Roisin Breslin
For my major project in my final year pursuing my BA in Production Design, I collaborated with 4th year Television students to design the set for the grad project 'Stand By Wrestling', created by Maxim Bunea-Jivanescu and Karl Corcoran. The challenge involved required me to design for a set optimised both as a functional live wrestling event, and tv set which followed a narrative that was being recorded as part of the larger story. From receiving the first script, to creating concept art that were in line with the director and producers' visual goals, to then developing a functioning faux wrestling hall. this project was an incredible learning opportunity and very enjoyable in all its' challenges and rewards.
The second part of my work involved re-imagining the screenplay 'The Plough and The Stars' by Seán O'Casey as scenes from a film, focusing on the first opening scenes. Unlike the realised project which had a budget and was designed for a smaller studio space, the speculative project allowed me to explore adapting a period piece more freely. It gave me the opportunity to research further into the lives of those during 1912-1916 living in the Georgian tenements, and to understand how to reflect the tragedy of the time through the set and framing of the story which I chose to design in the child Mollser's perspective.
In the field of propaganda, the 20th century held some of the greatest strides developing the methodology and practice of creating effective propaganda pieces that were more subtle than obvious things like satirical comics and posters. While animation today is widely regarded as an entertainment method to occupy kids and young teenagers, the narrative use of animation during the 20th century was intended for far wider viewership to play a vital part in the distribution of ideologies that the government wanted to manipulate the public into endorsing
This thesis investigates the government-sponsored animations that were developed during the 20th century, the strategies used to create a visual connection of intended ideology towards opposing countries and implementing unconscious bias into the viewers towards the wars being fought against other countries.
It also features an analyzation of the strategies these animations- namely caricature and anthropomorphism, used to serve a visual connection to an audience of a stereotype to the countries they were portraying through their characters, use comparative case studies to determine the intermediality within the animations of the opposing countries, and how their government structure and different ideologies reflected how that strategy was implemented and then distributed in these animations.
Production Designer and Concept Artist based in Dublin.
Proficient in 2D & 3D Virtual Production (AutoCAD, Sketchup & Layout, Twinmotion, Unreal Engine, Blender, Marvelous Designer), and Design Progams (Adobe Creative Cloud, Clip Studio Paint).
Has experience designing for film, live TV, music concerts, stop motion animation, and performance arts/theatre.
