media work

1. “How did you use media
technologies in the construction
and research, planning and
evaluation stages?”
Digi-pack Construction

2. RESEARCH AND PLANNING
We searched the internet for the digi-packs of similar
artists. Websites such as Pinterest and Google images
allowed us to find a variety of artists, we then based the
design, style, symbolic/technical conventions and colour
scheme of our digi-pack to that of female artists in the
same genre. By drawing influence from existing R&B
digi-packs we were able to utilise symbolic conventions
such as having the female artist dressed provocatively
and holding powerful, feminine poses. This would
connote and emphasis her female empowerment
message by embracing her strength and sexuality. Not
only would this embody and appeal to the ideologies of
her female target audience (18-21 years old); it would
also attract a secondary audience of males who would
find her attractive. It is a proven formula that has shown
to be successful for example Mariah Carey’s album ‘The
Emancipation of Mimi’ (which we were inspired by) was
praised for it’s style and strong feminine presence; a
BBC Review stated “This is undoubtedly Mariah Carey's
strongest album”- (http://www.bbc.co.uk/music/
reviews/h3rg/). By following in the footsteps of famous
album designs our target demographic would connect
with it and find it recognisable and therefore buy it
because it showcases the genre which they listen to.

3. During the research and planning stages for our digi-pack we kept in constant communication
using Facebook, we created a group chat. This was so that we could all stay on the same page and
remain organised. It was also really helpful because we could share ideas and inspirations and
discuss them.

4. PRODUCTION
➤ We used many different technologies during production,
such as a fan to blow her dress and hair, this gave a
movement to the still photographs.
➤ We lights to create different shadows on her body
➤ We used a white balance board in order to achieve the
correct colour balance in the photos.

5. PRODUCTION
Overall the professional quality and recognisable
technical/symbolic conventions of the digi-pack will draw
existing audiences in the genre (R&B), to buy the album
because they are acquainted with the trend/nature of the
digi-pack.
For the photographs we used a Canon 1100d. The camera allowed us to capture high resolution images. We tried
to imitate the technical conventions seen in professional photo shoots by not only having high quality images but
with the angles we shot at. We experimented with long shot’s so that the entire body of the artist was captured,
this way it would convey her domineering and diva persona.
Mid-shots connoted a more intimate and open-side to the artist allowing her to
connect to her target audience.
By appearing vulnerable and open in the
mid-shots and grand in the long shots, it
plays on the Dyer Star theory paradox “A
star must be both ordinary and
extraordinary”. She is relatable but also an
idol in her own rank, therefore it creates
interests for her. The design we were going
for was to have her facing the audience for
the cover and have a shot of her back on the
back cover. This was to allow the audience
to have a complete front/back look at the
artist especially if its a debut album.
Similarly, Beyonce had a comparable solo
debut dici-pack (Crazy in Love). This style
of digi-pack may be familiar and even
nostalgic for R&B fans of older and very
famous album’s of the R&B genre.

6. We organised a shoot day to photograph the artist for the album cover. We used soft-box
lighting, so that we could get an even and radiant glow on the singer when we photographed
her. This technique accentuated her appearance and made her look more striking. We found
that we were constructing our star image, as Richard Dyer’s star theory explains. Dyer’s star
theory states that stars are constructed by the institutions to be consumed by audiences.
They are made to look extremely beautiful so that audiences develop an obsession with the
artist. Overall this would sell more albums because more people would be drawn to the
artists look and physical beauty. This would draw in female audiences who would want to
attain her look and secondary male audiences who would be attracted to her looks.

7. POST-PRODUCTION
In post-production, after capturing the photos from the photo-shoot we transferred the images to
a MackBook Pro. The laptop is efficient and has enough storage to process the images in. This was
helpful because it allowed us to store the images directly on to the computer instead of using an
external hard drive. Therefore it made it quicker to transfer and load images, since they were
already on the laptop. The MacBook Pro has a retina display, this means it has a resolution of 2880
by 1800 pixels. As a result of this high resolution it meant that we were able to see the pictures in
the highest quality which made it easier to edit in further stages. The overall result of using a
MacBook allowed us to process and have the best quality images we could get. This would add to
the final polished look which we were going for. This would also follow Dyer’s and Negus’s theory
that artists are created for the consumption of audiences by institution. It would also match the
technical conventions seen on many famous digi-pack. Most pop-stars have extremely high quality
pictures on their digi-pack; this is not only because it looks much more refined and professional.
Due to albums only containing the music (audio) there are no visuals for it, therefore the dici-pack
is an important visual quality because it tells the story of the artist and album.

8. POST-PRODUCTION
➤ We used websites such as DaFont to find the exact font style
we wanted for the digi-pack, we looked for hours for the
perfect font that was edgy and in a handwritten style, that
could still be legible.

9. POST-PRODUCTION
We used Adobe Photoshop to create and edit our digi-pack. Adobe Photoshop permits you to alter images
with various tools which can change the picture completely. One of the major tools we used was a ‘lasso’
tool, the tool was able to accurately select the body and hair of Nandi (our singer) from the image so that
we could separate her from the background. This made it possible to change/edit the background while not
affecting Nandi. We made the background pitch black, this emphasised her body outline and features while
hinting at her dark and mysterious star image. Following Negus and Dyer’s star theory we wanted to create
the image of our artist in order to intrigue audiences. On the cover she is confident and beautiful, she also
has a hint of seduction and secrecy that will draw interest for audiences to purchase her album. On top of
that we placed Nandi in front of the title for the album; therefore connoting her importance as being more
important than the title which contributes to her overall star image as a diva. This is similar to many
female ‘diva’ artists who place themselves closer and in the middle of their album covers, so that they are
the main focus. Additionally, the artists target audience of 18 to 21 year old females will be drawn by the
strong feminine way in which she is represented (this is done by having black so that she is emphasised;
also by having her placed in front of the title). Her target audience will be feeling that she is representing
their ideologies of being independent and strong. It will also draw a secondary audience of males who will
be attracted to the album because her looks are given importance on the cover.

10. The End