I had though about my previous idea of taking games for granted though after speaking with Sharon she agreed that it was too subjective. And suggested ways I could adapt it which is how the ownership and influence of artists came about.
As I have previously stated in my 2nd Sunday Post I shall be breaking my subject down along these line:
Research into the history of visuals in games and the visual history of film and art movement history.
Finding some of the most culturally wealthy artists around. Looking at their painting value (how much they can sell for), How much of a following they have (and the type of followers they attract, what this means) How much influence they have on an idea or franchise.
This will be comparing different artists of the 3 different medias (film, game and master art).
I shall also be getting first hand research by contacting artists, mainly game artists and ask them about their ownership, creative freedom, influence.
I shall be linking this to my studio work as I myself am creating a piece for a game, and wish to understand what I shall be expecting and analysis what my work shall accomplish.
HISTORY
Art
Gombrich, E. (unknown) The Story of Art, Phaidon
"We don't know where art began any more than we know how language started" (Gombrich P19)
It therefore depends what you class as art, if it's weaving and building, then it's always been a part of everyone life, if it's pretty and luxury then it' a different thing. But the word Art was derived later in the history of it's self.
The further back in history we go, the more a difference art has a purpose and is created for.
Around the Ice age were the first indications of art, (as paintings) on the cave walls, more so in the south of France and Spain.
(Gombrich P21)
It was clear they were animals that the people at the time would hunt and therefore must have had a meaning of them being painted. (to ward off, good-luck, explaining to others a story, check list we don't know)
One such idea is that there were there as worship, or to tribute as people used to believe they were some way related to other animals. And therefore their art is learnt through one another closely in the groups. Just like the recently discovered Nigeria Bronze Heads, centuries old and clearly a craft learnt through their own kind.
(Gombrich P26)
Some art is hard to tell what had been attempted, but this one is a human figure doodle, with eyes and what look like arms. It shows that realistic was not what was intended here, but an experiment and more important uses for something else that doesn't need realism.
(Gombrich P26)
Other art could have been created religiously or for routines, like this New Guinea ritual mask. With geometrical shapes the artists would create a face-like mask. it was common for art to be used for gods, ritual, sacrifices etc... and continue to through out history.
(Gombrich P27)
Some are to represent legend, like the Native American, that created art to from stories and illustrate ideas. The story goes as such:
"Once there was a young man in the town of Gwais Kun who used to laze about on this bed the whole day till his mother-in-law remarked on it; he felt ashamed, went away and decided to slay a monster which lived in a lake and fed on humans and whales. With the help of a fairy bird he made a trap of a tree truck and danged two children over it as bait. The monster was caught, the you man dressed in its skin and caught fishes, which he regularly left on his critical mother-inlaws's doorstop. She was so flattered at the unexpected offerings that she thought herself a powerful witch. When the young man undeceived her at least, she felt so ashamed that she died." (Gombrich P29)
This story I'm sure is a shortened version so not to bore the reader, but the totem is there to illustrate it.
(Gombrich P28)
Art that's lasted an eternity, are the Pyramids and Egyptians words which used pictures, hieroglyphs.
Egyptian tombs are maybe one of the first to have elaborate decorations all around depicting scenes of the persons life, or heeding warnings and after life teachings.
These pieces of art are beautifully created and are clearly done my trained artists of the time.
(Gombrich P38)
Their way of doing things were so strict that if you or I were to pick up a pen a try to recreate it, it wouldn't look right. Loosing it's order, and becoming meaningless. Their mathematical way of drawing was very powerful and meant their murals could be planned well.
In Greek cities, Athens became the largest of the art world. creating art that unlike Egyptian art seemed to be made by men, for men. The Greek way of sculpting and painting seemed to be more scientific and observatory. With depictions of men with their feet both side wards and frontwards, so both can be shown how they would be.
(Gombrich P49)
One piece of a bronze head changed the way Greeks looked at art as it had moved aside from previous sculpts.
(Gombrich P59)
His eyes have pupils and emotion, his lips slightly apart and hair has movement which shows a new warmth in Greek art.
Towards the end of the 5th century artists had become aware of their power and mastery, and so had the public watching them.
Their art became more complex in movement, effort, time and placement. And on top having new purpose.
This piece being a struggle between Gods and Titans.
(Gombrich P73)
The relief pushes boundaries to not be either painting or 360 sculpture.
The biggest help in the movement of art is religion. Inspiring and giving excuses for excessive works to be created. (Michelangelo thought he was an angel, and worked lots on religious pieces). Almost any church of many religions have at least a cross sculpt in their building, and often with stained glass art work depicting stories from the bible.
(Gombrich P139)
This helped art gain a new status and move forwards quicker, with more pieces being shown in more elaborate places. With more power and meaning behind them, and therefore more power and meaning in artists and their art.
This realism soon became open to interpretation, having realistic pieces, but still a twist of fantasy as they tell a story.
This is a journey of the Magi to Bethlehem.
(Gombrich P184)
Re-emergence of tradition and religious pieces came back through, showing that the art had been around long enough to stem older ideas back into new ones. (much like fashion in our day)
Their process now focused on light and colour. Much like Rembrandt and Van Gogh.
Artists started to study other aspects of art, thinking about how if one is to be created, other physics are needed. And so art was developed to contain these ideas and ways of painting.
(Gombrich P247)
And so art then became a way to express, much like in hard time of life. This example is a war scene, and shows feeling by use of lighting, and colour (though not seen here) so give a feeling across to how the artists would have felt, when or if there himself.
(Gombrich P381)
There is much emotion and movement in this, that a lot of other pieces of the time and after had become. Adding the personality of the artist of what he is feeling when creating it.
Naturally the next move would be artists becoming more aware of their own art style and moving in their own direction finding their own feet. This is where you get experimental and new standards of art.
(Van Gogh in Full Colour (1954) P48)
And then finally we have the complete experimental art that has lead to what we have now.
(Gombrich P425)
This art has inspired others to follow their own path, which is why we have such a rich choice in art these days, and in different formats (game and film too).
Film
Firstly starting with the 17th Century Magic Lantern by Athanasius Kircher in Rome.
Chang, Cat (2011) USF ARCD Studio 2. Blogger [Online] Available at <http://usfarcdstudio2spr2011.blogspot.co.uk/2011/02/images-for-constructing-with-lines.html> Accessed 1st November 2012
1824 - Thaumatrope
Jack & Beverly's optical toys (2004) Available at <http://brightbytes.com/collection/thaum.html> Accessed 1st November 2012
The next big thing in moving images is the Daedalum invented by William George Horner in 1834. It was patented in the Zeotrope in 1867.
Daedalum Films (Unknown) Available at <http://www.daedalumfilms.com/what-is-a-daedalum.php> Accessed 1st November 2012
"In 1882, Marey, often claimed to be the 'inventor of cinema,' constructed a camera (or "photographic gun") that could take multiple (12) photographs per second of moving animals or humans - called chronophotography or serial photography, similar to Muybridge's work on taking multiple exposed images of running horses. [The term shooting a film was possibly derived from Marey's invention.] He was able to record multiple images of a subject's movement on the same camera plate, rather than the individual images Muybridge had produced." (Dirks 2012)
And we soon able to achieve a frame rate of 30 per second.
Edison and Dickson created a crude motor powered camera that could capture moving images. This was more credited to Edition's creativity as Dickson provided most of the research only.
