It’s good to be back on the course though to be honest, I feel I never left. Just needed some time to fill in the gaps that I couldn’t achieve while working during Year One. Anyway, there has been quite a lot of considerable development in the past few months. Talking to people has helped and as a result, for the first time in ages, I feel I’m making some inroads. A bit like joining and erasing the dots or processing by elimination. The material is almost assembled the material and now is the most challenging task, putting everything together.
Earlier this month I became acquainted to all the second year students, other than Sarah (we both took a year out) I’m glad she’s on Year Two with me, but more importantly, she’s well now, a tough cookie! Art wise, there’s a quite an eclectic mix of artists and styles in Year Two. A few weeks ago on Skype, we were required to present some of our recent work. I enjoyed the session very much, engaging critiques from everyone. Here’s what I had to say when presenting my work.
Skype Session: September, 22nd 2016
My current project relates to my RP, which investigates persuasive narratives, particularly ones used in public information film (p.s.a./infomercials) form. As a narrative to explore, I’ve been researching the act of reading, its origins and how technology is now changing the shape in which we process information or to put it another way, how technology is increasingly affecting our ability to concentration for long periods of time. The concept came about when my daughter (Moe) told me about her English class teacher who was giving strategies for reading resilience in class at the start of the term. One afternoon I filmed Moe doing her homework. (the irony here being I’m distracting her at the time!)
Using the footage, it’s transformed with painterly characteristics; loosely rotoscoped. The image where her face zooms is completely rotocoped. The distortion and fragmentation implying that break in concentration. No sound is required:
A few comments from the panel including Jonathan:
David (x2): I like the way it progresses from one of boredom to abstraction… conveys the emotions really we… How long does it take you to make it?
Jonathan (x5): are we seeing any reading resilience techniques being used by your daughter? for example is the fiddling with the pencil important?
so Jason just to jump back – are you saying that you will add voice overs to your work?
Jason, it is definitely worth thinking carefully about a voice over, it is a crucial part of the public information film aesthetic and would add an extra whole layer to your work – yes a lot of considerations but could be vital
Jason maybe there is a way to remix some old voices, almost a kind of audio rotoscoping?
usually they were quite famous actors with dramatic voices and delivery – could be interesting to experiment with remixing some and interweaving some together?
Patrick (x2): if you did have sound, maybe a very subtle series of hums and haws or exhalations it might have made it too comical, hard to know
Rotoscoping is meant to be quite problematic sometimes, does it present problems?
Sarah R (x3): Wow Jason! This is great. I love the way it gradually becomes more and more abstract and fragmented. The stark colour too. I almost become frustrated for her- this bold busy-ness amongst her concentration.
It would be interesting to bring the chaos into concentration- so playing it backwards almost
I can see that you love what you do. Especially with how long it takes with the rotoscope
Bianca (x2): very nice!
Which technique did you use to do the drawing on top?
To answer David, Sarah and Bianca’s questions about the drawing process and the length of time involved drawing with a little more clarity, well, first each frame is outlined using a soft brush. Then, I colour and fill. At this point I’m starting to consider ideas for composition. After that, using an online photo editor, I render the frame, again making a note of the effects in the order I use and layer it. Sometimes the frame requires two edits if I’m not pleased with the initial edit. The drawing, colouring and editing time is quite varied due to the complexity of the frame. When I’m not working, I try to work to six-eight frames during the morning. In the afternoon, I will colour. I will do the same process the next day. On the third day I will edit the 12 frames. I usually work to 12 frames per second. So, every three days takes around one second. If I have a very good week, I might have completed three seconds. Below are some selected frames to show you when each frame is at a particular stage during the drawing, colouring and editing process:
Frame 58 (outline)
Frame 58 (coloured)
Frame 58 (edited)
Frame 174 (outline)
Frame 174 (coloured)
Frame 174 (1st edit)
Frame 174 (2nd edit)