Here are my vids sonja
sorry about the lack of communication
sorry about the lack of communication
Monday, November 14, 2011
Friday, November 11, 2011
The Great Video Collaboration
Here is a link to the videos..
The powerpoint cannot be attached so I have included the text.
DEPTH
Video 2
https://sn2prd0102.outlook.com/owa/redir.aspx?C=3TURRcvRwEKJ93e-4RpmjBFncVAndM4IL6YewF1BI8_oDZ0a28Myx-UfsYTQpKHJIJQZXgi-pwc.&URL=https%3a%2f%2fskydrive.live.com%2fredir.aspx%3fcid%3d38782d57161d1371%26page%3dplay%26resid%3d38782D57161D1371!107
The powerpoint cannot be attached so I have included the text.
DEPTH
¡Over the shoulder shot in the first video creates tension because the gun is nearly pointed at the audience.
¡Video shot from low angle to give the impression of power.
¡The end of the video is comfortable, like a conversation with the narrator speaking.
VIDEO 1
¡Movement – More camera changes, moving around more during the conversation
¡Rhythm – The camera cutting back and forth as each person talks creates a sort of rhythm.
Video 2
¡Line and shape – Created by the hands extended slapping each other
¡Space – A lot of space between them when they talk and when they fight shows tension
Producer – Megan
Director – Justin
Camera – Bill
Editor – Gary & Bill
Set Design - Ben
The videos are in a link.. Enjoy!
Bill
Producer – Ben
Director – Bill
Camera – Megan
Editor – Justin
Set Design – Luke & Gary
Monday, November 7, 2011
blog 9 is weakness oriented
http://changethis.com/
If you follow this link you can read th article by David Rendall about 9 ways to utilize our weakness
Most of the recommendations that David Rendall bring up are extremely specific and are not generally applicable to most situations. While he does make an excellent point in that with each corresponding weakness there is a strength involved, there are times when the weakness can be overwhelming. His examples are also limited and sometimes the people that are successful are only successful in the eye of the beholder. At one point he refers to someone that is an addict but then becomes addicted to something else but it still ruins his life. A lot of the things he points out are generic facts as well. This article recommends that people not attempt to fix their flaws like being unorganized, suggesting instead that they can become successful, dyslexic millionaires. This is unrealistic although I can understand that if you find how you are unique and then capitalize on this concept than you can be successful. The way that he generalizes and then defines being a freak is interesting although I am think that anyone could fit the description that he puts on freaks. Does this mean that we are all freaks? Does this mean that every one is a unique creative genius? I do not think so, by saying that everyone is unique and generalizing this concept Rendall loses my interest. He insists that people not be well rounded because he was mildly successful and a little lucky.
I find that my creative process is limited in some ways and is limitless in others. While my weaknesses include being somewhat easily distracted I use this to my strength by allowing my ideas to grow upon one another based on interactions throughout the day. My creativity can be unlimited in a way that I am not afraid to try something new. I think that personally my creativity is sometimes limited by means to create but I find ways to use this lack of means to be more creative. The creativity involved is my actual strength. I think that creating is just a means of expression. This is my strength. The projects that I have had chances to work on have allowed me to apply different creative ideas in different ways. This has exposed various weaknesses and strengths. I do agree with Rendall about there being weaknesses associated with strengths. I have found that working with different people has allowed me to use my managerial skills to delegate and take advantage of others strengths. I believe my creativity combined with the delegation skills has allowed me to utilize others strengths and identify others strengths. While I don’t have the means necessarily I have been able to produce highly creative projects. I think that my creativity combined with others creativity and my ability to utilize and identify the appropriate steps has led me to be successfully creative. Rendall asks us to limit ourselves but I do not think that this is an appropriate way to handle creativity.
Sunday, November 6, 2011
Blog 8 Brainwashed
Follow this link to read the Brainwashed manifesto
Learn
Generosity
Acknowledging the lizard
The three layers work with each other hand in hand. The learning portion of Godin’s article is slightly contradictory to his opening statement in which he shows that we are being taught to learn, not being taught information that is necessary to survive because there are so many different ways to survive. The learning process is what is most important not the specific skill that they will teach you, such as quadratic formula. Generosity is also crucial as in these times people don’t want to pay for things unless they receive immediate gratification. As far as acknowledging the lizard he makes a point in that peoples fear holds them back from success. Between being generous and acknowledging the lizard, Godin applies these principles to worldly concepts.
