Lex Wilson 3D Typography

Thought I'd grab your attention by showing his work... how amazing is that?!

I was just searching through Behance looking for potential influences for my new 'Happiness' project and I came across Lex Wilson's work. It's so clever and the effect is so eye catching and powerful. Each letter has been composed in several sets of staircases.

Each of these pieces of typography has been done using only graphics pen and pencil; simple materials but the outcomes are just amazing.

Another angle of the same concept. Wilson has found the key perspective and angle to create this 3D effect. 

Typographic Quotes Project

We began a typographic quotes project in college in September, and recently had an interim critique session. To allow you all to catch up, I'll just upload a few of my experiments I've been doing.

Typography is the design and style of  words or letters. 

I've researched a few typographers in this project, and I found Alan Fletcher's work to be the most inspiring. This is the second time I have influenced him in a project, the last of which was in my WWF Rebranding project. Within this one, I have found his work useful in the way he visually portrays the typography. This made the type more interesting as a whole to look at and, because I am good at analysing words and phrases, I thought I could use this in my own designs. 

On the right is an example of his work. As you can see he manipulates the type based on what the words say: he has written 'Manhattan' tall and narrow to suggest the Manhattan skyline.


'Every artist was first an amateur'

This was a photocopy of a digital quote; the word 'amateur' was originally letterblock prints to give a childlike appearance. I cut out the key words and suggested the journey almost from an amateur to an artist and placed prints behind each key word to suggest this. The typeface slowly becomes more childlike and amateur-ish as it moves down the page. I placed a print I did when I was 4 behind amateur and a print I have recently done in college behind
'artist' to portray my own journey in the quote.

Experiment 2: Influenced by Stina Persson's grungy and urban style

I did these experiments using flour and cocoa. The drop-shadow idea worked the best as it gives a defined contrast between artist and amateur, which has no drop shadow. The powdery effect gives the impression of spray paint almost. I submitted these last two outcomes for an interim critique in college and my peers found them to be very effective, so I will adapt them for one of my final quotes,

Stina Persson

I came across this artist in an issue of Creative Review, 

and her work has inspired quite a few

of my own designs in college development work. 

Stina Persson is a Swedish designer, who is currently based in her home town, but has previously worked in Tokyo and New York for a range of editorial and corporate clients: (Coca-Cola, Elle UK, Vogue, Nike etc.)

Her work always includes paper, acrylic, ink, dyes and pencil, and is usually digitally edited before being published. She describes her style as 'making the ugly pretty and making the beautiful edgy.' 

This was the first image I ever saw of her work, and I instantly loved it due to the edgy and contemporary style. In my work, I always tend to be tight and neat; afraid of being messy if I were to try an edgy style. Persson's work has inspired me and given me ideas as to how it can be done in a stylish way. Here, she has used cut up paper to unevenly add colour to the images and allowed ink to run down the page, which adds a grungy and urban effect. She has made subtle imperfections such as this to make her work edgy. 

Two more examples of her work. The peacock image used the same concept as using paper and ink in an edgy manner. The ink blot as the background works very well in bringing an urban and contemporary vibe to the image. I like how the colour runs over the outlines on the buildings as it brings atmosphere to the scene. 

This is a final piece for a project which called for a mixed media collage which represents the town of Chesterfield. As the colours from buildings from images I collected, I saw that the tones were very urban and grimy: grey, brown, beige etc. I influenced Persson's grimy and edgy style by adding messy streaks of ink and watercolour, which I think made the overall image atmospheric and interesting. 

College Arts Festival 2013 - Influences

I went around the college Art Festival looking at Year 2 students work.

I'll start with the things I liked which could influence me and had name tags, and 

I'll upload the other pictures which didn't have names, on another post.

Emma Lewis, Art & Design

This section caught my eye because of the almost layered composition of her stand. It's brightly coloured and the wool balls which represent planets act as a curtain, almost, to slightly reveal the rest of the display and therefore make you want to look closer. This technique could be useful for next year or even in future sketchbook work to compel people to look at it. 

She has adopted a tie-dye theme in her display, and all parts have a futuristic consistency. She has used wool or paper wrapped around a metal frame to hint at planets, and created two tie-dye tee-shirts which blend in well with the theme. There are three canvas prints which have a tie-de background. She has used 3-D methods on the moon on the middle one for more impact.  I love the composition as each component has a nice flow and it is close together so it stands out more. 'Always think about composition' is the influence I'll take from Emma Lewis. 

