Sketch 4: Combophoto

Due: 9/29

Tag: sk4

Stephen Mcmennamy is an Atlanta artist and Creative Director at the advertising firm BBDO. He first came to my attention when I saw his series of “combophotos” that splice together two different images to form a surreal new creation.

Here are a few examples from him:

cauliflower + poodle

paintbrush + spaghetti

bridge + guitar

Take a few moments to look through the images he’s posted on his site linked above or on his Tumblr or his Instagram. Then create your own square combophoto and publish it to your site. You can take your own photos, but probably you’ll want to use CC_licensed images you find on Flickr — make sure you give credit to the originals that you modify to create your combophoto.

The level of technical aptitude for this assignment is actually relatively small, just simple cropping and resizing. The greater part of the challenge is thinking creatively and finding images that you can work with. That said, note that Mcmennamy comes up with ideas and then specifically stages photos to combine, and he seems to often spend significant amounts of time shooting and selecting his images. You won’t have lots of time, models you can hire, or expensive photo equipment to work with, so I don’t necessarily expect your final images to be as polished and perfectly aligned as his are. More important is for you to be playful and come up with images that combine to create something funny or witty or striking.

To edit the two photos together, you can use whatever photo editing software you’d like. Pixlr is a good free web app, as is PicMonkey. Adobe Photoshop is also available for you to use on the computers in the Media Library on the 4th floor of the Woodruff Library.

Once you have your image, publish it in a post on your class site. Don’t forget to give it a funny or witty title! Tag your post “sk4

Write a paragraph about how you went about choosing the two images you combined and why. What challenges did you face as you created your combophoto? What do you think your final image conveys?

Sketch 5: Triptych

Due: 2/28

Tag: sk5

In How to Read Nancy: The Elements of Comics in Three Easy Panels, Paul Karasik and Mark Newgarden carry out an extended discussion of comics through repeated analysis of the single Nancy strip by Ernie Bushmiller from August 8, 1959 (at the top of this post). They explain that “one of the least tangible yet most significant implements in the cartoonist’s toolbox is the varied use of rhythms.[…] One repetition makes a pair. But add another and the repetitions have become a series, the basic building block of all rhythm. A set of three has the smallest number of elements that can establish a pattern (as well as violate it). Three implies more to come” (134).

For this week’s sketch assignment, create your own triptych comic. As you compose your triptych, I most want you to focus on creating a story with a very clear beginning, middle, and end. Your story can be minimalist, impressionistic, comic, dark, weird or whatever you want it to be — but make sure that each panel of the triptych moves that story forward from beginning to middle to end.

i smile more when i belong

You can draw your triptych, or create one using photographs, maybe along similar lines as the webcomic A Softer World, which ran weekly for about twelve years starting in Feb 2003. Emily and Joey published 1248 comics in that time, each consisting of three panels with photographs and words superimposed on them – often it seems to be a single image cropped into three panels, but sometimes it’s three photos taken as a series – and then the title of the comic appears when you hover your mouse over the comic (creating space for a sort of fourth panel or commentary). The comics tend to be quite dark.

I’m looking for compact and playful storytelling through both images and words. It’s an opportunity for you to play with irony, humor, and/or wit.

Add a paragraph reflecting on your triptych comic. What choices did you make in crafting your narrative? Describe the composition process a little bit. What was challenging about this assignment? How is crafting this sort of comic strip different or similar to other writing you’ve done this semester?

Sketch 6: What’s in your bag?

Due: 10/13

Tag: sk6

Find a relatively large empty space. Take your backpack, messenger bag, or whatever sort of bag you carry around with you regularly, empty all the contents out, and arrange them carefully so that they represent a visual snapshot of the stuff you tote around with you on a normal day. Then take a clear photo showing your bag and the stuff and upload it to your site.

Note that like the avatar or the literacy narrative, this too is a type of autobiographical composition. If you have something in your bag that is private, embarrassing, or for some other reason you don’t want it in the picture then make the editorial decision not to include it. Or vice versa: if you would like to assume a certain kind of persona then you might consider including items in your catalog that might be less than fully true.

Add some text to your post listing the items represented in your photo, preferably adding in a bit of explanatory and/or funny commentary along the way. This can be a paragraph of text or a list or whatever format seems most appropriate for you. When these sorts of posts are done by publications, like say The Verge or Timbuk2, they are often not so subtle efforts at product placement but for our purposes there is no reason for you to engage in such advertising games.

