In December in MFS, semester works by students of the Production design faculty (first and second courses) are always presented. Despite only having three months of training behind them, even first year students must demonstrate to the curator and tutors the skills they've acquired that semester, and their ability to develop the dramatic idea of a literary work in the pictorial plane. For the semester viewing, students have to prepare a presentation on a project based on a literary work, which includes a synopsis of the project, the idea of visual solutions, selected reference design sketches, and 'sketchup' development or planning.
"Education in the School lasts two years, so we have very little time to take it slow, says the curator of the "Prodution design" faculty, Addis Gadzhiev. Almost from the first week of their studies, our future designers learn to work with iconographic material: from film references, prints, works of artists, photographers, etc. It is important for us that they are plunged into the profession from the early days, because they almost immediately become part of the art department, where they practice on the sets of training projects. We stand for a hands-on approach, and experience shows that even in three months, students are able to demonstrate tremendous progress!"
In addition to the presentation, students' sketches are displayed to demonstrate their technical skills (drawing and painting).
Work by first-year student Anna Volozheninovaya
Anna Volozheninovaya on her semester project:
I have always been attracted to science fiction, and not even as a way to show another world, or to demonstrate the author's imagination, but as a means to convey the anxiety of the present. I chose a work by Henry Kuttner "Two-armed machine."
A difficult test was the selection of medium. Watercolor is the closest medium to my heart, you might say, but unfortunately, it is not appropriate to the smell, colour or the texture of the work. As I sought a solution, I discovered a completely new technique for me — a combination of tempera with markers.
To create the world I started with characters and robots. I did not want to make them too far-fetched in relation to the existing space. In the book, there are no descriptions of places travelled to by the protagonist. The most interesting thing seemed to me to analyse the text, to understand what kind of person he is, where he would have gone, and how what I chose to portray would help the visual narrative. So Rio de Janeiro was chosen. The main character has long been uninterested in sightseeing, because
Jesus and frightened people are reflected in the robot. The hero sits in a diner called "Ultimo sorriso" - "last smile" or "smile of the past." A cafe with the same name (of course, in Russian) exists in Moscow. In the cafe there was one woman remaining, who was not interested in the protagonist, but rather the danger that the "Fury" next to him represented. This situation was mentioned in passing in the story, but I caught this fragment.
Easter Island was chosen at random and went quite well in the narrative. I redrew the fish in the sketch several times. It's a hybrid of a tuna and angler fish. The sketch for Harz's first office took a long time, but the general idea that he works under the stairs is as it was originally. The idea for a sketch for Harz 's second office came by chance at a lecture on drawing. Vasily Krasnikov showed us the work of artists, including Hopper, whose works directly related to my sketch. And the wonderful gull with bloody beak is thanks to a tip from our curator, Addis Gadzhiev.
I wasn't able to reflect all that I wanted to on paper totally, but I can imagine the work in its entirety. There's a lot of work still to do. During these three months, I've learned a lot for myself, and this knowledge has unnoticeably become part of me.
The second part of presentations takes place on December 26th, beginning from 14.00. The presentations are open to visitors, including other students.