Personal horror interpretation (3D) - Japanese directed horror characteristic identification

What?
Below I have placed some renders of my completed 3D personal horror interpretation.

Why?
The central aim of this project was to identify the unique characteristics of Japanese directed horror and the third objective of this project is was to visually convey these characteristics. Looking for these characteristics and elaborating on my discoveries, I will then draw conclusive results on whether or not I have achieved in successfully portraying the unique characteristics of Japanese directed horror.

Characteristic identification

• Setting - the setting of this horror environment follows those which are found within Japanese directed horror films, which are primarily interior-based. Like Japanese directed horror, an isolation atmosphere is projected by carefully planning the position and location of props, as well as a lack of human presence and character involvement. 

•  Colour - saturating the materials to present a heightened grey-scale, this horror environment follows the appropriate colour selections depicted in Japanese directed horror, specifically low value, monochromatic colour patterns. These colours are depicted in the wood on the walls, the boarded up entrances, the framed paintings and the metallic objects such as the table in the killing room and the cooker in the kitchen.

•  Lighting - this horror environment portrays the preferred lighting techniques of Japanese directed horror very successfully, using volume lights to create three point lighting and spotlights to create effective high contrasting lighting. The acceptance of realism in this environment allows the lighting to show reflectivity by bouncing off of surrounding surfaces and/or props. The atmosphere of the living room is somewhat lessened with more than one light source, creating a little too much illumination, removing dark areas of the room and conflicting the intended lighting technique.

• Composition -  props within this environment are scaled to realistic standard, taking human proportions into consideration as well as space. and straightforward. Ambiguous changes in proportions are not present and seemingly unused. The lines used in these renders are angular in nature, as well as placing the camera at a raised or lowered height and set at a side angle, thus, strongly displaying the compositional values of Japanese directed horror. Shapes in this horror environment are non-conflicting in nature, highlighting the infinite depth of field which displays no blurring or lack of focus, therefore, further adhering to the compositional values of Japanese directed horror.

 Conclusion

This horror environment has followed the unique characteristics of Japanese directed horror very well, using preferred lighting techniques, effective and realistic compositional values, appropriate colour selections and patterns and finally an atmosphere which successfully conveys a visual story as well as project an isolated atmosphere. If I had more time on this environment I may have tweaked a few of the texture choices such as the floor panelling and the kitchen cupboards, however, I feel that I this does not detract from what I have accomplished, not to mention that this, personally, has to be the best piece of 3D work I have created.

Personal horror interpretation (3D) - lighting

What?
Below I have outlined the lights I have placed in my 3D personal horror interpretation and the reason(s) for my lighting choices.

Why?
Portraying certain lighting techniques allows me to round off my visual story, capture the intended horror atmosphere and adhere to the lighting choices depicted within Japanese directed horror.

Hanging light bulbs:

Focusing on the light bulb props, I surrounded the bulb with low level volume lights to convey lighting bouncing off of the surrounding surfaces and the projected illumination. Using a singular large volume light, I scaled it to the size of the room, leaving enough surfaces with different levels of lighting intensity to convey the first of Japanese directed horror lighting - three point lighting. Initially, I was going to use multiple spotlights, however, this created a glare and removed a lot of projected shadows.


Lamps:

Conveying high contrasting lighting using the lamps was easier than I thought. After applying depth map shadows, it was a simple matter of placing two separate spotlights pointing up and down, using a fairly high intensities and widely spread cone angles. The lampshade did not appear illuminated, therefore, I used a few low intensity volume lights and placed them around the lamp shade mesh.


Reflective lighting

A small touch of detail I made sure not to overlook was the manor in which lights reflect and/or bounce off surrounding surfaces. I placed widely spread, low intensity volume lights towards the doorways of each section/room of the cabin to ensure light was appropriately and realistically bouncing off the surrounding surfaces and floor.

Personal horror interpretation (3D) - textures

What?
Below I have outlined the texture choices I have made for my 3D personal horror interpretation and the reason(s) for my texture choices.

Why?
Selecting relevant textures allows me to paint a visual story, capture realism, eliminate unnecessary props/objects and help arrange where I shall be placing the lights.

