Andrea Offermann--How are art and literature connected? How does the analysis of one help the analysis of the other? How were you able to transfer your reading of Life of Pi to the canvas? How does this book lend itself to visual creation? Please tell us about your reading and painting process. Thank you very much.
BVHS Students--Post questions for Ms. Offermann here, if you would like.
This is Offermann's painting "Pink Elephants". "This image plays with our belief of what is real. Which world is the real world? The world inside the elephant? Or the world around it? How do we prove which is real? And after all, what does real mean?" (www.tinyshowcase.com/artwork.php?id=670).
BVHS Students--Post questions for Ms. Offermann here, if you would like.
This is Offermann's painting "Pink Elephants". "This image plays with our belief of what is real. Which world is the real world? The world inside the elephant? Or the world around it? How do we prove which is real? And after all, what does real mean?" (www.tinyshowcase.com/artwork.php?id=670).
108 comments:
Hello everybody and thank you for the invitation to join your discussion! Working on several illustrations for “Life of Pi” has been a great experience, and I am happy if I can add to your thoughts. I apologize in advance for any mistakes I make in vocabulary or grammar, English is not my first language.
How are art and literature connected?
I think art and literature have always been connected, from the earliest attempts to write down a story. One could almost say that in the beginning they were one, if you look at old cave paintings and Egyptian writing. With the evolvement of writing techniques the signs became much more abstract and the writing we are using now is much removed from the image it describes. Still, if you look at Chinese handwriting, you can still see the remains of the original image in the lines.
That aside, the connection is still very strong in my opinion. Literature does not need art, but art can add another level to the story, as Yann Martel and Tomislav Torjanac have already described. You may say now that it can also destroy the reading experience if it doesn’t correspond with what the reader imagines. That’s true, and it’s one of the reasons I love Tomislav Torjanacs concept when illustrating Life of Pi. But I think the art that accompanies a story should be appreciated as ONE reading of the story. The artist offers a viewpoint that can add to the depth of your understanding and help to connect you to the story. It can also just make reading more fun.
How does the analysis of one help the analysis of the other?
I believe that we perceive writing and images on different levels. When we read we are decoding abstract signs into meaning. When we see an image the understanding is instantaneous, the information is received much easier. Also, images can touch us more directly than a written story, and help us to dive into the story and feel that we are a part of it.
Up to the 20th century adult novels were often illustrated, nowadays it’s rare. I thought it was a wonderful idea to add illustrations to Life of Pi, especially because this story does offer so much room for interpretation and different points of view. Because of that though, it is very important to see the illustrations as one insight of many, and appreciate them as such.
How were you able to transfer your reading of Life of Pi to the canvas? Please tell us about your reading and painting process.
When reading Life of Pi for the first time I was not aware of the competition to illustrate the book yet. When I found out about it, I immediately knew which scene I wanted to illustrate: the moment when the ship sinks and Pi is left alone with Richard Parker. The scene is described so intensely, yet there was so much more I could see that wasn’t described in the text, I wanted to show all the animals sinking with the ship, and hint towards the end through a small detail at the same time. It was important to me to add to Yann Martels writing rather than limit the meaning of his words.
In my work, atmosphere and mood play a big part too, so I paid a lot of attention to that. Rather than to focus on showing a detailed character of Pi, I wanted to use the mood of the scene to display his inner landscape. For example, in “the battle of the minds” where Pi and Richard Parker fight for dominance, I used the flying fish to show the claustrophobia and the intensity of the battle going on between the two characters on the boat.
When I found out that I was short-listed and had the opportunity to present my vision of illustrating the whole book, I tried to stay with this concept and chose scenes that were key-scenes to me and that I felt I could add to with images.
How does this book lend itself to visual creation?
The competition was interesting because you could see how many different visions artists had for this book. Each artist chose different facets of the story to emphasize on. Yann Martel offers a lot of information to visualize, but at the same time he leaves a lot of room for the reader to imagine and choose what he wants to see, so it was a wonderful book to create for.
OK, I hope this didn’t get too long. If you have questions ask away!
Ms. Offermann--Within your picture of Richard Parker in the jungle, are there any sloths hanging from branches? Sometimes I can see up to seven of the hairy, wise yogis; other times, I can see none.
How interesting--to have claustrophobia on the Pacific Ocean, the seemingly boundless body of water! Brilliant oxymoron, I think!
In "Screaming Match," what is the effect you're going for when you have Pi be so tiny in the background; it appears that he is 50 feet away, curled up in a little ball of despair.
Terrific how--in the painting that shows the Tsimtsum sinking--you have most of work depict the action and imagery of below the water. This adds a dimension of understanding that goes beyond just Pi's viewpoint. He doesn't see, so the reader doesn't see, all the carnage left by the sinking ship. In many ways, Pi's experience would have been much worse if he had seen all the suffering of the people and animals. Drowning must be among the most horrific events.
Andrea Offermann -
Do you illustrate for any other authors or just for the book Life of Pi? How long have you been an artist?? What made you decide that you wanted to be an artist?
I agree 100% with what Ms. Offermann said about art and literature beginning as one. In ancient times cave drawings told stories about the people and their way of life. As time went on writing systems and languages developed but they were still pictures. Art helps a reader understand a story from a visual perspective which can provide a link to emotions as well. Through seeing what the artist sees we can discover and feel what's happening in the book.
I really like the painting Screaming Match. I think it provides an excellent visual of how the battle between the hyena and Orange Juice is written. I can feel Orange Juice's anger, fear, and confusion as well as the hyena's thirst for blood and the underlying knowledge that a more vicious preadator than himself is threateningly close by.
So sad that Orange Juice is beheaded by the hyena. Should we hate the hyena, though, just because it is disgusting and vicious? Isn't it just following its instincts? Why do we hate that which is "ugly" or different? We have defined "ugly" and often hate it. Sure, the hyena ruthlessly eats the zebra alive, but...
