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One Girl Goes Hunting: new artwork

6 colour

John Swogger has been working on the artwork for One Girl goes Hunting, developing the Studio Ghibli look we discussed at the start of the project.

 

From the colour pallette and the warmth of the images…

5

 

To the look of the characters…

5 colour

It’s great to watch the story unfolding…

7 (2)

Dr H

 

About Hannah

@hannahksackett prehistories.wordpress.com

11 responses to “One Girl Goes Hunting: new artwork

  1. Lucinda ⋅

    Exciting to see it shaping up!

  2. John S.

    It’s been a really interesting collaboration, and an interesting way to ask questions about why we choose particular styles and visual languages for archaeological imagery and not others. I’ve always suspected that these choices have ended up artificially limiting what is possible in archaeological visualisation. What happens to the past when it is visualised in anime form? And is this any different to what happens to the past when it is visualised in pen and ink? Or 3D cgi? And how does this shape the way that audiences respond to the information in those images? I think the whole field of archaeological visualisation still has a lot of work to do in answering these kinds of questions.

  3. Dr H

    It is exciting seeing the story unfold on the page. Certain moments in the story were very strong images in my mind while I was writing, but other sequences were sketchy. John’s artwork and approach to the archaeology are filling in the gaps and details in Kat-ya’s world and story.

    It’s going to be really interesting to see what archaeologists make of the artwork in One Girl… I suspect there will be a mixed response. It will certainly be a far cry from the muted line drawings and watercolours that tend to accompany archaeological monographs and papers. Still, I think there are a number of artists, like John, pushing the boundaries of archaeological illustration. I think the next few years could see a good deal of interesting developments…

    • John S.

      And I’m still a big fan of “muted line drawings and watercolours” (good phrase!), but I do think they both elicit and shape a very particular kind of response. What concerns me is that response to these is often as muted as the visualisation, making me worry that these kinds of visualisations are simply reinforcing an already-held set of visual expectations about the past. And I don’t think that’s necessarily the best use of visualisation in archaeology.

  4. Dr H

    Alice Watterson’s post about the response to her Skara Brae film was really revealing in terms of what people expect from archaeological visualisation: http://digitaldirtvirtualpasts.wordpress.com/2014/01/09/and-the-reviews-are-in-evaluating-digital-dwelling/

    I think the really hard thing is to create an image that people can relate to, while also showing that the world people inhabited in the Neolithic (or whenever) was very different to our own.

    In writing fiction you can use your characters to provide a reference point for the reader – emotions, relationships, etc can form a connection even if their world is at odds with our own beliefs and experience. Images present their own challenges – something I’m only starting to get my head round.

  5. Dr H

    Thanks Fresca and Alice – I will pass your praise on to John.

  6. John S.

    Thanks, Alice – thank you both! It’s just a really, really interesting collaboration. The more I draw of it, the more it makes me really question the effectiveness – the appropriateness, even – of archaeology’s “standard” visual repertoire for reconstruction imagery. I can’t wait for it to be finished either!

  7. Andra ⋅

    Looks a very interesting project. I’ll look out for the finished result!

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