"The first public demonstration of motion pictures in the US using the Kinetoscope occurred at the Edison Laboratories to the Federation of Women's Clubs on May 20, 1891, with the showing of Dickson Greeting. The very short film's subject in the test footage was William K.L. Dickson himself, bowing, smiling and ceremoniously taking off his hat." (Dirks 2012)
changebeforegoing (2011) Dickson Greeting (1891) - 1st Movie Shown in Public - William K.L. Dickson / Thomas Edison [YouTube video] Available at <http://www.youtube.com/watch?v=2NxVMcf6TFc> Accessed 1st Novemeber 2012
"The world's first film production studio - or "America's first movie studio," the Black Maria, or the Kinetographic Theater (and dubbed "The Doghouse" by Edison himself), was built on the grounds of Edison's laboratories at West Orange, New Jersey. Construction began in December 1892, and it was completed by February 1, 1893, at a cost of $637.67. It was constructed for the purpose of making film strips for the Kinetoscope. It was a black, tar-paper covered building/studio (with a retractable or hinged, flip-up roof to allow sunlight in), and built with a turntable to orient itself throughout the day to follow the natural sunlight." (Dirks 2012)
"A short film (about 21 seconds long) titled Carmencita (1894) [...] Spanish dancer Carmencita was the first woman to appear in front of an Edison motion picture camera, and quite possibly the first female to appear in a US motion picture. In some cases, the projection of the scandalous film on a Kinetoscope was forbidden, because it revealed Carmencita's legs and undergarments as she twirled and danced. This was one of the earliest cases of censorship in the moving picture industry." (Dirks 2012)
Dirks, Tim (2012) Film History Before 1920 Filmsite Available at <http://www.filmsite.org/pre20sintro.html> Accessed 1st November 2012
Making home moving images more accessible, the first TV was created in
Television History- The First 75 Years (2012) Available at <1928http://www.tvhistory.tv/pre-1935.htm> Accessed 1st November 2012
The first Movie in colour has been found in the national museum! The scene of the kids round a red table playing with yellow sunflowers has been dated to 1902.
(2012) World's first colour moving pictures discovered.
BBC (2012) World's first colour moving picture discovered. BBC News Available at <http://www.bbc.co.uk/news/uk-england-19423951> Accessed 1st November 2012
Game
The very first board games created and played had an underlining meaning, much like high art. The game called Senet or Sen't was created by Egyptians to help the dead make their way safely through the afterlife, and would be placed in their tombs.
We known this because they were often painted playing these games on the tomb walls. (Murray 1952)
Egyptians then created their own games that developed over time.
Dogs and Jackles (Named so because historians recognise the counters as the heads of dogs and jackals) 1680 B.C.
Another one had a sliding compartment to keep counters and pieces in.
A lot of the games around in the world were similar to Egyptian racing styles.
Murray, H. J. R. (1952) A History of Board-Games. Ox Bow Books (p. 15-21)
As technology was able to change games become electronic and more interactive. In 1958 Willy Higinbotham invited the table-tennis-like game, better known as pong. And Steve Russel then created Space War! in 1961. These early games were very popular. (Kent P. xi) And from then on games became part of life.
1976 was the first time games had been expressed as violent when Exidy Games released Death Race, and it's easy to understand why some concerns may have arose.
oldclassicgame (2010) Death Race (1976 Exidy) [YouTube video] <http://www.youtube.com/watch?v=JCYEGBMA_zQ> Accessed at 3rd November 2012
Arcade games quickly moved on to home consoles, the first being pong (1975), and then followed by Nintendo's home console the Famicom (1983) , along with it's popular game Donkey Kong. And hand held games, Matels Autorace (1976). With these franchise already set in motion, others started to join in and try and get a bit of the new gaming action.
Kent, Steven L. (2001) The Ultimate History of Video Games. Prima Publishing
1974 was when people started to experiment in 3D with 'Maze War' amoungst others.
bigkif (2007) Maze War on Xereox Alto [YoutTube video] Available at <http://www.ehow.com/about_6436661_history-first-3d-video-games.html> Accessed 3rd November 2012
Laud, Joshua (2011) History of the First 3D Video Games eHow Available at <http://www.ehow.com/about_6436661_history-first-3d-video-games.html> Accessed 3rd November 2012
I am able to look at the most popular 100 video games of all time and look at these game's graphics. And hopefully look and understand their artists work.
I shall list all the games as I'd like to look and read them up as it is still relating to my research as it's comparing popular games and their graphic. However I'll only look into the ones I think are specifically applicable.
NOTE: This will take me longer than normal to research as I bought the magazine in France and therefore is written in French and will take me a little longer to understand and translate over. With a little help from a translator site: http://translation2.paralink.com/
100 - Wing Commander II (1991)
99 - Virtua Fighter 4 Evolution (2003)
98 - Team Fortress 2 (2007)
97 - Ganbare Goemon 2 (1993)
96 - Shadow Hearts: Covenant (2005)
95 - Pilotwings (1990)
94 - Lunar: The Silver Star (1992)
93 - Loom (1990)
92 - Metal Gear Solid 2: Sons of Liberty (2001)
91 - Prince of Persia (1989)
90 - Halo 3 (2007)
89 - Gears of War (2006)
88 - Ninja Gaiden (2004)
87 - Secret of Evermore (1995)
86 - Secret of Mana (1993)
85 - Braid (2008)
84 - Forza Motorsport 4 (2011)
83 - Kingdom Hearts (2002)
82 - Little Big Adventure (1994)
81 - Super Mario Bros. 3 (1988)
Shigeru Miyamoto's 7th best selling video game in the USA -
80 - Final Fantasy XII (2006)
79 - Defcon (2007)
78 - Colin Mcrae Rally (1998)
77 - Rez (2002)
76 - Turrican II (1991)
75 - Assassin's Creed: Brotherhood (2010)
74 - Star Wars: Knights of the Old Republic (2003)
73 - Left 4 Dead (2008)
72 - Puzzle Bobble (1995)
71 - Final Fantasy VIII (1999)
70 - Doom (1993)
69 - Grand Theft Auto 3 (2001)
68 - Starcraft (1998)
67 - Xenogears (1998)
66 - The Secret of Monkey Island (1990)
65 - Wipeout 2097 (1996)
64 - Tomb Raider (1996)
63 - Super Mario Galaxy (2007)
-Shigeru Miyamoto
62 - Suikoden II (2000)
61 - Super Mario Bros (1985)
(100 Meilleurs Jeux 2012 P33)
Released in 1985 along side the NES to be the strong game that encourages people to buy their console. With a total of 32 levels, progressively getting harder, was created mainly by Shigeru Miyamoto himself. A game was sold now for up to $37
downhome711. (2012) NES Super Mario Nros. With Box & Instuction booklet CIB (Nintedo, 1985) clean. Ebay. Available here <http://www.ebay.com/itm/NES-Super-Mario-Bros-With-Box-Intruction-booklet-CIB-Nintendo-1985-clean-/150931414075?pt=Video_Games_Games&hash=item2324369c3b> Accessed 26th October 2012
At the time the game cost 4,900 yen which into today conversation rate would be around £38. So with one sale, Miyomoto will not have gained much back.
