Color and Light Summary

Research and Artistry

These are some of my summarised notes from the Schoolism course on Designing with Color and Light by Nathan Fowkes. We should try and keep these in mind when planning our color script. These were wrote with 2D concepts in mind but applies to 3D also.

  • Use Photoshop layers/groups for editing depth from foreground to background – 3 to 8 layers (from my own experience of working in Photoshop)
  • Consider atmospheric depth – values.
  • Consider atmospheric depth – color temperature.
  • Use depth of field blur
  • Use repeating shapes in z-space to create depth.
  • Consider the light source, where it hits local color, and where it is blocked.
  • Consider shadow color. Is it affected by bounced light from sky, or bounced light from light source?
  • Vary each of hue, value and saturation. Consider the key of the light (the levels distribution). Consider variety across the color script sequences and how they lead into each other. 
  • Does the light and color design (hsv) reflect the mood of the story?
  • Use variety in color temperature harmonies to create visual interest.
  • Use local colors for visual interest.
  • Use optical mixing to create greys (etc.) that are more alive e.g. dots of grey-yellow beside dots of grey-magenta.
  • Contrast should be reserved for the focal point. Draw the eye with sharp edges, contrast in value and light and contrast in hue temperature.
  • Group your values for readability. Adjust photo textures to the same value groupings.
  • Use weather to build atmosphere and mood.
  • Check perspective for every part of the painting – sky, ground, characters, textures, effects etc.

I went into more detail on the course in earlier blog posts:

Schoolism Color and Light with Nathan Fowkes Week 5

Schoolism Classmate Feedback Week 05

Schoolism Week 06 Light and Atmosphere

Schoolism Week 06 Feedback: Atmosphere and Light

Schoolism Week 07 Designing with Light

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Week 10 Maya Lighting, Arnold AOVs and Nuke Compositing

For week 10, the team divided into two segments. Matthew, Sorcha and Andrew focused on the animatic while Kerry and I focused on trying to recreate the house scene exterior. I blocked out the scene trying to match the scale and perspective/focal length and composition of the concept and then shared the project with Kerry. Kerry focused on modeling the house and bridge while I focused on modeling the trees and testing the lighting, rendering and compositing.

 

I was having trouble getting the Z depth pass from Arnold to work in Nuke so this first render test was created by rendering the geometry in separate render layers in depth and then manually adding the atmospheric depth on each layer in After Effects. This resulted in a lot of control over the layers but created more work in setting up different render layers. I think that ideally we’d want a lot of control but not as many separate layers.

 

 

AOVs and Nuke

I was loosing hope in using the Z depth pass. I had got it working before by grading the Z pass in Nuke so that it was visible in the viewport but hadn’t tried it in a long time so was missing a step. Alec as usual was lots of help!:) He went through an Arnold to Nuke workflow with Kerry and I and showed that the Z pass could be read by a zDefocus node in Nuke for simulating depth of field. Alec also showed us the benefit of having separate AOVs that could be edited in Nuke.

Andrew shared this video from Arvid Schneider’s YouTube that goes through the same process of rendering multiple Arnold AOVs into one merged EXR file and then extracting and recombining these in Nuke with shuffle nodes. This video also shows how to use the Z pass to create atmospheric perspective (finally!). The Z pass needs to first be extracted from the merged EXR and then the depth channel 0 to 1 space needs to be normalised by grading the white and black points with values from the clipping plane (if I understand that?). Schneider also shows a useful way of creating a custom AOV for material IDs using the aiWriteColor utility.

