ALICE FLETCHER DESIGN FOR FILM AND TELLY
NEWSTEAD ABBEY LIVE
OUR INITIAL TASK WAS: SURROUNDING THE THEME 'ALICE IN WONDERLAND' PRODUCE SETS, SCENES OR INSTALLATIONS AS A JOINT LIVE PROJECT. WE SHALL WORK IN TEAMS TO DEVELOP AND DESIGN A CONCEPT, FINALLY DISPLAYING THEM WITHIN NEWSTEAD ABBEY FOR THE CHRISTMAS WONDERLAND EXHIBITION.
TO START WITH - DURING THE PREVIOUS PROJECT - MY CLASS TOOK A TRIP TO NEWSTEAD ABBEY FOR THE DAY - OCTOBER 5th. WE WERE ASKED TO TAKE PICUTRES OF ANGLES, SURFACES AND SCENES THAT INSPIRED US AND COULD RELATE TO ALICE IN WONDERLAND. ALSO, ANYTHING THAT COULD ENCOURAGE RESEARCH AND HELP PROJECT DEVELOPMENT.
UPON REFERCTION OF OUR VISIT, WE MUST BUILD INTIAL IDEAS AND SKETCHES TO DEVELOP LATER.
4 WEEKS - NOVEMBER 1st TO NOVEMBER 30th - 2022
NEWSTEAD ABBEY VISIT IMAGES
INITIAL TEXTURE GRID & MOOD BOARD & MIND MAP FOR NEWSTEAD ABBEY TRIP
SHOWING PATTERNS, TEXTURES, SHAPES, REPLATION TO THE FILM, COLOURS, SCENIC IDEAS AND STYLES
NEWSTEAD ABBEY RESEARCH
NEWSTEAD ABBEY
OLDEST SECTION DATING 1170
ARCHITECT JOHN SHAW Sr.
GOTHIC ARCHITECTURE
FIRST OWNER LORD BYRON
OWNED BY NOTTINGHAM CITY COUNCIL
Newstead Abbey was formerly an Augustinian priory and was converted to a domestic home following the Dissolution of the Monasteries. Byron sold the Abbey in 1818 to Thomas Wildmam, until 1861 when purchased by William Frederick Webb, an African explorer. Because of the change in hands this property has a mass mixture of styles through its interiors and 'wings' of the building.
LORD BYRON
GEORGE GORDEN BAYRON the 6th BARON BYRON
BORN 1788, LONDON
DIED 1824, GREECE
3 CHILDREN
MARRIED TO ANNE ISABELLA NOEL BYRON the 11th BARONESS WENTWORTH and BARONESS BYRON 1815 - 1816
PARTNERD WITH CLAIR CLAIRMONT 1820 - DEATH
ENGLISH POET AND PEER
LEADING INFLUENTIAL FIGURE OF THE RMOANTIC MOVEMENT
Byron lived at Newstead Abbey between 1808 and 1814. The Abbey retains personal items, such as furniture, letters, manuscripts and portraits, plus his gilt wood bed, pistol and the desk at which he wrote much of his finest work. However, Byron wasn't all good as he had many charges of cruelty, adultery and incest with his half-sister, though he still remains an idol in his field to this day.
WHY WAS LORD BYRON IMPORTANT?
Lord Byron was important to the abbey because of his fourth-going nature. He would have parties and orgies, invite many people and make sure to share his love with the world. This made the abbey a home of a reckless, but also of the best poet in the late 18th - early 19th centaury. The house was being well used and this was good however, it meant faster deterioration. Byron also got himself involved in many gangs, making sure to live life as a free spirit.
A key turning point in his career was when he wrote 'the vision of judgement', (Lord B., 1822, The vision of judgement, England, John Hunt) this was a contradictory piece of writing about George the third's sole and whether it should get what it deserves or go to heaven instead. This satirical poem was published in the local magazine however under a false name. There was uproar and a warrant to find this imaginary poet who dared to write a libel against the throne (despite the fact that he is not actually even mentioned in the poem). No such poet was found, so the publisher John Hunt was brought in for questioning and fined £100.