The blogs that I have been creating this quarter reflect specific assignments used to aim my creativity. I think this is an interesting way to force some creativity out of students that are otherwise stagnant in their creativity. Learning is necessary to the creative process, and without that then there would be no creative process. Generosity plays a part in the creative process in a way that we have to share this creativity without people to pay for it. Art is “free”. Acknowledging this creativity as a student to move forward is also necessary. The layers that I have selected reflect what I feel is important in the creative process. I am not sure whether or not that these exercises make me a better “student” but I definitely find them interesting. I also view the “lizard” the Godin refers to as a public nervousness of failure. I disagree to an extent about what the actual lizard is but I do agree that there is certainly a fear of failure. I think that if people were generous with their art they can be more successfully. The earlier that people can be generous then the sooner that they can be successful and face their fears. The lizard is an interesting example that Godin uses. The inner animal within us can sometimes be overwhelming and can take over. Acknowledging this inner fear or darkness can be one of the important things that a student has to deal with. Personally I found that these projects allowed me to use different mediums to be creative. These creative outlets definitely spring new ideas within myself and allow me to use different tools to express, in my opinion, humor. Even with the extra credit problem I attempted to express a type of generosity. Also by working with different groups of people I have allowed some the inner walls that could be conceived as a “lizard” to be broken down. In addition to that I have applied the learning principle to the different mediums that are available to students and people. Although the instructions say I should be concerned with a meaningful howl I believe this is actually referring to the acknowledgment of the lizard inside all of us. I do not think that the exercises are pointless, I think they remove the “fear” of success that many students have. By making it an assignment the students can happily use their creativity to the max without being ridiculed for being creative.
scene deconstruction
Cool hand Luke
The theme of the movie is perseverance and determination. The way that the angles of the camera in this scene show that there is an uphill struggle for the main character. The theme itself is didactic because of the way that the message is metaphorical through the prison warden’s main phrase “What we have here is a failure to communicate”. This shows the fight that Paul Newman’s character does not agree with the way that the prison is being run. This infers that there is a struggle between the two.
Movement is used by forcing Cool Hand Luke down the hill. This shows the dominance of the prison warden as well as it shows that the prison warden is threatened by the “coolness” of Luke and his popularity with the rest of the prisoners. By using movement to force Luke down the hill the prison warden positions himself above the prisoner, creating dominance. The rhythm is shifted in the scene right before when Luke talks back to the warden. At the beginning of this scene the warden shifts the rhythm in his favor creating a momentum shift. Rhythm and movement work together in this scene to create one of the most memorable scenes of rebellion in the movie industry. The movement is an example of the continuous repression used by the prison that Luke has to battle. This is evident throughout the movie as Luke is held down, forced to go to the box, made to dig pits incessantly until the prison breaks his spirit. However in this scene you can see that Luke never fully stays down showing that he is indomitable. The rhythm of the movie is one that builds up until the very end when Luke gets shot after repeating the phrase back to the prison warden and Boss Keen doesn’t take too kindly to this. The movie shows the way that he rolls down the hill through rhythm, Luke rolls with the punches because as the warden says, “He wants it that way”. The rhythm is consistent with the movement and Luke is the center of both.
Monday, October 17, 2011
Aqua Teen Hunger Force - Animation Deconstruction
I will be contrasting the Color and Lighting of these two images. Both are from Aqua Teen Hunger Force but represent two different styles of art. The first shows them all in the backyard, it is not very sunny outside and the big thing that stands out with a strong saturation is what appears to be a giant floating jukebox. Also the characters that first draw your attention are directly under two lines and are in white, the only two white things in the picture. The bright hue of the jukebox grabs your attention to what is happening in the picture, the other things in the background don’t seem as important because they are blurrier, less colorful and do not have direction lines to lead you to them. In the second picture the core characters are in their living room. The colors are more saturated and focused on shading and detail with in the characters eyes and faces. The brightness of the character in the middle of the room is overbearing and is surrounded by the other two characters who are in a deep saturated red and reddish brown. The shadows of the characters in the second picture are much more detailed, showing what the characters are thinking with having any words in the shot. There is more symbolism in the second picture as well in that the middle character is smiling in white, while the other two are sad and angry and in red. This connects red to sadness and anger.
