I have found this project overall very challenging, especially with the basis of the animation, it challenged my concept of composition and forced me out of my comfort zone, but in a way that can only be beneficial to me. I definitely want to use the aspect of Foley in other work.
Foley- Atmospheric & Spot Sound Project 4- Part C
I have found this project overall very challenging, especially with the basis of the animation, it challenged my concept of composition and forced me out of my comfort zone, but in a way that can only be beneficial to me. I definitely want to use the aspect of Foley in other work.
Foley Research
The first video I was shown on Foley is by Gary Hecker, and his contribution to the film industry with his Foley art. I found the fact that he describes the art as a skill that must be practised very realising to the task we had ahead of us. I'm quite inspired of the idea of Foley and it allows our imagination to take hold of what different objects could be used to represent different things. Foley, named after Jack Foley (1891-1967) is a skill that requires a good realisation of time scales, making sure that the audio can be easily aligned with the other media forms.
Looking more into the aspect of Foley, I have researched other videos that describe the technique, I watched this video that also describes in an interview, how Foley is important in production, like the use of small sounds, the touching of skin, and kisses can't be picked up properly by the small microphones that the actors may wear, therefore it's easier both in the past and present day to insert the Foley afterwards.
Looking more into the aspect of Foley, I have researched other videos that describe the technique, I watched this video that also describes in an interview, how Foley is important in production, like the use of small sounds, the touching of skin, and kisses can't be picked up properly by the small microphones that the actors may wear, therefore it's easier both in the past and present day to insert the Foley afterwards.
Foley Performance Project 4 - Part B
Monday 20th October 2014
After having had brought in some objects to use for Foley sounds, we started to plan into what sounds could be exaggerated throughout. The way in which we had to select objects synchronised with the Pixilation clips that we produced previously.
'Animate?' Title sequence initial thoughts-
A
After having had brought in some objects to use for Foley sounds, we started to plan into what sounds could be exaggerated throughout. The way in which we had to select objects synchronised with the Pixilation clips that we produced previously.
'Animate?' Title sequence initial thoughts-
A
- Pen on paper
- Pen sounds
- Squeaky
- Hand rubbing against paper
- Pen against plastic
- Permanent Marker Pens
- Pencils
- Pens
N
- Tearing paper
- Harsh torn pieces
- Close to microphone
- Paper rustling
I
- Balloon noise
- Twigs shaking
- Scuttling
- Hissing snake noises
- Rattling
- Mouse noise
- Snake noise
- Rice shaker
M
- Metallic nail sounds
- Tapping repetitively
- Harsh sounding
- Tin foil?
- Various banging
A
- Unravelling of paper
- Crumpling of paper
- Harsh noise
T
- About 20 staples
- Staples punching
- Deliberate repetitive sounds
- Paper being punctured
- x20 bangs for staples
- Pen clicking.
E
- Quite close to microphone
- Rustling paper
- Stretching noise
- Making it bigger sound
- Whistle or horn
?
- Popping noises
- Bounce noise
- Material against paper for thread
- Feather
- Metal
- Plastic
- Paper
- Wood
From this overall experience, I am thinking that the following are the most important factors:
- The distance from the microphone - alters the volume levels.
- The harshness of movement for the object - also alters the volume levels.
- The timing- ensuring that the audio lines up with the overall footage.
History, Culture & Society
Friday 17th October 2014
Again in this lecture we breezed through the aspects of Abstract Expressionism, but delved more into the connotations of the influences.
Three main words for this lecture were History, Culture and Society, we gathered the following points for each of the 3 words and their connotations-
History
The inclusion of Jackson Pollock in the lecture as previously visited was also helpful, my first thoughts on his speech was that there is in fact a structural idea behind what seems to be a random mess of marks. Jackson Pollock wanted to break free from the orthodox of traditional art expression and drift away from the original paintings he created.
Again in this lecture we breezed through the aspects of Abstract Expressionism, but delved more into the connotations of the influences.
Three main words for this lecture were History, Culture and Society, we gathered the following points for each of the 3 words and their connotations-
History
- What is history? A point we explored was that some people believe there is a define difference between past and history. Past being things that have just happened, and history historical events that have been written.
- Who writes history? Most war events and written historical events have been written by the victors or men, are the points of history that we know altered?
- Distant memories, expediently written, our memories constantly playing tricks on us- some people remember a memory completely differently to how you remember it.
- Conflicting views on how to record historical events- how factual are they really?
- Piecing together the truth from written history.
- Making our own history, how do we remember our own historical events?
- Victors portray themselves in the best possible light- contracts away from the truth and factual information.
- Fashion- varying culture's ideas of fashion.
