I have to admit that there are times when I wonder if (even after all these years) I am at one with my photography and in the early hours of some mornings consider selling up and moving on. However there are other times when I get inspired and can do little else other than look at photographs, make images, print, read and feel that learning rush we all had as teenagers when first exposed to something new and exciting. The feedback for assignment two arrived in the email this morning and once again I am feeling good about my work. The constant self doubts, the nagging little voice, the inner knowing that maybe you could do better are to some extent banished for a few minutes with the favorable comments.
The first few comments were about my online reworking of assignment one, which when first submitted had a few issues relating to it that needed my attention. I am pleased that the second set of photographs were seen as more personal. Upon reflection I am sure that my lack of conceptual thinking was due in part to my year away from the degree and with PWDP you start straight off the start line with an assignment rather that a few exercises to warm up with.
Assignment two was thought of as "considered and thoughtful" with a "strong ability for lateral thinking". This is encouraging for me as I did enjoy the book cover problem solving and realised soon after reading 1984 that there was unlikely to be a simple solution and that the way forward would be with manipulated images that related to the underlying message of the book.
Our tutors do of course look at our learning journals and this where I know there is more work to do. I love books and buy far too many, the result of which is a lack of structure in my reading. This module has a bias towards essays and critical theory and while I have looked at and read much so far there is little evidence of this in the blog which gives the impression (quite rightly) that I haven't been busy. I will address this by way of more mini critical reviews of books and comment on the BJP and Source magazines, both of which I subscribe to.
I have made a start on assignment three and posted a few images in a recent post. My tutor is happy that we are on the same wavelength with this as it is self directed and moves away from the written requirements of the module. Once again a small comment from the tutor has made me aware of my shortcomings when I write the journal. The comment relates to keeping the prints consistent as my examples varied in size and style. One monochrome and the other colour, both with different aspect ratios. My error here is that I did not explain that the example were of two differing styles and I would never see myself putting them together for that very reason. This reminds me of my time studying law and remembering that the prosecution have to back up their claims with "evidence" rather than wishful rhetoric.
So, on refection I need to smarten up my journal writing and remember that apart from a wider public who may have a look, it is being assessed continually by my tutor and ultimately by the assessors. I need to be precise and offer detailed explanation of my choices backed by how the end products are influenced by my conceptual thinking.
Showing posts with label Assignment 2. Show all posts
Showing posts with label Assignment 2. Show all posts
Saturday, 19 April 2014
Wednesday, 29 January 2014
Assignment 2 - 1984 - Concept / Draft Images - 2
As I continue with the conceptualisation it is becoming clearer that I need to be more aware of Orwell and the thesis he was portraying within the work. I have worked on a few designs that went nowhere and I will show them here to demonstrate how they may have aspects of "1984" they became too literal and maybe somewhat cliched.
An early concept was the "Big Brother is Watching You" theme. I would rather not go along these lines as there is too much similarity with a TV show and the intent is to produce a design that has underlying Orwell. It is too messy and offers none of what I was looking for.
An early concept was the "Big Brother is Watching You" theme. I would rather not go along these lines as there is too much similarity with a TV show and the intent is to produce a design that has underlying Orwell. It is too messy and offers none of what I was looking for.
Early Design "Big Brother is Watching You"
On the basis that the assignment is a mock up of me producing a design for a client (my tutor in this instance) I will work towards two that I would show as finished work. In a real world assignment if the brief wasnt too specified (as it isnt here) I think it only reasonable to offer more than one design.
The original feminie shape, the 101 binary theme image from the previous posting has developed without the 11111000000 binary number for 1984 which I now consider too geeky and for the vast majority of people would mean nothing. The 101 theme continues and the arrangement of text has changed. The spine has now been added. The choice of Font is again taken from the theme of the book. In 1984 there are fewer words in the dictionary, there is fewer of everything so I am assuming The Party would by now have removed most of the Fonts in common use. The Stencil Font is however utilitarian and easy to apply to anything, so for now it is chosen.
