After Monday's crit, I'm going slightly back to the drawing board re: 'skin world'.
I still like the idea of this alternate reality, but think it should be placed within the real experience of the character in the bathroom. The tutors confirmed my thoughts that the 'portal' as a trope is a bit too obvious; I realise it also doesn't make a whole lot of sense in the context and I should focus more on the paper-skin relationship. I guess I need to not complicate things and let the paper take centre stage if that's what I'm going for!
Rather than taking place out-with the character, I think the 'skin' sequences should be exploring her, albeit in finer detail - closeup. The initial sequence will remain much the same, with the bathroom exposition, and the character prodding and poking. Both mirrors will feature to emphasise the idea that she can't get away from herself and her preoccupation with her body. This is not so much about how she looks, but how she feels in herself (in her skin).
As she gets more engrossed, the 'camera' zooms into her skin.
As we zoom into her skin, the paper grain will get heavier to simulate closeness; almost like looking through the lens of a microscope. This will be our entrance to the papery, skin world. So we never actually leave the bathroom.
I think I'll start out using 'normal' paper, with a fine grain. This way, the papery-ness will always be present, but will become more pronounced as we zoom into the skin. I guess I could also accomplish this by physically zooming in and out of the paper. But then I wouldn't have a consistent line weight. I can try both methods out.
Here's a looping test using paper images from the internet that I've desaturated:
These are from different sources so there's not much uniformity in terms of texture. But it gives a sort of idea as to the zoom in & out I have in mind.
When I have established the relationship between skin and paper and this idea of 'closeness', I can start cutting between the fine and heavy grain paper; rather than having to simulate a zoom in and out each time. Quick cuts will also help ramp up tension and the idea of obsession.
Some of these shots might not even have any drawn action - it could just be focusing on how the paper animates and its skin-like texture.
Paper Research
I like the look of deckled-edges. These are feathery, unfinished edges achieved through the paper-making process using a deckle. If possible, I think it would look good and tie the whole film together if the edges were featured in the film. Each frame could sit within a slight black border. If each sheet is the same size, I think this could be quite easily accomplished. I might have to make a 16x9 deckle if I'm going down this route! If I'm printing though, I suppose there will also be a border within the paper... and I might have to get cleaner edges for the benefit of the printer.
Jared has suggested using an organza screen, I'll get my hands on some of this and try it out. I can maybe make a couple to see which is best. Different material screens might also make finer/courser paper - which could come in handy for my 'zoom'. Otherwise, to achieve the difference in grain, I'll have to make a few batches - some where I blend the pulp up finer than others.
To make sure I have a relatively uniform paper colour (to eliminate flickering and having to edit in post), I can add a little bleach to the pulp. And use gloves obviously!
I've noticed a bit of a trend for adding thread to paper - when it sits beneath the translucent layers, it looks quite veiny. The translucent quality also looks quite like older skin especially. I could try incorporating some blue thread to accentuate this!
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