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David Gaskell / A Collection Of / Garth Marneghi’s Darkplace


Introduction

Welcome. If you are wondering what you have stumbled across, it is my (David Gaskell) research document for Garth Marenghi’s Darkplace.

The content will briefly touch on the show itself and explain where I am going with the brief, the outcomes and the processes I will use to get those very outcomes.

Grab a coffee, sit back and savour.


Content

Garth Marenghi’s Darkplace

Concept & The Brief

Graphic Novels

Illustration Style

Figurines

Packaging

Binding, Stock & Format

Production Processes

1 - 5

6

7, 8

9, 10

11, 12

13, 14

15, 16

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Garth Marenghi’s Darkplace DVD Packaging. Garth Marenghi is a series blessed by the design talents of Dennis De Groot. This explains the aesthetically pleasing visuals throughout the series.

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Garth Marenghi’s Darkplace

‘This spoof TV series is an unearthed 80’s horror TV show, complete with poor production values, awful dialogue and hilarious violence. The series is set in a Hospital in Romford, which is situated over the gates of Hell.’

A 6-part television series, episodes titles are;

Once Upon A BeginningHell Hath FurySkipper the EyechildThe Apes of WrathScotch MistThe Creeping Moss from the Shores of Shuggoth

Filmed in Romford, Essex, UK. Ran for 1 season on channel 4, this aired on January 29th 2004. Garth Marenghi is a comedy character devised by comedian Matthew Holness, who won a Perrier Award at the 2001 Edinburgh Fringe Festival with the character.

Avalon Television and Channel 4 Television Corportation produced the show. The DVD of the series was released on 16th October 2006.

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Dr. Rick Dagless M.DA maverick doctor haunted by the demons of his past. Dagless is an ex-warlock, having renounced the occult in favour of the stability of the medical profession. A veteran of ‘Nam and the Falklands, he now specialises as a paedeatrician and dreams of one day completing the Darkplace Dagless Kiddy Wing. Following the tragic deaths of his three wives, six brothers, four children, and various pets/best buddies, Dagless wages a one man war against scum, freeloaders and the forces of darkness, whilst dealing with the burden of day-to-day admin. He is also a tireless campaigner for the re-introuction of the death penalty.

Thornton ReedDagless’ boss, professional ball-buster and former POW in Korea, forced by his injuries into pushing paper behind a desk. Reed longs to be back on the ward with the young bucks, but his hands are tied with constant pressure from the Fifth Floor and Won Ton. A gifted marksmen, he is still haunted by the memories of his 832 confirmed kills. A pioneering expert in “sack surgery”, Reed is also a tireless campaigner for the re-introduction of the death penalty.


Characters

Dr. Lucien SanchezHot-shot surgeon Sanchez served alongside best buddy Dagless in ‘Nam and the Falklands. A student of martial arts and Eastern lore, he has pledged a sacred oath to uphold justice, which he often keeps. When he isn’t flirting with nurses in the operating theatre. Sanchez can usually be found administrating bed baths or local anaesthetics to female patients. An expert fencing instructor and masseuse, he is the only surgeon allowed to drive a motorbike on the ward.

Dr. Liz AsherLady doctor with psychic powers. Liz joins Dagless’s team after seeing Hell opening beneath Darkplace Hospital. Able to perform stunning feats of telekinesis, Liz is nevertheless afflicted with emotional instability, like most women. Despite having slept with Dagless on numerous occasions, Liz has yet to form any kind of meaningful relationship with her hero. Dagless refuses to acknowledge their intimacies in public, and Liz hopes in vain to one day arrange a meeting somewhere other than the rearseat of his buggy.

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Quotes

A small collection of quotes from the show to give a flavour for the dialogue and the tone of the show.

‘With this show, I wanted people to laugh and cry... and shit themselves all at the same time.’ Dr. Rick Dagless.

‘I ran the only way I knew how: by placing one leg in front of the other in quick succession.’ Dr. Rick Dagless.

‘As a horror writer I don’t ask for much. I just hope I’ve changed the way you think about life.’ Dr. Rick Dagless.

‘Maybe if everyone who’d ever been close to you had died, you’d be sar-castic, too.’ Dr. Rick Dagless.

‘What I do is sometimes get a tin of soup, heat it up, poach an egg in it, serve that with a pork pie sausage roll.’ Dr. Lucien Sanchez.

‘I need to crack this, Dag, cos if not, Won Ton will be all over me like knockers in a wind tunnel.’ Thornton Reed.

‘I’ve been there hombre, when I heard my wife died I could barely finish my lunch.’ Thornton Reed.

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The Concept & Brief

Publishing & EditorialProduce a graphic novel representation of Garth Marenghi’s Darkplace.

Product & PackagingProduce four collectible figurines of the shows main characters.

The BriefTranslate the screen version of Garth Marneghi’s Darkplace to print.

ConsiderationsHow and where will the user interact with the graphic novel. Where will they be able to purchase the novel and figurines.

Tone of VoiceKeeping the tone of voice true to the show.

Target Audience12+, fans of Garth Marenghi’s Darkplace and collectors of figurines. The products will be sold exclusively at Forbidden Planet, so people who shop at Forbidden Planet are the main audience.

