The Art of Observation: Annotated Process

“

THIS IS ONE OF THE LAST TIMES THAT YOU’LL HAVE FREE REIGN TO DESIGN WHAT YOU WANT TO. MAKE THE MOST OF IT AND GO!” —Christopher Morlan (Day 1, Week 1)

GUILE AND NAIVETÉ IN THE FILMS OF ALFRED HITCHCOCK PSYCHO VERTIGO SHADOW OF A DOUBT REAR WINDOW NOTORIOUS TO CATCH A THIEF

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THE PROJECT

5

THE PIECES

THE PROCESS

CHAPTER

14

CHOOSING A DIRECTOR DEFINING A THREAD DESIGN BRIEF

CHAPTER

20

BUCKETS FOR INSPIRATION

THE ART OF OBSERVATION IDENTITY PHOTOGRAPHY

CHAPTER

48

ADVERTISEMENTS POSTER

SOUNDTRACK

DVD PACKAGING CATALOG WEBSITE TICKETS SCHEDULE PRODUCTS

05 CHAPTER

HIGHS & LOWS THE THREAD THE BOX COMPLETION

T H E A R T O F O B S E R VAT I O N

ABOUT

01 MISSION 02 SUSPECTS 03 PIECES 04 CHAPTER

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T H E A R T O F O B S E R VAT I O N 7

“

THINK ABOUT IT, BY THE END OF THIS CLASS YOU WILL HAVE DONE SOMETHING YOU’VE NEVER DONE BEFORE.” —Christopher Morlan (Day 1, Week 1)

ABOUT THE PROJECT THE PIECES THE PROCESS

T H E A R T O F O B S E R VAT I O N 9

THE PROJECT

Before reading this, you must know that this project is insane. No time in my life have I ever done anything like this, and I hope that I never have to again. I loved the process because of the intensity, the excitement and surprises around every corner (mostly by my own doing), and the fact that it was me who was in charge of everything. No other class or project has been like this. We were on our own. The first day of class we were given a list of deliverables that were to be turned in on the last day of class, but that was the only due date. Other than the expectations for the last day of class, we were free to complete pieces and process as we saw fit. Me, being the perfectionist that I am of course aimed to get everything done a week ahead of time. My husband was graduating from graduate school the week before the was due, so I imagined that I would be cramming all my work into the first 14 weeks, and then week 15 would be smooth sailing. Not exactly how it turned out, week 15 was not a breeze by any means, but I gave it a valiant effort and enjoyed the crazy ride that is called Integrated Communications.

So what did I do over the course of 15 weeks? This is my way of showing you my chaos in a beautifully organized book. It wasn’t this pretty, at times it was plain horrific, but this is more pleasant to look at and imagine a smooth ride.

The premise of the entire class is to create a hypothetical film festival to celebrate a director of our choosing. This does not mean just the posters and tickets. It means designing an experience from start to finish, every single detail has been thought of and needs to designed and tie back to your thread. The thread is the most important piece of the puzzle. It is what ties your films together. More on this later. Just know that this is insane. The amount of work and design for one semester might seem impossible, but believe me, it’s do-able. I did it.

THE PIECES This is the list of deliverables that I chose to complete for this project.

There are others that could have been chosen including a flying logo, film festival trailer, uniform system, and environmental graphics, but I chose to stick to my strengths and do what I do best.

RESEARCH DESIGN BRIEF IDENTITY Logo, type style, photo style, graphic style. Letterhead, Envelope and Business cards.

POSTER 30 x 40in + appropriate holder (from band to tube) and 12X16in poster. Featuring title, logo, subtitle, director, dates, films, website, etc.

CATALOG This should be beautifully designed and bound in a covetable fashion and should be conceived as a limited-edition run (think: McSweeny’s).

ADVERTISEMENTS Minimum of 3 different designs each featured in a different format/scale. These should be virtually (yet flawlessly) comped — minimum 8x10 in size.

DVD PACKAGING Multiple DVD packaging for the films of your director (Slipcase, etc.). This will include a booklet (minimum 8 pages/film) as part of the packaging.

WEBSITE Students will create a non-functioning, but complete (7 pages minimum) website. Site should include: Home page,3 secondary pages and 3 tertiary pages and be created in pixels (not vectors) and sized to fit on a 1024x768 monitor. You should prepare separate single sheets or board that features the web pages (8x10 minimum to pair with other formats below/above).

T H E A R T O F O B S E R VAT I O N 11

TICKETS These should be in booklet form (tickets) or with some sort of container applicable to the subject matter (passes). These could be comped as physical or virtual. If virtual, you should prepare a separate single sheet or board that features the tickets/passes (8x10 minimum to pair with other formats below/above).

PRODUCTS 3 (different) pieces/formats minimum — and could be comped as physical or virtual. If virtual, you should prepare a separate single sheet or board that features the products (8x10 minimum to pair with other formats below/above).

SCHEDULE No size or format restrictions.

SOUNDTRACK The soundtrack design — like the DVD packaging should be conceived as a limited run but could take on any number of forms — from a vinyl record to an MP3 disc. Appropriate songs, liner notes and overall design are elements of a soundtrack.

PRESENTATION All of your materials should be presented in some sort of “container” or “housing”. This does not have to be an elaborate construction but more robust and specific than a Banana Republic shopping bag. This can be a found object that has been repurposed (and rebranded) for your use. The housing can be a one-of-a-kind item.

ANNOTATED PROCESS JOURNAL The Annotated Process Journal should record your highs and lows along the road to discovery.

It should chronicle your journey from beginning to end. No size or format restrictions.

THE PROCESS There is no set process for this class. Each and every person has to decide what works for them and how they can most effectively and efficiently get the work done. And when I say “done”, I don’t mean a logo slapped on and comped at the last second. I mean it should be thoughtful, flawlessly comped, and designed to the fullest. In order for me to be done, I needed to feel that my project in full was cohesive, beautiful and felt like my work. It was not easy, although many had a bumpier road than I did.

One of my strengths is time management, something I learned over the course of my first year and a half in grad school. I am not a procrastinator and I hate to be late to anything. I tend to arrive places with time to spare and this class and the workload is no exception. I said earlier that I had planned to finish my pieces a week ahead of time because of Peter’s graduation (my husband), and to the best of my ability tried to complete that task. It was slightly unrealistic, because Christopher, being the good professor that he is, pushes you to the very last second of the very last day and last critique. Entering class at week 14 I felt good, like I was almost done. By the time I left class on week 14 I realized I had much more to do than I had anticipated or planned for. Not my favorite realization, but it also kicked my butt into high gear.

Before starting this class, I knew what was coming to an extent. I had seen the work in the cases and knew we would be choosing a director. In my mind I already had my director chosen, and it was John Hughes.

I was convinced that I was going to be working on his films (all 4 or 5 of them that seemed to go together) and was already planning my aesthetic for the project, a kitsch 80s film festival. I was unprepared for the curve ball the second week of class. I derailed my own plans oddly enough. It’s a long story, but the short version is that I was quite lucky to have been able to choose my director second out of everyone in the class (sitting up

T H E A R T O F O B S E R VAT I O N 13

front, although lame to some, it gave me an edge). I presented my three top choices and knew who I wanted, John Hughes. And I got him. I was elated that I got my first choice. It wasn’t until I stepped out and spoke to Phil and Hunter that I realized it might be better for me to choose someone that I might not be as comfortable with to expand my design aesthetic and portfolio. My second and third choices moved up. I got back to class and only two people were left. By this point my second choice had been taken but my third choice hadn’t been taken. Alison Kim was next to last and had her first and second choice taken, and her third choice was John Hughes. I decided then and there to change my mind and give Alison Hughes and I took my third choice.

I was unsure, because I was entirely unfamiliar with my third choice, but it was going to be a challenge and surprisingly I welcomed the idea. To help out a fellow student in difficult position was a wonderful thing to be able to do. It’s been a joy to be able to see the development of a John Hughes festival in my class too. I was so happy to see Alison’s work come to completion and be able to admire and know that I made the right choice. She was the right person for Hughes and I was the right person for my director. It’s killing you, huh? You still don’t know who my director is. Well, if you looked closely at the title page you know. Don’t look now! Just keep reading. You’ll find out in the next chapter.

MISSION CHOOSING A DIRECTOR DEFINING A THREAD DESIGN BRIEF

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CHOOSING A DIRECTOR Researching directors was fun, what’s not to like about watching movies for homework. I started out knowing that I wanted John Hughes as my director. I admire his work and I figured his 1980s aesthetic would have been fun to work with and a departure from my previous work. Watched Sixteen Candles. I even watched the 2009 documentary made about John Hughes. Intrigued and excited. One down, two more to go.

I started watching Federico Felinni’s La Dolce Vita, hoping to find an Italian director that I would love. I studied in Italy and am somewhat familiar with the language and adored the idea of an Italian film festival with two languages and references to Italian art and architecture.

Unfortunately I was bored halfway through the movie and turned it off.

I moved on to a French director next, trying to incorporate some sort of international flavor to my director choices. I do not know French, thus embarking on a journey with the thought of a French film festival, although interesting, was daunting. If I was going to tackle that task I would have to find a director worthy of the struggle. I landed on JeanPierre Jeunet, watched both Delicatessen as well as Amélie, deciding that his work is beautiful, interesting and memorable. Second director done. One more to go.

I thought about many different choices for my last director, Cameron Crowe, Blake Edwards, Guy Ritchie, Baz Luhrman, Mike Nichols, Frank Oz, Jason Reitman, Christopher Guest, Howard Deutch, Tony Scott and Alfred Hitchcock. Actually there were a lot more, but that was who I had narrowed it down to.

With John Hughes and Jean-Pierre selected, both of which would be a challenge, but more in my style than out of my comfort zone, I decided I needed someone different. Initially I decided upon Tony Scott because Man on Fire is one of my favorite movies. Realizing that I couldn’t find

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a theme in the movies that I liked by him, I moved on. My next choice was Baz Lurhman, but he has a very distinct visual style and I think it would have been difficult to depart from it and put my own twist on it.

