Group surgery

- Todays group crit was slightly nervwrecking, as I'm not always good at speaking about my work in front of people. But it was pretty relaxed and was actually really unseful in seeing what everyone else had been up to.
Printing out my images to put on the wall had actually really benefitted my work. - although i have enjoyed working in a smaller sketchbook, i think that the larger scale really brought the imagery to life. - they looked more effective. - a lot more impactful. - the creepy atmosphere was stronger.
- got positive feedback. - the session - reassured me that I'm on the right track - everyones so different - but feel like i have the right quantity - at the right stage of production.
- worried that my designs were not recognised as my authors - but this was praised aa a positive thing. doesn't have to be obvious - as long as its your understanding - thought about the meaning
- eye catching - draw your attention.
- possibility of bringing colour into the designs - think easily adapted to this.

- positive response to lino cut and mono prints.
- expressed my interest in jim dine and mono prints - the response was that my work seems like it would be very suited to the mono print process - to keep my textures. - might get lost in other processes perhaps.
- keep experimenting with mono print - I'm getting the impression that its going to be a lot of experimenting and trial and error - until i become comfortable with the process. then begin to consider how to adapt it to my artwork.
Perhaps using the textures to scan in and compile digitally?
-or perhaps working in purely mono print. - possible to create a pure print thats 'neat' - and fits into a design? - when working it was very trail and error, can i predict the outcome of a mono print?

Sting/Sound Deconstruction.

This is a short animation was created for itsnicethat.com. Animated and produced by Animade, with sound by Aaron Lampert.

The video is only a short 45 second sting, and very simplistic in relation to many I've seen, but really effective. For me the main success of this video is the accompanying sound.
very creative - unique noises

wouldn't necessarily put with tose movements -but when you see it really work together

simple type agains white - going through each letter movement

although simple in aesthetics, the movement is really smooth and effortless - but i can see that actually there are a lot more frames than perhaps first appears - for it to be that fluid.

watched without the sound;

- seems to move at a much slower pace - get board easily.

- doesn't hold my attention not drawn to whats going on

-the feeling i got with the sound was totally different, intrigued by what the next letter would be/sound like, seemed last hardly any time 

kept my attention and interest.

simple imagery worked wuite feefctivly - bold . - one letter at a time - focused on that movement - not loads going on — simple is smart.

It's Nice That—Animated sting from Animade on Vimeo.

Greek Mythology Research

- Really interesting aspect within the book - and important theme. - Greek Mythology. - plays a key role in the characters decisions, and descend into chaos/drama. It very cleverly intertwined.
- Explore the theme more - idea of loosing yourself - becoming something else - hallucinations, out of this world experiences. - could explore very visual/creatively. Transformation into animals, - what do they represent?

http://list25.com/25-most-legendary-creatures-from-greek-mythology/
http://10steps.sg/inspirations/greek-mythology-creatures-with-pictures/
http://treesforlife.org.uk/forest/mythology-folklore/deer/

- deer can link to the idea of transformation, to loose oneself - become completely free.
- strong link to nature and the environment.
- really interested in using this symbol - when depicting similar themes of 'transformation' from the novel.

- I took out some greek history books;

Visual Journal - Two

have enjoyed working visually - developed further since Crit, exploring similar themes - lots of potentially strong ideas
- the way I'm approaching my sketchbook is not too rushed - spending enough time on the pages to make the images feel more complete.
- still rough - but more developed than scamps - think this is a good balance. - for me a more refined image allows me to see bigger potential - get more invested.
- use of ink is encouraging me to use bold confident mark making too. - instead of being too neat with pencil. - think the use of both bold lines, and faded washes work really well to express the themes i am exploring.
- continuing with ink - appropriate to theme - allowing me to create imagery quite quickly - but provide detail at the same time, - media helps convey atmosphere
- continue to explore other media, but as final imagery will be created in print process - not too important - more important at this stage is the content, and concepts.
- Want the finals to have a similar spooky dark theme as these - considering using monochrome.
like textures i have used - perhaps mono print would be best suited? - process looks interesting but quite confusing!