Ms. Offermann,
Let me just say I love all of your painting you have done for Life of Pi. They create such a deep understanding of what is going on in the book and provide me with a visual aide. How did you choose what to paint? Is there a certain process that you go through when you decide to paint a scene?
Ms. Offermann--I enjoy how you have Pi stand so stoically amidst all the flying fish and sharks. Did you have an intention for/with/in Pi's posture?
Ms. Offerman why did you choose Life of Pi to illustrate? Was it mostly because of the contest or did you already like the book?
Richard Parker is obviously annoyed by the flying fish, though he needs them for sustenance. Did you intend to paint him "to scale" with the rest (boat, boy)? Or is he made intentionally, exaggeratedly large?
ms.offermann,
you said that right away when it was announced to do an illistrated version of Life of Pi you knew excately the scene that you wanted to do so my question is that is your painting of the ship going down your all time favorite painting you have done or is another painting you did for this book your favorite or just one that has no relivance to the book at all
Ms. Offermann--Have you read this novel more than once? If so, how have your interpretations changed or improved since your first reading?
Did you read the book multiple times before deciding what scenes to make your art on? What is your favorite color scheme to do your art in?
Ms. Offermann--Why is this novel good for analysis and deeper thinking? Why is it ideal for students on their way to four-year colleges?
In ways I believe that art can go deeper than liturature. Literature can only be interepreted in multiple different ways, but with art their are endless interpretations. They are greatly similar however. They both describe things and make life by far more interesting. Ms. Offerman- How has art changed your life? other than financially.
What songs would you put on a soundtrack for this novel?
Have you heard anything about the film version of this story?
Ms. Offermann,
When you read Life of Pi the frist time what was your favorite part of the book? What part did you absoultly have to paint, was it the flying fish or the screaming match? Also how did you get the opportunity to paint for Mr. Martel?
Whoa, Emily. Deep. I can think of ten different ways of reading this novel, but I think you're right: there are more than ten ways, assuredly, of looking at a painting. I want to try to teach art now. Mr. Nelson and I will switch jobs. I want his.
when i first saw the picture with the flying fish... all i could think was... "wow" (direct quote)how long did it take you to develop your skill to express such a frenzied yet releived emotion to a canvas? or is the skill to emotion first obtained by a hit and miss stratagy?
Ms. Offermann--
Your work is amazing! Was painting for the book a challenge? Being as though there are some high expectations because everybody pictures things differently. How did you know it was the "right picture"?
i agree with emily. with art you can interpret it in so many ways. i love using acylics watercolor and glue with my paintings. what medians do you prefer with your art.
Ms. Offermann,
why do you think "Life of Pi" appeals to so many people? what are some of the resons you chose to illustrate this book? finally, what do you think we can learn from studying this book?
Ms. Offermann,
When viewing art do you look at it straight on, or do you review it with multiple angles; upside down slanted to the left/right, itsead of looking at it straight 90* maybe take three steps to make it 140*, because when painting the perspective of the art really does matter.
When I think about the Life of Pi many parts of the book stand out in my mind. What was your favorite part of the book? And if you could illustrate any other book what would it be?
Did you get to see any of the other artists work that illustrated for this book? Were you impressed by any of them?
Ms. Offermann--What do you make of the algae island? Is it a hallucination? A symbol? Something that is "implausible, but not impossible"? Have you painted any scenes from on the island?
Ms. Offermann--What do you make of the algae island? Is it a hallucination? A symbol? Something that is "implausible, but not impossible"? Have you painted any scenes from on the island?
What's black and white and re(a)d all over?
i would love it if you checked out my portfolio for me. 'lydiart.blogspot.com'
Ms. Offermann
While browsing through your artwork there was one picture in particular that really caught my eye. It is the one on your blog posted Tuesday, June 19, 2007 about Flight Volume 4. I really like how you use so few colors and yet have so much detail. It gives the town a dusty sort of feel with the sun barely shining through in the background. A fabulous piece.
Ms. Offermann--Within your picture of Richard Parker in the jungle, are there any sloths hanging from branches? Sometimes I can see up to seven of the hairy, wise yogis; other times, I can see none.
Interesting question. I definitely wanted this image to be ambiguous, and the reader to be able to decide for himself what he does or doesn’t see.
In "Screaming Match," what is the effect you're going for when you have Pi be so tiny in the background; it appears that he is 50 feet away, curled up in a little ball of despair.
I wanted to show the overwhelming fear and despair he is feeling by emphasizing the animals in their agony so much that it almost hurts. By showing Pi so small in the background and the animals so uncomfortably close to the viewers I wanted to give an impression of how Pi feels at the same time unbearably close to these forces fighting for survival yet strangely detached from the scene. He watches as a bystander yet he is involved. He comments rationally on the scene, yet the madness shows in the reactions of the animals.
Terrific how--in the painting that shows the Tsimtsum sinking--you have most of work depict the action and imagery of below the water. This adds a dimension of understanding that goes beyond just Pi's viewpoint. He doesn't see, so the reader doesn't see, all the carnage left by the sinking ship. In many ways, Pi's experience would have been much worse if he had seen all the suffering of the people and animals. Drowning must be among the most horrific events.
I agree, it must be horrific. Curiously enough when I read the passage, even though it wasn’t described in the book, I saw what was going on below the water in my mind, like an undercurrent of the words Yann Martel wrote. Pi’s world is falling apart, turned upside down.
Andrea Offermann - Do you illustrate for any other authors or just for the book Life of Pi? How long have you been an artist?? What made you decide that you wanted to be an artist?
I graduated from art school in 2005 with a bachelor in fine arts. The decision to make art my “job” took some time, I had always loved art and been drawing and painting in my free time, but I was afraid to make it my daily job because I thought it might become a chore. I actually studied medicine for 2 years before I decided that I really wanted to become an artist. I dropped out of medical school and started studying art. I have not regretted that decision, of course there are ups and downs, but creating images is really what I love best. I am also happy that I did study those 2 years in medical school, it was a great experience and I think influenced my work a lot.