I thought I would be bored out of my mind when I first turned on Alfred Hitchcock’s Dial M for Murder, but was pleasantly surprised. I loved the movie, it was beautiful and was entertaining, even now. The plot was intriguing, the characters interesting and believable and there was a class and elegance to it, much unlike any films I had viewed. I had to watch another to see if I still felt the same with an older movie. I watched The Lady Vanishes and loved it. That was it, Alfred Hitchcock was my third and final choice. He is a bit more out of my comfort zone, definitely haven’t done anything like this before and it could be a nice addition to my work, to give it more life and more dimensionality.

Defining a thread, was one of my low points throughout this whole project. It was harder than I thought, mostly because I had never seen a Hitchcock film before this semester and he has over sixty films.

Narrowing down the films I wanted to use was tough because of the sheer number, but then narrowing it down further by finding films that had a similar thread throughout was tough.

At first I wanted to deal with evil and how it comes about in the most unexpected of places. Although interesting, and I came up with a venue right away (the Vibiana, a restored Catholic church in Los Angeles used for events), it wasn’t panning out. In our time today, evil lurks everywhere so to find places where it isn’t expected would have been nearly impossible. I then moved on to note some other themes that are popular in Hitchcock’s films and the idea of masks and facades became interesting to me. I narrowed down my film selection to six after deciding on the new route for my thread. The films I selected were To Catch a Thief (1955), Notorious (1946), Psycho (1960), Rear Window (1954), Shadow of a Doubt (1943) and Vertigo (1958). Each of these films had an element of voyeurism, whether it was in the actual theme of the film, the characters had voyeuristic tendencies or whether the camera shots mimicked actual perspective to give the feeling of watching for the audience, it was there and it was my thread.

It took a long time, trial and error, but I finally got my thread. For several weeks I was close, but I couldn’t get the wording right. After a round of help form Emily Shields, Mary Lowe, Whitney Clarke, Dara Weinberg, Joel Hawkins, Laurie Punches, Doug Rumford, Peter Rumford and Jeff Oster, I finally was able to put into words what was trapped in my mind.

I will never hear the word “thread” again and not think of this class.

It was my downfall, but in the end, I loved my thread. It was exciting, interesting and kept me on my toes.

Katie King Rumford (Critique, Week 5)

T H E A R T O F O B S E R VAT I O N

IN A DESPERATE GRASP FOR FREEDOM PEOPLE HIDE BEHIND FA要ADES TO CONCEAL THEIR DARKEST SECRETS. ONLY WHEN THE DARK SECRETS OF OTHERS ARE REVEALED ARE WE FORCED TO FACE THE TRUTH THAT WE ARE ALL SECONDS AWAY FROM OUR OWN UNVEILING.

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To go with my thread, I created a Design Brief that not only informed my class but also instructed and reminded me where I was going with this festival. It outlines the thread, films, history, biography, location and katie king rumford audience for me to keep in mind moving forward. This is a snapshot.

GR 612 spring 2011

DESIGN BRIEF

ALFRED HITCHCOCK (1899–1980)

BIOGRAPHY

FILMOGRAPHY

Alfred Hitchcock was born in London on August 13,1899 into a strict Roman

1976 Family Plot 1972 Frenzy 1969 Topaz 1966 Torn Curtain 1964 Marnie 1963 The Birds 1962 The Alfred Hitchcock Hour (TV series) 1955-1961 Alfred Hitchcock Presents (TV series) 1960 Psycho 1959 North by Northwest 1958 Vertigo 1956 The Wrong Man 1956 The Man Who Knew Too Much 1955 The Trouble with Harry 1955 To Catch a Thief 1954 Rear Window 1954 Dial M for Murder 1953 I Confess 1951 Strangers on a Train 1950 Stage Fright 1949 Under Capricorn 1948 Rope 1947 The Paradine Case 1946 Notorious 1945 Spellbound 1945 Watchtower Over Tomorrow (short) 1944 The Fighting Generation (documentary short) 1944 Lifeboat 1944 Aventure malgache (short) 1944 Bon Voyage (short) 1943 Shadow of a Doubt 1942 Saboteur 1941 Suspicion 1941 Mr. & Mrs. Smith 1940 Foreign Correspondent 1940 Rebecca 1939 Jamaica Inn 1938 The Lady Vanishes 1937 The Girl Was Young 1936 Sabotage 1936 Secret Agent 1935 The 39 Steps 1934 The Man Who Knew Too Much 1934 Strauss’ Great Waltz 1932 Number 17 1931 East of Shanghai 1931 Mary 1931 The Skin Game 1930 Murder!

1930 The Shame of Mary Boyle 1930 An Elastic Affair (short) 1930 Elstree Calling (some sketches) 1929 Blackmail 1929 The Manxman 1929 Sound Test for Blackmail (documentary short) 1928 Champagne 1928 Easy Virtue 1928 The Farmer’s Wife 1927 When Boys Leave Home 1927/I The Ring 1927 The Lodger: A Story of the London Fog 1926 Fear o’ God 1925 The Pleasure Garden 1923 Always Tell Your Wife (short) 1922 Number 13 (unfinished)

Catholic family. In 1914, when Hitchcock was fourteen years old, his father died and he had to quit school, continuing his studies at home. It was during this time that he started gaining interest in film. He was a skilled artist and started work with the job of Title Designer at London Lasky office. When the current director, Alma Reville, had become ill, he was asked to step in to finish directing the film, Always Tell Your Wife (1923). The executives liked what they saw and gave him another chance. The same year he made his first debut film, 1926, he married Alma. His career began with the directing of silent films, believing that “pure cinema”, the visual storytelling had the ability to create moments and provoke emotions. He made nine silent films and ventured into a partial sound film with Blackmail in 1929. He had great success with his early films gaining the reputation as a top British director, but decided that America offered an undeniable opportunity for more creative freedom and moved in 1939. His prolific film career in America spit out almost a film a year, not all successful, but he created a name for himself internationally as the Master of Suspense. After Hitchcock’s film, Saboteur (1942), people began identifying his movies prefacing his name, “Alfred Hitchcock’s Psycho” etc.

His work dabbled in dark comedy, suspense and romance, often a combination of the three creating a dynamic story and emotional dependence of the audience. His wife had a debilitating stroke in 1972, he began to take care of her more, only to direct one more film. He received the Lifetime Achievement Award in 1979, passing away on April 28, 1980, the following year from liver and heart failure. His legacy lives on in his films.

THREAD People hide behind facades as protection from the judgement of others; only we we witness their vulnerable unveiling do we discover the undeniable truth that we are all voyeurs unable to look away.

We all hide behind facades to protect ourselves from the judgement of others, only when we witness the unveiling of others do we discover our innate voyeuristic nature.

TITLE(S)/SUBTITLE(S) The Art of Observation Guile and Naiveté in the films of Alfred Hitchcock For the Love of Watching Duplicity and Innocence in the films of Alfred Hitchcock Under Artful Observation Lies and Deceit in the Psychological Thrillers of Hitchcock The Artful Observant Lies and Secrets Unveiled in the Films of Alfred Hitchcock Concealed Complicity An unveiling in the Psychological Thrillers of Alfred Hitchcock The Art of Duplicity The Deafening of Silent Secrets Observe an Unravelling Viewer Discretion Advised Window with a View

T H E A R T O F O B S E R VAT I O N

katie king rumford GR 612 spring 2011

DESIGN BRIEF (cont.)

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POSITIONING & HISTORY OF THE FESTIVAL This is the second Alfred Hitchcock film festival of it’s kind. The first was a

FILM FESTIVAL DETAILS VENUE

memorial and homage to the director placed in his hometown of in Leytonstone, England just a week after after his death in April of 1980. After more than three

PARAMOUNT STUDIOS (EVENTS) 555 Melrose Avenue Los Angeles, CA 90038

decades an homage of Hitchcock’s films has been designed in Los Angeles, where he lived and worked for the greater part of his career, honoring the life and legacy of the Master of Suspense.

AUDIENCE With a film festival honoring Alfred Hitchcock, it is to be expected that the audience will range and vary in age and experience with his films. The wider range will include the Hitchcock neophytes who have heard of his more popular films but their popularity skipped a generation, to the devoted fans who work in the film industry trying to be as great as he was. They are an upscale crowd who are looking to spend their hard earned (80-hour work-week) cash on something out of the ordinary and to be part of a great good and experience. They like to feel as though they’re part of something bigger, whether they truly are or not.

They tend to act outgoing when in public but their true identity is one of a recluse who enjoys their own private life. Left to their own devices would rather sit in sunglasses and a hat people watching all day.

FESTIVAL FILMOGRAPHY Shadow of a Doubt (1943) Rear Window (1954) Vertigo (1958) Psycho (1960) Notorious (1946) To Catch a Thief (1955)

LOCATION AND DATES Screenings will take place during the evening at the Hollywood Forever Cemetery, projected on the Rudy Valentino Mausoleum.

Extra Events would take place next door at Paramount Studios. There will be multiple sets located around the Studio where different events would occur during the day and during the evenings The festival will be held August 12—14, celebrating Hitchcock’s birthday on Friday, August 13th. As an outdoor venue, it is necessary for the event to be held during the summer months so the weather is welcoming and the days are long.

ADDITIONAL EVENTS The films will be shown during the evenings at the Cemetary, offering cocktail hours, a VIP Murder Mystery costume party, and a masquerade ball will be held at the Paramount Studios.

HOLLYWOOD FOREVER CEMETERY (SCREENINGS) 6000 Santa Monica Blvd.

Los Angeles, CA 90038

DATES

ACCOMMODATIONS

August 12 – August 14 Celebrating the life of Alfred Hitchcock on his birthday weekend.

The W Hollywood Hotel 6250 Hollywood Blvd.

Los Angeles, CA 90028 (323) 798-1300 Hollywood Roosevelt Hotel 7000 Hollywood Blvd.