Preferred Option 1
The second option I will show to my tutor (client) is based on a small object in the story that links a number of the characters together and has a symbolism on a number of levels.
Preferred Option 2
Preferred Option 2 ver 2
The paperweight is significant as it is the only thing Smith owns, is purchased from Charrington's shop where he and Julia have there affair away from the gaze of the telescreens. I photographed it on an old piece of wood similar to the general appearance in Charringtons shop and upstairs room. It is about 50mm diameter and was shot with a FF DSLR and 105mm macro lens. Lighting was a LED torch with snoot painting the object for 30 seconds, with lens at f45.
Monday, 13 January 2014
Assignment 2 - 1984 - Concept / Draft Images - 1
Concept
There is no doubt that a book cover must do more than have on it the Title and the Authors name, although with The Classics this is eminently possible. Also an early decision is to whether make a 1947, 1984 ( both relevant dates) or a contemporary version. In this instance I will make a contemporary version suitable for publication in 2014.
From the previous journal entry I can form a list of the vital aspects of the book, all of which could be used as part or all of an image.
101 in a binary code is 5. Maybe a curious coincidence, maybe room 5 or maybe something deeper.
Also the binary code for 1984 is 11111000000: a rather clean and simple looking set of 1's and 0's.
My initial thoughts are that I want to make a cover that uses binary code. Potential readers will have heard of or seen the television programme Room 101 where objects or ideas are destined to that room as a punishment. They may not be aware of the connection to this book so I will make use of the 101 as a symbol in a binary environment to attract interest without referring to Room 101 in any overt way.
Early photography
The first image is of a computer screen with endless 10101010 numbers. I changed the screen resolution to 800x600 so that the numbers were larger and so that the screen dots formed a grain effect. This early image was taken with a 24mm tilt and shift lens so that I had control over the amount of the image that is in focus. It is a large image, 7360x4912 so that I have crop opportunities as the design develops.
There is no doubt that a book cover must do more than have on it the Title and the Authors name, although with The Classics this is eminently possible. Also an early decision is to whether make a 1947, 1984 ( both relevant dates) or a contemporary version. In this instance I will make a contemporary version suitable for publication in 2014.
From the previous journal entry I can form a list of the vital aspects of the book, all of which could be used as part or all of an image.
- Winston Smith
- The Party
- Big Brother
- Telescreen
- Goldstein
- Ministry of Truth
- O'Brien
- Julia
- Charrington
- Paper Weight (More prominent in Film Version)
- Thought Police
- Surveillance
- Proles
- 101
- Rats
101 in a binary code is 5. Maybe a curious coincidence, maybe room 5 or maybe something deeper.
Also the binary code for 1984 is 11111000000: a rather clean and simple looking set of 1's and 0's.
My initial thoughts are that I want to make a cover that uses binary code. Potential readers will have heard of or seen the television programme Room 101 where objects or ideas are destined to that room as a punishment. They may not be aware of the connection to this book so I will make use of the 101 as a symbol in a binary environment to attract interest without referring to Room 101 in any overt way.
Early photography
The first image is of a computer screen with endless 10101010 numbers. I changed the screen resolution to 800x600 so that the numbers were larger and so that the screen dots formed a grain effect. This early image was taken with a 24mm tilt and shift lens so that I had control over the amount of the image that is in focus. It is a large image, 7360x4912 so that I have crop opportunities as the design develops.
Image 1 Binary Screen
Image 2 Modified to Portrait and early experiment with 101
Day 2 in conceptual design
Not entirely happy with where this is going and reverted to making some clichéd images of lenses and eyes (to be added) to capture the "Big Brother is watching You" theme, but they aren't really what I wanted.
