DESIGNING THE DATE
Upon reflection, I noticed that the adaptations I have been working on and considering thus far have fallen into a similar pattern – adapting written content into a visual narrative. This is fascinating to me because it involves considering all components of that original narrative (both structural make-up AND tonal qualities) and creating visual equivalents.
This project is a chance to skew that starting point – rather than take a written story, take an experience. So it becomes re-experiencing an experience – using the palette of tools I feel graphic design offers me. This involves the deconstructive and generative sides to the adaptation process I have been working with in all my other projects. Breaking down the original involves seeing the inherent design in all experience. It is particularly interesting to do this in an unwieldy and unpredictable human experience. The ‘date’ aspect adds another layer of intrigue, being that it involves an interaction – a new dynamic or friction.
The generative aspect will involve me drawing from pre-existing conventions of narrative structures- drawing from genres like film, comic books, and television sit-com. These offer a great set of conventions and rules that can be applied to this real-life situation. What is fascinating is that often I notice when a person in an experience seems to strike what seem like a set of ‘designed’ conditions that work either to their detriment or to their benefit. It is like looking over at someone at a party who is telling a joke or anecdote and their performance ‘works’ – the light works perfectly with the tone of the story, the position of the listeners to the person works to heighten the drama of the story, and the tone of the story is a perfect match for the scene as a whole. These conditions are obviously not planned, but just happen to come together at this place and time. In this project, I can control these conditions for maximum potential.
I have laid out aspects of the experience that could be tempered/designed, and sketched out roughly how this might work:
Production design; considering how the layout of the experience can make action more interesting
Lighting; considering interior lighting for the date could create tonal quality
Dialogue, Sound and Music; think about how dialogue could be scripted/prompted. Consider the use of voice-over, music as aural cue for action, music to complement action:
Upon reflection, I noticed that the adaptations I have been working on and considering thus far have fallen into a similar pattern – adapting written content into a visual narrative. This is fascinating to me because it involves considering all components of that original narrative (both structural make-up AND tonal qualities) and creating visual equivalents.
This project is a chance to skew that starting point – rather than take a written story, take an experience. So it becomes re-experiencing an experience – using the palette of tools I feel graphic design offers me. This involves the deconstructive and generative sides to the adaptation process I have been working with in all my other projects. Breaking down the original involves seeing the inherent design in all experience. It is particularly interesting to do this in an unwieldy and unpredictable human experience. The ‘date’ aspect adds another layer of intrigue, being that it involves an interaction – a new dynamic or friction.
The generative aspect will involve me drawing from pre-existing conventions of narrative structures- drawing from genres like film, comic books, and television sit-com. These offer a great set of conventions and rules that can be applied to this real-life situation. What is fascinating is that often I notice when a person in an experience seems to strike what seem like a set of ‘designed’ conditions that work either to their detriment or to their benefit. It is like looking over at someone at a party who is telling a joke or anecdote and their performance ‘works’ – the light works perfectly with the tone of the story, the position of the listeners to the person works to heighten the drama of the story, and the tone of the story is a perfect match for the scene as a whole. These conditions are obviously not planned, but just happen to come together at this place and time. In this project, I can control these conditions for maximum potential.
I have laid out aspects of the experience that could be tempered/designed, and sketched out roughly how this might work:
Production design; considering how the layout of the experience can make action more interesting
Lighting; considering interior lighting for the date could create tonal quality
Dialogue, Sound and Music; think about how dialogue could be scripted/prompted. Consider the use of voice-over, music as aural cue for action, music to complement action:
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