Los Angeles, CA 90028 (323) 466-7000 The Redbury @ Hollywood and Vine 1717 Vine St. Los Angeles, CA 90028 (877) 962-1717 The Sunset Marquis 1200 Alta Loma Road, West Hollywood, CA 90069 (310) 657-1333

SUSPECTS BUCKETS FOR INSPIRATION THE ART OF OBSERVATION IDENTITY PHOTOGRAPHY

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BUCKETS I had never used the bucket method before for inspiration, but I will be using it again. It was such a interesting and exciting way to mix and match aesthetics. The idea is create buckets of images for inspiration, each bucket containing similar images. Whether it’s a photo style bucket (black and white, blurred, sharp focus, etc.), a type style (hand drawn, hairline, slab serif, etc.) or language bucket, mixing and matching is encouraged. Actually it’s more than encouraged, which I didn’t discover until a few weeks in, but it’s pretty mandatory in order to see what can work with what and which things go well together.

For this project we were asked to form five buckets, a photo style bucket, a graphic style bucket, a type style bucket, a language style bucket and a format & materials bucket. I felt like I had a fairly good grasp of what the buckets were and how they functioned, although others had a difficult time grasping how they worked and how they gathered and combined the images. For many, this was a major stumbling block, stuck on this until well into week 9 and 10. I was done with my buckets by week 6 or 7, having defined my visual style fairly closely. Of course, it evolves as things do, especially during a semester long project, but I realized that the hand drawn type I so loved wasn’t working with what I wanted to communicate. The broken type was working really well and I found it to be the most interesting to look at. I also liked the format and materials bucket (again, not realizing till later that “format” was one thing and “materials” was another, but I digress). I loved the overlay or graphic shapes, and the circles came to me as a way of mimicking binoculars without showing actual binoculars. It was also a way for me to focus the viewers attention on something I wanted them to see.

PHOTO STYLE Black and white, blurred, out of focus.

ALFRED HITCHCOCK

katie king rumford GR 612 spring 2011

photo style //masks & voyeurism

3a

SELECTIVE FOCUS: blurred imagery

3b

SELECTIVE FOCUS: motion blur, depth of field

3c

SELECTIVE FOCUS: specific object of focus

ALFRED HITCHCOCK

katie king rumford GR 612 spring 2011

photo style //masks & voyeurism

1

black & white window shots. showing outside of windows, looking in (voyeuristic vantage point).

ALFRED HITCHCOCK photo style //masks & voyeurism

2

black & white from a spy’s perspective

katie king rumford GR 612 spring 2011

T H E A R T O F O B S E R VAT I O N 23

TYPE STYLE Broken, differing perspectives, sans serif.

ALFRED HITCHCOCK type styles

1

classic vintage type & woodtype

2

hand drawn unique type

3

katie king rumford GR 612 spring 2011

contrasting type (size, weight, color, paintings)

ALFRED HITCHCOCK

katie king rumford GR 612 spring 2011

type style //masks & voyeurism

1

broken letters

ALFRED HITCHCOCK type style //masks & voyeurism

2

hand drawn type

3

overlay type

katie king rumford GR 612 spring 2011

T H E A R T O F O B S E R VAT I O N 25

GRAPHIC STYLE Circle, overlays, vector graphics.

ALFRED HITCHCOCK graphic styles

1

vector images. flat color

2

3

vintage style graphics

katie king rumford GR 612 spring 2011

overlay of layers and objects

ALFRED HITCHCOCK

katie king rumford GR 612 spring 2011

graphic style //masks & voyeurism

3

aged vector

ALFRED HITCHCOCK

graphic style //masks & voyeurism

1

overlayed shapes and colors in printed media

2

overlay of sharp edged shaped on Black and White

katie king rumford GR 612 spring 2011

T H E A R T O F O B S E R VAT I O N 27

LANGUAGE STYLE Blunt, statement, classic.

ALFRED HITCHCOCK language styles

1

unexpected humor

2

simply stating the obviousy

3

katie king rumford GR 612 spring 2011

memorable quotes

ALFRED HITCHCOCK

katie king rumford GR 612 spring 2011

language style //masks & voyeurism

1

unexpected humor

2

simply stating the obviousy

3

location. pan to detail (like Hitchcock films)

ALFRED HITCHCOCK

katie king rumford GR 612 spring 2011

language style //masks & voyeurism

1

unexpected humor

2

simply stating the obviousy

3

location. pan to detail (like Hitchcock films)

T H E A R T O F O B S E R VAT I O N 29

F O R M AT & M AT E R I A L S S T Y L E Kits, wood, leather, metal.

ALFRED HITCHCOCK format & materials

1

brown paper/cardboard/fabric (aged look)

2

wide format. wide angle lens view

3

katie king rumford GR 612 spring 2011

alternative surfaces: engraved and embossed pieces

ALFRED HITCHCOCK

katie king rumford GR 612 spring 2011

format & material //masks & voyeurism

1

packaging, covering what’s underneath

2

spy kit

3

wood work

ALFRED HITCHCOCK

katie king rumford GR 612 spring 2011

format & material //masks & voyeurism

1

brown paper packaging

2

spy kit

3

metal/rusted metal

T H E A R T O F O B S E R VAT I O N 31

T H E A R T O F O B S E R VAT I O N 33

IDENTITY CRISIS The Art of Observation wasn’t my first title. I initially began with different threads, as I said before, so the identity was a bit of a process. With the idea of evil in the most unexpected places, I started with the titles, There is No Sanctuary and In the Most Expected of Places. Neither was well received, neither was my thread, so moving on I started playing with the idea of false identities and masks. Under False Pretense, Secret Voyeur, and Hole in the Wall were amongst the top choices for my next round. Comments were that they were “too pedestrian”. I quickly agreed, and felt like I wasn’t giving it my best shot.

By week four or five (it’s all quite a blur, even in all my note taking and voice memos) I was closing in on my title and subtitle. I came up with For the Love of Watching, Duplicity and Innocence in the films of Alfred Hitchcock, and The Art of Observation, Guile and Naivete in the films of Alfred Hitchcock. This was my first high point. Both were given the go ahead with my thread. I was elated! I did something right. Now I just had to choose and move forward. Initially I wanted For the Love of Watching, but The Art of Observation just seemed to roll off the tongue and I liked my designs better for the latter.

katie king rumford GR 612 spring 2011

LOGO SKETCHES

Below is a brief outline of the many alterations I made to the logo, start-

ALFRED HITCHCOCK ing with varying aesthetics. I thought I was going to go with the Saul

Bass, Hitchcockian (Vertigo inspired) hand drawn type. I loved the way

it was looking and it seemed natural with my director and my thread, but it almost seemed too expected. I wanted to use it all up to make sure

FOR THE LOVE OF WATCHING

katie king rumford GR 612 spring 2011

ALFRED HITCHCOCK

received, perhaps because it seemed to be the most obvious route, not to

mention with Hitchcock it had been done, and done by the best (Bass). I

was also influenced by the work up in the case, hand drawn type.

THE ART OF OBSERVATION

T H E A R T O F O B S E R VAT I O N

leaving it alone was the right choice. From my buckets, I had quite a bit LOGO SKETCHES of hand drawn type inspiration that fueled the fire, but it wasn’t as well

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ing rumford 2 2011

GO SKETCHES

LFRED HITCHCOCK

E ART OF OBSERVATION

T H E A R T O F O B S E R VAT I O N 37

Sketches of my title choices. I drew about 200 logos by hand before bringing them into the computer. It’s important to be able to articulate, plan and draw what you want to accomplish on the computer before going to the computer. People use the computer as a crutch whereas I see it as a tool to further the work I’ve already done. You should never start at that the computer, it’s death to design.

of

THE ART OF

T H E A R T O F O B S E R VAT I O N

THE ART OF

39

GUILE AND NAIVETÉ IN THE FILMS OF ALFRE

observation OBSERVATION

OBSERVATION observation THE ART OF

of

C=0 M=0 Y=0 K=0

C=11 M=1 Y=0 K=64

C=30 M=30 Y=30 K=100

C=0 M=95 Y=30 K=0

T H E A R T O F O B S E R VAT I O N 41

C=0 M=0 Y=0 K=0

C=11 M=1 Y=0 K=64

C=30 M=30 Y=30 K=100

C=0 M=95 Y=30 K=0

Final Identity and look. Linotype Didot and Helvetica Neue Ultralight.

The change in perspective lends to the thread and the differing perspectives and revealing of layers, much like a person and their secrets. It’s rare to see someone completely, and it’s rare that you see it from the same perspective.

This logo lends to the idea of masks and voyeurism.

T H E A R T O F O B S E R VAT I O N 43

PHOTOGRAPHY I didn’t want to have to deal with citing hundreds of photos for my project, so I thought it would be best to shoot my own images. I was lucky enough to have Peter, my husband, as a model. His schedule was flexible so we were able to go out on several shoots to get the shots I wanted.

I story boarded all my shots I wanted before going out, of course some of them occurred on a whim or even by accident, but most of them were planned for negative space (either black or white). The photos of mine that were working best were the ones that were high contrast black and white, blurred and left comfortable negative space in either white space or black space. I needed a female model and unfortunately for me my model flaked on me, leaving me alone. I ended up shooting in my photographer’s outfit, which was all black and ended up working better than I had hoped for with the model. I set up the shots and had Peter shoot me in the environments. He was a great photographer and was very patient with me and the many retakes we did.

People have asked me what percentage of the shots were mine and I would say about 95% of the shots were mine. The only ones that weren’t were of the locations (billboards, taxi sign, Beso, Hollywood sign, Hollywood Forever Cemetery and parts of Paramount and of course the film stills). I shot all shots I used for every piece of mine. Matt Rumford, my brother-in-law lives in Hollywood and was able to take some shots of Paramount studios as well as provide me maps of the grounds. They were very helpful and made it easier on me.

T H E A R T O F O B S E R VAT I O N 45

MEET PETER MALE MODEL

I was lucky to have a handsome male model on hand for multiple shoots.

Thanks to my patient husband, I was able to capture the Hitchcockian photos that I had pictured in my mind. Attire for the shoots was classic dress with a modern twist. And a special thanks to the San Francisco weather for making the shoots interesting and always moving.

