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ANNOTATED JOURNAL ERIN CANOY SPRING 2010
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WHA
I like darkness and confusion and absurdity, but I like to know that there could be a little door that you could go out into a safe life area of happiness.
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DIRECTOR CHOICES FINAL, SECONDARY AND TERTIARY The first homework for the semester was to watch films and pick out three different directors that had at least five films, a unique visual style, and someone that was not too obscure. Ultimately, that task was to pick out a director who’s films and visual style is something you’d want to dive into for 15 weeks. It was someone that you thought would be a good choice for the nature of this project.
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DAVID LYNCH BACKGROUND Born in Missoula Montana, David Lynch is known for his perplexing, disturbing and avant-garde visuals in his films. Mostly centering on American ideals merged with surrealist imagery, he is often referred to as an artist and auteur. Eraserhead, probably his most poplar film was a landmark in terms of story-telling in imagery. He has continued to push the boundaries of narrative with films such as Mulholland Drive, Lost Highway and his 2007 work, Inland Empire. Although controversial, Lynch has had his fair share of awards and nominations from the Cannes Film Festival and Academy Awards.
REASON David Lynch’s films greatly fascinate me because of the way he is able to create disturbing and twisted scenarios, frightening you not in a way that a typical Hollywood horror movie does, but instead it affects you mentally and psychologically. He toys with your mind through the surreal visuals and odd characters that he introduces into each of his films. Lynch questions the fine line between what is reality and fantasy as well as the power of the human psyche and what it is capable of. His visual style is also distinct through the vibrant and yet subtle use of colors and themes, making Lynch an interesting director to work with for this project. It would be a challenge to capture the same mood that Lynch brings to the table into a whole festival. In addition, by dealing with dark themes, I am also able to enter a territory that is very much far from the aesthetic that I’m used to.
ANNOTATED JOURNAL / 5
WONG KAR WAI BACKGROUND Wong Kar Wai is a highly regarded Hong Kong film maker due to his visually unique and highly stylized films that take inspiration from the colors of expressionism. Unlike other directors during his time, Wong stood apart from mainstream Hong Kong cinema by capturing the streets and atmosphere of Hong Kong through a non-linear storytelling style. In addition, while others were interested in martial arts and action films, Wong portrayed more emotional and complex films.
REASON I first came across Wong Kar Wai when I had watched In the Mood for Love and 2046 a few years ago and I then immediately fell in love with him because of his unique storytelling and the rich colors he used in order to support the idea of longing and loneliness. To me, he was able to tell such a complex emotional story without having to use a lot of dialogue but instead tell it through visuals and metaphors. I then watched Chungking Express and also fell in love with the film because of the storytelling and quirkiness of the characters which
was something that I hadn’t seen much in Asian films.
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LUIS BUÑUEL BACKGROUND Spanish-born director, Luis Buñuel is known as the father of cinematic Surrealism and considered a film legend. Most of his films contain anti-clerical and shocking themes due to the strict Jesuit education he received growing up. Buñuel won numerous awards for his films during his lifetime from the Cannes Film Festival, Academy Awards to the Venice and Berlin Film Festival.
REASON A few years back I had come across Un Chien Andalou and since I previously had a liking to surrealism, the film fascinated me with its bizarre imagery. It was only later, however, that I had discovered that Buñuel had worked with Dalí during its production. What attracts me to Buñuel is his use of surrealism in the second French period, many of which I have seen, shows dream-like images that are seamless with reality. Not as shocking as his earlier masterpieces, this last period portrayed an artful and tasteful representation of Surrealism through film that it becomes difficult to distinguish fantasy form reality. Thinking about this festival, he came up as one of my choices because the power that this man had in the realm of Surrealist cinema and the imagery that he produced.
ANNOTATED JOURNAL / 7
THREAD INITIAL After I had picked out my director, David Lynch, the crucial part to the project was to figure out what underlying thread I wanted my festival to be based on. It was important to have a solid base that would be carried out into the deliverables and design aesthetic. I engaged myself in thorough research and brainstorming in order to first figure out what his common themes were. By laying out the possible threads, I could then pick which one I would like to use for the project.