In advertising and marketing there is one certainty "Sex Sells" and to be fair to the story and the film (which made the most of it) this is about an affair between a man and a woman who manage a romance for a while despite Big Brother. The female form is therefore a useful shape to encourage at least half of the potential buyers. The text is temporary and the binary 1984 is not working yet and may be deleted as being too complicated. Perhaps something for the rear of the cover.
More to follow
Not entirely happy with where this is going and reverted to making some clichéd images of lenses and eyes (to be added) to capture the "Big Brother is watching You" theme, but they aren't really what I wanted.
In advertising and marketing there is one certainty "Sex Sells" and to be fair to the story and the film (which made the most of it) this is about an affair between a man and a woman who manage a romance for a while despite Big Brother. The female form is therefore a useful shape to encourage at least half of the potential buyers. The text is temporary and the binary 1984 is not working yet and may be deleted as being too complicated. Perhaps something for the rear of the cover.
Feminine Curves
More to follow
Assignment 2 - 1984 - A photographic book cover - Research
The Author
Eric Arthur Blair (1903 - 1950) known by his pen name George Orwell is considered by many to be one of the most influential writers of the 20th century. His novels "Nineteen Eighty Four" (1949) and "Animal Farm" (1945) are perhaps the better known works of a man who was born in India and educated at Eton although reports suggest he neglected his academic studies. Rather than a place at university he joined the Indian Police Service in Burma. While on leave back in England in 1927 he decided against a return to Burma (not being happy with his role in the work of the Empire) to become a writer. He drew on experiences in Burma for the novel "Burmese Days" (1934) and the essays "A Hanging" (1931) and "Shooting an Elephant" (1936). He moved to Paris in 1928, living in a working class district and relied upon an aunt for financial support while working as a journalist. He soon became ill, had all of his money stolen and undertook menial work in hotels. After 2 years he returned to England and lived a comfortable life, occasionally writing and researching the world of the poor and under privileged. It was 1933 when he adopted the name George Orwell, inspired by the River Orwell near the family home in Southwold.
In 1937 he published "The Road to Wigan Pier", a social investigation into the working classes of Lancashire and Yorkshire and his own upbringing with references to his political conscience and an argument for Socialism. During the period of the research for the book Orwell was under surveillance by Special Branch for 12 years, ending only one year before the publication of "Nineteen Eighty Four" in 1949.
The Book
I outline the plot and in doing so highlight words that have come to the fore for the cover photograph. I use the word photograph in its widest form as I am unlikely to use a single image, preferring to work with a construct using imagery metaphorically.
Nineteen Eighty Four - George Orwell
Winston Smith is a worker in the ruling Party and lives in London. Winston (and everyone else) is constantly under surveillance by The Party through a device called a telescreen and through this device propaganda is delivered 24 hrs a day; often by the Party leader, Big Brother. Their slogan is "Big Brother is watching You". The Party controls the entire way of life in Oceania and to be at odds with this is illegal or to challenge it by thought is a crime and retribution is delivered by the Thought Police.
Smith dislikes the Party and is angered by the domination of his mind by others. Free speech and free thought are not possible, only hard work and poverty pervade in his life and he desperately wants to break free. He has the belief that there is an alternative way with the Brotherhood, a fabled organisation led by Emanuel Goldstein and sets about a journey to find a like minded person with who he can conspire.
Smith works in the Ministry of Truth, a curiously named organisation where the truth is in fact altered into lies to suit the political and social agenda of the Party. It is in there while at work he becomes interested in two people who he believes may have connections with the Brotherhood. O'Brien, an inner Party member has caught his eye and a dark haired girl who stared at him; an act that could be of suspicion from a member of the Thought Police, or from a like minded soul.
Smith writes his thoughts (illegally) in a journal bought (illegally) from a second hand shop in an area of town inhabited by the Proles. The Proles are a lower class, not controlled as closely as Party members. They live squalid lives and to engage in their company is dangerous and an act against Big Brother.
