Alfred Wallis

Wallis brought naive illustration into a whole other realm when his wife died and he decided to give up fishing and take up painting on old bits of drift wood. His concept of a working fisherman town in Cornwall is wonderfully playful, but at the same time keeps all the facts that proves his paintings were from experience, not imagination.

Scandinavian Fishing Villages

During my fantastic two week break in Norway last summer, I was truly inspired by the areas architecture and city/town scape. Setting my story in Greenland, I have started looking at location spots. I need base Lucy's town on an already excising one, to make it more convincing to the reader and to grasp a better understanding of layout choices in scandinavian fishing villages.

Another factor that I really want to involve in my story is the colour palette of this different world. Some of the images below display a great range and good overall image of the feel I wish to achive:

Jack Hudson

Here are a small selection of my favourite images from the Bristol based illustrator Jack Hudson. His sense of layout and texturing would be a great inspiration for the stylizing of my characters and scenes. The way of drawing the snow in the final image is a really effective method of capturing the feeling of the cold, wintery days.

Story Draft

Camera opens to a snow storm. Yeti is used to it, but the girl is lost and scared. She sits down on a lump of snow which turns out to be the yetis head. As he stands up, she is lifted onto his shoulders and he takes her out of the storm. The viewers sees the snow melt and the scene turns into spring - trees, lakes, mountains and greenery.

They sit down on a log by a massive lake. She tells him she doesn't think he is real because her dad told her not to believe such nonsense. He points out to the lake and the Krakken appears, who shows his tentacles and then sinks back under.

The yeti carries on to show the girl the pygmy Elephant and the Okapi. They then end up by a road with a sign pointing to the town, where they hug and say goodbye.

Camera cuts to the girls bedroom, where she is in bed. Her room is covered in drawings of her day. She is talking with her dad, telling her all about her adventure. He tells her '...what an imagination you have, Lucy' and the camera moves to a drawing of the Yeti - which fades into the real Yeti. He rips himself opens and pulls out his stuffing and throws it into the air. The stuffing 'snow' floats throw the air and you see it settle on the girls roof.

Fade to black.

End

Armature Research

So I've made a few test armatures to test wire durability, elasticity and hold. Is it worth forking out $60 for by a premade armature online? Big questions, little time...

Style Inspiration

Imagination and Possibility

'One other issue deserves mention. According to Hume "'Tis an established maxim in metaphysics, That . . . nothing we imagine is absolutely impossible. We can form the idea of a golden mountain, and from thence conclude that such a mountain may actually exist. We can form no idea of a mountain without a valley, and therefore regard it as impossible." (Treatise, I, ii, 2). (Note that, for Hume, "idea" explicitly meant mental image.) He seems to have meant that whatever is imaginable is possible, and, conversely, if something is impossible it is also unimaginable. Many philosophers have found this view significant and attractive. It would certainly be very convenient for metaphysicians if there were a mental faculty capable of providing a reliable test for possibility!

Hume's maxim is very questionable, however. Although examples that seem to favor it can be multiplied, it is also not hard to come up with apparent counter-examples. It seems to me that I am incapable of imagining curved space-time, but I am reliably informed that it is not only possible but actual. Conversely, countless science fiction buffs have imagined traveling faster than light, which is supposedly impossible. Perhaps some version of the maxim can be saved by sufficiently ingenious maneuvers, probably including the restriction of its scope to some or other subspecies of possibility (perhaps it applies to logical, conceptual, or metaphysical, but not to physical possibility), but such issues lie well beyond the scope of this discussion. It is, however, worth mentioning that the maxim has very little purchase if imagination is interpreted after the fashion of those who would deny its essential connection with imagery. Clearly we can pretend or mistakenly believe that impossible things are possible, and we suppose an impossibility every time we set up a sound reductio ad absurdum proof. On the other hand, if "imagination" is to be understood (as some recent philosophers claim) as something like "the faculty that envisages possibilities" (Rorty, 1988; c.f. White, 1990), then Hume's maxim would seem to be true but trivial. Who but a philosopher, however, would dream of denying that imagination has to do with imagery?'

http://philosophy.uwaterloo.ca/MindDict/imagination.html