Utterly moving:Testing out sound

Before making any final decisions, I ended up not having a lot of thought towards what I wanted the music or sounds to be, as there was a very limited amount of time for me to consider what kinds of sounds I would have with in the animated piece. At first, I suppose I was tempted to re-create sounds that were made during the scene with in Eternal sunshine of Montauk and yet, I didn’t stick to that idea. I felt that would be too bland and wouldn’t fit securely with the words I had for my short story. The sound’s just as important as the words are during the production, so it had to be well considered.

I thought about making some softer sounds or maybe humming a tune…

I questioned and pondered about this for couple of days, then decided to find some OSTs that were used in films, games and animations that would exaggerate that sensation of ‘melancholy’, in view of the fact, that the short story once put together became very sensitive.

Yeah, yeah. I understand I do reference this game series quite a bit in my work; to me, this game’s quite special to me as I spent a lot of time in my childhood playing it after school. Let’s steer back to our discussion on music; the music creates this illusional vortex with in your mind, it creates this image of ‘everything is okay’, whereas there’s this change with in the tune. It starts to move on from there and the emotion of calmness soon moves away. I wanted to try and play around with my keyboard piano with a similar sound set in mind, but this wasn’t as easy as it seemed. I didn’t want the music to be calming, I wanted it to be more sensitive.

It’s rare that I ever pay attention to the background music in Lord of the rings, especially since SO MUCH goes on during the films. In fact, this gave me the idea of using pan pipes as they can fabricate many different tones in sound. Continue reading

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Found kinetics

After watching the presentation, I arrived home and started to look around the net for Kinetic type. I recalled seeing a few in some lyrics videos before.

The video above is one of my favourites, as it’s quite synced with Fry’s voice. Not only that, I like the way that it’s able to follow on in such a way, that you’re able to read every single word and that they don’t flash on and off of the screen too quickly. As I’m quite interested in looking in to doing Kinetic type with my footage, I may need to keep these aspects in mind.

There were a very few things which I enjoyed in this one, there were moments were a word was shown in a way that it became it’s own meaning or it put its self in to context, such as where Eminem mentioned the robot, the sentence was shaped in a robot form.

 

 

The soundtrack of our lives: Crit and sort of a final concept, maybe?

Focusing on my concept of trying to fully express my feelings individually for each song (Mr Blue sky, Love roller coaster and Year 3000), I found this task to be particularly difficult. I spent most of my time brooding over how I needed to show this, and how I could make this clear to others. I came to the conclusion, that if someone can easily pick up on emotions from colours used, or a simple mark made, it may provide a fascinating result if I were to apply this same or similar strategy towards each poster.

Personally, I see that this method has worked, as during our crit presentation on the project overall, there were a few that were able to grasp the sense of ‘raw emotion’ with in the posters; which goes to show, that my technique was successful, but I feel that there’s so much more that I could do for this project that may be beneficial towards it. I have in mind right now, that I may want to consider creating a animated projection of the posters instead and it’ll show the brush strokes gradually making their way on to the screen as the animation runs.

 


Besides the quality of the print out, I’m a little disappointed with the text. When I look at it from afar, I’m unable to see it clearly, so if I’m going to come back to this in future, I may need to consider working on it by making it bolder. Though, if i made it any bolder, it may distract the viewers attention away from the outcome.

The soundtrack of our lives: Poster talk with Bill.

Another useful talk about how we can present our poster, and how we must always think about the ways in which we present and reflect our ideas. I briefly mentioned before that I’ve started to play around with those ideas and yet, I’m not so satisfied with what I have at the moment.

Not only did he talk about this, he mentioned that the poster needs to communicate what we want it to and he gave some rather interesting hints in how we can do this. It could be done through the use of words? it could also be done in the use of shapes as well. Shapes and colours are quite good examples when I think about it; just by squashing a square together, it could resemble pressure? gluttony? tightness? anger, maybe?

Continuing with the talk, he gave us some examples of posters that stood out to him, or had influenced others. There was this particular one that had struck my attention when it popped up; I was later able to find it in a book I found at the library and it was about Japanese poster designs.

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The palm of the hand is so detailed; it’s incredible. It must of taken a lot of patience and time to be able to create something so delicate. I also adore how subtle the poster is, it’s not flashy or too complicated.

When the talk was finished, we arrived back in our studio to continue working on the poster designs. I had a little one to one talk with Bill, and he suggested about making the text bigger, as the songs are quite bold and they’re different in terms of style. The names of them speak for themselves, but  I took this in to consideration.

I started off with a base template, it was just to draft out a vague idea of what the style of the font could look like. I wanted something scratchy, messy and not so neat and yet, this didn’t exactly resemble that at all.

Tried again. It was better this time; I wanted the text to be bold, big and striking. Though, I need to remind myself of what I stated previously about having the title being a bit quieter, as the names of the songs are prominent. The textured tones that marker creates are pretty fascinating, so I continued to use them, but instead of using one colour, I mixed up two colours that were dominant with in all three of the posters.