The secret History is what my work keeps evolving around. As part of my research, I read the novel and was thoroughly drawn into it. I found it gripping! and thats what aspect of her i find the most inspiring. Its also interesting that a lot of Donna Tartt is present within her infamous novel. - she went to school at New Hampshire college interment which is where the books set, - you can tell as her descriptions are so rich - feel her passion for the place. Its also said that some of her characters are based upon college friends. I feel like her personality comes through the book at times.
- I dont want to narrow down my focus at all, but I feel that i am mostly going to continue with exploring themes within the book as these are areas that i feel most connected to. - themes that include - loneliness, isolation, guilt, feeling trapped.. etc.
- I found that these themes have drawn my interest and because of my positive feedback I believe others will feel the same - so hopefully it will lead to me producing a series of really engaging prints.

Inspiration Boards on Pinterest

Screen Print Induction

I struggled to decide on what imagery to use for todays session as none of my work so far really seemed suitable for this process. - i chose an image with a strong composition which i was looking to potentially develop further, and chose 'open wide' image.

- currently created in ink - i wanted to digitalise the image so played around for a bit in photoshop until i got a two tone image with sections of block detail. 

- i then separated the two tone layers into negatives ready for print. simple.
- note; I enjoyed experimenting digitally with the scan in of my print. Gave it a more professional and finalised look. Might consider doing this for more of my designs. Helps me to see how it could be adapted for final imagery.

- I actually think the screen prints turned out to be quite successful, - wasn't sure i expected that since so many seemed to go wrong! - need to practice my technique of using the screen as i was quite bad at it.

- the composition has worked well with details simplified into this digital form. i like the levels of detail - i sometimes forget you can still create refined detail in screen print - often i have just used solid black shapes, - but this has picked up the finer marks well.

- feel that the print would work well with any colour - against black.

- Think that my image is more striking and impactful as a screen print, however you do loose the detail and effect of the texture. - which i think brings a really spooky atmosphere to all my images.

- perhaps screen print isn't the right process for me.... too interested in texture at the moment!

Monoprint and lino print Induction

- Today was a really positive and exciting day! thoroughly enjoyed putting my prints into practice. getting out of my sketchbook and being in the print room really has motivated me to get in the print room more often from now!

- I selected my deer image from my sketchbook as a starting point. 
- Lino

- For the Lino print - I had to think about how to translate the texture and detail for block printing. - chose to create a silhouette.

- i was actually pretty pleased with my lino cuts. - i thought that they would perhaps be too simplistic, and was unsure about if the lines were deep enough - would it pick up the detail? but the final prints are actually quite lovely.

- think that the silhouette works effectively - simplistic shapes are often be - bold, contrasting. 

- I like the gradient of ink in some of the images that provides some texture to the background.
- i like that once the lino is cut you can just keep repaying the printing process - trying different colours and layering perhaps with other images?
- really enjoyable process - love the fact these are hand printed! real authentic quality about them.


- Mono-printing
- this is process that I've always wanted to explore further since our first induction last year, but never got round to doing it! i am grateful that we are being given the opportunity to learn more about, and incorporate this process.
- …Despite having an interest it has always confused me. `i struggle to get my head around the whole process of relieving different levels of ink - and getting details.
- There are two types of moonoprint. - using stencils to releiev different pressures of ink - creating some lovely gradients! - this can be quite a time consuming process, as once you ink up a plate each time under the press it fades more and more.
- its very difficult to re create the same print twice. - requires a lot of patience! but beautiful effects can be created.
- each time you want to create a new relief you have to press through the machine which can also be quite time consuming.
- The method which i focused on the most was; - firstly inking up the plate, then positioning a piece of paper on top - with a design that i wanted to print on top of that. - i then used a pencils pressure to trace my design - leaving the impression from the inked up board onto my paper.
this created some really subtle and delicate textures - perhaps this method better for creating details?

Sting sound ideas

Consider Sound;

For a while my sketchbook has developed and centred around quite similar themes - of being dark, mystericous, mythical, and a little bit creepy. i have recently begin to think about music i know to convey a similar tone. An artist that sprung to mind is Max Richer. He is a classical musician who's music I first heard from ‘the leftovers’ where it is used beautifully to convey emotion and despair. - I feel that his music could work really well.

I will look into his work further - listen out for songs that draw my attention. 

Other classical composers?

