So, now that I've worked out what is working and what isn't, it's time to go back with a fresh mind and make these pieces fantastic. Track 10 is dead to me, the first draft was a default which lacked just about everything. Tomorrow I'll be re approaching that section and rethinking it from scratch. But today, I've made adjustments to Track 02. Some further adjustments are still to be made, but the notes I wish to hit are there at the moment. Some of the methodology and ideas are laid out below.
(The youtube upload has pushed the sound slightly out of sync)
The way in which I work on this project is possibly different to how I original intended, but the approach nonetheless feels like an inherently correct one to me. I first start by looking through all of the speed paintings. I look for notions, colours, themes and ideas that seem consistent throughout the works. I then take the speed paintings that seem most connected to the music and put them all into After Effects. From these I grab elements and layers and start placing them onto a new composition. The consistent notions that are seen become the building blocks for my sections. So,using Track 02 as an example...
The two big themes which are apparent in a huge number of the speed paintings are spirals and explosions of some sort. Circular notions and paint strokes seem to highlight how the music moves. This was the key structure. So the base form of a spiral made complete sense. The music gives this impression of moving through or falling down. The spirals came primarily from Simon Holland, Ryan Leitao, Molly Bolder and Adam Webb's work. The whole piece is a build up. It slowly forms to an explosive moment where the sound erupts out at the audience. This is again, reflected in the artwork. Vikki Kerslake, Lucy Yelding and Emily Clarkson demonstrate this theme within their speed paintings. It feels like an opening moment, the demonstration of a theatre act or the like. So, the spiral transforms into an explosion and reveals this strange spinning world. Many of the elements from Ryan Leitao were used for this section, and even though brief, it is a section that works because of that build up. Suddenly this downward move feels apparent in the music. The notions from my own speed paintings, as well as Lydia Caplan's, were the inspiration for this. Almost as though rain is clearing the scene for the next sequence.
For the final sequences, I'll be reminding myself of this methodology and ensuring that each is thrilling in this sense of reaction. More updates on the other sequences tomorrow!