ONCE UPON A TIME: EDWARD KITSIS AND ADAM HORROWTIZ

EDWARD KITSIS AND ADAM HORROWITZ CREATORS OF ABC'S 'ONCE UPON A TIME' 

'ONCE UPON A TIME' is a new series that has started in America that deals with fairy tales or 'cautionary tales' in the 'real world'. It takes artistic licence with the well known stories and plays with their moral codes turning them into one big interlinking story. These stories were meant to be 'cautionary' and this programme reminds us that what we have seen in 'Disney' is a far 'fluffier' version of the truth. These stories ARE NOT pink and fluffy....snow white it poisoned and put on show in a glass coffin, a beauty falls in love with a hideous beast, Cinderella is bullied and mistreated by her family and Rumpelstiltskin is a baby-stealing maniac! See...this is not normal!

Trailer: this pretty much sums it up. I plan on drawing some stills from this so I can build up a catalogue of ideas and images relating to costume, character, scenery and set. 

SKIN DEEP: my favourite episode so far. I have always been fascinated by the concept of 'beauty and the beast'. There has been so much concept art done over the years but I believe we can still push the boundaries with the idea of what 'is beauty' and 'who is the beast.' Once Upon A Time has taken a whole new outlook on by making the beast and Rumpelstiltskin the same character this so I have done some concept art of my own. Please see below this video.

Edward Kitsis and Adam Horowitz (Once's creators) seem to take a very similar outlook on Fairy Tales. I take a lot of ideas and inspiration from this show for that reason, it helps me to channel what I already know my objectives are. 

My Version of Beauty and the Beast. Inspired by the Gothic with a sinister twist. This is the first time I have properly used ink to create a whole picture and I am pleased with the atmosphere it creates.  Below is clips of the modern version of 'Belle and the Beast' From OUAT. It shows how an artist can exploit stereotypes and despite History still be valid as the same characters. 

    

Beauty and the Beast is my favourite story because there are so many underlying concepts. The 'skin deep' theory is by far my favourite idea out there and always inspires my work. The idea of 'vanity' is there in lots of fairy tales-snow white/sleeping beauty/ snow white and rose red/ Thumbelina.

Two takes of the famous scene from Snow White.One which occurs in the 'fairy tale world' and one which occurs in real life or 'Storybrooke.' The contrast is interesting because it shows how ideals have changed. Roles have reversed and I love how they completely de-glamourise the real world perspective. 

Here is the beginning of a story-board based on the episode 'Skin Deep' (Beauty and the Beast) I hope to continue it as the project progresses.

CAUTIONARY TALES: Calvert and Granger, Gainsborough's 'fairy-tale' couple...who never had a happy ending!

'The Man in Grey 1943' At the end his ship sails away and we never see him again. In these films we see an influence from the fairy-tales, especially in costume, it is not quite period and not quite imaginary, it seems artistic licence was taken. 

'Fanny By Gaslight 1945' has an ambiguous ending. We have the usual battle between good and bad, dramatic build up towards what we think will be a 'fairy-tale' ending but then the lead is shot and we don't know if he lives or dies.

THE FAIRY TALE CUPBOARD-FAIRY TALES IN THE REAL WORLD!

http://thefairytalecupboard.blogspot.com/

Firstly, the above is a link to a blog I love called 'The Fairy Tale Cupboard.' Fairy-tales are my 1 MAIN inspiration as an illustrator and my dream is to one day be illustrating Grimm and Andersen (my hero's!). This blog is brilliant because it keeps me up to date with whats going on in 'the real world!' Artists, costume designers, sculptors, writers and directors are STILL playing with these stories and altering them everyday, and its important to keep track. This site helps me to do this and have re-introduced me to an artist/sculpture who I had forgotten I LOVE.

SU BLACKWELL 

Blackwell spends hours trawling charity shops looking for old books. She is mostly inspired by fairy tales and this influence is evident in the genre and style of her work. Once she has found her story she will spend ours cutting and crafting the pages of the books themselves to create an artwork. The end product is a gorgeous sculpture/dress/instillation that will go towards a specific gallery exhibition or her own personal works.