Life of Pi was the only adult/young adult novel I have created illustrations for so far. As I said before, its rare that an adult novel is illustrated. I wish that wasn’t so, it would be wonderful to illustrate books like this one. I have “written” and illustrated a 22-page comic (there are no words, but I wrote the story), which appeared in the compilation Flight Volume 4, and just finished a German children’s book this January. I am also showing work at galleries. As you can see, I am still exploring different directions, and I hope that I will be able to do so in the future.
How did you choose what to paint? Is there a certain process that you go through when you decide to paint a scene?
Well, first of all there were several scenes I knew I simply HAD to illustrate. But also, I wanted to stay true to my concept for the book and find a “red thread” (do you say that in English?) that would lead the reader through the book. The images were supposed to compliment and not distract, and fit harmoniously with the rhythm of the book, while enhancing the atmosphere and impact of the words. Those were my goals. I spent a lot of time trying to achieve that, rereading the novel several times, selecting possible scenes, sketching ideas. I would then put the sketches up on the walls in order and check the “flow” of the images. Did one naturally lead to the other? Did any image stand out? Did anything not fit? It was a great challenge for me.
I enjoy how you have Pi stand so stoically amidst all the flying fish and sharks. Did you have an intention for/with/in Pi's posture?
In the scene, Pi and Richard Parker are standing facing each other, not moving. They stare into each others eyes and fight a “battle of the minds” as Martel writes. This moment decides who has dominance on the boat, and Pi knows he must portray strength through not moving, not averting his eyes. I chose the angle of the boat and the posture of the two of them specifically to show that moment, almost like time has stopped, until the battle is decided. The flying fish are emphasizing the tension between the two.
Ms. Offerman why did you choose Life of Pi to illustrate? Was it mostly because of the contest or did you already like the book?
I read the book and thought “I wish I could illustrate this book”. And then a friend told me about the contest. That was very lucky actually, I think I never would have found out about it otherwise.
Richard Parker is obviously annoyed by the flying fish, though he needs them for sustenance. Did you intend to paint him "to scale" with the rest (boat, boy)? Or is he made intentionally, exaggeratedly large?
I did make him larger than he would be to emphasize the menace of him and the small space of the boat. I did not want that to be too obvious though, I wanted the reader to feel more than actually realize that the tiger is larger than life.
you said that right away when it was announced to do an illistrated version of Life of Pi you knew excately the scene that you wanted to do so my question is that is your painting of the ship going down your all time favorite painting you have done or is another painting you did for this book your favorite or just one that has no relivance to the book at all
That scene was the most important to me at the time. When I reread the book other scenes became important too. As an artist you are constantly thriving to evolve and do your favorite painting next. So I would say I haven’t painted my favorite painting yet. But I am quite happy with the paintings I did for Life of Pi.
Have you read this novel more than once? If so, how have your interpretations changed or improved since your first reading?
I read the book several times, and also listened to the audiobook. With audiobooks it can be just like with illustrations. It can enhance the story, but it can also distract, if the reading doesn’t correspond to what you imagined. In my case it distracted me at first, it was almost like a completely different book. But it also gave me new insights and offered new angles than my reading. My interpretations and my understanding definitely improved with each reading. But that could also be because English isn’t my first language. I did not want to read the book in German at the time, because translation can change the “sound” of the authors voice completely. At least that’s my opinion. Maybe I will read the translation sometime.
Did you read the book multiple times before deciding what scenes to make your art on? What is your favorite color scheme to do your art in?
Yes I read the book several times. I don’t think I have a favorite color scheme, I choose the colors that seem to fit the project. I rarely use very strong colors though, so I guess you could say I like to use a “subdued” color palette.
Have you heard anything about the film version of this story?
I have heard about the plan to make a film, and I have heard that Jen-Pierre Jeunet would direct it. I have not heard anything else so far.
When you read Life of Pi the frist time what was your favorite part of the book? What part did you absoultly have to paint, was it the flying fish or the screaming match? Also how did you get the opportunity to paint for Mr. Martel?
My favorite part of the book… I don’t think I can tell you, I am not sure. The first painting I absolutely had to paint was the sinking ship. The part I did not want to paint at all was the end. The opportunity to paint for Mr. Martel came through an open call to illustrate the book.
When viewing art do you look at it straight on, or do you review it with multiple angles; upside down slanted to the left/right, itsead of looking at it straight 90* maybe take three steps to make it 140*, because when painting the perspective of the art really does matter.
You mean when I view my art or someone else’s? I usually look at someone’s art the way it is presented to me. As for my own art, while working on it I do sometimes look at it in the mirror or upside down, to get another point of view, and find the solutions to problems. When you work on an image for a long time sometimes you loose the ability to step back and view the whole painting and see problems. It helps to see it in the mirror or upside down, because you see a different angle of it, it’s almost like seeing it for the first time.
As for perspective in painting, that does really matter. I pay a lot of attention to angels and perspective, and choose the point of view depending on the situation and the mood I want to portray.
I hope I answered your question.
i agree with emily. with art you can interpret it in so many ways. i love using acylics watercolor and glue with my paintings. what medians do you prefer with your art.
I use pen and ink and oil glazes. But since oil glazes are sometimes hard to reproduce for print, I use acrylic paint too.
When I think about the Life of Pi many parts of the book stand out in my mind. What was your favorite part of the book? And if you could illustrate any other book what would it be?
As I said, I don’t think I could name a favorite part. Another book… there are many I would like to illustrate. One that comes to mind directly would be “100 years of solitude” by Gabriel Garcia Marquez. But as I said, there are many. I wish more novels would be illustrated.
Did you get to see any of the other artists work that illustrated for this book? Were you impressed by any of them?
I did see at least one painting from all the artists that were short-listed, and I was very impressed. It was a fantastic group, very interesting ideas. I was actually a little intimidated, I had graduated school about 6 months before the competition, and there were several well-known illustrators in the group, among them Tomislav Torjanac and Tomer Hanuka. I was honored to be part of the group.
