Monday, September 15, 2014

Working 3D in After Effects

As a beginner I think having a fast workflow is not possible at this point in time. I need to learn the quick keys and delve deeper into the program so I don't have to pause and think about where a tool of effect is. So from this test I think I will be working in 2D in After Effects for our project.


Wednesday, September 10, 2014

Southern Exposure Poster Mockup

My concept for the Southern Exposure poster is something along the lines of this. 
EXCEPT, I want it to be 100% illustrated using mixed media. The colors and exposure on the concept below are off because this a quick rendering but I essentially I want half of a violin with the band exploding out of the side of it, along with colors exploding as well. I want the background to be a dark purple to connect to the jazz aspect but I want the colors to relate to the energy of latin american music.


Tuesday, September 9, 2014

Tender Buttons Cover Concept

After the critique Monday, I came to the realization that I was letting my own personal preferences and emotions get in the way. I had to refocus to the idea, "How would Stein want her work to be portrayed."

One of the words I want to use is "BOLD." My past layouts were "conservatively bold" rather than the "Tender Buttons bold" that I needed to keep in mind. By refocusing I feel like I am now on the right track to finding the best solution.

This is my first concept of the cover for Tender Buttons. I took a lot of inspiration from Dadaism. I chose a parchment paper for its color and texture. I wanted something with a prominent texture and off white color because I didn't want a smooth, clean and organized material. I wanted a paper that the reader's finger can sense and differentiate from the norm.


Monday, September 8, 2014

Spot Illustration: Lost Fishing Hook

My good friend, Dan Goedeker (http://pat-finley.tumblr.com/) is currently working on producing a magazine called Inarticulate. He asked me to produce an illustration based on one of the stories he is writing that will be featured in the magazine. When the story is published I will link it here, as for now, it's up to your imagination to decide what is happening.

Process:
1. Find the image. Explore interesting perspectives.
2. Once I found a positioning I liked, I roughly traced it on tracing paper.
3. Using an ebony pencil and a separate piece of tracing paper, backed with ebony pencil rubbed on it, I transferred the rough sketch to a taped down sheet of bristol paper.
4. Next, I cleaned up the lines with a 2H pencil, finding the lines I wanted to ink.
5. I inked the 2H line with a rapidograph.
6. I slowly built up contrast with water color.
7. Finally, I used Prismacolor colored pencils to add an even deeper saturation and contrast.

Inspiration:
Dan Goedeker
Marc McKee
John Kricfalusi





Sunday, September 7, 2014

Gertrude Stein Tender Buttons Design Approach

Looking back at my methodology to this design, I can see that I have broken the boundaries of my conservative approach and let loose my attempt at making interesting typography, rather than designing a typical cohesive book.

In Stein's work, I love to play with single phrases and emphasize on them rather than focus on the whole poem. While doing that though, I want the reader to still have their own imagination and interpretation's to what the poems are trying to convey. The wonderful thing about Stein's work is that if you read each word and interpret it to it's literal definition, to me, it does not make sense. But reading in phrases and using your imagination along with your senses, opens up the true construction of Stein's poems.

In short, my goal is to interpret my senses of the phrases or single words of the poems while leaving the rest of the poem up to the viewer's imagination and senses.







Thursday, September 4, 2014

Christian Howes & Southern Exposure Matrix and Sketches

I started off using mood boards to dig further into the descriptive words I used to describe Christian Howes & Southern Exposure. While I was in the process of sketching out ideas for each word I found that I kept referencing and going back to the "Personification" row.

As I began to move further with the project I really focused in on the instruments of the band: the violin, the accordion, the stand up bass, the piano and last but not least, the drums. I feel each instrument covers the emotion that the songs convey. The album is full of songs that go up and down like a roller coaster as far as the energy goes. So I knew I wanted to spend more time with the instruments as far as the illustration goes. I also wanted to capture an intimate moment juxtaposed to an exciting moment to represent how most of their songs are constructed.

I try to achieve intimacy by focusing on the hands and where they are placed on each instrument. I want the viewer to feel the passion that Christian Howes & Southern Comfort have for their instruments. Next, I wanted the background to be very alive. I used latino colors to represent their influences of latin music but, I used a lot of purples because I think a dark purple captures the feeling of both jazz and latino art.