Along with the photo and your description of the items, include a paragraph reflecting on what it was like to craft a self-portrait through this photograph. How actually representative is this image of you as a person? What sorts of choices did you make in order to create the image? What was challenging about this assignment? Is representing yourself in a catalog of the stuff in your bag a type of writing? Why or why not?

Sketch 10: Tell a True Story

Due: 04/20

Tag: sk10

In the week or two leading up to this assignment, be on the lookout for a moment that is worth representing in a comic — watch for some sort of small adventure you might take, or a conversation you are part of, or a conversation you hear, and as you come upon them take notes for yourself and maybe make quick little sketches or take photos to capture images for later. Your story does not need to be momentous. You do not need to be able to fully grasp its significance, such as it is. But watch for a story that seems to be a little window into some sort of meaning or that might show something interesting to readers.

Then create a short comic that portrays that moment as truthfully as you can in a way that combines both words and images.

If you’d like, you can make a comic with words to only a few images. Or you can make a comic with only a few words. You can use photographs or draw something or create some other sort of visuals. You can tell a funny story or a sad one, or draw on other emotions.

The only two firm requirements are that your comic needs to have words and images and it needs to show something true … with the full understanding that “truth” is a complicated and contested state of being. (Your story does not have to be a true war story; it only needs to be true.)

That said, I’d like you to try to make your comic in 5 panels. Take a sheet of 11×17 drawing paper if you have it (you can do this with 8.5×11 instead, simply adjusting the measurements that follow) and fold it in half along the longest side so you have a folder page that is now 8.5×11. Fold it again along the longest side, so you’ll have a booklet that is 8.5×5.5. Then fold it again in the same manner two more times.

Think of the front cover of that tiny booklet as your first panel and draw the initial image and words for your story. You don’t have a lot of room to hook your reader, and you have to compel her to unfold to section 2. So make it good.

Then open that booklet and draw the second panel on that space that is twice the size. You’ve got a little more space — use it wisely. Fold it open again and draw the third panel on the space that is doubled again. Write something that earns the space. Give the reader enough they they want to flip to the next part. And again for the fourth panel. You should try to not only use the space, but to also ramp up the excitement in each section. And then again, as the fifth and final panel now takes up one side of an entire page. The largest section should contain not only the largest number of words, but also the most exciting content.

Once your comic is completed, publish it to your site as a post. If you follow the method above to create a five-panel comic, scan each panel and upload it as a series. Feel free to include some pictures of your entire book too.

Write a brief reflection about your writing process for this post. How did you know when you had found the right story for your comic? How difficult was it to tell a true story in a brief comic? What were the most important choices you made along the way of creating your comic?

Sketch 8: Human Document

Due: 10/27

Tag: sk8

The British artist Tom Phillips is probably best known for a project that he began in 1966 and which he has continued ever since–he set himself the challenge to buy the first book he could find at a secondhand bookstore for threepence and to alter every page using drawing, painting, collage, and cut-up techniques to create an entirely new version.

He found W.H. Mallock’s A Human Document and combined the words in the title to create A Humument. Phillips not only created new art works from each of the 367 pages but has now completed five different editions of this altered book.

You can view pretty much the complete series of pages on Tom Phillips site here. You can choose pages, view the original and then view different versions of that page.

For this week’s assignment, I want you to create your own visual poem-thing. You can find your own page to alter if you’d like, but I’ll bring in an old used book that you can take pages from too. Think of it as sort of a collaboration between yourself and the book’s original author or think of it as a game where you get to create new text but within the strict confines of the text available on the page.

Obviously, Tom Phillips has been doing this for almost 50 years and I’m not expecting you to produce work that is as polished or complex as his – nor that is necessarily as visually compelling. And it will probably feel very strange to you as you begin, but just let yourself be playful and experiment with your task. You do not need to be a professional artist to make these pages, but you probably do need to be able to relax your desire to be in control of what you produce and you probably need to turn off the self-critical voice that will tell you that you’re doing it wrong.

Alter your page using whatever methods or tools you prefer, then scan the page in color at a high resolution as a JPG or PNG file and load it to your site. You might or might not include in your post the text of your altered page.