Hogle, J. E. (2015) “Gothic and Second-Generation Romanticism: Lord Byron, P. B. Shelley, John Polidori and Mary Shelley,” in Wright, A. and Townshend, D. (eds) Romantic Gothic: An Edinburgh Companion. Edinburgh University Press, pp. 112–128. During this piece of writing Byron is stated to have developed the gothic period into gothic romanticism, by putting his personal twist on horror novels of that centaury. Most inspiration was taken from Shakespear however, the novels were built on a different moralistic compas aiming to make the audience feel a different range of emotions; whilst engaging with Byrons work.
Overall, Lord Byron was important to the development of poetry throughout the gothic period. Also, he was a bold figure that took brave risks, impressing the public and opening their eyes to new strange ways of living. In my opinion, Byron is a strange person with weird ideas, however an inspiring one. He wasn't scared to put his opinions out there and be who he was, no matter his social status or other people's expectations.
FILM REFLECTION
DISNEY
1951
ALICE IN WONDERLAND, AN ADAPTATION OF THE LEWIS CAROLS ADVENTURES OF ALICE IN WONDERLAND AND THOUGH THE LOOKING GLASS
INITIAL THOUGHTS
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INITIAL CREDITS = DRAWN ANIMATION
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WALT DISNEY UP LIFTING MUSIC
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DIRECTORS = CLYDE GERONIMI, HAMILTON LISHE, WILFRED JACKSON
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PRODUCTION SUPERVISOR = BEN SHARPSTEEN
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CONSTANT MUSIC AND SONG
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EVERYONE OF SIGNIFICANTCE SEEMS TO BE WARING A BOW OR BOW TIE
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MUSICAL INSTRUMENTS INSPIRING ALOT OF SHAPES AND ELEEMTNS OF THE FILM
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ILLUSION DOORS WITHIN DOORS, HALLWAYS AND WALLS
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SOUND EFFECTS ARE EXAGERATED
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HATS USED TO SHOW STATUS OF CHARACTER
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CONSTANT 'PAYS-ON-WORDS' OF REALLIFE THINGS
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HENDAL PATTERENS WITHIN THE FOREST AROUND THE CATTERPILLA
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ILLUSTRATIONS ARE CARTOON AND BOLD
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SCENEIC ELEMENTS ARE VERY PAINTILY AND CONTRASTING STYLE
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THE RABBIT KEEPS RANDOMLY POPPING IN AND OUT OF FRAME
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GRAY TEXTURED BACKGROUND ALL THROUGHOUT THE RED QUEENS GARDEN
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UN LIKE THE 2010 'ALICE IN WONDERLAND' - THE DISNEY 1951 VERISON YOU NEVER SEE THE WHITE QUEEN OR HEAR ANYTHING BAOUT HER
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ASHADOWS OFTEN USED TO EMPHASISE STRANGE SCALES
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MAZEZ WERE USED TO SHOW CAOTIC SCENES WITHIN ONE SHOT
KEY QUOTES
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"How can one possibly pay attention to a book with no pictures"
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"Nothing would be what it is, everything would be what it isn't"
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"I'm late, I'm late, for a very important date. No time to say, 'Hello' 'Goodbye', I'm late, I'm late, I'm late!"
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"My world would be a wonderland"
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"Curious and curiouser"
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"Nothing's impossible"
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"The pleasant walk, the pleasant talk will be a sheer delight"
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"You may have noticed, I'm not all there myself"
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"Happy merry unbirthday"
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"Why is a raven like a writing desk?"
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"She's stark raving mad"
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"Off with their head"
REFLECTION
This film seemed very ahead of its time via the mix in scenic styles to represent the change in environment. When 'Alice' was in the 'real' world, the background scenes were very artistically painted. However, when she adventured down the rabbit hole, the background - for the most part - became a lot more animated like the characters themselves. The illustration style in 'the real world' has been used throughout so many iconic animations, for example: Whinnie the Pooh (1926), Snow White (1937), Robin Hood (1973). However, the illustration style for 'the wonderland' is a much more modern way of animating and can be seen in films like: Aladdin (1992), The Lion King (1994) and Tinkerbell (2008). This versatile technique really helped to emphasize the films story line and visually the characters within the frame.
From beginning to end, the film had constant music and song sections, emoting the scene with sound effects. Some additions were rather unusual and exaggerated compared to what was going on in the scene, however it suits the unusuality of the film. Alongside this, there was a lot of visual and verbal illusion. In 'Wonderland' the doors, walls and floors were often distorted, via the use of checks, stripes and curved, patterned surfaces. Verbally, this illusion was created via a constant play on words. As the 'word plays' were all about real life things, this could represent how Alice wishes real life to be like her dream world - or how she finds the real world confusing just like 'wonderland'.
