Narrative Sequences
Many design processes begin with an initial diagram of conceptual relations. The diagram is then translated — via notation — to develop a compositoin of key qualities and ‘active ingredients.’ For construction and fabrication this notation is translated into plans, secions, and other construction documents which detail materials and their assemblies.
This investigation involves a reversal of that process. It can begin in the imagination, constructing a storyboard sequence of images. These could be photorealistic seamless montages, or collages pieced together from found images and fragments of the world. Alternatively these could be more like dreams, where critical ingredients are rendered with some clarity, and less critical elements are blurred or fade into outlines.
Several narratives are possible. One could represent the distinct point of view of different characters moving through the same spaces: infants children, adolescents, adults, senior citizens, dogs, birds, even inanimate objects.
Instructions:
Imagine a character and point of view. The character could be subject (e.g. yourself), another person, or another being.
Imagine several sequences, each consisting of least 12 encounters in space. If you feel the need, you can establish constraints or rules, or even a randomized game to help generate encounters. (For example, Lewis Caroll’s square poem.)
Create a storeyboard of images. For example, Saul Bass’ storeyboard for Psycho (link) is more literal - what the camera would see. But a sequence could also be more abstract even distort reality according to perception, emotion, sensitivies and experience.
This investigation involves a reversal of that process. It can begin in the imagination, constructing a storyboard sequence of images. These could be photorealistic seamless montages, or collages pieced together from found images and fragments of the world. Alternatively these could be more like dreams, where critical ingredients are rendered with some clarity, and less critical elements are blurred or fade into outlines.
Several narratives are possible. One could represent the distinct point of view of different characters moving through the same spaces: infants children, adolescents, adults, senior citizens, dogs, birds, even inanimate objects.
Instructions:
Imagine a character and point of view. The character could be subject (e.g. yourself), another person, or another being.Imagine several sequences, each consisting of least 12 encounters in space. If you feel the need, you can establish constraints or rules, or even a randomized game to help generate encounters. (For example, Lewis Caroll’s square poem.)
Create a storeyboard of images. For example, Saul Bass’ storeyboard for Psycho (link) is more literal - what the camera would see. But a sequence could also be more abstract even distort reality according to perception, emotion, sensitivies and experience.
Possible Tools:
Drawing on paper, Adobe Illustrator, Adobe PhotoshopRelevant Texts:
Brunetti, Ivan, Comics Philosophy and Practice (link)Tschumi, Bernard, Sequences (link)
VonUexkull, Jacob, A Foray into the Worlds of Animals and Humans (link)
Other Inspiration:
Ware, Chris, New Pictorial Language Makes Marks (link)Kulper, Amy, Architecture;’s Digital Turn and the Advent of Photoshop (link)
Suggested Parks to Reference:
This investigation begins in the imagination.2025 Spring — Second Nature