T H E A R T O F O B S E R VAT I O N 47

PIECES ADVERTISEMENTS POSTER SOUNDTRACK DVD PACKAGING CATALOG WEBSITE TICKETS SCHEDULE PRODUCTS

T H E A R T O F O B S E R VAT I O N 49

ALL IN THE DETAILS

As I’ve said before, this class and this project is a major undertaking, not to be taken lightly or without proper warning. It is quite possibly the hardest thing I’ve ever done. There are so many working pieces and moving parts, keeping track of them alone is tiring, not to mention the changing and tweaking of the individual parts affecting the whole. There are technically only 9 parts to this project, but each of those 9 parts has multiple parts. For instance, advertisements, it’s not just one but three and each has to be a different format, all fitting your thread and aesthetic. The DVDs of course have multiple parts as well as a book to go with the set and unique packaging. The website is not just a few pages, but a minimum of seven pages, all with details intact. And of course, the largest undertaking has been the products. Although they were an optional part of the film festival, it seemed like my project would be lackluster without it, so I went ahead. There has to be a minimum of three products, and if one is a “kit” it has to have a minimum of three different parts. As I’m saying all of this I’m getting confused again, but trust me, there are a ton of moving parts and just staying on top of progress is difficult enough.

The following pages will be a brief showing of the pieces from start to finish. Keep in mind, some of the pieces took much longer than others (the catalog took weeks to research, prepare and start the layout, filling in with images from my photoshoots and editing the material and aesthetic as the aesthetic of my festival came together more clearly). Some pieces were not last minute by any means, because I had them all drawn up and planned for execution, but pieces like the schedule and tickets came later in the process, once my system had been developed and I knew what pieces I was working with.

Oddly enough, the more books I created, the more I enjoyed making them. I love this journal, for instance, it is one of my favorite pieces, yet who is going to actually read this? If you’re reading this I applaud you because I know there are some dry parts.

The poster was one of the lingering pieces for me. As you will see, it had a cluttered beginning, very 007 looking, dark and sinister. It kept coming back because I started it first and again, as my system changed, so did all the pieces that came before it, meaning my poster evolved with every tweak of the logo, color story and photo style. I have about 100 different versions of the poster, a number far fewer than what Christopher had wanted, but once I had something that was working it

“

seemed pointless to keep going in so many directions.

IT WAS THEN THAT THE LIGHTBULB REALLY WENT ON IN MY HEAD.”

The soundtrack was the second piece that I figured out and it was then that the light bulb really went on in my head. It was then that I realized what it was about my photos that was working. The negative space was what I needed to work with. Not only was it working because it allowed me to bring in text and graphic elements, but it also created an almost awkward space, much akin to the work of Hitchcock in his camera angles and his perspectives. By creating the open space, it is meant to give the feeling that the reader is part of the picture. Not cluttered with other details, but a simple focus on a single being, much like the lens of binoculars or a camera. There is often only one thing the viewer focuses on, bringing back the thread of voyeurism and the art of watching.

The Catalog, like I said, was a long process. It took a long time to compile the information, photographs and details. I ended up doing the DVD packaging after the catalog and liked the type treatment on the cases better so I implemented the type treatments back in to the catalog,

sheet volume and amount of information. I came up with the idea that I wanted it to be a book-within-a-book for the format. The format tied it back to the thread through a revealing process, pretending to be something it’s not. Many people had catalogs that were large in format, and mine was a bit smaller, 6x9. I guess it’s a size I’ve worked with before and felt comfortable with. Part of me wishes I had made something a bit bigger and beefier, much like this book in terms of size. But in order to fit

T H E A R T O F O B S E R VAT I O N

changing it up yet again. The most difficult part of the catalog was the

inside the larger book housing it had to stay on the smaller size.

The website came next. It went through a few versions, but I had a good idea from the beginning with this piece. I worked as a web designer for two years, so I’ve had some experience with web and user experience.

I wanted it to be user friendly while still odd and a bit uncomfortable, referencing back to Hitchcock and the revealing process. I knocked it out in a few days, liking what I had done with the image treatment, I started introducing that into my other pieces. The “slash” or cut to reveal the layers became one of my signature pieces. It’s less of a violent slash of a knife, perhaps what someone might assume when they see the pieces with the odd angles and cuts, but rather it’s a not to the changing perspectives and revealing of under layers, a tearing away. By bringing this element into my catalog, poster, type treatments, DVD packaging and pretty much everything else, I felt like I was completing my visual system. Another feat for me. It felt good to have something concrete to work with. I liked how it was coming about too. I felt like I had a bit of a jump on some of the people in class in this area. I was behind because of the thread not coming out right, but once I had the pieces of the visual puzzle, I was free to push them around, tweak them, mix and match them and start working out what was going to work ultimately and what wasn’t. Oddly enough, or maybe not odd, I chose pink and my accent color. I got quite a bit of opposition from classmates, saying that they didn’t like it and my other palates were more pleasing. And I tried many color palates to see what was working with my black and white theme.

I needed a color that would pop on both, that was provocative and exciting. I wanted a color that was sexual in nature and voluptuous, without being the candy apple red of Hitchcock’s typical blonde female actress.

Blues, greens, browns, yellows and reds were tried. In the end, after talking it out with Christopher, it was really my choice. I chose to go with black, white, hot pink and a dark gray. I’m not a girly girl, so pink in not my favorite color, these are not normal colors for me.

Part of the reason I chose Hitchcock was because I wanted a challenge and I wanted to vary up my portfolio, so the color choice, the black and white photo style, were because of how I wanted to broaden my portfolio, show range and to really try something different and very much outside my comfort zone. This project of course tired me out, but I’ve loved it the entire time. People think I’m crazy for saying that, because this is the hardest project, but it’s been so much fun, it’s almost sad to be over.

51

P O S T E R / / S TA R T

THE ART OF OBSERVATION

THE ART OF OBSERVATION

for the love of

GUILE AND NAIVETÉ IN THE FILMS OF ALFRED HITCHCOCK

watching

for the love of watching GUILE AND NAIVETÉ IN THE FILMS OF ALFRED HITCHCOCK

GUILE AND NAIVETÉ IN THE FILMS OF

ALFRED HITCHCOCK

GUILE AND NAIVETÉ IN THE FILMS OF

ALFRED HITCHCOCK

GUILE AND NAIVETÉ IN THE FILMS OF

ALFRED HITCHCOCK

GUILE AND NAIVETÉ IN THE FILMS OF

ALFRED HITCHCOCK

HOLLYWOOD FOREVER CEMETERY

THE ART OF

6 0 0 0 S A N TA M O N I C A B LV D , L O S A N G E L E S · O N T H E R U D O L P H V A L E N T I N O M A U S O L E U M

PSYCHO · VERTIGO · SHADOW OF A DOUBT · REAR WINDOW · NOTORIOUS · TO CATCH A THIEF

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OBSERVAtION GUILE AND NAIVETÉ IN THE FILMS OF ALFRED HITCHCOCK

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MASTER OF SUSPENSE

AUGUST TWELFTH THROUGH FOURTEENTH

HONORING THE LIFE OF THE

MASTER OF SUSPENSE

AUGUST TWELFTH THROUGH FOURTEENTH

HOLLYWOOD FOREVER CEMETERY 6 0 0 0 S A N TA M O N I C A B LV D , L O S A N G E L E S

·

O N T H E R U D O L P H VA L E N T I N O M A U S O L E U M

PSYCHO · VERTIGO · SHADOW OF A DOUBT · REAR WINDOW · NOTORIOUS · TO CATCH A THIEF

A FILM FESTIVAL HONORING THE LIFE OF THE MASTER OF SUSPENSE

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AUGUST TWELFTH THROUGH FOURTEENTH

6000 SANTA MONICA BLVD, LOS ANGELES | ON THE RUDOLPH VALENTINO MAUSOLEUM

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HOLLYWOOD FOREVER CEMETERY

THE ART OF

OBSERVATION

OBSERVATION

THE ART OF AUGUST TWELFTH THROUGH FOURTEENTH

THE ART OF

for the love of

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HOLLYWOOD FOREVER CEMETERY

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AUGUST TWELFTH THROUGH FOURTEENTH

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A FILM FESTIVAL HONORING THE LIFE OF THE

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T H E A R T O F O B S E R VAT I O N

8/12 thru 8/14

GUILE AND NAIVETÉ IN THE FILMS OF ALFRED HITCHCOCK

53

POSTER//PROGRESS

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POSTER//FINISH

This is the final poster after tweaking every single detail for what seemed like forever. The odd angle of my friend John is a nod to Hitchcock’s Psycho and Norman Bates’ character. The confrontation yet space to move the eye is catching yet a bit frightening at the same time. Love this piece.

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1//WALK THE LINE//JOHNNY CASH (1956) 2//TROUBLE NO MORE//MUDDY WATERS (1955) 3//THE OLD BLACK MAGIC//SAMMY DAVIS JR. (1942) 4//ANGEL OR DEVIL//THE CLOVERS (1955) 5//WHATEVER LOLA WANTS//SARAH VAUGHN (1955) 6//THAT’S LIFE//FRANK SINATRA (1966) 7//DON’T BE CRUEL//ELVIS PRESLEY (1956) 8//THE GREAT PRETENDER//THE PLATTERS (1955) 9//MACK THE KNIFE//LOUIS ARMSTRONG (1956) 10//PUT YOUR CAT CLOTHES ON//CARL PERKINS (1956) 11//RACE WITH THE DEVIL//GENE VINCENT (1956)

To put you in the mood for a Alfred Hitchcock film festival, you

12//WHATEVER WILL BE WILL BE//DORIS DAY (1956)

need to feel like you’re back in the 1950s and 1960s, where black and white television was a hit, where oldies were new again and you could scream in pure terror at the Psycho shower scene. This soundtrack is a glimpse in the times The Art of Observation films were released. Picture yourself on a quiet porch in Santa Rosa, California where Shadow of a Doubt was filmed, or pacing the floor in the Bates Motel, waiting for the phone to ring.