UPDATED:
Further research,
- I have worked on s selection of storyboards that all carry a very similar tone. I want to seat considering the music at this stage because I think it will help with the pacing and overall production of the animation. From researching some short animations, its clear to see how important the selection of music is, - how much it can have an impact on the effectiveness of an animation.
- My storyboards at this stage are centred around one of the key moments of the book - bunny's murder. I want the sound to emphasise the importance of this consequential situation - convey a feeling of despair and horror. 
- Im really interested in exploring the use of classical music. This will work really well to compliment the tone of the book. - theres a strong link between classical music and the upper class characters and private college. Donna Tartt is also a keen listener of classical music.

Possible Composers/music choices;

- Max Richer.
- Absolutly love his music - feel so connected to his songs, - always draw me in. Beautiful - touching, emotive, and haunting.
"Reaches out somewhere beyond the mortal world. Beguilling." - The New Yorker.
"Musically incredible, and conceptually spot on. Max Richer is truly a modern day musically genius."
- Olafur Arnalds
- Heard his music from drama 'broad church'.
- Ólafur Arnalds is a bafta-winning multi-instrumentalist and producer from Mosfellsbær, Iceland. Ólafur Arnalds mixes strings and piano with loops and edgy beats crossing over from ambient/electronic to pop.
- The Cinematic Orchestra
- Lots of beautiful piano and orchestra pieces. very touching and heartfelt music.
- John Luther Adams
- His a great naturalist composer. His music is inspired by, and sometimes performed in natural landscapes, particularly the Alaskan environment where he lives.
- His music has a very surreal and other worldly feel. Very atmospheric. quite chilling/disturbing.
- Frederic Rzewski
- This american composer had made his name with bold, gritty takes on big political topics.
- His music is very captivating - good at building up and create any kind of atmosphere. - manipulating the audience to feel whatever is desired. - can change from one emotion to the next quickly.

Now I have decided on my final animation, I feel more confident in picking out the right music to match. the subject of my animation; - the sleeping forest, ‘the murder’. - want something that fits with this quite eerie scene. - emotional, moving,…
I felt there were a lot of good options to choose from - but I have decided to go with 

one of my favourites -  ‘The twins - prauge' - by Max Richer 
- so haunting and beautiful. I think it will really compliment the animation well.
- the piano is quite fast moving but gentle at the same time. - the minor key used, helps express the emotive tone i want to create.
- When putting together with my animation, i need to consider which 15 second snippet of the song i will use. - think about  timing - there are moments where the song is more dramatic and i would like to time these parts to coincide with the different aspects of movement. - i.e - an eye opening, the figure falling. 
- Utilise it in a way to make these moments more poignant, dramatic and memorable.
- Can manipulate the movement of my animation to fit to the pace of the music.
- side note; also find that the light piano melody descries the beauty of of the landscape quite perfectly.

Crit

My first one on one crit. I didn't really know what kind of feedback to get from this session because id felt like the work i begun producing was maybe a little open, perhaps too vague and like i wasn't really heading in a particular direction.
 I have enjoyed developing my visual journal, but i am starting to wonder if i am producing the right kind of work. I think this year its difficult to complare with peers, as everyone is doing different things and taking completely different approaches. This session really helped however.  it was made clear that this stage is still very much about exploring - our time using the visual journal is to really get our teeth stuck into our authors work.
- i get the impression that as long as we are engaging with our author and their work, and visually exploring our thoughts and responses then we are on the right track. - Everyone has different ways of working, - do what ever is best suited for you.
- Theresa seems pleased with the work i am beginning to produce - keep pushing themes - likes more conceptual imagery - less obvious.
- advice - if stuck refer back to the initial tasks - 25 pieces of information - to use as visual queues.

- Artist suggestions - Jim dine. - mono print/texture
- Daniel danger.

Storyboarding Session

initial session.

The idea of making an animation at this stage is very daunting. - we have only been inducted into once session howeve, so i do have a lot more to learn about the process. but,i even found the easier stages quite difficult to get my headaraound - so am a bit aprehensive for when it starts to get more complex.

This session covered the storyboard aspect of the animation process. I found it really useful, and i think the main lesson that everyone went away with was to not over complicate the movement, and content of our ‘sting’. - being reminded to think of it more like a moving image than animation, and the fact  that 15 seconds goes so quickly made it seem less daunting, 

producing the story boards;

-  really allowed you to break down the movement, and simplify the content of animation - by narrowing it down to simple shapes instead of complex detail. - more focused on the moving aspect how it would work than the aesthetics at this stage is impotent i feel.

