Key Principals: A brief History of Production and The Design Workflow

Understanding our history is a useful knowledge to hold as it gives us insight into past developments and ingenuity, as well as general hypothesises to possible shifts in trend which may occur in the future. In terms of production, specifically to print then the earliest dated book originates to the 'Diamond Sutra' which was translated from Sanskrit (one of the worlds oldest known languages) into Chinese, printed around AD400. This is contrasted hugely when comparing it to Europe's first printed book in 1455, the 'Mazarin Bible' or 'Forty Two Line Bible', produced by Gutenberg at Strasberg. This was the first major book to be printed in a moveable type printing press system, and consequently marked the start of Gutenberg's success, (otherwise known as the Gutenberg Revolution) as well as the start of the age to the printed book. Gutenbergs Bible became highly praised and earned an 'iconic' status, not just down to it being the first european book printed, but because of its artistic qualities and brilliant aesthetics. 

Here I have made a work flow for the current L4 visual communications project, based on my RVJ progress. Currently I am constructing my first draft to as higher quality as possible in order to minimalise edits required to result in the final design. This is how I often work, creating concepts before research (as mentioned in a prior blog) since it doesn't limit your creativity.

My only problem with this L4 group flow, is the overwhelming lack of group mentality; aka my group has done nothing. Therefore, any stages where I would consult with the team in order to gain feedback I have done so with tutors, fellow designers or friends who sit inside my audience demographic. This has caused problems in my workflow, because while one member was not turning up to meetings or producing work when asked and the other had no idea what to do, reluctant to attempt, I was forced to create a firmly structured grid for them both to stick to hopefully making work easier for them. This lead to a highly static and uncreative set of concepts when mocked up by me, and forced us to change tack. At this point my team was still seemingly reluctant to do work, and so I began forming my own design style to hand in separately while remaining in the group. This is where my design workflow stepped back into stride. Back in the group, I maintain to be the only truly motivated figure and will do my upmost to see that 'workflow' through.

Although not listed in this flow, I will constantly check my state of work in correlation with time to see how much has been accomplished and how much is left, noting developments and thoughts into my RVJ both literally and visually.

As far as my track record lays, this maintains to be a fairly smooth and comfortable workflow in creating successful and thorough work.

Key Principals: Three Act Structure and Character Journey

The three act structure, sourced originally from the layout of early fairy tails then elaborated into plays and novels is a common trend in story telling methods. This structure is typically split into the proportions of '30:60:30' to keep a balanced set. The first quarter, traditionally defined as the initial equilibrium to the story, is where the story's scene is laid out, and our standards are given. This is contrasted with the final 30/quarter of new equilibrium, where by a new set of standards are given. This final equilibrium, also known as the resolution or conclusion is in response to the stereotypically middle half, referred to as the crisis section. Here, a series of events occur to alter and challenge the initial equilibrium, and end up at the final/new one.

Beware, spoilers and serious mind f$%kery. You have been warned.