Textures

First of all, I textured the walls, the floors and the windows. Initially the floors were darker, however, I realised that this would make the smaller details less visible when I added the lights. The windows did nothing to provide a visual story, therefore I boarded them up using a texture which displays large planks of wood, suggesting that this cabin has been abandoned and is supposedly abandoned, thus, enhancing the visual story. I also did this to both entrances as it would not make sense if I just boarded up the windows and made the doors accessible. Adhering to the theme of deterioration, I marked/manipulated the textures for the walls, window, desk and stool to make it look that they had been treated badly and have been in use for a very extensive period of time.

Using a simple cotton texture I created the rug on the floor, showing signs of wear to blend/match the rest of the furniture. To make this room seem less cluttered, I removed the couch. The portraits on the walls were enhanced using bump maps to portray realistic materials.

The cabinet was textured using a mixture of wooden materials, complimented by the coloured lampshade and framed photograph sitting on top of it. To further convey a sense of age and deterioration within these props. I added a black and white photo to the small frame on top of the cabinet, making one ask, who is this person, how long has he/she been here and why are they here?

The kitchen, as I planned, conveys a sense of rust and abandonment with the horribly conditioned wooden cabinets and the rusty, old metallic cooker which has not been cleaned or replaced. The fridge was harder to show signs of deterioration because appropriate textures were difficult to find. I used a bump mapped pvc texture to convey the materials of the fridge as I did not want to steal the intended focus away from the cooker.

The bedroom was one of my favourite rooms to texture because I prefer working on a variety of materials instead of one specific type. The bed frame was textured using the same materials for the desk in the living room. The mattress was textured using an old linen mattress texture, on top of which I added some stains and signs of wear and tear. The pillow was textured using an old cotton sequence, patched with blotchy stains and mouldy-like spots. The chest of drawers was textured using an altered version of the materials used for the kitchen cabinets.

Finally, to properly depict the appropriately entitled 'killing room', I used my talented and passion fuelled abilities to create blood spatter patterns. On the table I wanted to make it thick and heavy so I used a custom brush to make splotches and puddles of blood. To visually depict the graphic nature of this room and the deeds performed within, I splashed the blood onto the walls surrounding the table as well as on the table legs to depict the dripping of blood from the table top.

Personal horror interpretation (3D) - props

What?
Below I have outlined the props I have selected for my 3D personal horror interpretation and the reason(s) for my design choices.

Why?
Selecting appropriately themed and quantified props will enable me to enhance the horror atmosphere and the visual story I am am trying to portray in my 3D personal horror interpretation.

Prop selection

To prevent confusion, I will be using this picture from my previous 3D sketchbook post to clarify which room is which.

After analysing the referenced images in my previous 3D sketchbook post, focusing specifically on examples from Evil Dead 2 (1987), I was now ready to start designing and arranging my props. In the living room I wanted to create the impression that the owner of this cabin does not have a lot of possessions, that he/she is a person of little means, adhering to the my intended projection of deterioration and neglect. I placed a lamp, a desk, a stool, a couch and a number of framed artworks on the walls. I will most likely be removing the couch as I feel it does not blend with the rest of the objects in the room. To create a sense of scale and space, I placed a flat plane in the centre of the room which, when textured, will be a rug.

The study has been transformed into a 'killing room' to enhance and produce a more clear visual story from this horror scene. I have placed a table in the killing room which victims are tied to and murdered, with a small side table for implements used to perform the killings. I really want to make this room as simple and well planned as can be, therefore, I will be removing the small table in the corner to keep the focus on the table in the centre of the room.

I wanted the kitchen to be simple, dark and rusty, therefore, I made the props visually depict this. A fridge, a cooker and a set of cabinets, this room screams simplicity, which I intend to convey further when texturing, showing deteriorated wood and rusty metal. This room was already full hence why I did not add any paintings to the walls.

I wanted to make the owner of this shed to appear like a vagrant, with few, badly conditioned possessions and materials. A wooden bed frame, a thin uncomfortable looking mattress and a single pillow makes this setting appear more lonely, evoking feelings of isolation and abandonment. Again, to add more background detail, I threw in a another framed painting on the wall.

Finally, I added some character to the hallway by placing a cabinet with a lamp and framed family photograph to further paint a visual story and heighten the intended themes of abandonment and isolation. I have placed only four lights in this scene, however, I may alter this when I come to lighting the scene.