The mood reflected in the first picture shows a kind of surprise because all of the characters are wide eyed and there is lots of what appears to be blood on the two characters that the directional lines point you towards. The mood in the second picture displays two things: Triumph in the middle character and disturbance in the other two characters. Possibly the mood is more like anger and stress and happiness depending on the character, the detail and shading on the face affects the mood of the characters compared to the first picture where the shadows are minor and light; whereas in this picture the characters are all more heavily shaded yet still the hue is bright and the colors are saturated more than the first one. The second picture is heavily shaded, has deeper colors and therefore creates more feelings and mood without depending on extraneous events to create mood, such as blood in the first picture.
Blogger Cassidy and The Storyboard kid
While this scene was directed, the director did a really good job with direction and with using the 180 degree rule. In every scene the camera stayed to the left of the characters as they moved left. The characters are fleeing to the left away from some unseen aggravation, in this case police. On the second shot they are above the camera and then jump down, and when they pass the camera it changes to the next screen shot that shows them falling from right to left. This is consistent with the direction, showing that they are not going back the way that they are apparently fleeing from. If he did this then it would disorientate the viewers.
The rule of thirds is also used well. On the opening shot they are far away to the right, then they approach closer and closer until they get as close as they will get and they are in the middle of the shot. Once there they continue their way to the left and get smaller entering the left third of the screen. Although the next screen the characters both fill the screen, on the third shot the director returns to the rule of thirds. Both the characters once again are in the right third at the top of the screen and as they fall they go to the middle and then a new shot takes place and the characters are on the left, showing their continued movement. In the last shot they start on the left and it pans with them as they get to the middle of shot. The camera holds them in the middle although it still has the dolly follow them until they reach the end of the cliff and it zooms out dramatically, still keeping them in the middle third, making it seem as though they have nowhere to go but to the right, from where they were fleeing. This keeps your attention on the characters.
The director also uses the thirty rule, to an extent but not totally. From the first shot to the second shot the camera moves to the left and rotates to the right. The next shot also uses the tendency of the thirty rule for the third shot moving the camera back to the right at least 30% and then keeps that angle for the rest of the shot.
The director does an excellent job following the rules. This was a major film and the director showcases his talent for building and moving the story through proper camera use.
-Bill Ivan
Sunday, October 16, 2011
BUDDY V BUDDY
These are a few songs for the Blog 4 in MDIA 203.
Buddy Guy- I love the life I live
Buddy Holly- "Bo Diddley"
LISTENING FRAMEWORK for Buddy Guy's "I love the life I live"
LISTENING PHASE 1
Tempo [slow, medium, fast]
Buddy Guys, “I love the life I live” has a slow tempo.
Source [where is the rhythm coming from?]
The rhythm is created by the drums and the voice of Buddy Guy also creates a rhythm.
Groove [describe how the personality of the rhythm]
The groove of the song is a bluesy beat, that is slow and comes to a peak when Buddy Guy says the main phrase, “I live the life I love and I love the life I live” at the crescendo of the song. This songs personality is smooth.
LISTENING PHASE 2 (Arrangement)
Instrumentation [which instruments drive the song?]
The guitar and drums drive the song. The vocals are also key in driving the song.
Structure/Organization [how is the song built? Order, patterns, etc.]
The song is structured around the verse, with each one ending with the main phrase. This repeats through the whole song.
Emotional Architecture [Draw how the song build and drop?]
The song builds around the vocals and drops after the main line.
LISTENING PHASE 3 (Sound Quality)
Balance
- Height [high and low of frequency]
The frequency is low throughout the song, the guitar rhythm part is the highest part of the song.
- Width [stereo panning left/right]
The song is not wide and has most things panned in the center.
- Depth [layers of instruments - via loudness]
The vocals and the drums are the main layers and the guitar comes in after the songs shifts verses.
LISTENING FRAMEWORK for Buddy Holly's "Bo Diddley"
LISTENING PHASE 1 (Rhythm)
Tempo [slow, medium, fast]
Buddy Hollys 50’s rocking classic has a medium to fast rhythm.
Source [where is the rhythm coming from?]
The rhythm is coming from the guitar and drums.
Groove [describe how the personality of the rhythm]
The groove and personality of this song is that it has a classic sound. The song pops up and down and Buddys voice gives it that particular 50’s rock sounds along with the shuffling rhythm guitar.
LISTENING PHASE 2 (Arrangement)
Instrumentation [which instruments drive the song?]
There are a good variety of instruments in the song, the lead guitar and drums along with the shakers/percussion stands out the most.