• i think that getting the basic movement down - from start to and end point is the best way to start - can base tother details around this - use it as a plan to follow.
• see if your designs make sense - from one movement to the next. am i missing a stage of movement? is this jumping from one composition to another too quickly?
• is this too elaborate? are these movements possible? - perhaps a question unable to be fully answered at this stage - need to know more about after effects.
• get ideas down quickly! - these rant supposed to look like finals! - they're just plans! - think the more storyborads the better - practice compositions

• watching an example of a short animation was really useful because it went so quickly! - also seeing that simplicity can actually work really well. - it doesn't need to be over complex!
• Considering sond was something i hadn't really thought about before this session - but it was proved just how effective it can be. - how it can be used to enhance visuals, and engage an audience. I really need to consider carefully the kind of sound i would like to accompany my piece - that compliments the atmosphere of the novel/ chosen imagery.

Next;

- Produce a selection of more storyboards - focus around different compositions/content.

- found using images that I've already created in my visual journal a really good starting point.

- Try and simplify. - it was soon clear to realise that you can easily overcomplicate the movement, and it would be too difficult to break down for a 15 second clip.

Visual Journal - Part One

Today we had our first peer review session for ‘About the Author’ brief, - our aim was to inform our peers about our author, our interests about their life, their work, their passions, and how we have begun to visually respond in our sketchbooks.

- So far i have been enjoying drawing about my author.

- i have picked up on continuous themes present throughout the book.

loneliness
feeling trapped
control
isolation
transformation
escape
loosing yourself - becoming someone new.
- exploring different ways of representing these kind of emotions - trying to take a less obvious approach.
- don't be lazy - really consider what I'm trying to portray.

- At this point i don't really feel like we've had much of a chance to really get stuck into visualising our research - but even in this early stage, i enjoy talking to my peers. - its easy to feel lost with so much of the module ahead; it was encouraging that the little visual work i had done so far had a positive response. - useful to talk about potential ideas - where we could each take the project next.

It will be interesting to see how i approach this brief compared to past modules. The longer time period will perhaps encourage me to work out of my comfort zone and explore new process without the worry of things going wrong and not meeting the deadline. I feel that other briefs moved so quickly at times that i’ve held back on trying new processes, or not experimenting enough, through fear of not getting work finished on time. i do feel that there have been missed opportunities and wish i had taken more risks with my work, and so i am glad that this module aims to really push the process and production side of things,- which i aim to do.

A selection of initial drawings;

Initital sketchbook response

First meeting discussing our author.

I was slightly nervous that i was perhaps lacking in quantity of work for this session as i had not produced much visually, in response to my author. But, I was confident that the research i had collected had provided me with a good understanding and enthusiasm for her work.

after readin the book i am really exited about moving forward with the project and visually responding to its content. I thoroughly enjoyed the read, …(short review) and now feel very connected to my author. I hope i can sustain this keen interest though out the duration of the project!

It was quite an interesting and fun lesson. I enjoyed discussing my author with other people who had chosen the same person and seeing how we both viewed them. - i printed out and highlighted key bits of research for my sketchbook - perhaps help me visually respond with the information accessible all the time.

- found it was perhaps a good idea to jot down some facts/quotes and character in my sketchbook - to act as a visual queue - easy to refer to when looking for inspiration.

• writing the lists of describing words, motifs, and themes - though hard, was useful because it made me really think about their values, their life and personality, and areas that i found particularly interesting to respond to. I realised that it would be useful for me to go over the facts and information i had gathered again - to make sure i really know my author. I think for the next tage this is really important - it will be easier to respond visually with the more knowledge i have.
• The session also reminded me to just start drawing! im so inspired by my author and her infamous novel, and I am really excited to start visually responding to that and moving the project forward! We are to keep a ‘visual journal’ to document our ideas, tests and responses to our authorand/or their works.  
• i bought this sketchbook today after the session as my current one is rather small!! i chose an A5 seized watercolour moleskin book.  sometimes find large sizes a bit daunting… - wanted to invest in one with good quality pages - hopefully will encourage me to work in all media - start explore different texture etc as soon as possible instead to sticking to pencil and pen.