Horror film remakes/interpretations - The Ring (2002)

This is the forth and final instalment of my research into Japanese horror film remakes/interpretations. As mentioned in my past three posts, I have already reviewed and researched four critically acclaimed Japanese directed horror films; Ringu (1998), Chakushin Ari (a.k.a One Missed Call) (2003), Ju-on The Grudge (2002) and Dark Water (2002), all of which have remakes/interpretations, therefore, I have decided to watch and review these remakes/interpretations and draw comparison-based results, highlighting (if any) identified Japanese horror characteristics. In order to thoroughly research this interpretation/remake I will first be summarising the plot, noting relevant differences (if any), after that I will be looking for any characteristics I have previously identified in my honours project thus far, then I will discover whether this remake/interpretation is higher in critical acclaim than the original and finally, I will be drawing conclusive results based on my findings.

Plot Summary:

http://www.impawards.com/2002/posters/ring_ver3.jpg

An investigative journalist by the name of Rachel Keller follows a story about a cursed videotape, supposedly responsible for killing her niece as well as several of her friends. Those who watch the contents of this videotape (after receiving a phone call) have exactly seven days to live. After Rachel's son watches the footage on the cursed tape, she must now race against time to find out the history behind the contests on the video and hopefully, a solution to rid both her and her child of the wretched curse.

This remake/interpretation, was not that bad. Although not directly following the narrative path of Hideo Nakata's 1998 original, this film did very little to disappoint, bringing fresh and imaginative additions to the plot, answered some interesting narrative points not explored in the original and still ended up with the same conclusion, however, there were still a number of flaws and interesting factors I feel have to be brought forth about this remake/interpretation.

• Insects - insects were persistently used to symbolise death in this film, subtly placed to develop the narrative.

• Length - like many remakes before and after it, this remake interpretation took a staggering hour and fifty minutes to reach a conclusive point, making me loose interest as well as enthusiasm after a certain point

•  Blue - the film had a massive overuse of a blue scope, everything had a sort of blue-ish appearance to it, however, these colour values were saturated well showing some indication of a grey-scale.

• Character involvement - certain character roles in this remake/interpretation were developed to a greater degree, unlike some in the 1998 original such as; the murdered girl, her father and the investigative reporters son, making the story structure as a whole feel more convincing and thorough.

• Performance - the acting in this remake/interpretation was very convincing and nowhere near as rusty or dull as the 1998 original, particularly the role of the deceased girl's father, performed beautifully by Brian Cox.
  

Japanese Characteristics:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-dF7fGJnc7Vn5Y9Lvjmw-BDDWiFqKaIRvQrRdUpqMKI-j5XqcCq7yMT4vTP5snaTRYDocUt9xQ_O33SjgZnJNUAYlCjRARXNhFipX_gauz_jQb9Q5Htp1vsc32sVvNTmY2GVNrHo4ESU/s1600/(2002)+The+Ring+Opt+3.png

• Setting - this remake/interpretation drifted from time to time when focusing on the setting. Key areas such as the cabin in the woods, the island and the journalistic facilities were all present in this film, however, there are several other locations relevant to particular plot points in this remake/interpretation that are not in the original.

• Colour - this remake/interpretation did fantastic in terms of colour because there were barely any high value colours noticeable/present and there was constant saturation, although not directly grey, this remake/interpretation did very well to adhere to the colour used in Japanese directed horror.

• Lighting - three point lighting was constantly used in this remake/interpenetration as well as few uses of high contrast lighting, following the unique characteristics of Japanese horror and showing great adherence as well as influence to the 1998 original.

• Composition - this compositional value of this remake/interpretation was not half bad. The shapes in this remake/interpretation were non-conflicting and the depth of field rarely strayed from an infinite field of vision, therefore, following the characteristics of Japanese directed horror. The scaling was realistic and camera work, although using some of the favoured American long distance and establishing shots/distances, this remake/interpretation made some use of the higher and lower camera heights, the side camera angle and close distance shots, thus, adhering to the unique characteristics of Japanese directed horror.