For the analysis of the three act structure, I have chosen the mid 2000 film, 'Memento' by the director Christopher Nolan, a personal favourite of mine. This film though, is not strictly set to this three act parameter. Seeing as the entire film is set to make sense both backwards as it is forwards (in order to convey the message that we are not only working our way from the initial equilibrium through the crisis to the resolution, but the resolution is actually the cause for the crisis and thus the initial film equilibrium: Nolan you mind f$%ker) This three act principal ties in perfectly with the character journey, as it is structured to display the protagonists journey through his amnesia-esque condition; thus it disorientates us to feeling we have 'forgotten' aspects of the story, while still maintaining a grasp and intrigue on the film itself. Within the first quarter section of the film, we are given the premise that our protagonist, Leonard has murdered Teddy our other main character, yet we have been taken back in time to where Leonard is searching under a vendetta for his wife's killer (who we currently believe to be Teddy, due to the opening clip) This opening standard of seemingly backstage knowledge and revenge, results in the ending, which loops back to elaborating on the opening clip explaining that Teddy is not in fact the true target but a fall-guy/has been set up. Being a Nolan film, the concluding equilibrium also explains a deeper answer to subtle and seemingly decorative threads within the story; that Leonard was not in fact the person he thought he was, but rather the person he used to example and reference to his own sate of mind. This draws us to the end of the characters journey and the film; although this is where the three act structure really gets confusing. The crisis, traditionally in the middle of the film is actually made apparent to be a crisis in two stages. One, where we may expect it near the middle to second third of the film where Natalie our female character prevails to be an actual antagonist rather than ally. She does this by deceiving Leonard in a vindictive and manipulative way. This is a relatively small 'crisis' section in the film, as the main crisis is given at the end of the film where the two strands of the story meld after fluctuating throughout the film. This shows us that Leonard actually killed another man, boyfriend to Natalie and set up by Teddy thus leading to the sequence of events leading to his death. This explains Leonard's appearance in contradiction to his narrated backstory, Teddy's death in vengeance by Leonard for 'using' him to benefit and why Natalie used and manipulated Leonard in subtle revenge for her boyfriends death. By placing the crisis near the middle and end (as well as hinted start when seeing Teddy's death followed by his appearance in the story) a seemingly paradoxical loop is created (one that is carried out and modified in his following but unrelated film, Inception). This loop allows us to comfortably link back to the start of the film to feel a conclusion and sense has been made, while also promotion the suggested mind state of our protagonist.

As far as characters journeys go, we are put directly into the unique mind of Leonard, through two correlating and converging scenes. One viewed in black and white, the other colour in order to easily differentiate. These, like the reverse viewing of the scenes generate an atmosphere of illusion and disorientation while allowing us to slowly feel we are arrow heading our way towards a series of answers to our escalating questions and intrigue. This is portrayed though the use of omni-narration suggesting we are hearing his thoughts, a personal slant on him scrawling notes on polaroids to remember, cut scenes to relative side stories or his memories, and obviously the style of using reversed ordered scenes. We are aided in this otherwise confusing premise of reverse filming through the reduction in not only character knowledge, but more tangible and solid presets, like the physical state of his car, clothes, wounds, and personal photograph notes. As mentioned earlier, he gives himself a backstory of being an insurance investigator and thus was legible to owning the expensive Jaguar car and smart clothes. As we discover him to not be the person he imagines though, his facade changes to a far different style; rough and worn clothes and a wild animal lust to replace the sleek predator approach. This shows the characters development both in finding himself through this story, and too reveals the true nature behind the plot. Overall character development is an intrigal element to story, allowing the viewer to suitably relate characters to their ascribed histories and intentions, as well as seeing them as relatable characters in real life: the more relatable they are, the more they are likely to be drawn into the story and feel connected with the characters. This doesnt have to be through visual aspects, but can be emotional or personality based keynotes such as (the audiences aspired) heroism, or (the audiences inner) vulnerability.

In conclusion, the story is set and delivered chronologically in reverse, yet the audience still learns the plot in a regular or standard manner, as does the character development take place in. The three act structure is thus displaced depending on which standpoint you adopt, with the same rule applied to character development. If I had tried to explain Inception, I'm afraid I might not have lived to tell the tale.

Key Principals: Interpretation and Methodology

Interpretation is the biggest influence in any work, as it reveals an insight into the artist and can emerge without any intention. For example, a designer may create a piece of work with the intention to include hints of his interpretation through medium, style and imagery. Although even if he had no intentions of including interpretation, the audience may in turn read into the design and pick up some of their own interpretations relating to either their knowledge of the artist, or perhaps even interpretation of that design, within their current time/location. Therefore interpretation can amplify the meaning or message from either side of the work.