- Belief
- Languages
- Alternative cuisine
- Respect- the amount of care expected as part of the culture
- Upbringing- traditions being reinforced on children etc.
- Traditional values
- Culture of learning- overall consciousness
- Religion- overall faith, does it differ from those surrounding them?
- Social Class, are they working class or middle class perhaps?
- Rules and regulations and laws
- Citizenship
- Government
- Moral values- what's wrong and right? Conforming to certain modes of behaviour
- Patterns of behavior that are passed down through society
- Democratic behaviour- choosing a leader
- Distinct desire of how we should live
The inclusion of Jackson Pollock in the lecture as previously visited was also helpful, my first thoughts on his speech was that there is in fact a structural idea behind what seems to be a random mess of marks. Jackson Pollock wanted to break free from the orthodox of traditional art expression and drift away from the original paintings he created.
Foley Technique Project 4- Part A
Monday 13th October 2014
We were told on Friday afternoon to go home and collect some everyday objects that would contribute to this task, which is the Foley technique, a technique that allows artists to add sound to existing clips, used regularly in the Film industry by Foley artists.
Headhunters
I've been given the video clip 'Headhunters', looking through the clip I am quite worried as my partner isn't present and it's a 4 minute long clip, which I'm finding a bit tedious with the amount of time given to create it. However, I am starting to plan what could represent the different objects in my book, as well as planning into the timings involved.
I'm still finding the overall aspect challenging, the fact that I'm on my own is a challenge, especially when I have to produce such a large series of sounds in order to successfully impact my footage. The problem I'm having is the fact that the film I've been given cuts into different scenes quite quickly with it being a thriller, but it just makes it harder to access the clip in time for the sound. I decided that the best way was to record my sounds as a block and alter or add to any that were missing as I went along the film, ensuring that it was a quicker process. The following clips of sound I had to source from home:
We were told on Friday afternoon to go home and collect some everyday objects that would contribute to this task, which is the Foley technique, a technique that allows artists to add sound to existing clips, used regularly in the Film industry by Foley artists.
Headhunters
I've been given the video clip 'Headhunters', looking through the clip I am quite worried as my partner isn't present and it's a 4 minute long clip, which I'm finding a bit tedious with the amount of time given to create it. However, I am starting to plan what could represent the different objects in my book, as well as planning into the timings involved.
I'm still finding the overall aspect challenging, the fact that I'm on my own is a challenge, especially when I have to produce such a large series of sounds in order to successfully impact my footage. The problem I'm having is the fact that the film I've been given cuts into different scenes quite quickly with it being a thriller, but it just makes it harder to access the clip in time for the sound. I decided that the best way was to record my sounds as a block and alter or add to any that were missing as I went along the film, ensuring that it was a quicker process. The following clips of sound I had to source from home:
- The sound of a car pulling away
- A dog barking
- The sound of the air outside
As well as previously collected sounds:
- Leather noise
- Bag noise
- Frames moving
- Keys in door
- Door creaking
- Door opening
- Door closing
- Walking slowly
- Walking with pace
- Dog scratching noise
- Drawers closing
Abstract Expressionism - Ritual, Myth & Memory.
Friday 10th October 2014
Critical Review- Context Lecture
Our lecture today explored the journey of Abstract Expressionism and the alternate artist movements and the define differences between them. Coming back to the same timeline of movements, it's clear to see how Abstract Expressionism developed over time, with artists such as Jackson Pollock, Willem De Kooning, Franz Kline, Mark Rothko, Clyford Still, Phillip Guston, Barnett Newman, Adolph Gottlieb, Robert Motherwell, Ad Reinhardt and Arshille Gorky.
Such movements explored in the lecture such as Expressionism, Impressionism and Post Impressionism didn't only impact the visual compositions, but those of music, theatre and dance, a whole new movement that showed a new abstraction to previous culture, for example the American movement of jazz influences.
Critically I'd say the lecture was very informative, allowing the mind to wonder of how in fact others would also express power and strength through visual compositions. I myself found some of the pieces hard to envision the whole composition via slide show, and like the idea of visiting some of the exhibitions of given artists to further explore the aspects of emotion that is expressed in Abstract Expressionism. Such work from Jackson Pollock and Mark Rothko for example have large pieces that are meant to bring a wave of emotion, and become quite overwhelming to those viewing it, I'd personally like to view these in person myself as I believe they could have a completely different effect than the smaller photographs shown in lectures.
However, I found that the idea of empowerment in Abstract Expressionism was particularly inspiring, the way in which it was all new then, and truly broke down the usual conventions of art to produce a whole different impression of composition.
