DESIGN PRINCIPLES- VISUAL ANALYSIS & FINAL BLOG

Week 1 (4/1/22) - Week 7 (17/2/22)
Student: Tai Ser Yeet (0345798)
Programme: Bachelor of Design (Honours) in Creative Media
Task:  FINAL PROJECT- VISUAL ANALYSIS 

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Jumplinks :

• Part 1: Visual Analysis
• Part 2: Design 
• Final Outcome for Final Project
• Feedback
• Reflection

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LECTURES

Week 6 (8/2/22 & 10/2/22) / Briefing on Final Project

DEFINITION OF VISUAL ANALYSIS

• an ability that allows people to analyze and understand images critically
• develop a greater understanding of how a design's formal characteristics express ideas, substance, or meaning

PHASE 1: OBSERVATION

• Observation is carefully examining and identifying the visual features of a design, as well as attempting to describe them in your own words.
• Refrain yourself from conducting any research about the design beforehand.
• Looking, thinking, and choosing an effective language to convey what you notice are all part of the observation phase.

PHASE 2: ANALYZING

• Study your previous observations and form statements about the work based on the gathered evidence.
• Consider how the distinct visual aspects you've identified co-exists as a whole. On top of that, recognize the impact which that whole has on the viewer.
• Ask yourself, "What grabs your attention to the art and why? Utilize Design Principles that you have learned in the analysis.

PHASE 3: INTERPRETATION

• Research facts & data about the historical piece as well as the background of the chosen artists
• While conducting your exploration, there are two criteria to keep in mind. And that is the exact meaning behind that artwork & the purpose of it being created.

INSTRUCTIONS

Part 1: Visual Analysis

As stated in my write-up for Exercise 1.2, I have always carried an interest in anything historical, especially if it is related to the British monarchy. Thus, this sparked an idea to search for a painting that captures the daily lives of the royals. And that was when I found the "chosen" one.  

Fig 1.1 The Coronation of King Edward VII by Laurits Regner Tuxen (Source: Royal Collection Trust)

Phase 1: Observation

I have decided to go with this particular painting of The Coronation of King Edward VII by Laurits Regner Tuxen. First off, deducing from the style of clothing, exquisite regalia, and painted venue, a 19th-century royal ceremony was captured. The first figure that caught my attention was the long, bright red cloak with gold accents worn by a middle-aged man. He seems to be leading the ceremony as everybody's eyes are drawn to the piece of white document, he was raising up high. Not only that, in comparison to the other spectators, his cloak clearly differs from the rest. Besides that, he happens to be standing in front of the King, hinting that he retains a high position role. 

Amongst the sea of standing individuals, lies a sharp-edged chair. It is seated by a bearded man who is wearing a deep red crown and a glorious, gold cloak that reflects the light in all angles. Because he possesses two symbols of regalia in both hands, I can safely assume that he is King Edward VII.

There is a present tonal contrast of light and dark values starting from the foreground all the way to the background, from the warmest shades of yellow and red to cooler shades such as green and grey. For context, there are mainly three groups of color used in this artwork. In the foreground, shades of gold, yellow and red are frequent, also indicating royalty. For the mid-ground, colors such as brown and black are most common, and lastly, the background contains more greenish-gray tones. Next, most of the individuals seen in the ceremony are perhaps in their mid-life. Last but not least, the venue is presumably very large as it could house people at various heights of the building. This makes me wonder exactly how many spectators are invited and why such a large crowd?

Phase 2: Analyzing

Fig 1.2  Unity & Repetition (20/2/22)

Fig 1.2  Implied Lines (20/2/22)

To start off, the fixed stares and body language of the spectators creates implied vertical lines that lead the viewers right to the man with the red cloak, holding a paper scroll. Additionally, the directional gazes brought emphasis to Man #1 whose head happens to be near the center point of the painting. Speaking of lines, diagonal lines that form Man #1's right sleeve, King Edward VII's left sleeve, and the black trim of Man #2's gold cloak corresponds to each other which also helps to unify the composition.