LYRICS

dance. Well I know when i go, I’m livin’ too fast. Someday...I’ll tell him about it, in my neighborhood. Gonna tell that little woman, that she don’t do me no

world of my own. I play the game but to my real shame. You’ve left me to

know one thing. Each time I find myself laying flat on my face I just pick myself

little Lola wants you. Make up your mind to have. (Make up you mind to have).

dream all alone. Too real is this feeling of make-believe. Too real when I feel

up and get back in the race. That’s life. That’s life, and I can’t deny it. Many

always get, what I aim for. And your heart and soul. Is what I came for.

times I thought of cutting out. But my heart won’t buy it. But if there nothing shaking coming this here July I’m going to roll myself up in a big ball. And

win. You’re no exception to the rule. I’m irresistible you fool...give in. Whatever

die...7//DON’T BE CRUEL//ELVIS PRESLEY (1956) You know I can be found, sitting

Lola wants Lola gets. I always get, what I aim for. And your heart and soul is

home all alone, If you can’t come around, at least please telephone. Don’t be

you see. I’m wearing my heart like a crown Pretending that you’re...Pretending

I’m in. Oooh, under that old black magic called. Your a dirty robber. Old black

what I came for. Whatever Lola wants Lola gets. Take off your coat. Don’t you

said. Please, let’s forget the past, the future looks bright ahead, Don’t be cruel

back at the ranch. Under that old black magic called love. 4//ANGEL OR DEVIL//

give in. Give in. Give in. 6//THAT’S LIFE//FRANK SINATRA (1966) That’s life. That’s

to a heart that’s true. I don’t want no other love, Baby it’s just you I’m thinking

THE CLOVERS (1955) Devil or angel, I can’t make up my mind. Which one you

what all the people say. You’re riding high in April. Shot down in May. But I

magic called. Oooh-oh get out the car. Old black magic called. Mean while

what my heart can’t conceal. Oh yes, I’m the great pretender. Just laughing

cruel to a heart that’s true. Baby, if I made you mad for something I might have

know, you can’t win. You’re no exception to the rule. I’m irresistible you fool...

good. Someday...I know you’re leaving, and your comin’ back home. Oh, without my lovin lady, I can’t stay long. Someday...Good bye baby, ah take my

CLOTHES ON//CARL PERKINS (1956) They took my blue suede shoes, down to ol’ Mobile. Got to rockin’ with the rhythm, run ‘em over at the hill. Put you cat clothes on. ‘Cause tonight we’re gonna really rock it right. Yeah Kitty, put your cat clothes on ‘Cause tonight we’re gonna really bop it right. Well I slicked up myself till I

hot-rod, move me on down the the line, oh yeah! (Let’s drag now). Well thought I was smart, the race was won. A-hear come the devil doin’ a-hundred and one. Move, hot-rod, move man! Move, hot-rod, move man! Move hot-rod, move me on down the the line (Let’s drag again) Well, goin’ pretty fast, looked

and gay like a clown. I seem to be what I’m not you see. I’m wearing my heart

looked like a dilly I run down town to get my female Billy. Put you cat clothes on.

like a crown. Too real when i feel what my heart can’t conceal. Oh yes, I’m the

‘Cause tonight we’re gonna really rock it right. Yeah Kitty, put your cat clothes on.

move man! Move, hot-rod, move man! Move hot-rod, move me on down the

great pretender. Just laughing and gay like a clown I seem to be what I’m not

‘Cause tonight we’re gonna really bop it right. Rock it! Well my ol’ gal’s slow and

the line, oh yeah! Well I’ve led an evil life, so they say But I’ll hide from the devil

easy, but all the hepcats know. When she gets that rockin’ beat. She knocks the

on judgement day, I said move, hot-rod, move man! Move, hot-rod, move man!

that you’re still around. 9//MACK THE KNIFE//LOUIS ARMSTRONG (1956) Oh, the shark, has, pretty teeth, dear...and he shows them, pearly white. Just a jackknife, has macheath, yeah....and he keeps it, out of sight. When the shark bites, with

polish off her toes. Put you cat clothes on. ‘Cause tonight we’re gonna really rock it right. Yeah Kitty, put your cat clothes on. ‘Cause tonight we’re gonna really bop

behind. A-hear come the the devil doin’ ninety-nine, I said move, hot-rod,

Move hot-rod, move me on down the the line. 12//WHATEVER WILL BE WILL BE// DORIS DAY (1956) When I was just a little girl I asked my mother, what will I be?

it right. Slap cat! Well now come on cat get with it. Keep your hands off that fruitjar.

Will I be pretty, will I be rich? Here’s what she said to me. Que Sera, Sera.

Do some be-boppin’ rhythm, pick your toenails up tomorrow. Put you catclothes

Whatever will be, will be. The future’s not ours, to see. Que Sera, Sera. What

know I’m gonna change that tune. When I’m back on top, back on top in June.

and love me, you know what I want you to say. Don’t be cruel to a heart that’s

macheath, yeah...so there’s not a trace, hmmmm of red. On the sidewalk...sun-

on. ‘Cause tonight we’re gonna really rock it right 11//RACE WITH THE DEVIL//GENE

will be, will be. When I was young, I fell in love. I asked my sweetheart what lies

I said that’s life. And as funny as it may seem. Some people get their kicks

true. Why should we be apart? I really love you baby, cross my heart. Let’s walk

day morning...lies a body oozin’ life. Someone’s sneakin’ ‘round the corner...is

VINCENT (1956) Well I’ve led an evil life, so they say. But I’ll out run the devil on

up to the preacher and let us say I do, then you’ll know you’ll have me, and I’ll

the someone, mack the knife? From a tugboat...by the river...a cement bag’s,

judgement day, I said move, hot-rod, move man! Move, hot-rod, move man!

Que Sera, Sera. Whatever will be, will be. The future’s not ours, to see. Que

know that I’ll have you, Don’t be cruel to a heart that’s true. I don’t want no

droopin’ down. Yeah, the cement’s just for the weight, dear...bet you mack, he’s

Move hot-rod, move me on down the the line, oh yeah! Well me and the devil,

Sera, Sera. What will be, will be. Now I have children of my own. They ask their

hand. Don’t want no woman no, which ain’t have no man. Someday baby, you

are I’d like to wake up and find. Devil or angel dear, whichever you are. I miss

ain’t gonna trouble poor me, anymore. 3//THE OLD BLACK MAGIC//SAMMY DAVIS

you, I miss you, I miss you. Devil or angel please say you’ll be mine. Love me

me on your side. You give me cause for love that I can’t hide. For you I know

JR. (1942) That old black magic has me in its spell. That old black magic that

or leave me, I’ll go out of my mind. Devil or angel dear, whichever you are. I

Stomping on a dream. But I don’t let it, let it get me down. ‘Cause this fine old

I’d even try to turn the tide. Because you’re mine, I walk the line. I keep a close

you weave so well. I’ve got those icy, icy fingers up and down my spine. The

need you, I need you, I need you. You look like an angel. Your smile is divine.

world It keeps spinning around. I’ve been a puppet, a pauper, a pirate, a poet,

of. Don’t stop thinking of me, don’t make me feel this way. Come on over here

his teeth, dear...scarlet billows start to spread. Fancy gloves, though, wears

ahead? Will we have rainbows, day after day? Here’s what my sweetheart said.

same old witchcraft when your eyes meet mine. That same old tingle I feel

But you keep me guessin’. Will you ever be mine? Devil or angel please say

a pawn and a king, I’ve been up and down and over and out and I know one

at a stop light. He started rollin’, I was out of sight, I said Move, hot-rod, move

mother, what will I be. Will I be handsome, will I be rich. I tell them tenderly. Que

inside. And then that elevator starts its ride. And down and down I go, all

you’ll be mine. Love me or leave, I’ve made up my mind. Devil or angel dear,

thing. Each time I find myself flat on my face I pick myself up and get back in

Don’t be cruel to a heart that’s true. I don’t want no other love. Baby it’s just

cash. And macheath spends, like a sailor...did our boy do, somethin’ rash?

man! Move, hot-rod, move man! Move hot-rod, move me on down the the line,

Sera, Sera. Whatever will be, will be. The future’s not ours, to see. Que Sera,

whichever you are. I love you, I love you, I love you. Devil or angel please say

the race. That’s life. I tell you, I can’t deny it. I thought of quitting baby. But my

you I’m thinking of. 8//THE GREAT PRETENDER//THE PLATTERS (1955) Oh yes, I’m

Sukey tawdry, jenny diver..lotte lenya, sweet lucy brown. Oh, the line forms on the

oh yeah! Well, goin’ pretty fast, looked behind. A-hear come the the devil doin’

Sera. What will be, will be.

you’ll be mine. Love me or leave, I’ve made up my mind. Devil or angel dear,

heart just ain’t gonna buy it. And if I didn’t think it was worth one single try I’d

the great pretender. Pretending I’m doing well. My need is such. I pretend too

right, dears...now that macky’s back in town. “Take it satch”. 10//PUT YOUR CAT

ninety-nine, I said move, hot-rod, move man! Move, hot-rod, move man! Move

other love, Baby it’s just you I’m thinking of. Don’t be cruel to a heart that’s true.

.S.

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around I go. Like a leaf that’s caught in a tide. I should stay away but what can I do. I hear your name, and I’m aflame. A flame with such a burning desire. That

EU

NO MORE//MUDDY WATERS (1955) Can’t tell how long you’re gone, can’t tell how long you stay. It’s good country fun, it’s your home some day. Someday baby,

TH

ends out for the tie that binds. Because you’re mine, I walk the line. 2//TROUBLE

much I’m lonely but no one can tell. Oh yes, I’m the great pretender. Adrift in a

a poet, a pawn and a king, I’ve been up and down and over and out. And I

WANTS//SARAH VAUGHN (1955) Whatever Lola wants, Lola gets. And little man, No regrets (no regrets). Recline yourself. Resign yourself, you’re through. I Whatever Lola wants Lola gets. Take off your coat. Don’t you know you can’t

caught in a tide. Well, I should stay away. But what can I do. I hear your name

that it’s right. Because you’re mine, I walk the line. You’ve got a way to keep

watch on this heart of mine. I keep my eyes wide open all the time. I keep the

jump right on a big bird. And then I’d fly. I’ve been a puppet, a pauper, a pirate,

whichever you are. I love you, I love you, I love you. 5//WHATEVER LOLA

and I’m aflame. A flame with such a burning desire. That only your kisssss put

Round and round and round I go. In a spin, ooooh, and I’m lovin’ that spin that

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keep you on my mind both day and night. And happiness I’ve known proves

mine. Darling, down and down I go. Round and round I go. Like a leaf that’s

out that fire. You’re the lover I have for. Your the mate that fate had me created for. And every time your lips meet mine. Baby, down and down and down I go.