Mandatory RequirementsHave fun. Learn as much as I can. Improve as a designer and person.

DeliverablesGraphic novel. Four collectable figurines.


PreacherA graphic novel with full colour illustrations and an intricate illustrations. I will not have the time, nor money to print full colour intricate illustraions in my novel.

PersepolisOne colour simple illustrations are present throughout this novel. The novel I produce will feature one colour illustrations throughout.

Scott PilgrimFull colour cover is followed by one colour interior pages. A thick line, flat illustration style is used throughout the book. Shading is added by adding different sized dots to areas.

WatchmenFull colour, intricate illustrations throughout this book. Way beyond my current talent level and the amount of time I have to work with. I could have a full colour cover on my novel though.


Graphic Novel

As I am designing a graphic novel as part of my project and deliverables I made some research into this sector of publishing.

Before I started researching graphic novels I beleived them to all be similar to watchmen, with intricate full colour illustrations. As any normal human would, I found this quite intimidating. From looking at multiple graphic novels I came to realise that a variety of styles can and have been used. The use of thick line, flat illustration gave me the confidence to traverse the graphic novel route.

From my research in to graphic novels I found the medium to be varied. There isn’t one set illustration style used. The novels I looked at all used various formats, from large (400mm x 300mm) to pocket sized (210mm x 150mm). From my research I have understood that a graphic novel is a very open sector to work in. The only real restrictions I will face are time and finacial issues.


Illustration Style

Seeking inspiration from illustrators was my next step. I am designing the novel in a restricted time period considering what I am aiming to achieve with the graphic novel and figurines.

I want the graphics of the novel and figurines to be bold and simplified. For this reason I researched this style of illustration. The main reasons for me choosing this approach to the illustrations for the novel is the limited time for design and production I have. The second reason is the boldness and block colour fit with the screen printing process I want to use to print the novel.

Using this style of illustration in the novel will allow make the figurine production more feasable. As the figurines are going to be 100mm tall I will be restricted with the amount of detailing I can include in my char-acter illustrations and subsequent figurines.


Figurines

As part of my deliverables is a set of collectable figurines. I looked at a variety of models and toys and decided upon designing a set of figurines myself. There are a wide variety of toys and figurines on the market. These vary in size, materials, detailing and whether the model does or does not having moving parts.

There are certain restrictions I have facing me,. Materials, cost and time. However, the first two are the biggest factors in the project which have dictate the outcome.

Material and machinery are a huge factor. I do not have access to an injection moulding machine. Without one of these, creating a model with moving parts is very improbable when combined with the time restrictions I have.

The solution to this problem is to make a one piece figurine. Not having moveable parts will allow me to mold and cast the figurines without the use of expensive production processes.


Kidrobot DunnyA closed packaging. This make it hard to buy a product in confidence. Also the packaging is very busy. The figurine is 75mm high put the scale of the product in perspective.

Kidrobot Dead KennyClosed packaging is less of an issue when dealing with such popular characters. The design is much less complicated which makes the it easier to guess what lies within.The figurine is 75mm tall.

POP! RorschachOpen packaging used with this model. Height of which is 100mm. The window in the packaging gives the customer added confidence when purchasing the figurine. They see what they are buying before they buy.

POP! Edward ScissorhandsThe packaging can stay uniformed in appearence whilst making subtle changes to individualise the packaging for each figurine. This is the direction I will take with my packaging. The figure is 100mm tall.


Packaging

The packaging I use will greatly affect how the product is seen by the Great British public. On the opposite page you can see the core decision that came clear to me through my research. The effectiveness of my packaging centres around whether I include a window or not.

The Kidrobot packaging I found doesn’t include windows, this makes for a nervous purchase and one that I personally avoided when confronted with a windowless packaging.

The POP! series packaging includes a window, this makes for a more comfortable purchase in-store.

After interacting with both types of packaging in store I have decided the best packaging for me to use includes a window.


Binding, Stock & Format

The binding method, stock and format will greatly affect how my graphic novel will be read by the audience. I have taken into consideration user interaction when deciding upon the stock, binding and format.

BindingI will be using open binding, a binding method that allows for the graphic novel to lay completely flat when opened.

StockAs with The Democratic Lecture book, having a extra heavy stock gives the book a more hefty and luxury feel. The manufacturing process in creating greyboard links with the pulp fiction subject matter and format I am presenting the graphic novel in.

FormatThe format for the book was glaringly obvious to me after just moments of research. The format I am using is pulp fiction (112mm x 175mm), I chose to use this format as the tone of voice, and subjects covered in the show ring true to much pulp fiction literature. The size of the book is shown via the crop marks on the opposing page.


Production Processes

The two parts of this brief are very different but connected I will be required to use a variety of production methods.

Graphic NovelOpen bindingScreen printing

FigurinesClay model makingResin casting Box makingVacuum forming.

The most time consuming production processes I will be undertaking are clay model making and screen printing. Both of these processes will be a matter of trial and error.

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Documents

television series

darkplace dagless kiddy

rick dagless

death penalty

avalon television

television corportation

tireless campaigner

comedy character