Fig 1.3  Repetition & Movement (20/2/22)

Secondly, the repetition of the red crowns worn by spectators on the ground floor alludes to movement in the artwork, converging towards a vanishing point that seems to radiate a bright orange color. Not only that, the lines derived from the balcony direct our attention towards to upper part of the venue, focusing on the audience from above as well.

As the eye progresses from the foreground to the background, linear perspective can clearly be depicted. In the foreground, figurative and architectural forms are painted with extreme detail and reflective colors, allowing viewers to envision their presence at that moment. However, as the eye moves further away from the King and its four surrounding men, the supporting elements slowly dissolve into the soft shadows. For example, the spectators in the foreground are starting to take on a dark cast which makes their entire presence less eye-catching. Observing the background, the crowds seated on the highest level are not detailed at all and they began to acquire a cool shade of color.

The presence of linear perspective also supports the idea of hierarchy in this painting. The different levels of seating arrangement imply a separation of class. The further away you are from the main stage, the lower your class. 

Through my previous observation, the only person sitting is King Edward VII. Through that, the authoritarian power seems to be in his possession. Not to mention, a two-step platform is placed under the King's feet, indicating that the throne chair is built very tall and can only be for the respected.

Fig 1.4  Pyramid-like Shape (20/2/22)

Below the black steps, is a red carpet, decorated with harmonious patterns. Having a carpet placed under the King indicates the highest respect and honor to the country's sovereign. Subsequently, each corner of the square carpet stands a man, all surrounding the King. By standing in a squarish formation, a symbol of strength and stability is illustrated within the monarchy. Moreover, a pyramid-like shape is perceived from the way the King's cloak is widely spread across the floor which contributes to the feeling of stableness as well.

Fig 1.5  Imaginary Triangles (20/2/22)

Last but not least, many imaginary triangles are discerned from the painting. For instance, Man #2's black strips on the robe and the lady on the left with her hands held together. All of that shows an inverted triangle. As for the upright triangle, the shape can be seen on the throne that the King is sitting on. Triangle can also be depicted from the very top of the painting (green audience) and gets wider as it goes down the artwork.

Phase 3: Interpretation

Fig 2.1 Self-Portrait of Laurits Regner Tuxen (Source: Frederick Riise, 1913)

The Artist's background

According to Cabrera, 2015, Laurits Regner Tuxen is a Danish painter who associates himself with various art styles such as Impressionism, Modern Art, Skagen painting, and Realism.  Tuxen had always wanted to be a marine painter but was persuaded into figure painting due to his gifted talent in portraiture. He went on and became a renowned court painter in Europe, painting countless portraits for the European royal families. One of his achievements was his service to the British monarchy which includes the reign of Queen Victoria, King Edward VII & King George V.

Facts about the painting

The Royal Collection Trust, n.d. states that "The Coronation of King Edward VII" by Laurits Regner Tuxen is a naturalism oil painting, measuring 173.0 x 141.1 cm in size, and was commissioned by none other than the King himself. Since the enthronement procedure was hidden from the public's view to allow the future sovereign to honor their new-found duties (Nightingale, n.d.), Tuxen was very fortunate to be entrusted by King Edward VII to create a painting for the purpose of commemorating the moment. Hence, the birth of this realism painting. The momentous ceremony was in fact, held at Westminister Abbey, London in 1904 following the traditions set by the previous sovereigns. 

The painting captures the moment where the Archbishop of Canterbury carries an extended scroll in his right hand, while King Edward VII is seated on St Edward's throne in Coronation robes, bearing the Imperial State Crown and grasping a scepter in both hands. Tuxen's composition ingeniously focuses the eye right towards the King's head, illustrating the moment when the Archbishop of Canterbury enunciates the Exhortation 'Stand firm and hold fast.' 

