The document outlines plans for an art gallery project focused on a painting called "Saint Luke Painting the Virgin Mary". The project group will create educational videos and host workshops about the painting and exhibition. They aim to attract art and history students to the gallery through a free event, as the gallery's costs normally prevent many students from visiting. The exhibition explores how artists develop their craft and convey meaning through their works. It features the focal painting and compares older and modern pieces that take inspiration from it.

1. Art Gallery Project
Research
YORK ART GALLERY

2. Behind the research
 For this project, everybody in the group was assigned an aspect of our
work to research, the results of which we would combine in our Research
powerpoints. Our roles in the research process can be found in the list
below:
 Holly Clark – Project/Production Management Research
 Oliver Nicholson – Studio & Post Production Research
 Ewan Wild – About the Artist Research
 Jack Roberts – About the Gallery Research
 Adam Lepard – About the Painting Research
 William Anderson – Animation & Title Sequences Research

3. Initial Plans
 What are we going to do?
 We thought a really nice way to get more young people (16-25) interested in the art gallery and this
exhibition specifically, was to have some sort of event where we invite them here to see the artwork
and offer some interactive activities. Furthermore we plan to create 3-4 short videos/voice recordings
to go with each stage of the exhibition.
 So we thought a key element to focus on would be the ‘making a masterpiece’ but look at it as what
actually makes a masterpiece? What paints did they use? Why did they choose these colours? Etc.
we are planning to host a workshop at the event that, depending on the turn out, will either be
scheduled sessions or just ongoing throughout the day. The workshop will include a slightly longer
of the 4 videos (this will be our main video -6 mins long?) and it will explain all the processes of
making this painting, all the materials the artist used and why, how he used them to create certain
styles and what techniques has he used. We will then ask the young people to give some of the
techniques seen in the video a go.
 So far we hope to have them making the paints, replicate the sketching style and to practice some of
the techniques they learnt in the video on wood like the artist originally painted on. Then potentially
later on we could display this work as part of out project at the gallery.
 Our second video will be a deeper analysis of the painting ‘st luke painting the vigrin mary’ more of
video essay style or potentially just audio with maybe headphones or just playing out loud by the
painting on a loop(this will depend on the space and recourses). This will basically give more
information about the painting, its context, why it’s relevant, what makes it a ‘masterpiece’.
 Our third video we are looking at comparing the more modern art in the exhibition the older art
work. This video will probably be around two minutes just depending on how much information we
can find and how much time we will have to produce it. I think this will be a good way of explaining
to the audience why those paintings were put together and the point the curator was trying to get
across. There is the potential for interviews in each video depending on who we interview and the
information we get.


4. Initial plans
 The fourth potential video will most likely be the shortest and if we are tight on time will be least
priority and could be dropped if we want to focus more heavily on the other videos. However the
plan for this one will be to discuss the styles and context behind the ‘behind the scenes’ section of
the exhibition.
 (This information will be gathered from the curator).
 We are hoping to have this event on Friday the 17th of January between around 12-5 ish then
continue having the videos runnig over the weekend and then potentially having a closing event
where we invite york mix, the press, the museums trust etc, and show them what we have done with
maybe a long video at the end to show all our progress and development thought the whole
project with footage from behind the scenes to events to feedback. (this is only an idea at the
moment and is very dependent on time) if this wasn’t a possibility then we cou;d invite these people
to the afternoon opening instead and maybe ake it a longer event that carry’s through to the
evening? I think this will come together later on once we are making progress with production and
can work out what remains time and buget wise but this would be a nice way to tie of the project so
hopefully we can make it work.
 Who are we making it for?
 So we have chosen to aim this project at art/history students at college/sixthform/ uni and other
higher educational courses and hopefully along the way with right advertising of the event we can
grab the interest of young people interested in art and history aswell and make the event more
successful. As students ourselves, we can use our connections with the college and our friends to
get people involved. I have connections with the york theatre royal who will be ale to help with
distribution of flyers to members of their youth theatre and visitors to the theatre.
 We have chosen this audience as I think theres a lack of young people specifically visiting york art
gallery and I think part of the reason is because of the costs. As a student interested in art, I choose
not to visit the art gallery as the cost to get in isn’t money I have to spare and I think it’s the same
for many other students in york who simply don’t have that extra money to pay to get in. so we
thought a great way to get all these young people involved is to take away the money barrier and
give them free access to the gallery for the afternoon, hopefully getting teachers to bring their
students as a trip.

