Gentlemen and Ladies, I bring to you from the strangest parts of the world... Steampunk!
Please, hop into my dirigible, mind the pipes and gears, and let us set out upon an adventure of literary proportions to attain a basic grasp on this genre.
What is Steampunk?
The best definition I can use is an amalgamation of my own thoughts mixed with the differing definitions on the web from several different authors (not to mention Wikipedia).
Steampunk as an art is the joining together of the Victorian historical period with alternate/sci-fi history, characterized by anachronistic items. Modern-day technologies, if imagined then, would be powered by steam, and heavily decorated with the elegant and graceful design motifs of the Victorian era. The use of brass fittings, copper pipes, cogs, wheels, gears, clockwork and metalwork filigree would be ubiquitous. I will speak primarily about the artful aspect of the genre, although I shall allude to the other facets as well, especially the literary aspects.
Steampunk, speaking historically and categorically, came into existence in the late 1980s and early 1990s, although it has roots that reach more than a century prior to that. Authors such as Jules Verne and H.G. Wells have inspired the category heavily, as well as films like Disney's 20,000 Leagues Under The Sea and The Time Machine (which happen to be based on the books by Verne and Wells).
Steampunk has become a sub-culture that thrives on the Internet through blogs and forums dedicated to making Steampunk a way of life. I consider this aspect of Steampunk to be rather superfluous and escapist; this is the arena where the “punk” in Steampunk comes out.
How is Steampunk used?
In most stories and art that I have viewed that use Steampunk heavily, I have noticed a common trend. One of them is the extensive use of the genre as a forum to present postmodernism and feminism in a positive light. Also, the genre's mood is very dark, usually depressing. Foggy skies and monochrome colors make us think that we just stepped into post-apocalyptic 2506 instead of the late Victorian or Edwardian era of Europe. There are usually anti-heroes, cynical protagonists that use whatever means necessary to makes things happen. Nihilism is presented as the only option left in a world powered by steam, monitored by robots and ruled by tyrannical dictators.
A few of my favorite examples of Steampunk within film production design are these:
Van Helsing
Okay, I understand: vampires and werewolves don't exist. But Steampunk does. Here is an excellent portrait of how extensive Steampunk should be emphasized... hardly at all, unless there's an express point. Helsing is only as awesome as his Steampunk-influenced gadgets, which he uses at every turn.
A Series of Unfortunate Events
Aside from a stellar performance by Jim Carrey, the production design seems to mix sub genres, with Dieselpunk and Steampunk gladly embracing each other to formulate an attempt at timelessness, which I think the film accomplishes to an extent.
Sleepy Hollow
Several tools that quirky, introverted constable/physician/mortician/inventor Ichabod Crane have some semblances of Steampunk about them. Interesting that Rick Heinrichs was the production designer for both this and Unfortunate Events... Coincidence? I think not.
How should Steampunk be used?
I believe that Steampunk is merely the frame to place your picture in; a setting, which should never take the place of story; style, not substance. Steampunk as a lifestyle or philosophy is complete bogus. It should be nothing more than a genre of art, a sub genre of science fiction. Therefore, it should never take precedence within whatever capacity it is used merely by virtue of its presence; in other words, it should never take the limelight because it's cool. The levels of Steampunk usage should be relevant to the needs of the story. In fact, whatever you use, make sure it's up to standard with God's Word and the story's needs. During the design process on Heumoore's Ace Wonder, I utilized a few Steampunk motifs to signify and accentuate the quirkiness of the grandfather. Several times, I was struck with the thought that maybe it was out of place; perhaps I was merely catering to my own desires; to have one thing to which I could point and say, "That was my idea!" Many times the temptation was to over accentuate the presence of the Steampunk motifs, and I had to remind myself that the design was merely the servant of the story. Altruism... I gots it.
Concerning the time-pertinence of Steampunk, my personal preference is to have it within the time frame of an alternate 1820-1900, although I think that it would not be without it's historical or scientific bounds if it were used at any time within the last 1000 years, alternately speaking. I prefer the former era because I am very attached to the Victorian-era roots of the genre. I think it would be pretty spectacular to see Steampunk technology in use during the Middle Ages. King Arthur would have so totally pawned Mordred...
Anyhow, to sum up my post: pay attention to what your story calls for. Don't use anything just 'cause it's neat or hip or cool. Think through everything thoroughly, as best as you can; research, compare, seek counsel. Remember that any piece of art you create has the potential to influence millions. Don't take that lightly.
