FKA twigs
FKA twigs released an album called Afterglow, in which Vedita Dubey and I worked together to create a trailer for. Our constraint was that we had to shoot all our visuals and could only combine 2 images together using only 4 different blending modes.
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Styleframes
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Process
We had one class period to shoot enough images for two different design approaches, we discussed prior a little bit about our concept and what we wanted to piece to kind of be or feel. We experimented with lights reflecting of foil, and lights going through water. We tried other things as well but these two approaches gave the best results. Here are some of the Images we captured:
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We made two different concepts for each design approach, but I will only discuss the concept and design approach that was selected
Concept:
Beneath the Holy Skin
Eusexua afterglow is the moment when the defining high fades and you're left alone with your own quiet pulse. The heartbeat that once stilled begins to stir again, soft and slow, pressing against the skin like a quiet visceral reminder of aliveness
This is a return to the body, to knowing it, feeling it, and becoming one with it in ways you've never before. Sexuality here isn't an escape, it's an awakening. It's a kid of sacred stillness where touch and breath blur into self-recognization.
Keywords: Visceral, Tender, Rebirth, Vulnerability
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Here is the first round of WIPS, for our proposal: these were all done by Vedita.
Moving forward we decided it was best we both experiment with the images we took and see what we come up with and from there were selected and order the ones that made most sense in terms of flow and concept. The one to the left I did, but unfortunately did not fit due to colors and not fitting in a place that felt right. Here is another one Vedita did to the right, we liked the idea how dimensional the space was the the typography going in out out of this tunnel of light. But it had to many constraints, and could size the type that was readable and big to show that this was the album
Here are all the frames together, they are slightly different from the finals to the top, as afterwards I did go back and change a few things based on feedback we were given. I worked on frames 1-5 and Vedita worked on 6-8.
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Overall the changes I made were minor, I just integrated the type a little more, and add a bit more highlights in a few areas. For the last three frames I adjusted the blending modes, as it is after the high, so I felt that the colors should be toned down supposed to being the highest point of brightness. In addition, I switched frames 6 and 8. The original composition for 6 fit better as an ending point .
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