Month: May 2024

“Freedom to Express, Freedom to Explore, Freedom from Expectation”

Concept- Wes Anderson Inspired live action digital shorts.

Freedom to Express
“Freedom to Express” unfolds in a quaint, pastel-colored town square. The square is a perfect symmetry of eclectic buildings, each adorned with whimsical signs and retro facades. A diverse group of townsfolk, each with distinct, quirky outfits, gathers around a makeshift stage. The scene is bathed in a warm, nostalgic glow, enhanced by the symmetrical framing and meticulous attention to detail. Every character, from a bespectacled poet to a flamboyant accordion player, steps up to the stage to share their art, their voices blending into a harmonious cacophony. The camera captures this with a series of meticulously timed, symmetrical wide shots and intimate close-ups, emphasizing the individuality and collective spirit of unrestrained expression.

Freedom to Explore
In a stop-motion segment “Freedom to Explore” follows a young woman as she embarks on a journey through a meticulously designed diorama world. The narrative begins in her vintage apartment, filled with maps and travel gadgets. With a flick of a map, she sets off, and the camera follows her in a series of symmetrical, lateral tracking shots through a variety of handcrafted landscapes: a dense, miniature forest teeming with quirky, stop-motion wildlife, a sprawling desert made of sandpaper and tiny cacti, and quaint, bustling villages with dollhouse-like charm. Each scene is accompanied by a whimsical score and narrated in a deadpan, yet charming manner, highlighting the women’s growth and discoveries in a world where every detail is thoughtfully designed to evoke a sense of wonder and adventure.

Freedom from Expectation
This scene is depicted through a meticulously composed shot of a solitary figure standing at the edge of a cliff, overlooking a vast, stylized sea. The figure, dressed in a simple yet distinct outfit, is surrounded by neatly arranged, symbolic items representing past obligations: a perfectly stacked pile of books, a typewriter, a pair of spectacles. The background is a breathtaking horizon painted in soft, pastel hues, with the sun setting in perfect symmetry. The camera slowly zooms in, capturing the serene, contemplative expression on the figure’s face as a gentle breeze rustles their hair. The scene is accompanied by a poignant, whimsical soundtrack, encapsulating the moment of release from societal pressures and personal expectations, inviting the viewer to embrace a life defined by simplicity and self-fulfillment.

Designing a hockey jersey to represent the polyamory community involves incorporating symbols and colors associated with the polyamory flag, such as the infinity heart symbol and the colors aubergine, magenta, and cyan. The design should promote inclusivity, love, and connection, fostering a sense of unity and pride within the community.

My mother loves baking. It’s something she learned from her mother and is one of the ways she shows her love. For my 34th birthday she is mailing me some brownies which I plan to bring in and share with my class, so they can experience her love, too!

As a student diving into the world of branding and design, dissecting the visual feast that is Westman’s mobile eatery becomes an exciting exploration into the art of capturing a brand’s essence.

First impressions matter, so I’ve gone with a sleek exterior dressed in navy blue, porcelain blue, and light peach hues. These carefully chosen colors aren’t just arbitrary; they reflect the brand’s personality — vibrant, welcoming, and as comforting as a warm bagel on a chilly morning in Seattle.

On both sides of the truck, a playful pattern unfolds, showcasing Westman’s iconic logo alongside delightful illustrations of bagels, aromatic cups of coffee, and an assortment of baked treats. It’s like a visual menu that tantalizes the senses, inviting customers to embark on a culinary journey through the streets of Seattle.

As a student learning about branding, I wanted elements of the Westman’s truck design to speak to the brand’s identity. From the placement of the logo to the carefully curated color palette, every decision is intentional, aimed at creating a cohesive and memorable brand experience.

In essence, this design is meant to show the thought process behind every creative decision. It’s a reminder that great design isn’t just about aesthetics; it’s about telling a compelling story and forging a connection with your audience.

A few things went particularly well in the making of our blender film, the little mole. I think first and foremost was the commitment each member of the team showed to the work. All three of us showed up on time and were fully present throughout every step of the process. I really appreciated this as having worked on group projects in the past where I had teammates blow off meetings or not be communicative. We communicated well and easily coordinated meetings and production. I really appreciated not having to be overly responsible for shepherding my team through to the finish line.

Another thing we did well was supporting each others ideas. Anytime one of us threw something out there, people were open and didn’t immediately shut down ideas even if they felt a little out there. People were open and curious with each other which made for a safer space to share and ideate.

Once we chose our final concept we easily shifted into making it happen. Since Jordan wrote the story, I committed to producing all the props and really thought about how that could in and of itself be one of the characters of the story. I really enjoyed building the world that our story existed in and could see that as a potential career path down the line. getting do do research into a genre, in our case, Film Noir, and learn what are the components that make something feel noir, from music, costume, title design, and props/sets. That came naturally to me and felt like I already had an instinct for this world-building work. I’m really proud of how the final film came out and how the props/graphics, and details form the sets really contributed to it feeling real and legit.

I appreciated how we each had something that we “owned” on the project. Jordan wrote and helped direct, I built sets and props and titles and voice acted, and David acted, was DP and edited. It was useful to have these clear roles and responsibilities in reducing friction along the way.