King Edward VII's Ceremonial Attire

Fig 2.2 Close-up of King Edward's Supertunica(Source: Royal Collection Trust)

A paragraph from London Tickets, n.d. reads, "The 'supertunica' is the second robe in which the sovereign is clothed. It is a long gold silk coat with wide-flowing sleeves that reaches the ankles. It is lined in rose silk, trimmed in gold lace, and fastened with a sword belt woven with national symbols." From that, it is clear as day that the above description perfectly describes the King's clothing which was illustrated in the painting. 

Royal Regalia

Fig 2.3 Protector of Good(Source: Historic Royal Palaces, 2001), Fig 2.4 Imperial State Crown (Source: Historic Royal Palaces, 2001), Fig 2.5 The Sovereign's Sceptre(Source: Historic Royal Palaces, 2001)

The three pictures above display the Crown Jewels of the United Kingdom, each with its unique purpose and symbolisation. 

Audiences

From the painting, a large crowd of spectators is seen to have witnessed the crowning of King Edward VII. In order to picture the moment with greater accuracy, research regarding the matter is needed. Thus, below is a list of royal guests invited to King Edward VII's Coronation in 1902.

Fig 2.6 List of Royal Guests For King Edward VII's Coronation (Source: Chatsworth, 2021)

Other than the members of the royalty, Great Officers of State were cordially welcomed to attend. This includes the  Prime Minister and all members of the Cabinet, all Governors-General and Prime Ministers of Commonwealth realms, all Governors of the British Crown, and the Heads of State of dependent nations, aristocrats, notables, and representatives from other countries. (London Tickets, n.d.) 

The Coronation Chair

Fig 2.7 The Coronation Chair (Source: Westminister Abbey, n.d.)

As seen from the artwork, King Edward VII sits on a chair with a sharp-edged backboard during his coronation. That particular chair is known as 'The Coronation Chair'( Westminister Abbey, n.d.). What is special about this wooden piece of furniture is that it stands at 6 feet 9 inches tall and has been used for coronations rituals ever since the year 1308.

Part 2: Design 

I knew that I wanted to extract Tuxen's clever placements of elements in the foreground, mid-ground, and background. Not only that, his method of directing the viewer's eyes to the focal point. As I was in the midst of brainstorming, I became very sleepy and dozed off. 

I was pretty frustrated at myself for wasting precious time considering the fact that the submission deadline was very near. Fortunately, that 2-hour nap did not entirely go to waste because I had a fantastic dream and it went like this.

I Was Kidnapped

Fig 3.1 Illustration of My Kidnapping Dream (20/2/22)

Fig 3.2 Illustration of My Kidnapping Dream pt.2 (20/2/22)

The dinner had just ended and I was with the seniors of a club. All four of the girls were very friendly and welcoming into their group. They openly told their plans for the weekend despite an outsider(me) hearing everything they were saying. There was a time when Girl 1 even helped removed the booger stuck on my nose. Needless to say, I was stunned by the behavior of these girls but also really happy that they were not snobbish.

When it was time to head home, I told Girl 1 that I was going to leave and asked if she was willing to drop me off at the Bandar Utama MRT Station since we were at 1 Utama Shopping Complex which is close by. She questioned the name of the train station which then I assumed, she wasn’t familiar with as she was an international student. Anyhow, I roughly explained the gist of the name while we were going down the escalator. Suddenly, I saw my mother’s 1990 Toyota Corona pass by the entrance of the mall. I exclaim in surprise, “Eh! That is my mother’s car!”. Thinking that we could manage to chase the car down, we ran for it.

When we stepped out of 1 Utama, strangely enough, we could not see the car anywhere. That was when we began searching for it towards the direction it had gone to. Girl 1 was leading the way and I was following her at the back. I also felt safer in that order.

