{"id":2060,"date":"2018-09-09T12:47:37","date_gmt":"2018-09-09T12:47:37","guid":{"rendered":"http:\/\/gemmaplum.nl\/business\/?p=2060"},"modified":"2018-09-13T16:49:48","modified_gmt":"2018-09-13T16:49:48","slug":"filling-in-the-blanks","status":"publish","type":"post","link":"https:\/\/gemmaplum.nl\/business\/filling-in-the-blanks\/","title":{"rendered":"Using Blanks and Creating Chaos in Graphic Narrative"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

Cutting Edge Editing for some Piece of Mind<\/h3>\n

The Laws of Closure, the Filled Gap and Continuity<\/h4>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_single_image image=”2091″ img_size=”large” css=”.vc_custom_1536492526872{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][vc_column_text css=”.vc_custom_1536582445708{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}”]Brecht Evens, Wrong Place (2010) Used with kind permission
\n<\/small>[\/vc_column_text][\/vc_column][vc_column width=”1\/4″][vc_column_text]This Gestalt principle is often divided into 3 laws: the Law of Closure, the Law of the Filled Gap and the Law of Continuity. They derive from one phenomenon: continuous and closed figures or predictable sequences and patterns are seen as a unit. It helps make sense out of complicated scenes. We know that if something obscures our view what it doesn’t really intersect with what’s behind. People don’t loose a limb if someone stand in front of them en or their eyes if they are coved with shade. Brecht Evens uses this phenomenon to illustrate a crowed scene in his beautiful book Ergens Waar Je Niet Wil Zijn<\/a> translated as Wrong Place<\/a> (2010) (US Link<\/a>) (Soon to be followed up by a new book: Het Amusement<\/a> (2018) to be translated in 2019 as The City of Belgium<\/a>)<\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/4″][vc_single_image image=”2074″ img_size=”large” css=”.vc_custom_1536389174413{margin-bottom: 15px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][vc_column_text css=”.vc_custom_1536313639192{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}”]Gemma Plum, Nude (2007)<\/small>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_column_text]Our mind uses logic and experience to understand what it is looking at. It connect lines and parts that belong together (or seem to belong<\/a>) together.\u00a0As is shown in the little nude drawing, our minds fill in the blanks and it can even fill gaps and finish images if information is missing. It connects the dots…[\/vc_column_text][vc_column_text]The human brain is looking for unity and meaning by completing structures. The eye wants to finish things and falls silent on interruptions. Taking a moment to decide how to follow along. This is a great method to have the eye pause on something.[\/vc_column_text][vc_column_text]An element that breaks through this connection attracts attention. Nicolas Nemiri uses that in a brilliant way in this drawing of a ‘casual’ lady. Guiding the eye to what she is covering up, but presents to us never the less.[\/vc_column_text][vc_column_text]In single image narrative this is quite a literary ordeal. The context will tell if there really a division of something that once was a whole or if it\u2019s just a matter of blocked view. Either way the \u2018cut\u2019 will attract the eye working as a speed bump for the mind.[\/vc_column_text][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”2088″ img_size=”large” css=”.vc_custom_1536491164258{margin-bottom: 15px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][vc_column_text css=”.vc_custom_1536506017585{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}”]Nicolas Nemeri, Nemeri Book<\/a> (2017) Used with kind Permission
\n<\/small>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]To many speed bumps will confuse or give a very unsettling feeling. There is no time for the brain to settle, taking the viewer on a roller coaster ride. This effect can be put to brilliant use.[\/vc_column_text][vc_column_text]In Requiem for a Dream<\/a> (2000) by Darren Aronofsky a quick-cut technique is used to illustrate how drug addiction feels. An average movie has about 600 to 700 cuts. Requiem for a Dream has about 2000 cuts. Mr. Nerdista<\/a>\u00a0 explains in his video essay<\/a> how Editor Jay Rabinowitz uses repetition and fast pace editing (hip-hop-editing<\/a>) in a strong narrative way.[\/vc_column_text][vc_column_text]City of God<\/a> (2002) by Fernando Meirelles and K\u00e0tia Lund editor Daniel Rezende uses the same technique. Not to illustrate the chaos of the mind but the chaos of a city. The openings scene gives a perfect introduction to the \u2018feel\u2019 of the city. An establishing shot that not only gives you an understanding of setting of the movie but gets there on an emotional level.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1536503909885{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”]