5. Initial plans
We are hoping to have this event on Friday the 17th of January between around 12-5-ish
then continue having the videos running over the weekend and then potentially having
a closing event where we invite York mix, the press, the museums trust etc. and show
them what we have done with maybe a long video at the end to show all our progress
and development thought the whole project with footage from behind the scenes to
events to feedback. (this is only an idea at the moment and is very dependent on time)
if this wasn’t a possibility then we could invite these people to the afternoon opening
instead and maybe make it a longer event that carry’s through to the evening? I think
this will come together later on once we are making progress with production and can
work out what remains time and budget wise but this would be a nice way to tie of the
project so hopefully we can make it work.
Who are we making it for?
So we have chosen to aim this project at art/history students at college/Sixthform/
university and other higher educational courses and hopefully along the way with right
advertising of the event we can grab the interest of young people interested in art and
history as well and make the event more successful. As students ourselves, we can use
our connections with the college and our friends to get people involved. I have
connections with the York theatre royal who will be ale to help with distribution of flyers
to members of their youth theatre and visitors to the theatre.
We have chosen this audience as I think there’s a lack of young people specifically
visiting York art gallery and I think part of the reason is because of the costs. As a
student interested in art, I choose not to visit the art gallery as the cost to get in isn’t
money I have to spare and I think it’s the same for many other students in York who
simply don’t have that extra money to pay to get in. so we thought a great way to get
all these young people involved is to take away the money barrier and give them free
access to the gallery for the afternoon, hopefully getting teachers to bring their
students as a trip.

6. About the exhibition
The exhibition Focuses on imagination, science, and skill.
It takes inspiration from the painting ‘Saint Luke Drawing
the Virgin and Child’. The exhibition considers how artists
make images both materially and conceptually, thinking
about the meanings within the painting as well as the
painting as a whole. We will need to think about how the
artists project ideas about their practices back out to the
world. The show will take the visitor on a journey
through time, discovering way in which artists designed
their pieces to affect the people looking.
The second section of the gallery uses the painting as an
archtype, showing more modern artist’s work drawn
from the gallery’s own collection.
The third section features artwork from the ‘golden age’
of Dutch and Flemish art, and compares them with more
modern works that have been inspired by contemporary
artist Christopher Cook.

7. About the artist – dieric
bouts
Very little is known about his early life, as he wasn’t documented
until 1457, suggesting that painting wasn’t an early job for him.
He was an early Netherlandish painter born in 1415
He may have studied under Jan van Eyck and Rogier van der
Weyden
He is first documented in Leuven in 1457 and worked there until he
died in 1475
Bouts was one of the first northern painters to demonstrate the use
of a single vanishing point. A technique that uses parallel lines to
create one point where the background appears to disappear in
the distance.
His earliest dated work is ‘Portrait of a Man’ from 1462, which is
thought to be another painter from the Netherlands, Jan van
Winckele
It’s suggested that his lack of realism in anatomy could reflect the
sober religious intensity of the northern Netherlands
He became the official painter of the city of Louvain in 1468

8. About the
painting
 The centerpiece of the exhibition is a painting by Dieric Bouts.
The painting is important to the exhibition as it is seen as a
masterpiece. The painting also works as a focal point for the
exhibition as it has strong ties to themes of religion and a
strange visual style, which sets it apart from different
variations of this image.
 The painting has various interesting details such as the subtly
visible removal of a halo above Mary’s head which most likely
done to make the painting look more realistic. Other details
include the artist’s workstation in the background, the apple
Mary is holding, buildings in the background and the tiled
floor.
 Saint Luke was one of the four evangelists. He painted the
Virgin Mary and child as depicted in this painting.
 The painting began production in C1470 and was completed
in C1480 this was on a loan from the Bowes museum.
 The painting has had an x-ray, which revealed what the
painting was going to look like as well as showing that it was
transferred from wood to canvas.
 In 2016 the painting was banned from leaving the UK.

9. About the gallery
 Work ranges from as early as the 14th century
 hold the most extensive and representative collection of British Studio
Ceramics
 It closed for major redevelopment in 2013, reopening in summer of
2015.
 The building is a Grade II listed building and is managed by York
Museums Trust.
 Established in the late 1800s, york art gallery sits opposite the de gray
rooms next door to the york theatre royal. Just one street being home
to such central art hubs in york.
 Its first exhibition showing yorkshires fine art and industrial exhibition(
24th July - 31st October 1866)was attended by over 400,000 people and
gained a profit for the organisers of £1,866.
 At the start of the second world war, the gallery building was repurpose
by the military and closed which later lead to suffering bomb damage
during the Baedeker Blitz on 29 April 1942. the gallery later reopened in
1948.
 In January 1999, the art gallery was attacked by armed robbers planning
to sell stolen art work to a dealer later that night. The robbers tied up
the gallery staff, threatening them with guns and cut paintings out of
their frames stealing a total 19 paintings which worked out to be
£700,000 worth of art work. Craig Townsend, believed to be the main
perpetrator, was caught by armed police that night and sentenced to 14
years in jail a year later.

