Initial Design Development

After completion of all the photography context for the book/brochure i began to look into layout, typography and graphic design illustration inspiration.  Having already thought about this i wanted a clean simplistic feel to the layout but through various images i found i began looking more at a variety of aesthetics keeping in mind previous chat with Sharon that the book needed to have a interactive element something to it you have to go back and look at a few times to fully experience and having touched briefly on gaining inspiration from interactive children. 

The simplicity of this layout mixed with the text variety is interesting. The Coherent aesthetic paves way to a clear and well educated audience.








Above is a mood board I created to explore all the elements i feel would be effective and work well with my audience and narrative of the play. Taking ideas such as the 3D too 2D in both texture and shape, playing with this layering aesthetic interests me, and would push the book into an innovative realm of publications.

As well as layout and typography inspiration inside of the book i also wanted to focus on the 'poster work' and front cover work for the play. Theatres rely on their poster work to bring in the audience so my target audience is key to look at when developing this area. The initial inspiration from theatre posters as shown below uses block colours to create pops of interest while the writing is still clear giving all key information to the audience. I also noticed through my research that very few theatre venues/shows use the production photography on there advertisement posters. I realised you want to draw the audience in with ambiguity in an image incising them in through interest of the poster imagery and then tell the story through the production photography.

{ Development }

Experimenting with: 

.Overlaying Images. 

.Stencil Overlay.

Although I feel I have gained some interesting images as stated above I didn't want to use the production imagery for the poster work so I will experiment with my own illustrations. 

{ Original Art Work }

 Alex Stoddard---------------- Inspiration for the painting & Hands.

Taking the idea of the overlay I wanted to use the idea of the face/ silhouette of Sara while including the dark atmosphere. I decided to paint an image of Sara on a pain on glass so i was able to get that see through element. I took images with my hand in the back grasping at the pain of glass, the hand is to represent Miss Minchin holding onto Sara and also a comment on reality sadness in life grasping at this young and magical mind. 

I feel these images are really effective and have arranged with my photographer to shoot the week back from easter, i have collected below some inspiration shots of hands, positions, compositions and tones that we can play with. The aim is to produced an image that has the same feel as the production photography but that pulls focus into the centre of the painting casting light in interesting places across the arm. Dionne and I will experiment while on shoot with this. 

{Hand Photography}

Initial Idea of what the layout of the front cover will look like; replacing image with my own.




















{ Back Cover }

Initial ideas on imagery, I feel that once the front cover imagery is produced ill have a better idea of the imagery for the back to match up in colour and compositional elements.

{Images other than my stated own, are from https://uk.pinterest.com/milliejohns/book/}

Cutting of Story Scene.

Having received an overview of my images back from the photographer I have decided to cut the story telling scene, compared to the other scenes this is by far the most weak and I feel it pulls down my other images. I was un keen to cut it as I had put in a lot of work creating it, it was the one scene that was a little more play full in visuals and also the one scene that included the character of Amelia and the wig design but when looking at the images there are non that i get that atmospheric feeling towards them and this was something that was very important within all the final photographs used within the book to pull the reader into the experience.
The shoot itself didn't go to plan and there were a lot of miss haps along with curtain materials and lighting resulting in an over scheduled shooting time and then two of my models getting headaches from the tightness of the wigs Dionne the photographer and I decided to call it a day before i was fully satisfied we had got the shot. This was frustrating as  I feel that with more time we would have been able to work with the shooting arrangement but in light of my models it was unfair to do this. with more test shoots for this scene we could have got it right, i feel that looking at the final images there are too many people in one small composition along with the lighting and large red wig it all looks a little too cluttered. As the reader you cant focus your attention on anything and everything screams out, this is something with practise and more planning i could have figured out and amended previous to final shoot. I also feel that you can not place the context of the shoot if its a theatre, studio due to the close nature we were shooting at this is something i would change if i were able to re shoot in creating a more placable context. But as my models are all now unavailable and the models have to be consistant through out the play i cannot re shoot, this is a shame but with the other 5 scene's i feel i still have enough variation in imagery for the book. 

{Curtain previous change to orginal} 

{Curtain post change} 

{Presentation} mid point crit

Feedback from my mid point critical analysis of project thus far:

• Really credit yourself were due, you have contributed a lot of work and a high level of organisational skill through managing teams to set design, Tim walker has a huge team of set and prop source's that make his images this could be a potential carer path?
• Book shouldn't be A5 make it bigger you want to be able to see the full detail of the images, magazine size or plus. 
• The quality of the book is really important secure down the printers, get paper samples, binding samples and think about the details of the cover ect! (student a few years ago that had a binded book- Sharon has) 
• Binding of a book is really important to make sure the pages are secure especially if your using different papers within one book.
• Story board the play in relation to the shots that i have captured- need the images to tell the story of the play itself.

