THE PADDED CELL

FASHION CONSTRUCTED IMAGE GROUP 4

ROBERT ROACH, IEVA GELEZINYTE, FRANCESKA SHIRKA, KAMIL RACZYNSKI

ROLES WITHIN THE GROUP

These are the roles we all assigned ourselves:

Ieva Gelezinyte Props Master, Budget Control Franceska Shirka Hair & Makeup, Model Director (Casting) Robert Roach Set Build, Camera Master, Kamil Raczynski Lighting Master, Set Build

We decided to share out the work in post-production until it cam to colour correction. The entire group also decided to help when it came to actually construct the set under the direction of the set builder.

FINAL CONCEPT
After long deliberation, our final concept came to be about psychological effects on someone slowly, showing an individual in an old padded cell as if she had just been shipped directly from her bed. We chose for her to heavily contrast with the decrepit cell by looking beautiful and feminine in appearance, however through cinematic lighting and the models poses we wanted to showcase that she herself is there for a reason. The props would have to match the aged theme of the cell as we wanted the model to be the only thing that is beautiful and we didnt want the props to be overbearing in the scenes. We also left the garments out as we felt that they really didnt fit into the concept, instead getting an old fashioned nightgown which we felt would fit in with the aged/vintage theme. This also applied to the makeup as we wanted something classic that also showcased a powerful looking individual, looking for a model with quite strong features. Through our research, we also wanted to avoid using things like straight jackets or wild makeup as they would make the images look too clich.

RESEARCH
We researched women and war in history, looking into the womens uniform. This information progressed us to thinking about different ways we could use the garments. We also looked into the history of dolls as they are the associated with femininity. This research allowed us to understand the different materials used in making dolls to get different looks.

RESEARCH
Through our interests, our research began with looking at one of the most famous beauty icons: Barbie, who was the first source of inspiration for our project. We looked at her origins and learned just what made her so iconic to the female population; her trademarks such as the use of the colour pink and others such as: Flawless skin and makeup Anatomically impossible yet desirable figure Extremely long blonde hair We looked deeper into the world of dolls and doll-like icons, looking at both the negative and positive impacts that they have had on society. This also allowed us to get some early discussions about possible characteristics for the models, which would later refine when we decided on a final concept. Even after we drastically changed the concept of our project, the traits we saw in Barbie or the doll-like aesthetic still effected what we wanted our model to look like.

RESEARCH
One of our biggest visual references in our earlier concept was the photoshoot by Dina Goldstein which depicts Barbie and Ken in their dream home but slowly reveals problems within the relationship which eventually leads to Barbie having a breakdown. The idea of mental issues really struck us, especially once we found out about post traumatic which is often seen in soldiers.

INTRODUCTION TO FASHION PROMOTION STUDENTS & GARMENTS

We had to stop and do a lot of thinking after the garments that we would could work with were shown to us and were assigned to a set of fashion promotion students which did not fit in to our concept very well. As our concept included a lot of pink and femininity whereas the garments were heavy with military print and had masculine/powerful characteristics, there was a heavy clash.

RESEARCH
We researched into what a padded cell was and what role it plays. This allowed us to understand what kind of set we would have to construction or at least figure out the foundation / starting point for what we wanted.

RECONSIDERING THE CONCEPT

As a group we gathered to discuss what we could do in order to still get the photo-shoot we wanted while using the garments. We came up with a few ideas, some of which we chose to scrap due to them being too tacky or clich such as:

A Barbie take on military (Scrapped because it would be difficult to do without it looking tacky). Post traumatic stress woman in her bedroom with garments and certain details reminiscent of the army (We decided that this was not something that we really wanted).

These were among the concepts that we decided against but we did like the idea of a psychological atmosphere and we still waned something fairly feminine. We began to try out combining garments and lighting to get the atmosphere we wanted as well as to help us define a concept.

MINI PADDED CELL

This is how I designed the box

This was the ruff put together

This is when we added the wood detailing

This is the box fiinshed

RESEARCH
We looked at similar makeup styles that had themes of simplicity yet made the female face appear fierce and powerful. We found this was often accentuated with red lipstick and thick and / or dark eyebrows.

Lighting

Lighting design is an art..

Must understand style, composition, balance, esthetics and human emotions. As well as the science of light, optics, vision, the psychology of perception and lighting technology.