Also, you'll have to forgive me if I gear all of my points toward filmmaking. You have to understand, however, that that's what I'm called to, and I can't help but write about how to utilize it for the glory of God.
I enjoy the art and style of this genre very much. It piques my imagination like none other. It's such a fantastical joining of history, science and fiction.
I hope you have enjoyed this brief journey through the epic landscape of Steampunk. I hope it was coherent enough to understand, and hopefully you can apply one or two things that I spluttered forth onto this humble blog.
I will remain,
Your Faithful Rambler,
John Scott Reighard
P.S. Steampunk was used 25 times in this post. Epic.
Monday, November 22, 2010
Saturday, November 20, 2010
Production Design
I have been absent awhile, due to the fact that I've not done any art worthy enough to appear on this blog. However, within the past few months, I'm pleased to say that several pieces have been drawn that are of the quality to be displayed here in this web forum. But that's for later. Today, I have only text; enjoyable text, I believe...
I've been spending several months (actually over a year) working with John Moore in developing HeuMoore's most recent project, Ace Wonder. The website is here at www.acewondermovie.com.
The film is a remake of our 2007 short film, Heartstrings. However, don't be disheartened; we're going to make it better, I promise. The basic premise is the same, changed only slightly: the Moore family, whilst on vacation, breaks down in the small, rustic town of Willowwood. Gator Moore, an aspiring detective novelist, meets Derek Morton, a confused young man obsessed with a set of clues his recently deceased grandfather left behind. Gator, smelling a story, is immediately endeared to Derek. What follows are laughs, thrills, intrigue, mystery, enigma, puzzles, riddles, more plot development and stuff like that. How's my logline so far? Please, bear with me; I've yet to read any of Robert Mckee.
My role in this project is that of production designer. Basically, this position supervises the entire visual design of the film, ranging from costume design to set design to prop design to character design to... well, you get the picture. Basically, the timeline for my work on the film goes thus:
Pre-production: September 2009-April 2010; drawing.
Production: April 2010-June 2010; running.
Post-production: June 2010-TBD; drawing.
Yes, lots of drawing.
This was the first time we sat down and thought through the costumes, sets, props and color schemes. John had a very specific vision in mind, which comes through in the finished project.
Within film production hierarchy, there is a trinity; not holy, but pretty awesome: director, cinematographer and production designer. The director presents his vision to the two department heads. The production designer supervises what is to be photographed, while the cinematographer deals with how to photograph it. Although creativity must be allowed, it must be based on the director's vision; that's especially important when the director is also the writer, as in my case. I defer to him for the most part, because I respect his authority in this area. However, if I believe I have a better visual idea, I allow my thoughts to come to his attention through the opening of my mouth.
I don't know if my feeble efforts to explain production design will impart the import of this area of filmmaking. It is indispensable, and if one does not take proper care and time to run through the visual design of his film, no matter how great the script, or dynamic the score, or fantastic the actors, his film will fall flat. It will not be real. Tim Burton's Sleepy Hollow, which is more of a fairy tale/ horror story, with magical occurences that could not possibly happen, has a setting that is so tangible it feels like you're in 1799 New England.
My favorite example of production design is the monumental film trilogy, The Lord of the Rings. Recall the Viking/Saxon motifs running throughout the culture of the Rohans? Or the very apparent influence of Greco-Roman and Byzantine architecture within Minas Tirith? The design team made an excellent decision in taking something that's familiar to us and putting a slight fantastical twist on it.This ability to completely engross an audience within an artificial atmosphere was the appeal of the recent blockbuster, Avatar. Cliché plot points and flat characters do not matter when you're distracted by the reality of Pandora, especially compounded with the great 3D effect.
Even within documentary filmmaking, it is important to think through the visual themes that can be utilized to make the film more powerful. One of the best examples I've seen is the chilling, alarming Demographic Winter. This symbolism is apprehensively pertinent, especially in light of the approaching threat of a disastrous social and economic winter.
For more info regarding production design, I highly recommend The Filmmaker's Guide to Production Design by Vince Lobrutto. Although not explicitly detailed, it covers the basics of visual design quite sufficiently for the beginning designer.
Thanks for reading; I hope it was informational and enjoyable.
God Bless,
-Johnny
I've been spending several months (actually over a year) working with John Moore in developing HeuMoore's most recent project, Ace Wonder. The website is here at www.acewondermovie.com.