Lauren Jenkinson, Art & Design

This student is on this course but has clearly started specialising in photography. Her display was very interesting, and although there wasn't an accompanying description, I believe her concept is about exploring manipulations of figures during movement. 

This is an example of the series on display. The camera has captured the movement of the subject's head, which causes it to blue and appear ghostly. This is definitely a useful technique if I was to explore abstract art or ghostly films. I like how the images are printed in monochrome to emphasise the impact on viewers.  

Peta Fordee, Fine Art 

I took a notice to this display for obvious reasons, it follows a link into Illustration which is the field I want to go into after College. This student has done a full abecedary just like I did for my last project. It is a series of prints which depict an illustration of something beginning with the letter, with ink being dripped over the top to hint at colour. The images themselves appear to be scanned drawings or mono prints. I like the childlike quality in the style and the dripping of colour - a childlike action as well as being a modern way of adding colour. I can definitely influence this student's techniques to modernise my designs and add an urban effect.

Rose Timperly, Art & Design

This reminded me of the paper-cut illustration book I saw at the De Montfort Open Day. I love the build up of the image when viewed from the front which is made up of several perspex sheets with images printed on. Repetition of certain parts build up shade on the front-on view, and thus brings depth to the image. I love how such delicate drawings build up to quite a creepy end result. Again, I like looking at different techniques since this one is quite illustrative as well. 

Minimalist Film Posters

So for the past few weeks, I've been working on a project to create a hand-made film

poster on a film of my choice along with taking inspiration from a 

country's style of poster

I haven't had chance to upload my research and ideas yet but I will do very soon!

Chosen Film: Back to The Future

Chosen Country: Cuba

I chose this film as it is my favourite film, and I can literally quote along with it, I've seen it that many times. I notice that my designs are thought to be too complicated in past projects, so I chose Cuba because their posters are quite minimalist.

Anyway, it was this minimalistic quality that caught my eye on this newspaper article I found when scrolling through earlier today. It is about a designer called Michal Krasnopolski, who has designed a series of film posters using a series of very simple geometric shapes whilst still making it obvious what the film is. 

Full article: http://www.dailymail.co.uk/news/article-2331519/Michal-Krasnopolski-Designer-s-brilliant-minimalist-posters-classic-films-using-just-circle-stripes.html

Here are two examples of these posters. Like I said, very mininalist! I really love how the shapes are incomplete and quite abstract, but it is so relevant to the film once you read the title. This minimalism is what makes it eye catching, and it causes people to look closer due to the simplicity, along with the title being quite small in comparison.

Two more examples from this series. They are wildly simple but unique and engaging at the same time. The 101 Dalmatians poster is particularly clever as the number being placed this way could also be looked at as a very simple portrayal of a dog. I can see that the artist uses colour to relate to associated colours to the film as well to add more association to his designs.

I'm glad I found this artist because it is relevant to the project brief as a whole, and it relates to the Cuban poster style by being colourful and simple with geometric shapes. I could definitely take influence from him in my own designs.

My Alan Fletcher Influences

My last post explained why I liked Alan Fletcher's work, so this one will

include my own work which is influenced by his style.

LEAVES

The first texture which came into mind when I thought: 'nature', was leaves. I collected various leaves from my garden and printed a hand print on top of them with white poster paint (again, influencing Fletcher's techniques.) I did this to try and visualise the concept of harmony between humans and the environment.

Unfortunately, the print didn't show up very well on this idea so I didn't use it.

I sandwiched some leaves between my sketchbook pages and cut out shapes so the images would appear to be ocmposed of leaves. I did a panda paw print here to convey a link to the original WWF logo. I think this texture looks nice and works well because it combines the plant and animal world.

I used the same technique here with these type experiments. When looking at them collectively, I am more drawn to the curvy style rather than angular because it seems more welcoming and friendly. I also think tha the spearated letters works bettwe because it emphasised the texture more.

Overall, this experiment was very successful but I think it is more effective on imagery.

BARK

I moved on to looking at bark as a texture. This turned out to be a happy accident as I didn't plan on this heart shape (made out of bark) to split into two pieces. But this helped me get the idea to make one symbolise a footprint and the other, a paw print. I really like how the texture underneath adds more effect and realism to the image. In general, I think the image is clear in demonstrating how we help animals and the environment through the WWF.