It was commercialized, which is something that is quite easy to do these days.
vizzed, (2011) Super Mario Bros - Nintendo - Retro Commercial Trailer -1985 - Nintendo - Japan. [YouTube video] Available at <http://www.youtube.com/watch?v=vlottxCEx7U> Accessed 27th Oct 2012
60 - Resident Evil - Code Veronica (2000)
59 - Gran Turismo 4 (2004)
58 - Ghouls'n Ghosts (1988)
57 - Fallout 2 (1998)
56 - Civilisation (1991)
55 - Grand Theft Auto: Vice City (2002)
54 - Batman: Arkham City (2011)
53 - Batman: Arkham Asylum (2008)
52 - Dead Space (2008)
51 - Warcraft III: Reign of Chaos
50 - Silent Hill 3 (2003)
49 - Iss Pro Evolution (2000)
48 - Dune II: La Bataille D'Arrakis (1992)
47 - Another World (1991)
46 - Shenmue (1999)
45 - Sega Rally Championship (1995)
44 - Okami (2006)
43 - Landstalker (1992)
42 - The King of Fighters '98: The Slugfest (1998)
41 - Mass Effect 3 (2012)
40 - Chrono Cross (1999)
39 - Half-Life 2 (2004)
38 - Flashback (1992)
37 - Final Fantasy VI (1994)
36 - Mario Kart DS (2005)
-Shigeru Miaymoto
35 - Halo: Combat Evolved (2002)
34 - Maniac Mansion: Day of the Tentacle (1993)
33 - The Elder Scrolls III: Marrowind (2002)
32 - Street Fighter IV(2009)
31 - God of War (2005)
30 - Sonic the Hedgehog (1991)
29 - Castlevania: Symphony of the Night (1997)
28 - Streets of Rage (1991)
27 - Ico (2002)
26 - Call of Duty 4: Modern Warfare (2007)
25 - Quake III Arena (1999)
24 - Grand Theft Auto IV (2008)
23 - World of Warcraft (2005)
22 - Bioshock (2007)
21 - Red Dead Redemption (2010)
20 - Silent Hill 2 (2001)
19 - Grand Theft Auto: San Andreas (2004)
18 - Street Fighter II (1992)
17 - Uncharted 2: Among Thieves (2009)
16 - Metal Gear Solid 3: Snake Eater (2004)
15 - Final Fantasy VII (1997)
14 - The Legend of Zelda: Ocarina of Time (1998)
-Shigeru Miyamoto
13 - Shadow of the Colossus (2006)
12 - Super Mario World (1992)
-Shigeru Miyamoto
11 - Elder Scrolls V: Skyrim (2011)
10 - Resident Evil 4 (2005)
09 -Tetris (1985) - Page 80
(Meilleurs Jeux 2012 P80)
This is the oldest game in this list, and for this game initially there was no artist working on it. A man named Alexei Pajitnov was passionate about games and sat "coding a small game on an old computer".
It was so popular in the institute he worked at that it became banned by the authorities as it cause a loss in work productivity.
Unfortunately Pajitnov lost some of his rights over his game, as it was found in Europe and the USA with notes "Made in USA, conceived abroad". To gain his rights back he immigrated to USA and gained them back editing it with the help of the Tetris Company.
It is written that the game has had a big impact in the history of video games, and it took a little to make sure the original creator was the owner of his own work.
It wasn't about the artist at this point in time of gaming history more about game-play, fun and stimulation which is why artists weren't as well known then.
08 - Diablo II (2000)
07 - Deus Ex (2000)
06 - Super Mario Kart (1992)
-Shigeru Miyamoto
05 - Super Mario 64 (1996)
-Shigeru Miyamoto
04 - Metal Gear Solid (1999)
03 - Resident Evil (1996)
02 - Half-Life (1998)
01 - The Legend of Zelda: A Link to the Past (1991)
This big franchise is number 1 in most popular games according to this magazine, and I can understand many reasons why.
This Super Nintendo game had clear colourful graphics and therefore needed someone to think about it. Shigeru Miyamoto came up with this idea and developed it along with his close team.
The series became so big that any new game bring artists in, though normally tending not to have a lot of their own artistic influences on the look of the game it's self, seem to have an effect on this franchise. This is unusual but interesting.
Here are Links character history and changes through out the years, being influenced by new artists and technology.
Zelda 101. A Brief Introduction to Nintendo's Legendary Series. STSH. Available at <http://games.supertrainstationh.com/STSH-zelda_101.html> Accessed 26th October 2012
"Twenty five years have passed since then and we’ve been able to create many Zelda games. At first, Link had a simple design of a bunch of pixels, but now he’s got a heroic fearless look and fluid movements. Ganon has become a more powerful, greatly evil being, and Zelda has turned into a beautiful lady." Aonuma, E. (2012) The Legend of Zelda 25th Anniversairy Hayrule Historia.
Can be found translated here: http://www.glitterberri.com/hyrule-historia/page-2/
- 1986 - Legend of Zelda - Shigeru Miyamoto and Takashi Tezuka
- 1988 - Legend of Zelda II - Artist unknown, from the game manual, Nintendo of America Inc. (1988-1989) The Adventure of Link. Available at <http://www.emuparadise.me/Nintendo%20Entertainment%20System/USA%20Manuals/Zelda%20II%20-%20The%20Adventure%20of%20Link%20(U).pdf> Accessed 26th October 2012
- 1992 (1991) - Links Past - Unknown However people changed their art to fit the franchise which is interesting. Comic: illustrated by Shotaro Ishinomori
- 1993 - Links Awakening - Arimoto and Shigefumi Hinu designed the game's characters, while Yoichi Kotabe served as illustrator.[31] Save for the opening and the ending, all pictures in the game were drawn by Arimoto.[27] Yasahisa Yamamura designed the dungeons, which included the conception of rooms and routes, as well as the placement of enemies.[27] Shigeru Miyamoto, who served as the producer of Link's Awakening, did not provide creative input to the staff members. However, he participated as game tester, and his opinions greatly influenced the latter half of the development.[26]
Makes you realise how the artists don't get much recognition even if they are directly changing and related to the game."
- 1998 - Ocorina of time - "Yusuke Nakano, Satomi Maekawa, Yoshiki Haruhana, Satoru Takizawa" - http://www.creativeuncut.com/art_zelda-ocarina-of-time_a.html
- 2000 - Majora's Mask - Yusuke Nakano, Takaya Imamura
- 2001 - Oracle of Ages/ seasons - Yusuke Nakano
- 2003 - Wind Waker - ("Shigeru Miyamoto said the new look was designed to "extend Zelda's reach to all ages".") - "Yoshiyuki Oyama, Yoshiki Haruhana, Satoru Takizawa, Masanao Arimoto, Daisuke Kageyama" - http://www.creativeuncut.com/art_zelda-wind-waker_a.html
- 2006 - Twilight Princess - Yusuke Nakano, Satoru Takizawa
Takashi Tezuka and Shigeru Miyamoto created Link, and so had a huge influence on his look and the franchise. Other artists that joined them influenced Links look a little. Specifically when big changes in the art team were found, Wind Waker had Yoshiyuki Oyama who only seemed to work on that title, with huge influence over the look.
With awards from:
- The Japanese Pokemon version rival character Gary Oak is named Shigeru as the creator Satoshi Tajiri was mentored by Miyamoto.
- 1998 he was " honored as the first person inducted into the Academy of Interactive Arts and Sciences' Hall of Fame."
- 2006 "Miyamoto was made aChevalier (knight) of the French Ordre des Arts et des Lettres"
- "2006, Miyamoto was featured in TIME Asia's "60 Years of Asian Heroes,""
- "Time Magazine's 100 Most Influential People of the Year in both 2007 and also in 2008, in which he topped the list with a total vote of 1,766,424."
- "At the Game Developers Choice Awards, on March 7, 2007, Miyamoto received the Lifetime Achievement Award"
- "Both GameTrailers and IGN placed Miyamoto first on their lists for the "Top Ten Game Creators" and the "Top 100 Game Creators of All Time" respectively."
- "A survey of game developers by industry publication Develop, 30% of the developers chose Miyamoto as their "Ultimate Development Hero"."
- 2010 "a Fellow of BAFTA at the British Academy Video Games Awards"
- 2012 "first interactive creator to be awarded the highest recognition in the Spanish-speaking world, the Prince of Asturias Award"
http://en.wikipedia.org/wiki/Shigeru_Miyamoto#1979.E2.80.931984
Shigeru Miyamoto: Nintendo Game Designer - Innovators - Jan Burns - 2006
Shigeru Miyamoto: Nintendo Game Designer - Innovators - Jan Burns - 2006
With so much influence people even care about what he has to say on other games that they play, even publishing it in Games Developer APR 2009
"Well it's not really my type of game, but I recognise that it's a well-made piece of entertainment" - Page 48
However they wouldn't have become such influenced people without their popular Zelda game. Other people with nothing to do with Zelda also go out of their way to create fan art. Proving that Miyamoto's work has influenced greatly how/what people draw.