Theatrical/Stage Lighting
Early stage lighting Stage lighting design is probably as old as the theatre itself. Early Greeks built their theatres in open areas in relation to position of the sun to take advantage of the natural light. They presented plays at different times of day for particular types of light. Over centuries stage lighting developed using both natural and then artificial lighting. Candles, torches, oil, gas, electric arc and lime lighting,

Light can be used to create the different qualities which overlap and do not exist independently from each other. Visibility
Most basic and fundamental function in stage lighting. Depends on intensity of light as well as contrast, size and colour.

Objectives of Stage Lighting

Naturalism
Provides sense of time and place.(Sun/candle light, indoors/outdoors)

Composition
Refers to overall pictorial aspects of the stage. It also deals with the form of an object.

Mood and Atmosphere

Mood considers the basic psychological reactions of the audience. Lighting can cause a wide range of different emotions.

Qualities of Light
PHYSICAL and the PSYCHOLOGICAL properties Knowledge of the behavior and properties of light can help explain vision and human perception.(cold/warm soft/harsh) Properties of light affect the eye/brain process and cause feelings and emotions.

Basic Qualities of Light

Intensity
Refers to the strength of a light source. Illumination Refers to amount of light falling on a surface.

Brightness
Refers to the amount of light reflected by an object. Brightness depends on the intensity of the source, on the distance to the object and on the reflective properties of the object.

Form
Light provides objects with a sense of form. (Helps recognize the shape and size.)

Colour
Colour is usually discussed in terms of HUE, VALUE and CHROMA. HUE is the classification of a color that the eye sees as red, green amber, etc. VALUE indicates lightness or darkness of a color. CHROMA indicates the purity or saturation of the colour.

Direction All these qualities contribute to the final lighting effect, which purpose is to underpin the concept or the mood of the scene.

Light Patterns
The lighting pattern is a relationship between the light source and the face of the model. To adjust the lighting pattern light source can be moved or small head movements can be applied.

Butterfly Lighting
Also known as Paramount lighting. Popular pattern within Hollywood photographers of the 1930s. Characterized by butterfly-shaped shadow below the nose. Works best with lean subjects with high and pronounced cheekbones. Light source above the face (typically 25-70 degrees)

Loop Lighting
Creates the loop-shaped shadow under the nose, Most frequently-used pattern. Considered to be a relatively flattering. Lights most of the face and gives a sense of depth.

Rembrandt Lighting
Creates a strong pattern characterized by a small triangle of light under the eye on the shadow side of the face. Best reserved for character studies and moody fashion work.

Short and Broad Lighting

Short Lighting
Light source illuminates the side of the head not visible to the camera. Probably the most commonly used position. It works well with a variety of faces. Often used for narrowing the face.

Broad Lighting
Light source illuminates the side of the head visible to the camera. Very useful, but not so popular as the short position. Makes a face look fuller, as it illuminates both the side and front of the face. Useful for eliminating eyeglass glare.

Hollywood Portraits

I found the book titled "Hollywood Portraits", in which I found the overhead shot from 1940s of Virginia Mayo. The model was lit from above. Harsh lighting creates defined shadows and interesting patterns around the model. Hollywood lighting is very dramatic and glamorous.

Virginia Mayo
"The Princess and the Pirate"

George Hurrell
A great photographer The Grand Seigneur of the Hollywood Portrait, George Hurrell defined the look of glamorous Hollywood during its golden age of the thirties and forties. A master of dramatic lighting. His dramatic shots defined the look and character of Hollywoods elite in that era.

Cinematic Lghting 3 Point Lighting

The Three Point Lighting Technique is a standard method used in visual media such as video, film, still photography and computer-generated imagery. It is a simple but versatile system which forms the basis of most lighting

Olaf Muller
Tungsten lighting

Greg Lotus
Vogue Italia

Greg Lotus
Vogue Italia Beauty

PREPARATION FOR CONSTRUCTION WEEK

After we had a concept set, test shooting was started to help us figure out what needed to be done and we began to prepare everything that we would need for the week when we were shooting and constructing.

Testing for building the walls and floor. Searching for the correct props / Construction of box. Searching for the right garment and makeup artist / makeup development. Lighting development and refinement.

