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The Joy of Storytelling: Incorporating Classic Art Styles with Visual Storytelling Techniques ______

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The Joy of Storytelling: Incorporating Classic Art Styles with Visual Storytelling Techniques ______ Running head: THE JOY OF STORYTELLING: INCORPORATING CLASSIC ART 1 THE JOY OF STORYTELLING: INCORPORATING CLASSIC ART STYLES WITH VISUAL STORYTELLING TECHNIQUES ____________________________________ A Thesis Presented to The Honors Tutorial College Ohio University _______________________________________ In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Science of Communication Studies, Media Arts and Studies ______________________________________ by Maia Hamilton August 2019 THE JOY OF STORYTELLING: INCORPORATING CLASSIC ART 2 THE JOY OF STORYTELLING: INCORPORATING CLASSIC ART 3 Abstract The purpose of this paper is to understand the influences of art style in the development of animated film. By observing animated films with period settings, we can draw comparisons between their art direction and the art styles of their time. By understanding the historical era and its culture, a creator can then begin to build a world that uses these elements as inspiration. For my animated short film, I use the history and culture of 19th century Paris to illustrate the story. By using influences of period artists such as Degas, Toulouse-Lautrec, and Pissarro I must understand their techniques and incorporate their stylistic choices into the film using visual storytelling techniques. Keywords: traditional animation, 2d animation, modern animation, narratives, storytelling, visual storytelling, storytelling techniques, THE JOY OF STORYTELLING: INCORPORATING CLASSIC ART 4 Introduction - Showing Without Saying “People are storytellers - they tell narratives about their experiences and the meanings that these experiences have for their lives.” - Julia Chaitin, Narratives and Story-Telling, 2003 Storytelling is an integral part of humanity. It is an essential part of all cultures, and it has instilled values and desires into people throughout history. With the evolution of art and culture, storytelling developed alongside. Storytelling now encompasses many forms including print media, television, films, video games, and more. Storytellers have always attempted to incorporate stories and visuals. Cave paintings were some of the earliest forms of visual storytelling – portraying the many aspects of the people’s culture. As time has gone by, we’ve seen the combination of visuals and stories rapidly change with technology. Today we can see visuals and stories combined in graphic novels, television, movies, and games. The different components that make up visuals – particularly space, line, shape, and color—help to create compelling elements of the stories that are being told (Block, 2008). These visual elements give context to the story, allowing the images to give life to the story. For instance, when composing an image, space is a visual component that helps viewers understand the story. A shallow space might suggest the subject feels closed off from others or a deep space might illustrate how small they are when compared to the world around them. In The Art of Immersion, author Frank Rose attempts to explain the importance of storytelling and how stories help to “make sense of our world and to share that understanding with others.” (2017). Stories affect everyone, as people identify glimpses of their realities and struggles in them. My goal as a media maker is to create something relatable and compelling for THE JOY OF STORYTELLING: INCORPORATING CLASSIC ART 5 an audience. I want someone to see my work and be changed for the better. This desire is what led me to be intrigued by character development and design. Creating a relatable, original character that audience members can connect with is one of the most beneficial parts of storytelling. The immersive design of stories and the complexity of the characters can create an impact on the lives of the people who view them. I have always dreamed of being able to create something that will immerse people just as well, even if at a much smaller scale. Using animation seemed like the perfect opportunity for me to attempt this. Animation will always have elements that make it unique from other film. With animation, the whole world is created entirely from scratch. The “actors” and “sets” must be designed and created by artists, all with a style that keeps the film cohesive. Every frame, color, and sound is made with intention, or the project falters. In animation, you create virtual spaces and actors that are used within the film. In a sense, the entirety of the world is at the hands of the creator. These worlds and characters must work cohesively to allow for the perfect opportunity to connect with audiences. If done correctly, an animated film can successfully create a compelling story, world, and visual. This love for animated storytelling