.

What ideas or themes are starting to emerge from the acquisition tasks? What do you hope to
explore/communicate?

Please use this section to talk about the meaning of this project for you at this stage – what
themes or ideas are beginning to emerge?

• Initially I had the notion of creating some sort of narrative comic in the form of a hardback
book, from starting out on the book project.
• However, after the ‘film’ acquisition task, I had a change of thought. I wanted to focus on
the themes or ideas of surrealism and phantasmagoria, juxtaposing them with extreme
emotions in moving image.
• Since my tutorial, I’ve received guidance to get out of my mind palace and throw myself
into a project which is out of my comfort zone. In that case, I’m going to be working with
my own audio and moving image for the first time outside of experimentation, as well as
implementing live-action elements.
• I want my moving image to be a hybrid of live-action and hand drawn animatic.
 • Key words – surreal, oneiric, rainfall, creepy, anxiety, distortion, action

2. How will you research this theme/concept?

Reflect on what do you already know about your emerging theme or concept. How can you
deepen this existing understanding? Are there specific books and interviews, film and exhibitions
that will broaden your understanding? Is there is a contemporary and historical context that
surrounds your theme/concept? Are there suggestions made by your tutors and peers that you
can follow up?

Consider how you can build your understanding further by becoming more informed of your
theme/ concept.

• From my tutorial, I was advised to focus on a short narrative with characters in implied
relationships.
• I was recommended to research ‘BelleVille Rendez-vous’, an animated film released in
2003, as well as my friend recommending a 1989 film ‘Tetsuo the Iron Man’.
• I also aim to research aspects of silent films, particularly their use of no audible dialogue
with their cuts.
• From some initial research, the cinematographic technique is known as ‘intertitles’ – I am
particularly fond of their fast editing.
• I also need to research audio in moving image to create a specific emotion in my
audience, so I can attempt to manipulate how people feel when watching it.
• Perhaps in this mixture of audio manipulation and implied character relationships I can
establish a more ‘avant-garde’ feel to my moving image (or perhaps it just becomes rather
pretentious, so I need to tread with caution).

3. From a studio perspective, what materials or processes do you need to source, arrange or
learn to create a wider body of work and exploration?
Alongside identifying the wider themes and questions of your work, consider what materials you
might need to source, digital tools or resources to arrange and learn? Be realistic and reflect on
your time management and organisational skills from this module.

Moving forward, how can you create ways to better organise your workload and time
management to fulfil your potential?

• In terms of workload, the initial storyboard will take me a couple hours to construct, since
I’ve already mapped most of it out in my head.
• The live-action parts will be determined on the weather – specifically, I need it to rain. If
there’s no opportunity to capture a video of rainfall, then I’ll edit it in using a green screen
template from the internet.
• The hand-drawn aspects will be the most time consuming parts, however, considering the
tendency of this project, I’ll be producing them digitally using pencil-like brushes so that it
purposely looks loose and scratchy. That way, the animatic won’t take as long as inked,
refined work. I have every faith that I can get this done in time.
• The audio aspect will take me a couple of hours to construct, as I’ve been playing around
with making music through samples on the internet recently in my spare time. They will
be based on two short scenes, and so I’ve chosen to focus on a “fight or flight” scenario
with music.
• The editing will be meticulous, however, I know how to use Adobe Premier from class
experimentation. In that regard, it won’t be so difficult to match the audio with the cuts.

4. How would you like your work to be received? Is there a specific context that you would like
your work to be seen e.g. a magazine, online, gallery or community space? Describe the impact
that you would like your work to have on your audience.

• I would ideally like my work to be received through online means, as a video/moving

image.
• Since I am aiming to get a little bit pretentious with the film, perhaps this would have a
lasting effect on a big screen.
• I’m aiming to try and make my audience feel a specific set of emotions associated with
anxiety, hence the focus on “fight or flight”.
 5. How will you develop this proposal?

We fully anticipate that this proposal will change as you move through the module, and we expect
you to develop a second draft after the mid module review point. Coming back and amending a
project brief is vital in this stage in your learning – as it allows you to manage your expectations
and ambition at the half way point.

Why might you need to revisit your initial concept? How will you know when things are going
well? How will you plan for when you get stuck or for when things get difficult?

• I’ll need to visit my initial concept if my workload has become too ambitious. On the other
hand, I’m very sure that I can produce this film in the timescale that I have.
• I’ll know when things are going well when the storyboard aligns with the music. That way,
I can show this to family and friends to ask what initial emotions both of the mediums
produced in them.
• If things get too difficult, I can always do one half of the film and still edit it to make it
make sense. Although this is an option, I’ll be using this as a last resort as an auteur.
• If this project fails to a degree, I’ll know what I found most difficult for next time and work
on my organisation as a creative practitioner to try again.