I started off by finding the three images I needed for the exercises, a tree, a building, and a child. I moved them around and organised them on a few printable pages in different sizes. I did some photo editing to put them into greyscale, and then bumped the contrast all the way up for a two tone image. I did another version preserving the greyscale to create some visual difference. I moved them images around and fixed them in place with some blu-tac and did several scans.
- How does your sense of the image and it’s meaning change when the figure is smaller than the other elements?
When the figure of the child is small and the other elements are large it creates an imposing image. The child feels lonely and isolated and dwarfed by large oppressive structures.
This image in particular creates that sense of imposition, exacerbated by the tilted angle of the piece.
- If the elements are at different angles to each other and at an angle to the frame, what dynamic is suggested?
Of course tilting perspective has been used by cinematographers for many decades, called dutch angles due to its use in Deutsche expressionist cinema, diagonality evokes uneasiness and tension.
I was reminded of this when I watched Rebel Without a Cause in the exercise on using reference. The famous scene where Jim pleads with his father to stand up for him as a beautiful bit of camera work where it transitions from a straight shot to a dutch tilt in mid scene, as the drama turns. I’ve time stamped it here: https://youtu.be/7014C_6ABAg?t=27
In looking at my cut-outs, it’s really interesting how effective diagonal angles are at creating a certain feeling. Even more disparate layouts where everything is horizontal and illogically positioned can maintain an element of orderliness compared to ones with strong diagonals. Compare these:
To me the right image evokes anxiety, chaos, uneasiness. It seems like the child is almost being pursued by the building. Everything assumes a sinister overtone.
- If all the elements are completely horizontal or completely vertical in relation to the frame what dynamic is suggested? What is your opinion about this image and what sensation does it communicate?
Strict horizontals and verticals suggest order. See:
It seems like the absurd arrangement of elements is contradicted by the orderliness of the vertical through-line. It’s like it’s saying that there’s a serious intention here, a message to be worked out. It says to me that there is structure and purpose to the image.
- What is your favourite composition? Explain why you feel it is most successful.
If pressed, I think my favourite image is this one:
It’s hard to pin down exactly what I like about it. It’s funny. It looks like the child is peering out over the building, and her expression is amusing. I like that the building, as sort of a classic example of order and structure is even rendered more realistically, and then the child with her great tree is just towering over it in this defiant way.
It reminds me of Dada. Maybe something like Raoul Hausmann. Anti-art.
References
Trachtman, P. (2006) A Brief History of Dada. [online] Smithsonian. Available at: https://www.smithsonianmag.com/arts-culture/dada-115169154/ [Accessed 26 Oct. 2018]
Josh Robbins OCA Learning Log 