led me to the creation of an animated short for my senior thesis. When working on projects in the past, I’ve only created minimal animated projects. I spent most of my time practicing different animation techniques such as Rotoscoping and 3D computer animation. I had never developed a full-fledged story with my designs and art direction. Within this project, I developed all aspects of an animated film: developing the story, art direction, and animation. THE JOY OF STORYTELLING: INCORPORATING CLASSIC ART 6 When exploring options for the subject of my story, I started by creating a mood board to decide the tone of my story (Figure 1). Tone and mood are often confused in narratives, but there is a distinct difference. Tone allows for the establishment of mood, which will affect how the viewer feels. (Block, 2008) In example, a dark, mysterious tone will create a mood that is also dark and mysterious. When creating this mood board, I found myself reaching to several themes I am familiar with. I found myself selecting gesture drawings, which is one of my favorite ways to draw. I chose paintings Figure 1. Thesis Moodboard detailing inspiration. of ballerinas, as I had danced for over 13 years, and finally impressionist paintings, which was one of my favorite art styles. Within these themes, I found an artist whose style combines these three elements: Edgar Degas. Research Understanding French Culture and History Edgar Degas was a French artist mostly known for his paintings and sculptures of dancers. Over half of Degas’ work depicted dancers of the Paris Opéra (Trachtman, 2003). These paintings, sculptures, and sketches all profoundly described movement in a way not commonly approached at the time. Many dancers are portrayed off stage or in rehearsal. These women are not represented as artists or beauties, but rather as athletic figures. Art critic Laura Cumming describes Degas work as less anatomical analyses of “the articulation of limbs” but rather “the THE JOY OF STORYTELLING: INCORPORATING CLASSIC ART 7 struggle of bodily existence” and the drama that is provided through movement (2011). The way the dancers are represented is not glamorized, but rather they are seen as laborers. Degas’ most notable piece of work would be that of La Petite Danseuse de Quatorze Ans (Figure 2). This sculpture is a one-third life-size depiction of a ballet dancer of the Paris Opéra. She is dressed in a real costume complete with a tutu, ballet slippers, and a wig of real hair. The entire model was created and covered with wax, an unusual medium for the time, apart from the tutu and a ribbon placed in the hair. When first presented in Paris at the Sixth Impressionist Exhibition of 1881, the piece was met with mixed reviews. (National Gallery of Art, n.d.) Some critics praised Figure 2. Photo I took of Degas' La Petite Danseuse de Quartorze Ans. the piece of work. Paul de Charry described it as “extraordinary reality” and “a real masterpiece.” Joris-Karl Huysmans claimed it was “the first truly modern attempt at sculpture I know,” and Nina de Villard referred to it as “the leading expression of a new art.” However, other critics were shocked by the ugliness of the dancer. Critic Paul Mantz referred to her as the “flower of precocious depravity,” with a “face marked by the hateful promise of every vice” and “bearing the signs of a profoundly heinous character.” Such volatile reactions can be contributed to the understanding of French society at the time (Dorsey, 1998). THE JOY OF STORYTELLING: INCORPORATING CLASSIC ART 8 The late 1800’s saw improvements in the standard of living for the upper and middle classes of France, and is now labeled as a golden age. (Wilde, 2019). This period, now known as the Belle Époque, saw an increase in technology, luxuries, and quality of life which allowed for the introduction of more art forms to Parisian society. The Belle Époque is generally dated from the end of the Franco-Prussian War in 1871 to the beginning of World War I in 1914. This roughly 45-year period was a time of stability and peace for Paris, which had been dealing with tumultuous events for an extended time. From this time period, we see a lot of symbolic landmarks of modern Paris created (Wires, 1977, p. 60-72). The 1899 World’s Fair led to the creation of the Eiffel Tower and the Paris Métro which brought a great influx of travelers to the city (Figure 3). Notre-Dame de Paris had been restored to its former glory less than ten years prior due to the success of Victor Hugo’s 1831 novel of the same name (Historique de la construction, n.d.). Sacré-Cœur was also constructed during this period in the Montmartre neighborhood (The New York Times, 1899). During this time, significant developments in art began to arise, such as Impressionism, Post-Impressionism, and Art Nouveau. These art periods were starkly different from the works of artists prior, as they abandon many traditions of the past and encouraged an attitude of experimentation.
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