As my sketches for each instrument developed I envisioned the hands captured in a single moment of action, frozen, while the background, that being either the stage or the musician, moving very fast.

When I was satisfied with my sketches I moved on to type. Looking back on my process I think I should have started with the type, but I was too excited to get my illustrations on paper.

The type I chose to draw, I wanted something easy and with a latin influence, and I experimented from there. I am not completely satisfied with the type, but I am finding little parts that excite me.





Tuesday, September 2, 2014

Gertrude Stein Tender Buttons Design Methodology

When first reading through Tender Buttons, by Gertrude Stein, I was completely lost. She repeated phrases multiple times, one after the other and mish-mashed sentences that I could not comprehend. I had no idea how to interpret her rambling. I was getting frustrated with trying to find an understanding to her work, so I looked up her biography to try and understand her better. Mostly what I found was obvious information, but one sentence stood out.

"Intended to employ the techniques of abstraction and Cubism in prose, much of her work was virtually unintelligible to even educated readers."
(http://www.biography.com/people/gertrude-stein-9493261#early-years)

Maybe, for someone who first reads her work, "abstraction" is very obvious, but for myself, I took her words too literal. Once I had the idea that she was working more abstract with her words I began to feel and smell and use my senses rather than depict the literal meanings of the words on the page. I paced my self through some of her longer works trying to understand the rhythm and speed of poem and through that I got an even greater sense of what she was saying. Although, some of her works still seemed random and unnecessary.

With a greater understanding of her work I began to arrange her words.

I started off being very conservative, with the mentality that I shouldn't imply any sense of what someone should be feeling when they read her work. So, I kept the typography and design very traditional as if it where to be published in a book.

Then, I began to expand my expression through typography on how I felt reading the works. As I expanded, I started to pick phrases from the poetry and what I found is that the small phrases alone felt very bold, confident and straight to the point.









Monday, September 1, 2014

Gertrude Stein 10 Poems

LUNCH. 

Luck in loose plaster makes holy gauge and nearly that, nearly more states, more states come in town light kite, blight not white. 

A little lunch is a break in skate a little lunch so slimy, a west end of a board line is that which shows a battle beneath so that necessity is a silk under wear. That is best wet. It is so natural, and why is there flake, there is flake to explain exhaust. 

A real cold hen is nervous is nervous with a towel with a spool with real beads. It is mostly an extra sole nearly all that shaved, shaved with an old mountain, more than that bees more than that dinner and a bunch of likes that is to say the hearts of onions aim less. 

Cold coffee with a corn a corn yellow and green mass is a gem. 

RHUBARB. 

Rhubarb is susan not susan not seat in bunch toys not wild and laughable not in little places not in neglect and vegetable not in fold coal age not please. 

DINING. 

Dining is west. 

A CENTRE IN A TABLE. 

It was a way a day, this made some sum. Suppose a cod liver a cod liver is an oil, suppose a cod liver oil is tunny, suppose a cod liver oil tunny is pressed suppose a cod liver oil tunny pressed is china and secret with a bestow a bestow reed, a reed to be a reed to be, in a reed to be. 

Next to me next to a folder, next to a folder some waiter, next to a foldersome waiter and re letter and read her. Read her with her for less.

MILK. 

Climb up in sight climb in the whole utter needles and a guess a whole guess is hanging. Hanging hanging. 

EGGS. 

Kind height, kind in the right stomach with a little sudden mill. 

Cunning shawl, cunning shawl to be steady. 

In white in white handkerchiefs with little dots in a white belt all shadows are singular they are singular and procured and relieved. 

No that is not the cows shame and a precocious sound, it is a bite. 

Cut up alone the paved way which is harm. Harm is old boat and a likely dash. 
A SELTZER BOTTLE. 

Any neglect of many particles to a cracking, any neglect of this makes around it what is lead in color and certainly discolor in silver. The use of this is manifold. Supposing a certain time selected is assured, suppose it is even necessary, suppose no other extract is permitted and no more handling is needed, suppose the rest of the message is mixed with a very long slender needle and even if it could be any black border, supposing all this altogether made a dress and suppose it was actual, suppose the mean way to state it was occasional, if you suppose this in August and even more melodiously, if you suppose this even in the necessary incident of there certainly being no middle in summer and winter, suppose this and an elegant settlement a very elegant settlement is more than of consequence, it is not final and sufficient and substituted. This which was so kindly a present was constant. 

