PANEL TWO AND THREE COLOUR ALTERATION
Thursday, 28 January 2016
Wednesday, 27 January 2016
ADDING MORE
In reference to the Joni Mitchell album 'Hissing of the Summer Lawns' and because I felt some of the sketches I had done were fairly simple when placed alone on a panel I decided to roughly sketch some buildings in Cromer to add above/behind the sketches of the girl/the band.
Photo of Cromer used as reference
Rough sketch of photo
PRINT PRODUCTION INITIAL IDEAS
DRAWING/FILM EXPERIMENTATION
Drawings create a softer appearance than the photos from the canon and fit with the folk/rock genre slightly better. There are many folk albums (especially from artists of the 70s) that have a similar quality of photo or use drawings/paintings.
Although I drew our main character against a green and red background, I felt the blue drawing worked the best with the photos and it had the clearest outline. The layout would be a tile effect with the photos and drawings in an alternating pattern.
The use of mirroring here reflects the mirroring we used in our video.
(original drawing in biro)
The picture is also fairly simplistic and so looks effective next to a minimal drawing.
The later drawings I made of each individual member of the band however I feel are slightly more effective than this one, due to the reference to the Joni Mitchell albums and various artists of the 1970s that use photos of the band on the inside covers.
For example the back cover of Wings 'Wild Life'(1971) features a drawing of the band.
Because it would be difficult to see the drawing underneath a chalk pastel colour, it might be better to alter the colour of the original drawing to red and yellow digitally, this would then be mirrored to match the photo of the band. (As opposed to drawing the outline in biro and colouring the background with chalk pastel as I did with the drawing of our main character)
Band drawings
The mirror effect here matches the cover with our main character
I have altered the colours of each blue picture to green for this cover.
Monday, 25 January 2016
Friday, 22 January 2016
SPLIT SCREEN NARRATIVE IN OUR MUSIC VIDEO
"The split-screen form had a renaissance in the late 60's and 70's, with such examples as
The Thomas Crown Affair, Woodstock, The Boston Strangler, The Longest Yard, More
American Graffiti, and Sisters and many others not shown such as Carrie, The Twilight's
Last Gleaming, and The Andromeda Strain - all of which can be characterized as having
an aggressive stance towards the use of split-screens as an integral part of the film's
dramatic and visual structure."
"However, in the context of the 60's and 70's, an aggressive commitment to the splitscreen was a cinematic attraction that was capable of "blowing the minds" and capturing the attention of a youth culture comfortable with expanded consciousness and oriented towards the visceral pleasures of the sensorium."
Jim Bizzocchi's piece on 'The Fragmented Frame' comments on the re-appearance in the use of split screen in the late 60s and 70s, and comments that in the 60s this may have been the result of the 'threat of television' being that cinema needed something that TV couldn't offer.
The interesting part of this article for me however was the mention of the use of split screen in the film 'Woodstock' (1970) the split screen in this film/documentary style piece was used possibly to show both the acts playing and he audience at the same time. The film was an initial inspiration for the use of split screen in our music video (due to the links with James Edge and 70s folk/rock artists) and although the purpose of split screen is different in the film to our video, the basic idea of the dramatic and visual structure of the videos still remains.
The article also mentions the youth culture's focus on music rather than cinema and the success therefore of the Woodstock film amongst teenagers/young adults.
The comment about the attraction of split screen within youth culture is also something that may be also be referenced in our music video and links to our audience demographic, being primarily teenagers. The use of split screen 'capturing the attention of a youth culture comfortable with expanded consciousness and oriented towards the visceral pleasures of the sensorium', this could reference the elements of the zietgeist in the use of split screen in the 60s and 70s, and may be something we can reference in our video.
The split screen in our video was used for both simply aesthetic reasons, and also to reflect the length of time our character spends alone. The use of split screen (shots of our main character against the red,blue,yellow and green background placed next to one another) challenge the conventional use of framing to present something aesthetically pleasing and to quickly and simply represent the different locations our character visits and the amount of time she spends on her own.
"……Willis notes that contemporary filmmakers such as Greenaway and Figgis use digital capabilities to break what Greenaway calls "the tyranny of the frame" and make expressive use of a multi-windowed cinematic environment ”.
Our music video therefore challenges the 'tyranny of the frame' in order to present these ideas and to ultimately appeal to our demographic.
"However, in the context of the 60's and 70's, an aggressive commitment to the splitscreen was a cinematic attraction that was capable of "blowing the minds" and capturing the attention of a youth culture comfortable with expanded consciousness and oriented towards the visceral pleasures of the sensorium."
(http://web.mit.edu/comm-forum/mit6/papers/Bizzocchi.pdf)
Jim Bizzocchi's piece on 'The Fragmented Frame' comments on the re-appearance in the use of split screen in the late 60s and 70s, and comments that in the 60s this may have been the result of the 'threat of television' being that cinema needed something that TV couldn't offer.
The interesting part of this article for me however was the mention of the use of split screen in the film 'Woodstock' (1970) the split screen in this film/documentary style piece was used possibly to show both the acts playing and he audience at the same time. The film was an initial inspiration for the use of split screen in our music video (due to the links with James Edge and 70s folk/rock artists) and although the purpose of split screen is different in the film to our video, the basic idea of the dramatic and visual structure of the videos still remains.
The article also mentions the youth culture's focus on music rather than cinema and the success therefore of the Woodstock film amongst teenagers/young adults. The comment about the attraction of split screen within youth culture is also something that may be also be referenced in our music video and links to our audience demographic, being primarily teenagers. The use of split screen 'capturing the attention of a youth culture comfortable with expanded consciousness and oriented towards the visceral pleasures of the sensorium', this could reference the elements of the zietgeist in the use of split screen in the 60s and 70s, and may be something we can reference in our video.
The split screen in our video was used for both simply aesthetic reasons, and also to reflect the length of time our character spends alone. The use of split screen (shots of our main character against the red,blue,yellow and green background placed next to one another) challenge the conventional use of framing to present something aesthetically pleasing and to quickly and simply represent the different locations our character visits and the amount of time she spends on her own.
"……Willis notes that contemporary filmmakers such as Greenaway and Figgis use digital capabilities to break what Greenaway calls "the tyranny of the frame" and make expressive use of a multi-windowed cinematic environment ”.
Our music video therefore challenges the 'tyranny of the frame' in order to present these ideas and to ultimately appeal to our demographic.
Thursday, 14 January 2016
PRINT PRODUCTION INSPIRATION (ALBUMS)
INSPIRATION
"James
Edge and The Mindstep are a London-based three piece. Described in the
press as "recalling the bedsit troubadours of the 70s", but tempered by
"visceral surrealism", the band have carved out a niche where beautiful
song writing in the vein of John Martyn and Nick Drake meets the smoky
jazz-tinged folk of The Pentangle, and the jagged rhythmic and harmonic
complexity of contemporaries like Everything Everything."
(http://hotvox.co.uk/artists/james-edge-and-mindstep)
Friday, 8 January 2016
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