Structure/Organization [how is the song built? Order, patterns, etc.]
The song is built on a recurring pattern with a burst coming through on guitar and has consistent vocals. The vocals follow a simple pattern and Buddy uses his voice in a unique pattern.
Emotional Architecture [Draw how the song build and drop?]
LISTENING PHASE 3 (Sound Quality)
Balance
- Height [high and low of frequency]
The song stays in a basic range and occasionally travels up to a higher frequency and then returns to the original range.
- Width [stereo panning left/right]
The song is completely centered and recorded in mono.
- Depth [layers of instruments - via loudness]
The song has good depth and creates the depth with multiple layers of guitar. Although the bass is quieter it still plays an important role.
The two songs I have chosen are “I love the life I live” by Buddy Guy and a song called “Bo Diddley” played by Buddy Holly. These songs are different genres, as “I love the life I live” is a blues song with mostly vocals and “Bo Diddley” represents early rock and roll. The Buddy Guy song represents a blues song that has a slow, consistent beat. The two songs are comparable in the fact that they are similarly vocally driven and follow a similar vocal pattern. Early rock and roll songs often had a blues style vocal pattern. The slow guitar playing of Buddy Guy directly contrasts the guitar playing of Buddy Holly that is much faster. Buddy Guys plays with an acoustic guitar that is mic’d whereas Buddy Holly is playing an electric guitar.
The two songs contrast each other in style and speed. They both feature full bands and both songs are cover songs. I would say that each of the songs would be the most popular versions of the each relative song, although it can be argued that Muddy Waters has performed both songs with as much or more renown. Bo Diddleys original version of the self titled song is also well known. Hollys version is cleaner and well done and Guys version is a little grittier. Both songs display a sense of deepness and fullness. Both songs also have the recurring guitar rhythm to back the song but neither guitar is necessarily the featured track on the song, both songs focusing more on the rhythm of drums and vocals.
The guitars are large parts of both songs. Particularly the bass guitar drives the song from the background. The vocals on both tracks distort not because of any special effects but merely the way that they change them. These artists specifically are well known for defining their genres, Holly’s Rock and Guy’s Blues, they are both staples in their respective genres. This is because they are unwavering from the things that make those genres. Holly’s vocals and electric guitar have been attempted to be copied but no one did it better. Also Buddy Guy’s style of blues is clear and follows the blues pattern to the end and this is what makes him stand out. These two artists both stand out as genre defining and these songs are good examples. I personally enjoy Buddy Guy as an artist more than Buddy Holly, but I would argue that Holly did more for modern rock and roll. Based on that I would say Buddy Holly because the song has more roots than Guy's bluesy number and I like the rhythm of it.
-Bill Ivan
Monday, September 26, 2011
http://www.youtube.com/watch?v=On05op_Md38
This clip from “Butch Cassidy and The Sundance Kid” is a classic and I picked it because of the way that nature is portrayed in the video. Analyzing the listening modes of the clip you can see that the causal sounds play a major part in the clip. Whether it is Butch and Sundance running across the plateau or them falling down the rocky hill, you can see what is happening and understand the sound associated with it. However when they get closer to the waterfall you hear the rushing water, which lets the audience know what the two men do not, that they are headed towards a waterfall and towards trouble. The way that the sound works out it lets the audiences know what’s going to happen just slightly before the two main characters. It’s not necessarily a non diegetic sound but the timing does key the audience in to what is about to happen.
Also the way that sound is used to portray the space of the area they are in is well done. For movement, the echo’s of their footprints on the stones gets more intense as the characters get closer. Also when they are falling down the rocky hill their sounds get louder when they’re closer for a moment showing the size of the cliff. The size, distance and perception are shown as well. The sound of the waterfall fills the rocky gorge as it should during the whole scene, to the point where the two men are yelling at each other.
The blogger page will not let me post the screenplay as a PDF so I have posted it below
FADE IN
EXT. SOUTHWEST AMERICA- DAY
Wind is blowing as BUTCH CASSIDY and THE SUNDANCE KID are fleeing over the top of a stone plateau. Hopping over a downed tree, SUNDANCE trips, barely regaining his footsteps.
Wind is blowing the echoes of their footsteps.
They are running out of breath, stopping only for a moment to look behind them
and coming to the edge of the cliff,
they jump down a large hill only to fall and roll down 250 feet through stones and
rocks, the cowboy boots echoing off of the rocks as they lose their hats down the hill. The sounds of
water appear, slowly getting louder and louder.