This is one of her new works, I couldn't find out a great deal about the story behind it but I think it may be inspired by the dress in Cinderella as it vanishes. As a costume for a modern/Gothic fairy tale this would work brilliantly.

Through the looking glass: Alice in Wonderland.

This is from 'The Secret Garden' although I also think the image has an aura of snow white about it that I would like to capture in an illustration. 

This is my favourite of Blackwell's. Her motto is 'Paper is Art' and this piece makes me believe it. I think it is taken from Cinderella.

 The Wizard of Oz. More colourful than her usual artworks but a fun image...if not slightly scary?!

THE TEA PARTY: her most famous image from Alice in Wonderland. 

FAIRY TALES are all over the media at the moment. I can take all sorts of inspiration from this...my ultimate goal, I now know being to tell cautionary tales through inviting escapism. 

WHAT SKILLS DO I NEED? 2: BACKGROUND AND SETTING OBSERVATIONAL DRAWING

Backgrounds, scenery, setting, light and dark: MISE-EN-SCENE

As an illustrator, especially an illustrator of fairy tales, cautionary tales, myths and legends atmosphere is everything. I need to collate information that can be used to inspire background and setting. Visual notes are important here because sets like castles, mountains, cottages etc. need to look legitimate. Yes, we can take artistic licence, especially as what we are capturing is, in a sense 'magical'  but I think I can draw on observational drawings and photographs of castles, houses, scenery etc.

Hereford Cathedral 

The outside view of the Cathedral, I envisage this as a set for 'Beauty and the Beast' because of the high arch, Gothic windows, darkened stone and decorative carvings.

The inside of the Cathedral, if you took the pews out of the picture you could manipulate it into a grand dining room, hall or entrance. There are all sorts of illustrative possibilities.

 I like the contrast of the bright light through the darkness and although stained glass is often used in illustrations of castles and Cathedral, indeed, we see it in the Disney adaption of 'Beauty and the Beast.' However, I like the stark shapes and colours of this image and although it is not a fantastic photograph, that metaphorical symbolism could prove inspirational in future illustrations.

The above show stonework, I like to think of it more in terms of flat sections of colour and tone as opposed to individual shapes and lines. This is the Cathedral crypt and with the light struggling to shine through the windows I think this poses an interesting concept.

Building and Architecture based on drawings trips (as above) and other found locations. observational 

church 16th c. foundations 

Student bar

19th c. park building 

Chapel 

print from chapel sketch

Cirencestor Church 

1920's houses from cemetery 

original sketch of church 

Authorship: Personal Practice and Observational sketches based on character an location 

situations 

Public Transport 

Mannequin story -Lonely mannequin 

Pittivers Museum Drawings-Oxford 

The Folk Museum 

 

Building up an encyclopedia of drawings that I can refer to when creating my own images

WHAT SKILLS DO I NEED? 1: COSTUME MARY WILLS

Mary Wills 

Mary Wills, a hugely famous costume designer from the era that inspired me most! Predominately recognisable for her costumes for 'The Virgin Queen' in 1955 (Bette Davis) and Edwin Booth 1955 (Richard Burton). She has also deigned for the likes of Joan Collins (see in-scripted image) and, ultimately, all of her drawings; whether or not the are costume focused demonstrate immense character. The aura of her clients is evident in her sketches and she captures brilliantly the gaudy 'Gothic' of those big-budget, English-American melodramas of the 1950's. I want to take such isnpriation from Wills and be inspired by, not only her abloity to imply character through costume drawing but her technical skill. I will, also, need these skills if I am going to successfully complete my project next year, so for the moment, I will focus on 'the best in the business' when it comes to costume, concept art, character design and story-boarding. 

 'Edwin Booth'/Richard Burton. A male protagonist is an important character and Wills costume is subtle but reminiscent of a Victorian Gothic that I can transfer into my illustrations. 