Arvid Schneider MtoA 120 | AOVs for Comp | using Arnold with Maya 2017

 

 

It took me a while to understand the different steps in this workflow. This page has useful information on the different sets of passes/AOVs that can be used to compose the beauty pass.

https://support.solidangle.com/display/A5AFMUG/AOVs

Nuke swapping channels

http://help.thefoundry.co.uk/nuke/11.0/Default.html#comp_environment/channels/swapping_channels.html

I got the composite working for a simple scene with spheres. Alec showed us a possible method of creating light bloom by rendering a rim light in Maya with the indirect light turned off and then blurring this in Nuke to get a soft light halo effect. I added a separate render layer for the rim light’s direct light as I can’t yet figure out how to render different lights into their own AOVs with attribute overrides. Creating light bloom needs to be further looked into. Alec had advised to work towards making rendering and compositing templates that could be used as a base across scenes.

 

Alec suggested pushing the atmospheric fog and cinematic composition even more, as in the last image. I also made the mistake of making the depth of field too strong so that it looked like miniature photography. Sorcha pointed out that dof should be used for objects close to the camera. I had a feeling that this was the case but I haven’t experimented much before with where the blurring starts and stops with objects of different scales.

We haven’t started experimenting with any textures or shading yet. The light in the window is just a temporary Photoshop layer. Alec suggested creating light scattering with either environment fog or faked god rays wrapped around geometry with an alpha channel. The grass at the moment is also just simple Maya Paint Effects so this might change with the texturing process. The rain and fog are Photoshop overlays so will have to be looked into further also.

 

Concept Sketches/Ideas Development Week 07/08

Week 07/08  – Artistic, Planning and Research

My tasks/goals for this week were to finish 3 production design paintings based on the animatic and to design the masked creature and Reymond, the sexy tree, further. The team deadline for reviewing the project concept art is November 20th so I’m definitely feeling behind on these tasks! This is what I’ve got so far.

A core rule in our world is that spirits possess inanimate objects with faces. This is an idea for a possible opening shot that plays with this rule. Ideally we would have a short opening before this which would convey the rule of spirits so then this opening shot could give a moment of “wait, but that means that any of these trees and statues in the environment could be alive/undead?!”. Some narrative could be then be suggested in the undergrowth if statues had been defaced or had magical amulets to prevent possession. I haven’t added these last details to the forest statues yet.

Sorcha had mentioned that our short could be set in autumn so I tried this palette. We’re also considering that the time of day could move from dusk to night.

I tried to draw Nami in but it’s tricky from this low perspective so she’s not quite right. In the animatic she’s flying into the frame but I wanted her face to be visible for this still.

These next few sketches are considering the staging of when Nami is talking to the creature who she has mistaken to be Púca because of it’s bright orange eyes. Púca could be concealed in the shadows behind Nami, perched on top of a totem-pole type arrangement of statues. Púca’s eyes could be the first things that become visible so that the audience might suspect a statue head is being possessed by a malevolent spirit?

I’ve gotten as far as applying value masks in this one but the value arrangement would probably be different, with the background in shadow and Nami the most illuminated.

Reymond still needs to be explored in sketches. Both sides of the crossroads could be designed with opposing palettes and lighting. Sorcha suggested that this scene be bright and sunny colored to suit Reymond. Alec suggested the possibility of lantern lighting too which is a good compromise for having an inviting palette which is still at night. The second frame is inspired by a similar crossroads, aerial composition in Samurai Jack, just to see what it might look like.

Masks and carved heads are often used as threshold guardians. This could be suggested in the detail above the doorway. The door should also suggest the dilapidated and abandoned qualities of the house inside. We have different options for how we can lay the stone. They could be large slabs or rows of thinner faces laid like dry stone wall.

The inside of the house could look abandoned and run down. The house has probably been used as a vessel for eating people before, so the center of the floor would be clear while dust and debris would have gathered around the edges. There could be a fire place towards the back with remnants of pots and tools lying around.

When the house is possessed it takes on the qualities of living tissue on the inside but should also feel like the insides of an otherworldly/spirit monster.