I was keen to the result of this outcome, as it was nicely blended in and I’m fond of how the colours smudge in. It would’ve been a better outcome, if I had a bit more practice with this technique previously, but as I needed to get these all done in time for the printers, this was what I ended up with. Nonetheless, this isn’t a totally bad finish over all. I was happy with it, just I could of played around with it a bit more.

What is a poster?

In the previous week, we had two talks that were mainly focusing on the question, ‘What is a poster?’.  The first talk was with Matthew Caley, which I found to be both benificial and interesting towards our current project: The Soundtrack of our lives. He began to give a brief run down on how he started off, which led in to the kinds of music and groups that became known, due to how odd they were at first. This fed back to our project in many ways; it allowed me to think about how much impact did my chosen songs, or even the bands that created them, what kind of appeal did they have to other people? Some people may of seen them as…–excuse me for the use of this word, but ‘lame’ or would stir other opinions. The opinions of others may have a consequence towards how popular the group was or depending on what was seen as ‘the norm’ could also have an affect.

After leaving that small lecture, he began to show us some examples on how the poster could presented, which led me to realise that I could play around with the idea of not having a poster that is flat.

When returning back to the studio on Thursday, we had a small presentation by Sara on what a poster could be. She gave us so many examples of how they could be presented, who they were created by and quite a few of them had a function to them, which allowed people to interact with.

And this is the part of the blog post, where I get to tell you all what I did to reflect in these talks. I thought I could possibly take this poster project a bit further by looking at different ways I could present my poster; I photocopied some final poster ideas and began to test, whether or not they could have a function or not, such as a poster which folds up in to a flyer, or perhaps, a poster that can be turned in to a jigsaw puzzle, seeing as the bold chunks of white on my posters seem to link together. (I’ll update with photos of these later) I’m starting to think, I could possibly try out making an animated prejection as well. However, due to time limit, I’m not sure that will be achievable, but I’m hoping to try it out over the weekend to see how that goes.

Although, getting back to the presentation, there were some interesting ways in how you can apply a function to a poster and seeing if it’s effective or not. I found the posters that were presented by a prejection or with lights to be a very fascinating concept because it’s a new thing to me.

Looking in to abstract and contemporary artists.

I wanted to strengthen my research in to other artists for ‘The soundtrack of our lives.’. Thanks to a book called ‘The best of British contemporary illustration 2008’, I was able to obtain a few that has helped to broaden my ideas for the future, if I ever plan on coming back to this project (which is most likely going to happen).

I had several more that I looked at as well, but I only found them before I found this book and started looking in to contemporary and abstract art.

Jill Calder:

Jill Calder’s been working as an illustrated since 1993; she also deals with digital art and she lectures with the love of drawing, ideas, colour and ink.
She’s worked with numerous amount of clients globally.

There’s many reasons as to why I have chosen to talk about this illustrator; there’s something so vivid, colourful and original about her drawings that she’s produced so far. I was really admiring the bright tones she uses in specific illustrations, they create a gentle touch of emotion to the image that can be seen clearly; the lines used as well help convey that.

Observing closer, I would like us all to focus on the image with the cliff and the rabbit for a second. They’re quite blocked? as in the colours are solid ,but each shade is sharply built in to the picture to create curves, or to help highlight other aspects.

When regarding the progress I’ve made so far,  particularly on the poster tests with the mediums, I start to think of this illustrator, in terms of the lines that she’s used or how the edges of some of the objects in the image have this textured look to it.  I’m starting to believe that depending on the brush strokes used, they can assist the poster with depicting the emotion, for example, fast brush strokes could portray a sharp and edgy sensation?

Becca Thorne: While being another illustrator and also a print maker, Thorne’s illustrations are both bold and graphic.

Some examples of her work can be seen at: http://www.beccathorne.co.uk/Illustration.html

I have thought about using lino as a print method for the making of the poster, but it’s time consuming.

Back to the subject,  I adore the fuzzy lines that are an outcome of this printing method, they appear to be very unsettled.  I must admit that for the same reasons I’ve selected Calder to look at, is the same reason as for why I chose Thorne. She’s able to use colour and make it work well with lines and shape.

Takashi Murakami: Thinking back on Mr. Blue sky and Year 3000, he was the first artist that popped in to mind at the time. He’s a contemporary artist.  During the time I was re listening to these songs specifically, they create these mind-blowing visuals of colour and elongated shapes that emphasise this futuristic vision. I strongly think that Murakami does just this i n his arm work by using a varied use of bold, bright and contrasting colour.

All right. This is the last one, I promise.

Francoise Nielly: An abstract artist this time, and I didn’t find her in the book, but I went out and made a search of ‘Abstract art’, then found her work to which reminded me of another artist who did similar, though I cannot remember their name sadly.

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It’s quite interesting to see how just a few mix of blocked in colours is able to bring out so much with in an image. Not only that, but the colours used are able to change the mood of a picture, as well as the brush strokes used.

I may have to consider this further with in my planning. I want to start testing out the kinds of colours I can use to link my emotions to them ( I’m going to use Photoshop for this after the first poster drafts are created), this will allow me to further my practice.