 

Sketch 8: Data viz from everyday life

Due: 4/4

Tag: sk9

When Mason Currey wanted to understand how he could manage to produce more creative work despite the challenges of everyday life, he set about studying how a bunch of other famous creative people organized their daily lives and what routines they established for their own creative work with the assumption that there were valuable lessons there. Daily Rituals was the result of that research — and then a number of different people and organizations have set out to visualize the insights of that book so that we can see larger patterns in the midst of all this biographical information. Podio’s graphic, which is the feature image on this post, is one of those (check out their site for the interactive version)

For this sketch assignment, you will choose one concept in your life that you want to analyze, something that is not already easily and obviously measured, or doesn’t vary within the span of a day or a week (good categories: awesomeness, mindfulness, healthiness, creativity, productivity, and similar … bad categories: number of steps, hours of sleep, caloric intake, how good is my eyesight?). Decide on a set of about 5 categories that you can use to measure that concept in your life and track those categories for a week or more, then you will produce a visualization of the data that you have gathered and use that visualization to help you understand something about your own life that might not be obvious from your own day to day activities.

Tracking Data

If you’re looking for suggestions about what to track, browsing the “quantified self” tag at Lifehacker might be worthwhile.

Once you’ve got categories, create a spreadsheet where you can track those categories throughout the day. Either take notes in a journal or on your phone and enter the results into your spreadsheet at set intervals, or make the spreadsheet in Google Drive and access it from your phone, or use the site Trackthisforme, or install a tracker app on your mobile device (I found some by searching for “quantified self” apps).

In “How to Track Everything in Your Life Without Going Crazy” and “Fill Out This One-Minute Form Every Day and Find Out Why Your Life Sucks (or Doesn’t)” Adam Dachiss has some useful suggestions for measuring stuff in your life. “Why You Should be Tracking Your Habits and How to Do It” by Belle Beth Cooper is also useful. However, all three of those articles are a few years old now and might not be perfectly applicable.

Whatever method you use, the key activity is to decide what you are going to pay attention to and then to create a system that is manageable for your life for the span of a week wherein you will quantify information about your self or your behavior.

For example, one step of this process might be to decide to measure how happy you are and to create a spreadsheet with a column for “Happy.” Then when you wake up in the morning, while you’re waiting for the coffee to brew, you’ll pull up the spreadsheet and enter a number between 1 and 10 indicating how happy you feel. You will continue adding rows at some set interval (every hour maybe). You will probably have some columns that are a little less subjective than “how happy do I feel right now?” (like “how many times did I talk in class today?” or “how much time did I spend studying?” “how many minutes have I spent looking at my phone in the last hour?”). You can decide how objective or subjective your categories are, but recognize that those decisions will impact the sorts of conclusions you draw from this process.

For now, you just need to decide what you will track and then to be as meticulous and careful as you can be about actually tracking this information either directly into a spreadsheet or in a format that can easily be transferred into a spreadsheet at the end of the week.

Visualizing that data

Now that you have gathered your data, it’s time to analyze it further and visualize it.

With the data set that you’ve gathered, which is just for a week or so and only with a handful of variables, you probably won’t need a computer or special tools to analyze it. However, you might find loading your data into a spreadsheet (like in Excel) if you haven’t already been keeping it in that format will help you a lot to analyze it and see patterns in the data.

Because this is an assignment about collecting data about your own life, there is room for you to decide how “scientific” you want to be with your project. Even if you have never used spreadsheets for much of anything, try to quantify your data as much as you can and make an effort to be detailed and accurate with your information, but that said the types of data you chose to collect and the category you’ve decided to study will have a huge impact on the type of analysis you undertake. It is okay for you to have some more subjective categories and it’s okay if your final analysis or visualization is somewhat subjective too.

Tools

There are numerous methods you can use to create your visualization — anything from paper and crayons/markers/pencils to sophisticated data visualization software like Tableau. MS Excel also has some pretty sophisticated charts that you can create from your data. And there are also lots of free online tools that you can use too — it’s admittedly been a year or more since I really surveyed the set of free tools available, but I’d probably still recommend Infogram if you want a free web-based infographic maker and aren’t sure where to start.

For help deciding what type of chart or graph might be most effective in visualizing your data, consult the Data Viz Catalogue (it might be most helpful for you to switch to the “sort by functions” view at the top of the page).

Digital Images

Hand-drawn charts and graphs are perfectly 100% acceptable, if that’s what you prefer. However, please do not spend lots of time carefully crafting hand-drawn charts and then snap a crappy picture of them on your cell phone to post to the web. There are lots of scanners available on campus that you can use to scan your chart into a high-quality JPG image — I’d suggest that you take a quick trip to the Media Lab on the 4th floor of the library and scan your drawings. That space is underutilized and an excellent resource that you should know about.