This is a possible idea for the design of the vessel/creature which lures Tato away. This concept plays with the idea that the one of the forest statues had not been defaced/sealed so that it was a suitable vessel for the forest spirit. Spirits monsters could be a combination of the materials that they possess along with the material of the ectoplasm bodies. The ectoplasm material could form solid limbs or remain as a ghostly, fluid material which allows the vessel to float in the air. The eyes could be orange flames of ectoplasm/soul. I purposely avoided limbs so that there would be less walking/running animation but the others say they don’t mind.

Sorcha and Kerry also suggested another idea for the creature which supports the narrative in the previous designs that Matthew created – the spirit could be using a skull mask as a vessel. I like this idea too as it makes sense for its forest habitat. Andrew pointed out too that Nami must believably mistake this creature for Púca so we’ll have to work with the staging more, maybe keeping it more concealed with shadow and foliage.

These are our various team Pinterest boards which give an indication of our design references. I’ve also posted some of the images below which I used specifically from the boards.

Monsters Character Design

Environment Reference 

Spooky Gothic Horror

The 5 C’s of Cinematography – Camera Angles

This post includes my notes from the chapter on camera angles from The 5 C’s of Cinematography by Joseph Mascelli. My previous notes from the chapter on composition are blogged here. I haven’t read this book since first year and had forgotten a lot of important points through lack of practice. Hopefully we’ll be able to employ this knowledge better in our next animatic!

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Mascelli, J. (1965) The 5 C’s of Cinematography. U.S.A. : Silman-James Press

The 5 C’s of Cinematography

  1. Camera Angles
  2. Continuity
  3. Cutting
  4. Close-ups
  5. Composition

Camera Angles Notes:

Story requirement should dictate the choice of camera angle. Ask yourself two questions when choosing: What is the best viewpoint and how much area should be included?

The scene is the place where action is shot. The shot is one continuous view without cuts, also known as a take. A sequence is a series of scenes or shots.

Consider three types of camera angles – objective, subjective, point-of-view.

The objective camera is when the viewpoint is from the sidelines.

The subjective camera is from a viewpoint within the scene, e.g. from a person within the scene or moving with the camera to take a tour of the scene. This is an effective viewpoint for startling the viewer e.g. in a rollercoaster or falling from a height. The viewer feels like they are in the scene, through the eyes of the characters on screen.

Moving shots are always subjective. A static shot can be made subjective by first showing a close-up of the person whose eyes you will see through, looking off screen.

You don’t generally see from the viewpoint of characters who are interacting as it will result in disruption from characters looking into the camera (your eyes).

Subjective filming should be reserved for when you want to show the mental condition of a character as using this shot too often will rob the audience of seeing the subject’s reactions.

Point-of-view shots are those that position the camera within the scene but not from the viewpoint of a character. It is like standing cheek to cheek with the character so that you see what they see, but you remain objective. Over-the-shoulder shots set up the relationship between the two characters. This objective shot can again become subjective by showing a close-up of a character looking off screen. It is easier to identify with characters on-screen if you see them from the same viewpoint/standing alongside other characters in the scene rather than objectively on the sidelines.

Two don’ts: Don’t show a close-up of a player looking off screen, cut to see what they’re seeing and then pan around to look at themself. Don’t show a player pointing off screen and then have them walk in the same direction that they’re pointing. (why this second one?)

A camera angle is defined as the area and view-point recorded by the lens” and is determined by three factors – subject size, subject angle, camera height.

The size of the subject in relation to the frame determines the type of shotExtreme long shot, long shot, medium shot, close-up.

An extreme long shot depicts a vast area from a great distance and is used to impress the viewer with the huge scope of the setting or event. A panning camera for this shot should be reserved for when something interesting can be revealed with the pan.

The long shot is used to establish the scene, who is involved and where they are. Whenever considerable, narratively significant movement is made by the character it should be re-established in the long shot. Medium long shots can be substitued for long shots on narrower screens.

A medium shot frames characters above the knee or below the waist.