For some reason, the road had begun to slope downwards and it was as though we were hamsters, running on a wheel. It was also as though the earth was the wheel and we were just running on the surface of it. As we ran, it got scarier & scarier because the sky in front of us just keeps getting darker and darker with the streetlights being the only source of illumination. Being a very persistent and determined person by nature, I did not stop once in my tracks and thought to swivel back to where we started. I constantly reminded myself that “We already ran so far so why stop now?”. And so, we ran and ran until...

The sky above the horizon suddenly turned a dark grey and we both knew instantly that it was not a good sign. We turned back and I bumped into something that made us stop us dead in our tracks.

A man with an angry facial expression was right behind us this whole time. And the worst part was, we had no clue about his presence. We screamed at the top of our lungs and tried to resist his hold but failed miserably. We had no choice but to revert back to the route we once were headed towards. There were two other men who emerged from the trees and were now surrounding Girl 1 to ensure she does not escape whereas the man before, was right behind me. Strangely, all of us were running instead of walking, even the 3 men. Nevertheless, it finally sunk in my mind that I was being kidnapped and maybe my mother’s car was just an illusion used to lure the prey to their trap.

Gradually, the man who was guarding from behind moved in front of me. Why did he do that, I would never know. But all I know now was that this was my time to escape.  I turned back for the second time and I ran as fast as my legs could carry. I knew that my friend was still kept hostage but I had no choice. I needed to save myself first.

As I ran, something felt off. For some reason, I could not pick up speed. It felt as though I was stuck in someone else’s lower body, unable to garner full control of my own legs. Despite that, I could not slow down because that would mean I have surrendered myself to the evil.

Soon after what seemed like an eternity, I caught a glimpse of a building. IT WAS ONE UTAMA. Then the most exciting part happened. I woke up. The end.

Executing The Final Project 

After much contemplating on which part of my dream I should choose to illustrate, I have decided to go for a combination of Scene 7 and Scene 9 (See Fig ). As a recap, No.7 describes the scene where Girl 1 and I were heading in the direction of where my mother's car went. Scene 9, on the other hand, narrates the both of us getting kidnapped by three guys that have been secretly following us all the while. However, to simplify the workload, I will only be drawing three main characters; myself, Girl 1 & one large-sized villain.

Once I have settled the theme of my final project, it was time to think of an art style that would be different from my previous works for this module. Then I remembered that Tuxen implements quite a ton of triangles in the coronation painting. This was where I thought, "Maybe I could draw all three figures using pure triangles while playing with the proximity of shapes." 

Here is the first sketch in which I tried out the idea of designing a figure from triangle shapes. 

Fig 3.3 Designing Figure 1 from Triangles (20/2/22)

But in order to bring this final project to another level, challenging myself and doing some sort of animation seemed like an ingenious idea at that time. (I was wrong because later in the project, I ran into a couple of hard obstacles)

So to animate the figure running, I went on to sketch 5 more frames of continuous movement with the help of a reference image. 

Fig 3.4 Reference Image for Sprint Movement (Source: TIG Forums, 2014)(20/2/22)

Fig 3.5 Overview of Frames for Figure 1(20/2/22)

Exporting each frame to an app called Flipaclip which is a beginner-friendly interface that helps users to create short and simple animations. This gives me an idea of my subject placement so that my animation looks seamlessly done. 

Rough Animation of Figure(Girl 1 & Me) Running 

Fig 3.6  Rough Animation for Figure (20/2/22)

This figure will be the template for the appearance of both Girl 1 and myself in the design.

Now, I have gotten an idea of what the main subject of my artwork should look like, I will move on to sketching the "villain" in my dreams. In my dream, Girl 1 and I did not acknowledge his presence therefore perhaps I could presume that he was tip-toeing right behind us.  

Rough Sketch of "Villain"

Here are some of the reference images that I have utilized for the movement and the villain's physical appearance.

Fig 3.7 Reference Image for Tip-Toe Movement (Source: Wiggins, 2016)(20/2/22)

Fig 3.8 Reference Image for Villain (Source: Pinterest, n.d.)(20/2/22)

Fig 3.9 Sketching the Villain in Shapes (21/2/22)

Using the same concept as the first figure, I drew the villain/ kidnapper.