EI

Because you’re mine, I walk the line. As sure as night is dark and day is light. I

only your kiss, kiss, kiss, kiss. Kiss can put out that fire. You’re the lover I have for. Your the mate that fate had me created for. And every time your lips meet

AD

mine. I keep my eyes wide open all the time. I keep the ends out for the tie that binds. Because you’re mine, I walk the line. I find it very, very easy to be true. I

find myself alone when each day is through. Yes, I’ll admit that I’m a fool for you.

ain’t no trouble for me, anymore. Ah keep on dancin’ baby, let me dance one

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1//WALK THE LINE//JOHNNY CASH (1956) I keep a close watch on this heart of

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59

PLAYLIST

FILM FESTIVAL

SOUNDTRACK To put you in the mood for an Alfred Hitchcock film festival, you need to feel like

you’re back in the 1950s and 1960s, where black and white television was a hit,

RECORD ONE

where oldies were new again and you could scream in pure terror at the Psycho

1//WALK THE LINE//JOHNNY CASH (1956)

shower scene. This soundtrack is a glimpse in the times The Art of Observation

2//TROUBLE NO MORE//MUDDY WATERS (1955)

films were released. Picture yourself on a quiet porch in Santa Rosa, California

3//THE OLD BLACK MAGIC//SAMMY DAVIS JR. (1942)

where Shadow of a Doubt was filmed, or pacing the floor in the Bates Motel, waiting

4//ANGEL OR DEVIL//THE CLOVERS (1955) 5// WHATEVER LOLA WANTS//SARAH VAUGHN (1955)

for the phone to ring. Take your mask off and relax for a few brief moments and

6//THAT’S LIFE//FRANK SINATRA (19 66)

enjoy the freedom.

RECORD TWO

Listening is one of the greatest skills of any observer. To be able to observe without your eyes and only your ears is a skill few possess. By listening to this soundtrack,

7//DON’T BE CRUEL//ELVIS PRESLEY (1956)

not only do you get in the mood, but you can work on your listening skills. Close

8// THE GREAT PRETENDER//THE PLATTERS (1955)

your eyes and visualize what’s around you, memorize it. Open your eyes and

9//MACK THE KNIFE //LOUIS ARMSTRONG (1956)

recount what you saw behind closed eyes. Practice will only make you better. So

10//PUT YOUR CAT CLOTHES ON//CARL PERKINS (1956)

practice listening and learn how to observe unnoticed.

11// RACE WITH THE DEVIL //GENE VINCENT (1956) 12 // WHATEVER WILL BE WILL BE //DORIS DAY (1956)

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RUNTIME

ALL SONGS ARE OWNED BY THE ARTISTS DISTRIBUTED ON THIS RECORD FOR THE PURPOSE OF ENTERTAINMENT ONLY. THIS IS NOT TO BE REDISTRIBUTED

2HR/36MIN

OR COPIED IN ANY WAY WITHOUT THE CONSENT OF THE ART OF OBSERVATION AND KATIE KING RUMFORD DESIGN. THESE MARKS ARE REGISTERED IN THE U.S. PATENT OFFICE, AND ARE IN FOREIGN COUNTRIES, AND LICENSED FOR THE USE OF THE ART OF OBSERVATION AND KATIE KING RUMFORD DESIGN. W W W. A R T O F O B S E R VAT I O N . C O M

SOUNDTRACK AVAILABLE FOR PURCHASE ON ITUNES

A D V E R T I S E M E N T S / / S TA R T T O F I N I S H

T H E A R T O F O B S E R VAT I O N 61

T H E A R T O F O B S E R VAT I O N 63

M A G A Z I N E A D / / S TA R T

The magazine advertisement was just another ad, but I started designing three billboard-type ads, not realizing that they had to be different formats. To expand, I went to the Taxi top as well as the magazine. The top left was the first ad, very busy. The second was almost finished, see the finished piece on the following page.

T H E A R T O F O B S E R VAT I O N 65

W E B S I T E / / S TA R T

With the first round of the website I tried out the splicing of an image to give the impression, much like that of the Art of Observation logo, of the different perspectives underneath the facades. I tried using a different color scheme, it was somewhat well-received but I wasn’t happy with it yet.

T H E A R T O F O B S E R VAT I O N 67

WEBSITE//FINISH

This is the final version of the website. I realized that the white space was what was working with my photographs so I decided to keep with the open feeling instead of the heavy black and created a more open website still with the splicing but only with pink, black, white and gray.

T H E A R T O F O B S E R VAT I O N 69

T I C K E T S / / S TA R T T O F I N I S H

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LOCATION

LOCATION

VA R I O U S T H E AT E R S

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Los Angeles, California

AUGUST

13

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HITCHCOCK HAPPY HOUR Drinks, Dinner & Seating

FRIDAY,

SATURD AY,

THE STUDIOS AT PARAMOUNT

HOLLYWOOD FOREVER CEMETERY

REAR WINDOW FILM SCREENING Blue Sky Lot Big Screen

FOR THE USE OF THE ART OF OBSERVATION PATRONS. ALL RIGHTS RESERVED. ©2011

MASK & MUSTACHE PARTY Blue Sky Lot (Ticketed Event)

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FESTIVAL SCHEDULE AY, SATURD

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A ,YADR

UTAS

FESTIVAL SCHEDULE FESTIVAL SCHEDULE

W W W. T H E A R T O F O B S E R VAT I O N . C O M

W W W. T H E A R T O F O B S E R VAT I O N . C O M

F A ,YADIR

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FOR THE USE OF THE ART OF OBSERVATION PATRONS. ALL RIGHTS RESERVED. ©2011

EVENTS 10:00 12:30 2:00 4:30 7:00 8:30

MASK & MUSTACHE PARTY Blue Sky Lot (Ticketed Event)

FRIDAY, AUGUST

REAR WINDOW FILM SCREENING Blue Sky Lot Big Screen

12

EVENTS 07:30 10:00

PSYCHO FILM SCREENING Surrender Under the Stars

HITCHCOCK HAPPY HOUR Drinks, Dinner & Seating

R U D O L P H VA L E N T I N O M A U S O L E U M 6000 Santa Monica Blvd.

Los Angeles, California

HOLLYWOOD FOREVER CEMETERY

LOCATION

VERTIGO FILM SCREENING Paramount Theater NOTORIOUS FILM SCREENING Sherry Lansing Theater

SHADOW OF A DOUBT FILM SCREENING Paramount Theater TO CATCH A THIEF FILM SCREENING Sherry Lansing Theater

5555 Melrose Avenue Hollywood, California VA R I O U S T H E AT E R S

THE STUDIOS AT PARAMOUNT

LOCATION

SATURD AY,

AUGUST

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T H E A R T O F O B S E R VAT I O N 73

MAPS ARE FOR COOL KIDS NOW POCKET MAP

S C H E D U L E / / S TA R T T O F I N I S H

The schedule came about after the DVD case because of the splicing of the images and of the paper. The schedule folds up, and is pocket friendly.

There is also a mobile application for more event details.

DOCTORMACRO.COM

“

IF IT'S A GOOD MOVIE, THE SOUND COULD GO OFF AND THE AUDIENCE WOULD STILL HAVE A PERFECTLY CLEAR IDEA OF WHAT WAS GOING ON.”

HITCH

ALFRED HITCHCOCK UP CLOSE & PERSONAL

—Alfred Hitchcock (1963) Alfred Hitchcock was born in London on August 13, 1899 into a strict Roman Catholic family. In 1914, when Hitchcock was fourteen years old, his father died and he had to quit school, continuing his studies at home. It was during this time that he started gaining interest in film. He was a skilled artist and started work with the job of Title Designer at London Lasky office. When the current director, Alma Reville, had become ill, he was asked to step in to finish directing the film, Always Tell Your Wife (1923). The executives liked what they saw and gave him another chance. The same year he made his first debut film, 1926, he married Alma. His career began with the directing of silent films, believing that “pure cinema”, the visual storytelling had the ability to create moments and provoke emotions. He made nine silent films and ventured into a partial sound film with Blackmail in 1929. He had great success with his early

HITCH

films gaining the reputation as a top British director, but decided that America offered an undeniable opportunity for more creative freedom and moved in 1939. His prolific film career in America spit out almost a film a year, not all success-

AUGUST 13, 1899–APRIL 28, 1980 DIECTOR, PRODUCER AND ACTOR

ful, but he created a name for himself internationally as the

OSCAR NOMINEE FOR BEST DIRECTOR

Master of Suspense. After Hitchcock’s film, Saboteur (1942),

(PSYCHO AND REAR WINDOW)

people began identifying his movies prefacing his name, 24

LIFETIME ACHIEVMENT AWARD WINNER 1979

25

UP CLOSE & PERSONAL 1963 EXCLUSIVE INTERVIEW WITH ALFRED HITCHCOCK

BY PETER BOGDANOVICH

You have a rectangle to fill. Fill it. Compose it. I don’t have to look through a camera for that. First of all, the cameraman knows very well that when I compose I object to air, space around figures or above their heads, because I think that’s redundant. It’s like a newspaperman taking a still and trimming it down to its essentials. They have standing instructions from me—they never give any air

Originally published in Peter Bogdanovich.