Your work is amazing! Was painting for the book a challenge? Being as though there are some high expectations because everybody pictures things differently. How did you know it was the "right picture"?
Painting for the book was a big challenge, especially because I love the book and respect the author very much. I wanted to create images that would hold up in quality and depth when put with the story.
I knew it was the right picture for me. The image I saw, the mood I felt, the things I wanted to show. It was interesting to see reactions from people who saw the work. Many said that the images complimented their reading experience or portrayed the mood of the story the right way. That made me happy. You never know if you portray something the way other people see it. You can just be true to the vision you have. If it works for other people that’s wonderful.
What songs would you put on a soundtrack for this novel?
Hm.. I think that’s up to ones music taste… my soundtrack when first reading the novel was actually the sounds of a packed 11-hour flight. Strangely enough that seemed to fit very well and whenever I reread the book I remembered that plane ride!
when i first saw the picture with the flying fish... all i could think was... "wow" (direct quote)how long did it take you to develop your skill to express such a frenzied yet releived emotion to a canvas? or is the skill to emotion first obtained by a hit and miss stratagy?
I have to admit I’m not sure if I understand the question, I hope I will answer it right. Of course skill is important to show emotion, but I think it also depends on how involved the artist is with what he wants to show. Every artist will show a concept or an emotion in a different way, depending on skill, involvement, his personal ideas, I don’t think it’s hit or miss, the artist will find the best way he has to offer to show what he wants to express. But the impact of the image also depends on the viewer, how much he is willing to get involved in the image and his interpretation of the story.
What do you make of the algae island? Is it a hallucination? A symbol? Something that is "implausible, but not impossible"? Have you painted any scenes from on the island?
I had planned to paint 2 scenes on the island. The island is interesting, because that is the point where most people I talked to about the book struggled with an interpretation. I don’t want to give away too much of the story. I could not make up my mind, it seemed that it marked a turning point in Pi’s journey, both the inner journey and the actual journey across the ocean.
When you were painting the pictures for the illustrated version, did you find it difficult to weave the end of the book into each picture, without giving away too much about the ending?
Or did you stick to the first story more and illustrate only what was seemingly going on at the time?
Interesting to know you were a medical student before becoming an artist. Does your knowledge of anatomy contribute to your painting skill?
Also, you seem extremely motivated. My students are, too, but some of them are still undecided as to what to study in college (I was too when I went to college). Did art "choose" you? How were you able to decide to change so drastically your focus of study, from medicine to art? I guess what I'm asking is: How should people best arrive at their decision to major in something?
In planning out your artwork, how do you determine what to include? I mean many times in scenes there is so much going on that one has to interpret what really made the scene what it is, correct?
Artwork tells much without using any words but it always seems like it leaves room for a different interpretations Do you normally try to make what could be interpreted similar to what the author meant to be interpreted or do you find that it is more valuable to let the viewer's mind wander where it pleases?
I have to say that I am very impressed with the detail that you put into both your artwork and the obvious thought behind it. I believe you captured the book very well and exaggerated things that shoud be exaggerated.
Which are the best zoos you've attended? What makes them great?
Andrea, do you find your paintings or paintings of others to grasp you as much as the book itself?
Robl--A wonderful musing! From artist, to artist.
When you read the book for the first time, did you keep thinking it was a true story? I know that it is not but i cant get it out of my head that it is fiction.
By completing this painting did it help you relate or understand the book better?
What medium did you use to create this painting? About how long did it take you to create this? It is so unbelievably intricate and far beyond anything I could accomplish, you are very talented. I really like the stance richard parker is in, for me it brings tension to the composition. The light that was brought onto the boat really brings your attention to Pi and Richard Parker, it is pretty sweet. This is one of my favorite illustrations but the one of the tsimtsum sinking is outrageous. I love how there is so much going on, what brought you to illustrate this, how did you get inspired to create something like this. It must have taken so long to accomplish something so detailed. It is detailed right down to the floor boards, its amazing and probably my favorite of all the illustrations for life of pi.
Andrea with out your amazing ability to paint the book Life of Pi just would not have the same popularity in my opinion. Your art work makes the book come a live for me it allows me to picture even better what Yann is trying to portray. Did you grow up in an artistic family or did you just get “drawn” to art by another way? Who was or still is your inspiration in the artistic world?
Yann Martel has said that this is book is not impossible, but rather is implausable. Did you try to incorporate that statement into your artwork for this novel?
you said you dont like to choose favorites in your work, but what would you say your favorite life of pi illlustration is, excluding yours?
Andrea with out your amazing ability to paint the book Life of Pi just would not have the same popularity in my opinion. Your art work makes the book come a live for me it allows me to picture even better what Yann is trying to portray. Did you grow up in an artistic family or did you just get “drawn” to art by another way? Who was or still is your inspiration in the artistic world?
Your art is so amazing!! I love the one of Orange Juice and the hyena screaming at eachother. It's so intense, with little Pi barely visible in the back. And the one of the Tsimtsum sinking.
I know a lot of other people have asked you this, but really, how long did it take to get all those details in? Was it ever frustrating when something didn't look quite right?
Thank you so much for your time!
what are your thoughts about this novel being transfered into a movie? do you feel they will do justice to what Martel has created for so many people or will it flop like so many other attempts that come from literature? do you think that "hollywood" will ruin this film with all the special effects/explosions they production companies love to add or will it just add to the story like your artwork does?
Andrea with out your amazing ability to paint the book Life of Pi just would not have the same popularity in my opinion. Your art work makes the book come a live for me it allows me to picture even better what Yann is trying to portray. Did you grow up in an artistic family or did you just get “drawn” to art by another way? Who was or still is your inspiration in the artistic world?
Kallie--You sure know your craft!
In "Screaming Match" Offermann points out that she made the three animals uncomfortably and aggressively close to the viewer of the painting; I noticed this effect, but couldn't articulate what was great about the piece. Fabulous!
Andrea,
What was your first painting?