The film is a remake of our 2007 short film, Heartstrings. However, don't be disheartened; we're going to make it better, I promise. The basic premise is the same, changed only slightly: the Moore family, whilst on vacation, breaks down in the small, rustic town of Willowwood. Gator Moore, an aspiring detective novelist, meets Derek Morton, a confused young man obsessed with a set of clues his recently deceased grandfather left behind. Gator, smelling a story, is immediately endeared to Derek. What follows are laughs, thrills, intrigue, mystery, enigma, puzzles, riddles, more plot development and stuff like that. How's my logline so far? Please, bear with me; I've yet to read any of Robert Mckee.
My role in this project is that of production designer. Basically, this position supervises the entire visual design of the film, ranging from costume design to set design to prop design to character design to... well, you get the picture. Basically, the timeline for my work on the film goes thus:
Pre-production: September 2009-April 2010; drawing.
Production: April 2010-June 2010; running.
Post-production: June 2010-TBD; drawing.
Yes, lots of drawing.
This was the first time we sat down and thought through the costumes, sets, props and color schemes. John had a very specific vision in mind, which comes through in the finished project.
Within film production hierarchy, there is a trinity; not holy, but pretty awesome: director, cinematographer and production designer. The director presents his vision to the two department heads. The production designer supervises what is to be photographed, while the cinematographer deals with how to photograph it. Although creativity must be allowed, it must be based on the director's vision; that's especially important when the director is also the writer, as in my case. I defer to him for the most part, because I respect his authority in this area. However, if I believe I have a better visual idea, I allow my thoughts to come to his attention through the opening of my mouth.
I don't know if my feeble efforts to explain production design will impart the import of this area of filmmaking. It is indispensable, and if one does not take proper care and time to run through the visual design of his film, no matter how great the script, or dynamic the score, or fantastic the actors, his film will fall flat. It will not be real. Tim Burton's Sleepy Hollow, which is more of a fairy tale/ horror story, with magical occurences that could not possibly happen, has a setting that is so tangible it feels like you're in 1799 New England.
My favorite example of production design is the monumental film trilogy, The Lord of the Rings. Recall the Viking/Saxon motifs running throughout the culture of the Rohans? Or the very apparent influence of Greco-Roman and Byzantine architecture within Minas Tirith? The design team made an excellent decision in taking something that's familiar to us and putting a slight fantastical twist on it.This ability to completely engross an audience within an artificial atmosphere was the appeal of the recent blockbuster, Avatar. Cliché plot points and flat characters do not matter when you're distracted by the reality of Pandora, especially compounded with the great 3D effect.
Even within documentary filmmaking, it is important to think through the visual themes that can be utilized to make the film more powerful. One of the best examples I've seen is the chilling, alarming Demographic Winter. This symbolism is apprehensively pertinent, especially in light of the approaching threat of a disastrous social and economic winter.
For more info regarding production design, I highly recommend The Filmmaker's Guide to Production Design by Vince Lobrutto. Although not explicitly detailed, it covers the basics of visual design quite sufficiently for the beginning designer.
Thanks for reading; I hope it was informational and enjoyable.
God Bless,
-Johnny
Monday, November 2, 2009
Pistol For Hire
Weapons have always fascinated me. As I grew up, I was always leading an army into battle, with trusty sword and pistol at my side, ready to defend me in the tightest spots. They were my most loyal companions; and when you're the only one in the backyard swinging a stick around like its some heavy saber, you become extremely attached to your "companions."
My stick and wooden pistol have come through many battles, killed hundreds of men (didn't know that about me, did ya), faced the worst possible situations and come out on top. Remember Calvin and Hobbes? Yep, that's me and my gun.
Then came the idea to actually design my own weapons. Not necessarily draw their inner working mechanisms, just their aesthetic qualities.
Having spent years studying the evolution of firearms, I was able to easily come up with a few concepts, such as the ones presented above. I think that both of them are influenced heavily by European designs of the early 1800s; the lower one has a few Muslim themes. The upper one has a very bulky, somewhat distracting pommel, although it could double as a club. The firing mechanisms themselves are horridly inaccurate, as I learned to my utter dismay. But that doesn't matter, really. They look cool anyways.
Johnny S. Reighard
My stick and wooden pistol have come through many battles, killed hundreds of men (didn't know that about me, did ya), faced the worst possible situations and come out on top. Remember Calvin and Hobbes? Yep, that's me and my gun.
Then came the idea to actually design my own weapons. Not necessarily draw their inner working mechanisms, just their aesthetic qualities.
Having spent years studying the evolution of firearms, I was able to easily come up with a few concepts, such as the ones presented above. I think that both of them are influenced heavily by European designs of the early 1800s; the lower one has a few Muslim themes. The upper one has a very bulky, somewhat distracting pommel, although it could double as a club. The firing mechanisms themselves are horridly inaccurate, as I learned to my utter dismay. But that doesn't matter, really. They look cool anyways.