Because of its effect, I decided to use this imagery for my final rebranded logo. This is the first draft of it (as I experimented with various layouts of rough digital versions of the image.) I placed the bark texture behind it to add depth to it. This not only influences Fletcher because of the texture, but it also influences another artist called Kristen Nikosey, as she created movement in her paintings through lines.

Alan Fletcher

So, part of our rebranding project was to research 4 artists and take influence from then where appropriate. I did this, and found that I could influence some, but I took most influence from Alan Fletcher.

Alan Fletcher is a graphic designer, who founded a company called Fletcher/ Forbes/ Gill, who had big-name clients such as Penguin Books and Pirelli. During his career, Fletcher has written two Graphics books regarding visual thinking.

Of Course, being a project to do with rebranding a logo, Fletcher himself also did some logo work:

These three logos were designed by Fletcher, and I can see that he favours the use of type manipulation instead of imagery for his logos. My favourite logo out of these is the logo for the Victoria & Albert museum. I like it because Fletcher has used a simple technique by manipulating the crossbar of the A into being part of the ampersand.

These are a couple of examples of Fletcher's graphics work. With both images, it can be seen that he uses texture for realism or impact on viewers (wet paint, and tree respectively.)

The tree image caught my eye the most, as it is composed of thumbprints to symbolise the leaves. There is a childlike quality behind it as well. I found that both of these qualities could be used in my WWF logo as one of their services involves helping the environment, but they also invite the younger generation to help out as well.

Because of these things, I found Fletcher's style easy to influence with my design ideas.

Photomontage Influences - ft. Dave McKean

I've been doing a project about photomontage, and absolutely fell in love with this artist's style.. with his work that includes photomontage and his work without it.

That artist is called Dave McKean!

So I was searching 'photomontagers' for research and I came across this guy's work, and maybe I had some initial favouritism towards him as when I typed his name into Google it mentioned that he is an Illustrator as well, so I thought 'hmmm...maybe he's worth looking at because that's what I want to do!'. Anyway I saw his work and I just immediately warmed to it. Before I go off on a tangent about his work, here's some background info:

Dave McKean was born in 1963 in Berkshire and had already begun work as an Illustrator before he left university. His main client for illustrations was authour, Neil Gaiman, who wrote things like the Sandman graphic novels and The Graveyard Book. McKean went on to  design CD covers and even illustrate his own books. Let's look at his work:

When McKean worked with Neil Gaiman, he produced some illustrations by hand and some via photomontage. Both are great but his photomontage work stands out to me more. 

This is an example of one of the Sandman covers which uses photomontage. Personally, I have no clue what the series is about, but just looking at this cover, which has no type whatsoever, makes an impression on me. I notice that unlike Richard Hamilton's work, whose works are obviously a montage of a group of random images; Mckean takes to producing a more subtle effect when combining images. Ignore the image with the skeletons and focus on the background: The parchment image and the rocky texture have been subtly combined by how they fade into each other. This creates the effect of a whole new image, whereas Hamilton's work didn't particularly use effects to combine, they were just organised and re-sized which produced a fantastical atmosphere; whereas Mckean's style brings a more realistic tone.

This has to be my absolute favourite photomontage design done by McKean. I think it's mainly because he's used the photo montage technique to effectively illustrate the title of the album: "SCENES FROM A MEMORY". He's taken a really imaginative approach to it, which again, is fully successful due to his subtle way of weaving imagery together. We see that the base image is the man's face, but there's an impression of various smaller images being layered over the top to illustrate the 'scenes'. What makes this more effective is how these images seem to fade out and then become more obvious in different parts of the main face. The new images are further subtly added by keeping the general colour scheme the same so they don't stand out too much, The black background adds to a suspenseful atmosphere as well. 

Finally, we have this image. It is more obvious that manipulation has been used, like with the nose and mouth, but McKean still was successful in keeping the texture the same so we still have the impression that it is made out of paper. For me this image is quite eerie, maybe due to the sepia tone or the abstract imagery of it. With the rips in the paper, again it is obvious that they've been manipulated to resemble eyes; however McKean has added random imperfections and rips to these so they still seem like genuine rips. It's hard to explain, and I'm sorry! But the abstract qulities of McKean's work is what keeps me more compelled to look at it.

