These compositions were based on Franz Kline's work and the main aims were to try emulate architectural forms. This is to help link the shape of the forms to an aspect of our modern frenetic lives. The straight, angular and chaotic nature of the lines also are meant to emulate the frenetic aspect.
These compositions were based on Motherwell's work and the aim for these were to resemble the abstract nature of our dreams. These were made with much softer forms and lines with a contrast between the rounded forms and the rectangle.
These compositions were based on Olitski's work, with the main idea being that the song Dream 3 envelopes the listener. The larger shape represents the song overbearing the smaller circle, the listener. In terms of being an idea to represent Dream 3, this is more successful in conveying the effect of the song to the reader. It is more straightforward in its meaning and easier to decipher than the other two. However when executed, the compositions lack in their ability to carry the idea as well as be visually appealing.
Based on Kandinsky's work, these compositions have a similar aim to the Motherwell compositions. The varying forms represent an abstract drawing of a dream as well as represent the weird and different possibilities within one. Much like the Motherwell compositions, the contrasting round and straight lines add to the overall visual appeal.
Within each of those set of compositions, a few were picked out based on their visual success and were taken further to see if there were other possible combinations. The overall outcome are slightly more refined designs that may or may not be more successful.
Following the visit to The Hepworth Wakefield, these are the compositions made based on her sculpture designs. With Hepworth, the aim was more aligned to the idea that the song envelopes the reader rather than simply being an abstract depiction of a dream. The first two pages are the initial sketches and the last being the successful ones taken further.
From the shortlisted compositions, I have chosen 2 from each style to develop further in colour.
These were chosen from the Franz Kline compositions because of their resemblance to architectural forms. The compositions show elements of perspective which in turn hint at displaying lines of a buildings facade. While doing so the composition still remains relatively abstract as well as having a chaotic visual.
These were chosen based primarily on their visual success at being an abstract depiction for dreams. The addition of the rectangle was chosen because of its contrast against the rounded forms that adds to the visual success. Unfortunately however, there isn't much a deeper meaning behind the Motherwell's compositions. Because of this, the choice to submit these possible compositions to secret 7" will be unfavoured as opposed to the other compositions which have more relation to the songs meaning and effect on the listener.
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| Image a |
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| Image b |
While studying the artwork of Jules Olitski, there were some pieces that he'd done in the style of image b. Unexpectedly, these aligned with the theme of dreams. The oval shaped forms represent the left and right sides of the brain while the surrounding "aura" implies the brain activity that occurs during dreaming. This could be another addition to the range of ideas that could be taken further. Image a was chosen due to its resemblance to the idea over being enveloped by the music as well as being one of the more visually appealing ones.
Whilst refining the Kandinsky inspired compositions, I noticed there was a possibility to manipulate the ribbon like form into the shape of a "3". This is a subtle hint the song's title Dream 3 that may not be directly obvious on first glances. Therefore the compositions that were initially purely based on resembling an abstract depiction of a dream through Kandinsky's style have transformed into one that has slightly more depth and is able to hint at the songs title. What is successful about these two is the spatial balance within the frame as well as the balance between the straight and curved forms.
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| Image c |
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| Image d |
Following the similar idea the Olitski compositions were based on, these were chosen based on their ability to effectively communicate being enveloped. This idea is represented in Image c by the overlapping layer of white space on the oval behind it. In Image d it is represented by the larger, overarching form. Overall the experiementation done with Hepworth's style have come behind the other chosen compositions because of its lack in visual appeal as well as its effectiveness in communicating the idea.
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