Bit of a joke there.
One commonly sees a monster from below, thus inspiring awe and fear at its sheer monstrous scale. This was the tactic employed by the Japanese makers of the early Godzilla films, which helped to disguise the fact that the monster was actually a man in an unconvincing suit. My next experiment concerned the role of perspective. What would certain perspectives and configurations contribute to how my image reads and what it communicates?
I drew my brand figures onto coloured paper and cut out some shapes to represent shop shelving and pillars. I then played around with composition, sticking them down and photocopying the various outcomes:
(N.B. These images look VERY DARK in Blogger due to the lame Picasa image hosting. The background in reality is white!)
1: The Godzilla perspective. We are almost at rooftop height here. The ceiling line is low, giving us a sense of the creatures' height.
2: Here, the perspective is shifted lower, but the creatures need to loom higher into the sky for fear to be further inspired. The creature on the left appears too small.
3: Here, we look directly across from a similar height at the creatures. The ceiling looms into the sky, giving a sense of an enormous hall. We can see the creatures in entirety. They are facing away from each other: not communicating, but consuming!
4: The ceiling line is lowered, and the creatures' size and proximity to us emphasised.
5: This arrangement contains the most number of objects within the store. There is a sense of distance but co-operation between the figures.
6: Here, the larger figure is almost about to step off-stage, like it is lumbering past.
7: Here, the figures' size within the space is emphasised, with the lower ceiling height.
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