Fig 3.10 Sketching the Different Frames for Villain's Movement  (21/2/22)

Animating the Villain

Fig 3.11 Exporting Frames into Flipaclip (21/2/22)

Since tip-toeing was a slow and detailed movement, I drew more frames compared to the initial figure.

Drawing the villain was tough because I could not find any reference picture that illustrated the walking cycle of a huge man. All of the characters were quite scrawny and not the villain I have envisioned. It was a lot of trial and error on this part but nonetheless, it came out decent in the end.

Rough Animation of Villain Tip-Toeing

Fig 3.12 Rough Animation of Villain #1- short clip (21/2/22)

Looking at it, I felt that it was just too choppy for my liking and did not achieve the level of smoothness I wanted.  Not only that, the villain looked as though he never lifted his left foot while he was tip-toeing. Thus, I reverted back to my sketching application and slightly altered the subject's position, added more frames towards the end, and compiled the frames on Flipaclip once again.

Here's how it turned out.

Fig 3.13 Rough Animation of Villain #2- short clip (21/2/22)

COOL RIGHT? To some, it may not look like much of a difference but to me, I could definitely see the significant improvement in terms of how the subject conducts its motion.

Rough Sketch of the Setting

In my dream, Girl 1 & I were sprinting downhill towards the dark and I know this because generally when one descends a steep slope, they are not aware of what's ahead of them and can only see up to a certain point. Hence, we just followed the unknown, being optimistic about what's to come. Besides that, the chase took place in what seemed to be a forest with ample trees surrounding the path in which we took and pertaining little illumination.

In order to recreate that scene,  I chose a hemisphere as a way to represent the hill and a couple of trees on the surface of it, not forgetting to incorporate the triangles as well.

Fig 4.1 Rough Sketch of Setting With Leaves (21/2/22)

Fig 4.2 Rough Sketch of Setting Without Leaves (21/2/22)

I also experimented with removing the leaves on the trees,  adding a pathway and lines to illustrate markings on the tree trunks. After that, it occurred to me that this setting resembles a wildfire that happened a few years back in several countries such as Australia and California, USA. So, I tried throwing in flames surrounding nature and this was how it turned out.

Fig 4.3 Rough Sketch of Setting With Flames (21/2/22)

Then, I added some wildlife into the sketch, just to replicate the occurrence of a wildfire a bit more.

Inking & Coloring the Setting

Fig 4.4 Coloring Setting (21/2/22)

Fig 4.5 Coloring Setting With Brown Hemisphere (21/2/22)

Feedback from My Mother

When I asked her to describe the setting I drew, she couldn't only because she didn't know what I had illustrated! Alamak! After the feedback, it prompted me to add leaves on the treetops in order for the viewers to easily decipher that my triangular tree was in fact, a tree!. 

Fig 4.6 Adding Leaves to Trees (21/2/22)

The leaves are in fact, small circles that overlapped each other to form an organic-looking shape. What was the purpose behind this? Well, in the Coronation painting I chose by Laurits Tuxen, I observed that various shapes ranging from geometrical shapes as well as organic shapes were used. Since I did not integrate many biological shapes in my design, I thought combining a few circles (which is a geometrical shape) together would be a brilliant idea to produce an organic element. 

Animating the Setting

In my dream, everybody was running downhill so I thought, "Perhaps I could animate the background of my artwork to make it spin in a full circle, much like an earth rotating around its own axis." Theoretically, it sounded like the ideal plan in my head but practically, it was impossible. This is because I did not own an animation software nor possess the skills to use one therefore it was beyond difficult to execute my idea. I also did not fancy the thought of manually turning the hemisphere and trees in the Autodesk Sketchbook app as it would be very time-consuming and not to mention, inconsistent. 

However, determined not to give up so easily, I tried using Microsoft Powerpoint for starters. 