The dark haired girl (Julia) hands Smith a note saying "I love you", thus starting a covert affair with them meeting in a wooded glade and regularly in a rented room above the second hand shop, owned by a Mr. Charrington. The couple spends many hours discussing a future without Big Brother, albeit knowing that one day they will be caught and killed.
O'Brien contacts Smith and invites him and Julia to his home and there tells Smith that he hates the Party; is a traitor and wants them to work with him in the Brotherhood to overthrow Big Brother. Smith is however the subject of a conspiracy. Mr. Charrington is a member of the Thought Police and Smith has been under surveillance during his time in the rented room. The meeting with O'Brien a sham designed to lead Smith further into further acts of rebellion.
Smith is arrested and taken to the Ministry of Love where he is tortured and brainwashed (eventually agreeing that 2+2=5) by O'Brien. Smith loses track of time and is taken to the final stage of his torture in room 101. Smith’s greatest fear is of rats and a cage full of them is placed over his face with the prospect of them eating him alive. Smith cracks and pleads with O'Brien to torture Julia, not him. The torture is over, O'Brien has broken him, he is released back into society, accepts the Party and now loves Big Brother.
The Film (Directed by Michael Radford)
Released in 1984 with John Hurt in the tile role is the second film version, the first being a rather unexceptional attempt in 1956 directed by Michael Anderson with Edmund O'Brien as Winston Smith.
The Radford version is very true to the book and in many scenes the dialogue is exactly the same as the text. Radford's London is much dirtier than I had envisaged and the decay in living standards much lower than my perception. Photographically the film is superb; with a sympathetically reduced colour gamut and lighting that invokes menace and danger.
Analysis
"Nineteen Eighty Four" is not a piece of work made in isolation. There is evidence of the "1984" society in a 1946 essay by Orwell "James Burnham and the Managerial Revolution" Here he talks about James Burnham's theory of a planned centralised society, devoid of democracy. A world dominated by people who control production, technicians, bureaucrats and soldiers, all lumped together as "Managers". This theme closely resembles the workings of the Inner Party in 1984 who crush the working classes and establish large super states who fight with no prospect of winning a war.
Throughout the book there is an overwhelming feeling of fear. Everyone is watching everyone to spot the slightest anti Big Brother gesture. Children watch their parents and have them arrested for minor infringements. Smith has to lead his life in a covert style, dodging the telescreen, hidden microphones and the gaze of officialdom with a constant fear of death by a single bullet in the back of the head. There is only right and wrong, there are no grey areas where discussion occurs in this society. Truth and Lies are the same when it suits the Party, and although the individual can be seen to be conforming they will eventually give themselves away and be removed from society. No record will exist of you ever having been born, no record of your work and no record of your death.
My analogy to this is the binary system and the 1/0 representation in computer code. In this code there are no grey areas, there is On and Off, Black and White; in Oceania there are no grey areas. The Party only recognises the good and the bad, the 1 and the 0.
There have been very few book covers produced for past reprints that use photography. Most it seem use typology in a graphic representation to portray a Communist / Stalinist regime with the use of an eye, to represent the "Big Brother is Watching You" theme. The colours of early versions include a lot of red, again a communist theme.
Cover Design
The first question I need to answer: Will it be contemporary or suitable for first edition? This is interesting because since it was first being published in 1947 our attitudes towards communism have changed and the "Reds under The Beds", associated with the Cold War during the 1950's has softened. This gave the original cover designers plenty of opportunity to use red and black with rather austere typology, and that may still be a way forward. The current Penguin Modern Classics edition is light and bright, with a hint of menace in the poorly written graffiti. The small photographic element of a couple in a semi naked embrace (one assumes its Winston and Julia) does nothing to attract attention and only becomes identifiable after one has read the book. The first impression and the one that the publisher is relying upon to get our attention is the authors name "George Orwell" written large and in white on a dark blue background.
