10 / 04 / 15
In the tutorial we had with Jo and Tim on the last day of school (before easter), they saw my sketches of illustrations on top of the shoot I had done with K and they said the photographs are nice, but once the illustration is incorporated in the photograph it looks much 'realer' and interesting. I wasn't sure if I should do the illustrations at all, since I felt like some photographs were busy enough on its own, but since illustration is one of my strength I've added drawings to one photo from each shoot, and am waiting for feedback.
(will put feedback here)
However, even if I get negative feedbacks for the photographs with the illustration, I'm willing to put it in my final publication anyway, just because personally I like to have illustrations, collages, weird edits and gimmicks in my publication, not just photographs.
08 / 04 / 15
Editing photos- today I picked 10-15 photographs from each photoshoot and edited the brightness and colour balance, so when I'm designing the layout of my publication I could use them straight away. Also, I wanted to make sure that there was a common feature / coherency between different words, so I created a layout which I applied to the four different photoshoots I've done so far (shown above). These layouts took inspiration from some fashion brands' adverts which can be seen in my reflective journal.
Feedback given on Facebook (will be in sketchbook) suggested they wanted to see the word in Japanese writing as well (above), but I'm not sure if the writing should be in English or Japanese. If the words are written in English then most of the viewers (both Japanese speaking and non-Japanese speaking) would at least understand the pronunciation of the word, however if the writing is in Japanese not all viewers would understand what the word is there for. I guess if the writing is in English it still wouldn't give away the meaning of the photograph for most of the audience. Other comment suggested that I should actually hand-write or illustrate the word, according to the texture it represents. I really liked this idea, and although I used simple typography so that all the photoshoot has a common feature and layout, I will try this idea in my sketchbook and see how they look.
29 -30 / 03 / 15
"Churu Churu" is a word which Japanese speakers associated with textures like jelly, noodles and slippery, and themes such as puberty and high school. This is because of Japan's KFC advert which used "Churu Churu" as part of their slogan, and that was when most of the interviewees were still in high school.
When I decided to shoot for "Churu Churu" in a bath tub, I knew lighting would become the first problem since it was going to be in somebody's house. My model Etta had a bath tub at home which we could use, however her bathroom didn't have a great light source. The loan store didn't lend us equipments over the holidays either. At first I shot some photographs using the built in flash of my camera but that didn't turn out aesthetically pleasing at all. Etta and I found a desk lamp in her and her brother's room, so we used two of these desk lamps on the brightest settings and turned them into a temporary light source for the shoot. We also had to block the bathroom window using lots of towels on clothes rack, so the light coming from the lamp would stand out. At first we had two very bright white light, but they seemed to be too strong and the colours of the garment and the bathroom didn't look as dim and raw. After a while the desk lamps worked better than we expected, and since they also changed colours, we had one lamp with white light and one with strong blue. This setting achieved to light up the red in the garments and the makeup, while still adding to the overall blue tone of the bathroom.
Since my model Etta had a bigger interest in hair styling than I did, she was very helpful with designing the hair as I had planned in my sketchbook. She had existing knowledge of how to achieve the hairstyle I had illustrated for "Churu Churu", which kind of looks like a plat made out of small circles. At first the pig tails couldn't hold its weight and went straight down, so we had to put wires through her hair and style it so it looked like it was floating in the air. The make-up was successful and looked as planned, however because Etta's eyes were much bigger than the eyes I had designed the eye-makeup to be put on, I had to alter some eye lines and re-build the design around Etta's facial structures. By doing so it still gave the same impression as it did in my illustration on her face. This routine made me realise that although planning hair and makeup beforehand to match the theme of the shoot is important, it is also crucial that these prepared plans can flexibly change to suit the actual model. If I stubbornly kept going with the original make-up on Etta's face, I don't think it would've looked as good.
31 - 01 / 03 / 15
Shooting with Rony
Because Japanese speakers associated the sound "Kyuru Kyuru" with sickness and stomach ache, I decided to make a dress that had felt human anatomy stuck on them. I cut out different shapes of human organs from various coloured felt. The reason why I had made them out of colourful felt is because of one of my inspiration 'Don't Hug me I'm Scared' (Becky Sloan and Joseph Pelling), who uses kids' arts and crafts equipment to emphasise their dark comedy. This is achieved by juxtaposition of horror / satire and kid's art materials. In some photographs I styled Rony, my model, in restraint bandages and cable ties. This was because of the word's association to 'craziness', which I then took on to looking at bondage in fashion (Christian Dior Haute Couture AW 2000), and visual features of mental patients typically represented in films and TV shows (AHS asylum). The white jacket I styled the felt organ dress with looks very similar to a lab coat, which visually emphasise on the theme of mental hospitals, labs and doctors.
One of the reason I got Rony to model for "Kyuru Kyuru" was because of her magnificently long hair. Similarly to the Phoebe English project I had done before, I wanted the model of "Kyuru Kyuru" to be mysterious and in a way uncomfortable to look at. I wanted the viewer to question who the model is meant to be, what she is doing, why she's dressed like the way she's dressed, etc. To represent this, Rony's long hair is very handy since it almost looks unnatural and unreal. I took inspiration from an i-D hair tutorial video by Tina Outen, showing us how to make a 'Punk' hair style. I knew that I couldn't do the exact same thing with Rony's very long hair and with my poor hairstyling skills, but I still wanted her hair to look like antennas popping out. Therefore I decided to make four small parts of her hair sticking out, with a strip of transparent cellophane which changes colour. This way I could emphasise on the fun, punk aesthetic of the hair, without the extremely complicated hair-do. Sadly these four 'hair antennas' didn't really stand out in the wide-shot, but the combination of semi coloured cellophane and glitter hair spray were visibly shiny in most of the photographs. In the future, when portraying punk or unnatural hair style, I would like to try more complex hair-dos, but maybe on somebody with a shorter hair.