The Cinema of Alfred Hitchcock (New York: Museum of Modern Art 1963).

around the figures. If I want air, I’ll say so. Now, you see, when I’m on the set, I’m not on the set. If I’m looking at acting or looking at a scene—the way its played, or where they are—I am looking at a screen, I am not confused by the set and the movement of the people across the set. In other words, I follow the geography of the screen. I can only think of the screen. Most directors say, “Well, he’s got to come in that door so he’s got to walk from there to there.” Which is as dull as hell. And not only that, it makes the shot itself so empty and so loose that I say, “Well, if he’s still in a mood—whatever mood he’s in—take him across

You never watch your films with an audience. Don’t you

show what he sees, you go back to the man. You can make

miss hearing them scream?

him react in various ways. You see, you can make him look

interested in distance. I don’t care how he got across the

at one thing, look at another—without his speaking, you

room. What’s the state of mind? You can only think of the

No. I can hear them when I’m making the picture.

can show his mind at work, comparing things—any way

How would you define pure cinema?

you run there’s complete freedom. It’s limitless, I would say,

Pure cinema is complementary pieces of film put together,

the power of cutting and the assembly of the images. Like

like notes of music make a melody. There are two primary

the man with no eyes in The Birds—zooming the camera

uses of cutting or montage in film: montage to create ideas—

in—the staccato jumps are almost like catching the breath.

in a close-up, but keep the mood on the screen.” We’re not

screen. You cannot think of the set or where you are in the studio—nothing of that sort.

What is your technique of working with actors?

I don’t direct them. I talk to them and explain to them what the scene is, what it’s purpose is, why they are doing certain

and montage to create violence and emotions. For example,

Is it? Gasp. Gasp. Yes. Young directors always come up

in Rear Window, where Jimmy Stewart is thrown out of the

with the idea, “Let the camera be someone and let it move

things—because they relate to the story—not to the scene.

window in the end, I just photographed that with feet, legs,

as though it’s the person, and you put the guy in front of

The whole scene relates to the story but that little look does

arms, heads. Completely montage. I also photographed it

a mirror and then you see him.” It’s a terrible mistake. Bob

this or that for the story. As I tried to explain to that girl,

from a distance, the complete action. There was no com-

Montgomery did that in Lady in the Lake—I don’t believe

Kim Novak, “You have got a lot of expression in your face.

parison between the two. There never is. Barroom fights,

in it myself. What are you really doing? You are keeping

Don’t want any of it. I only want on your face what we want

or whatever they do in westerns, when they knock out the

back from the audience who it is. What for? That’s all you

to tell to the audience—what you are thinking.” I said, “Let

heavy or when one man knocks another across the table

are doing. Why not show who it is?

me explain to you. If you put a lot of redundant expressions

which breaks—they always break a table in bars—they are always shot at a distance. But it is much more effective if it’s done in montage, because you involve the audience much more—that’s the secret to that type of montage in film. And the other, of course, is the juxtaposition of imagery relating to the mind of the individual. You have a man look, you

How do you work when you are shooting?

on your face, it’s like taking a piece of paper and scribbling all over it—full of scribble, the whole piece of paper. You

Well, I never look through the camera, you know. The cam-

want to write a sentence for somebody to read. They can’t

eraman knows me well enough to know what I want—and

read it—too much scribble on the face. Much easier to read

when in doubt, d raw a rectangle and then draw the shot

if the piece of paper is blank. That’s what your face ought

out for him. You see, the point is that you are, first of all, in

to be when we need the expression.” Take The Birds. There

a two-dimensional medium. Mustn’t forget that.

is not one redundant expression on Hedren’s face. Every

THE ART OF OBSERVATION

15

MATTHEW RUMFORD

14

expression makes a point. Even the slight nuance of a smile when she says, “What can I do for you, sir?” One look says, “I’m going to play a gag on him.” That’s the economy of it.

I’ve heard a story about your having been put in jail by your father at an early age. Did this have any particular effect on your development, do you think?

It could have—I must have been five when I was sent along with a note to the chief of police, who read the note and promptly put me into a cell and locked the door for five minutes; and then let me out, saying, “That’s what we do to naughty little boys, you see.” What effect that had on me at the time I can’t remember, but they say psychiatrically if you can discover the origins of this or that, it releases everything. I don’t think it released me from a natural fear of the police.

SHADOW OF A DOUBT (1943) Teresa Wright makes a lot out of the fact that she and her uncle are similar, and yet she is the most eager to suspect him of the worst. Only because her attention is drawn to him more than anybody else. You look at your adoring uncle long enough, and you find something.

Isn’t Cotten rather sympathetic in the film?

There is sympathy for any murderer, or let’s call it compassion. You hear of murderers who feel they’ve been sent to destroy. Maybe those women deserved what they got, but

VIEWING PLEASURE

it wasn’t his job to do it. There is a moral judgment—he is destroyed at the end, isn’t he? The girl unwittingly kills her own uncle. She is the instrument by which he falls

T H E P R I S T I N E PA R A M O U N T T H E AT E R

in front of the train. It comes under the heading that all villains are not black and all heroes are not white. There

Features

are grays everywhere.

• Green Room

Does Cotten really love Wright in the film?

• Multi Media with 2K Capabilities • Huge Rotunda Lobby

I don’t really think so. Not as much as she loves him. And

• 3D Capability with Advance Notice

yet she destroys him. She has to. Wasn’t it Oscar Wilde who

Specifications

said, “You destroy the thing you love?” Shadow of a Doubt

• 2K Digital Projection – Christie CP 2000

was a most satisfying picture for me—one of my favorite

• Dolby Cinema Server • 35/70mm Film Projection

films—because for once there was time to get characters

• Dolby Digital Surround EX 6.1 Sound System • Screen Size – 24’ x 51’ • Throw – 106’ Capacity

18

THE ART OF OBSERVATION

19

• Seats 516

FILMS

SELECTION FOR THE FESTIVAL

VERTIGO (1958) RATED R 128 MINUTES CRIME/MYSTERY/ROMANCE PARAMOUNT PICTURES

PLOT SUMMARY Police detective John ‘Scottie’ Ferguson is asked by an old The six feature films selected by the Art of Observation committee were not chosen randomly. Hitchcock’s films are celebrated all over the world as pieces of

wife Madeleine’s odd behavior. Lately, she’s taken to

on the terms that each film has a sense of voyeurism intact.

believing that she is the reincarnation of a woman who died

The lens angle, production nuances or underlying themes

many years ago and Elster is concerned about her sanity.

have been examined closely to choose these six films. The

artwork and “pure cinema”. The films

most obvious of course is Rear Window, the entire film is all

up for viewing during the festival are all

about watching others, investing in their lives unannounced

about observation. Hitchcock thought of

and uninvited. Psycho has odd camera angles and Bates who

himself as a voyeur, peering through the

is a peeping...well not Tom, but peeping Norman. Shadow of

lens of a camera, watching every move

a Doubt is all about secret observation, following, recording

and making note of every little detail.

college friend, Gavin Elster, if he would have a look into his

The six featured films this go around have been selected

Scottie follows her and rescues her from an apparent suicide attempt when she jumps into San Francisco bay. He gets to know her and falls in love with her. They go to an old mission church and he is unable to stop her from climbing to the top of the steeple, owing to his vertigo, where she jumps to her death. A subsequent inquiry finds that she

and pretending to be someone you’re not. To follow in step

committed suicide but faults Scottie for not stopping her in

is Notorious, one of Hitchcock’s personal favorites, where

the first place. Humiliated and haunted by what has

pretending to be someone you’re not to find out the secrets

happened, he leaves the police force. Several months later,

of others is the main story line. Vertigo, again, perhaps an

he meets Judy Barton, a woman who is the spitting image of

obvious choice, but involves watching, following and anti-

Madeleine. He can’t explain it, but she is identical to the

cipating the next move. And last but not least is To Catch

woman who died. He tries to re-make her into Madeleine’s

a Thief, which twists a story of identity and romance with

image by getting her to dye her hair and wear the same type

observation and mystery.

of clothes. He soon begins to realize however that he has been duped and was a pawn in a complex piece of theater that was meant to end in tragedy.

Written by Gary Kmcd

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T H E A R T O F O B S E R VAT I O N 75

C ATA L O G / / S TA R T T O F I N I S H

The schedule came about after the DVD case because of the splicing of the images and of the paper. The schedule folds up, and is pocket friendly.

There is also a mobile application for more event details.

“

ALFRED HITCHCOCK TOOK UNIVERSAL EMOTIONS, LIKE FEAR, GUILT AND LUST, PLACED THEM IN ORDINARY CHARACTERS, AND DEVELOPED THEM IN IMAGES MORE THAN IN WORDS. HIS MOST FREQUENT CHARACTER, AN INNOCENT MAN WRONGLY ACCUSED, INSPIRED MUCH DEEPER IDENTIFICATION THAN THE SUPERFICIAL SUPERMEN IN TODAY’S ACTION MOVIES.

AGE OLD STORY

DID YOU KNOW M I S S N O VA K WA S A Y O U N G O N E At age 24, Kim Novak was less than half the age of James Stewart, who

—Roger Ebert

played her love interest in the film. Alfred Hitchcock was embittered at

October 13, 1996

the critical and commercial failure of the film in 1958. He blamed this on James Stewart for “looking too old” to attract audiences any more.

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BEACHES Hermosa Beach Manhattan Beach Redondo Beach Santa Monica Beach and Pier Venice Beach

RODEO DRIVE luxury shopping Wilshire Blvd & S Rodeo Dr Beverly Hills, CA 90212 rodeodrive-bh.com

HOLLYWOOD SIGN tourist must-see 3204 Canyon Lake Drive Los Angeles, CA 90068 (323) 258-4338 hollywoodsign.org

SUNSET NOIR

J. PAUL GETTY MUSEUM art museum 1200 Getty Center Dr

FILMS

Los Angeles, California 90049 (310) 440-7300 getty.edu

SELECTION/SYNOPSIS/REVIEWS

AROUND

PARAMOUNT PICTURES

entertainment experience

t.v. show taping and tours

100 Universal City Plaza

ENTERTAIN

STAY/EAT/DRINK/BE ENTERTAINED

UNIVERSAL STUDIOS

San Fernando Valley, CA 90068

Big Time Rush Community

(800) 864-8377

Dr. Phil

universalstudioshollywood.com

The Doctors Glee

HOLLYWOOD WALK OF FAME

WHAT TO DO ON SUNDAY

walk of fame, Grauman’s Theater 7018 Hollywood Boulevard

Hung NCIS Los Angeles 5555 Melrose Avenue

Los Angeles, CA 90028

Los Angeles, CA 90038-3197

(213) 469-8311

(323) 956-5000

hollywoodchamber.net

paramount.com

87

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ATWATER VILLAGE NEWBIE

DOCTORMACRO.COM

Hitchcock never worked with Stewart, previously one of his favorite collaborators, again.

