A Real Leaf Plain as Day

 

A grand 1/2L illusion, just a chewed leaf at first, reveals another message upon a closer look.
A well-eaten leaf saved from my garden has the title card for Akt 2, "Day," hidden in its munchouts.
It can be shown on a tree directly or via cast shadow in the strong light of the afternoon.

As there is to be no written language in Halfland, at least not overtly, I'm making a handful of exceptions in a super fun 1/2L manner. You see it in the hand-sewn "halfland" spider web in the banner art for the blog above. And here today, another example is the skeletal veining of a leaf forming the three-letter word "Day" to mark the beginning of Halfland's second (of four) chapters or Akts; Dawn, Day, Dusk, and Dark.


Accomplishing this bit of magic was only possible because my dear art friend Maggie Rudy gifted me a tiny spool of hair-fine wire years ago that she had salvaged from a small motor. I formed lengths of it into loose lettering and coated them on both sides with an absorbent ground to lift the color of the wire to white so it could be painted down to match the actual leaf's beige when dry. I anchored the letters on the reverse side of the leaf with daubs of tacky glue and let them dry. I left tiny chew mark textures in the lettering to better blend them into what the caterpillars had done. Once painted, I found the illusion of the insect's work matched well with the new word. And when I cast the leaf's shadow in the sun, the word "day" read as plain as, well, day!

PS: I initially tried to create these title cards digitally by illustrating the objects, webs, and leaves in PS and compositing them into the long shot of the setting. No matter what I did (which is a lot), they fell flat and looked fake, so I had to finally accept that Halfland things have to be built and made in real life to work correctly and feel natural. That's the magic in it—that an unreal place can be made to feel real.

Comments

  1. Shelley4:15 PM

    PSS: All the leaves and botanical materials I use for things like this have been carefully pressed flat under heavy books for weeks and then preserved with layers of matte medium. They still look natural even after all that but are far more durable and retain their color.

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  2. Anonymous11:12 PM

    Love the leaf Title Page/segue idea!
    Have you decided on your POV filming style, especially having to film around real objects?
    I was watching India Rose Crawford’s Frog and Toad adventures @indiarosecrawford and was suddenly struck by the variety of POVs ranging from objective following of the narrative, to a reframing perspective with an intimate in-the-room feel via an eye-line change, even a hint of subjective storytelling is used. She too is navigating a real world set (approx 1/12 scale?).
    I’m beginning to realise what a big task it is to tell multiple stories...does your filming technique impact your decisions? So many choices!
    Jill

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    1. Shelley11:55 AM

      Hi, Jill! I appreciate your questions very much. They cause me to pause to try to articulate my thoughts concerning the question. To answer, I was just this second dealing with this very idea of sightline POV as part of the storytelling.

      I am currently setting up my shooting camera on a close up set/stage for a few bugs for the bug party when I realized the height at which I set the camera would indeed impact the entire narrative. Shooting perfectly ground level with the bugs would put the viewer among them at the party whereas, a slight tilt downward would preserve the viewer as camera POV voyeur.

      My intent all along in every scene is to have the camera's position be the audience's pov, nearly in first person. We stubble upon the mermaid at the shore and follow her under the waves to arrive in Halfland and it goes on that way from there.

      I plan on inserting specific close ups, i.e.; the mouse scrambling into the cloak pocket, so he wouldn't be left behind, strictly to emphasize the moment as an emotional underscoring.

      A few establishing shots will be long shots of the cottage in its setting, the troop in the golden desert near the end, etc. but those are still intended to be the audience's pov as they arrive at these new spaces. Then we move into the specific action, noticing specific things (the Birds in Hats flying overhead, etc.).

      I won't be making one-take tracking shots because I'm trying to make the process as easy as possible for myself technically. I see it more as a nodding dream, where you see something, notice something, then drift off, fade to black, fade in to the next scene.

      You've inspired me to post more about this process as I tackle each scene.

      Aesthetic Corners are for sure being CUT, Jill. Like right now, I'm shooting 2" bugs with limited movements on a stage that has 10" tall giant blades of grass growing out of its soft surface. I'll be pushing the bugs in wiggles with tweezers and doing my best to avoid knocking the grass and fabric ground. Will it work?

      See next post for a test of it!

      PS: Can't wait to run to check out Rose Crawford's things! Thank you!

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    2. Shelley3:42 PM

      Ah, ha, YES! I have seen Frog and Toad Adventures before. Absolutely wonderful aren't they?! Little jewels of detailed masterpieces. Not stop motion but every bit as thoughtfully done. So much love in each and every prop until the world she's made feels genuine.

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    3. Anonymous12:54 AM

      Your plan sounds like a satisfying mix of audience self discovery and director's narrative control. Looking forward to your snippets (and bloopers?!)
      Jill

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    4. Shelley10:19 AM

      Awesome comment. It's either going to be fantastic or... fantastically not fantastic.

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  3. What a great leaf you've "made" :-)
    (Oh yes, I love the stories of frog and toad too !!! Favorite book to read for "my" children at school . . . and I love the knitted version )

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    Replies
    1. Shelley11:46 AM

      Hi, Els!!! Thank you. yes, I only knew Frog and Toad as the incredible stop motion series produced and directed brilliantly by John Clark Matthews in the mid to late 80's. (I found them in the early 2000's on an older dvd featuring Curious George which only this minute realized Matthews directed both!)

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