Your paintings really help the reader to grasp the scene and setting in the book. Was this the first book that you illistrated or have you illistated for preivious works of literature. And by creating these paintings didnt it help you to understand the book a little better and put a picture with the words.
It is quite fascinating looking at all of Andera's paintings. I think art and literature go together simutaneously. Because while reading you picture the events and imagery in your head, but if you have art work to refer too it helps out even more.
Do you have a fear of painting a picture that is opposite of what the reader might visualize when reading the same section?
since you read this book many times, do you think that highschools should be teaching this book even though it is taught in many different colleges, do you feel that it is a good book to teach?
Catwoman--I like this question and I wonder what her answer will be. Will she mention her first sidewalk chalk art, or will she mention her first accepted, professional piece?
Andrea, on average how long does it take you to complete a painting? Do you read the scene you take it from several times to make sure you include everything? Your art work is very neat and helps put the picture in my head.
When did you read this book and become so involved with it that you ended up painting pictures because of the book? By the way, I love your artwork.
First of all, your work is...wow. I envy the way you paint. I love the flying fish painting. It's so detailed and makes you feel as if you're on the sea. Without the artwork, Life of Pi wouldn't be as fascinating. How did you end up painting for Yann Martel? When did you decide you wanted to be an artist? Have you always wanted to paint?
Andrea-
What is it that compells you to paint? Some people argue that we are born with the compelling force to do something, such as writing, art, or sports. Do you feel that this is part of your human intsincts? Do you feel the drive to paint as a daily norm?
Have you ever read this book and if so, what is your favourite part? Did you ever think about being in Pi's position, and maybe that thought helped you paint the scene?
Ms. Offermann,
Your artwork that you have done for the book Life of Pi is amazing. The way you add shadow and darkness to your paintings makes the portrayed event seem even more dramatic, intense and fear some. If you were to have lighter colors it would make the actions taking place seem vague or somewhat more peaceful. The darker colors are what I like to see. It sets me in the mood for when I read the book. Enough of me talking. What was going through you're head when you created these masterpieces? We're you angry, in a good mood, etc? Did you communicate with Mr. Martel to design these or did you simply read the book on your own and create them?
Andrea-
Great job on the illustartions. I usually like to make up my own picture for the books i read but yours have helped alot. But, i have a couple of questions. What made you want to illustrate this book. Have you illustrated any other books recently. And if so, what was your favorite book to illustrate. If i could draw and and color as good as you i think that life of pi would be the funnest to illustrate.
All I can say is WOW you're amazing at what you do.... I took the time to check out some of your works of art and I'm very very impressed you capture the unknown very well... but I do have a question.... how do you price a work of art? It seems to me that these would be priceless but you do sell them or at least copies of them ... how do you price them... or is that up to someone else?
What other novels, stories, etc. have you done artwork for? Is "Life of Pi" your favorite pieces of artwork or most famous pieces?
I have heard about other artists and writers having another hobbies they do when they have a block. I was wondering what you do when you get a block from painting?
When you were painting the pictures for the illustrated version, did you find it difficult to weave the end of the book into each picture, without giving away too much about the ending? Or did you stick to the first story more and illustrate only what was seemingly going on at the time?
I definitely didn’t want to give away the end, and I also didn’t want to push the reader in to one direction or the other. So I tried to merely offer details that would allow for interepretation. For example, in the sinking ship, one of the figures on the ship is wearing a striped shirt.
Interesting to know you were a medical student before becoming an artist. Does your knowledge of anatomy contribute to your painting skill?
Somewhat, but I think it was more the analytical approach that influenced my work.
How should people best arrive at their decision to major in something?
I am not sure if I have a good answer for that, I can only say what worked for me:
If you’re trying to find a direction, ask yourself what you are really interested in, and what job you could see yourself doing related to that. Try to see that job, at least for a day, better for 2 weeks or so. If you want to be a doctor, go to a hospital for a day. Maybe your friend’s mom is a doctor, ask her if you can watch her work for a day or so.
I think for me the biggest realization was: it’s ok not to know what you want to do. And it’s also ok to change your mind midway. A lot of people could not understand that I dropped out of medical school after investing 2 years. But it was the right decision for me. Don’t put too much pressure on yourself.
Do you normally try to make what could be interpreted similar to what the author meant to be interpreted or do you find that it is more valuable to let the viewer's mind wander where it pleases?
With my paintings I offer my view of what the author has written, but the viewer will also add his interpretation, both of the book and the painting. So really there are three minds at work here: the author offers his words, the painter his image, but the viewer connects the two and comes to a conclusion of his own. In the end both the story and the image are his.
When you read the book for the first time, did you keep thinking it was a true story? I know that it is not but i cant get it out of my head that it is fiction.
I don’t think that was important to me. It was true to me maybe not in the common sense, but on other levels.
By completing this painting did it help you relate or understand the book better?
Yes, painting for the book helped me to understand it better, or maybe I should say to find a deeper connection to the book.
Did you grow up in an artistic family or did you just get “drawn” to art by another way? Who was or still is your inspiration in the artistic world?
My family was always interested in art but my parents did not have artistic jobs. Many people inspire me, I find new artists that I admire every day. Of course there are masters like M.C.Escher and Egon Schiele, but there are many young artists that inspire me. For example, I just finished reading the graphic novel “Blankets” by Craig Thompson, a fantastic artist. Also, other fields like architecture, music, film, are always an inspiration.
what are your thoughts about this novel being transfered into a movie?
I’ m curious about the movie, I think I will definitely go see it. I love Jean-Pierre Jeunet’s work, “Amelie” and “City of lost Children” were both very interesting films. I would hope that he would be able to free himself from the book and create his own piece. And I think one should watch the movie as such, a story, not necessarily THE story of the book. I mostly find it disappointing to see movies made out of books I like. But I am hopeful that this might be a success.
What was your first painting?
I think it was an imaginary landscape when I was 12 or so. I did not like painting when I was little, I would draw mostly.
since you read this book many times, do you think that highschools should be teaching this book even though it is taught in many different colleges, do you feel that it is a good book to teach?