We found the correct nightgown, a box was constructed to make it appear that she had been shipped in. We had found a model and a backup model too. It was difficult to find a makeup artist that would fit into the budget but we eventually found one.

Lighting Diagram
Overhead shot

Test Shot

Lighting Diagram
Side shot

Test Shot

CONSTRUCTION WEEK

DAY ONE - We had planned roughly how we wanted the week to go before we

came in on Monday when we began to build the set. However, we actually finished ahead of schedule that day.

DAY TWO We finished off the set and began to roughly set up how we wanted
our lighting to be so that we could be a little more prepared the next day when we wanted to test shoot.

DAY THREE Although the lighting had been sorted the day before, we spent the
day testing the lights and fixing them for the real shoot day, we also narrowed down the poses that we would want the model to pull and printed them so they could be prepared for the next day.

DAY FOUR The day was off to a great start with the model and makeup artist
arriving on time and the shoot went successfully, right on time. There was some trouble with one of the cameras we were using but managed to fix it.

DAY FIVE Taking down of the set went smoothly, everything that wasnt needed

anymore was thrown to the skip, and we cleaned the studio on time before the next group came in.

We also recorded a time lapse through out the entire week to document our progress and it was uploaded to Youtube. http://youtu.be/6JLh64e7UnA

POST PRODUCTION
Since we all worked on the post production, three people worked on one image each while another person worked on two, the retouching process went by quickly and we managed to finish the images within three days. To finish off, all the images were colour corrected by one person on one computer. We mocked up roughly what we wanted the images to look like on InDesign, as well as doing some test prints on photo paper to make sure that the images looked right when printed properly as it was difficult to judge when they were cheaply printed from the Phaser printer. We spotted some things that needed some quick retouching, as well as taking into consideration the images to decide to get rid of one that did not quite fit with the series as we wanted it to. This also meant some decisions had to be thought through again about our layout in InDesign.

FINAL IMAGE ONE

FINAL IMAGE TWO

FINAL IMAGE THREE

REJECTED IMAGE ONE

REJECTED IMAGE TWO

INDESIGN LAYOUT
http://www.scribd.com/doc/141124029/Group-4-FCI-Lay-Out
1. The rationale behind our edit was that we wanted to show off the set as well as the model, and down to the constraint of having a limit of 6 pages, we had to compromise on not having a still life within the final series. We decided to not use as it didn't compliment the rest of the images well. 2. The images that didnt make the cut were not used because they either did not show much of the model, the set, or they did not flow with the groups strongest images. 3. We knew we wanted the over the head shot to be the main image within the series, we worked with the other images that were in focus and compositionally similar to the other the head shot, with the same space around the model. 4. The alternative layouts were rejected due to the fact that they did not fit into the series for a smooth flow in the editorial, therefore they have been documented in the sketchbooks and blogs.

GROUP EVALUATION
*NOTE: THERE ARE INDIVIDUAL CRITICAL APPRAISALS IN THE LATER SLIDES

What were you roles ion the group? Rob: I designed and made the box which was the main prop in the shoot. I also organized how the walls were going to create the walls and found the materials. such as wadding and was the camera master for the shoot. Ieva: I kept track of the props and budget making sure we had enough money to supply materials and pay the model. I also participated in making 200 cotton covered buttons by hand! Kamil: I helped rob with heavy construction work through the building and deconstruction of the set. i also was in charge of the lighting which I provided full research for. I filled in risk assessment and was in charge of health and safety. Franci: I took on the role of model direction, model casting, MUA casting and the production of 2 sketchbooks. however also helped with the whole set equally as did everyone else.

What did you find difficult? Ieva: Finding the cheap vintage teddy. keeping on schedule. supplying enough tea! Karmil: Lighting the hole set! pre-lighting with out the model! keeping relaxed and being polite HaHa! Rob: Transporting wadding. Finding enough money to buy the materials Franci: Just traveling to Uni super early!

