Research: Storytelling

Gregory Crewdson and The Man Who Wasn't There directed by the Coen Brothers.

Gregory Crewdson, a photographer who explores still photographs, which have undergone elaborate production principles, and laborious decisions. A similar set up usually found in cinema when creating film. Using Crewdson’s narrative elements found in his work I can compare him to the “The Man Who Wasn’t There” directed by the Coen Brothers. A story of passion crime and punishment that was filmed in colour and then converted into black and white to create a beautiful and evocative production, it is a narrative that portrays and questions many more powerful emotions throughout.

Gregory Crewdson claims to have two ways in which he may chose to work, either shooting on location which to him is very much about the place and setting, imagery will come out of the existing landscape that is seen before him. Or he will produce imagery that is created in soundstage, a room that may be compiled of a few different sets and each minor detail is laid and thought about to great detail. “The Man Who Wasn’t There” has perfectly captured a sense of place and location for the narrative and a purposeful decision has most likely been made for it to be set in Southern California. This is to create a world which is a post-war, small town which provides an environment of paranoid, cheats, and out of the ordinary people.
Crewdson comes about his locations by driving around to various spots first, places of inspiration, and the location is the priority to him before thinking of a narrative, in contrast to how Joel Coen may have chosen his Southern Californian location after, to suit the bleak elements featured in the film.

Gregory Crewdson narrates to an observer how he depicts scenes of anxiety and dislocation, with the human figure often appearing preoccupied or conversing within its environment. To portray this Crewdson always photographs at what he considers twilight, a time of the day with dying light which he exaggerates with strong artificial light; street lights, house lights, lights from the sky and this is all sharpened with Crewdsons’ choice of backdrop. “The Man Who Wasn’t There” features some great shots that capture a similar sinister atmosphere, with Ed stood in the doorframe to his bathroom, fully captured in solid black, with any glints of light coming from the background and his wife in the bath. This continues throughout the film, silhouette forms appearing in the foregrounds that contain the main focus point of the narrative, but with the idea of mystery and question that can still be seen behind.

The Coen Brothers always allow characters to converse at times of night or in settings where the only source of light seems to be obtained from the perfectly situated lamp lit rooms, restaurants, or the strong light that always appears on Birdies’ piano. Creating a sense of tension, and close proximity that is between the character allowing the viewer to question and feel the scene.
Gregory Crewdson, influenced by Edward Hopper and Steven Spielberg’s’ “The Close Encounters of The Third Kind” have all considered how twilight may change their choice to narrate an idea and has obviously played with how Crewdson thinks and imagines.

Looking at lighting and a specific time of day in which a photograph could be taken for Crewdson, the moment of transition between before and after proves how twilight can be reminiscent of that and is a special period for Crewdson. Similarly he has taken this concept and has repeated it within his photographs, using the metaphor for an in-between state of one thing and another. Just like how he has used a pregnant woman in the piece “Untitled (birth)”, presenting a truthful and firming resolution to the viewer. Similarly Ed Crane in “The Man Who Wasn’t There” constantly questions his daily job role as a hairdresser and the theory of repeatedly cutting hair and visiting the same state over and over. Notifying to him and the viewers how one moment can be relived and experienced more than once.

For Crewdson over the last few years his productions have become increasingly grand works resulting in a large team to help him co ordinate the placing and set up previous to the final photographs. Including many assistants, cameras and an array of lights used to create his desired effect, as well as meetings for the choosing of wallpapers, colour samples and finalised architectural drawings. It is clear for “The Man Who Wasn’t There” that several decisions will have been made to finalise how particular rooms, bars and houses may appear to contrast with the characters presented for the viewer. Along with the cinematography, outfits and set designs.

Crewdson and the Coen Brothers both draw up the idea of depth and alienation in their shots and narratives, deepening images and taking more and more layers back using windows, mirrors and angles to achieve this. “The Man Who Wasn’t There” concentrates on character movement, but is filmed in the far depth of the house through door frames. The scene with “Big Dave”, Brewster, strangling and beating Ed is shot from close up, yet it also delivers views from down below in the shop with the fight happening up above through a glass window with light just highlighting this character movement. Portraying the hostility from either of the man and the confrontations there forced to have in close proximity.