APPENDIX

VAN N

THE FINE PRINT

With something as grand as the Art of Observation film festival it is necessary to know your way around. Not only from screening to screening, but around the city, around the lot and cemetery. Bathrooms, ATMs and restaurants are scattered around the Paramount lot for your convenience, but the cemetery is limited. You have been informed that you do not need to bring anything, as refreshments, food, disguises, heaters will be present at both affairs, but it is important to bring your A Game with you.

You may think you’re prepared with just being yourself, but ask yourself if that’s who you want to be? Do you want to show the real you? Or would you rather play a part for a few days? Pretend to be someone you’re not. Pretend to be someone you’ve always wanted to be. No one will have to know. Everyone will be masked. What’s the truth? The truth is relative when it’s hidden.

It’s your choice who you show up as. Be prepared with a backstory, a personality and a life full of zeal and adventure.

Don’t worry about the details, you can make them up as you

THE ART OF OBSERVATION

DAY ONE FRIDAY, AUGUST 12

HOLLYWOOD FOREVER CEMETERY RUDOLPH VALENTINO MAUSOLEUM 6000 Santa Monica Blvd.

THE ART OF OBSERVATION

DAY TWO

VE ALENTINO MAUSOL H V OD FORE RUDOLP

SATURDAY, AUGUST 13

HOLLWO

THE STUDIOS AT PARAMOUNT 5555 Melrose Avenue Hollywood, California

Los Angeles, California EVENTS: EVENTS: Hitchcock Happy Hour 7:30–10:00 Psycho Film Screening 10:00

Film Screengings To Catch a Thief 10:00am Shadow of a Doubt 12:30pm Notorious 2:00pm

THE ART OF OBSERVATION

ESS AVEN U

Vertigo 4:30pm Rear Window 7:00pm

FILM SELECTION: Psycho (1960)

featuring the Birthday Bourbon Bar 8:30pm–1:30am FILM SELECTION: Shadow of a Doubt (1943) Notorious (1946) Rear Window (1954)

go, but know who you are underneath. Do you reveal it or

To Catch a Thief (1955)

not? Or to a few select people? Who gets to see under the

Vertigo (1958)

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E

NUE E V A

ROSE

Mask & Mustache Party

MEL

mask? It’s you’re choice. Choose wisely.

96

ERY R CEMET EUM

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T H E A R T O F O B S E R VAT I O N 81

T H E A R T O F O B S E R VAT I O N 83

D V D PA C K A G I N G / / F I N I S H

The DVD portion of my project was one of the hardest for me. It took a while to figure out how my DVD packaging was going to fit into my film festival pieces. We were told it can’t be typical DVD case and it should be a unique (but not one-off). I ended up bringing the splice into the packaging.

By introducing that flap, I was able to create my tickets, schedule and product packaging. The DVD “booklet” (more like a novel) was a fun piece.

PRODUCTS//DISGUISE KIT M U S TA C H E ( 2 ) BLONDE BOMBSHELL WIG X - R AY S U N G L A S S E S

T H E A R T O F O B S E R VAT I O N 85

DISGUISE KIT MALE VERSION

P R O D U C T O N E ( PA R T O N E ) / / D I S G U I S E K I T

The first of my products is the Disguise Kit, composed of two mustaches (a blond and brunette), the Blonde Bombeshell wig and the x-ray sunglasses.

The idea behind this kit was to provide the viewer with a ready disguise, since we already wear metaphorical masks, a real mask seemed quite fitting and fun to create. The packaging was also designed.

T H E A R T O F O B S E R VAT I O N 87

DISGUISE KIT FEMALE VERSION

P R O D U C T O N E ( PA R T T W O ) / / D I S G U I S E K I T

The wig and sunglasses were really fun to come up with. The glasses have a secret chemical on the lenses that allows the wearer to see through anything up to ten feet of solid steel. The wig is for the lady looking to follow and not be discovered. But it can double as a distraction agent, wearing this wig and the right outfit can distract any red-blooded man while you slip something in his drink or have your partner snap a few shots.

PRODUCT TWO//BINOCULARS & HOW-T0 SPY BOOK

Initially I had planned to do a spy-kit, with a camera, secret ear piece and binoculars, but the disguise kit felt like it fit better with my thread so I went with that instead. I started with a vintage look and feel (old school Polaroid and antique binoculars) but the feel wasn’t working so I managed to find a more modern pair of binoculars. I made the box and created a How-To Spy Booklet to go along with the binoculars.

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T H E A R T O F O B S E R VAT I O N 91

PRODUCT THREE//SECRET SERUM SET

The Secret Serum Set was the last addition to my products for the film festival. Initially I had a secret spy hearing device but it was so small and felt insignificant in comparison to the rest of the pieces. The serums are an effort to reveal the secrets of others without getting too close or revealing the giver’s secrets. Love serum, Amnesia serum and Truth serum would come in handy when following, questioning or watching someone.

HIGHS & LOWS THE THREAD THE BOX COMPLETION

T H E A R T O F O B S E R VAT I O N 93

SO FAR GONE

Oddly enough, as I’ve mentioned before, I’ve loved this project. People who have taken it before me look at me strangely when I say that, but in all honesty, it’s all about how you plan it out. If you plan to stress yourself out in the end and do most of your work in the later weeks, then that’s what you’ll inevitable end up with. If you’re like me and over-plan for mistakes and things going wrong (I’m a realist and a worse-case scenario person) then you’ll hopefully end up with a semester much like mine, difficult and stretching, but enjoyable.

I kept a smile the whole time. I reminded myself often about why I’m doing this and it was during this semester that I realized what’s important to me. Initially I started the program wanting to get through it as fast as possible (which incidentally isn’t very fast at a whopping 3+ years), but it was when I had to drop Letterpress to focus on the two classes and midpoint this semester that I realized what’s important is what I get out of it. If I push myself and get the best work possible, that’s all I want. And if it takes me an extra three months instead of sleepless nights and stress, I’ll take it.

Some low points...the thread was the most difficult task for me. It was both a high and a low. It was a low until I got it and then it started the train that never stopped. I got excited about what I was setting off to do, I like my director, I liked my films and I was excited about the thread.

Good ingredients for a successful semester.

My second highlight was my soundtrack, that’s when I realized my photo style and had lots of my work done from the photoshoots I did.

Negative space was going to be a theme for me in my images and in my pieces. I loved the look and feel of the photography, which is a good thing. It inspired me and I found I could take my own photos. If I ever get hired as a design director or art director I will likely have the funds to have the job professionally photographed. But I proved to myself that I can do it and I can do it well.

A third breakthrough for me was the DVD Packaging. It was when I discovered the “slash” or “splice” of images and the angle, my look and feel felt more complete. I had a set that was working and it was from that point forward that I started really moving the pieces around, using the system to my full advantage and really making it feel like a set, but not identical. I feel as though it was successful, perhaps not perfect or the best of the best, but something I love and am proud of.

A hang-up I ran into late in the semester was with my box. I prepare, I plan ahead and I like to be early to things. I had my box taken care of. Or so I thought. I first had a plain wood crate that was too small and wasn’t very unique, not to mention the tie to my thread was that “Hitchcock uses trains in his films that have crates on them”. Weak. I found a window box and loved the idea but wanted to build it. I found some shutters that seemed perfect for my project, so I had a friend who said he could build things, build my box. I gave him very specific plans and measurements on how it should look. The first guy bailed on me (week 11), so he handed it off to another guy. He said he could do it in a week (week 12 by this point), it took him 2 weeks. Come week 14 he hands me the box and I’m speechless. It is quite possibly the worst box I had ever seen. I appreciated his hard work and understand that working under pressure is hard, but I really didn’t think I could use it. There were holes and the

“

corners didn’t meet. The door was put on backwards and upside down.

I was freaking out. Week 14 and NO BOX! Not in my plans!

MY DAD IS SUPERMAN.” So basically my dad is Superman. I got the box on Sunday (the start of week 14), my dad called to ask if he could help (read my mind) and he took the day off Monday, built me a custom box to my exact dimensions, built a “window” on the front of the box”, overnighted it to me Tuesday so I got it Wednesday in time for class on Thursday. Superman. Seriously.

Dave King is the best dad ever. Christopher wasn’t so excited about the imperfections of my new box, but he understood what I was working with at that point. My box still might not be perfect, but it’s perfect for what I wanted and I’m proud to say that my dad did it. What a blessing he is to me. And that was that.

My semester, as I mentioned was pretty even keel. I tried to stay as calm and positive as possible. To me, the mental battle is half the battle. I wanted to constantly challenge myself, thus assigning myself Hitchcock, working with a color scheme I had never worked with before, and creating a project that I’m truly proud of. It may not be case-worthy, but it was a blast to do and I’m so glad I stuck it out and made it through.

to 12 I’ll for sure be able to fit everything in the box.)

12" 12"

box depth box depth

17 3/8" box height 17 3/8" box height

box width

T H E A R T O F O B S E R VAT I O N

17 5/8" box width 17 5/8"

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T H E A R T O F O B S E R VAT I O N 97

“

HOW’S THE WEEK? PUSH IT FURTHER.

DO MORE.

KEEP GOING. JUST DESIGN IT. GRAPHICALLY.”

—Christopher Morlan (Every day, Every week)

T H E A R T O F O B S E R VAT I O N 99

COLOPHON Designer

Katie King Rumford

Semester

Spring 2011

Class

GR 612

Professor

Christopher Morlan

Typefaces

Helvetica Neue Minion

Printer Paper Cutting & Binding

Epson 3800 Wassau Exact Opaque Natural Katie King Rumford San Francisco, California Copyright Š Katie King Rumford 2011