I did not know that usually this book is taught in colleges? I would think that it is great material to be read in high school.
What is it that compells you to paint? Some people argue that we are born with the compelling force to do something, such as writing, art, or sports. Do you feel that this is part of your human intsincts? Do you feel the drive to paint as a daily norm?
I think that can be true for some people, but also there are others that like doing many different things and don’t have one particular drive. I do have to create every day. But that doesn’t have to be a painting. It could be that I have to fold a ship out of a napkin while I’m out for dinner. I always have to make something with what I have in my hands. So I guess maybe you could could call that an instinct.
I have heard about other artists and writers having another hobbies they do when they have a block. I was wondering what you do when you get a block from painting?
I do several things. First of all, I put the piece away that I can’t make progress on and work on something else. If the day is especially frustrating and I can’t make progress on any of my work I go running. That clears my head and often the solution is there all of a sudden.
Andrea,
What things lead you to your own style of painting, and how did you know when you finally developed "it". Or is it still developing??
We can see a lot of ourselves in animals.
I believe everyone can see a little of themselves in animals. That is why so many people have some sort of a pet and most pets have a human or at least some what human name. I have a golden retriever named Jack, a very human name. I know a kid that has a dog named Maggie, another human name. There has to be a reason for us giving these pets a human name. The most logical reason is we see some of ourselves in them. My dogs have very human characteristics. They respond to how you talk to them and what they say. They feel guilt, they know when they have done something they should have. If they tip the garbage over while we are gone, they know as soon as we get home they are in trouble and they try to hide themselves as well as they know how. There are many examples of animals acting like humans in this book as well. One is when he talks about escaped zoo animals “the fact that escaped zoo animals are not dangerous absconding criminals…(42)” this compares animals to escaped convicts. It is an example of how animals are compared to people. Another example of animals being personified in this book is when we see Orange Juice for the first time “She came floating on an island of bananas in a halo of light, as lovely as the Virgin Mary.” This is comparing an Orangutan to a woman from biblical times. Also when he meets Orange Juice he has a brief conversation with her “You bring joy and pain in equal measure. Joy because you are with me but pain because it won’t be for long. What do you know about the sea? Nothing. What do I know about the sea? Nothing. Without a driver this boat is lost. Our lives are over. Come aboard it your destination is oblivion-(111)”. This shows Orange Juice being personified to the point that Pi is talking to her. People talk to animals all the time. I don’t think anybody thinks they completely understand, but people would be willing to argue that they get the point of what you are saying. They may not comprehend what you say but they understand the tone of voice you use and respond to that. If you use an angry tone they will cower, if you use an excited tone they will respond in an appropriate manner. You can say the same word in two different tones and get a completely different response from the animal. I think this is somewhat true with people too. If you say the same things with completely different tone the people will most definitely respond differently.
86 quoted
Essay: In this chapter, the three leaders of Pi's practiced religions do not show any tolerance to each other. Is there a lack of religious tolerance in the world today? What do you think the reason is for the lack of religious tolerance in our world?
I believe that religious tolerance is getting better in the world. While it everyone is not completely tolerant, I believe that the U.S. today is the most tolerant country in world history. While religions clash in the past and still to this day in other parts of the world, in the U.S. for the most part they have co-existed with very few altercations between religions. However I believe that in some areas of the world, like the middle-east. The middle-east is the most religiously intolerant area of the world today. The reason for this religious intolerance is because the religions represent areas of the world, or economic regions in other areas of the world and the members of the different religions want what the others have. The main example of this is Israel. This is an area of the world that has been fought over for centuries because it is holy to so many different religions, and they are all willing to fight for possession of it. I think people are intolerant, also because they don’t understand the different religions. They judge them based on stereotypes and they are convinced that all people in that religion fall into that stereo type. You can see religious tension in this book when the three religious leaders meet in chapter 23, “After the ‘Hellos’ and ‘Good days’. There was an awkward silence. The priest broke in when he said, with pride in his voice, ‘Piscine is a good Christian boy. I hope to see him join our choir soon.’
My parents and the pandit and imam looked surprised.
‘You must be mistaken. He’s a good Muslim boy. He comes without fail to Friday prayer, and his knowledge of the Holy Qur’an is coming along nicely.’ So said the imam.
My parents, the priest and the pandit looker incredulously.
The pandit spoke. ‘You’re both wrong. He’s a good Hindu boy. I see him all the time at the temple coming for darshan and performing puja.’
My parents, the imam and the priest looked astounded.
‘There is no mistake,’ said the priest. ‘I know this boy. He is Piscine Molitor Patel and he’s a Christian.’
I know him too, and I tell you he’s a Muslim,’ asserted the imam.
‘Nonsense!’ cried the pandit. ‘Piscine was born a Hindu, lives a Hindu and will die a Hindu!’
The three men stared at each other, breathless and disbelieving…(66)” “’Hindus and Christians are idolaters. They have many gods.’
‘And Muslims have many wives,’ (67)”. If the leaders of the religions are making these stereotypes, how can they not expect the followers of the religions to do the same. These men are supposed to be the leaders, the men that are looked up to for how to act, if they are intolerant, how can they expect any one else to tolerate other religions. They look at the other religions and see a stereotype, which is exactly what everyone else does when they look at a foreign religion. This is why the people of these religions see each other in a negative light. They see the negative stereotype. In the U.S. they don’t care what religion you practice but they judge you more for what you look like. If you look like a middle-easterner you must be a terrorist. If you look like a Jewish person you must be an accountant, and so on. These are the things that lead people into having the beliefs and perceptions that they do of religions. There are obviously different reasons for people wanting to have control of Israel, this is the root of the tensions that they have. This is why they continue to fight instead of trying to work something out. They are convinced that their religion is right and they don’t want to take the time to get an understanding of where the other side is coming from, what the other religion is basing their beliefs on. They are right and that’s the end of it.