Finally, an unusual element that stood out when watching the film and looking at the illustrations, was that all characters of importance were wearing a bow or bow tie - of some description. Also, hats seemed to be used to show social status or confusingly, contrasting character flaws. A bow tie symbolises raging creativity, unique individuality and spontaneity. This definition compliments the characters demographics well; allowing for a better understanding of why that specific continuous costume decision was made. Contrastingly, hats symbolise prestige, wealth and power. For characters like the Mad Hatter and the Rabbit, yes, they symbolise who is more important however, for the King and Queen it's a slightly different situation. The Red Queen has a tiny crown in contrast to her oversized body. The Red King has a very large crown and a tiny body. I believe this can be interpreted in two ways: 1. the queen's hat is smaller to try and downplay her size; the kings' is larger trying to make him look bigger, or 2. the kings crown is too large because the role he's been asked to play he can't fulfil; the queens crown is too small because she's too big headed and isn't suited to fill her role as queen.
Overall, the film is a simple watch on a surface level and fun to interreact with. However, if taken more seriously, can be quite weird and confusing. I enjoyed watching the film and analysing it, especially looking at elements in detail and mentally comparing it to the 'Alice in Wonderland' (2010) version.
I will do an 'Alice in Wonderland' (2010) and 'Alice Through the Looking Glass' (2016) review, making sure to compare them to this (1951) version. I would love to look at and write about a deeper concept and create my own mini research and response project to do with 'Alice in Wonderland'. As I love these films, their interpretations and their concepts, I will find it intriguing do dive deeper into the meaning behind them and come up with a comparative, conclusive, evaluation of 'Alice in Wonderland'.
Below is a list of elements that are key to the 1951 film and will further inform my project:
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KEYS
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SWANS
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FLOWERS (OF ALL VERIATIONS)
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BUTTERFLIES
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BOOKS
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ALICE'S SISTER
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CATS
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PICTURES
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BIRDS
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RIVERS + WATER + WATERFALLS
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WATCHES/CLOCKS
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GLASSES/MONOCLES
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CHAIRS
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BOWTIES + BOWS
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MUSICAL INSTRUMENTS
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DISTORTED WALLS/PASSAGEWAYS
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CHESS FLOORS
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UNUSUAL PSYCODELIC COLOURS
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TREES
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DARK GREEN + BLUE GREENARY COLOURS
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OVERSIZED FEET
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CATERPILLARS LETTER SHAPES
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HENDAL PATTERNS
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SIGNS
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MUSHROOMS
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RANDOM COLOURS