Johnny S. Reighard
Thursday, October 29, 2009
Irish Ale
They're always after my lucky charms!!!
Leprachaun or stereotypical Irish, this picture makes me want to speak with an accent, wear green and drink Guinness beer. Perhaps I give my art too much credit...
Originally, the portrait had no beard, and because of his set of full lips, he looked like a girl. So, enter the beard. Looks like it's glued on, doesn't it?
Johnny Reighard
Leprachaun or stereotypical Irish, this picture makes me want to speak with an accent, wear green and drink Guinness beer. Perhaps I give my art too much credit...
Originally, the portrait had no beard, and because of his set of full lips, he looked like a girl. So, enter the beard. Looks like it's glued on, doesn't it?
Johnny Reighard
Tuesday, October 27, 2009
AMP: A New Hope
In the process of creating something you've never seen, inspiration from things already in existence plays a big part.
In our quest to develop a unique design, Cory and I turned to those who had gone on before us. We turned to Star Wars. If you want a film that's chock full of robots/ droids, that's the one to look at (forget if they're clunky or not practical: they look cool). From that, we gleaned the pit droid. Small, lithe, agile (kinda), cute (very important), this was a good start. From there, we journeyed down the path of film history, and came to Monsters, Inc., and the short, green, rotund, one-eyed figure known as Mike Wazowski. With these designs to inspire me, I set off, shaving a little here, adding a little there, until I came to my next destination... a complete stop.
From the get-go, I realized that my mindset was in the wrong place. In terms of design, I was stuck on ergonomic, sleek designs from films such as I, Robot; Star Wars; Terminator, etc. However, my thinking wasn't right. I needed to approach this project from the understanding of a 12-year-old. How would a young boy design a robot? So, I asked my younger twin brothers, Jared and Jordan, if they would help me. I told them the design prerequisites set down by Cory, and Jordan gave me...
And Jared gave me...
Just what I needed.
All I had was my feeble effort...
The design below incorporates all the qualities with which we imparted to our seminal creation: cute, functional, sympathetic, and last but not least, animation compatible.
Don't worry, I think Cory is fixing up the shoulders so that he doesn't look like a gorilla. In reality, this last design in only a guideline for the animators to follow.
Along with this final concept, the design phase of the film has ended. In its place, like a phoenix from the fire, rises the task of thoroughly visualizing the film through the use of storyboards. Along with that, the animators will be working to bring the film to its complete and immaculate realization as a finished film.
Johnny Reighard
In our quest to develop a unique design, Cory and I turned to those who had gone on before us. We turned to Star Wars. If you want a film that's chock full of robots/ droids, that's the one to look at (forget if they're clunky or not practical: they look cool). From that, we gleaned the pit droid. Small, lithe, agile (kinda), cute (very important), this was a good start. From there, we journeyed down the path of film history, and came to Monsters, Inc., and the short, green, rotund, one-eyed figure known as Mike Wazowski. With these designs to inspire me, I set off, shaving a little here, adding a little there, until I came to my next destination... a complete stop.
From the get-go, I realized that my mindset was in the wrong place. In terms of design, I was stuck on ergonomic, sleek designs from films such as I, Robot; Star Wars; Terminator, etc. However, my thinking wasn't right. I needed to approach this project from the understanding of a 12-year-old. How would a young boy design a robot? So, I asked my younger twin brothers, Jared and Jordan, if they would help me. I told them the design prerequisites set down by Cory, and Jordan gave me...
And Jared gave me...
Just what I needed.
All I had was my feeble effort...
The design below incorporates all the qualities with which we imparted to our seminal creation: cute, functional, sympathetic, and last but not least, animation compatible.
Don't worry, I think Cory is fixing up the shoulders so that he doesn't look like a gorilla. In reality, this last design in only a guideline for the animators to follow.
Along with this final concept, the design phase of the film has ended. In its place, like a phoenix from the fire, rises the task of thoroughly visualizing the film through the use of storyboards. Along with that, the animators will be working to bring the film to its complete and immaculate realization as a finished film.
Johnny Reighard
Thursday, October 1, 2009
AMP: Inception
When in the course of human events an artist is asked to do something he's never done before, things can get kinda scary...
But thank God that's never happened.
In fact, although I've had serious bouts of self-doubt when going into a project, I've always worked with people who were kind and understanding. So, along comes this short film. An animated, short film. Something I've never done before.