Critical acclaim:

http://cineawesome.com/wp-content/uploads/2011/11/152m3qg9858786.png

Although this remake/interpretation was not as highly critically acclaimed as the 1998 original, it did a lot better in terms of judgement and feedback than any of the previous remakes/interpretations which I have investigated, "The Ring is an atmospheric piece of filmmaking however, partly thanks to some beautiful, moody cinematography (by Bojan Bazelli). Essentially, it hybridises a studied Japanese tone of telling supernatural horror stories with that of the US, as represented in the films of M Night Shyamalan" (Etherington, 2011)

Despite this positive feedback, this remake interpretation did have its own fair share of negative comments, "by the time "The Ring" gets around to delivering its big surprise payoff, it's too little--too late. The horror feels likes it's already over when another character dies without putting up a fight or even running for the shear joy of providing an appropriate chase scene. The audience is even spared the sight of his supposedly gruesome corpse because, either the special effects make-up team couldn't get it right, or because the filmmakers ran out of money. Either way the movie is a dog from start to finish, with enough genre inconsistencies and plot holes to make it a textbook example of borrowing from too many divergent horror films to get anything right" (Smithey, 2009)

However, the positive feedback proves to be more dominant with reviewers, seeing this remake/interpretation flawed but still a success, "as a concept, it's flawed. As a remake, it's good. As modern horror, it's a firecracker up the genre's ass. Make sure you take a date - this is so spooky you can pull the 'yawning arm over shoulder' move and get away with it." (Dinning, 2006)


Conclusion:

http://www.darkhorizons.com/assets/0011/7355/ring_article.jpg?1272385543

Director Gore Verbinski did very well in visualising his interpretation of Hideo Nakata's 1998 original, making interesting adjustments as well as adhering to the majority of unique characteristics of Japanese horror. Although it was not regraded as highly in terms of critical acclaim, this remake/interpretation did much better in depicting that of its original source than any of the four remakes/interpretations which I have investigated. Although not a newly developed characteristic of Japanese horror, this remake/interpretation has shown me that saturation can remain in the colours displayed to the audience, however, changing the lower valued grey to anther colour does not detract from the overall aesthetic depicted in Japanese directed horror.

References:
http://www.film4.com/reviews/2002/the-ring
http://www.colesmithey.com/capsules/2009/01/the-ring.html
http://www.empireonline.com/reviews/ReviewComplete.asp?FID=8750

Horror film remakes/interpretations - The Grudge (2004)

This is the third out of four Japanese horror film remakes/interpretations. As mentioned in my previous two posts, I have already reviewed and researched four critically acclaimed Japanese directed horror films; Ringu (1998), Chakushin Ari (a.k.a One Missed Call) (2003), Ju-on The Grudge (2002) and Dark Water (2002), all of which have remakes/interpretations, therefore, I have decided to watch and review these remakes/interpretations and draw comparison-based results, highlighting (if any) identified Japanese horror characteristics. In order to thoroughly research this interpretation/remake I will first be summarising the plot, noting relevant differences (if any), after that I will be looking for any characteristics I have previously identified in my honours project thus far, then I will discover whether this remake/interpretation is higher in critical acclaim than the original and finally, I will be drawing conclusive results based on my findings.

Plot Summary

http://downloadfreemovies.org/wp-content/uploads/2004/11/The-Grudge-2004.jpg

An American nurse by the name of Karen Davis moves to Tokyo with her boyfriend. After a fellow employee does not not appear for work, Karen is assigned to look after a woman with an apparent sleeping disorder, wherein she experiences a collection of strange unexplainable events. Karen soon discovers that the house belonging to this woman she is caring for is haunted by the deceased hosts of  the previous occupants, killed in rage, now lingering the hallways of the cursed home, stalking and killing anyone whom dares to enter.

Never before in my life have I seen a film remade by its original creator. Takashi Shimizu directed both the 2002 original and the 2004 remake, the only difference being that the remake was produced by Sam Raimi, director of The Evil Dead (1981) franchise. There were significant differences in comparison to the original version, all of which made this film very unsuccessful in terms of what the original version achieved. 

•  Violence - this remake/interpretation had so much more gratuitous visual content, two events in particular; a character committing suicide in the first few minutes and the absent employee walking around her office building without her lower jaw.

•  Predictability - like the previous remake/interpretation I investigated, this film was littered with predictable moments, driven of course by the audio and camera perspectives.

• Obviousness - this remake/interpretation was too obvious in its approach towards unveiling the appearance of the cursed beings, showing them constantly and at an earlier point in the film.