Eric Arthur Blair (1903 - 1950) known by his pen name George Orwell is considered by many to be one of the most influential writers of the 20th century. His novels "Nineteen Eighty Four" (1949) and "Animal Farm" (1945) are perhaps the better known works of a man who was born in India and educated at Eton although reports suggest he neglected his academic studies. Rather than a place at university he joined the Indian Police Service in Burma. While on leave back in England in 1927 he decided against a return to Burma (not being happy with his role in the work of the Empire) to become a writer. He drew on experiences in Burma for the novel "Burmese Days" (1934) and the essays "A Hanging" (1931) and "Shooting an Elephant" (1936). He moved to Paris in 1928, living in a working class district and relied upon an aunt for financial support while working as a journalist. He soon became ill, had all of his money stolen and undertook menial work in hotels. After 2 years he returned to England and lived a comfortable life, occasionally writing and researching the world of the poor and under privileged. It was 1933 when he adopted the name George Orwell, inspired by the River Orwell near the family home in Southwold.
In 1937 he published "The Road to Wigan Pier", a social investigation into the working classes of Lancashire and Yorkshire and his own upbringing with references to his political conscience and an argument for Socialism. During the period of the research for the book Orwell was under surveillance by Special Branch for 12 years, ending only one year before the publication of "Nineteen Eighty Four" in 1949.
The Book
I outline the plot and in doing so highlight words that have come to the fore for the cover photograph. I use the word photograph in its widest form as I am unlikely to use a single image, preferring to work with a construct using imagery metaphorically.
Nineteen Eighty Four - George Orwell
Winston Smith is a worker in the ruling Party and lives in London. Winston (and everyone else) is constantly under surveillance by The Party through a device called a telescreen and through this device propaganda is delivered 24 hrs a day; often by the Party leader, Big Brother. Their slogan is "Big Brother is watching You". The Party controls the entire way of life in Oceania and to be at odds with this is illegal or to challenge it by thought is a crime and retribution is delivered by the Thought Police.
Smith dislikes the Party and is angered by the domination of his mind by others. Free speech and free thought are not possible, only hard work and poverty pervade in his life and he desperately wants to break free. He has the belief that there is an alternative way with the Brotherhood, a fabled organisation led by Emanuel Goldstein and sets about a journey to find a like minded person with who he can conspire.
Smith works in the Ministry of Truth, a curiously named organisation where the truth is in fact altered into lies to suit the political and social agenda of the Party. It is in there while at work he becomes interested in two people who he believes may have connections with the Brotherhood. O'Brien, an inner Party member has caught his eye and a dark haired girl who stared at him; an act that could be of suspicion from a member of the Thought Police, or from a like minded soul.
Smith writes his thoughts (illegally) in a journal bought (illegally) from a second hand shop in an area of town inhabited by the Proles. The Proles are a lower class, not controlled as closely as Party members. They live squalid lives and to engage in their company is dangerous and an act against Big Brother.
The dark haired girl (Julia) hands Smith a note saying "I love you", thus starting a covert affair with them meeting in a wooded glade and regularly in a rented room above the second hand shop, owned by a Mr. Charrington. The couple spends many hours discussing a future without Big Brother, albeit knowing that one day they will be caught and killed.
O'Brien contacts Smith and invites him and Julia to his home and there tells Smith that he hates the Party; is a traitor and wants them to work with him in the Brotherhood to overthrow Big Brother. Smith is however the subject of a conspiracy. Mr. Charrington is a member of the Thought Police and Smith has been under surveillance during his time in the rented room. The meeting with O'Brien a sham designed to lead Smith further into further acts of rebellion.
Smith is arrested and taken to the Ministry of Love where he is tortured and brainwashed (eventually agreeing that 2+2=5) by O'Brien. Smith loses track of time and is taken to the final stage of his torture in room 101. Smith’s greatest fear is of rats and a cage full of them is placed over his face with the prospect of them eating him alive. Smith cracks and pleads with O'Brien to torture Julia, not him. The torture is over, O'Brien has broken him, he is released back into society, accepts the Party and now loves Big Brother.