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TEA CUPS + SAUCERS
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TEA POTS
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HATS
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HORNS
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CYMBOLS + DRUMS
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UMBRELLA
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FEATHERS
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MAZES
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SHADOWS
INITIAL & DEVELOPMENT MOOD BOARD
INITIAL KEY ELEMENT SKETCHES
INITIAL KEY SCENIC SKETCHES
THE FINAL SKETCH AND SCENE THAT WAS CHOSEN - IS THE RED QUEENS CROQUET, AS IT HAS THE MOST VERITILITY WITHIN THE SCENE LAYOUT AND CHARACTERS
INITIAL CONCEPT ELEMENTS
VICTORIAN PAPER LAYRED ORIGIONAL ILLUSTRATIONS - FOCUSING ON FORE GROUND, MID GROUND AND BACK GROUND, MAKING SURE TO CAREFULLY THINK ABOUT SCALE AND ILLUSION
MINI LAYERD MODEL SAMPLE
TAKING PHOTO COPPIED PAGES FROM A VICTORIAN ART STYLES TAKE ON ALICE INWONDERLAND FOCUSING ON THE GREENARY, CUTTING THEM OUT AND LAYERING THEM TO CREATE A MINI WORLD WITH A FAME AND DEAPTH
THIS IS MADE BY MY FELLOW CLASSMATE AND GROUP PARTNER : OLLIE BATEMAN
REFERENCE BOOK : ALICE IN CORIOUS AND CURIOUSER by KRISTJANA S. WILLIAM
ORIGIONAL LEWIS CARROLL NOVEL
MY MUM HAS THE ORIGIONAL STORIES WITH THE ORIGIONAL ILLUSTRATIONS
AS A GROUP WE HAVE DECIDED TO BE INSPIRED BY THE VICTORIAN LINE DRAWN STYLE AND SINCE THE ORIGIONAL DRAWINGS ARE LIKE THIS, THE BOOK IS A USEFULL REFERENCE
COLOUR SCHEME
AS A GROUP, WE HAVE DECIDED ON A COLOUR SHEME OF BLUE, RED, YELLOW, GRAY SCALE, BLACK AND WHITE. THIS SUITS THE VICTORIAN THEME WELL AND RELATES TO THE COLOUR SCHEME USED IN THE FILM WHEN WITHIN THE RED QUEENS GARDENS AND CASTLE
RESEARCH DONE BY : ABBIE ARNOLD
CHARACTER DESIGN DEVELOPMENT
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MINI ELEMENT RESEARCH & DESIGN
OUT OF THE GROUP I HAVE BEEN GIVEN ALL THE SMALL ITEMS AND ANIMALS THAT COME IN THROUGHOUT THE FILM TO RESEARCH, DEVELOP AND DESIGN - CONCEPT AND COLOUR
I AM LOOKING FARWARD TO THIS PROCESS AND DEVELOPING SOMETHING MEANINGFULL
#1. MUSHROOMS
VICTORIAN MUSROOMS
THEY ARE A SPECIFIC UMBRELLA TYPE OF POISONOUS FUNGI CONTAINING DEATH CAP (AMANITA XANTHODERMUS) AND YELLOW-STAINING MUSHROOMS (AMANITA PHALLOIDES), MAJORITIVLEY GROWING IN THE AUTUMN MONTHS.
DEATH CAP
THE OLDEST TYPE OF MUSHROOM IS THE ARCHAEOMARASMIUS LEGLETTI - THE MOST FAMOUS - BUT EXTINCT
YELLOW-STAINING
MOOD BOARD
ALICE IN WONDERLAND MUSHROOM MOOD BOARD
DRAWING IDEAS
LARGE AND SMALL VERSIONS MADE FOR PHOTO COPYING, CUTTING OUT, REPLICTATING AND RESIZING
STYLE DECISION
THESE 'MINI MUSHROOMS' WILL BE USED TO SCAN IN, RE-SIZE AND PRINT OUT TO BE CUT OUT OF MOUNT BOARD
#2. HATS
VICTORIAN HATS
THE MOST ICONIC VICTORIAN HATS ARE BONNETS. THEY WERE ALL THE RAGE AT THE BEGINING OF THE ERA. THEY COULKD BE FASHIONED FROM SO MANY DIFFERENT MATERIALS LIKE STRAW TO SILK AND ARE MOST FAMOUSE FOR THEIR WIDE BRIM.
HATS BECAME A REALLY IMPORTANT ACCESSORY AMUNG WOMEN DURING THIS PERIOD. THEY WERE A SYMBOL OF CLASS AND AUTHORITY HOWEVER, MAINLY PRETECTION FROM THE SUN. THEY BECAME AN ASSENTIAL FOR ANY WOMEN TO WARE OUT OF DOORS.
THE MOST COMMON MATERIALS THAT VICTORIAN HATS WERE MADE OF WERE STRAW, CHIP, VELVET AND FELT. HOWEVER, FOR BONNETS AND HATS IN THE SUMMER IT WAS MORE COMMON TO SEE NET, CHIFFON AND LACE.
A SECONDARY FAMOUS VICTORIAN HAT IS A BOWLER HAT, TO BE WORN IN SEMI-FORMAL AND FORMAL ATTIRE, CREATED BY THOMAS AND WILLIAM BOWLER IN 1849, TO BE WORN BY MEN.
OTHER POPULARS: A SKIMMER HAT, A BOATER HAT & TOP HAT.
BONNET
BOWLER HAT
MOOD BOARD
ALICE IN WONDERLAND HATS MOOD BOARD
#3. BOWS & BOWTIES
VICTORIAN BOWTIES
A NECKTIE IN A BOW WAS COMON DURING THE 1850's AND A SMALLER STAYLE WAS FAVOURED DURING THE 1890's. THEY COULD EITHER BE TIED BY HAND OR PRE-MADE.