What is consistent with McKean is that he uses subtle techniques of combining contrasting images. By doing this he creates an abnormal image, but the attention to detail of making images compliment each other by colour or fading tools gives a realistic tone to an unusual combination. Sorry but that's the best way of explaining it. He makes his wacky creations believable, unlike Hamilton who simply put a cluster of images together with no form of linking them by tools. 

I love McKean's work, and I hope to use his techniques in my own work: Subtle tools to create a harmonious combination seems to be the tool! 

Printmaker #2... Trasi Henen!

Apologies if you guys are bored stuff of Printmaking stuff by now, just this one last post about it! :) 

I'm presuming not many of you have heard of this artist called Trasi Henen (based on how not one person in my class knew of her). But I've looked at her work and she's done some pretty cool prints.

Henen is South African and was born in 1981. Her works mainly include painting, mixed media and printmaking (obviously!) She has even won awards for her paintings, but for now we're focusing on the prints.

I don't know exactly why but I love the whole atmosphere and effect of this print. The background colours being blended like they are against the white ink gives the impression of Space, and for me the odd spot of white ink on the page add to this effect because they look almost like stars. The darker colour in the middle of the page causes the sketch to stand out more, giving a somewhat 3D feel to it. I also like how none of the lines are precise , it gives the image life! I could literally say more and more but I'm going to move on now!

Anyone want to take wild guess at the name of this print? ... 'Chairs'! There is an abstract feel to this one, by how she has used the same image again and again, but changed subtle things about it, maybe by changing the angle or leaving some details out. It's very interesting to look at due to the randomness of how the images have been placed; however some people may find it boring because of the predominantly red colours.

I haven't had time to do a print influenced by Henen yet; however if I get round to it, I'd take influence by making the images extremely simple, and not to worry about perfectly drawn lines or positioned images. I'll keep you guys posted (excuse the bad pun!).....

Andy Warhol: in Printmaking

Let's explore Andy Warhol's Printmaking techniques!

Warhol is a well-known Pop Artist, who was born in 1928 in Pittsburgh, Pennsylvania. He trained as a commercial artist and soon began to adopt a style of painting everyday images such as soup cans in bold and sometimes unusual colours (Pop Art).

Andy Warhol's most common form of printmaking was via silkscreen; where he was able to  project a photograph to a silk screen. This allowed him to produce repetitive patterns of the same image, whilst not restricting him to maintain the same appearance... he was able to alter the colour schemes.

Here is an example of his work using this technique. As you can see he has used contrasting and bold colour schemes to separate each box. I like this technique as it is very eye catching, and the use of a simple image doesn't make the heavy use of colour too overwhelming.

Warhol also experimented with monochromatic prints. I thought it would be nice to put one on since we were doing this at college. I know this one has a bit of red ink on it too but we did use that technique so it's still valid! 

I like how he has used three colours for the background to make the image more unique. It gives the image more depth than the image above where only one colour was used as the background. I like this effect of using more than one colour; therefore I've started a print which is inspired by this.

It's a work in progress, but it's okay as it's the background which is influenced. I layed it out into four areas, like many of Warhol's prints. I've also chosen a simple colour scheme of pale pink and yellow; however a third colour is introduced by layering the two colours. 

I shall produce a monochromatic print of Keith Haring's doodles onto here; however they won't be repeated; I wanted to take influence from Warhol but still make it my own, so that's why it wont be a repeat. 

Concluding the Vector Illustrator list... L.H Barker!

Right guys, this is the last vector illustrator I will be reviewing. Hope I haven't bored you too much!

Quite unanimously, it seems that successful architectural illustrations should contrast black and white with colour. The choice of shade or texture inclusion on the other hand seems to differ. I like how Barker has included detailed texture on the coloured portion of the illustration; however for me, it makes the image far too realistic to seem imaginative and energetic in my opinion. 

This emotion is emphasised for me by how the white parts have a lot of detail as well, I don't think the contrast is as successful if the detail is a constant throughout... as Birkey and Kugler varied amounts of detail in their work.

The same effect is used by Barker here. It does give the illustration depth; however it doesn't seem to have life. This could be due to the realistic textures and heavy amount of detail throughout the images. 

Of course, some of you will probably disagree with me, which is fine! This particular style doesn't particularly excite me unfortunately. Anyway, this about wraps up the vector illustration section. 