10. About the gallery
 “The gallery underwent a £445,000 refurbishment in 2005, reopening on 19 March. This development was supported
by a £272,700 grant from the Heritage Lottery Fund and £85,000 from the City of York Council.”
 The gallery also has an outdoor exhibition space behind the main building in the museum gardens (built in 2016)
 ‘The gallery has more than 1,000 paintings. Western European paintings include 14th-century Italian altarpieces, 17th-
century Dutch morality works, and 19th-century works by French artists who were predecessors and contemporaries
of the Impressionists. British paintings date from the 16th-century onward, with 17th and 18th-century portraits and
painting of Giambattista Pittoni, Victorian morality works and early 20th-century work by the Camden Town Group
associated with Walter Sickert being particularly strong. Amongst York born artists the gallery has the largest
collection of works by William Etty and good paintings by Albert Moore. Henry Keyworth Raine, the great nephew of
William Powell Frith, gifted various works, including a portrait of George Kirby (1845–1937), the First Curator of York
Art gallery.’
Awards
Visit York Tourism Awards: Visitor Attraction of the Year 2016
(Over 50,000 Visitors category) (winner).
Art Fund: Museum of the Year 2016 (finalist).
Kids in Museums: Family Friendly Museum Award 2016 (winner).
European Museum Forum: European Museum of the Year 2017
(nominated). Special commendation received.

11. Documentary Research - Directing
 Have a clear idea for what you want to do.
 Make sure you’re passionate about what you’re
doing, if you enjoy it, the finished product will be
much better
 In pre-production, stay organised. Create an
equipment list, a production schedule, have a visual
style described, and think about the music that you
want to go with it.
 In production, everyone needs a clear idea of their
roles going forward. They need to know what they
are doing, when they are doing it, and how they are
doing it. As well as this, always film more than
enough. It’s a lot better to end up with too much
footage than too little. As a director, always keep
calm and flexible with ideas, everyone should be
able to voice their opinion.

12. Documentary Research -
Techniques
Voice-Over:
a commentary by the filmmaker. It is usually added in post
production. It allows the filmmaker to speak directly to the
viewer, giving out information and opinions.
Direct and Indirect interviews:
It allows people bring filmed to speak directly about events
and directly answer questions given to them. They give the
documentary an added sense of realism. These interviews can
be effected by lighting, colour scheme, framing, and camera
angles. These all impact the audience’s perspective of the
person who is speaking.
Actuality:
raw film footage of real life events. This isn’t reenactments but
rather footage of the item really happening. (In the case of the
art gallery, this could be something like filming people fixing
up a painting).

13. Documentary Research - Techniques
Re-enactment:
Artificial scenes which are reconstructed to show factual information as well as
giving viewers a sense of realism for what the event was really like. Many more
effects are used during production to make it more cinematic, which indicates
that the footage is not real.
Montage:
A montage sequence conveys ideas visually by putting them in a specific
order. This can be paired with some narration to indicate a change in time and
place within the film.
Exposition:
This occurs at the beginning and introduces the important themes. This is
arguably the most important of the techniques as it creates the viewer’s first
impression and grabs their attention.

14. Documentary Research – Post Production
Editing
Video editing is the process of manipulating and rearranging video shots to
create a finished film. Editing is usually considered to be the most important part
of a production as a bad edit can completely ruin what the director is going for.
However a good edit can pull a film back from being bad as the editor can fix
story problems and change the flow of the film to better match what is wanted
An example of good editing is Baby Driver (edt. Paul Machliss) as it adds to the
story, creating excitement and anticipation for the audience when Machliss and
Wright cuts from one scene or sequence to the next sequence or action scene
A few key techniques I will implement into the edit is hiding jump cuts with the
addition of another camera and lots of B-roll. This help streamline the video as
the viewer won’t be distracted by annoying jump cuts. I will also only have simple
graphics and text, text with a shadow for the written part and simple black and
white (where applicable) images and symbols.