If you create your visualizations with an online tool, just make sure that you can export them as a JPG image, or that you can at least take a good screenshot of your work.

Publish

Publish your charts as a sketch post to your site. Identify what conceptual issue you were tracking or what question you wanted to answer (or begin to answer). Include 2 or 3 paragraphs explaining what conclusions you have drawn from the data that you collected. Were you able to answer the question you had posed for yourself? What sorts of judgement calls did you face while gathering the data? Why did you choose to visualize your data in the manner that you did? What do these visualizations say about your own life? If you were to continue this project into the future, would you go about it in pretty much the way you have done this week or would you do things differently now that you have looked at the data to this point? Have you found this to be a valuable tool for self analysis?

Sketch 7: Quadriptych

You’ve made a one-panel image with your avatar, combined two images with your combophotos, and made a traditional three-panel comic like those that used to dominate the Sunday funnies sections of newspapers. This week, I’d like you to make a 4-panel comic like the ones that are currently dominating web comics.

As Peter Rubin argues in Wired, “Four-panel strips have been a fixture since early 20th-century newspaper comics like Mutt and Jeff and the concomitant appearance of yonkoma (“four-cell”) manga in Japan. It’s the perfect three-act-structure: You start at one end, develop conflict in the middle two panels, and resolve with a punch line at the end. But thanks to a number of factors—not least of which is the rise of Instagram and Reddit—a gridded, two-by-two variant has come to dominate the internet.” Notice that the four-panel comic, Rubin claims, still has a three-act structure.

You probably already know examples of such 4-panel web comics. You might check out the comics of Nathan Pyle or comics such as “Humpty Dumpty Had a Great Fall.”

WholesomeNsuchArt

Then make your own four-panel square comic. Just like with your triptych, you should still focus on telling a story with a beginning, middle, and end and you are still free to use photographs or to draw in whatever style you’d like. Focus, again, on compact, playful storytelling.

You can combine the four images into a single one or you can publish them to your post as separate images. In order to create a square in the WordPress block structure, you’ll simply need to add 2 “columns” blocks to your post and then hover over the top of each column block to add an image.

Step one: Add a Columns layout block
Step two: Add an image to each block

Column blocks are found in the “Layouts” section of the block selector. They allow you to format your blog posts with columns, to which you can add images or paragraphs of text or embed other elements and so on.

Like with your triptych, add a paragraph of text reflecting on your quadriptych comic. Describe the composition process a little bit. What was challenging about this assignment? How is crafting this sort of comic strip different or similar to the triptych? How was it different to have the middle act stretch across two panels rather than one? Why did you tell the kind of story that you did?

Sketch 12: Assemblies

Due: 12/8

Tag: sk12

For some unknown reason, the National Archives includes a document entitled Cocktail Construction Chart, which was created by the US Forest Service in 1974, showing recipes for a group of cocktails represented in the style of an architectural diagram.

For this week’s sketch, think about the work you’ve completed in this class and your own learning and thinking processes — then break all that down into component parts, represented in some sort of an architectural diagram like this one. I’m less interested in the quality of the drawing itself and more in your analytical ability to break down something complicated into a series of steps and to represent that as if in such a diagram.

Creating this diagram should be a key step towards completing your portfolio reflection letter (and I will encourage you to use the diagram as a key image in that letter). If you think about what you have learned this semester about yourself as a writer and reader, how can you represent that understanding as a single diagram, and how do the various pieces of writing you have done fit into that diagram to construct your vision?

Tracing Stitches and Spinning

The primary focus of this piece of our analytical work in the class is thinking and reading rhetorically across the multimodal texts we are reading this semester. This assignment is an exercise in close reading and explication in order to identify and analyze the rhetorical situations of these texts, in which you will look very carefully and precisely at 2 specific pages of your choice from the books we have read so far this semester, making notes about what you observe, and then you’ll present what you uncover in the process and draw some connections between what you see in those pages and the larger narratives presented.