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ANNOTATED JOURNAL / 9
FESTIVAL TITLE FINAL The final thread that I wanted my festival to be based on, was the idea that David Lynch presented a picture-perfect suburban America that was hiding a sinister and darker side. It was about the concealment and revelation of seedy underbellies that we either see or choose not to see.
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ANNOTATED JOURNAL / 11
LOGO INITIAL The initial logo explorations were an eclectic mix of bold faces, eroded type treatments and combinations of various faces. Sketches were made and further developed on the computer to see what was working or not. In these sets, the title had not yet been approved and were an exploration of possible treatments.
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ANNOTATED JOURNAL / 13
FESTIVAL TITLE INITIAL Here are more sketches from the initial brainstorming and some samples of the ones rendered on the computer.
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ANNOTATED JOURNAL / 15
FESTIVAL TITLE STAGE 02-03 Taking cues from the typography used in film noir movies, a new set of logos were designed. The title The Night Unfolds was used in the meantime. Once the title got approved, some aesthetics from the earlier stage were applied and played around with in order to come up with the best logo.
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ANNOTATED JOURNAL / 17
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ANNOTATED JOURNAL / 19
IN THE DARK WORLD OF DAVID LYNCH
LOGO FINAL The final title made use of Berthold Akzidenz Grotesk in bold condensed italic, with the subtitle in bold condensed. The yellow was added to give the logo more contrast when it was applied to a black background.
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D LYNCH
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ANNOTATED JOURNAL / 21
IMAGE STYLE INITIAL The initial image styles were shot down immediately because they were far too removed from what the director was known for. These pegs were either too old, to dirty or abandonedlooking. Some of the other images also seemed as if they could be used for any other director or festival.
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ANNOTATED JOURNAL / 23
IMAGE STYLE STAGE 02 The second set of image styles were closer to the director by taking on the noir style. They had a combination of emptiness and a bold contrast between light and dark, or chiaroscuro. The images here were of portraits and still life that were later used as pegs for the festival photoshoot.
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ANNOTATED JOURNAL / 25
IMAGE STYLE STAGE 03—PHOTOSHOOT Stage 3 and the initial photoshoot was an experimentation in the use of a spotlight to cast dark shadows on different objects. Although the type of lighting and mood it gave was successful, the objects used looked too much like antiques and did not fit the 50’s era which the director was known for. This made it difficult when searching for more objects to shoot, which led to the use of a different set of subjects.
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ANNOTATED JOURNAL / 27
IMAGE STYLE STAGE 04—PHOTOSHOOT The second phase of the photoshoot was more successful and involved the help of two female models. A blonde and a brunette were chosen in order to create more variety in what would be used for the festival’s designs. These are samples of the raw images that were taken from both photoshoots with the use of the same noir-inspired lighting.
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ANNOTATED JOURNAL / 29
1
IMAGE STYLE STAGE 04—POST-PRODUCTION Once the raw images were gathered, the image style had to be
blur, at a 6px radius. The layer effect is changed from normal
developed more to be able to carry a stronger aesthetic. In order
to screen so it blends with the image underneath. This gives the
to make the photography more unique, Adobe Photoshop was
image a higher contrast, and at the same time, a hazy or glow
used to edit the raw images through a series of steps.
to it. (4) After, images of concrete sidewalks—A and B—are then
(1) First, the untreated, original image is duplicated with the
dragged into our working file. These two images are laid on top
layer on top left invisible. This is because both these layers will
of the image of the girl and the layer is changed from normal to
be treated differently. (2) Working on the visible layer, the contrast
overlay. Depending on how dark or light the lines and textures
of the original image is altered through toggling with the levels
the concrete should be, the opacity is changed accordingly.
and changing the hue to a slightly blue or purple tone by using the color balance editor. This serves as the base for the image (3)
Next, we move on to the layer on top, or the invisible layer. This invisible layer is then turned on and burred by using the gaussian 30 / THE OWLS ARE NOT WHAT THEY SEEM
2
A
B
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4 ANNOTATED JOURNAL / 31
IMAGE STYLE FINAL The last step is to duplicate the image (once it is used within InDesign) and alter the right side of the image box by dragging the corners to create a 78 degree angle. The layer on top, with the angle, is then moved in various directions to create a shift in the final image. In addition, white smoke is added within the Photoshop file depending on where it is used.