The secret HIstory - Character analysis

The novel contains many characters, but the story mainly revolves around the lives of six people.
I have chosen to delve deeper into the minds of each of these very different and interesting characters, to hopefully gain a better understanding of their personalities.

Richard Pepen. 
The narrator of the book. born in Plano California. Richard was very dissatisfied with his life there, with no friends, and a family that don't like him. He possessed a longing to escape his home of which he is ashamed, and seeks to fill his feeling of depressing loneliness. He has an obsession for fitting in and being liked.
Within the first page I was deeply engaged and intrigued. I find richards character quite difficult to 'read' and at other times all too relatable. He feels easy to connect with and sympathise, - an everyman. Richard is a boy who is full of lies and need for acceptance. 

Henry Winter.
"Henry is one of the most favourite characters within the book, he is also the most mysterious in my opinion.
 "He wears glasses and has dark hair, pale skin, and a beautiful mind. Henry is the intelligent person that is also VERY laid back. He interacts with other characters but also keeps to himself. Throughout the novel, I learned parts of his personality and saw little things that showed the person within, but I still felt like I was missing something key to his person. Henry is one of those people that you have to be around to learn their persona, but even so there were still times of doubt within the characters.
Henry comes off as very rude and cocky when he first meets a person. When Richard first met Henry, Henry did not acknowledge that he existed until Francis finally said something.
However rude Henry seems, he is also very truthful and loyal to his friends."


Francis Abernathy
"Francis is a Greek scholar who is very thin and has bright red hair. He has classy taste, because he is always dressed in fancy shirts or nice suits even when there is no occasion. It is later learned towards the middle of the book that he is gay, and he actually makes a move on Richard. Francis' grandfather does not accept his homosexuality, and makes him marry a woman. He is very respectable, yet also week. After Bunny's death, he begins having panic attacks and he becomes frail. After Henry's death, he is too depressed and overbore by it all and attempts to take his life by cutting his wrist. However, this attempt fails."


- Bunny Corcoran

"Bunny is very interesting. He's very cheery and easy going, and always cracking jokes. He is also similar to Richard in a way, because they both have the tendency to lie about things. Bunny also lied about the riches his family had, or once had, and often makes other people take care of him. Even though Bunny seems nice and hearty, there is an evil inside of him. He is VERY anti-homosexuality (situation with waiter, page 51). He is also conniving. After finding out that his friends killed a man, he holds them all under his will. He says things that he knows hits below the belt but he does it because he knows they won't do anything about it. When Bunny is around people are tense, but when he is gone they aren't. ("Everyone seemed unusually calm and at ease and I thought I knew why. It was because Bunny wasn't with us.")



Camilla and Charles Macaulay
"Camilla and Charles are twins, and they both tend to have the same characteristics. Tartt doesn't really go into their personalities as much, however. The pair have dark blond hair and looked and wore pale items. Their parents died when they were younger, so they were raised by a variety of family members. Camilla has confidence, but that is sometimes confused with her selfishness. She is the only girl in the bunch, and all of the men seem to gravitate to her at times. Charles is very spontaneous and out-there. He doesn't really care what people say, and he does the wildest things (Alcoholic, Stoner, Brings gun to kill Henry.)"

Quotes to describe the characters - extracts from novel;

Donna Tartt - Interview/Quotes

A 2014 interview with donna tart, after her newest book "The goldfinch" was named Amazon's Book of the Year. Tartt joins "CBS This Morning" co-host Charlie Rose to discuss the inspiration for her novel and her writing process.

Links to other interviews, book reviews, and analysis;

• http://www.prospectmagazine.co.uk/arts-and-books/donna-tartt-secret-history-20-year-anniversary
• http://www.independent.ie/lifestyle/interview-the-very-very-private-life-of-ms-donna-tartt-29780543.html
• http://www.languageisavirus.com/donna_tartt/about-childhood.php#.VgepqentLKd
• http://www.independent.co.uk/arts-entertainment/books/reviews/book-of-a-lifetime-the-secret-history-by-donna-tartt-769505.html
• (ADD MORE FOUND LINKS HERE)

Quotes from Donna Tart;