• Confusion - the events of the original were simpler and easier to understand how the curse came to be, however, in this remake/interpretation the events within the narrative time-line were random in nature, making it very difficult to keep track of what was going on

• Shocks - shocking and suddenly frightening moments were high in volume within this remake/interpretation, leaving no room for the intended frightening imagery of the beings inside the cursed home.

Japanese characteristics:

http://www.movpins.com/big/MV5BMTQ0MjU5OTA1NV5BMl5BanBnXkFtZTcwNzk0ODcyMw/still-of-bill-pullman-and-sarah-michelle-gellar-in-the-grudge.jpg

• Setting - this remake/interpretation did very well to follow the setting. Although this film was enriched with many American actors, the location was still fixed to that of the 2002 original.

• Colour - this remake/interpretation did not do very well in terms of colour because high value colours were displayed more than low value colours, strangely failing to maintain colours depicted in Japanese directed horror considering the director was Japanese and the fact that he directed the 2002 original. Saturation was present now and again in this remake/interpretation, however, it was not displayed enough to truly capture the overall heightened grey-scale of the 2002 original, as well as other Japanese directed horror films.

• Lighting  - Contrast lighting and three point lighting are both favoured lighting techniques of Japanese directed horror, however, in this remake/interpretation only three point lighting was visually evident, appearing primarily during close ups of characters. High and low key lighting were the favoured lighting techniques in this film, displaying little brightness during the day time sequences and too much illumination during the evening sequences.

• Composition - Like the previous two remakes/interpretations I have investigated, this remake/interpretation was not much different in terms of compositional value. The scaling of each frame and the objects/characters in each shot was one of few redeeming elements of the composition in this remake/interpretation. The shapes in this remake/interpretation followed the characteristics of Japanese directed horror by acting in a non-conflicting fashion. The depth of field in this film/remake failed to remain consistent, forever changing and leading focus towards too many places at once. The camera-work in this remake/interpretation was another element of the composition which failed to meet the identified characteristics of Japanese directed horror because lower and higher camera heights were barely used, as well as the preferred side angle used in Japanese directed horror.

Critical acclaim:

http://blogs.dailyrecord.co.uk/tvandfilm/2009/11/19/thegrudge.jpg

Still bewildered why a director would remake his own film, I discovered that yet again, like the previous two remakes/interpretations I have investigated, this film was met with less critical acclaim and feedback than the original version, "The Grudge doesn't even work as a travelogue of Japanese spiritual beliefs, and it very well could have. By having a bunch of Americans in the cast led by the callow Gellar, the movie could have taken the opportunity to educate us ignorant gaijin about, say, Shinto, or the noble history of spirits in religion and art. Instead, the story might as well be set in Cleveland, and it adds the weird subtext of Americans being terrified by damp-haired Japanese women. At least 'The Ring' took what was universally eerie about 'Ringu' and Americanized it; 'The Grudge' just cannibalizes itself, exploiting Japanese spirituality for a few Saturday-night shocks to make teenagers shriek and giggle." (Gonsalves, 2007)

This negative feedback continues, one of the central arguments being that another over-elaborated Americanized remake is not needed, "Indeed, the biggest problem with the film is that, like many American remakes (Wicker Park is one recent example), feels it has to explain too much. We get a helpful little ghost re-enactment of the whole story. Horror movies are much more horrifying when they leave the explanation to that part of our imagination where our own deepest fears lie, so each of us can feel personally unsettled right where we live." (Minow, 2005)

The key point here, which I personally agree with, is that this film has been remade too many times and by the same director no less, "Shimizu shouldn't get too much credit for creating such a well-paced movie -- it's the third time he's made "The Grudge" in two years, with a Japanese version called "Ju-on" and its sequel released in 2003. If that sounds like the pedigree of "The Ring," it's no coincidence. "The Grudge" has the same producer as "The Ring" and uses a similar combination of the undead and technology, with mysterious voices on telephones, freaky little kids in a lot of gray makeup -- and yes, a videotape does make its way into the plot" (Hartlaub, 2004)

Conclusion:

http://qameleoni.files.wordpress.com/2010/12/2004_the_grudge_009.jpg

This remake/interpretation was completely unnecessary, pardon me for reiterating the same point but I have never seen a director ruin their own creation. The plot, the Americanized clichés and the over-elaboration of the plot are all key elements as to why this film was such a failure, not to mention the lack of horror in the atmosphere besides a few shocking moments here and there. Finally, to clarify, I have identified no Japanese directed horror characteristics in this remake/interpretation.