A BOX. 

A large box is handily made of what is necessary to replace any substance. Suppose an example is necessary, the plainer it is made the more reason there is for some outward recognition that there is a result. 

A box is made sometimes and them to see to see to it neatly and to have the holes stopped up makes it necessary to use paper. 

A custom which is necessary when a box is used and taken is that a large part of the time there are three which have different connections. The one is on the table. The two are on the table. The three are on the table. The one, one is the same length as is shown by the cover being longer. The other is different there is more cover that shows it. The other is different and that makes the corners have the same shade the eight are in singular arrangement to make four necessary. 

Lax, to have corners, to be lighter than some weight, to indicate a wedding journey, to last brown and not curious, to be wealthy, cigarettes are established by length and by doubling. 

Left open, to be left pounded, to be left closed, to be circulating in summer and winter, and sick color that is grey that is not dusty and red shows, to be sure cigarettes do measure an empty length sooner than a choice in color. 

Winged, to be winged means that white is yellow and pieces pieces that are brown are dust color if dust is washed off, then it is choice that is to say it is fitting cigarettes sooner than paper. 

An increase why is an increase idle, why is silver cloister, why is the spark brighter, if it is brighter is there any result, hardly more than ever. 


A PIECE OF COFFEE. 

More of double. 

A place in no new table. 

A single image is not splendor. Dirty is yellow. A sign of more in not mentioned. A piece of coffee is not a detainer. The resemblance to yellow is dirtier and distincter. The clean mixture is whiter and not coal color, never more coal color than altogether. 

The sight of a reason, the same sight slighter, the sight of a simpler negative answer, the same sore sounder, the intention to wishing, the same splendor, the same furniture. 

The time to show a message is when too late and later there is no hanging in a blight. 

A not torn rose-wood color. If it is not dangerous then a pleasure and more than any other if it is cheap is not cheaper. The amusing side is that the sooner there are no fewer the more certain is the necessity dwindled. Supposing that the case contained rose-wood and a color. Supposing that there was no reason for a distress and more likely for a number, supposing that there was no astonishment, is it not necessary to mingle astonishment. 

The settling of stationing cleaning is one way not to shatter scatter and scattering. The one way to use custom is to use soap and silk for cleaning. The one way to see cotton is to have a design concentrating the illusion and the illustration. The perfect way is to accustom the thing to have a lining and the shape of a ribbon and to be solid, quite solid in standing and to use heaviness in morning. It is light enough in that. It has that shape nicely. Very nicely may not be exaggerating. Very strongly may be sincerely fainting. May be strangely flattering. May not be strange in everything. May not be strange to. 

SUGAR. 

A violent luck and a whole sample and even then quiet. 

Water is squeezing, water is almost squeezing on lard. Water, water is a mountain and it is selected and it is so practical that there is no use in money. A mind under is exact and so it is necessary to have a mouth and eye glasses. 

A question of sudden rises and more time than awfulness is so easy and shady. There is precisely that noise. 

A peck a small piece not privately overseen, not at all not a slice, not at all crestfallen and open, not at all mounting and chaining and evenly surpassing, all the bidding comes to tea. 

A separation is not tightly in worsted and sauce, it is so kept well and sectionally.

Put it in the stew, put it to shame. A little slight shadow and a solid fine furnace. 

The teasing is tender and trying and thoughtful. 

The line which sets sprinkling to be a remedy is beside the best cold. 

A puzzle, a monster puzzle, a heavy choking, a neglected Tuesday. 

Wet crossing and a likeness, any likeness, a likeness has blisters, it has that and teeth, it has the staggering blindly and a little green, any little green is ordinary. 

One, two and one, two, nine, second and five and that. 

A blaze, a search in between, a cow, only any wet place, only this tune. 

Cut a gas jet uglier and then pierce pierce in between the next and negligence. Choose the rate to pay and pet pet very much. A collection of all around, a signal poison, a lack of languor and more hurts at ease. 

A white bird, a colored mine, a mixed orange, a dog. 

Cuddling comes in continuing a change. 

A piece of separate outstanding rushing is so blind with open delicacy. 

A canoe is orderly. A period is solemn. A cow is accepted. 

A nice old chain is widening, it is absent, it is laid by.