PRO 1 PROCESS

SEE RESEARCH ON EARLIER BLOG POST.

EARL KLUGH QUARTET POSTER:

http://www.earlklugh.com/main.html

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MATRIX:

FOLLOWING ARE THE ORIGINAL MATRIX, AS WELL AS CLOSE UPS OF TROPES THAT I WOULD PURSUE AND ADDITIONAL CONCEPTS:

HYPERBOLE, METAPHOR AND ALLEGORY:

PARODY:

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THE FOLLOWING ARE DIFFERENT WAYS OF RENDERING: (TROPES ARE IDENTIFIED)

PARODY

METAPHOR:

METAPHOR:

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THE NEXT STEP WAS TO COME UP WITH DIFFERENT ITERATIONS OF CONCEPTS/COMPOSITIONS:

PARODY: (HIS NAME IN THE PLACE OF THE GUITAR LABEL).

REALIZED THERE WAS NO TROP AND MOVED ON:

THE FOLLOWING TO ARE METAPHOR: (WITH THE STRINGS REPRESENTING HIS MUSIC)

HYPERBOLE: (THE SIZE DIFFERENCE)

ADDING TEXTURE WAS AN IMPORTANT PART OF MY PROCESS. IT WAS A PART OF THE END PRODUCT: I SIMPLY SCANNED IN A PIECE OF PAPER, AND UPPED THE BLACK IN LEVELS AND THEN ADDED A FILTER COLOR OVER IT – WITH 'COLOR SATURATION' IN Ps. *YOU CAN SEE THE EFFECT IN THE FOLLOWING ITERATIONS.

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I THEN APPLIED THE SELECTED TROPES AND VARIOUS WAYS OF RENDERING AND CAME UP WITH SOME EARLIER ITERATIONS OF THE POSTER:

THE COLOR AND TEXTURE ON THE FOLLOWING (5) POSTERS WERE INTERESTING, SO I DECIDED TO AIM FOR THAT IN FUTURE ITERATIONS.

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THE FOLLOWING TWO POSTERS STARTED TO LOOK LIKE COUNTRY MUSIC POSTERS SO I STEERED WELL AWAY FROM THAT:

I TRIED HAND-WRITEN TYPE BUT THAT LOOKED TO DATED:

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I STARTED TO NARROW DOWN MY OPTIONS AND FINALLY CAME UP WITH THREE DIRECTIONS:

I WENT WITH THIS ONE BECAUSE IT WAS BEST COMPOSTION, WITH IT'S SIMPLE SEMITRY AND IT WAS A CLEAR REPRESENTATION OF THE TROPE (HYPERBOLE). BUT I STILL NEEDED TO WORK WITH THE COLORS AND ADJUST THE TYPE. AND THE INSTRUMENTS WERE TOO SMALL SO I MADE THEM BIGGER. ALSO I WOULD ADD VIBRATION ON THE STRINGS (A SIMILAR EFFECT AS TO WHAT YOU SEE IN THE ABOVE POSTER)

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I CAME UP WITH THIS, BUT THE COLORS STILL NEEDED SOME WORK.

AND THE VIBRATION EFFECT IN THE TYPE WAS TOO MUCH - UNECESARILLY BUSY.

SO I TRIED ORANGE, WITH A BLUE COMPLIMENT. BUT THEN SOMEONE REMARKED THAT IT LOOKED LIKE A GIANT PUMPKIN THING. AND YEAH IT KIND OF DID. SO I MADE SOME CHANGES ON THE COLOR AGAIN. AND ADDED HIGHER SATURATION ON THE TEXTURE.

HERE IS A GOOD EXAMPLE OF THE HIGH SATURATION AND CONTRAST WITH THE TEXTURE. 'TIS NICE.

ITERATIONS WERE MADE ON THE PIANO. THE OUTLINE WASN'T WORKING, BECUASE IT THREW OFF THE WHITE BALLANCE WITH THE OTHER INSTRUMENTS. (YOU CAN SEE THAT IN THE FULL VERSION ABOVE. SO I DECIDED TO DO THIS:

IT WAS A LOT OF MESSING AROUND, BUT I GOT THERE IN THE END.

AND AND WITH THE STRINGS:

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THE FINAL POSTER:

THE TROPE THAT I FINALLY ENNDED UP USING WAS HYPERBOLE – WITH THE GUITAR BEING COMPLETELY OUT OF PROPORTION OF THE OTHER INSTRUMENTS. THIS WORKS WELL CONCEPTUALLY, AS WELL AS VISUALLY, BECAUSE IT EMPHASIZES THE IMPORTANCE OF THE GUITAR AND AT THE SAME TIME SHOWS THE OTHER INSTRUMENTS WHITCH SUPORT THE PRIMARY SOUND OF EARL KLUGH'S GUITAR.

HYPERBOLE WAS THE CLEAREST REPRESENTATION OF A TROPE. I HAD CONSIDERED USING PARODY (SEE ABOVE AT ITERATIONS OF ARTIST'S NAME AS THE GUITAR LABEL) – BUT DECIDED NOT TO GO THAT ROUTE IN THE INTEREST OF GETTING AWAY FROM MY GENERAL AESTHETIC THAT I TEND TO USE.

I LIKE THE OVERAL SIMPLICITY OF THE COMPOSITION. THAT REFLECTS THE MUSIC QUITE WELL. YET AT THE SAME TIME THERE ARE OTHER THINGS HAPPENING WITHIN THE DESIGN – THERE IS THE HIGHLY SATURATED TEXTURE OF THE BACKGROUND AND THE VIBRATION OF THE GUITAR STRINGS. THE TEXTURE ADS VISUAL INTEREST (SO ITS NOT JUST A PLAIN FLAT COMPOSITION) AND THE VIBRATING STRINGS AD MOVEMENT – LIKE THE SOUND OF HIS GUITAR IN HIS MELODIES. THE COLOR IS WARM, AS IS EARL KLUGH'S MUSIC.

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HERE ARE MY ADDS.