In the production of any work, it is common for the creative to use and respond to their 'zeitgeist' (ideas and spirit of time; the ideas prevalent in a period and place) of their time to interpret their projects desired messages and content. This means if you are looking back on an artist who incorporated the interpretation of their zeitgeist, you must understand their time period and likely surroundings, to decode the piece fully. Looking through elements from the history of Alice in Wonderland, there have been a wide range in approaches and interpretations of the story through illustration. 

For example, the piece here was produced by Arthur Rackham in 1907, as the industrial revolution was ending. This is reflected from his work, by the use of heavy black ink and dirty sepia tones common in artists renditions from this period. The animals could also be taken to represent his current surroundings, as buildings and machinery were growing around him to titanic scales, making him feel smaller (like Alice).

When this is contrasted to the work for Alice in Wonderland from the 1960s/70s (below) then we can clearly see the cultural shift. Here, the intense use of colours, realisms, viewpoint angles and their effect on proportions all connote a trippy facade, thus enforce the artists interpretation on the 60's drug culture influence.

There are also examples of satirical interpretation within Alice's illustrations, by Ralph Steadman in 1967 (above). Here he uses the white rabbit as a symbol for business men, and adds satire by thus dressing him as a far business man late for work. Despite being now 44 years old, this interpretation still has relevance to modern culture as viewpoints on his satire have had little change, whereas the industrial revolution and iconic 60's drug culture have all passed and thus have a smaller cultural capital on audiences.

When this is compared to the Walt Disney style of illustration, we see that all characters have a much more mainstream appeal, and fairytale style instead of drug induced. Here, Alice is represented as a very dainty girl (baring extremely high visual relation to previous Disney female protagonists such as Sleeping Beauty), where as in older Alice in Wonderland designs, she is seen as a more bold character to challenge the current cultural expectations that girls should all be quiet and well behaved. This interpretation from Disney is clearly more an interpretation not of their surroundings, but an interpretation of how a character should look in relation to the companies style and history; thus what their desired audience will relate to most.

When we compare these representations of interpretations to those by Annie Leibowitz's for fashion photography, we see an immediate difference. Here Alice is given a far bolder style in both dress sense, and posturing body language. This removes the conceptions built by the influential Disney version, and challenges them greatly. Annie's interpretations here are likely based around the juxtaposition of a 'vintage' story with more modern stylings and attitudes. She does this by representing Alice as a girl aged perhaps around 18 to 20 and shoots her with much more characteristic attitude. 

We are also shown Alice in more of a sexual viewpoint such as the image here, where she is wearing a more modern and short blue dress, a high amount of leg and in a reclined position. These, as well as the female being the prominent (and perhaps dominant) character shown in the image below, are styles commonly adopted and applied within fashion photography, while the mies-en-scene relates to the zeitgeist desired.  

Methodology is an integral aspect to the design process, and understanding your personal methodology can help improve your work standard. By having a thorough methodology you are ensured to maximise your projects potential and achieve a well explored design. A versatile process will also enable you to work independently and professionally, such as Dave McKean who has an extremely wise range of design processes, flowering a large variation of media combinations. 

When looking at my own design process, I see that it is not a totally orthodox methodology, yet still produces original and successful pieces. After being given the brief, I proceed to come up with design ideas and concepts with quickly develop from rough sketches to full blown designs. My main development takes place within this transition of sketch to detailed drawing, fine tuning aspects and making it all tie together. I do this before my research because I am not then stunted by research evaluation; my ideas stay fresh and original, based souly on; my instincts, any lingering inspiration taken in previous and relevant projects; and the brainstormed ideas I may have when bouncing concepts from team members. After my ideas are laid out, I begin research, and tend to evaluate my concepts to those in actual pieces of produced products. This gives me a good idea to how original my ideas are, how relevant they are, what might work and what might not, and what aspects I could carefully lift and develop into my own work. This allows me to further fine tune my work, and almost acts as a form of audience feedback; knowing that the current market products hit their audiences successfully. By understanding my process I understand that my methodology is different from others, and avoids trends that can lead to plagiarism.

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