THE CRAVAT (TYPE OF NECKBAND) ORIGIONATES FROM A STYLE WORN BY MEMBERS OF THE FRENCH MILLITARTY UNIT - USED TO HOLD THEIR SHIRTS TOGETHER, IN THE 17 CENTUARY, CALLED A CROAT. THIS THEN BECAME POPULAR AMONGST THE GENERAL PUBLIC AND CARRIED ON UNTILL TODAY.
A BOWTIE USED TO SYMBOLISE PROSPERITY HOWEVER, TODAY IT SYMBOLISES UNCAGED CREATIVITY AND A CONFIDENT WILLINGNESS TO BE DIFFERENT.
CRAVAT
BOWTIE
MOOD BOARD
ALICE IN WONDERLAND BOW & BOWTIE MOOD BOARD
#4. TEA POTS & TEA CUPS
VICTORIAN TEA POTS & TEA CUPS
THE OLDEST TEA POT IS CALLED THE 'EGOIST', WAS DESIGNED BY NIRMAL SETHIA AND SOLD FOR £3MILLION.
TRADITIONALY, TEA POTS WERE MADE OUT OF GLASS HOWEVER THAT WASNT SO PRACTICAL AND VERY EXPENSIVE. THEY EVOLVED TO CAST IRON, THEN CERAMIC WHICH IS STILL VERY OFTEN USED AND THEN STAINLESS STEEL - WHICH IS WHAT MOST TEA POTS TODAY ARE MADE OF.
VICTORIAN TEA CUPS WERE OFTEN VERY SMALL (TO APRICIATE THE FLAVOUR BETTER) AND CAME WITH A SAUCER. THE SAUCER WAS FOR POURING THE BEVERAGE INTO AND SIPPING FROM AS THE DRINK COOLED DOWN FASTER, HOWEVER, THE CUP WAS TO POUR FROM AND KEPT THE REMAINING BEVERAGE WARM.
IN HIGHER UP PLACES, IT WAS CUSTOM TO HAVE A SET OF SILVER EMBOSSED TEA CUPS, THIS WAS FOR YOUR MOST ESTEAMED GUESTS AND THEY SHOULD HOUSE YOUR FAMILY NAME, CREST OR FLAG. DEPENDING ON THE WEALTH OF THE OWNER DEPENDED ON HOW PATTERNED AND DELICATE THE TEA POTS AND CUPS WERE. THE FANCIER THE CUP, THE FANCIER THE DESIGN AND TYPE OF CHINA OR CERAMIC.
TEA POT
TEA CUP
MOOD BOARD
ALICE IN WONDERLAND TEA POTS & TEA CUPS MOOD BOARD
#5. CLOCKS & POCKET WATCHES
VICTORIAN CLOCKS & POCKET WATCHES
CLOCKS AND WATCHES WERE A CRUCIAL PART OF VICTORIAN CULTURE AND SOCIETY. ACCORDING TO HISTORIANS, VICTORIANS HAD A BIG NEED TO BE PUNCTUAL. HOWEVER, CLOCKS IN HOUSES WERE VERY RARE IN THE 1800's.
A GRANDFATHER CLOCK IS ANOTHER EXAMPLE OF VICTORIAN INVENTION OF PUNCTUALITLY. THERE ARE MANY OTHER NAMES FOR THE GRANDFATHER CLOCK, HOWEVER THEY ARE TALL, FREESTANDING AND WEIGHT DRIVEN BY THE PENDULUM HELD INSIDE.
POCKET WATCHES IN THE VICTORIAN EREA WERE A SIGN OF A TRUE GENTLEMAN, THERE ARE DIFFERENT KINDS, THAT ALL SHOW DIFFERENT LEVELS OF CLASS. HOWEVER, AFFORDABLE POCKET WATCHES WERENT COMON UNTILL THE 19TH CENTURAY.
GRANDFATHER CLOCK
POCKET WATCH
MOOD BOARD
ALICE IN WONDERLAND TEA POTS & TEA CUPS MOOD BOARD
#6. KEYS & BOTTLES
VICTORIAN KEYS
THERE ISNT MUCH SPECIAL ABOUT VICTORIAN KEYS OTHER THAN, THEY ARE VERY ORNATE AND BEAUTIFULL AND THEY USED TO BE CALLED SKELETON KEYS. THIS TERM WAS BORN FROM THE FACT THAT THE KEYS HAD REDUCED ESENTIAL PARTS, HOWEVER, THE NAME NOW JUST REFERS TO ANY ANTIQUE KEY.