Although begun primarily in New York in the 1940's (famously 'The New York School') to take the focus away from the usual stylistic pieces of Paris, I found that the Abstract Expressionism was highly influential, and soon spread to varying regions, all with different stylistic backgrounds offering all new ways of expressing the movement.
Some key examples of Abstract Expressionism given in the lecture different effects- the first example was a cerebal focus of alternate fields of colour, an extremely reflective piece by Mark Rothko titled Yellow Band 1956, which allows the viewer to insert their own feelings into the piece. I imagine that the piece when witnessed is in fact rather emotional, allowing your own subconscious feelings to fill in the gaps between the shapes.
The contrasting piece but still within Abstract Expressionism was Jackson Pollock's Blue Poles 1940, this piece was highly dynamic, extremely expressive and truly beautiful. The large scale size and anti-Western technique of applying the paint onto canvas via just flicking it onto the floor rather than applying to a canvas on easel was highly influenced by the Indian background of his home town Wyoming.
The SUBCONSCIOUS was an aspect that was carefully explored throughout the lecture, I myself find the aspect of subconscious thoughts and dreams rather interesting, so enjoyed the exploration of this in the lecture. Gary spoke about the new idea Sigmund Freud developed of compressed subconscious thoughts being expressed in surreal circumstances such as in our dreams, I realised that such movements as Abstract Expressionism and Surrealism explore the idea of the subconscious.
Critical Review- Context Lecture
Our lecture today explored the journey of Abstract Expressionism and the alternate artist movements and the define differences between them. Coming back to the same timeline of movements, it's clear to see how Abstract Expressionism developed over time, with artists such as Jackson Pollock, Willem De Kooning, Franz Kline, Mark Rothko, Clyford Still, Phillip Guston, Barnett Newman, Adolph Gottlieb, Robert Motherwell, Ad Reinhardt and Arshille Gorky.
Such movements explored in the lecture such as Expressionism, Impressionism and Post Impressionism didn't only impact the visual compositions, but those of music, theatre and dance, a whole new movement that showed a new abstraction to previous culture, for example the American movement of jazz influences.
Critically I'd say the lecture was very informative, allowing the mind to wonder of how in fact others would also express power and strength through visual compositions. I myself found some of the pieces hard to envision the whole composition via slide show, and like the idea of visiting some of the exhibitions of given artists to further explore the aspects of emotion that is expressed in Abstract Expressionism. Such work from Jackson Pollock and Mark Rothko for example have large pieces that are meant to bring a wave of emotion, and become quite overwhelming to those viewing it, I'd personally like to view these in person myself as I believe they could have a completely different effect than the smaller photographs shown in lectures.
However, I found that the idea of empowerment in Abstract Expressionism was particularly inspiring, the way in which it was all new then, and truly broke down the usual conventions of art to produce a whole different impression of composition.
 |
| Mark Rothko Yellow Band 1956 |
Some key examples of Abstract Expressionism given in the lecture different effects- the first example was a cerebal focus of alternate fields of colour, an extremely reflective piece by Mark Rothko titled Yellow Band 1956, which allows the viewer to insert their own feelings into the piece. I imagine that the piece when witnessed is in fact rather emotional, allowing your own subconscious feelings to fill in the gaps between the shapes.
 |
| Jackson Pollock- Blue Poles 1940 |
The contrasting piece but still within Abstract Expressionism was Jackson Pollock's Blue Poles 1940, this piece was highly dynamic, extremely expressive and truly beautiful. The large scale size and anti-Western technique of applying the paint onto canvas via just flicking it onto the floor rather than applying to a canvas on easel was highly influenced by the Indian background of his home town Wyoming.
The SUBCONSCIOUS was an aspect that was carefully explored throughout the lecture, I myself find the aspect of subconscious thoughts and dreams rather interesting, so enjoyed the exploration of this in the lecture. Gary spoke about the new idea Sigmund Freud developed of compressed subconscious thoughts being expressed in surreal circumstances such as in our dreams, I realised that such movements as Abstract Expressionism and Surrealism explore the idea of the subconscious.
Composition In Time
Monday 6th October 2014
Allowing a depth of experimentation, we were free to animate our compositions, making alternate storyboards in our sketchbooks that plan out our overall pieces.
After having had this opening discussion, I decided to choose three main pieces that I'd like to animate to further enhance the word. The three I had chosen to animate were 'Uncomfortable', 'Tense' and 'Secure' I planned first off in my book of how to actually make the shapes move.
I started to construct some storyboards in my sketchbook to plan the movement of the shapes.
For tense, I noticed that the point of tension wasn't the transition coming from the right, but actually the point between the triangle and the rectangle, so that is the point of tension overall. So for my new stop motion, I decided to make it appear like it's zoomed into that point, but really I produced a large triangle and large square to allow them to interact to a point of tension.
