These recordings are taken from a visual language walk. I want to retake these shots of the sea/water at a closer angle and a different time of day when the sea is calmer. My entire sequence will be on the basis of water with one long take. I grew up by the sea and I felt it was a natural setting for my project fitting to the ‘Jetty’ theme and brief.
|Narrative: TITLE TBC||To do|
To produce a short narrative film on the theme of ‘Jetty’, to be premiered at the Margate Film Festival
|Record the sea as the backdrop|
completion time: this will take a morning or afternoon and combined with my visual language walk
Create type to overlay across the top
Completion time: half a day of create type which will then be projected
Project moving image with overlaid text onto fabric
Completion time: 1 x day to set up and film (will need to be in a dark space)
Completion time: half a day for research or collaboration with a musician (depending on time)
Edit final footage
Completion time: 1 x day – I may need Phil’s expertise on what direction to go with this!
Create a relationship between, sound, graphic shapes, colour and movement to produce a short motion piece.
|Visual Language: The Status Quo / Society||To do|
• An exhibition catalogue (could be Newspaper Club; Blurb book; postcards in a box; folded brochure; etc)
Pick up to three news headlines
~ GASTRONOMIC BLISS (seaweed, sea)
~ BRITAIN BEFORE BREXIT (red and white eg England flag colours, use geometry and graphic architecture of Arlington Towers
~ SURFACE COLLAPSE (using the Lido tiles as inspiration of layout, composition, colours and type)
Go on another visual language walk to gather data — take photos of the environment/landscape focussing on colour and shape (seaweed, sea)
completion time: a morning or afternoon to gather images
Further experimentation with materials on the scanner
completion time: x 1 day of scanning
Experiment with typographic language and subject matter across the page
completion time: x 3 days of experimenting with scanned objects/materials and text in Photoshop
• A1 or A2 posters x 3
• Focussing on local news headlines specific to Margate
• A response to current situations
• Translate articles and using the words as the ‘brief’ for artwork posters
• Experimentation of colour, form and composition using surrounding environment as inspiration
|Typography: The Green Sheen / Nature||To do|
Considering the history and work of design activists such as David King, what burning issue do you wish to bring/campaign to a public or specified audience’s attention? How will you shout typographically? Where will your typographic noise be seen and heard?
Pick two major companies which demonstrates Greenwashing as case studies
~ CONscious (H&M and fast fashion)
~ SEWAGE ROW (Southern Water)
Identify specific language they use in their advertising/marketing – quote facts and demonstrate how they’re greenwashing
completion time – this will take a few hours to collate as I have a the resources already saved
Think about sustainable poster paper – recycled options
completion time – an afternoon or morning to research and ring printers who offer more eco friendly paper stocks
• x 2 large (A0) size posters to protest against Greenwashing.
The subject of Christian Marclay’s fourteen-minute installation Video Quartet is sound. Shown on four contiguous video screens, it is a montage of more than 700 individual film clips—appropriated from popular feature movies and documentaries alike—in which characters play instruments, sing, or make noise in one form or another.
The artist’s use of turntables in previous performance pieces influenced his approach in Video Quartet: “It’s the same vocabulary of techniques, using snippets of sound and putting them all together to create a new unified composition,” he explained.
Much of Marclay’s work in collage, photography, video, and performance concerns not only sound but its various visual and material incarnations, and Video Quartet is simultaneously a sonic and visual composition, with the two modes inextricably layered and entwined. Certain clips are repeated on different screens, prompting the viewer to register not only aural but visual patterns and correspondences. Although at points the work has an improvisatory feel, Marclay structured it as a score with discrete movements and motifs, and spent a year meticulously composing and editing it on a home computer. [source]
The clips included in Video Quartet, which Christian Marclay edited in his New York studio using the software programme Final Cut Pro, are taken mainly from Hollywood feature films, both colour and black and white productions. Dating from the 1920s to the early twenty-first century, and featuring actors such as Liza Minnelli, Rita Hayworth and Jack Nicholson, these source materials have been described by Marclay as ‘fragments of our cultural baggage’ (quoted in González, Gordon and Higgs 2005, p.89).
Video Quartet begins with scenes of an orchestra tuning up, a segment which builds to a crescendo before it is followed by clips in which characters play musical instruments and sing. The work also includes scenes featuring shouts, screams and close-ups of various noisy objects, such as a spinning roulette wheel. At some moments the same image appears in all four projections; occasionally a single clip seems to bounce between them. As the musician, composer and writer Alan Licht has suggested, ‘As carefully composed and edited as it is, there is also an improvisational feel to parts of Video Quartet, as if each clip is reacting to another spontaneously’ (Licht 2003, p.103). The overall effect is to create a fourteen-minute musical symphony – one with its own distinct rhythms and sections, including moments of calmness and dramatic counterpoints – out of fragmented elements. With visual and audio finality, Video Quartet ends with the sight and sound of a door slamming. [source]
“However, aside from thematic visual palindromes, what is most remarkable about La Jettée – and the reason it has retained its reputation as a work of genius – is the way in which Marker manages to relate his story of travel and movement through the use of still images. By presenting these pictures to us in a sort of photo-montage – complete with brooding voice-over and various sound effects – the director somehow manages to bring the stillness of his film miraculously to life. It is, without question, a work of pure, unadulterated imagination, and a staggering testament to Marker’s genius ability to convey a multitude of feelings, ideas and emotions, through a series of simple, static, though nonetheless, deeply evocative images.” A review of La Jetée (source)
My next goal is to resolve a more purposeful visual strategy from these experimentations. I’ll capture graphical elements (line/form/pattern/texture etc) from the environment around me which I’ll edit further into monochrome, blocky elements. These visual elements will be further emphasised and complimented by a musical/spoken word composition.
Below, are the original/unedited images used in the short film.
British design studio Hipgnosis was founded in London in 1968 by two photo artists, Aubrey Powell and Storm Thorgerson.
Hipgnosis created some of the most innovative and surreal record cover art of the 1960s, 70s and 80s for many of the big name rock bands of the era including Pink Floyd, Led Zeppelin, Paul McCartney, Yes, Genesis, 10cc, Peter Gabriel, Bad Company, Emerson Lake & Palmer, Scorpions, Styx, Syd Barrett and Black Sabbath. Hipgnosis were nominated five times for Grammy Awards.
I like their use of bold, saturated colours and considered compositions. The subjects, their stances and split second outtakes reminds me of the idea of the uncanny. I want to use Photoshop and post production techniques to my advantage to duplicate subjects and manipulate the colours.
by Madame Yevonde
colour dye transfer print, 1940
14 7/8 in. x 12 in. (378 mm x 305 mm)
This self-portrait combines many aspects of Yevonde’s picture making. It was also one of her last pictures made using the Vivex colour process. At the left is a still life composition made up of her photographic chemicals and camera lens. Yevonde sits within a gold old master frame which she often used in her photographs as a framing device. At the top of the picture is a version of one of her ‘Goddesses series’ portraits, namely The Duchess of Wellington as Hecate. In Greek mythology Hecate was a Goddess of the Underworld, Earth and Moon with powers in sorcery and black magic.