THEY WERE OFTEN MADE OUT OF IRON OR BRONZE, WERE SMALLER THAN THE ORIGIONAL KEYS AND BECAME MORE RELIABLE IN THE VICTORIAN EREA.
VICTORIAN BOTTLES
OFTEN REFERED TO AS CODD BOTTLES, THEY ARE OFTEN RECOGNISED FOR ONCE HOLDING POSION OR ELIXAR OR ALCOHOL. THEY OFTEN HAVE LABEL SPACES, UNUSUAL SHAPES YOU WOULDNT SEE TODAY AND HAVE ORNATE ENGRAVING OR EMBOSSING.
KEYS
BOTTLES
MOOD BOARD
ALICE IN WONDERLAND KEYS & BOTTLES MOOD BOARD
MINI ELEMENT FINAL DRAWINGS
DEFINATLY MAKING SURE TO REMAIN TAKING MAIN INSPIRATION FROM THE ORIGIONAL VICTORIAN SKETCH STYLE - LIKE THE ORIGIONAL LEWIS CARROLL BOOKS ILLUSTRATIONS
RESEARCH DONE BY : AGATE KLUKINA
TEST OF LAYERS, SIZE AND GENERAL IDEA
MADE BY : OLLIE BATEMAN
DIMENSIONS FOR THE BOX TO GO INSIDE THE WARDROBE
WARDROBE SCALE MODEL TEST BY OLLIE BATEMAN
INTERNAL WARDROBE BOX MADE
WHILST WE WERE ALL BUILDING AND MAKING, AGATE WAS DESIGNING AND AMKING THE KEY CHARACTERS FOR THE SCENE
VICTORIAN ALICE AND RED QUEEN BY AGATE KLUKINA
FINAL CHARACTER ILLUSTRATIONS
FINAL CONSTRUCTION PROCESS
USING A SCALPEL TO CUT OUT THE IMAGES THAT HAVE BEEN STUCK ON MOUNT BOARD - WE ALL TRIED REALY HARD AND THE FINAL OUTCOME I BELIEVE PAID OFF
‘A Nonsensical World’. Aiming to take the audience on a magical journey through a wonderland, via a conceptual instillation. Creating original art work inspired by Victorian illustrations, will tie in olden day with modern. This ensures that visually there’s something for everyone and that our outcome compliments the architectural elements of the ‘Abbey’.
An immersive diorama, based on the ‘Red Queens Croquet’ scene, is our aspiration for this piece. We have chosen this scene as it offers the most diverse elements throughout. The characters, background and props are all interchangeable without the recognisable scene being distorted. Our model will be a multi-layered, colourful, cut-out made of: card, wood, mount board, foam board and paper. We will play with scale and orientation, as well as character development; making sure to look at fashion and style of the Victorian era. The flowers, mushrooms and accessories shall also be designed from foliage and animal research of the 19th century; hoping to enhance our concept further.
The final outcome shall be situated in a wardrobe within a dark room, in the Victorian wing of the ‘Abbey’. Being in a wardrobe symbolises ‘Alice in wonderland’s’ dream-like setting, reinforcing its capability to be arranged unrealistically. Furthermore, encouraging the viewer to think outside the box and trust their imagination. Finally, because of the dioramas style, the end result may resemble a receding corridor/ tunnel. This cites ‘falling down the rabbit hole’ in ‘Alice in Wonderland’, overall hoping to tie our piece in with similar instillations around the ‘Newstead Abbey Christmas Wonderland’ exhibition.
Overall, the groups team effort paid off and we ended up with a cohesive, engaging instillation. Over the 3 weeks, we were able to research, design and develop an Alice in wonderland diorama to fit in a wardrobe at Newstead Abbey. Our use of ‘cut out’ was very time consuming. Also, some materials snagged meaning the lines were less precise. However, using scalpels - not using the laser cutter – allowed for a more delicate outcome and made sure to involve everyone in the process. We all had our own elements to research and design, allowing everyone to focus separately. Making sure we communicate and no one stepping on each other’s elements, creating a smooth design process. Finally, my favourite element was the play on scale and depth within the wardrobe. I really like how the final outcome looks like a scenic version of ‘falling down the rabbit hole’.
reference sheet of all links for all the images