TWIST
My idea, being so broad, has been adapted to look at artist's influence only and compare them. I want to look at Shigeru Miyamoto, Tim Burton and Michelangelo.
The first thing I found is that there is a lot of information on Tim Burton, Michel Angelo however hardly any easy to find information on Shigeru Miyamoto and other game artists.
I typed his name into the NUCA and Norwich Libraries and nothing came up, so his information will be found mostly in magazines, articles and webpages.
SHIGERU MIYAMOTO
With Miyamoto's Net Worth of $40 Million, there has to be a signifiant reason why. Shigeru Miyamoto (2012) Celebrity Net Worth Available at <http://www.celebritynetworth.com/richest-businessmen/richest-designers/shigeru-miyamoto-net-worth/> Accessed 28th October 2012
Childhood:
Shigeru Miyamoto, top video game designer of Super Mario Bros, Zelda and Donkey Kong started off his life as child making his own toys out of wood and string. His parents being neither poor nor rich has nothing like a TV to offer Miyamoto so he became a child that wondered into his surrounding wildernees. As he grew up he became more confident in exploring further way from his home.
When he was around 7/8 years old Miyamoto found a small cave, returning to it through out his summer, marvelling at the shadows from his lantern dancing on the walls.
Shigeru Miyamoto graduation his art college in 1976, ages 24. His fascination for art, manga, music and toys. Lead him to be hired Yamauchi at Nintendo as an apprentice at the planning department, which at the time they were creating toys like the "Love tester" and "Ultra Scope".
Nintedo Love Tester (1969) Hand Held Museum Available at <http://www.handheldmuseum.com/Nintendo/LoveTester.htm> Accessed 26th October 2012
Nintendo History (2008), Jap-Sai, Available at <http://www.jap-sai.com/Games/Nintendo/Nintendo.htm> Accessed 26th October 2012
Miyamoto was able to meet Yamauchi through his fathers mutual friend and showed him some of his toys, one being "two wooden clothes hangers for kids in the shape of crows and elephants."
Miyamoto quickly became Nintendo's first artist, starting with the designs for a console of a car-racing game and "conceived" the look of the attackers in Space Fever.
Space Fever (2012) Nindb Available here <http://www.nindb.net/img/screen/space-fever.jpg> Accessed 26th October 2012
blkdog7 (2009) Nintendo Radar Scope Arcade Game Demo Video, [YouTube video] Available here <http://www.youtube.com/watch?v=v5LjkUkAmMk&feature=player_embedded> Accessed 26th October 2012
Yamauchi got Miyamoto to create a new game to fit into the unsold Radar Scope cabins, which is when he designed Donkey Kong (also helping write the music for it), released in 1981. Based on Pop-eye, Miayamoto redesigned a carpenter character who had to rescue his girlfriend from his awol pet guerrilla. The name "Donkey" was from a Japanese-English dictionary meaning "goofy" or "stubborn" and "Kong" is "guerrilla". This being one of the first games with a strong a fitting story that meant the player played their way to the end of the game rather than stacking up points.
Miyamoto even started off calling what we know now as a platform game a "a
running/jumping/climbing game". This game came to Nintendo executives in America who decided
to change jump mans name to "Mario" thinking the name "Donkey Kong" would make it another flop. However to their surprise was a huge hit.
1985 saw Mario become something larger, increasing sales of the Famicom. Being a side scrolling game where some Italian plumbers make their way through 8 worlds, collecting stars, coins and mushrooms, to save the princess peach, who's been captured by the Evil turtle Bowser.
It was so simple, that anyone could pick it up and play it in their own way. Which is why it was such a hit. And only until recently, topped by Wii Sports, had the most game sales.
As Wright had said, “When you play his games, you feel like you’re a kid and you’re out in the back yard playing in the dirt." Which is exactly what Miyamoto wanted.
From all of Miyamoto's games it shows that he has no niche, have side scrolling, arcade, fitness motion controller games and shows his wide skills and creating games that people seem to love playing.
Works:
People follow Miyamoto's work more than himself. Creating franchises that have their won world to delve into and follow with in it's self. Which is interesting compared with Burton and Michelangelo.
His most commercial and famous work are:
- Donkey Kong = The first game created by Miyamoto
- Super Mario Bros. = This being the first game where Mario becomes who he is. (see above for information on game)
- The Legend of Zelda = A huge success with many followers.
Can be found translated here: http://www.glitterberri.com/hyrule-historia/page-2/
It originally was called The Legend of X, the PR project planner then spoke about doing a story book of the game, and also mentioned a famous writer called Zelda, which Miyamoto loved and has stuck.
Each of these games took at least a decade to create together, and calculating the working budget and conditions for around the NES each game probably took around 9 to 12 months to create. Which is quite a while but impressive when there seems to be only a small group working closely with Miyamoto. I have worked this out from the production line of the NES, the games releases and their budget ideas.
The character Link was named so to convey the meaning of someone who connects, through the worlds, energy and space.
Including the popular:
- Nintendogs
- Wii and Fitness
He clearly had his own freedom of ideas to create games he liked himself, and related to his own life how he wanted.
There was a lot of talk abut Miyamoto stepping down, which he seems to want to do, he wants to go down a level to create more personal works.
“What I really want to do is be in the forefront of game development once again myself,” Miyamoto said. “Probably working on a smaller project with even younger developers. Or I might be interested in making something that I can make myself, by myself. Something really small.”
He wants to create more personal work, as he himself hasn't created that much. Or more like his big game are personal to him, but have taken up a lot of his time.
Kholer, Chris (2011) Nintendo's Miyamoto Stepping Down, Working on Smaller Games, Wired. Available at <http://www.wired.com/gamelife/2011/12/miyamoto-interview/> Accessed 27th October 2012
Miyamoto's workflow starts off with the normal sketch stage, and in Super Mario Bros. he sketched out the pixels and how they would be:
Oswald, Stuart. (2011) The Birth of Mario in Pixels. Nintendo Scene. Available at <http://nintendoscene.com/2011/02/03/the-birth-of-mario-in-pixels/#>
These then would be made using their software development into the game.
Blogger. (2012) Super Mario Game now Available for PC. Lastestcrunchs.com, Available at <http://www.latestcrunchs.com/wp-content/uploads/2012/08/Super-mario-brothers.jpg>
He also in Legend of Zelda worked in ideas liked this:
"The first thing I thought about was a game that made use of the Disk System’s function of rewriting data so that two players could each create their own dungeons and make the other player solve them. We actually created such a game, and when I played it, I felt it was very fun playing in the dungeons themselves. So we put together a game with a series of dungeons underneath mountains distributed around Death Mountain for a single player to solve them. But we also wanted it to feature a world above, so we added forests and lakes, and so Hyrule Field took form gradually." Aonuma, E. (2012) The Legend of Zelda 25th Anniversairy Hayrule Historia.
Can be found translated here: http://www.glitterberri.com/hyrule-historia/page-2/
Because he is selling on a vast scale, Miyamoto's work unlike other medias is not exclusive to one commission. Therefore he has to please many people by getting lots of sales. He works for the company Nintendo, and therefore anything that he creates in licensed to them, however because he is so high up in the branch he gets paid enough money from the company back to him.
Influence and people's view on Miyamoto:
This is from the perspective of the journalist (Nick Paumgarten):
Paumgarten initially found him very hard to reach and once at the conference room, asked the assistant why he couldn't see him straight away which he replied: “Mr. Miyamoto is the person who is very difficult to find. In Nintendo, everyone wants to find him.” (Paumgarten p6)
What Miyamoto said:
"“A lot of the so-called ‘action games’ are not made that way,” Miyamoto told me. “All the time, players are forced to do their utmost. If they are challenged to the limit, is it really fun for them?” In his own games, Miyamoto said, “You are constantly providing the players with a new challenge, but at the same time providing them with some stages or some occasions where they can simply, repeatedly, do something again and again. And that itself can be a joy."" (Paumgerten 6)
A lot on page 7 is what Miyamoto is saying to Paumgarten.