Assignment Details

  • Due: 3/11
  • Format: 2 traced pages with annotations, plus 500 to 750 words of analysis. Published to your site as a series of interlinked pages, plus a reflective post (more about this structure below).
  • Audience: You should assume an audience that has read Stitches and Spinning and thought about the texts, but who understands the books not quite as well as you do.
  • Tone: The style of your written reflection should be “academic casual.” I expect coherent, grammatically correct prose that communicates clearly and directly. Show yourself to be a thoughtful, engaged person who is interested in explaining your ideas without getting overly bogged down in formality or jargon.
  • You should use at least one quote from either of the Hillary Chute essays we’ve read this semester (“Comic for Grownups?” or “The Risk of Representation”). Make sure you “sandwich” the quote with your own words — introducing and analyzing the quote. You will also need to provide an MLA citation for Chute’s essay. (More on quote sandwiches and source citation soon.)
  • You are not required or expected to use any other outside sources for this assignment; however you are allowed to do so, particularly any of the other texts from the class. Make certain that you cite any sources (and link to any texts that are online).
  • Title: Your essay must have an interesting title.

Close Observation

Choosing pages

You will trace or otherwise re-draw two different pages for this project, one from Stitches and one from Spinning. (I’ll distribute tracing paper in class, but you can also do this tracing digitally if that works best for you.) A “page” means a single verso or recto page. You may do a two-page spread, but only if that spread forms a coherent unit, in which case a two-page spread will count as one “page” (and that will make this assignment more difficult for you, so consider carefully before you take it on).

The only significant criterion is that you should find the pages compelling. A page might be compelling to you because of one particular moment on it that really stands out or because of something odd or confusing or quirky that you want to spend more time thinking about. You might find yourself thinking about a larger theme of the text that you know you ultimately want to address and then looking for pages that will allow you to do so. Or you might find yourself thinking about interesting pages that somehow surprised or captivated you and choosing those pages without knowing ultimately exactly what themes they will lead you to address. Either approach is potentially fruitful.

Tracing Pages

(I recommend that you take notes for the analysis described later as you trace your pages, instead of waiting until you’ve finished. You will probably discover much during the actual process of tracing that you’ll want to talk about for the reflection.)

First Tracing

  • Pick a compelling page from Stiches and trace it or redraw it freehand. Your goal is not to create a look-alike reproduction of the original page but rather to distill the original page into a simplified line drawing. If there are caption bubbles or text boxes, you should trace their outline, but please do not copy the text within.
  • Once you have finished tracing, scan the page digitally and save the file as an image (jpg or png). If possible, use an actual scanner (the best scanners for this purpose are located in the Media Lab space on the 4th floor of the library) not a simple cell phone photo but make do with whatever tools you actually have available to you.
  • Either print out the scanned image or make a photocopy of your trace page, so that you can draft the next step without worrying about destroying your first trace image.
  • Annotate the printout or photocopy of the traced page with “gutter text”—your own text, written into the gutters, margins, empty captions, and space around the margins of the pages (see instructions for annotating below).
  • When you are satisfied with the annotation on the traced page, scan that page and save the digital image at a high resolution (again, use an actual scanner).

Second Tracing

  • For the second tracing select a page from Spinning that is also compelling.
  • As in the first tracing, distill the original page into a simplified line drawing.
  • After you have traced this page, repeat the rest of the steps above, this time annotating with an eye toward what makes this page different from your first selection.

Annotating the traced pages

Think of your gutter text as a dissection of the page, in which you highlight both the salient and the subtle characteristics of the page’s panels.

In this process, you might find yourself noticing some of the key terms of rhetorical situation — audiencegenrepurpose, and design. You might notice various formal features of the drawing: color, saturation, shading, line styles, shapes and sizes, angles and placement, perspective and framing, layering and blocking. Or considering the relationship between the elements on the page: the transitions between panels, the interplay between words and images, the way time and motion are conveyed. As you annotate the page, focus on recognizing the choices Small and Walden make with regard to Scott McCloud’s framework of writing with clarity: choices of moment, frame, image, and flow (don’t worry about word just yet).

Remember, as Art Spiegelmann argues, that the unit of communication for comics is the page, moreso than the panel. Pay attention to the overall layout of the page: the use of gutters and margins, the arrangement of panels, the flow of narrative or imagery. How do all the various panels on the page work together to create a clear and coherent unit? What do you notice when you look at the page as a unit?

What elements of the “secret language of comics,” the “underlying formal elements that create the illusions,” do you see at work on these pages? Keep your eyes out for: spatially site-specific elements; the shaping of time by arranging it in panels; the weirdness of time on the page; experimentation with duration and motion; layering; economical and dense narrative; experimentation with directions of reading or nonlinear reading; the all-at-onceness or “symphonic effect” of comics; methods the authors use to slow down the reading process or to make the reading process more participatory; ways in which the authors put “productive pressure on what ‘normal reading’ is”; and ways in which these comics “champion the tug-of-war” between binaries like the vulgar and the genteel, word and image, youth and adult, slow and fast, reading and looking; what is pictured and what is left to the reader’s imagination (all of these quotes and terms are found in “Comics for Grown-Ups?“) Note that you should not, indeed cannot, consider all of these ideas as you trace your pages. Choose one or two of these that seem most applicable to your chosen pages.