The main points of feedback were that the level of organisation from my Facebook page to my call sheets shows a strong skill to future employees, direction of the scene and models shows through. Next i really need to concentrate on the development, experimentation and research of books, brochures (Saddlers Wells do really great theatre programmes) take inspiration from many sources and pull together to create something innovative and atmospheric, push the boundaries! I found this was a good start to the next chapter in my project the book creation phase, this has given me that positive push that i felt i needed at this stage while also giving me points to work upon. I will be starting the design process in the upcoming days looking back as past design details and combining them with new details through the clearer vision of my final photography.

Shoot Day 3- Sunday 20th: Scene 4 & 6

Facebook:

{ Reflection }

Due to it being a Sunday and the studio opening times differing i had to schedule shoot times a lot earlier than initially planned, as previously done i sent out call sheets and a Facebook posts the day previous to shoot day which allowed everyone to be on the same page with timings, then on along side the overall scheduled i gave models makeup times so they weren't sitting around waiting this is something on the first day I hadn't done and realised it made for a longer day for the models when they were not needed and caused them a lot of sitting around this is something I recognised and amended on my next shoots. 

The photographer Angelica set up the lighting based on the mood boards given and a quick brief from me on the day. Everything ran smoothly with hair and makeup and to the schedule so shooting started promptly. I could tell in the first few shots of Scene 4 that Angelica had got the lighting perfectly the yellow tones and depth created with the lighting gave a authentic edge to the images. They were almost reminiscent of an oil painting. Much like previously i was very involved with direction of the scene, adjusting models for compositional purposed but also getting the models to express emotively what feelings and the manner is which they should present themselves within the scene being shot so that we could really capture a movement or a feeling as though it was being acted out on stage. 

I am pleased with the initial look to the images received although have noticed that white background can be scene and post production will be vital in executing the final images to there full potential. 

Shoot Day 2- Wednesday 16th: Scene 3 & 5

Story Board:

Scene 3- Sara's Birthday Party

Scene 5- 'Everyone is a Princess!'


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{Reflection }

I found that this was the most successful day of shooting out of all three, i feel that due to the team having previously working together every body knew was was needed of them and just did it! I set the wigs in the morning using the hot rollers as i was ill the day between i didn't have time to come in and wet set roller them all again, although the heated rollers worked really well and produced a cleaner outcome with less stray hairs. I decided to change the styling of Angelica's wig (boarding school girl) has this was applied last minute on Monday it was not styled to suit her so i styled the wig more to the style that i initially had imagined and as i was able to re set this worked a lot better than previously on shoot day 1. 

I further made sure that i applied Lizzie's wig on lastly due to previously her getting a migraine due to the size and length of time she was in the wig. This worked a lot better and made sure that she was more comfortable shooting.

Shoot Day 1- Monday 14th: Scene 1 & 2

Scene Set Up: (for the purpose of the photographer & assistant)

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{ Reflection }

Having gone into the first shoot very prepared i was confident that every body knew what was needed and were and when they had to be places but as the team was coming together for the first time i was naturally nervous. My assistant Eloise was prompt and clear with her job role of the day and although was a first year student her makeup skills were to a high standard, this is something i was really please with as i am a perfectionist i was worried that i would need to take over to the standard i expected but having Eloise was a huge help due to the number of models that needed to be prepared for a short amount of shooting time we each took three models further more Eloise was fully briefed on costumes, set and props prior to models arrival so that if need be she could step in to help. Having styled two wigs for the role of Sara I ended up having a perfect set wig spare I decided to apply this onto one of the models this worked well with her skin tone but also create a flawless aesthetic through all four of the hair designs on set.

Having already test shot the lighting for both the scenes being created i thought this would have been one area that  wouldn't be effected, although the photographer had a few technical difficulties with the door projection lighting and the other lights needed to create the heavy back shadows. This resulted in a slow start to shooting and delayed the schedule by an hour something i had not planned for. Once this was sorted shooting went smoothly and to plan, having previously worked with my photographer on test shoots we had a good chemistry on set and although she is a little quite this is were i was able to step in and direct. Dionne was consistant with making sure i was getting the shots i needed and also suggesting other shots that could be interesting to the scene resulting in some beautiful final images. 

I wanted to create a relaxed atmosphere on set as although most of my models had a background in performance, it took a while for them to warm up to both the camera and working as part of a team. This is most likely due to the way it was being shot in a theatrical manner this is were i was briefing and giving acting direction but also more creative direction to get the static shots. By leading the team inviting them into my envisaged outcome we were all able to work collaboratively I feel that i brought a fun, relaxed and energetic atmosphere to set this is something that i feel was a strength of the shoot and is portrayed in the resulting images the models by the end were relaxed and really working with the brief given.

Scene two although previously test shot took longer due to the curtain needing steaming, delaying the shooting again by another half an hour this lead to two of my models getting migraines due to the length of time in the wig as the wigs were made for ballet dancers they are very small and towards the end of a long day shooting this took its toll cutting shooting short before i feel i was really fully satisfied that we had got the shot. This was frustrating as I wanted to make sure I had the perfect shots as re shooting was not an option understanding that i had to compromise for the health of my team members was important value to recognise myself. This is something i will take into account for the next two days shooting being conscious that models wearing wigs are given breaks if needed and to keep an open communication with me if this is needed. 