References:

http://www.efilmcritic.com/review.php?movie=11076&reviewer=416

http://www.commonsensemedia.org/movie-reviews/the-grudge

http://www.sfgate.com/movies/article/Mindless-killing-weakens-Grudge-2679870.php

Personal horror interpretation - 2D (design no.8)

This is my second of a two part piece and the last digital painting for my personal horror interpretation. To recap, using the night and day transitions (designs five and six) I have tried to create a visual story in efforts to project the atmosphere of Japanese directed horror, alongside my regular methodology in which I highlight the design process, make a formal analysis and build conclusive results based on my findings. Again, to avoid repeating myself, any factors that remain unchanged within the summary will be labelled 'see design five'.

What story are you trying to tell in this first piece?
In attempts to capture the atmosphere of Japanese directed horror, I have inserted a supernatural being into this scene, continuing the visual story from design seven which follows the struggle and brutal murder of a young girl in this cabin and now her spirit lingers inside the cabin, unleashing vengeance upon those whom enter it. For further information on this vengeful and culture-based Japanese spirit/ghost, refer to my case study on Ringu (1998).

Design process

To create a before and after, I duplicated the blood patterns from design seven.

I placed the outline for the supernatural being in the centre of the scene, using blurry brush strokes to make the being appear more faded. 

To make the atmosphere more more mysterious, I moved the supernatural being to the left and added some clouds to the night sky.

To ensure realism is captured successfully, I created a projected shadow on the floor for the supernatural being.

Acknowledging the reflective and bouncing nature of the projected light source, I realised the supernatural being required a dull back shadow. To make sure the scaling was correct, I made the supernatural being taller.

Finally, I put a light fade on the supernatural being and inserted a reflective back shadow behind the ghost/spirit. I also made sure the scenes matched in terms of background content by adding in the grass layers from design number six.

Formal analysis:

Summary:

Monochromatic colours - see design five

Depth of field - see design five

The lighting is directional and is clearly seen on the floor, side of the window and cracks in the walls & door frame. Three point lighting is displayed using key, fill and back lights.

Camera - see design five

Low and high value colours are present within the greens of the grass, browns on the walls, floor, window and door as well as the dark blue of the night sky, the grey of the clouds and finally, the black and white of the supernatural being.

Lines - see design five

Shape - see design five


The scale of this piece is realistic because there are no disproportionate areas and the supernatural being is of appropriate height and width.

Analysis:

The dark blue sky and dark green grass in the background are used to bring out the foreground via contrasting colours. The monochromatic colour patterns on the walls, door, floor and window are used to represent the time of day and the moonlight projections. An isolated atmosphere is captured using a supernatural and cultural folklore based entity. Darkness is also highlighted through the use of dark shades of grey for clouds in the night sky.

Interpretation:

The aim of this piece is to capture the unique characteristics of Japanese directed horror. The state of the cabin promotes themes of abandonment, deterioration and laziness. Feelings of anxiety and fear are evoked through the supernatural presence on the left hand side of this piece. Themes of despair and horror are evoked via the projected shadows coming from the supernatural being because it is not alive yet it casts a shadow as if it were alive, leading one to believe that there is little or no chance of survival.

Judgement:

The criteria I will be using to judge this piece are colour, lighting and composition. Low value colours are captured by browns on the walls, door, floor and window, as well as the dark blue of the night sky and the deep black of the supernatural being's hair, thus, adhering to the unique characteristics of Japanese directed horror. Saturated and monochromatic colours are clear in this piece, favouring a heightened grey-scale and low value colour patterns, therefore, following the unique characteristics of Japanese directed horror.

A non-fixed mixture of lines (angular and straight), realistic scaling, non-conflicting shapes, a lower camera height, set at a side angle and placed at a close distance are present in this scene, therefore, the compositional values in this piece follow the unique characteristics of Japanese directed horror.

The lighting in this scene displays three point lighting because the monochromatic colours highlight the key, fill and back lights, therefore, adhering to one of the preferred lighting techniques captured within the already identified unique characteristics of Japanese directed horror.