Crewdson’s “Untitled Winter (Blue Period from Beneath the Roses)” and “Untitled (Vanity from Beneath the Roses)” both incorporate extra rooms, windows, mirrors and door frames to create a metaphor of never ending and to place a character in a place of displacement and creates a layer of separation; inviting, yet ultimately inaccessible.

Props and settings used within the narratives are often truthful prospects that propose a connection with the viewer yet create a surreal outcome, for example the cigeratte smoke that almost constantly accompanies Ed throughout each scene, yet these dreamlike wisps of smoke in the light then create a contrast with what is actually happening and what it makes the viewer feel and think.

The two narratives are both trying to explain and create a vision for an observer, something that’s truthful, a connection between their own desires and something in culture that can be a fascination to viewers.

Degree Show 2008 Review

This year’s degree show was contained into one airy room, presenting different works of Graphic Design, Illustration, Interactive Design and Animation. I presumed that the layout and presentation of each work was vastly thought about. Such as how each may balance next to one another and the journey the viewer may take whilst travelling around the room I am not entirely sure I found this easy or inspiring upon my first look.

I particularly favoured how some aspects of the show were concentrated together, boxed units with carefully placed collections, the book shelf, and the designated walls for one students set of work that added a personal touch and thought to how the work was to be presented.

The Degree show illustrated to me how I could be enthused by not only a student’s final work or one major piece, but also the journey some have gone through with vast amounts of sketchbook work and sheets of preparatory discoveries. I was glad that this was presented in the show and considered as important as any final pieces, a great inspiration to how I wish to work and explore my own behaviours as I progress.

This particular wall featured below stood out to me as a great collection that works well within its environment. It is an example of how gathering experiments and ideas can then be placed together as one piece of work that for me is pleasing to the eye and a great understanding of how this student worked.

The wooden boxed work was a nice feature in comparison to the white boards and the work enclosed within balanced perfectly well not only in its shell but alongside one another too. One of the works inside featured a cover by Emily Hayes; her work was one of a few that was memorable and of inspiration to me.

Elizabeth Dunning’s print trapped my attention; I found myself fixated with it for quite some time and was one of my favourites from the show. Shown below is the piece that fitted so well against the harsh bare walls and captured all your thoughts and visions to this one central and decorative piece. It had great tactile qualities to its stock and detailed print and I think it was a piece that had a clear encouragement.

Below a work that was featured as the centrepiece in the Degree Show’s spread, was another great example of some of the individual work that had character, composition and a distinctive technique. An eye opener that overpowered some of the work that did little to grasp my attention or create any sense of representation as one particular students’ work.

Similar Artefacts

Typography/lettering

New Vintage Type is a book focusing on how modern artwork uses old type to evoke another time and place. The book features hundreds of lively examples that prove that our old types have a place in the graphic world today.

I have selected a few pieces (see above and below).

Sheet music lettering, this poster was openly inspired by a collection of sheet music from the 1800s found at the Oakland Public Library in California. Jason Munn combined elements from different covers to make a new image. It has been said that the "w" was a found original typeface of the period whilst the rest is an updated Bursten font.
Design firm : The Small Stakes

I have chosen similar posters that feature a range of lettering to naturally support the image.






This is a poster created for the band Pedro the Lion, i particularly enjoy the letter forms and how it can work so well with such an opposing image.
These images were created by mixing two old woodcut images. I feel that they create an image that combines two things that dont appear to suit but aligned together work well. Supporting the image and serving its purpose.

This lettering is typical of the highly elegant characters that persisted years ago, but is suited very well to this mordern type poster, especially to create a memorable artefact to the viewer.

This cover design and poster for El Mundo Metropoli magazine (a Spanish magazine), which uses futuristic typography and appears contemporary, with a Deco/Futuristic hook on it.
I feel from these similar poster artefacts this works the least in contrast to how complementing and natural the others portray.

