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The use of animation as part of the storytelling and connecting it back to still artwork and the shots of the two painting bridges the story together. There aren’t very many straight on, interview shots where the subject is looking directly into the camera. I think the voicing over and the use of ambient sound makes it more dramatic and artsy, along with the change in lighting. Following over the shoulder of the subject creates a greater sense of intimacy.Â
Artwork for Music
Bauhaus Album Cover: They’re a band that became popular on the punk and goth scene in the 80s that were introduced to me by my alternative aunt when I was a kid. This cover has always intrigued me with its timelessness. The clean, simple readable type paired with a super contrasted photo (almost a negative) is eerie and also extremely clean. Despite being designed in the 80s it could have easily been designed a few years ago and emits an easy, simple, and moody image.
Crystal Castles: The filter/lighting of the photo is so time specific to the trends of the early 2010s. It’s moody and reminds me of the photobooth app on Mac computers that were very in fashion.
Kanye West Graduation: The album cover was done by artist Takashi Murakami; his work has always had some very graphic elements. The way he plays with color, scale and composition creates a clear flow throughout the image. Typography can be argued to be an afterthought, but it is legible and doesn’t pull away from the intensity of the image (which is better than them clashing). I think it’s the cheeky juxtaposition of cute and violent is a big part of what makes it compelling.
There is an intensity to the way each interview is shot, provoking a different mood. The switch between images of the persona and B-roll surroundings keeps this mood going. There is little use of the straight on, centered image of the subject. That is mostly saved to shock, like when we see the initial use of the gas-mask. The small gesture of having the subject off to the side makes a big difference in the warmth of the shot, making it more conversational when interviewing the owner of Re-ResturanteÂ
Helvetica
1. Â Â I really enjoyed the very beginning of the film particularly discussing how type-creators used to actually, physically make the type. My first job in a print shop was sorting through leading (the physical spacing for type setting) and organizing them by width. I had not considered the creation of the letters from a physical standpoint and their design (particularly those made from lead and not wood set type).
2. Â Â Lay out using a grid is very common now, especially on photoshop and illustrator, it feels strange to think that this was not standard pre-computers.
1.   Considering the shape of the negative space isn’t something I would consider on my own
The idea that a font could be considered political in its association with capitalism and a war, I do like the references to other design studios and methods of design that Scherr mentions, Pushpin studio and the importance of drawing for one.Â

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