The two-shot is a dramatic medium shot where two characters are framed confronting each other. The two shot can be framed with both characters in profile and equally dominant or it may be more interesting to frame the characters at an angle, with the character closest angled away from the camera. The character angled most towards the camera is most likely compositionally dominant in this situation. The two shot should be brought about in a natural progression of the medium or long shot. The characters should not be filmed toe-to-toe unless in a dramatic confrontation.

There are varying degrees of close-ups (discussed in a later chapter).

Terms: A pan shot is when the camera rotates on its vertical axis. A dolly, crane or boom shot is when the entire camera is moved with its mount. A follow or tracking shot is when the camera moves along with the character. A low shot is where the camera is angled upward and a high shot is where the camera is high and angled downwards. Also consider reverse shots, cut-in shots, cut-away shots and reaction shots.

The subject angle should be chosen for the best degree of modeling. Avoid flat images by showing at least two sides of the subject e.g. film heads at three-quarter angles and film streets so that they converge into the distance. Achieve depth with “lighting, camera and player movement, overlapping subject matter, linear and aerial perspective, use of short focal length lenses”. The camera angle is the greatest tool for achieving depth.

Camera height influences audience involvement e.g. viewing the subject at eye-level or above or below. A level camera results in vertical lines not converging and therefore not distorting. Importance is stressed when choosing the camera height for close-ups. The objective camera height should be on eye-level with the close-up subject, unless you are simulating the p.o.v. height difference of characters e.g. sitting and standing. Subjective close-ups should always be at the subject’s eye-level.

Level shots are employed dramatically in shots where a vehicle is rushing towards the camera.

High angle shots are useful for showing the layout of the setting or making the audience feel superior to a character. The subject always dictates the angle.

Low angle shots are useful for creating awe and excitement for the subject, and also for creating more forced perspective.

Angle-plus-angle is where the camera is angled to the subject but also tilted upwards or downwards. It creates the greatest degree of modeling a subject in 3D and also the greatest convergence of perspective.

Use dutch-angles with discretion for impressions of violence or instability.

Plan your combinations of camera angles and consider the pattern of shots, looking at area photographed and viewpoint. In progressive shots, the area and/or angle is progressively greater or smaller. Progressive/regressive shots require a definite change in the image size and angle or it will be jarring. In contrasting shots, pairs of shots are opposite in area photographed and/or angle. Contrasting shots also require a definite change. In repititious shots, the area and/or angles in a series of shots are the same.

Think “how much area should be included in this shot and where should the camera be positioned to view the action?” Only subjects of importance to the story should be included in the shot and for only as long as it’s point story point requires. Approach the shots in a scene creatively. Progressive shots are a standard way for telling the story but may become a lazy go-to, so look for dramatic opportunities with contrasting or repititious shots.

When filming continuous action, be sure to change the camera angle, lens, or both between cuts so as to avoid jarringly similar images. Be definite with change unless you are purposefully trying to pop into a distant subject e.g. a person in a crowd. Think of the lens focal length which is best suited for the shot e.g wide-angle lens for a distant shot, normal lens for a medium shot and a semi-telephoto or telephoto lens for a close-up.

Consider the individual story requirements of each shot but also consider everything as part of a sequence.

Consider the esthetic, technical, psychological, dramatic, editorial, natural and physical factors that will occur when choosing how to shoot the scene.

 

Audience versus Magic

This article talks about the thought process behind the magic in Doctor Strange (2016) and highlights a good point in relation to the audience’s engagement with the narrative of the magic.

Doctor Strange’s magic is more real than you might think (and is based on Tutankhamun)

The audience likes to reenact and imagine doing the magic themselves e.g. the specific wand movements and special words in Harry Potter. This was also talked about in the Writing Excuses episode on magic systems (blogged about earlier: link). It’s not just important to explain the rules so that the audience can play along in solving conflict, but it’s also a way of letting the audience unleash their imagination as to what could happen in a world with these rules of magic.

Scott Derrickson, who directed Doctor Strange points out that audiences “love the idea of magical objects and they like learning the rules of those objects and what they do”.