Artist’s words
I wanted to show the overwhelming fear and despair he is feeling by emphasizing the animals in their agony so much that it almost hurts. By showing Pi so small in the background and the animals so uncomfortably close to the viewers I wanted to give an impression of how Pi feels at the same time unbearably close to these forces fighting for survival yet strangely detached from the scene. He watches as a bystander yet he is involved. He comments rationally on the scene, yet the madness shows in the reactions of the animals.
I think that the best way to get a complete view of a painting is to go to the source. I am almost positive if someone could talk to Leonardo Da Vinci and ask him what he was thinking when he painted the Mona Lisa, they would be amazed by the results. While these pictures are not necessarily classic artwork like the Mona Lisa it is still very interesting to hear what the artist was thinking when they made these paintings. It shows that Pi is a bystander in the distance which I think we could all see, but the way that she says it is very interesting. She says he is distant but still a part of it. Also the way that she has described the reason for painting the despair on the faces of the animals, it was something I did not really pay attention to the first time I saw the painting. I realized that they were screaming but I never saw the look in their eyes. They have a look truly of pain in their eyes. It is a very subtle, but effective way of showing the mood in the book at the point that this picture depicts. Also the reason she says she painted the animals so close instead of Pi close with the animals in the distance is because she wants the reader to feel like they are right up close in the action. If she would have put Pi close you still would have seen the animals fighting with each other but the effectiveness of being in the book would not have been the same. It would have been seen from a bystanders view. That would not have been as grasping to the viewer. It is like going to a sports game and sitting in the nose bleeds or having an end zone seat, or right behind home plate. The seat behind the plate, or in the end zone is a better experience. While you see the same thing at the person in the nose bleeds you get the view but miss the experience. It is way better to see things up close, the experience is everything. The way she describes him commenting rationally on a scene of madness is also very interesting. It is something that the book can help you see, but it would be impossible for it to truly depict it the way that it is depicted in this picture. I believe this picture, and all of the other pictures that I have seen of this book, add to this book, not distract the reader and force them to see something a certain way. It still leaves it open to the reader to decide the true happenings of the book.
“I think art and literature have always been connected, from the earliest attempts to write down a story. One could almost say that in the beginning they were one, if you look at old cave paintings and Egyptian writing. With the evolvement of writing techniques the signs became much more abstract and the writing we are using now is much removed from the image it describes. Still, if you look at Chinese handwriting, you can still see the remains of the original image in the lines.” (Quoted from Andrea Offermenn)
I found this comment quite interesting because I think it is true but at the same time… I don’t. When it comes to the Bible I would have thought that there would have been some paintings or some type of pictures to go along with it but … to my knowledge there wasn’t. I don’t know what to think about that. Was it destroyed? Were there just no pictures? I know that in the Bible and in many if not all we can usually paint a picture in our minds. That’s called imagery. But I do know that there were a lot of cave drawing and such like she had stated but that is just one big question that still stumps me. Why didn’t the bible have any pictures? I know now that we have all sorts of versions that have pictures and some still don’t but all the same I still have to wonder.
I really think that pictures and stories go hand in hand like she said but in a way “a picture is worth a thousand words,” isn’t that the saying that seems to be everywhere? Pictures have their own stories in them already, if they wanted to just like the cave men and the Chinese they really wouldn’t need words at all.
pd 1st.
Ms Offerman-What made you want to illustrate for the book Life of Pi? And how did you choose what scene or idea to paint?
I also feel that art and sculptures help create a better grasp for literature they fit together like cogs in a machine. For it to be a full learning experience i think you need both present. Some people will need a visual aid to help them better understand the gravity of the book and its story.
I feel that there are 3 ways that you could understand this book. The reading, which you can take in the best and totally understand the real meaning and context of the book. But if you were to look at painting you could maybe understand it more deeply in a different perspective but, could possibly not get the gist of the main story. By doing a sculpture you could take the book in a different way then a painting or reading the book. By looking at it's features and shape of the bodies curves or featurers.
Period 1
This book is fairly easy to understand, probabably because Martel uses such great imagery and literary devices. They help me paint the picture and understand the story better, and it gets me to read the book because then i enjoy it. Artwork on a story, helps alot. Like i just said makes it easier for me to comprehend. I dont know if sculptures would help me that much Will. Artwork and literary devices do a way better job then sculptures.
I completely agree that art and literature are very similar. They're both peices of a person's life, the way I look at it. They each share with us something meaningful to the author, writer, painter, sculptor, etc. Even though literature and artwork are fictional for the most part, it opens the minds of the reader/viewer and makes them think and ponder the ideas that are displayed or written down. Fiction is somewhat true, maybe not true to what's really going on in the world, but true to the reader's feelings and beliefs. Fiction books are beliefs of the writer, they're opinions. Art and literature some how pertain to our actual lives. I know this book is fictional but its ideas of religion and its facts on animals are definitely real. I love this book. It makes me think and consider my religious beliefs and gives me a greater understanding of animals and how we can relate to them and learn from them. This book is appealing to me in so many ways. I can't wait to get to the end.
"I wanted to show the overwhelming fear and despair he is feeling by emphasizing the animals in their agony so much that it almost hurts. By showing Pi so small in the background and the animals so uncomfortably close to the viewers I wanted to give an impression of how Pi feels at the same time unbearably close to these forces fighting for survival yet strangely detached from the scene. He watches as a bystander yet he is involved. He comments rationally on the scene, yet the madness shows in the reactions of the animals. "
"Screaming Match" is the perfect interpretation of what my mind illustrates when reading this scene in the book. When the hyena carelessly rips the zebra apart, the book takes an emotional turning point. At this point, i stated to really feel sorry for Pi and the animals and fear for their lives. This painting potrays orange juice's anger and fear and as reader's we start to fear for Pi who is just at a distance viewing these horrific events. You start to wonder how hard it would be, to be in constant fear for your life? in such a a dangerous situation and trying to stay sane. Offerman does a great job of making the viewer's of this painting actually "hurt". the zebra, orange juice and pi are all in agony.
