Peggy

Black Lung & Lobster - VS. - Case Study: Nonverbal Communication

For “Black Lung & Lobster” and “Case Study: Nonverbal Communication,” each approach focused mainly on one of two different visual aspects to reinforce the weakness of the protagonist, and the “strength,” or dominance of the antagonist.

Our joke, as seen in the videos, depicts a charity representative approaching a wealthy individual in hopes of receiving a donation for their fund. This particular wealthy individual shows little interest in putting forth any such donation.

In the first video, “Case Study: Nonverbal Communication,” we manipulated line in different ways in order to achieve an accurate depiction of the contrast between the roles of the two characters. During the interaction between our two characters, we see the horizon line (actual line) with the wealthy individual move from being actually stepped on, to arriving right around his waist; not very belittling. In contrast to the horizon line with our charity boy, which appears right around his shoulders, and even above his head, you get the idea that this guy is timid, weak, and maybe even terrified of the task before him. Virtual lines also appear as the wealthy man stops to glare at timid charity boy, shooting downward at him, while the boy sheepishly peers upwards. This puts our protagonist on a stage lower than our antagonist.

For video number two, “Black Lung & Lobster,” we utilized visual rhythm to establish our characters’ roles. During the initial interaction between our antagonist, Tom, and his colleague Rich, we maintain a point of interest around the center of the frame as we cut between the two, establishing an affinity in stature between them. Once we move to our antagonist Roger Fritchland, we manipulate space a bit in showing the size of his office, in contrast with the tight quarters of Tom and Rich, showing Roger’s higher stature with his abundance of space. Roger then scoots right up to the camera filling over half the frame. With Roger and Tom, we keep Tom small and centralized, and Roger, massive and located to the right. This creates another contrast, regarding the their size (and stature). In regards to the characters’ frame location, we bounce back and forth between the two creating a visual rhythm, as our eyes bounce center to right, from tiny Tom to giant Roger we get a sense of tension between the two. We are provided release as Roger admits his lies, leaving Tom stunned and humiliated.”

Case Study: Nonverbal Communication

Case Study: Nonverbal Communication

Black Lung & Lobster

Maria's A Zombie

Feed Your Creativity Babies

If you would like to read this wonderful essay by Hugh Macleod follow the link below.

How To Be Creative

Don't Make Anton Mad

Dali's Ballsy Lady

This particular piece of Dali’s stood out to me because it is such a cluster of variation in line and shape. It never allows your eye take a break from speeding around frame through the shapes and color, to ultimately reveal its true identity.

Dali fills the image only with circles and lines; both curved and curvilinear. At first, it appears chaotic, but then our eyes begin to move. The curved nature that fills the image helps your eye to roll smoothly around the image. The circles also create a series of diagonal lines the stretch from the edge of the frame, all the way to the center of the piece. Had Dali replaced the circles with squares, to make an oval framework; and rigid diagonals sending your eye to the center, the piece would lose it’s subtle fluidity, and visual appeal.

The Rule of Thirds, and the visual rhythm and movement go hand in hand in this particular piece. Dali manipulates this rule to produce the rhythm and movement, as you can see in this close up. Your eyes start at the upper left portion of the piece. The curved lines are used to help begin the movement around the frame, forcing your eyes to circle clockwise; around and around This close up acts as the catalyst in your eyes’ journey to discover the image that the painting is disguising. 

If your eyes start traveling down the right side of the piece, they are quickly slung back to the left by the lines inserted by Dali, here at the bottom right portion of the image.

The Rule of Thirds, and the curved nature of the lines within the image, both help produce a smooth ad enjoyable visual ride around the perimeter of the piece. Circling and circling until your eye beholds the image as a whole, and the woman is revealed. 

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