Bestselling Surf, Skate & Street Sweatshirts in 2021
Quiksilver Men's Box Spray Hooded Sweatshirt, Dark Grey Heather, Large
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Burnside Printed Striped Fleece Sweatshirt.B8603 - X-Large - Red / Black
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Billabong Men's Balance Pull-Over Hoodies, Fig Heather, M
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Volcom Men's Supply Stone Zip up Fleece Hoodie, True r, XL
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Rusty Men's Original Logo Fleece Hoodie Traditional Fit Sweatshirt, Competition Black, Small
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RVCA Men's Sunwash Pullover Hoodie Tawny Port X-Large
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Effective Designs Bring About Balance in Aesthetics of a Film
agreement of the various scenic elements to achieve an appealing visual composition is determined by the ability of the production d
Moreover, research aids the designers to know what kind of materials to use to portray the period within which the story revolves. This aids in appropriate use of sets, technical effects, costume, make up and locations for film. These scenic elements listed make up the visual composition of a film. If scenic elements are appropriately used, it brings about aesthetics. Just as Ward Preston (1994: 107) states that:
A successful dress set or location should become as much a part of the actors persona ...
Actors who have the opportunity to browse and rehearse in a total environment will give better performances.
Thus, set and location of a movie determines the atmosphere for film. Thereby, creating pictures that are appealing to the eyes. These scenic elements must tally with the setting and period of the film. Thus, scenic elements should be convincing to give an impression of the image being created. As a result, actors depend on a believable set, costume, location and make up to support their actions. For example, if a film is to reflect an old English culture, then it must show in time the sets, costume, location and props reflecting the old English culture. If an audience believes that the scenes in the film took place in an old African setting, the designers must have done a job.
Scenic elements establishes environment called for the script. Thus, establishment of environment in accordance with the script being produced, using appropriate scenic elements bring about aesthetics in film. The possibility of creating designs in film is achieved by synchronizing the different areas of production design (scenic elements) such as technical effects, sets and locations. The imperatives of design will be discussed in the various scenic elements.
The interpretation of a script into visual state is achieved by the use of scenic effects that are suitable with the story. If appropriate and suitable scenic effects are used in a film, it enhances the visual composition of the film. Thus, supporting the actions of the actors and establishing the mood of the film. This can be seen in the word of a painter - Leger as quoted by Siegfried Kraucuer (2004: 135):
Who judiciously insists that only film is equipped to sensitized us by way of big close ups to the possibilities that lie dormant in a hat, a chair, a hand and a foot.
The means that every single piece of set, props, technical effect, and location that is appropriate and use for the film adds to the image of the film. These scenic elements often times signify and enhance visual composition of a film. To achieve good scenic design for a particular film, designers should consider the necessary and effective designs that will bring about balance in aesthetics of the film. According to Jean Louis Baudry (2004: 356) who states that:
It is strange that emphasis has been placed on the effects that they have as finished products, their content, the field of the signified if you like, the technical bases on which these effects depends and the specific characteristics of these bases have, however been ignored. ...
Thus, designers should create distinctive quality for a production. Creating distinctive quality does not warrant using unbelievable scenic design. Therefore suitable and appropriate designs should be used for a particular film.
Scenically, the natural features of the area to be used in a film such as mountains, valleys, rivers and forests, should tally with the features of the story with the scriptwriters' imaginations. The sets and locations, therefore creates an environment for the actors. The appropriateness of the sets and locations used in a film gives the actors convenience and believable atmosphere. The use of sets and locations can depict the period of a film. The type of sets used tells whether the film is an ancient setting or a modern setting.
Obviously, agreement of the various scenic elements to achieve an appealing visual composition is determined by the ability of the production designer in assembling the different ideas and designs done by the different professionals as a whole. Therefore, it will be absurd to use an epic or traditional costume in a modern setting. Thus, all designs should conform to the period and style of the film. When this is done, scenic elements will establish the mood of the film. Also, scenic element can be use to show the pass of time in a film.
Production designers should be creative and able to work in collaboration with their co-artist. Consequently, production designers should research and study the scripts well before sketching out their ideas they should make realistic designs that are suitable and appropriate for a film. Just as Geraldine Pelles (1962: 191) posits that:
The image is created partially in term of ... real style of life which gives visible form to the elusive quality ... but extremes are sharper to visualize than the nuances that constitute reality.
Thus, it is important that the designer understands the period of the story and applies good creative ideas for effective communication using the necessary and appropriate materials but if the materials are unreachable, local materials should be effectively applied.
Baudry, J.L. 2004. Ideological Effects of the Basic Cinematographic Apparatus. Baudry. L. et al. Ed. Film Theory and criticism. New York: Oxford University Press.
Brook, R.J. 1991 Concise Encyclopedia of Advanced Ceramic Material. RJ Brook. Ed. Britain: Pergamon
Galadima U.S.A. (2001). Production Design. Ekwuazi Hyginus, Mercy Sokomba and Onyero Mgbegwune. Ed Transition from Video to Celluloid. Jos. National Film Corporation.
Geraldine, P. (1962). The Image of the Artist. New York: Cleverland Meseum of Arts.
Martin M. (2020). Approaches to African Cinema Study. http:// www.sensesofeinema.com/contents/00/8/african.html.
Mirovmtoriv/Stock Boston Inc. (Encyclopedia Encata).
Robert W. (1979). The World of the Theatre. London: Scott Foresman and Company.