My Points of View project was an exercise in hubris. I intended to make three points of view, each being a different medium and aspect of theatre design, illustrating the same fantasy production. And despite deliberate equivocations of the brief, overambitious designs, and a final collection that barely reflects the production, I think I have a fruitful concept that could have developed into stronger outcomes given the time.

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Beginning with the stage, I eventually decided to treat it as a 3D illustration, versatile enough to be interpreted as a full-scale stage or a small puppet show theatre. Using paper and ink, the peepshow design allows each layer to be seen in detail, and gives it a presence that elevates it from a flat drawing. While that may have also helped to show different lighting effects, I chose to save time using a monochrome palate rather than the lurid colours that would have reacted well to the light. Hence, the result is quite disconnected from my intention, and feels too gothic for the flamboyance of the Jacobean court. Next time I need to keep my references on-hand throughout the entire process, rather than relying on my personal visual language, so the unique influences of my subject can be properly reflected in my work.

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My mask is a better reflection of the colour scheme I envisioned for this project, and gouache was the perfect medium to reflect this. Notwithstanding, I wish I added more tone and opacity around the forehead and on the mushroom crown to improve the illusion of depth, and further exaggerated the furrowed brow to make it more characterful. Compared to my test piece, I think this better portrays the imposing masculinity James 1 wants to embody, whilst paying homage to the woodland kings the audience will recognise. 

Finally, my dragon armature was made to illustrate the climax of the play where James 1, like Fafnir, transforms into one as a visual metaphor for the hoarding of wealth and power. The design is versatile enough to be controlled with sticks or string like a puppet, or it could be enlarged and moved either by an actor standing on the throne above the stage, or by a group on the ground. Improvements would be subject to the nature of the production; an interesting shadow puppet could be made if it was cut with intricate patterns for an improved silhouette, or a large armature could be made if the structure was less flat when viewed from the front. I should have decided on a specific outcome rather than leaving it feeling unfinished, especially with no paint to match it with the mask. However, I am pleased with how it operates mechanically, and the interlocking paper shapes could potentially lend itself well to being screenprinted as a puppet-making kit.

In summary, I have learned that the time I spend researching must reflect itself more in my outcomes, and to never compromise the vision by relying on my usual style.