“Sometimes the test players complain that there are too many enemies in one stage. And when I approach the designer of that scene with that kind of complaint sometimes he or she says, ‘Oh, maybe they couldn’t find the stars at the beginning. As soon as they find out that the star makes you invincible, it’s more joy.’ And the developer insists that hiding the star in the beginning is going to be great. But if game players don’t understand this, and they can’t find the star, then the game doesn’t make sense at all.”
He talked about Wii Fit and how he thought “This could be a nice trigger for conversation,” he told me. “If I could make it into a game, it could probably help isolated fathers get more association with their daughters.” which I think is such a sweet thing.
He often says it, when a game makes him happy it will make others happy. This is why I think he creates games because he seems to believe, “When it comes to other animals, they play to prepare themselves for hunting. If you ask me why human beings play, well, I just don’t know. It must be just for pleasure. We generate chemicals in our brain so that we can have some pleasure, and by now we’ve come to understand that pleasure makes you happier, and being happier makes you healthier.”
What people think of him:
Nintendo seem quite protective over him making him drive to work, where he used to work or ride a bike, for their peace of mind and his safety.
"He has been called the father of modern video games. The best known, and most influential, is Super Mario Bros" (Paumgarten p1)
"He is Nintendo’s guiding spirit, its meal ticket, and its playful public face." (Paumgarten p1)
This extract on page 2 interested me greatly -
"In the gaming world, the creators of the games are not always widely known, much less venerated; the structure of the business, in which engineers and artists do their work for hire, and in which, increasingly, they do it in greater numbers, owing to the more complex technology of the games, consigns them to relative anonymity. Part of it, too, is that games are typically considered to be commercial products, rather than creative works; consider the fact that game titles, unlike the names of, say, movies or songs, appear in most newspapers and magazines, including this one, un-italicized and without quotes. There aren’t very many video-game auteurs, but Miyamoto is one."
This shows how others also agree that games aren't as known for art or creativity, but solely for consumerism and to make lots of money and quickly (using lots of artists).
His personal life:
Miayamoto doesn't want to be known for his own work, finding it odd that people want to know about him and his life, keeping is all hidden away. He also makes a point not to appear on Japanese TV so he doesn't get badgered by fans, however tourists do recognise him and stop him whilst walking his dog. He also has a son, who worked in advertising and a daughter studying Zoo-ology in DEC 2010.
Miyamoto is the closest thing to an autobiographical game creator. His childhood inspiring Zelda, his Shetland dog inspired Nintendogs and him puttering the garden inspired Pikmin. Loosing weight obsession created Wii Fit.
He enjoys in his personal life to change interiors of rooms, helping him feel fresh. And would often do it at odd times. His preferred type of game are chance games where the least skilled player still has a chance of winning as he feels he isn't skill at strategy games himself. (Paumgarten p8)
Paumgarten, Nick, (DEC 2012), Master of Play, The New Yorker, http://www.newyorker.com/reporting/2010/12/20/101220fa_fact_paumgarten, pp. 1-10, Accessed OCT 26
MICHELANGELO
I chose Michelangelo as he was known for being a great painter and sculptor but also spent a lot of his time doing architecture which is related to my studio work.
This first thing I read was comparing Michel Angelo against the biggest names in art "as innovative as Leonardo da Vinci ... as productive as ... Raphael of Urbino, as secretive as Giorgione in Venice and blessed like Titian..."(Zollner 2010 P7)
It then goes on to explain, or fight, why it's the best book there is out there on Michelangelo. Showing that to be the best author of this artists must mean something about his following. Getting much help and thanking in the Preface the Leipzig Michelangelo team, which shows he has much of a following a they practise his study in vast groups.
Being quite an architect Michelangelo has only recently been extensively researched, his work being document primarily in his own drawings. And he can be considered "prototype of the modern, self-expressive artist" (Zollner 2010 P8) It is also apparent that in Michelangelo's career saw a shift, "the greatest painter and sculptor of his generation turned his attention predominately to architecture." (Zollner 2010 P8)
Childhood/Growing up:
Unlike other 15th Century masters, we know exactly the year Michelangelo was born and have a good idea of his ancestry. His father, Ludovico di Leonardo Buonarroti Simoni, being in Florence's upper middle class, was able to document major parts of his life, including the birth of his 5th son Michelangelo on 6 March 1475. He was born in the town of Caprese in the upper Tiber Valley, as his father had been appointed magistrate there for a year, which once over they all returned to Florence.
They lived in a small country estate in the S. Croce district of the city. This shows that Michelangelo and his family belonged to a class in society whose members were eligible for public office.
It demonstrates how from an early age Michelangelo had a lot going for him, with probably much support from him family.
A document from the 28 June 1487 states that Michelangelo, aged 12, was already an errand boy in the workshop of Domenico Ghirlandaio. Thus showing that he had started his line of work at a very young age, and had intended even then to not continue his education at school.
On the 1st of April 1488 he had started his apprenticeship as a painter in Ghirlandaio's workshop, which he was paid and documents prove. He was taught the basics of painting and slowly became more aware of his own work, by going to the fish market to study fish anatomy.
Not long after this he was asked to learnt to sculpt in the legendary gardens of S. Marco and here he was taught the basics of the sculpting.
Growing up in the Arezzo Countryside meant Michelangelo grew up against the local marble-cutters and probably learnt a lot of his craft there. It was also mentioned that he was looked after by his wet-nurse, which is not uncommon for people in this class.
Michelangelo political views were towards the Guelph at the time, and often caused clashes with important patrons. And for the first decade of his career, he clashed with the Medici who had steered Florance's fortunes in the 15th Century via alliances in politics. And as Michelangelo's first steps in his career was under the protection of Lorenzo de' Medici, cause potential problems.
As all the rest of his family chose to become public officials, it is hard to justify why Michelangelo chose the profession he chose. The writer Giorgio Vasari claims that his choice came from God, who had planned for an angel to be born in Tuscany, the home of fine arts.
He was close to his family, particularly his father, brother, nephews and nieces who he promised a large part of his wealth to. Though his wealth he collected over many years, and mostly lived like a poor man.
Though this craft man profession defined him as working class, Michelangelo occupied an unusual position in upper echelons of society. Probably because of his family status. It meant that unlike other others of the time who had to try and work their way up by creating pieces others wanted, Michelangelo had more freedom to create, and act the way he liked as he had already gained notice from his family status.
Works:
He earned his status through his vast array of talented work, and showed unusual versatility in sculpture, paintings and also architecture.
(Zollner 2010 P6)
Because of the many paintings he did of himself, his appearance is well known to us. It helps us describe him as "untidily dressed, even somewhat unkempt, man who lived modestly, who could at times be generous towards his inferiors and also rude towards his employers." (Zollner 2010 P13)
His trademarks apparently being his squashed nose.
Michelangelo did both personal and commissioned work. The biggest being:
The Sistine Chapel (Vatican)
dm28629 (2011) 360 Degree Views of Sistine Chapel. Deep Focus. Available at <http://blogs.utexas.edu/utsoa-deepfocus/files/2011/01/01.18.2011.jpg> Accessed 26th October 2012
It took Michelangelo 4 years to create the ceiling of the Sistine Chapel, which shows his dedication and loneliness on the project. Although it wasn't constant work, he still had to make his money elsewhere in the mean time, it still would have taken around that long to create this large, awkwardly placed piece.