Makeup & Hair Ahead Shoot Week

{ Makeup }

Below are the face charts in preparation for shoot week including reference textural images. The charts have been created from the new character profiles explored through (New context pitch post) Although the context of the makeup is theatrical the actual imagery will be taken via studio photography i wanted to really just build with the natural features of my models interwinding with the raw feel of the play. In keeping the makeup minimal and natural the actors faces can really show rather than the layering of traditional stage makeup that hides the true feel of the actors facial feature exaggerating them for the furthest audience members. 

Sara 

Having created the initial chart on my lead Lizzie, i have decided to make some amendments to work better with her face. Instead of the baby pink tones i have opted for the peachy oranges to highlight her blue eyes. Lizzie also had beautiful freckles that worked really well with the intended character profile so here i have just exaggerated this natural feature of hers. I will be using natural false lashes to create a larger eye and more of a doe eye look. She is natural well polished and fresh, then to follow the narrative will overtime get more dirty and bruised shown in the reference section displaying the bruises. 

http://weheartit.com/Modelpics/collections/92810262-melina-martin

Miss Minchin 

This is a more exaggerated version of the initial face chart, I felt that she needed a stronger presence, this is the one makeup look that would read on stage as well as or in a photo shoot setting, the look hold's reference to classic evil fairy tail queens with a deep burgundy lip matched with a contoured winged eyes and strong arched brow it is a contrast to the femininity of the hair. 

School Girls 

Much like Sara this look is fresh faced natural and pretty, an overall high light as shown in the reference image with dusty pink tones. The eye is a little more than Sara's as they think of them selfs as the 'popular girls' the winger liner ads a feline flick to exaggerate their malicious glare. 

http://www.theworldsbestever.com/2013/04/17/toni-garrn-is/

Becky 

This face chart explores the venerability and hard ship of Becky's life, although she is young she's tiered, hungry and abused as shown in the reference images. A flushed cheeky, natural lip and bruising. 

https://uk.pinterest.com/milliejohns/photography-fmp/

Amelia 

The older sister, her age shows she is natural with a quirky edge, a brighter lip tone for her age and soft liner. 

http://bestnewsletter.info/natural-remedies-memory-and-aging-and-how-to-remove-eye-bags/

{ Bruising References }

Below is to reference bruising/hand prints on becky and Sara. 

 

https://uk.pinterest.com/milliejohns/reference-board/

{ my own practise }

{ Hair/ Wigs} 

Previous to shoot week i have similarly before, designed, set and styled all the wigs, although unfortunately in the rush of premature shoot week i didn't take any pictures of the process. Below i have explored the differences from the initial designs to the final ones and the process of creation. 

Sara 

This wig has stayed relatively the same, for the preparation of shoot week and due to my lead female model being un available for a wig fitting. I have set and styled two blonde wigs in the same way as practised below (final outcome of practise) each a different size and slightly different colour. This ensures on the day we can try on both and see witch works better with her head shape as learning on my test shoots that the tighter fitting wig restricted the models facial expressions.

Miss Minchin

This wig as discussed previously was a re creation of the practise for the project proposal, I set this wig as shown in the diagram below, using the proposal images as references and the same wig as in these images this ensures that the hair line would sit well with the intended style.

School Girls 

The school girls hair will be done on the day either with heated rollers or tongs creating soft bouncy and glossy curls to give that 'mean girls' sense to the characters wanting them to look sleek and arrogant a deep side parting and head band ribbon sitting in the parting. 

 

https://uk.pinterest.com/milliejohns/reference-board/

Becky 

Becky's Hair will also be styled on the day with her own hair creating this large dutch milk woman braid effect to give the character that edgy feel, although shown in the reference image i want the style to look more messy and out of place to match the nature of becky's job. 

https://uk.pinterest.com/milliejohns/reference-board/

Amelia 

This wig will be restyled exactly as practised for the test shoot, the same model will be wearing this wig so the fitting of the wig is not a worry, on the test shoot the style looked a little to cartoon like so softening that up will be important. In creating softer waves ill loosing the galloon ribbon that holds the waves in place leaving less tension between the dip in the waves giving an overall softer feel.

{ Crewe }

With Crewe I have not been able to plan the makeup and hair design as done previously, due to not having tested on my male model previous to shoot week. Unlike male theatre makeup as shown on the right, i will be needing to create a natural look for the shoot. Basic contour, concealing and a powdered base. I imagine that my model wont have enough hair to create the finger wave style initially designed when looking at there portfolio that hair looks short and fine although this will be assessed the morning of shooting. 

1- http://www.huffingtonpost.co.uk/2015/09/11/male-grooming-myths-busted_n_8099366.html

2- https://uk.pinterest.com/explore/male-makeup/

The images my model sent me, he grew out his beard previous to shoot week as discovered on my test shoot with my previous model the beard gave a comical effect and i want to keep the focus on the emotive value of the images rather than an obviously fake beard so opted for a naturally grown one.

(Facebook, models portfolio)