• "Everything takes me longer than expected, its the  sad truth about life."
• "When i am writing, i am concentrating almost wholly on concrete detail; the colour a room is painted, the way a drop of water rolls off a wet leaf after a rain."
• "Sometimes you can do all the right things and not success, and thats a harsh lesson of reality."
• "The job of the novelist is to invent; to embroider, to colour, to embellish, to make things up."
• "I love the tradition of dickens, where even the most minor walk-on characters are twitching and particular and alive."
• "The storytelling gift is innate: one has it or one doesn't. But style is at least partly a learned thing: one refines it by looking and listening and reading and practice - by work."
• "I don't know why I've been drawn to this subject, except that murder is a subject that has always drawn people for as long as people have been telling stories."
• "But its for every writer to decide his own pace, and the pace varies with the writer and the work."
• "id rather write one good book than 10 mediocre ones.
• "To really be centred and to really work well and to think about the kinds of things that i need to think about, i need to spend large amounts of time alone."
• "I believe, in a funny way, the job of the novelist is to be out there on the fringes and speaking for an experience that has not really been spoken for."
• "I really do work in solitude."

Research - Donna Tartt.

Donna tart, born (born December 23, 1963) is an American writer and author of three successful novels, all of which are mysteries. Her first release, The Secret History in 1992, gained huge success, and has since become a cult classic. Even before her first novels release, tart had received great praise, as an undergraduate astounding writer Willie Morris had read her work and approached her with the words, my name’s Willie Morris, and i think your a genius.” The secret history became a best seller and donna became a writer who lived up to the hype.’
“The story of a tight-knit group of classics students at an exclusive private college in Vermont, who in the course of recreating a Bacchanalian rite kill a man and then are forced to murder one of their own number to cover their tracks, it is both boldly intellectual and a page-turner in the true sense.”

Tartt has also written a collection of short stories and memoirs some of which reflect her childhood life.
- In 2002 worked on the retelling of a ancient mythology myths in series of novels, along with other contemporary authors. Tartt’s short story "The Ambush" was named to The Best American Short Stories 2006.

Considering it took tart 8 years to write her debut novel, a long wait was expected for her second. However when the highly anticipated ‘little friend’ was finally released in 2002, it didn't quite gain the same excitement as her first. Despite still getting rave reviews, perhaps the books downfall was its difficulty in forming a connection with the reader; they remain an observer. (The secret history however provides a personal perspective, and allows the readers to be participants within the story. through Richards narration the reader possibly feels more involved and engaged. this perspective is perhaps what caused her first novel to triumph over her second?)

Her third novel, The goldfinch released in 2013, was the top of the bestseller list for 7 months,and has gained much critical praise. It is her largest book yet with a lengthy 800 pages.

“The Goldfinch tells the story of Theo, a 13-year-old boy who loses his mother in a terrorist bomb in a New York museum. Theo steals the Dutch master The Goldfinch from the rubble and it sets him on a 10-year adventure, taking in Las Vegas and Amsterdam.

Tartt is famous for how long her books take to write – an average of 10 years – and she describes the first few years of writing a new book as a torturous time, comparable to trying to bring Frankenstein's monster to life.”

However this length of time allows Donna to really emerse herself within the story - which perhaps holds the success of her novels. Spending that much time getting to know and building up these fantastic characters - give us, the reader, a richer experience? She says that the writing process for her is as much of an escape as she thinks reading is for her fans. "Staying with the same characters for so long is fun, it's fun seeing how they evolve over time, being in the same world for a long time. Once I'm there I like to stay there. It's an alternate life, it's wonderful. Of course it's escapist."

The new york Book Review, “ ‘The Goldfinch’ is a rarity that comes along perhaps half a dozen times per decade, a smartly written literary novel that connects with the heart as well as the mind.”

Donna tart won a WH Smith Literary Award for ‘The Little Friend’ in 2003. The Goldfinch gained her the Pulitzer Prize (fiction) in 2014, the judges of which said, “a book that stimulates the mind and touches the heart.” In the same name she was named to the TIME 100: ‘The 100 Most Influential people.

Tartt left her home state of Mississippi, and moved to Bennington College, New England in 1982 It is here where she began to write her first novel. Following a recommendation from Morris, Barry Hanna accepted donna tart into his graduate short story course. “she was deeply literary” says hannah. “just a rare genius, really. A literary star.” 