The splash of colour on a flesh coloured background is almost suggestive, something I need to consider in terms of my brief...I want my illustrations to have similar undertones. 

This image at first glance seems quite typically 'pretty', which is not what I am going for. However, my repertoire needs to be vast and may call for a contrast. I have chosen to be inspired by more of a Gothic theme because I know 'pretty' is something I can already draw and I want to see how far I can push the boundaries within other genre's. 

My Response to these inspirations:

 

STORY-BOARDING SKILLS 1940's Film/Concept Art: 'Gainsborough' and their motives

For me, drawing and illustrating has always been about escapism. I read somewhere, once, that when you doodle a face, or are asked to draw a character, you automatically draw yourself. Now, is that 'vanity', or is it just wishful thinking? Maybe we draw ourselves because as illustrators we are useless optimists, striving always for perfection, adventure and escape. When I was little, before I could read I would memorise my favourite story books by getting my parents to read them over and over again to me. Once I knew them by heart I would say them out-loud to myself whilst scrutinising the illustrations, looking for hidden characters, faces, animals, buildings. Sometimes I would even re-draw them, changing that world into my idea of perfection. As time has progressed I have been most inspired by films, especially British, costume,  films of the the early 1940's. I find my own drawings seem to emulate that stark, flamboyant style that is evident in the lavish sets, hyperbolic make-up and costume and general over-stated mise-en-scene. 

During my last few years of study, I have realised that illustration is not just about 'pretty pictures', it is about 'atmosphere'! This can be sourced from anything or anywhere but I find it, mostly, in films and in books. I appreciate the vibe of the 'black and white' Gothic dramas by 'Gainsborough' because they transport you so vividly back to Victorian England. This time and place in history inspires me greatly because of the edgy, dark fashions that transpire so brilliantly in fairy-tales, especially those by the 'Brothers Grimm' and 'Hans Anderson.' I have no problem with being slightly daring, slightly dark and edgy with my illustrations because, ultimately, these stories,no frills, are dark and edgy!

Here is a clip from 'The Wicked Lady'; a Gainsborough movie from 1943. All fairy tales and adventures have a villain and the execution of such a character is just as important as the protagonist. These movies provide me with a source for such characters and the stark black and white filter has influenced my choice of media (to achieve such atmosphere) many times. Gainsborough, first and foremost, produced adventure movies...fairy tales for adults (Quote from Trailer 'A passionate Adventure Movie')

'Blanche Fury' 1948 is another film that sums up the 'atmosphere' I try to create as an illustrator. As opposed to the black and white style of above its colours are vivid, stark, harsh and the Backgrounds ornate, detailed but still oozing 'Gothic'. Its all about undertones.

Ideally Film thumbnails and concept art is where I would like to be in a few years time. I enjoy drawing whole scenes, backgrounds, carpets, throws, lights, candles, setting  scene. Here are some artists I admire in particular. 

John Bryan (Thumbnail artist for movies of the 1940's). The First image you see is concept art fro Blanche fury. It resembles what I aim for as an artist because it is expressive, it 'defies convention.' Importantly, you can see the evidence of Bryan's impact in the movie, the high walls, flashes of important, atmospheric colour, high, Gothic arches. 

Oliver Twist, 1948. Quick mark making, something I am fond of. Straight lines, light and tone, shadow etc. The drawing is effortless but so effective. This is what I wish to emulate. 

Great Expectations 1946. Such a famous story, Bryan's use of angles is strange but it gets a feeling across. It is almost unnatural but then it is a story and fictional so this works. this says to me that illustrations do not  have to be conventional. As artists and communicators of stories we have an obligation to push boundaries, try something new...offer a new escape and this is what Bryan did seventy years ago. 

Here is my Response to the artwork and movies I have viewed. I chose to experiment with thumbnails of the movie 'Madonna of The Seven Moons' a rare 'Cautionary tale' from 1944.