What would you change about the week? Kamil: Something the whole group can agree on is that we should have been informed prop the concept being created that we were not obliged to use the MA student garments so we could have made our inhale idea come true! more budget money and props would have been interesting too! Ieva: During the week i would have liked to her the images perfect to avoid masspost production Franci: We had only hired the model for 9.30 till 4 Pm and would have liked to work with the model for longer. And I also speak for the whole group when I say I would have liked to use the camera too! Rob: I thing everything when to plan, and these bits that did not we was able to fix easily

LESSONS LEARNED
1. FRANCESKA: Allow enough time to build a stronger concept and not revolve it around problems that we came across in order for it to work. 2. KAMIL: Being more focused on the individual tasks that we were assigned to rather than getting involved in someone else's. Having a less laid back approach towards the whole production and making every spare time count. 3. KAMIL: The group work gave us an idea of how the work is done within a professional fashion industry and taught me the art of compromising. ROBERT: I learnt that practice and experimenting was key when constructing the set, the more practice and most ups I built the easier it was on the day. IEVA : understanding the amount of money and work that goes into building one set and learning to work to my full ability to overcome challenges that arose. FRANCESKA: I learnt how to overcome obsticals such as hiring models and makeup artists and that the casting process should take action before any concept is laid down. 4. GROUP: We didn't consider the amount of materials and tea that was needed, however we made it work well. to avoid this in the future, having more material that you actually need may be essential. 5. ROBERT: Developing, collecting and getting the materials delivered on time. FRANCESKA: Hiring and casting the models and finding the makeup artist that is willing to work for print. KAMIL: Adjust to the group working ethic. IEVA: Fitting and understanding my role as prop manager.

CRITICAL APPRAISAL FRANCESKA SHIRKA

Within this project we have based it around mental illnesses, initially we focused on PTSD which then developed into various mental illnesses which are common in people who do not show that they suffer such as anxiety, claustrophobia etc. We didn't want these issues to be literal within the images related. The project was shot to be in the context of a magazine or showcase magazines. For our photographic choices our initial idea was to shoot from birds eye view for all the images however, this restricted anything interesting happening within the set however we continued to keep the idea and develop on it for one of the images. We wanted to introduce a open space which also made you feel trapped we achieved this with shadows and dramatic lighting, allowing the audience to ask questions. I partnered this atmosphere with positioning the model in unusual poses, which seemed uncomfortable set natural. I organized that the models herself have an angelic porcelain look to her almost like a doll who is hiding secrets behind her deadpan expression. Our visual chooses translated our idea very well, and subtly which we were aiming for overall. I managed my studies pretty well taking on the role of the model director, model caster and fashion and styling. I Came across a few difficulties such as Finding a model I had already built an imaginary image of what I wanted the mode to look like her features, hair and clothing, this soon made it harder for me to find a real person close enough to what I wanted to go for! However I managed to sign up to mode mayhem, which made my searching much easier. I gathered up many sources of the look I wanted to achieve on the model before choosing the model, which I then learnt that not all make up references. I documented and printed out any visual reference we used throughout our project and documented them in the sketchbooks, which I was also in charge of creating and completing. I also avoided any major conflict with any of the group members.

I need to reflect on making everyone communicate with each other in a understanding manner to prevent group members with not being happy with what was happening in the project, I would have also likes to have had a colic concept at the beginning of the project so we had more clear idea what we were going to produce and try develop onto that. The most significant challenge on these units was making sure everyones idea was heard and put into context. Also gathering up and building up the sketchbook was a stressful process and finding the perfect people to cast. To overcome this in the future I need to think differently by developing the shoot around the chosen confirmed model to ensure that it has consistency and everything feels 'in its place'. Also hiring a makeup artist, to overcome last minute hirings I will create a address book of all local make up artists that are willing to work for print or affordable price which I will contact first before searching for new Maus. Keeping up with the sketchbook was a harder challenge than I had imagined as there was set build and practical work to be completed, to avoid this I can manage time more efficiently which would allow me to have enough spare time to compete it at a high standard. Overall the group worked well together and shared out tasks evenly so no one had more to do than anyone else. Everyone took part in the construction and was loyal to their chosen roles within the production, which allowed everything to be organized and run smoothly.