Donna was brought up in a very bookish family, of whom she says were very ‘different’; the eccentrics. Reading has been a huge influence in her life from a very young age. Books were “the great escape”. Books were about “being somewhere else.”
She became engrossed in 19th century literature, the impact of which is clearly seen within her style of writing. Dickens was an inspiration of tarts during her early reading, who's influence can be seen within her own work today. “I was entranced by Oliver Twist. It was the fist book i read with real blood and death in it. I would worry about Oliver all day at school.” Influenced also by Russian novalists, and the greeks. She is a fan of many Irish writers, including Oscar Wilde, Frank O'Connor, Flann O'Brien and Edna O'Brien.

Style and themes within writing.
“Donna Tartt, beginning with The Secret History, has largely written in neo-romanticism-inflected prose that borrows heavily from the stylings of 19th century literature. This prose style is relatively unique in contemporary American literary fiction, particularly given a present tendency by fiction writers and literary critics to favor a more brief and to-the-point prose style.”

“A number of major recurring literary themes occur through Tartt's mystery novels. These include the themes of social class and social stratification, guilt, and aesthetic beauty.”

“By the age of 12 she was working her way through Dickens and Kipling. This enamoration with 19th-century literature and its tradition of storytelling - the almost total absence of any influence that might be described as "modern" - seems essential to understanding Donna Tartt.”

Why was ‘The secret history’ such a classic?

http://www.theguardian.com/books/2013/oct/18/donna-tartt-secret-history-modern-classic

- just some of the reviews that have persuaded me to choose Donna Tartt; 

Jay McInerney; “I loved it on many levels, not least because it’s a literary murder mystery, but also because it initiates the reader from the outset into a secret club, which is probably what every good novel should do.”

A haunting, compelling and brilliant piece of fiction (The Times)

So irresistible and seductive it's almost a guilty pleasure (Guardian)

Donna Tartt is an amazingly good writer. She's dense, she's allusive. She's a gorgeous storyteller (Stephen King)

Takes my breath away (Ruth Rendell)

Brilliant and compulsive (Evening Standard)

A huge, mesmerizing, galloping read (Vanity Fair)

A page-turner in the true sense (Independent)

Brilliant (Sunday Times)

"A beautifully written story, well-told, funny, sad, scary, and impossible to leave alone until I finished. . . . What a debut!" --John Grisham

"Powerful . . . Enthralling . . . A ferociously well-paced entertainment." --The New York Times

"An accomplished psychological thriller . . . Absolutely chilling . . . Tartt has a stunning command of the lyrical." -- The Village Voice

Why I have chosen donna tart?

• intriguing. mystery novels. ideals etc
• charming, unique,c and compelling story telling.
• her work ethic - writing process, - intrigued to read more. delve further into her mind.

Donna Tartt - 25 pieces of information

5 Quotes

• “I hope we’re all ready to leave the phenomenal world, and enter into the sublime?” (Julian Morrow, professor of ancient Greek, at the beginning of Richard’s first lesson with him.)
• “I suppose at one time in my life I might have had any number of stories, but now there is no other. This is the only story I will ever be able to tell.” 
• “There is nothing wrong with the love of Beauty. But Beauty-unless she is wed to something more meaningful-is always superficial” 
• “Death is the mother of beauty,” said Henry. “And what is beauty?” “Terror.” 
• “There was a horrible, erratic thumping in my chest, as if a large bird was trapped inside my ribcage and beating itself to death.” 
• “How quickly he fell; how soon it was over.” (Richard on the murder)

5 Selected pieces of writing.

“It's a very Greek idea, and a very profound one. Beauty is terror. Whatever we call beautiful, we quiver before it. And what could be more terrifying and beautiful, to souls like the Greeks or our own, than to lose control completely? To throw off the chains of being for an instant, to shatter the accident of our mortal selves? Euripides speaks of the Maenads: head thrown I back, throat to the stars, "more like deer than human being." To be absolutely free! One is quite capable, of course, of working out these destructive passions in more vulgar and less efficient ways. But how glorious to release them in a single burst! To sing, to scream, to dance barefoot in the woods in the dead of night, with no more awareness of mortality than an animal! These are powerful mysteries. The bellowing of bulls. Springs of honey bubbling from the ground. If we are strong enough in our souls we can rip away the veil and look that naked, terrible beauty right in the face; let God consume us, devour us, unstring our bones. Then spit us out reborn.” 