Interaction Research Blog

Klitekture records have their own logo mark and label detail, they are a record company who work with a range of international artists. It was the idea of networking that influenced this logo type.
The idea of adding this signified logo to their packaging is created in way to make it a more desirable object, making it noticeable to their audience.

These posters were discovered on the Leedy website, which is an agency that are based on brand developement and design and web areas.
The "Wild Card Boxing Club" is a no nonsense gym hidden above a chinese laundry at Vine and Santa Monica where movie stars, everyday excersisers and boxing greats go to train.
Their advertising campaign developed the gym as a place to get a true hardcore workout without all the fuss you may recieve in typical L.A health clubs.

These posters cover the entire area with illustration and typography designed to make as much of an impact as possible. In this way, the poster is designed to entice its audience, to the explore the visual images displayed.

"Circle of Friends" is a hair, bath and body care line for children created by a Mum who wanted top quality products to use on her own and other children in a fun manner.

With the goal of getting the products into a major retailer every aspect of the company had to be rebranded and then in late 2005 Bath and Body Works accepted their brand into the store.

This is not particularly an appealing piece of work. but the idea that these brands and its packaging are interacting with its audience in an entertaining manner that still provides the right amount of information.

EAS is a producer of science-based sports nutrition supplements, with a billion dollars in research to back up the formulas and results of their products.

Used by weighlifters and and athletes Eas have tried to broaden their brand's appeal and develop advertising to everyday athletes who also want to stay fit.

These images may be open to a large scale audience, and the photographs show how this can be done, they portray one very clear message to create an imediate response from its viewer.

With assistance from the designer Lee Reedy, these boxes serve the purpose as invitations to the annual AIGA-sponsored heart event in Denver.
Working with the graphic design firm, FWIS, that specialises in concept driven graphic design.

I love how intimate these invitation boxes are, that allow the reciever to interact and recieve some gratification in opening them and seeing what is beyond the illustrated outside display.

Ready Mech

These are flat pack toys for the user to print and build creating a personal physical response, this graphic visual appearance has great aesthetics allowing an immediate response from its audience.

Label Series Mitek/ Sunset Diskos

Mitek is a Swedish label that promotes underground Scandinavian artists ranging from abstract to minimalism to experimental techhouse. Designing for them a range of materials and a visual identity.

The overall aesthetic of this album booklet and cd is designed in a way that allows the consumer to be as enthusiastic about the music as well as the actual product. This may be purposely done as the product has a specific market to please, therefore it has branded itself in such a way that it will attract an audience to its greatest potential. Granting its users needs.

Salvia Records Music Video for Laura Groves

Working in collaboration with the illustrator Mark Husak, to create an interactive passionate story of a mouse leaving home for the Laura Groves' single. To work with the sounds and vibe alot of tactile, craft materials have been used aswell as needle point to create a highly successful video to accompany the music.

An extra interactive piece that is a source of entertainment visually and still creates a sense of tactileness towards the viewer.

Lee Reedy

Within the past few years Pepsi have been formulating new products in response to North America's hunger for healthier foods and beverages. Lee Reedy assisted Pepsi through positioning and preliminary advertising development on both fuelosophy and Pepsi Max to products that do not really work together.

Casa Da Musica branding
Built in 2005 in the city of Porto, Portugal the Casa Da Musica is a significant piece of architecture and has been further emphasised as a graphic artefact, its intense angles prominent presence. Creating a personal identifiaction and piece of design for itself.

From the different views of the building, a system of logos has been created, as well as through the different views of the building, 17 facets are defined, from those a 17-point-colour mechanism is created.

The identity of the logo has been further explored and can be seen to be used in a number of different scenarios.

John Gall, Book Cover Publishing

Working for Vintage and Anchor Books which is a publishing group who publish around 200 books a year located in Manhatten. At Vintage/Anchor they design packaged looks for authors, but that is probably as far as they will go, Branding is considered on a very small scale.