#uniblog

The film that inspired me the most throughout this project is Disney’s animated film Tangled (2010). I recently bought the Art of Tangled book and since a lot of the film is set in the forest, and my story is also set in the forest, it became a big inspiration for me. 

Artist like Glen Keane and Jin Kim have such distinct styles of drawing that are super appealing to look at because they look so fluid, artist and as it the were done effortlessly. 

GLEN KEANE

Above is some of the expressive drawings that Glen Keane did for Rapunzel. Even though, I looked at Glen Keane and Tangled for my first character design. I decided to post about him again because I am inspired by him still. I just love his art style and the way his pencil markings are so particular in certain areas, how in some parts the marks are darker and some parts its lighter. His drawings always look so alive and they really capture light so well. 

JIN KIM

The sketches above are by an artist called Jin Kim. I discovered that he worked very heavily in the character development and designs during Tangled, when I was looking through The Art of Tangled book. I am not sure what else he worked on but I love his style and drawings. Much like Glen Keane he s able to capture light within his drawings even in just a normal pencil sketch. I love how he has well thought out lines and marks in his work. Both Jin Kim and Glen Keane have influenced me to experiment more and develop more drawings of my character and fill sketchbook. From these drawings I think it helps to draw more as you are more familiar with the character you have created and in turn are able to understand their personality more and therefore capture that in the simplest pencil drawing. 

BYRON HOWARD

I’m way too bored of TD, gon start QM tonight

BORN TO WRITE SILLY HOCKEY ESSAYS, FORCED TO LEARN ABOUT SEMIOTICS SECOND-HAND BECAUSE EVERY ARTICLE ABOUT CULTURE REFERENCES CHARLES PEIRCE ... (voice of a guy at his wits end):

In The Culture Peddlers Anne Freadman contends, ‘All cultures are constituted by their neighbourhoods, and the social agency of individuals is constituted by the plurality of borderlines that they live on.’ (2001:277) Freadman’s ‘plurality of borderlines’ refers to the multiplicity and permeability of cultures and identities, or worlds, that people inhabit. Moreover, these worlds, far from being siloed by language barriers, exclusive customs, ethnic lines, or other strict categories, have necessary and inevitable crossover. This essay explores novels as a space where we may look to find examples of worlds that bleed together, and worlds that may be in tension with or influence each other. Freadman, in opposition to the rigidity of contemporary linguistic and cultural teaching practices that assume one can encompass a whole culture, draws on Charles Peirce’s theory of semiotics to propose an alternative pedagogy — one that inculcates a kind of fluidity of understanding: ‘There is no system to be mastered; all we can do is make functional connections, and they may be provisional.’ (2001:290). Like Freadman’s proposed alternative methods, this essay acknowledges that novels are incomplete models of a complex reality that we can never ‘master’. Incomplete as they are, this essay will demonstrate that by examining the novels So Long A Letter, Giovanni’s Room, Outline, and The Vegetarian — all of which contain examples of cultures, identities, and relationships — we can come to understand that there is always more than one world within every world.

I have consumed. so so so much academic text and it’s all very interesting and i want to know more but there really is no time, lessons move so quickly and it feels like we barely brush the surface of any theory. i desperately want to know more about Mahmoud Darwish and Palestinian resistance through poetry, i want to know about the lineage of black feminists that informed Audre Lorde and bell hooks and i want to read everything they have and know exactly what they’ve given us, i want to sit with the subaltern and postcolonial theory and the ethics of writing life but we just… aren’t allowed. this unit is about listening to global voices. listening. but how can i listen if i’m barely given time, if i can only hear it once??? we go so fast and everything feels like it’s just a prerequisite to how you can fill out the rubric on the assignment. and i get it, they have to assess us, i want that bit of paper too!!! but it’s like there’s no time to really learn or breathe or think. i’m being hustled through an academic tasting menu because the restaurant is shutting soon and they have to close the kitchen. that’s how it feels.