They roll to their feet as they get to a gorge at the end of path, exposing the waterfall that was
inevitably going to appear.
BUTCH CASSIDY
Damn it!
The camera zooms out to expose the LARGE ROCKY GORGE. They both hide against the edge of the rocky gorge as the waterfall is deafening the background sound.
BUTCH CASSIDY
Well the way I figure it we can fight or give.
If We give we go to jail
SUNDANCE
I been there already.
BUTCH Cassidy
But if we fight they’ll see right where we are and starve us out or go for position and shoot us
Might even get a rock slide started, get us that way, what else can they do?
SUNDANCE
They could surrender to us but I wouldn’t count on it
A few shadowed characters move over the top of the ridge.
BUTCH
They’re goin for position alright
SUNDANCE
Better get ready (loads gun)
BUTCH
Kid nextime I say lets go someplace like Bolivia, lets go someplace like Bolivia!
SUNDANCE
Next time!
Ready?
BUTCH
No, we’ll JUMP!
Cuts to a shot of the rock filled river below.
SUNDANCE
Like hell we will!
BUTCH
No it’ll be ok, if the waters deep enough we don’t get squished to death
They’ll never follow us.
SUNDANCE
How do YOU know!?
BUTCH
Would you make a jump like that if ya didn’t have ta?
SUNDANCE
I have to and I aint gonna
BUTCH
Ya got to otherwise we’re dead.They’re just gonna have to go back down the same way they come. Cmon.
SUNDANCE
Just one clear shot, that’s all I want
BUTCH
Cmon..
SUNDANCE
..Uh uh
BUTCH
We got to---
SUNDANCE
Nope! Get away from me, I wanna fight em!
BUTCH
They’ll Kill us-
SUNDANCE
Maybe-
BUTCH
You wanna die?
SUNDANCE
Do you? ( motioning towards the cliff, water still echoing)
BUTCH
Alright, Ill jump first. (sound of belt being undone)
SUNDANCE
Nope
BUTCH
Then YOU Jump first
SUNDANCE
No I said!
BUTCH
WHATS THE MATTER WITH YOU!
SUNDANCE
SUNDANCE
I CANT SWIM!
BUTCH
(Loud Laughter)Why you crazy?
The fall’ll probly kill ya (tosses SUNDANCE half his belt)
SUNDANCE
Whoa oa oa oa oa
The pair run towards the edge and jump hold each end of the belt
SUNDANCE
ahhh shiiittt!
Both screaming as they hit the water individually.
Again
The water crashing over the rocks and the two men is
Over whelming
BUTCH
Christ you’re downing me!
SUNDANCE
I’ll kill ya!
I’ll kill ya!
The two men
Almost drown each other
Down the
River arguing
Threatening each other imperceptibly
As one of the
men who
was chasing
them watches from the
Cliffs above.
The two men float down the river
To safety as the water crashes over them
FADE OUT
Sunday, September 25, 2011
Finding your Howl w/ Sal Paradise
Finding Your Howl
This short work is somewhat vague yet says a lot. The first line leads the reader to believe in order to “find our howl” we must experience death in sense; I took this as we need to experience life in order to discover ourselves. He hints towards self sacrifice in order to avoid wasting one’s life. It is all very theoretical. He states, “The only way out of our self-erected prison is to go through it completely”. To me this seems almost depressing, as if we need to experience pain in order to live. While I feel that pain will happen in order to live and to learn from I don’t think that we should pursue it as I feel the author is recommending.
“[...] the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue centerlight pop and everybody goes 'Awww!' What did they call such young people in Goethe's Germany?”
Jack Kerouac – “On The Road”
I like this quote from Kerouac’s Beat classic “On The Road” because it expresses, in a way, the opposite of “Finding Your Howl”, while at the same time saying a very similar thing. The quote is representative of Kerouac’s unique writing style, often referred to as “spontaneous prose”. This means that Kerouac was typing almost without thought. This expresses certain type of honesty and accurate viewpoint from Kerouac’s racing thoughts. The way that he says people are “mad”, saying that they are crazy about life paints a picture of someone in love with the world. This appeals to my creativity because it shows that you can build off other people’s energy. Kerouac’s reference to Goethe’s Germany is one of changing times. This appeals to me as well since we are this moment in need of change. His comment, “burn, burn, burn” appeals to me as well because at times I feel that fire, burning, burning; moving forward with energy and passion.” Seeing the blue centerlight pop” appeals to me because I have seen this and wish to have it shared with others in a similar way that Kerouac shares with his readers. His reference to never yawning or saying a commonplace thing is an amazing way to look at life. Never sleeping, always moving, burning like fire. Living in the present and living in the now are the mottos of those people, something I feel I share with them.