You might not be able to fit all your notes actually on the page, in which case you can either write them on additional pages or type them up and add them onto the page when you upload your traced images. If you need additional space to include your notations like this, you should probably number them and add reference numbers on your traced image so your notes can point to specific spots on the page.

Once you have completed your annotations, publish 2 pages on your site, one for each annotated tracing page. Include a large version of your scanned traced page (or a smaller size image that links to the full sized image) and any additional notes.

Abstraktes Bild (Nº 635)” by Gerhard Richter

Analyze your tracings

Now that you’ve spent some sustained time and effort looking very closely at these two pages, take a step back and go through your notes, think about what you have seen, and identify any patterns that come to your attention, especially with regard to those elements of the secret language of comics listed above.

Above all, you are engaging in a process of pattern recognition with your annotated pages: identify some pattern(s), ask yourself what you think it might mean, and then communicate your answer to that question as clearly as you can. Focus in on the two or three most interesting patterns you recognize.

Publish your analysis

Once you have annotated the pages and looked for these patterns, write a short essay (500-750 words) in which you compare the two pages and sketch out your most interesting observations about the two. Try to present your argument in a three-part structure. In the first section explain one similarity or difference you have seen in these two pages and why that pattern is interesting. Then in the next section present a different comparison of the two texts. Then in your final section, try to make some slightly larger claim about why these two texts are doing these things similarly or differently, what you think these patterns mean.

Each paragraph of your essay should be about both of your pages or both of the comics.

  • Do not write one paragraph about Stitches and then a paragraph about Spinning.
  • Do not write one paragraph about ways these two texts are similar and then another paragraph about ways in which they are different.

Try this for me: make the thesis of your essay the topic sentence of the final paragraph of your essay, instead of putting it at the beginning. In the best case scenario, your thesis will build on the two patterns you present in the previous sections and synthesize them into a new understanding of how the authors address their rhetorical situations.

Your thesis should definitely not be “Stitches and Spinning are similar but different.”

Make the two pages that contain your traced pages subpages for this essay and link to them someplace within the body of your essay.

Your essay should include at least one image, probably a few. Do not include the entire annotated page as an image in your essay; however you might crop your traced page to include specific details that you’re describing in the text and include that. You might also scan a particular part of the page you traced and put that scanned image into conversation with your traced image (in other words, you might choose to include one panel from Stitches alongside your traced and annotated version of that same panel). Or you might even scan a panel from a page you did not trace and compare it to a panel from your chosen page.

Reflection Post

After that is all done and you’ve published your pages to the site, publish a reflection post that links to your analysis and to this assignment prompt. Here’s some further instructions for the reflection post.

Sketch 11: Recreate a movie scene

Chris Pratt holds the raptors at bay in Jurassic World.

Due: 12/1

Tag: sk11

Choose a single moment from a movie or television episode and recreate that scene as closely as you can in a single photograph. Think about how you can creatively use wardrobe items or props that you already have at your disposal and the landscapes and building spaces available to you in order to create your scene. In fact, you might find that it’s best to begin by thinking about what you might be able to pull off and to work backward from there to choosing a scene.

By definition, you don’t have incredibly powerful movie cameras, cinematographers, a cast and crew, a prop and set design department, and CGI f/x staff for post production; therefore, you are never going to perfectly recreate any scene. However, with a little creativity you can still create a powerful version of a scene even without all that fancy paraphernalia, as in the version of Jurassic World at the top of this post and others seen here.

More than a decade ago, I recreated these scenes above as part of a larger photographic creative project. For my version of Lost in Translation, I rearranged the furniture in my bedroom and borrowed my wife’s bathrobe. I could never quite get the tilt of my head right. For my recreation of Albrecht Dürer’s Self Portrait of 1500, I couldn’t reproduce the proportions because I was required to make all my shots 4×3 landscape photos and my hair wasn’t long enough to quite pull off the portrait. But I bought a black plastic tablecloth for 99 cents for the background and made the sleeve decorations with crayons on paper. I used a fuzzy scarf and an old leather jacket for the clothes. Despite taking numerous shots and studying the painting very, very closely, I could never get my right hand into exactly the correct position.