Derickson looked to the art of finger tutting as a way of visually showing the process of making magic.

 

With this in mind, we have a challenge of establishing our magic system in either our opening sequence or opening act. However, in an earlier episode of Writing Excuses on ‘Beginnings’ (blog link), the importance of starting and leaving as close as possible to the action was stressed. The audience doesn’t want to be bombarded with a boring log of worldbuilding. The first line/moment of the story is a promise of what the rest of the story will be e.g. a comedy or horror etc and if an establishing shot is made then it should contain conflict relevant to the story.

The Lion’s Blaze and Samurai Jack openings are examples that we’ve been looking at for inspiration.

They’re short (20-40 seconds) and don’t get boring. These two openings establish the conflict relationship between world and character. For us, this would be how Nami accidentally released her granny’s holdings of dangerous spirits who are able to possess any inanimate object with a face, but perhaps we should also give clues to how Nami produces magic? Looking back on reading about amulets (blog post link), this could be how symbolism is tied to the materials that Nami uses (e.g. different animal faces and motifs), the symbolism of color, how Nami implements offensive versus defensive magic e.g. adornment on weapons versus armor and cloaks, the variety of magical instruments that Nami carries e.g. different amuletic faces for different functions, the effect of recombination of materials e.g. faces composed of different symbols (our version of teeth of wolf, eyes of owl) how evil is symbolised in our world of faces e.g. the evil eye, how superstition is manifested in the non-magical people/denizens of our world e.g. removing faces of statues, making dolls without faces and wearing masks etc. We’ve also been considering how we can visualise magic using forms from either sacred geometry or the more fluid look of magic Tao calligraphy but this all needs developing.

Another (overlapping?) topic of research, mentioned by Yuan and Conánn, is the postmodern audience which I have a feeling will influence how we think about all of this!

Top 10 Cinematographers

This video gives a great overview of important cinematographers over the last century. Seeing theory done well is very inspiring! We’ve been advised to find similar shots to what we want to achieve so that we can examine and understand the language of framing what’s on screen more effectively. I admit that I’m a bit ignorant of the work of specific cinematographers, apart from Roger Deakins who was another team’s presentation topic in first year, so this is a good place to start.

CineFix (2010) Top 10 Cinematographers of All Time

Worldbuilding: Amulets and Magic Research

The most recent logline idea for our short is:

In a world filled with strange, ancient carvings of worship, a young glyph-witch (glyph-mancer?) accidentally unleashes a realm of strangelings which can possess any object with a face. She must now travel her world and trap the most powerful strangelings who seek to conquer and spread terror.

With this rule that the spirits/strangelings are made solid in Nami’s world through faces in inanimate objects e.g. statues, masks, armour, skulls, tree faces, etc. it opens up more specific possibilities for designing the monsters, environments and costumes. Also, while some spirits are malevolent and need to be captured by Nami, others could form part of Nami’s magic system where she imbues different spirits into faces in her staff.

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Looking to some real world research for inspiration, this book on amulets has lots of ideas that we could incorporate around our use of the face as a design and narrative device. The world ‘amulet’ could be replaced with ‘face’ for ideas. Some of the main points from this book that we could think of when developing our magic system and concepts:

  • The materials and forms of the amulet dictate its purpose.
  • People of different professions would require different amulets e.g. pilgrims, hunters, fish catchers.
  • Sometimes specific amulets were connected to certain Gods.
  • Amulets and amuletic decoration were used for both offense and defense. E.g. animals symbolic of fierceness and strength would adorn the hunter while decorations on shields and cloaks could be defensive.
  • The evil eye is commonly warded against. Like against like is a common way of amuletic protection.
  • The amulet commonly takes on the symbolic properties of the animal parts it contains e.g. strange, of the night, strength, ethereal, fertile, of the netherworld etc.
  • Multiple amulets are commonly carried for multiple purposes.
  • Ancestors held in amulets would answer questions and advise.
  • Faces would be left blank on certain Russian dolls so that demons would not be able to animate them.
  • The symbolic colors used in the amulet are important to the amulet’s function. e.g. red, black and white.
  • The sky is seen as the spirit realm, and the ground the nether realm. Therefore animals (birds, insects, reptiles) associated with these areas are linked symbolically.