The reference to roman candles is meaningful because the people that live like madmen will often burn out. They may live in the moment but I feel like the moment for them does not last as long as it does for others. When they “pop and everyone goes ‘Awww!’” is the experience that you want the people who experience your creativity, whether it is in art or poetry or in music or movies or novels or dancing or political debates or coaching sports or just in the way you live, to feel. The way that Kerouac describes these people and they’re reaction is inspiring to the point where you drop out whatever you’re doing and travel across the country just see if you can have the same experience that Kerouac paints in “On The Road”. Kerouac says that these people, that live so madly, are the only people for him and I can hope to surround myself with the same caliber of person so that I may continue to be so inspired as Kerouac or his readers. Kerouac’s unique viewpoint is always inspiring as you can see and feel and imagine what he is seeing. This appeals to me at the very core of my being since it is about raw energy and unique viewpoint. Truly Kerouac appeals to his readers at they’re base emotions. Kerouac’s very description piques the readers interest and shares with them his mad vision of the more interesting people that only he associated with. These are the beautiful people, these are the movers of the world, the shakers of societies, like Goethe’s Germany. I wonder what they said too.
Friday, September 16, 2011
Character Analysis
The picture above shows the American flag with a shrouded dictator at a podium. This represents Screwy Spring Mans colors because he uses his red white and blue colors to trick people into thinking he is a good guy, although he is in actuality quite evil. The shadow of the dictator represents the way that Screwy Spring Man pretends to do well while actually causing harm to all those around him. He works from the shadows while claiming to do good. While Screwy Spring Man was at one time a good person, after the accident that caused him to lose his legs and arms he has become bitter and greedy. His costume is black on the inside much like the how the character feels on the inside. He also utilizes red to show his anger.
The shadows in this picture represent a good depiction for Screwy Spring Man because he is backwards, quite like the photo. You can see that the actual character is shrouded but it is his shadow that is really the character. The shadow is not what it seems with Screwy Spring Man. This is appropriate because Screwy Spring Man is, on the surface, something different. Screwy Spring Mans real intentions operate in the background. You can see that the man in the picture is plotting something in the background, much like Screwy Spring Man. While the shadow is in the light you can’t really see what the truth is, whereas Screwy Spring Man in the light is not what he seems.
The Shark Tooth is a sharp shape like Screwy Spring Man since he is pointed at the bottom of his body, like that of a shark tooth. Also the way that this shark tooth is detached from the shark, making it useless, Screwy Spring Man is missing parts of his arms and legs, making him seemingly useless as well. The sharpness of the tooth and the character are similarly dangerous. The shark tooth is shaped like a tornado, symbolizing its danger again quite like Screwy Spring Man. Screwy Spring Man is deceptively dangerous, like the shark tooth because there are layers to the danger. Screwy Spring Man has layers of danger as well. Also he is angular, similar to the shark tooth.
This picture represents the colors of Cheeky Chuck. Cheeky Chuck’s brown and yellow shirt represents his ability to be one at nature and to be relaxed in stressful situations. The wide open space of white light represents his good intentions as well as his white pants. The open lake represents his honesty and good nature. The blue lake shows how he flows from place to place very naturally, thus foiling Screwy Spring Mans plans. His natural way of doing things is displayed by the tree and the lake and the sky because they are natural things. Cheeky Chuck is one with nature so this picture works for him perfectly and represents his colors.
This picture represents the duality of Cheeky Chuck and how he is not merely a bridge of strength for the world but also an infinite symbol of good. The figure of the eight is also how Cheeky Chuck stands generally. The number 8 is one more than lucky number seven showing how Cheeky Chuck is a little more than lucky. The way that you can see what is all around the bridge, you can see all around Cheeky Chuck. The roundness of the number 8 as well as the reflection shows that Cheeky Chuck is a well rounded character who believes in personal reflection. The reflection may not be on purpose, which is very similar to how Cheeky Chuck accidently foils Screwy Spring Mans plans.
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