CRITICAL APPRAISAL ROBERT ROACH

Within the production I originally said that I wanted to take the lead within the set construction, as this was something that I felt that I would be able to do, this ended up incorporating the scenic design of the shoot as well. Working out how to design and build and colour the set to what we wanted our final images to look like. I also ended up with the job of taking the photographs of the final shoot as well as becoming a form of project leader within the group and making sure things where done on time and were up to the standard that was required. After seeing the fashion garment we started to think about working post traumatic stress disorder [PTSD], this was our concept throughout our project. however our clothing still did not work 100% as we would have to only work with one piece and hide most of it. so we was told that we could source are own clothing, which we did. we still wanted to work with the idea of PTSD. which we then decided to work through using a padded cell environment. I would place our work within the context of a fashion show-case magazine like 125, TANK, LOVE, I-D 10. The reasoning behind are photographic choices , are that from the very beginning we came up with the idea of shooting from an aerial possession from above the top of our set. This was either going to be for all of our images or form one or so within are layout. As well as this we did not want to be controlled by the limitation of the and having a similar look to all of are images so we also decided to use a camera on the floor so it would be possible to have more images to edit from to make are editorial layout. We wanted the styling and the lighting and the cell to look like the model had been taken from her bed and shipped to the cell within an army crate. we did not want the layout to be literal we wanted the piece to make the audience ask their own question, about why this lady was with in the cell, how she got there, did she belong there, Etc.

I feel that our visual choices translate our concept behind our shoot, as we did not want the theme of mental illness to be obvious, and wanted the audience to come up with their own idea about why and how she came to be in the cell. As a group i feel hat we managed our studies well, as we did not have many documented meeting. we meet in an informal way a couple of times each week. We also worked to schedule . On an individual basis I feel that I managed my time well as I have been able to complete all of the tasks that have been asked of me, as well as helping out the other members of my group. I feel that the shoot production went well. I feel the things that we need to reflect upon is the cohesiveness of how the team work together, mainly with regards to some of the team who seemed to find it hard to communicate with the rest of the team, which consequently lead to there being problems throughout the whole of the project, as well as some arguments between some of the members of the team. I feel this was mainly down to us changing our ideas when we saw the designers garments, and the majority of the group compromised on there idea about how the shoot could have looked. this lead to problems because the original idea that we was talking about was working with something that was bright and colourful with a Barbie theme behind. however when we saw the garment we changed our idea, I feel that a member of the team was not able to drop the idea of working the a LaChappelle feel to the image. this caused a lot of problems as, as a whole group we was unable to move on and develop our concept behind our editorial shoot. For me the most difficult challenge of this unit was, working out how to make the walls and floor, this was because of the cost involved in getting the wadding for the walls I have only been about to test it in a small scale, as we did not have the money in the budget to test this on a large sale. this lead to me practicing and planning everything, within theory the ability of it being able to work full size. I was worrying unnecessarily as it worked perfectly in full scale. Without having a bigger budget for the shoot I feel I over came this problem well as the techniques that I worked out worked well and we were able to make the cell look how we envisioned it.

CRITICAL APPRAISAL IEVA GELEZINYTE

In general, I didn't know much related to fashion photography before the project began so I was unsure what I would have to do in my role as a prop manager. I was only confident in managing the money for the group. Through the project I learned about propping and, because we used vey little propping, I ended up doing work with scenic design to help in the set construction. Most importantly, I found out that I need to be more critical in post-production as I didn't much about the things that needed fixing. I also began to understand more about the various social issues surrounding people who have mental illnesses in association with mental asylums and padded cells. The context of our work was set to suite the sinister feel of padded cells coupled together with the moody and serious lighting. I feel like we tackled the oddity of mental illnesses in the sense that some of them may be misleading. I think the visual aesthetic of the work matched something that would be seen in editorials like TANK. During our photographic process, we all contributed our ideas to the camera master so when we shot, we managed to get images that we felt conveyed something odd about the character in the editorial while making her looking out of place to her surroundings. The postures of the model have a sense of confusion and a bizarre feel that speaks of something not being quite right. The way that we laid out the images also depicts her I think that as a group, we each pulled our weight on the project to keep up with the research needed on the project. Personally I think that I could have done a better job as the prop manager as I had help regarding finding the props but I am satisfied at keeping the money on track as the budget manager. Also, I think I contributed to some of the other responsibilities through the project, in particular to the post production of the images.

Although we spent a long time preparing for the shoot and tested exactly what we would need, I think the part that we need to reflect on is that we could have shot more images to have a larger variety to choose from. The largest challenge for me has been to better understand how to work in a group, which I found difficult; it was hard to know how to compromise and put forward my ideas in a way that would allow us all to work together. To overcome this in the future, I just need to get more confidence to openly speak about how we want to do something and understand how everyone can compromise their ideas at the right time.