15. Documentary Research – Post
Production
Sound Design
Sound design is the art and practice of creating sound tracks for a variety of needs. It involves
specifying, acquiring or creating audio elements using audio production techniques and tools. Sound
design commonly involves performing and editing of previously composed or recorded audio, such as
sound effects and dialogue for the purposes of the medium, but it can also involve creating sounds
from scratch through synthesisers and MIDI controllers.
A great example of this is Wall-E the whole story is too without a lot of dialogue so the the sound
created for each of the movement had to be perfect. Ben Burtt, the sound designer, combined real
world sounds and synthesised sounds to create over 2500 different noises for all the characters and all
there movements
I am going to make the sound design subtle but there. This is the best practise for documentaries as its
adds realism through realistic sounds but if used too often can be distracting for audiences.

16. Documentary
Research – Post
Production
Colour grading is the process of improving the appearance of an image. Various
attributes of an image such as contrast, colour, saturation, detail, black level, and white
point can adjusted to get the best possible image. Usually a LUT is applied to do it
quickly and correctly. Colour correction on the other hand is the process of slightly
changing the overall colour of an image so there's a consistent colour temperature
throughout the entire film and thus, a consistent look for the story. This is usually
balancing the white and black levels, changing the white balance and making scenes
brighter.
A good example of this is in the Netflix series 13 reasons why. The colourist for this
show, Laura Fazio, made the scenes pre-death warm and bright and the scenes post-
death cold and blue with the vibrancy muted reflecting the characters feelings.
I don’t want to over colour these pieces as the audience won’t feel as connected to the
documentation if they consider it to be dramatised like a film. Grading to show a
difference between stuff you've shot "in the wild" vs reconstructions or interviews seems
pretty common and an accepted way to draw a distinction. There is a truth claim to wild
documentary footage, that what the audience sees is what really happenedT, whereas
there isn't for interviews and reconstructions. So I will base each grade around this.

17. Documentary Research –
Post Production
The soundtrack to a film is the accompanying music. It can either
be an existing piece of work such as a song by an artist like the
music too Baby Driver or specifically recorded for a film like the
Star Wars music.
A great example of this is the soundtrack to the Guardians of the
Galaxy, it was all pre-exsiting songs that the writers and director
worked into the film to match the 80s style of the main character.
I don’t know what I will do for the soundtrack of this. I will create
something that matches the documentary’s tone but as we haven’t
officially planned anything yet.

18. Production/Project Managing
Production managers are responsible for the technical management, supervision and
control of industrial production processes
Responsibilities of the job include:
 Leading the planning of the project
 Coordinating staff
 Planning and organizing production ( +scheduling the project)
 Resource planning and allocation
 Negotiating and agreeing budgets and timescales with clients
 Managers ensuring that health and safety regulations are met
 determining quality control standards
 overseeing production processor-negotiating timescales or schedules as necessary
 selecting, ordering and purchasing materials
 organizing the repair and routine maintenance of production equipment
 To lead the team with confidence
 Keep your team motivated and happy, take care of concerns etc. brought to light

19. Production/Project
Managing
 In this project Holly will need to use good leadership
skills to help her keep the group organized and
happy. She will help plan production and oversee the
technical production helping where she can. She take
on the responsibility of events management/
organization, planning activities and marketing the
event, along side this she must keep the client (YMT &
Griselda) updated on all decisions and production
finding answers to any questions members of the
team or the client have. Holly will manage the budget
and put together kit lists etc, keep everything on
schedule and keep things running smoothly making
sure any kit needed to be booked or actors/ spaces
have been found and booked ready for production so
everything runs efficiently

20. Planning the Event
An event planner structures an event, coordinate all of the moving parts, and
makes sure everyone has a good time. Also called convention and meeting
planners, they do everything involved in making sure these events go
smoothly, including choosing locations, hiring caterers, entertainment, and
other vendors.
Roles and responsibilities:
 Development, production and delivery of projects from proposal right up
to delivery.
 Delivering events on time, within budget, that meet (and hopefully
exceed) expectations.
 Setting, communicating and maintaining timelines and priorities on every
project.
 Communicating, maintaining and developing client relationships.
 Managing supplier relationships.
 Managing operational and administrative functions to ensure specific
projects are delivered efficiently.
 Providing leadership, motivation, direction and support to your team.
 Travelling to on site inspections and project managing events.
 Being responsible for all project budgets from start to finish.
 Ensuring excellent customer service and quality delivery

21. Animation
 Parallax – This style if animation involves
taking classical paintings, such as the ones
present in the exhibition, and bringing
them to life by animating different parts of
them. This is a style of animation that
would obviously work well with the subject
of this project, and animation would work
well as a means of presenting the pieces in
an interesting and appealing way.
We plan to use animation as a means of adding a fun flare to the visuals alongside a
comedic tone. Through animation we can bring the paintings to life, whether that be
through simply adding movement to people and objects within a painting or having
these features actually leave the frame. Furthermore, we can use animation to create
an opening sequence to the video that immediately grabs the audience’s attention
whilst setting the tone for the rest of the production.