Apologies for the mass of architecture... it's what we're doing on our project at the moment so I thought it would be useful!

www.lhbarkerstudio.com/PortfolioIntroA.htm

Randal Birkey: Vector Illustrator the Fourth.

Well, it took me a while to find this artist; however it took me even longer to find what I needed... he's got folders for every type of illustration under the sun! Unfortunately, for now I can only share his vector illustrations with you.

Okay, here's illustration number one, and as usual, I'm starting with one which focuses on architecture. It immediately jumps out to me because I've noticed that, when looking from the outside edges towards the middle, there is gradually more and more detail which allows the focus to immediately be drawn to the centre.

 Following suit, Birkey has juxtaposed black and white with light colours; however he has braved more bold reds and greens instead of sticking to pastels. I like the textures he has included like on the glass panes and the sketchy quality that the lines have (as I've noticed that they're not all the same density.) 

Out of all of the line techniques which I have seen so far, I like this one the most due to the depth and emotion which can be gathered from the sketchy feel. It contrasts in this way compared to Dent's work, where everything is very organised and the same density. Being imperfect and sketchy is what makes this image seem alive in my opinion.

I know this one is architectural as well (sorry!) I've been trying to have some variety with vector illustrations but this one is different due to the 3D aspect. It contrasts to every other image I have posted linked to this type of illustration by how it has obviously been digitalised whereas the others still appear to have a hand drawn quality to them. 

The flow of use of minimal and light colours continues with this image. It is different, but it still has an illustrative quality as the lines which compose the building's structure can still be seen.

What can I take inspiration from with Birkey? Well, I really like the variety of 'detail density' which has been used to give his images life.

Check out his many other styles of illustrations here: www.birkey.com

Vector Illustrator number three is.... Chris Dent!

Chris Dent seems to favour architectural vector illustrations... that much became obvious to me when perusing his online portfolio. Okay, here's some of his creations!

Apologies if you need to zoom in to see this piece... it's absolutely huge! Now, I envy Dent's patience even more than Penton; every one of the buildings on this illustration has maximum detail on it, as well as every line being perfectly straight.  I have no idea how anyone can have that kind of patience!

 I love the 3D composition of this image, as well as how each continent has been assigned  a colour so each one stands out to audiences and it gives it life via the depth. Dent has included real buildings from around the world, and like the other vector illustrator's, he favours pastel shades and contrasts black and white with colour. 

In terms of this image, he has done the opposite to Penton, who drew attention to a building by surrounding it with colour. Dent on the other hand, has done the opposite by surrounding colour with black and white. Both methods work well; however it becomes clear that the secret to a successful digital architectural illustration, is to contrast black and white with colours (preferably pastel ones...)

Obviously, Dent's client here was Puma. Again, inhuman attention to detail and perspective when it comes to the buildings, especially as they are all from London. I really like how he has taken one city and recreated it. In particular, how he has successfully achieved this whilst simultaneously shaping it into the Puma logo stuns me, it is amazing! His detail is especially accurate since I can recognise buildings on here; such as the London Eye, the Gherkin and Wembley Arena.

One criticism I must give this is that using no colour makes the image seem flat and lifeless, which is emphasised by how he hasn't shaded at all.

I can take inspiration from Dent by learning how patience and perseverance obviously pays off when it comes to being accurate in detail.

www.chrisdent.co.uk

Olivier Kugler... come on down!

So the next vector illustrator in line for analysis is Olivier Kugler!

Let's delve right in, shall we?

Having only just finished looking at Tommy Penton's work, what I can see immediately is quite a large contrast when looking at Kugler's vector illustrations. Again, I will be sensible and kick off with an image of a building. 

Contrast number one:  Kugler seems to take a minimalist approach when it comes to detail of lines on his subject matter.

Contrast number two: It is much more obvious in Kugler's work that the lines are imperfect in terms of straightness, which impacts how the perspective is illustrated.

Contrast number three: It is clear that Kugler experiments more with colour than Penton; however they both favour pastel colours and juxtapose colour with black and white.

These contrasts do not make Kugler's work any more or less impressive than Penton's, if anything it is purely down to opinion. It's good that they are different as it proves that they both have a style of their own when it comes to vector illustrations. With this image, I like how Kugler has gradually faded out the image by filling in some of the trees in green, and leaving the others as simply an outline with the colour of the sky bleeding into it. This gives layers to the image, and therefore brings it depth and life.