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ANNOTATED JOURNAL / 33
POSTER DESIGN INITIAL For the first set of poster studies, I had picked out the best images that I found online that I felt could portray the mood that I was after. Because my title and logo design was not approved yet, I used the one I thought was working the best and applied it to my design.
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ANNOTATED JOURNAL / 35
POSTER STAGE 02 Once the general look for the festival logo was developed, the diagonal slash in the design was used as a graphic element and was further utilized into the image style. The image was made to look as if it was sliced in half and it was shifted in order to make the picture seem odd. In addition, the festival information was lined up on the same angle as the slash. Two of the designs had graphic elements such as smoke and cracks applied to the bottom of the poster.
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ANNOTATED JOURNAL / 37
ARE NOT MYSTERY AND MADNESS
IN THE DARK WORLD OF DAVID LYNCH
Blue Velvet Twin Peaks: Fire Walk With Me Mulholland Dr. Lost Highway Inland Empire Twin Peaks Marathon Industrial Symphony No. 1
POSTER STAGE 03 Moving forward, the shifted layout with the logo and festival information at opposite ends was applied to the next set of poster designs. Also, original photography was used such as the living room set and the shot of a building’s hallway.
OCTOBER 2–30 2012
Belasco Theater Los Angeles theowlsarenotwhattheyseem.com
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MYSTERY AND MADNESS
IN THE DARK WORLD OF DAVID LYNCH BLUE VELVET TWIN PEAKS: FIRE WALK WITH ME MULHOLLAND DR. LOST HIGHWAY INLAND EMPIRE TWIN PEAKS MARATHON INDUSTRIAL SYMPHONY NO. 1
OCTOBER 2–30 2012
Belasco Theater Los Angeles theowlsarenotwhattheyseem.com
ARE NOT MYSTERY AND MADNESS
IN THE DARK WORLD OF DAVID LYNCH
BLUE VELVET TWIN PEAKS: FIRE WALK WITH ME MULHOLLAND DR. LOST HIGHWAY INLAND EMPIRE
OCTOBER 2–30 2012
Belasco Theater Los Angeles
OCTOBER 2–30 2012
Belasco Theater Los Angeles theowlsarenotwhattheyseem.com
theowlsarenotwhattheyseem.com
ANNOTATED JOURNAL / 39
POSTER STAGE 03 Because the imagery was not working, a new set of photography styles was used which involved facial shots of a female model. The same layout was applied but with two versions of the revised logo design. Also, yellow versions were applied to add more color into the poster.
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ANNOTATED JOURNAL / 41
POSTER STAGE 04 The use of the female model was more favored for the overall photo style and a new photoshoot was arranged to gather more materials to work with. Various tones were applied to see which worked best as well as different combinations of white, black and yellow for the festival copy. The image on the right was chosen among the seven designs for its image and the way the photo was sliced, as well as the skin tone and use of superimposed textures. Furthermore, the yellow version of Berthold Akzidenz Grotesk Condensed Italic was the chosen logo for the festival.
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ANNOTATED JOURNAL / 43
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POSTER FINAL The final touch to the poster was adding white smoke that would tie in to the chapter openers of the festival catalog. The white smoke used was shown creeping in from the side and sort of playing with the way the model’s hair fell from the back.
OCTOBER 19–24 2010
Belasco Theatre Los Angeles theowlsarenotwhattheyseem.com
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ANNOTATED JOURNAL / 45
CATALOG INITIAL Next to the poster, the festival catalog was one of the main deliverables for this festival. Because it was to be an in-depth guide for the viewers, this book needed a lot of time and a lot of exploration in order to fully develop the design. Also, the aesthetic that would be used, would be carried on into the festival deliverables. Before hopping on into the computer, a series of sketches and brainstorming had to be done to get the basic grid, layout and style that would be appropriate.
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ANNOTATED JOURNAL / 47
CATALOG STAGE 02 These are a series of more sketches that were the basis of the final design aesthetic that were utilized such as the diagonal lines, treatment of quotation marks, layout, as well as typography.
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ANNOTATED JOURNAL / 49
CATALOG FINAL These are several spreads and photographs of the final layout from the festival catalog. As you can see, the key elements are the chapter openers with the festival image style, the use of white and black smoke, the diagonal lines, the treatment of the sliced images as well as the quotations in yellow and in black.
