Unit 7. 'Bleeding Ink'.

Some stereotypically 'dark' backdrops for fairytales.

Some hand-drawn typographical play, specifically with conflicting fonts, direction, colour and authority of the page.

Character Design 1: The innocent 'goodie'. The story will be manipulated in order to show her perceived 'goodness' as a negative trait of personality. A trait adopted as a pointless moral adaptation. I was sick of fairytales polarizing 'right' and 'wrong' and 'good' and 'evil', a construct inherently religious in its nature.

Character Design 2: The 'villain'. The narrative will be written to show his apparent fluid morality as an epigenetic attribute, maybe even an illness conceived through desperation or possibly even pre-natal learning.

Character Design 3: The 'Love Interest'. His personality was formulated as a retort to the 'Prince Charming' character, abundantly found in storybooks. He will be more complex-a-person, with conflicting thoughts, a negative, pessimistic outlook on the world in which he lives, but not to the point where he becomes 'monstrous' or his traits synonymous with those of the 'villain'.

Character Design 4: 'The Wise Man'. His persona was influenced by characters like Albus Dumbledore, Rafiki and Gandalf, characters whose age is somehow redolent of their wisdom. However; I created this character with the idea of obsolete ideoligies in mind. The elderly (as a huge cultural generalization), often dismissing new ideas without even considering observation, shared experience and accumulated knowledge. 'The Wise Man', in this instance will most probably be a religious fundamentalist, attempting to read the stars and impose his beliefs on the futures of others. His character was designed to question whether ancient wisdom can, in fact, be called 'wisdom' at all.