IF THESE WALLS COULD SING
GFX MOODBOARD
BUILDING ON OUR ORIGINAL STYLE DEMOS, WE’VE ATTEMPTED TO MODERNISE THE FEEL HERE. WHILE ABBEY ROAD’S ARCHIVAL IMAGERY WILL BE A CONSTANT THROUGH THE GRAPHICS, THE TYPOGRAPHIC PERSONALITY COULD BE FAR MORE OF THE MOMENT. PREVIOUSLY, IN OUR FIRST DEMOS, BOTH THE IMAGERY AND THE TYPE WERE REFERENCING PAST ERAS - PERHAPS THE TYPE SHOULD STAY IN THE NOW.
EACH CHAPTER GRAPHIC WILL STILL BE TUNED TO EVOKE IT’S ERA, AS PER THE DEMOS, BUT PERHAPS USING A CONSISTENT TYPOGRAPHIC APPROACH FOR ALL OF THEM, RATHER THAN EACH BEING DIFFERENT, IS A BETTER APPROACH, THAT WILL STITCH THE WHOLE FILM TOGETHER IN A MORE CONSISTENT WAY. THE ARCHIVE WILL DO A LOT OF HEAVY LIFTING IN TERMS OF EVOKING THE ERAS.
NOTE: MANY OF THE SAMPLES HERE COME FROM PRINT, WHICH I THINK MAKES SENSE FOR THE CHAPTER TITLES IN THE FILM, PARTICULARLY AS TYPE WILL NEED TO SHARE SPACE, AND INTERACT WITH IMAGERY. THE BALANCE OF TYPE AND IMAGERY IS SOMETHING THAT PRINT DOES VERY WELL, AND OUR WIDESCREEN FILM FORMAT CAN DO THE SAME. I THINK WE CAN TREAT OUR TITLE GRAPHICS AS MINI POSTERS OR MAGAZINE SPREADS (THAT MOVE).
BIG TYPE
MAKING A BOLD STATEMENT WITH THE CHAPTER GFX FOR THE FILM WILL BE A WELCOME BREATHER FOR THE VIEWER. AND WHAT BETTER WAY TO PUNCTUATE THESE MOMENTS, THAN WITH, BIG, BOLD, CONFIDENT TYPE.
IN THESE MOMENTS, WORDS CAN DOMINATE THE VISUALS, EVEN THOUGH THEY WILL WORK IN CAREFUL BALANCE WITH EACH OTHER.
2. COMPARTMENTS
DIVIDING THE SCREEN INTO SECTIONS OR COMPARTMENTS, COULD BE A BOLD AND VERSATILE WAY TO BALANCE TYPE AND ABBEY ROAD’S ARCHIVE IMAGERY,
SO THEY CAN EACH ACT INDEPENDENTLY OF EACH OTHER, YET IN CONCERT, RESULTING IN PLAYFUL, VARIED “COMPOSITIONS”
3. COLLAGE
COMBINING, OVERLAPPING, WEAVING… THESE ARE SOME OF THE OPPORTUNITIES THAT PRESENT THEMSELVES WHEN WE HAVE ACCESS TO A WEALTH OF ARCHIVAL IMAGERY,
SUCH AS WITH ABBEY ROAD STUDIOS. HAVING SOME FUN WITH THAT ARCHIVE, BUT PUTTING A MODERN TWIST, WITH BOLD, MODERN COLLAGE TREATMENTS
THAT PLAY OFF THE RHYTHMS OF MUSIC, COULD BE A REAL CREATIVE OPPORTUNITY, THAT SETS THESE GRAPHICS APART FROM OTHER FILMS.
ONE VISUAL OPPORTUNITY FOR THE COLLAGES, COULD BE TO PLAY OFF THAT FAMOUS BEATLES IMAGE ON THE ZEBRA CROSSING, IN TERMS OF STRIPES.
THESE 3 SAMPLES ABOVE KINDA SHOW WHAT I MEAN. WE COULD ARRANGE IMAGES, COLOUR, TEXTURES, AND TEXT IN LOTS OF VARIED WAYS,
BUT ALL THAT PLAY OFF THE STRIPES IN THAT ZEBRA CROSSING IMAGE, WHICH IS PROBABLY THE MOST FAMOUS ABBEY ROAD (STUDIO) VISUAL REFERENCE.
WHEN ANIMATED, THE STRIPES COULD DO REALLY INTERESTING THINGS, REVEALING, HIDING, IMAGES AND TEXT.
OR MAYBE WE USE THE WEALTH OF ARCHIVE AND PAPER EPHEMERA FROM ABBEY ROAD STUDIO’S HISTORY AS BUILDING BLOCKS TO CREATE COLLAGED NUMBERS (FOR EXAMPLE)
FOR EACH CHAPTER OF THE FILM, AND SUPPORT THOSE WITH SIMPLE, CLEAN TEXT FOR THE NEXT CHAPTER’S TITLE.
THE STYLE OF THE SIMPLE TEXT WOULD BE CONSISTENT ACROSS ALL OF THE CHAPTER TITLES,
AND THE COLLAGES WOULD BE MADE UP OF ELEMENTS RELATED TO THE UPCOMING CHAPTER.
SO MANY WAYS TO GO : )
THANKS! THAT’S IT FOR THE MOMENT.
THESE ARE JUST VISUAL DIRECTIONS, OF COURSE, AND WE’LL MAKE THEM OUR OWN FOR THE FILM
LET’S CHAT.