Step 1 : Background Removal

Fig 4.7 Removing Background (22/2/22)

I imported the images of the setting on a white background and used the "Remove Background function" to delete the background of the trees. After that, I duplicated more of the trees to make a full circle. Then, I pasted a default circle in the middle of it all which acts as the brown hemisphere in my illustration. (See Fig 4.8) 

Step 2: Adding Animation Effect

Fig 4.8 Adding 'Spin' Animation Effect (22/2/22)

I proceed to select the animation called, 'Spin' for my grouped element. This was how the final result looked.

Fig 4.9 Rough Animation of Setting- short clip (22/2/22)

Rough Sketch of the Flames

I really enjoyed the idea of the wildfire despite not appearing in my dreams so I went ahead and executed it. 

In order to give variety to my final piece, I drew two types of flames; flame 1 being a tall and narrow flame whereas flame 2 would be a wide and shorter flame.

Flame 1

Fig 5.1 Reference Image for Flame 1 (22/2/22)

Fig 5.2 Inking & Coloring Flame 1 (22/2/22)

Through these reference images, I redrew the flames and separate them into a frame of their own. 

Next, since flame in its nature has a subtle soft glow to it, I made sure to outline my flame the same way using the same shade of orange. 

As for the actual flame itself, I used two analogous colors from the color wheel and that is bright orange and a light mustard yellow for depth. Besides that, the flared edges of the fire were made to be pointy to resemble the actual element. Similarly, Flame 2 was done the same.

Flame 2

Fig 5.3 Reference Image for Flame 2 (22/2/22)

Fig 5.4 Inking & Coloring Flame 2 (22/2/22)

Animating the Flames

After that, I brought the illustrated frames to Flipaclip and combined them into a short GIF.

Flame 1

Fig 5.5 Exporting Frames of Flame 1's Movement to Flipaclip (23/2/22)

Flame 2

Fig 5.6 Exporting Frames of Flame 2's Movementto Flipaclip (23/2/22)

More frames were given to Flame 2 as its size is significantly larger than Flame 1.

Rough Animation of the Flames

Flame 1

Fig 5.7 Rough Animation of Flame 1- short clip (23/2/22)

Flame 2

Fig 5.8 Rough Animation of Flame 1 - short clip (23/2/22)

Both looked good on the first try. Yipee!

Inking the Three Figures

Fig 6.1 Villain in Green (25/2/22)

Fig 6.2 Villain in Brown and Girls in Pink & Blue (25/2/22)

Feedback from Dr.Charles

Dr.Charles stated that the villain could be very visible to the audience yet blend in with the shadows. Without giving him context about my design, he assumed that the two other figures were a couple but in actuality, it's just me and an acquaintance. That made me realize that I should tweak the girl in blue to make her look more feminine.

Process of Final Animation

Now it is time to put everything together. But this was where things started to get very tricky. For starters, I could not use Powerpoint for this part as the software does not pertain a function that allows you to remove backgrounds of video clips. I could make do with the layering there but different backgrounds from various clips will block each other and will look extremely untidy.

At this point, I just could not think of alternate ways to approach the matter. Hence, I changed my initial plan. Previously, I was going to animate the setting, the three figures as well as the flames. However, due to my lack of resources, I reduced the quantity so I am only animating one element and that was the flames. 

So, either way, I had to conduct manual work on Autodesk Sketchbook. Below is a short video of my painful endeavor. Please enjoy :').

Fig 6.3 Process of Animating Manually (25/2/22)

Adding Sound Effects to Final Animation

Audio clip 1- Too calm

Fig 6.4 Sound Effect Was Too Calming (25/2/22)

Audio clip 2- Additional animal sounds

Fig 6.5 Adding Wolf Howls and Birds Flocking Sound Effects(25/2/22)

The first audio track I added in was a tad too calming which also contradicts my chaotic design. Hence, I changed it to another version of a fire crackling sound effect but with more background noise. 