I love this picture because it is showing how Pi is frozen with fear and that how Richard Parker is getting ready to attack the fish all around him. Pi knows that he just needs to feed the tiger in order for it to be sadisfied and leave him alone
This picture is one of the 2 dimensions one being of reality and another of imagenary. The reality of the picture is that the bengal tiger is approaching pi as if he is "fresh meat", even when he has fish all around him. The imagenery of the picure is that there are fish leaving the ocean and flying around the boat.
I can also see why Offerman would want to paint such an emotional scene. Martel throughout the book gives great descriptions which helps me paint the picture of the boat and certain scenes in my mind.
Matt K
period 1
Many of the artworks I see or look into seem to be like a movie being changed or replaced every minute. Though I try to interpret the paintings or writings I find it hard to "see" the theme or even know what to look for. I know this isn't your intention, but
~how do you convey a message without blatantly giving the answer away?
Does this image convey to you the claustrophobia that must have been experienced aboard?
I feel suffocated by it.
Megan's right above--hurt and pain are definitely conveyed.
Two "p"s in "Snapple" right, Matt K.?
Tanner is understanding this book easily. Thank goodness. However, in the end, as Tomer Hanuka puts it, there is a "twist the size of the ocean." Wait for it...
I like Andrea Offerman's explanation of the viewpoints of artwork intended for a book. I understand exactly what she means when she says it is just ONE viewpoint of many. Every painting/piece of artwork can be seen/understood differently by different people. I think when looking at a piece of artwork, you must enjoy/analyze that piece of artwork to better your understanding of the book, while you keep your own views/images in your head. Possibly the more you see recurring images from a certain author, the more your original image will change. It's not a persuasive contest between the artists, but maybe the viewer just relates/connects with one artist's ideas more than another's. We always have our own images in our mind of how a scene took place or how a character looks, and sometimes an artists view seems to 'ruin' our own, because to us, our view seemed to portray the book so much more accurately. But, I don't think the artwork is really 'ruining' our view, rather broadening/deeping it.
Art and literature are connected in many ways. First every picture, painting, drawing tells its own stroy but you get the privlage of filling in the details of what you think might be going on instead of someone telling you what is going on. This book gives great detail about certain scenes and events. This painting/picture reminds me of when Pi is laying on the raft and he happens to look down and notice a sea world with streets blocks, buses, and cars. Only the buses and cars are fish and instead of having to drive side by side they drive above below and left side or even right side of eachother, they can drive in any direction they want without being pulled over. He wonders if the fish have their own lives, friends, family, jobs people they talk to and hang out with. The colors and variety of the fish are amazing he says.
This picture also gives a great example of what the flying fish look like. In the stroy when Pi is hit across the face and he is in so much pain he knows the was just struck by Richard Parker and this is the end of his life, I honestly had no idea it was not Richard Parker I thought for sure that it was and Pi would be wounded but obviously not killed. Then when they say it was a flying fish I was in total shock and could not picture a flying fish but this picture give me a great idea of what a flying fish would look like.
Pi being so small in this picture shows how weak he is and outnumbered. This gives us a great idea of how this little boy is living on a boat with a LARGE tiger and how he is stuck around so many animals but a majority are a threat vs. a friend to Pi. Him being pictured as so small aslo shows us that his ego and heart are bruised. He is missing his family and still praying to be saved when he is this small speck in a vast ocean. Showing that it seems he has little chance of being rescued or it will be a very long time before he is rescued.
Why do you suppose these artists are willing to blog with a high school class in South Dakota?
pd. 3
with this painting i think that it really shows how they are alone on the ocean and that nothing but the fishs are around. Specatular.
pd.5
In this picture you really get to see more of Pi's view from the life boat. It shows how there is a lot of life out in the ocean with him, but no one that he can talk to or communicate with or anyone to even help him. It gives you more of a sense of what is really out there and how much life there actually is living in the ocean.
I'm hoping that she is willing to blog with us because we have alot of interesting thoughts to offer. I think it is awesome how somebody "famous" is willing to talk to and give input to students from a school in SD.
I understand how an artist does not want to take a reader's mental picture of a scene away from them by introducing their own. Everybook I read I create my own mental picture of how I view things. Generally there is also a movie that goes along with the book that totally alters my perception of the setting a characters. I dont get mad but instead enjoy to see the different views of others but I still try to continue on with my the original views I had before. Art can be the same way. I was still in the process of painting a mental picture for Pi and Richard Parker when I was exposed to many different images. Those images have definitely influenced my perception of things within the book and am glad for it.
Pd. 5
This picture is most definently really cluttered and i love that aspect of it. This picture shows us that although Pi and Richard Parker are on the boat alone they are surrounded not only by wildlife in the ocean but wildlife in the air in the form of birds. The sharks seem to be coming out of nowhere as if in a surprise attack.
I think artists are willing to blog with us because of how interested we are in their work. When they were younger they probably didn't have blogs where they could communicate back and forth with one of their favorite authors or artists. They might remember how they had a question about something and now they are willing to answer ours. We might also be interpreting certain things differently than they did and they are gaining insight on their own work. I think they read our work similarly to the same reason they view paintings and watch movies on their novels.
Period 5
I could see this as I was reading. “Screaming Match” I could picture this as I was reading the part where the hyena eats the zebra. This picture shows the conflict between the animals and answers my question ‘when certain animals are put together could they possibly get along?’ During their screaming, Pi lays in the back on a hillside. He is staying away from the animals at this point. He doesn’t want to become their next meal.
Cody's right about emphasizing their solitude. 227 days, man. 227, days.
Offermann's brilliant in showing them with distinct eye contact in this wonderful image.
In reality, these fishermen in the Sundarbans (south India, I'm pretty sure) have to wear masks on the backs of their heads to give tigers the impression that the men are looking that direction too. Much more psychology to animal behavior than most people realize or admit. Incredible.
Excellent response on the artists' willingness to blog with us, Spencer.
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