In the project based on the script A Streetcar Named Desire I focused on personifying everyday objects into the characters of the story. I explored channelling each of their personalities into relative objects. For example using the visual of a ring for the woman and becoming more tarnished as the story progresses. The glove as the man to resemble power and control. This way of showing characters other than in a human form taught me  how there can be many ways to illustrate a passage outside of the box and can also give more context and expand your imagination when ideas can sometimes become limited. Although I haven’t really ventured into this type of style before I think it worked effectivly but now know that I can experiment further with all kinds of image from a more abstract angle. I also experimented using different media and found ink drawing with a blunt stick worked well for me, the continous sketch style allows ideas to flow and not everything has to be perfect.

Working in a group for the Metamorphosis brief allowed us to bring together many different styles and ideas. Our development stage progressed very effectively when combining a mixture of ideas and working with a compromise sometimes can be good for the individual leading to trying new media and exploring alternate aspects of illustration they potentially wouldn’t have done on their own. We looked at many different illustrators for inspiration and my favourite being Karen Walker a cut out silhouette artist. Using dashes of colour from sweet wrappers added in a element of texture and a layering style. We considered many different approaches in how to represent  the main character that transforms in to  a sort of beatle form.



I think the performance ran pretty smoothly throughout, obviously a few hiccups but with more practise runs I think this couldve been corrected. But overall it came out very effectively and we were all pleased of our outcome as a group.


img_2426We first led out all the separate pieces of the set to see how it would fit together before finally putting it on the screen and it being ready to take over into the AV studio. We also added sticks on to all of our puppets so we could hold and manipulate them during the performance.

After putting all the outer scenes, frame, title and layered buildings we added in the middle set of the Samsa’s flat, originally  we were going to take it up and down during the performance to signify different room but found though practise that it wasn’t practical and took to long when changing scenes so decided on keeping the same set up through but showing both rooms and adding the stairs and door as part of the rooms instead of individual scenes of their own. We made a shortened script with directions and timings on for us all to follow throughout the performance which made things a lot easier.img_2417img_2440img_2442After deciding on which roles everyone would take on with the puppets we did a couple of practise runs to make sure everything worked well with the audio and lights to ensure it looked as effective as possible.img_2498


IMG_2534.JPGQuick sketch of the set layout, we discussed who should create what parts and how to create the feel that the set was within a city. We thought about layering and having pieces at different depths to make it come to life. In the book the Samsa’s house is described more of an apartment so thought it would be good to include other flats around the performance area. Using the same style as how we created the puppets we continued this  into the flat design however making each one slightly different. This is an example of one of sets.


Displaying IMG_2378.JPGFrom looking at Kara Walkers work we created lots of different styles of characters and decorative scenery, above are some of our final designs in a collective. Most are in proportion to each other and of a similar style. Before making these we put together a condensed script version of the Kakfa’s Metamorphosis so it would be easier to convert in to separate scenes. We wanted to simplify it and ended up changing the ending slighty to leave it on a cliff hanger and have the story more light hearted as rather in the book it ends with Gregors death. We decided to keep Gregor Samsa as the beetle figure and made our own image of him in different sizes and angles. For the sister we are going to show her growing through out the scenes to give a sense of time passing.

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Walker illustrates and explores the ideas of and around race, gender, sexuality, violence and identity – which parts can be relatable to the subject of metamorphosis in expressing the identity of Gregor Samsa. This is one of my favourite illustrations of Walkers in her Southern Discomfort series. The use of the large black paper cut outs to create the silhouettes are in a style that I particularly like and could use similarly in my own work. I think perhaps I would like to add extra details and colour to come through in refined areas. I think the addition of a few limited colours in the shadows could add a stronger sense of mood and emotions whether it be in relation to the characters and/or scenery/background. Although Walkers work is all very in proportion and in relation to the layout I think it would be interesting to look at changing those things, have items and specific characters much larger or smaller than the others to create a comical effect. I think this would work well in relation to show power and weakness. For example when Gregors father throws the apple and it is lodged in his back to have him shrinking smaller and smaller in each scene as he gets weaker and ashamed. Walkers use of limited frame works effectively with it just appearing in some corners and makes you think there is literally something outside the box although the main focus still remains with the centre characters. We could use this kind of framing in our production to show the flat scenes with other rooms on the edge to make it less isolated and give the audience a visual of the background and setting. Using layering would work well here with multiple buildings and landscapes to identify with being in a city scene.

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Creating a shadow puppet production based on Kafka’s novel Metamorphosis; the basic outline of the story begins with Gregor Samsa, a travelling salesman, waking up in his home, where he lives with his parents and sister, to discover he’s transformed into some kind of bug. When discussing this idea I thought about the physical references describing him to have a  deeper meaning, it never for definite confirms that he’s changed into a beetle and so it could be seen as a personification of some sort of disease or illness, I thought about how it could represent perhaps depression or Alzheimer’s stuck in a foreign body, losing the sense of who he once was. In regards to family and other characters in the story they all seem to find Gregors new state a very taboo subject which would be interesting to show their expressions and body language towards him through the silhouettes……………….1.jpg