 

Notes from the book: 

“An amulet is a device, the purpose of which is to protect, but by magical and not physical means.”

“A charm is something believed to bring good luck, health and happiness.”

“A talisman is something thought to be imbued with some magical property. It can both protect and radiate power and is often used in ritual.”

“The origin of the fetish was as a West African amulet but the word now describes an object believed to contain a spirit. Fetishes are found in Polynesia, Australasia, West Africa, North and South America and the Arctic. Once magical rites have been performed over it anything can become a fetish, especially if it is something unknown or not understood, but most fetishes take the form of a doll or statue. The spirit they contain is usually fed.”

The power of/belief in amulets thrive where there is rampant disease and pestilence which are caused by unknown forces in the eyes of the people.

Each amulet has a specific function which is symbolically tied to the materials and forms that make it.

Recipes for amulets were published in Le Grand et le Petit Albert by the thirteenth century alchemist and philosopher Albert le Grand.

Pilgrims of medieval Wales carried small ampullae or models of saints.

Bears were hunted in Finland, not just for food but for their mystic properties. Different parts of the bear and bronze replicas of bears could give the hunter protection.

To protect the fisherman, two pieces of birch bark are “stapled together and carved into a face with cut-out eyes and mouth and incised nose. Such amulets are pinned on a stick and set on a trap of branches where roach and dace spawn.”

“Eyes painted on Japanese (boat) bows watch for spirits of the river in the torrents ahead”.

Some amulets invoked the protection of specific Gods.

Warriors and Weaponry

Paper charms were used for protection in battle in Japan e.g. printed in red with the character for Fudo, the war God.

The King of Foumban in Cameroon wore an amuletic robe of hessian with leather amulet pouches sewn all over it.

“…for many headhunter of south-east Asia – the Nagas of north-east India, the Nias of Indonesia – it was the life-forces in the trophy skulls of their slain enemies that protected them as they went again to war. “

The decoration on a shield was thought to be as protective as the shield itself.

“As in hunting, where the power of a slain animal is invoked in its claws or teeth to help kill the next one, for the Baule of the Ivory Coast it was the faces of their enemies killed in battle and reproduced in small bronze masks that were worn or carried on their swords as amulets.

Highly revered monks can make amulets and sell them for large sums of money.

Seams, hems or any other opening on clothing is decorated or stitched with particular colors as these are vulnerable places for spirits to slip under clothes and cause disease.

Talismans are used to protect houses and their inhabitants e.g. “white hawthorn or white paint, patterning in brick, heads carved in stone (a device of Celtic origin), crosses, floral designs”.

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Crossroads are widely seen as a place of supernatural dwelling.

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“In Romania, wooden shrines sheltering a crucifix are erected at crossroads to save the wanderer from taking the wrong path.”

An amulet made specifically for the wearer is more powerful.

The Evil Eye

“The evil eye is the most powerful of superstitions throughout the Indo-European and Semitic worlds, and its power is based on jealousy.”

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“..the Greek word for amulet, khalitikhi, means eye, the Italian jettatura, the eye that throws or casts spells.” The strongest amulet against the evil eye is the eye itself “and the mirror from which the evil eye flees in horror or lingers in self-admiration”.

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Like protects against like. The symbol of the eye protects against the evil eye.

“Mirrors have an element of mystery: they show the true image of both human and demon, and yet reverse it. The soul can escape through them, and they are thus covered at death, or during a storm, or even for the vulnerable forty days after marriage.”

Reflections can act as a diversion to the eye or demon as it might stop to admire its own reflection. Mirrors are often in amulets, house gables, and sewn into clothing and fetishes for this reason.