Blogspot (2012) Pieta. Blogger Available at <https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWQ0RlV3uKdRw1NJMcLuKxmpUHN4KjXezY9BPIDuKZtEnIyTLGusgROt7fJ7K3-Hj9yW-fF_ljgkeQvzjjfq7guonrsVVKSz7eryoqVjj5AqieKRamau3sAaoHqH-xuNR8XWmuNvUp2Yc/s1600/michelangelo-pieta.jpg> Accessed October 2012
David (Florence)
He got (24 years old): 150 ducats gold before work, 100 ducats every 4 months once work started so her got what he should have for his work. And the recognition, as he sued to sign his name Michel Angelvs, which is the name of the angel. Indicating he did really see himself as the God of his art.
mbell1975 (2012) Michelangelo Statue of David Florence Italy. Flickriver, Available at <http://farm4.static.flickr.com/3254/2874805313_9ff839e48f.jpg> Accessed 26th October 2012
A lot of his personal work that he didn't often want showing was his Poetry, this was was averagely written, but it does give us insight to how Michelangelo thought.
"Here art would have live on
In just a living stone,
As long as there are years, one woman's features.
Then how such heaven treat her,
This being mine and she it's handiwork,
Not to my eyes alone.
A goddess and no creature?
Yet after a little stay her flight is quick,
And crippled in it's right hand is her luck,
If a stone can remain, death dislodge her.
Who then will revenge her?
Nature alone, if here along can stay
Wrok of her child, and time steal hers away."
(Zollner 2010 P33)
His personal art work was more about studying and getting better, which he would often (unless it showed him in an intellectual light), destroy so no evidence of his previous failures existed.
A lot of sketches such as his figure studies:
Blogspot (2012) Michelangelo, Availble at <https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN-zTtvhBw9bz0-lotxOv4d2E5__nmIrheL3m4nLWHqLGAQDS_NYq3MElBIsCZiBYZW2ZR5WxMY3QbgDnsjlrPjAku6nxt-tyXQGoDRhdgTib2gPz-xnQbaru3CrwY3r0ldD8TOkxqkRY/s1600/michelangelo1.jpg> Accessed 26th October 2012
Liverpool Museums (2012) Michelangelo, Available here <http://www.liverpoolmuseums.org.uk/walker/collections/paperWorks/graphics/large/Tintoretto.jpg> Accessed 26th October 2012
You can find as he kept them for reference and to show his study of nature.
It is clear from these sketch studies, that Michelangelo's work flow consisted of a series of sketches to study the anatomy of a person to then be able to confidently paint the body fully in colour.
With looking at how much art is worth for master artists is difficult as they can't create anymore, so their pieces have a new type of value to it, meaning it depends how much people want to but it for. A piece found behind a sofa could pottentially be Michelangelo's and be worth $300 Million.
Allen, Nick (2010) $300 Million 'Michelangelo painting' found being sofa. The Telegraph. http://www.telegraph.co.uk/culture/art/art-news/8057148/300m-Michelangelo-painting-found-behind-sofa.html Accessed 27th Oct 2012
His other works could be classed as priceless (like the Sistine Chapel) as the amount of money someone would have to spend on it, would not be worth owning it. They'd probably have to buy the whole chapel.
What he thinks of himself:
He was called "el divino" by Ludovico Ariosto, and although many artists were compared at the time to God, Michelangelo "was the first to become the perfect embodiment of the idea of the artists as God.
Michelangelo also practised that sexual abstinence was important for prerequisite of a long life.
He destroyed vast arrays of his paintings, probably to get rid of evidence of his training and artistic beginnings. It shows that this man was very proud, and wanted to be see only in the best light.
He did keep some, to prove his art came initially from the study of nature and other arts, which shows he thought greatly about how other perceived him and wanted to make it big for himself, and be remembered. He clearly thought highly of himself.
What other think of him:
His pupil and friend Ascanio Condivi wrote a book on him Life which shows that even at he time he was alive, Michelangelo was getting the praise he deserved.
One person punch him on the nose as he lost his temper at the Masaccio's chapel
"...one day he provoked me so much that I lost my temper more than usual, and clenching my fist, and gave him such a punch on the nose that I felt the bone and cartilage crush like a biscuit. So that fellow will carry my signature till he dies" (Zollner 2010 P14) - Michelangelo was clearly a really arrogant man, as he used to make fun of the other people's drawings. And he became quite well known for his mockery and sarcasm through his letters and the way he used to be around people.
Personal life:
Some do still recognise his other personality "his abrupt manner of dealing with contemporaries, his tightfistedness, his outbursts of anger and often unjustified tendency to complain" (Zollner 2010 P12) But still even though he was like this, he created great pieces with people care about.
He was so intent on his work that Michelangelo would often just make do with a little bread and wine to feed himself. However he ate more when working on The Last Judgement in the Sistine Chapel, where he would eat at the end of the day after work. He would not often see or invite friends round, and would rarely accept gifts as it left him feeling in debt to that person. This sober life would keep him very alert often not being able to sleep, for not needing it, and get up to work a his new piece.
Zollner, F. Thoenes, C. (2010) Michelangelo Life and Work. Taschen
TIM BURTON
Tim Burton net worth 80 Million (2012) Celebrity Net Worth Available at <http://www.celebritynetworth.com/richest-celebrities/directors/tim-burton-net-worth/> Accessed 28th October 2012
Childhood:
Timothy Walter Burton was born on August 25th 1958 and was raised in Burbank, where houses were set in rows and repeated themselves. He did like his family, but didn't relate to them, as the 50's in America were very much set on normality of the American dream, which he seemed to not have.
His father, Bill, a former minor league base ball player, worked at the Burbank Department of Parks and Recreations, drawing secretly on the side
His mother, Rickie, own a shop that sold cat-themed things and was quite crafty herself, making pine cone Santas and snowmen at Christmas, as Burton remembers.
His brother also being artistic, Burton clearly feels that each did their own thing.
Burton would often spend his time in the local cemetery, however having to conform made him turn inwards on himself, and his art outwards. At school he had a teacher who encouraged him to draw how he wanted, which he learnt over time was a good way to draw, and not comparing to other students. This unfortunately rendered him weird to the other kids, and he was left on the outside watching other kids, observing them.
From an early age he spent his time creatively, writing an illustrating poems and children's books, directing and starring in super-8 films and pranking the neighbours. Once throwing clothes into the pool which had just been disinfected with strong chemicals and convincing them someone had fallen in and dissolved.
His artwork was ironically over time become more and more accepted in his suburb, as he created greeting cards instead of buying them, and would submit drawings instead of essays at school. And in 9th grade won a competition designing an anti-littering poster.
(Gallo P9)
When only at 17, Burton handed in to Walt Disney Productions a fully illustrated children's book titled "The Giant Zlig" Which is a book, in rhyme talking of the monsters living in the land of Zlv. Although the publisher replied with much praise, he did mention that it was close to Dr. Seuss and didn't really fit in their current projects.
At 19 his drawing of an angry football player squashing the opposite team ran on the front of the Burbank City Employee Newsletter 1977.
Burton received a scholarship at the The California Institute of Arts, where Disney had set up a training school and in amongst their assignment sketches still kept are Burton's monsters and Aliens.
Whilst at the Institute, Burton worked as an "inbetweener" at Hanna-Barbera, and later became a rotoscope artist on the 1978 Lord of the Rings.
After his 3rd year, Burton created his short film Stalk of the Celery Monster, in which Disney saw his potential and hired him.
timburtonjp (2008) Tim Burton's early short "stalk of the celery monster" [YouTube video] Available at <http://www.youtube.com/watch?v=Tn6S_jfbgVI> Accessed 28th October 2012
Unfortunately he soon realised that Disney's style little suited his own, and trying to be an inbetweener on The Fox and the Hound he found difficult and demoralising. In the 6 years of working under someone's ideas and style Burton became depressive and wanted to move onto bigger things. He worked on The Black Cauldron, which Disney never used, and on Trick or Treat, which Disney scrapped.
