3. • The music video and digipak clearly use sky imagery and this was to maintain some
degree of congruency within the products. The use of such a key image reinforcing the
title of the album, which was “Weird Sky”, as a means of creating an association between
each product. As a result, sales and general awareness of the products would increase
due to the synergy occurring.
4. • Each product also includes some degree of abstract imagery that is typically
associated with the genre. The inclusion of such imagery was of course to adhere to
convention but also provide entertaining visuals to generate interest within the
demographic. The content of the music video for example features heavily saturated
clips and a lot of super imposition to create these surreal visuals. The shots of the sky
are also coloured in various hues to relate back to the inherent “weirdness” as
suggested by the album’s title but also the imagery present within psychedelia.
5. • The music video includes images of floating heads and colourful ooze pouring from the
character on screen, the inclusion of such imagery was certainly considered for the final
ancillary products however I decided against this for fear of over-using such imagery
which might lose the effectiveness of it being “weird”. Instead I opted for including the use
of the sky imagery and a similar colour palette within each product to maintain the
synergy previously discussed.
• Arguably, the colouration of the sky image and editing in of the pixelated areas makes the
sky image unrecognisable on the album cover. This would of course reduce the
effectiveness of the relationship between the products however fans would likely be
aware through interactions with the artist that the cover is a picture of a sky. The “Easter
Egg” aspect of this adding to the effectiveness of the product by offering the fans some
inside-reference of sorts, to better their relationship with the product and likelihood of
them purchasing the album.
7. • The chosen pink and green palette within the digipaks clearly show a relationship
between the advertisement and its product (the album). By establishing this connection,
the overall effectiveness of the ad would certainly be recognised through many relating
the products to one another, and presumably buying the album as a result.
• The colour palette is also extremely eye-catching, as to grab the attention of any potential
consumers. In some ways, there remains a link to the Pop Art influences on the
psychedelic genre, however the choice of including these colours mainly comes down to
their ability to stand out – rather than solely honouring the influences on the psychedelic
genre.
8. • In fact, the video has a particular shot reminiscent of Andy Warhol’s famous Marilyn
Monroe piece – the shot being similar in its use of differently coloured heads in each of
the four corners of the shot. This is employed in order to again pay homage to the Pop
Art movement.
9. • As to better reinforce the colour palette, I also included the green and pink in the music
video; some animated segments including green and pink liquid of sorts. I don’t believe
there is a close enough link between the inclusion of these colours in the video and
digipak – since they’re less obvious in the video than in the ancillary products – to
determine the effectiveness of maintaining such a palette.
10. • There is likely some aspect of the palette which appeals to a younger demographic,
increasing the degree of effectiveness in its use throughout my products. My research
indicated that psychedelia had some influence over the trance genre, which is popular
amongst the youth of today and includes rather vibrant and neon colours; the
association of these colours with young people perhaps indicating some effectiveness
in their use, as a means of appealing to that demographic.
12. • The fact that each product is cross-platform also helps with maintaining a successful
marketing process. There is some digital convergence occurring with the artist’s use of
digital platforms: uploading the video to YouTube and posting on Twitter or Facebook as
to reach a range of consumers. In fact, the video could even potentially be aired on
television and the print works would be accessible even non-digitally – however my client
simply uploaded them onto his respective social media accounts. There are even links to
the artist’s Bandcamp account, which therefore allows for the album to be easily
accessed.
13. • There is some link between the video and album inner sleeve in the form of an “Easter
Egg” for fans. The sleeve was created by taking a screenshot of the back wall in the video
and zooming in; the shadow was then saturated and coloured to create a colourful effect.
As a small bit of trivia, this link would prove effective with fans of the artist who are able to
identify it. Additionally, the sleeve continues the use of the colour palette to perhaps
strengthen the combination of each promotional product.
15. • In working throughout my advanced project, I managed to produce a logo which featured in
my media products. The circular shape of the logo would allow for the production of badges
and other merchandise as to advertise the artist further – with the public seeing the logo
and therefore the logo creating some awareness of the Elsewhere Head Brand.
17. • The logo featured on my products, as to again create some consistency within the
promotional products. The design is not inherently psychedelic, although I suppose the
minimalist style has some links to Pink Floyd; its simplistic style allows the logo some
versatility, whereby it can be included as a sticker or watermark to better establish the
brand and artist on each product.
• I feel that this is especially effective as the logo holds a very distinct stamp of the
artist’s features: the glasses and hair. Through the use of the logo and appearance of
the artist within the other products, his appearance would likely be well established for
consumers to recognise and again increase the promotional potential of the album.