22. Animation
 One existing example of parallax is in many Monty Python
movies/sketches. It is extremely prominent in the movie Monty
Python and the Holy Grail, in which the technique is commonly
used in transitions between times and locations. The tone of
these sections is completely comedic, typically using silly and
over-the-top humour to make the audience laugh. The nature of
the animation, which typically involves ‘bobbing’ to portray
characters running as well as over the top gestures and actions.
A comedic tone would work well in our project to help it appeal
to the younger target demographic. However, it is important that
these segments do not feel out of place in the video, meaning
the rest of the footage we have would need to have some levity
to it should we choose to go down this route.
 Another existing example is in the opening sequence for
Desperate Housewives. A wide range of pieces of art are utilised,
providing the piece with a wide range of sources to try different
movements and gags with. As our project in focusing on an
exhibition, we will be able to work with a few different paintings,
allowing us to incorporate the paintings alongside each other in
a similar fashion to the opening sequence mentioned.

23. Animation – Desperate Housewives opening
sequence animation analysis
 The animation throughout this whole sequence has a heavy usage of joints, by which a lot of the movement depicted rotates about a point. For example, the first shot of the
sequence depicting Adam and Eve has the latter grab an apple from the tree, an action which is shown by Eve’s arm rotating about her shoulder in a simple fashion. This style of
movement lends itself to a comedic tone, as the less-refined movement gives a feeling of the sequence not taking itself too seriously whilst presenting the scene in a more jovial
manner. This is only accentuated by the over-the-top bombastic events that accompany these swivels, such as when the huge apple drops from the tree, crushing Adam. The high
speed of this movement, alongside the abrupt stop as the apple hits the ground, startles the viewer, catching them off guard. This only adds to the comedic nature of the visuals. We
could incorporate such movements into our own video to pull the audience’s attention to certain things.
 The next shot Nefertari, who was one of the wives of Ramesses the Great, being pulled downwards. The simple ways that her arms are animated give the viewer a clear idea of her
panic whilst presenting the scenario in an absurdist way. This absurdism continues with other shots, such as when one person from a painting takes a bite out of a banana. The way
that the banana so obviously doesn’t fit with the rest of the shot’s aesthetic, alongside the hilariously bad opening and closing of the person’s mouth, overrides the shot with a sense
of parody over the original artwork. This technique could work well in an opening sequence, as the absurdism would work well to add to the comedic tone whilst also presenting the
paintings in a less traditional way, grabbing the audience’s attention. Additionally, we could display the artwork in its natural form during the life-footage to ensure the viewers get an
idea for what each piece normally looks like.
 A lot of the movements present in the animation are simple sliding motions. The nature of the paintings makes this sort of movement the best option, as having the artwork move in
more complicated ways (e.g. turning around) would require the animators to recreate the paintings for each frame – something which is both impractical and improbable. It is
important that we take this into consideration as utilising these sorts of movements will also ensure that the general look of the paintings isn’t altered, thus retaining the actual artwork
that we are presenting.
Quick zooms in and out are commonly used throughout the sequence, a technique that
allows for a constant sense of movement with a comedic tone, whilst not requiring too
much dedicated time towards their creation.

24. Animation – Desperate
Housewives opening sequence
animation analysis – William
anderson
 The sequence uses a variety of transitions to jump between scenes.
One example includes he transition between Nefertari and the lady
with the banana, where the camera appears to turn left as the
Egyptians collapse off the bottom of the screen. From this point, the
objects and people present in the new scene pop up from all sides
of the screen. The main motif of this shot appears from the bottom,
creating a smooth movement between Nefertari falling downwards
and this lady rising upwards. This naturally keeps the viewer’s eyes
on the main focus for both shots. Following this shot, the camera
pulls back, exiting the building that the current shot is set in through
a window. This leads to the next scene, thus smoothly transitioning
via a technique that ensures that the animation doesn’t feel
repetitive. Transitions would work great in our project within an
opening sequence to keep up its pace. Additionally, they could be
used as a means of smoothly moving between animation and other
forms of video should be choose to incorporate animation elsewhere
in the project.
 This opening sequence shows the importance of having the
animation be backed with a fitting soundtrack, which in turn syncs up
well with the visuals whilst supporting the tone of the piece. As
mentioned in the Music section of this Powerpoint, we plan to create
the music ourselves. This will allow us to ensure that both the music
and animation will fit together well.