Works:
His famous films, have less than famous origins and drawings, which is what I find interesting. His artwork was to him "A focus, an escape, a release, a train of thought" (Gallo P6)
His first piece Disney allowed him to create was Vincent, which he managed to get his hero involved with, Prince, to narrate it. (director of favourite films) And so a 6 minute short was created.
petrover (2006) Vincent - Tim.Burton.Short.Animation.1982 [YouTube video] Available at <http://www.youtube.com/watch?v=fxQcBKUPm8o> Accessed 28th October 2012
This is really dark, and I can't imagine Disney using it proudly to show off as their own. And although it won 2 awards at the Chicago Film Festival, Disney didn't allow him to release it as a children's story because of it's grim ending. And his work on Hansel and Gretel has been aired once and its almost impossible to find, a lost treasure. Sciretta, Peter (2007) Hansel and Gretel: The Tim Burton Movie You've Never Seen Slash Film Available at <http://www.slashfilm.com/hansel-and-gretel-the-tim-burton-movie-youve-never-seen/> Accessed 28th October 2012
Frankenweenie (an ode to Frankenstein) is probably one his longest running ideas, initially created as a 29 minute live action short in 1984, and was meant to be aired before Pinocchio but was pulled when it was given a PG rating stating that the dog looked too scary. Though Burton felt that it wasn't the point, and the look of the dog was meant to stop kids from being prejudice against first appearances.
Burton's workflow is quite clear for this film, starting off with sketches of the dog and boy, idea coming from his own feelings towards missing his childhood pet:
Doodling on paper:
(Gallo P25)
And fleshing it out:
(Gallo P25)
This art was created for his 1984 film which can be found here: <http://vimeo.com/45750807>
And it only took 15 shooting days and 2 months on pre-production to create, showing Burton's dedication. Korkis, Jim (2012) The Making of the Original Frankenweenie USA Today Available at <http://travel.usatoday.com/alliance/destinations/mouseplanet/post/2012/06/The-Making-of-the-Original-Frankenweenie/715115/1> Accessed 28th October 2012
Alexander, Bryan (2012) Burton's 'Frankenweenie' Pays Tribute to a Beloved Dog
Paul Reubens saw the 1984 film and knew he wanted Burton to direct his film PEE-WEE'S BIG ADVENTURE, which he accepted. This was such a success that me quickly moved on the direct Beetlejuice, which grossed more money than expected which lead him onto Batman, and there so became the top of the directors list.
A lot of his influences also come from the fact that as he grew up the taboo we would have, not to talk about the dead, was not in this case, as he would often be entangled in the Hispanic holiday Dia de los Muertos. Which is directly related to his Corpse Bride work where the dead sing upbeat songs.
raizenkohakus (2011) Corpse Bride Song [YouTube video] Available at <http://www.youtube.com/watch?v=j4p9WKnDQzQ> Accessed 28th October 2012
Sweeny Todd and Sleepy Hollow are both influenced and have similarities to Hammer Films, which he also loved and followed. And he would often put works of art he loved and followed in his own work, whether its in the style or directly like Francis Bacon's art features in Batman.
All these films are very commercial piece's (especially the popular ones), however Burton's personal art can be found in his sketch books and aren't as censored as these.
He also had time to take his concept work into surreal photo shoots with help on makeup, and using props and puppets, which I think is worth mentioning.
(Gallo P113)
(Gallo P49)
All of this shows how Burton was not allowed full roam of his creativity. Disney often putting or hiding away his stuff, leaving Burton feeling agitated about his own work. Disney clearly owned his work, and therefore could do what ever they liked, even if he wanted to just be a children's writer.
Influences and what people think:
He thinks of himself:
"Most of what appears in this book was never intended to be seen by anyone: some of it was for specific projects, some of it just for me." Tim Burton (Gallo P1)
This book on his art shows many things but it's clear he doesn't like to categories himself or his work, though he does have a distinct style, as he doesn't want to be branded or labelled. Though people have called him and his work "Burtonesque" (Gallo P2)
When asked about why he think he's become famous, Burton mostly replies along the lines of pure luck. However other believe more then that, as his perseverance and talent might have been quite a lot to do with it.
He loved Dr. Seuss work and took influence from him a lot, which shows the underlining anti-authority in his work, and is what Tim Burton felt through his life.
Others think of him:
One thing that sticks out is when Burton is being described he is often constantly in motion, using his hands when ever he can, wearing mostly black, occasionally blue and reds and rarely light blues. His frizzy hair and liken for interesting objects to calm his nerves along with the mention of thick-rimmed sunglasses to protect from people and the media, almost makes him seem like a nervous person indeed, being shy with strangers. However talkative and funny around friends.
And this can be seen often in interviews when he's witty and sharp when answering.
"I knew his art well and always looked forward to seeing bits and pieces of his stuff" - Danny Elfman (Gallo P28)
"Tim is an artist of great talent and individual style[...]I'm so happy that he chose to become a film maker and not just another great painter, who would only get the recognition he truly deserves when he's dead..." - Danny Devito (Gallo P37)
"He can take something that in description should be horrifying, yet through his fingertips becomes sweet and sympathetic." (Gallo P1)
Personal life:
One thing I can gather is that time Burton draws. And he draws a lot, taking a sketchbook where ever he goes, if forgotten uses anything around him (occasionally walls and tables) and once he sketches an idea a few times he fleshes it out. Books and papers and more note books were found around his archives, and personal home when Gallo and Kempf were creating this book or art. And it's clear he uses anything to draw, watercolour, pen, pencil, glitter and some case there's pretzels and cherries. Over 10,000 images looked through, more never even saw light, and in the last week of creating the book, more boxes were found, and undoubtedly there's more out there.
Tim obsessions have included:
- Monsters
(Gallo P34)
- Aliens
(Gallo P56)
- People
(Gallo P97)
- Animals
(Gallo P127)
This story made me laugh, showing that both Tim Burton and Helena Bonham Carter have secretive lives for such celebrities:
"We were having dinner in a pub in the country, and I noticed a man kept staring at me. Outside, as I was leaving, he approached me quite innocently. 'I hope you don't mind me saying so, but you look exactly like you've been drawn by Tim Burton. Do you know who I mean?' I replied that not only did I know whom he meant but that I had two children by him and, in fact, he was standing behind him. The man looked round and nearly died." - Helena Bonham Carter (Gallo P97)
Gallo, Leah. Kempf, Holly et al (2009) The Art of Time Burton Steeles Publishing
COMPARING ARTISTS
I want to outline some comparative points to help me move forward with my idea:
Miyamoto + Michelangelo
- Michelangelo live hundreds of years ago (1475-1564), with no technology he even had a friend write him a book - Miyamoto with all this technology and living right now, its hard to find a decent book, or information on him.
- They are both hidden men, dedicating their life to their work, though Michelangelo didn't seem to even have friends or a lover.
- Miyamoto luckily got into his job, though was from what seems a poorer family, Michelangelo, born in some class got there via his status.
- Miyamoto seems to be nicer, as people seem to say nicer things about his personality and less about his work, Nintendo not wanting to exploit him, and not being the top of this company.
- Trademarks - squashed nose and his smile.
- Michelangelo left school to become and errand boy at 12, Miyamoto did art at college, but wasn't sure how to peruse it next. But both had a passion at a young age.
- Miyamoto doesn't really show up much, or do much to recognize his work, Michel named himself Angelvs like an angel for God of art.
- Clearly recognised himself and others (Michelangelo), Miyamoto is recognised more by others, as he finds it odd when people stop him in the park.
- Easy to advertise Miyamoto's work but not Michelangelo's (word of mouth)
- Miyamoto works for the company and creates for them, they sell and they pay him back. Michelangelo gets commissions and sells that piece to that seller.
- Both are versatile in talent.