In conclusion, this piece is by far my best 2D personal horror interpretation piece because the lighting, colours and composition follow the unique characteristics of Japanese directed horror more than any of my other designs, as well as capturing a clear visual story based on Japanese cultural folklore. As this is my last design, I must now take what I have learned from making these digital paintings and apply them to my final 3D personal horror interpretation.

Personal horror interpretation - 2D (design no.7)

This is the first part of two designs and the final digital paintings for my personal horror interpretation. Using the night and day transitions (designs five and six) I have tried to create a visual story in efforts to project the atmosphere of Japanese directed horror, alongside my regular methodology in which I highlight the design process, make a formal analysis and build conclusive results based on my findings. Again, to avoid repeating myself, any factors that remain unchanged within the summary will be labelled 'see design six'.

What story are you trying to tell in this first piece?
In attempts to capture the atmosphere of Japanese directed horror, I have inserted signs/indication of a violent struggle into the scene, highlighting the fact that whomever previously lived in this cabin was brutally murdered and the body has been buried beneath the floor boards.

Design process

 Using design six, I added signs of violence by indicating a struggle and the death of someone via the blood patterns on the wall.

 To further develop realism as well as a sense of atmosphere I painted some clouds in the sky.

Finally, I realised that over time the blood on the walls would drip down and pool, therefore, I painted some puddle-like shapes on the floor below the spatter patterns on the walls.

Formal analysis:

Summary:

Monochromatic colours - see design six

Depth of field - see design six

Lighting - see design six

Camera - see design six 

 Low and high value colours are present within the browns on the walls, floor, window and door as well as the blue gradient of the sky, the blood on the door, walls and floor and finally, the green grass in the background.

Lines - see design six

Shapes - see design six

 

Scale - see design six

Analysis:

The monochromatic colour patterns on the floor, walls, door and window are used to capture the time daytime the light projected from the sun. The blue sky and green in the background are used to bring out the foreground through contrasting colours. Realism is promoted via the colour gradient used for the sky because the high and low value blues were extracted from real life examples/pictures. An isolated atmosphere is captured using lack of human presence and blood spatter patterns on the walls and floor. Violence is captured using monochromatic tones of red on the walls and floor.

Interpretation:

The aim of this piece is to capture the unique characteristics of Japanese directed horror. Themes of deterioration, laziness and abandonment are captured via the horrible conditions of the cabin and the lack of human presence. Summer/spring is projected using sunlight and high value colours. Feelings of safety and warmth are evoked by the high value colours and bright atmosphere, however, feelings of anxiety and fear are evoked through the blood on the walls and floor and the unknown location of this cabin. Themes of hope are evoked through the bright projections of light beaming through the window and cracks in the wall, however, themes of hopelessness are projected by means of contrast because of the blood on the floor and walls.

Judgement:

The criteria I will be using to judge this piece are lighting, colour and composition. The composition in this piece follows the unique characteristics of Japanese horror very well by using realistic scaling, non-conflicting shapes, a non-fixed mixture of lines (angular and straight), a lower camera height, set at a side angle and placed at a close distance.

These low value colours are captured by browns on the walls and door. There are monochromatic and saturated tones as well as low value colours present in this piece alongside the addition of monochromatic red blood spatter patterns, however, high value colours remain superior in this scene, although they do not fully subtract themes of isolation from the atmosphere, therefore, this piece somewhat follows unique characteristics of Japanese directed horror better than that of design six.

The lighting in this scene displays some indication of three point lighting because the monochromatic browns for the wood of the cabin and projected lighting on the floor show key, fill and back lighting, therefore, adhering to one of the preferred lighting techniques captured within the already identified characteristics of Japanese directed horror

In conclusion, this piece is a marginal improvement from design six because one of the preferred lighting techniques of Japanese directed horror is identified, a visual story is drawn form the blood spatter patterns on the walls and blood pools on the floor, the clouds in the sky add realism to this scene and finally, the addition of blood on the walls and floor evokes feelings of fear to a certain degree. The second and final piece (design eight) should further capture a Japanese directed horror atmosphere by adding some reference to Japanese folklore/culture.

Next steps

• Visual activity/story in night-time setting
• Further Japanese horror reference(s)
• Japanese folklore/culture