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ANNOTATED JOURNAL / 51
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ANNOTATED JOURNAL / 53
ADVERTISEMENTS FINAL A series of advertisements were another requirement for this project. These could take any shape and size but had to reflect the same design aesthetic and should help promote the festival. Two large billboards were designed and one smaller outdoor ad. In order to tie them in further with the festival, the type of environment chosen was a dark night in the city.
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ANNOTATED JOURNAL / 55
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ANNOTATED JOURNAL / 57
IDENTITY FINAL The identity set made use of the basic elements in the festival such as the diagonal line, the white smoke and the image style. Although simple, it helped to capture the overall look of the David Lynch film festival.
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ANNOTATED JOURNAL / 59
TICKETS INITIAL The initial ticket designs were in a booklet form and horizontal in format. For the first designs, the angled line was utilized as the perforation edge. The second and third design made use of the smoke as a graphic element to transition between the general information of the ticket to the edge that would be torn off during the screenings. The last two designs also utilized the angled, perorated edge. The shifted image was also based on this line in order to tie it in with the overall festival aesthetic.
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ANNOTATED JOURNAL / 61
TICKETS FINAL A few weeks later, the ticket design was revisited and changed into the format of a motel key or key chain to further match the thread. In addition, the format was also a throwback to the 50’s era which was a big influence of David Lynch. A separate red key chain was used for the Twin Peaks TV series day pass in order to distinguish it from the film screenings.
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ANNOTATED JOURNAL / 63
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SCHEDULE FINAL The festival schedule was designed as an accompanying element to the tickets and was planned to be housed together with it. Since the tickets were in the format of motel key chains, a three-fold key case was designed with the schedule being an insert in order to keep them organized and together.
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68 / THE OWLS ARE NOT WHAT THEY SEEM
DVD SET FINAL The DVD set was minimal in both the design and the information that was put on it. The outer portion had a quote from the film and when opened it revealed the title. The back side displayed a quote by the director himself about how he felt or what he said about the particular film. Designed to be mysterious, the copy was meant to not spoon feed what the film was.
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SOUNDTRACK FINAL To match the style of the director, an LP format was chosen for the festival sound track. I had chosen a 10â&#x20AC;? record that featured six songs which represented the 5 featured films as well as the Twin Peaks series.
78 / THE OWLS ARE NOT WHAT THEY SEEM
ANNOTATED JOURNAL / 81
PRODUCTS FINAL 3 For another set of deliverables, I chose to make products that tied in with the festival theme as well as brought out elements from the films themselves. My festival products were a camera and printed undercover photographs, a special edition copy of The Secret Diary of Laura Palmer and a black book with a vintage telephone.
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PRODUCT 1 FINAL / THE SECRET DIARY OF LAURA PALMER For my first product, I had chosen to redesign the actual book written by Jennifer Lynch, David Lynchâ&#x20AC;&#x2122;s daughter, which told the story of Laura Palmerâ&#x20AC;&#x2122;s life from when she had turned 12 to days before her death. The diary tied in with the festival theme because it showed the darker side of Laura Palmer that was concealed beneath the demure manner that she presented to almost everybody. Aside from just having the written copy, I chose to include blank pages where the reader could write his or her own experiences. Also, I chose to make the design more varied by having large quotes to highlight turning points in the entries. 84 / THE OWLS ARE NOT WHAT THEY SEEM
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DAVID LYNCH FESTIVAL FINAL These are images of the final set of deliverables from the film festival project. The “flat” set of items such as the poster, ads and website were not included.
92 / THE OWLS ARE NOT WHAT THEY SEEM
94 / THE OWLS ARE NOT WHAT THEY SEEM
Š 2010 THE OWLS ARE NOT WHAT THEY SEEM All rights reserved. No part of this publication may be reproduced in any form without permission from the publisher. Typeset in Berthold Akzidenz Grotesk and Din Printed on Neenah Solar White Classic Crest Text Designed by Erin O. Canoy GR612-Integrated Communications / Hunter Wimmer MFA-Graphic Design / Spring 2010 Thank you to the Divine Artist with whom none of this would have been possible.