For secure, I liked the idea of making the shapes look more free and then to cage them into a secure position with the form of thick lines. The two small squares I decided would float freely across the screen on a blank white background and then merge before being separated and secured. I made the line look quite defined and strong, redetermining the amount of security that needed to be represented.
Whereas, for uncomfortable, I included the thesaurus words that I'd researched, such things like 'irritating', 'annoying', 'piercing' etc. so wanted the triangle to represent the figurative source of annoyance, poking the shape repetitively before moving into the composition. I like the overall composition of how the motion builds up to the shapes to overall represent 'Uncomfortable' - I'm also looking forward to applying some audio onto the composition. This task has taught me to expand my horizons of how to represent a particular word without illustrating it individually.
Allowing a depth of experimentation, we were free to animate our compositions, making alternate storyboards in our sketchbooks that plan out our overall pieces.
I started to construct some storyboards in my sketchbook to plan the movement of the shapes.
For tense, I noticed that the point of tension wasn't the transition coming from the right, but actually the point between the triangle and the rectangle, so that is the point of tension overall. So for my new stop motion, I decided to make it appear like it's zoomed into that point, but really I produced a large triangle and large square to allow them to interact to a point of tension.
For secure, I liked the idea of making the shapes look more free and then to cage them into a secure position with the form of thick lines. The two small squares I decided would float freely across the screen on a blank white background and then merge before being separated and secured. I made the line look quite defined and strong, redetermining the amount of security that needed to be represented.
Whereas, for uncomfortable, I included the thesaurus words that I'd researched, such things like 'irritating', 'annoying', 'piercing' etc. so wanted the triangle to represent the figurative source of annoyance, poking the shape repetitively before moving into the composition. I like the overall composition of how the motion builds up to the shapes to overall represent 'Uncomfortable' - I'm also looking forward to applying some audio onto the composition. This task has taught me to expand my horizons of how to represent a particular word without illustrating it individually.
Interpretation as Visual Essay
Friday 3rd October 2014
We were given our first written brief to construct a visual piece of writing 400 words or more. We were given the choice to select any of the given postcards to study for our piece of writing. We were told to first off make a list of our first thoughts of the postcard given. My postcard featured the painting 'Nighthawks' by Edward Hopper- 1942, a piece that I found particularly eye-catching due to the isolated composition. Here are some initial notes I made on the piece:
We were given our first written brief to construct a visual piece of writing 400 words or more. We were given the choice to select any of the given postcards to study for our piece of writing. We were told to first off make a list of our first thoughts of the postcard given. My postcard featured the painting 'Nighthawks' by Edward Hopper- 1942, a piece that I found particularly eye-catching due to the isolated composition. Here are some initial notes I made on the piece:- Coffee Bar- probably USA
- Two Contrasting worlds- inside and outside, deserted
- Smells- Coffee, smoke, milk
- Sounds- Coffee pouring, porcelain, stirring with spoons, cups and saucers, coughs, sighs, mumbling
- Dark tones and shadows
- 4 characters involved, do they know each other?
- shape contrasts
- Late at night- no one else outside
- Mysterious figure
- 'Phillies' coffee bar
- The glow of the room
- A couple sat next to each other- have they fallen out?
I really enjoyed the fact that we were using our creativity in an alternate way, dissecting an unknown piece and constructing something new out of it. Here's the piece that I created.
Piercing silence. Only the brief clinking of spoon on porcelain could drop a sigh amongst the congregated few at Phillies coffee bar. Greeted with dull set tones a red haired lady in a scarlett gown, crouched over the wooden panels as if they would forever hold her weight, her brow crumpled with the heavy fury of her day. Lover in tow, she examines her nibbled nails, hoping that the glistening umber of her coffee would drown her pitiful marriage.
An intrusive cough splits the air like a concord, eyes dart towards the mysterious man sat in the corner, his hat engulfing his head, the bottom of his jaw floated like a crescent moon.
Outside the wall of glass and steam lay the sorrowful wait of reality pressing against the clocks; it lingered, waiting.
The beige walls lit like a dwindling flame whilst the steady silence daren't touch it. As if the very essence of syllables were cyanide to the mouth, not a single soul spoke, their eyes couldn't dare wonder from the cage of their own troubles.
The server sat in the centre of the bar, his face resembling the dull faces of his peers. He tried looking busy, a damp cloth embedded in his palm, but the firey haired lady was all that he saw. His eyes glistened at every sip of her coffee, as if every sip was a dose of admiration. Her eyes slowly and uncertainly flickered to the server, green as emeralds they sat on his face for less than a second, then scurried away back to her worn skeletal hands.
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