Besides that, I stacked on a couple of animal sound effects in the post-production, mainly the wolf as well as the birds. This would better imitate what is currently going on in the artwork.

FINAL OUTCOME FOR FINAL PROJECT

Fig 6.6 "Naive" (25/2/22)

Fig 6.7 "Naive"- PDF (25/2/22)

Fig 6.8 "Naive"- animation (25/2/22)

Short Rationale

My final outcome for my final project is based on a nightmare I had which involves the kidnapping of myself and a girl I made friends with at a party. In order to encapsulate the eerie atmosphere of that particular dream, I have included warm shades in various elements of the design. Since Tuxen had effectively composed the painting in such a way that the viewers could clearly differentiate between the focal point and supporting elements, I wanted to do the same. Therefore, most objects in my design are seen to be in motion, some heading towards a common direction. For example, the 3 figures and the white pathway are moving towards the right whereas the flames and trees are moving upwards. Next, the sense of repetition in the placement of the trees and the gradual reduction of size encourages rhythmic flow to be present. Linear perspective is spotted through the various opacity of the tree trunks. As they disappear into the background, they became paler in color. To sum up, repetition and opacity of the trees help lead the viewers' eyes towards the midground and background. This, in turn, also gives depth to the artwork. 

Furthermore, a variety of shapes and forms are used such as rectilinear and curvilinear forms. For instance, a triangle is used for all the trees as well as the main figures. Speaking of the figures, the close proximity of triangles easily allows each figure to emerge to the foreground, making it the center of attention. Additionally, it is clear that the girls running on the right and the brown figure are from separate groups due to the great distance between both groups. Next, the principle of continuity is displayed in the misty fog as it swirls around the treetops before it travels towards the flames. Lastly, the red background evokes a sense of anxiousness and warning which creates tension and a feeling of uneasiness within the minds of the viewer. 

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FEEDBACKS

Week 8 / Feedback For Final Outcome

Me: Do you think the color of the figure from the most left is visible to the viewers or should I change it to another color? Because my intention here is to make the brown figure seem like a villain in the shadows but it seems as though the shade of brown, I chose blended in with the silhouette of the tree trunks.

Dr. Charles: *sends an annotated picture*

Fig 6.9 Annotated Picture (25/2/22)

Also Dr. Charles: Villains can blend and emerge. I suggest making it emerge clearly and not merely running. Because the hellish environment is already threatening the couple.

Me (later): Sir doesn’t know that they are not a couple. It’s me and another girl running for our lives…oops...

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REFLECTIONS

Even though I didn't manage to follow through with my initial extravagant idea, I am still proud of how far I have come in terms of animating my artwork and getting out of my comfort zone to do activities that I have no previous knowledge of. Even though I did apply my knowledge on Design principles in all of my projects for this module, Final Project has allowed me to thoroughly understand the usage of every single principle there is. This is because looking at how other artists incorporate design elements in their own art exposes me to use it to create a superb composition that conveys a deep meaning to the public.

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REFERENCES

• https://www.rct.uk/collection/search?utm_campaign=col&utm_content=OTD&utm_medium=social&utm_source=facebook#/4/collection/404487/the-coronation-of-king-edward-vii-1841-1910

•  https://www.chatsworth.org/news-filming/news-blogs-press-releases/blogs-from-the-archives/royal-guests-at-the-coronation-of-edward-vii/

• https://artandinfluence.com/laurits-tuxen-1853-1927

• https://www.askart.com/artist/Laurits_Regner_Tuxen/100853/Laurits_Regner_Tuxen.aspx

• https://www.london-tickets.co.uk/westminster-abbey/coronations/

• https://perfumesociety.org/scented-secrets-queens-coronation-anointing-oil/

• https://forums.tigsource.com/index.php?topic=41261.0

• https://slideplayer.com/slide/5808179/

• https://images.app.goo.gl/xhqTk8FpmyCs2ABFA