CRITICAL APPRAISAL KAMIL RACZYNSKI

For this unit we had to work in a group on production of a fashion shoot which aim was to deliver set of editorial images suitable for magazine spreads. As this genre of photography involves a narrative behind images, the main issue of this unit was to convey the story through photographic images, while concentrating on all aspects associated with production of a fashion shoot. Our concept was based on initially introduced garments and refers to psychological problems related to the aftermath of military service. To reflect the atmosphere of a padded cell in the mental asylum and truly represent our main character, who suffered from posttraumatic stress, I decided to use dramatic, directional lighting from small sources to create strong, defined shadows and maintain the contrast in all images. Rembrandt lighting was appropriate as it is used to bring out character of the model and often applies to moody fashion work. I was familiar with the theory of dramatic lighting techniques, however I have never had chance to apply it in a fashion shoot before. In practice it turned out to be more complicated, but I quickly understood how to control light patterns on models face by directing the model, constantly keeping an eye on her and making sure the butterfly shadow doesnt break the lip or that enough light falls on models eyes. Most significant challenge was to visualize the image with applied lighting in advance, without the model present in the set. I think that working with storyboards would make the job easier and allow predicting position of lights accordingly to the composition. Our work suits in an editorial field of photography and I would like to see it in a fashion magazine.

WORKING STRATEGIES FRANCESKA SHIRKA

- Managing & Organizing The group was well organized and always had research and tasks set done on time, we managed time fairly well as when we got the final shoot there was no running about or rushing present as everything was well planed and set out. - Communication & Work Ethic Communication rose as a small problem throughout the concept building and overall idea as some members of the groups ideas and wants clashed with each other. The work ethic throughout the majority of the group was fairly laid back and calm but I believe one member of the group found it difficult to work around in this state of mind which created small arguments out of stress. Timekeeping & Commitment The timekeeping was well within our group however I did have to pull a few hours of of my sleep in order to complete sketchbook in time for submission. I had full responsibility of the group sketchbook and was committed to finished what I had started so the book flowed in one particular style. Everyone was happy with their roles and put in all their effort towards the final production

WORKING STRATEGIES ROBERT ROACH

- Managing & Organizing I feel that we worked well in terms on managing each other. As we would all give each other deadlines for when things needed to be done. This seemed to work well with most of the group, however some people did have problems completing the tasks asked of them. - Communication & Work Ethic I feel that communication worked well within the group, between most of the group but some members of the group seemed to have problems communicating with the rest of the group as they would keep coming up with ideas that linked to the original idea and would not drop this, and this caused us a lot of problems as we were stuck in the same place trying to move on for a couple of weeks. with regards to work ethic I feel we have all committed to the project even though some of the group was not committing fully to the final concept which has to change due to the restraints of the garments. - Timekeeping & Commitment I feel that time keeping worked well and we were able to have all of the sections of the project completed on time, as well has having the set built faster that I had anticipated . I feel that the team was committed to the project even if they were not committed to the concept.

WORKING STRATEGIES IEVA GELEZINYTE

-Management & Organizing I feel that our group was very well organised when it came to being prepared toward the set build week. We were ready on the Monday that we arrived for the set build with a plan of how we wanted to get through the week roughly. I think that in terms of organising and managing, something that was a problem was the meetings we had were very casual and so we did not keep track of them properly which is something that might would have to be managed differently in the future. -Communication & Work Ethic There were some times that the group was discouraged, the work ethic was fine as members of the group pulled their weight and would help one another with each other's assigned responsibilities. This was especially seen during the actual set build week when everyone contributed. As with the discouragement, there were times when we had trouble communicating with each other and it resulted in disagreements but they would be settled. This could be settled differently with everyone being clearer about what they want and more open towards accepting each other's ideas quicker. -Timekeeping & Commitment We feel like we all managed to accomplish what we wanted within time limits. The group didn't fall behind even with the sudden turn in our project and made the most of the time given to us to find what we needed or to make our work the best that we could make it; especially with the post production where we found that working to the very last day we had allowed us to pick the details that we had missed sooner. There was one panic about finding the right wadding for the right price in time but even then it was done in time. Everyone in the group was committed to their work and worked actively to do what needed to be done, even thought there was some confusion when the project took a very sudden turn towards our final idea. In the future this can be avoided by simply avoiding being easily discouraged.