The Film (Directed by Michael Radford)
Released in 1984 with John Hurt in the tile role is the second film version, the first being a rather unexceptional attempt in 1956 directed by Michael Anderson with Edmund O'Brien as Winston Smith.
The Radford version is very true to the book and in many scenes the dialogue is exactly the same as the text. Radford's London is much dirtier than I had envisaged and the decay in living standards much lower than my perception. Photographically the film is superb; with a sympathetically reduced colour gamut and lighting that invokes menace and danger.
Analysis
"Nineteen Eighty Four" is not a piece of work made in isolation. There is evidence of the "1984" society in a 1946 essay by Orwell "James Burnham and the Managerial Revolution" Here he talks about James Burnham's theory of a planned centralised society, devoid of democracy. A world dominated by people who control production, technicians, bureaucrats and soldiers, all lumped together as "Managers". This theme closely resembles the workings of the Inner Party in 1984 who crush the working classes and establish large super states who fight with no prospect of winning a war.
Throughout the book there is an overwhelming feeling of fear. Everyone is watching everyone to spot the slightest anti Big Brother gesture. Children watch their parents and have them arrested for minor infringements. Smith has to lead his life in a covert style, dodging the telescreen, hidden microphones and the gaze of officialdom with a constant fear of death by a single bullet in the back of the head. There is only right and wrong, there are no grey areas where discussion occurs in this society. Truth and Lies are the same when it suits the Party, and although the individual can be seen to be conforming they will eventually give themselves away and be removed from society. No record will exist of you ever having been born, no record of your work and no record of your death.
My analogy to this is the binary system and the 1/0 representation in computer code. In this code there are no grey areas, there is On and Off, Black and White; in Oceania there are no grey areas. The Party only recognises the good and the bad, the 1 and the 0.
There have been very few book covers produced for past reprints that use photography. Most it seem use typology in a graphic representation to portray a Communist / Stalinist regime with the use of an eye, to represent the "Big Brother is Watching You" theme. The colours of early versions include a lot of red, again a communist theme.
Cover Design
The first question I need to answer: Will it be contemporary or suitable for first edition? This is interesting because since it was first being published in 1947 our attitudes towards communism have changed and the "Reds under The Beds", associated with the Cold War during the 1950's has softened. This gave the original cover designers plenty of opportunity to use red and black with rather austere typology, and that may still be a way forward. The current Penguin Modern Classics edition is light and bright, with a hint of menace in the poorly written graffiti. The small photographic element of a couple in a semi naked embrace (one assumes its Winston and Julia) does nothing to attract attention and only becomes identifiable after one has read the book. The first impression and the one that the publisher is relying upon to get our attention is the authors name "George Orwell" written large and in white on a dark blue background.
Current Penguin Cover
The next journal entry will deal with my conceptualisation and the various photographic ideas and how they develop.
References:
Orwell, G The Road to Wigan Pier 1937 http://gutenberg.net.au
Orwell, G Fifty Essays. 1946. http://gutenberg.net.au
Orwell, G Nineteen Eighty Four, 1947, Penguin Modern Classics
Radford, M Nineteen Eighty Four (Film), 1984, Twentieth Century Fox, Itunes
Monday, 4 November 2013
Assignment Two - A photographic book cover
Although a few weeks away yet in its making I am reading "Nineteen Eighty Four" by George Orwell and this will be the subject of the assignment. About 10 years ago I had part read it so there was a need for completeness that made me choose it. I am familiar with some of the other titles and would also have been keen on "Far From The Madding Crowd" by Thomas Hardy and "The Remains of the Day" by Kazuo Ishiguro. I am also finding myself a bit bogged down with essays at the moment and the excuse to read fiction is some relief.
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