Capture Magic

There is universal symbolism attached to the materials and forms that the amulets take. Specific materials are usually dependent on what animals and resources are local.

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Amulets are often made of magical materials encased in some sort of container. The shape and material of the container is connected to the type of contents and also to your status e.g. a rag would be associated with poverty.

“The talismanic scrolls of Coptic Ethiopia are rolled into snakeskin; the paper charms of Japan are tied in red thread and sold on a piece of card, or wrapped in brocaded silk”.

The cimaruta of Italy is an amulet made of a combination of amulets. It consists of a silver sprig of rue with an amulet on each branch.

“In Morocco, a clustered pendant of amulets would include miniature guns and daggers to fight the jinn, a candle to see them by, a hand to protect from the evil eye, a goblet to represent water as the source of life, and stars to protect against darkness”.

The two broad functions of the amulet is to attract or repel. If something sparkly attracts the evil eye then it is diverted from the wearer.

Goddesses and Dolls

Many human shaped amulets personify ancestors and would not only protect from wizards and invisible danger but would also answer questions and advise.

Grotesque masks, such as Medusa’s face during strangulation, are used to frighten away spirits.

Russian dolls were sometimes made of linen and clothed but their faces would be left blank to prevent being animated by demons. The place of their heads could be stuffed with different items to protect different members of the family e.g.linen for women, masticated bread for children.

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Dolls are frequently used in black magic but are also believed to be “vehicles of evil spirits”.

Buttons, beads and blue

A single bead e.g. painted with an eye or a mass of beads e.g. arranged in a sunburst are often used as protective amulets.

Red, White and Black

These three colors are said to be basic to the human state for their traditional symbolism.

White traditionally denotes purity, black denotes chthonic creatures and decay, and red denotes the vibrant life force of blood which can repel darkness, demons, witches, wizards and the evil eye. These symbols are usually why these colors are used in amulets. Decorating thresholds with red rags, outlining doorways and windows with red (Welsh) and sewing red thread into the hems and seams of garments are a few example of using the amuletic properties of red.

Teeth Claws and Paws

“Animals can be jinn in disguise or an actual witch , as the hyena is known to be; they can be inhabited by evil spirits, as in the case of the jackal; they can be people killed by witches and turned into lions, dogs and bush animals, as in Cameroon, or – as for the Ostyaks of Siberia – they can be totemic protector animals like the bear, from whom the family is descended.”

Animal teeth are common as an amulet for strength a warning to stay away.

The teeth of wild boar and pigs are also associated with mental health and absorbing evil directed at the wearer.

Horns and Bones

Antlers are associated with the power of regeneration, while pointed horns are capable of piercing evil, especially the evil eye.

Horns and horseshoes are a classic favourite for protecting houses.

“The Uzbeks of Khorezm kept a ram in the courtyard of their house, knowing that the evil eye would be attracted to the horns and so lose its potency”

In Tibet, human bones are made into flutes and are played to keep evil spirits away.

Bones are often inscribed with incantations.

Birds, feathers and hair

Birds are almost everywhere considered part of the spirit realm, a link between man and the heavens. In Slavic belief, witches and also girls who died before bearing children turned into birds.”

“Loose unkempt hair is a symbol of the chthonic world and an attribute of witches and sorcerers, while neat hair, particularly plaited, is a symbol of belonging to organized society.”

Snakes and fearful creatures

“As birds link man with the spirit world, so snakes, toads and various bizarre creatures remind him of his closeness to the nether regions and waters of the earth.”

Insects are thought to be metamorphoses of jinn and are used in amulets to protect against disease or cure illness.

Amulets made from chameleon’s are popular among thieves for their ability to change color and swivel their eyes.

Water and the moon

Frogs are associated with rain and the rain Gods while toads, being nocturnal, are associated with witches, the devil and the dark side of female sexuality.

Seahorses, being delicate and beautiful, divert the evil eye.

The Gods, both benign and evil, are said to dwell in water.