The choice to make angles more obscure with the building makes the image appear as having more cartoon influences than Penton's images.

The idiosyncrasy of Kugler's vector illustrations is clearly how he leaves the effect of the image being incomplete by leaving certain areas in simple black and white lines. The contrast which it brings takes attention away from the fact that only simple lines have been used instead of a lot of detail. From Kugler, I can take inspiration from including contrasts to add depth to my images.

www.olivierkugler.com/life_drawing_reportage.html

Tommy Penton, vector illustrator!

Apologies for the lack of creativity in the title, very tired haha!
So the next few posts will be focused on Vector Illustrators to help me with my current project. Here we go!

This is an example of Tommy Penton's illustrations which focuses on buildings, (I thought it would be wise since our project focuses on architectural sketches and illustrations!)

 I admire the attention to detail which Penton has included, as well as using accurate aspects of perspective on the building. Although the detail is amazing and creditable due to the bucket loads of patience Penton must have, one key characteristic I can see is that the lines have been drawn free hand, and they aren't totally straight. Whereas on the one hand, someone like me would freak out for it not being perfect, at the same time it gives a quirky and unique feature to the image as a whole, it seems to have an energy about it... who knew wavy lines could be so great?

I find this image of Penton's to be very interesting due to the intricate lines which have been incorporated. The image is somewhat left to the imagination as to what it is but what is clear, is that the image has been repeated three times and rotated 90 degrees per rotation. (If I were to guess what it was, I'd say maybe the blades on an electric whisk.)

What is consistent with these pieces is that Penton seems to favour pastel shades. I believe this is good as it makes images interesting, but the light shades don't overpower the detail, they seem to compliment one another.


Overall, I really admire his attention to detail as well as his ability to find appropriate colours to add energy without being too harsh on the mind or the eyes. It is these qualities that I could take inspiration from when doing my own work. 

What have I learned from Penton? Sometimes imperfections are what makes an image perfect.

http://www.tommypenton.com

Drew Struzan; 'Frankenstein poster'

First post on my brand new college blog (aah!). Thought it would be wise to post something related to Graphics in some way or another, so here we go!

Frankenstein poster by Drew Struzan. More  awesome interpretive movie posters can
be found on: www.reelizer.com

'Frankenstein' is a gothic novel and film adaptation about a scientist who creates a man composed of dead human bodies. After his creation, Victor Frankenstein rejects the ‘monster’, who later seeks revenge...

It has often been debated about who is really the ‘monster’ of the story, the creation or Frankenstein himself due to his immediate abhorrent nature towards the creation. Struzan effectively illustrates this common argument by using half of each character's face to form one; hinting that they are both similar in some way or another.. (their monstrous tendencies.)

I also notice that he has used photography for this element of the poster; whereas illustration has only been used on the iron railing image beneath Frankenstein's face... why? Although mixing media has brought different layers of atmosphere to this creation, I believe it would have further emphasised the previously mentioned argument, if illustration were used for the Monster's face and photography used for Frankenstein's.This would portray Frankenstein’s belief and message that the Monster should be a thing of imagination and how he wishes he had never created him.

The typeface used on here really stands out: the font is orange, which is commonly associated with Halloween, just like the tale of Frankenstein commonly is too. The font also suggests links to the Halloween, as the writing is crooked and uneven like ghostly writing in scary movies is. The intrinsic bond between the two things portrays the genre of the movie; therefore I believe that the typeface used is very effective.

The background is generally monochrome with a sepia overlay to portray the mood of the film. With these effects the film is portrayed as being grim, dark and intense through the use of colour, which give these connotations. I find this a very effective way to portray the mood of the film, as it makes more of an impact than putting text at the bottom like on some movie posters.

Another possibility for the purpose of the dark coloured background is to allow the orange used on the poster to stand out. I think that the simple colour scheme along with the predominant bright colour being orange really emphasises the overall plot due to the connotations of the colour orange.

(The following either means that Struzan looked into what orange means before making this poster or it's just me being a tad too analytical)

 It is said to stimulate creativity and endurance: two things which link in to the film’s plot due to the creation of the Monster and the endurance of pain which Frankenstein undergoes when the Monster seeks revenge.

I like the subtle way that Struzan has used the colour to highlight various aspects of the plot because it is relevant to the plot but the fire also foreshadows one part of the film and there is the obvious connection between orange and Halloween.

... That's all for now! Bye x