“Could it be because it reminds us that we are alive, of our mortality, of our individual souls- which, after all, we are too afraid to surrender but yet make us feel more miserable than any other thing? But isn't it also pain that often makes us most aware of self? It is a terrible thing to learn as a child that one is a being separate from the world, that no one and no thing hurts along with one's burned tongues and skinned knees, that one's aches and pains are all one’s own. Even more terrible, as we grow old, to learn that no person, no matter how beloved, can ever truly understand us. Our own selves make us most unhappy, and that's why we're so anxious to lose them, don't you think?” 

“It's funny, but thinking back on it now, I realize that this particular point in time, as I stood there blinking in the deserted hall, was the one point at which I might have chosen to do something very much different from what I actually did. But of course I didn't see this crucial moment for what it actually was; I suppose we never do. Instead, I only yawned, and shook myself from the momentary daze that had come upon me, and went on my way down the stairs.” 
(Richards decision not to tell bunny about the 'murder'..? essentially his decision to take the others side leading to his involvement in his death.)

“Sometimes, when there’s been an accident and reality is too sudden and strange to comprehend, the surreal will take over. Action slows to a dreamlike glide, frame by frame; the motion of a hand, a sentence spoken, fills an eternity.” 

“If I had grown up in that house I couldn't have loved it more, couldn't have been more familiar with the creak of the swing, or the pattern of the clematis vines on the trellis, or the velvety swell of land as it faded to gray on the horizon . . . . The very colors of the place had seeped into my blood.”

5 Motifs
/themes?

• The greek language
• Murder/violence
• greek ritual 
• hallucinations
• Beauty
• Empathy(lack of)

5 Characters

• Richard Papen. 19 years old, narrator. Gawky, insecure, anxious to fit in. - relatable. 'Richard is a vessel for the reader.'
• Charles Macauley. Twin.
• Camilla Macauley. Twin.
• 'Bunny' Corcoran. murder victim.
• Francis Abernathy.
• Henry Winter.

5 Location

• Murder scene 2 - forest
• Francis's country country house, summer
• Murder scene 1 - In the woods - greek ritural
• Richards winter house.
• Hampden college - architecture
• vermont landscape in the winter, thick snow - mountains

5 pieces of information

• Donna Tartt is a Roman catholic.
• She says she writes all the time, "like a pianist with scales or an artist with a sketch book" 
• Famous for taking a lengthy time to complete a novel - approximately 10 years between the release of each one. "I've tried to write faster but i don't really enjoy it."
• Her childhood heroes were Harry Houdini and Robert Scott.
• Her literacy influences are 19th century writers; Dickens, Wild, Kipling.
• She wrote her first poem at the age of 5. Eight years later, she was published for the first time, by a local literary journal.

After effects 2

- can have multiple compositions within one project. - instead of separate files.`
keyboard shortcuts; - to access layers properties
(hide and show)
- work with the position property = p
- anchor point = a
- rotation = r
- scale = s
- opacity = T

- to work with more than one at once use the shift key
select layer - press O - time marker will line up at the end of that layer. (useful for arranging layers to follow one after the other)
= I - take the marker to the start point of that layer.
( useful for adding a key frame to the beginning)

work area bar - - select preview of timeline

- B = set the marker to the beginning of where the work area is
- N = the end

- U = will show all animated properties for that layer
- U twice - show all of the modified properties of the layer.

- working with properties of multiple layers
- select all layers - press P. - all properties are selected
- position the time marker, - for one of layers, activate key frame (stopwatch) - then drag over degrees. applies movement to all of selected layers.

- select all layers - press U.
- will show all the animated properties of the layers
- select all key frames - to move all at once)
(rememebr - further apart key frames - slower change)
- highlight all, press alt key - move first of last key frame within whole sequence - keeps the first key frames fixed - increase the relevant distance between all the key frames.

- key frame interpolation
-(key frames think of as anchor points)
tool palette ( top left of application window)
- pen tool. - works same as in illustrator.
- convert vertex tool - allows to change from curvets to straight line - between anchor points. liner rather than bezier.