Schematic Process

This week I have been putting together some backdrops for our digital schematic. As a team, we thought that the simplistic way we had originally designed our schematic really worked well to portray the film, and was very effective in showing the family relationships. Therefore we are focusing more on an artistic and interesting backdrop than an overly dramatic diagram.

We really loved the idea of creating a very soft and natural backdrop…something that represented the steady pace of the film, and possibly symbolising the travel between the two homes on the train. We also liked the idea of working with traditional Japanese style, using ink and paper heavily. Eventually, we liked the idea of hanging the schematic from a piece of bamboo and turning it into a wall hanging. Ideally, I would love to print the schematic onto fabric and embroidering over it, however given the time restraints, it could be tricky.

Clare McKinney and myself got together and did lots of mark making, using mainly watercolour and ink. I then transferred these into photoshop and began making scenes from the work; creating mountains, trees and valleys.

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Adding little details-The most finalised piece.

Above is the most up to date piece of work. I really like how all the small details work together, but are quite subtle. Each piece of watercolour texture has a story behind it, just as each character in the film does. Below are the implicit meanings I decided to weave into the background:

  • The Typography is designed to look like train tracks-something that both connects and separates the characters in the film.
  • Eventually, a train ticket style will be added to the typography
  • The inky movement within the restricted frame represents the use of camera angle in Oz’s work. He sets the camera at a low angle with a fixed frame, allowing character to fluidly move in and out of the scene.
  • The houses represent daily domestic life-In much of Ozu’s work, he used the image of clothes on a washing line to represent daily life, and I decided that smoke coming from chimneys would be my take on that.
  • The train tracks start at the top of the mountain, disappear in the middle, and exit at the end-just as they do in the film. At the beginning of the film, we see train tracks with the train running, when Tomi dies, the tracks are empty(a moment of silence or respect) however the train runs once more at the end, showing that life goes on. I plan for her death to intersect the point where we see no tracks on the schematic.




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