So, Cory Taylor asks me to storyboard the movie. Okey-day, no worries; I've done two films before. I've had some experience. Alrighty, whatcha got? Oh, some concept art too? Grand.
The short is about a retired streetlight robot, who's been abandoned in an old warehouse, left plugged into an outlet in the floor. One day, a battery rolls by, just close enough to give him hope for freedom.
So, we begin on an epic journey of discovery (discovering if I can pull it off or not); and from inception to finish, we'll cover all the ideas, concepts and eventual reality of our visions.
We take you now to a little town in East Texas, where Johnny Reighard is trying, albeit unsuccessfully, to pry open his mind with his pen (figuratively) and let the juices flow...
The first ideas that came to mind were predominantly influenced by Wall-E, as my readers will be able to quickly deduce.
Of course, this was before I had even found out what Cory wanted. I just needed to prove to myself that I could draw something even akin to robots.
From there, it evolved, through conversations with Cory and whatever I wanted to arbitrarily do.
I thought it would be very artistic to have a robot with three eyes. Red, yellow and green. The idea was to convey emotion through his light bulbs. But, as it turned out, the concept was too... creepy.
We needed something more sympathetic, cuter...
I think I'll make a series out of this, so that I'll have posts for the future. So, tune in next time to see the further evolution of Amp, from concept to finish.
J.S.R
But thank God that's never happened.
In fact, although I've had serious bouts of self-doubt when going into a project, I've always worked with people who were kind and understanding. So, along comes this short film. An animated, short film. Something I've never done before.
So, Cory Taylor asks me to storyboard the movie. Okey-day, no worries; I've done two films before. I've had some experience. Alrighty, whatcha got? Oh, some concept art too? Grand.
The short is about a retired streetlight robot, who's been abandoned in an old warehouse, left plugged into an outlet in the floor. One day, a battery rolls by, just close enough to give him hope for freedom.
So, we begin on an epic journey of discovery (discovering if I can pull it off or not); and from inception to finish, we'll cover all the ideas, concepts and eventual reality of our visions.
We take you now to a little town in East Texas, where Johnny Reighard is trying, albeit unsuccessfully, to pry open his mind with his pen (figuratively) and let the juices flow...
The first ideas that came to mind were predominantly influenced by Wall-E, as my readers will be able to quickly deduce.
Of course, this was before I had even found out what Cory wanted. I just needed to prove to myself that I could draw something even akin to robots.
From there, it evolved, through conversations with Cory and whatever I wanted to arbitrarily do.
I thought it would be very artistic to have a robot with three eyes. Red, yellow and green. The idea was to convey emotion through his light bulbs. But, as it turned out, the concept was too... creepy.
We needed something more sympathetic, cuter...
I think I'll make a series out of this, so that I'll have posts for the future. So, tune in next time to see the further evolution of Amp, from concept to finish.
J.S.R
Wednesday, September 9, 2009
Fantastic Sketch
Fantasy. A genre of literature, art and film that has enraptured the mind and heart of billions of people. Fantasy gives us the oppurtunity to envision ourselves at our consummate best, fending off malicious dragons, defeating insurmountable odds, saving the beautiful damsel, or being saved by the handsome knight.
For me, fantasy is vital. The most influential fantasies in my life have been the magical works of C.S. Lewis and J.R.R. Tolkien. Uplifting, hopeful,and stimulating, I consider them to be brilliant works. One day, I'm certain that I'll probably write a fantasy novel as homage to a few of my favorite authors.
I have always loved drawing fantasy elements, especially the soldiers, arms and armor. This particular concept was only half-finsihed, kinda. My main influence was Teutonic, though that was quite obvious. Then, I went wild and drew anything I wanted to see on the character. I think I did good; well, considering it's only half-finished. But other than that, I think it captures the vision of high fantasy that was in my mind's eye.
Johnny S. Reighard
For me, fantasy is vital. The most influential fantasies in my life have been the magical works of C.S. Lewis and J.R.R. Tolkien. Uplifting, hopeful,and stimulating, I consider them to be brilliant works. One day, I'm certain that I'll probably write a fantasy novel as homage to a few of my favorite authors.
I have always loved drawing fantasy elements, especially the soldiers, arms and armor. This particular concept was only half-finsihed, kinda. My main influence was Teutonic, though that was quite obvious. Then, I went wild and drew anything I wanted to see on the character. I think I did good; well, considering it's only half-finished. But other than that, I think it captures the vision of high fantasy that was in my mind's eye.
Johnny S. Reighard
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