Miyamoto + Burton
- Burton also creates worlds that people follow, however also has his own, art and so people follow him too, Miyamoto just has worlds - maybe why no one follows him as much.
- Both Miyamoto and Burton had experiences in their lives that effected their later work.
- Both studied Art and went into that profession almost immediately.
- Burton was more stylised than Miyamoto, less versatile.
- Burton got more recognition growing up, wanting to be good, Miyamoto wasn't sure how to follow his dreams.
- Both got given money to go and do their own projects.
- Workflow is similar, though Miyamoto's projects are often praised straight away.
- Miyamoto is the life of the group, being a warm, family man.
- Both their work is aimed at kids, though Tim Burton took his time to get people to agree with him.
- Burton uses lots of media, but has a distinct style, Miyamoto uses the same media, but adapts it to different outcomes.
- Burton wanted to be on top and control his projects, Miyamoto is stepping down so he can do smaller things.
CHANGE
After much consideration and trying to write my piece in this subject, it became apparent that I just couldn't create a high enough quality essay. And after talking with Marie-Claire and Sharon we decided that I should move my subject to another one I have enjoyed studying, and this is light.
This research I have already accumulated can be found in the 'Light' post. Although I wish to take this and look at light used in games to effect the genre of the game.
So now I have to take some time to look into some specific games that use light well, and that I can compare.
I have already studied light physics and light rendering in programmes, now I wish to take this forward in the uses of light and how it effects the mood, and so setting the genre of a game.
Psychology
When talking about lighting in games, I thought it would be fitting to look at horror as it the most intense and easy to remember genre of games that uses it's lighting at the max.
There are 5 main points I have learnt from this Newsletter piece:
Ginthner, Delores (Vol. 2 Issue 2.) Lighting: It's Effect on People and Spaces InfromeDesign Available at <http://www.informedesign.org/_news/feb_v02-p.pdf> Accessed 9th November 2012
The first thing I wanted to look at is use of lighting in horror games as I think it adds most of the scare when playing them.
One game that uses light is a game called Amnesia: The Dark Decent. Now, I'm too scared to play horrors, so I had to experience this game while someone else is playing it... whilst talking over it.
TobyGames (2010) Amnesia: The Dark Descent [YouTube video] Available at <http://www.youtube.com/watch?feature=fvwp&NR=1&v=aDYiu08HFeM> Accessed 8th November 2012
Here's a perfect example of using the torch oil lamp as the only real light source when exploring an area. This adds tension for the player and anything could creep up beside them.
Another horror that uses light well is Bioshock.
I played Bioshock for a total of possibly 10 minutes, and had to turn it off. One of the first things I noticed was the use of flashing lights, which would make me jump.
This clever use of light enables things to be hidden and appear suddenly.
In this one, not even a second later, the whole outside room can be seen all to the other end. It is also interesting to look at the darkness used in this room, with the only light coming from the window and outside water area. This means that the whole Bioshock world takes places mainly underwater, with colour pallets of dull muddy browns and greens.
Here (in the very centre) the use of the reflection on the hook, being the thing that causes the most damage, and therefore the most fear, is being illuminated against the dark figure that you can hardly see. This plays on also the idea that the imagination of a human is way scarier than what they can physically see. Which is why to start off with this creature is darkened.
Surprise Bitch (2011) Bioshock Playthrough pt.1 [YouTube video] Available at <http://www.youtube.com/watch?v=EkJaoOKWcUg> Accessed 8th November 2012
http://www.rockpapershotgun.com/2010/09/03/illuminated-ones-shadow-light-in-games/
Chiaroscuro and rembrandt:
http://www.nettonet.org/Nettonet/101%20Painting/Studies/Chiroscuro.htm
light in seasons, changes feeling and mood:
COURSE Notes on a few light books:
http://education.siggraph.org/resources/cgsource/instructional-materials/archives/courses/s96-c30/s96_course30.pdf
film noir:
http://www.youtube.com/watch?v=zfbGJrAVWUo
1.26
shadow light and visual obstruction.
1982 works differently but not as effective.. more on sound effects.
http://www.youtube.com/watch?v=wEVQnPOQWMQ
I looed at the reference in this article:
They are re;event to my own gamestudy:
http://gamestudies.org/0701/articles/elnasr_niedenthal_knez_almeida_zupko
This book has a section on colour an how it makes scenes feel and their meanings.
Block, B. (2001). The Visual Story: Seeing the Structure of Film, TV, and New Media. Focal Press, New York.
This is interesting about colour on screen, using lighting as it's pallet:
block 2001. p116
Psychology
When talking about lighting in games, I thought it would be fitting to look at horror as it the most intense and easy to remember genre of games that uses it's lighting at the max.
There are 5 main points I have learnt from this Newsletter piece:
- Lighting where a vertical meets a horizontal is important for peoples navigations.
Ginthner, Delores (Vol. 2 Issue 2.) Lighting: It's Effect on People and Spaces InfromeDesign Available at <http://www.informedesign.org/_news/feb_v02-p.pdf> Accessed 9th November 2012
The first thing I wanted to look at is use of lighting in horror games as I think it adds most of the scare when playing them.
One game that uses light is a game called Amnesia: The Dark Decent. Now, I'm too scared to play horrors, so I had to experience this game while someone else is playing it... whilst talking over it.
TobyGames (2010) Amnesia: The Dark Descent [YouTube video] Available at <http://www.youtube.com/watch?feature=fvwp&NR=1&v=aDYiu08HFeM> Accessed 8th November 2012
Here's a perfect example of using the torch oil lamp as the only real light source when exploring an area. This adds tension for the player and anything could creep up beside them.
Another horror that uses light well is Bioshock.
I played Bioshock for a total of possibly 10 minutes, and had to turn it off. One of the first things I noticed was the use of flashing lights, which would make me jump.
This clever use of light enables things to be hidden and appear suddenly.
(Surprise Bitch 2011)
In this shot the light is being reflected off the glass of the elevator so only the screen and the inside of the elevator can be seen.
(Surprise Bitch 2011)
(Surprise Bitch 2011)
Here (in the very centre) the use of the reflection on the hook, being the thing that causes the most damage, and therefore the most fear, is being illuminated against the dark figure that you can hardly see. This plays on also the idea that the imagination of a human is way scarier than what they can physically see. Which is why to start off with this creature is darkened.
(Surprise Bitch 2011)
And suddenly we see a spotlight on her (Caused by a later seen helicopter) which focuses the eye straight to her following as she moves and climbs up the wall.
This use of light is often seen in police footage where the dangerous car, or person is being pin pointed by the spotlight from a similar helicopter and therefore makes the player subconsciously understand the direct relation of a dangerous creature being visually isolated.
Surprise Bitch (2011) Bioshock Playthrough pt.1 [YouTube video] Available at <http://www.youtube.com/watch?v=EkJaoOKWcUg> Accessed 8th November 2012
http://www.rockpapershotgun.com/2010/09/03/illuminated-ones-shadow-light-in-games/
Chiaroscuro and rembrandt:
http://www.nettonet.org/Nettonet/101%20Painting/Studies/Chiroscuro.htm
light in seasons, changes feeling and mood:
Calahan, S. (1996). Storytelling through lighting: a computer graphics perspective..
http://education.siggraph.org/resources/cgsource/instructional-materials/archives/courses/s96-c30/s96_course30.pdf
film noir:
1.26
shadow light and visual obstruction.
1982 works differently but not as effective.. more on sound effects.
I looed at the reference in this article:
They are re;event to my own gamestudy:
http://gamestudies.org/0701/articles/elnasr_niedenthal_knez_almeida_zupko
This book has a section on colour an how it makes scenes feel and their meanings.
Block, B. (2001). The Visual Story: Seeing the Structure of Film, TV, and New Media. Focal Press, New York.
This is interesting about colour on screen, using lighting as it's pallet:
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