Q2. How effective is the combination of your main product with your ancillary

texts?

Panel one of my digipack production to package Jonny Dylan Hughes' album Bravery, features a clear visual link to the main music video product, in using an image, identical to that of the poignant opening to the main production. This makes for a coherent link between the music video production and the ancillary texts.My potential target audience will recognise the bleak seascape from the music video, and so the combination of the main product with the ancillary texts can be said to be largely effective.

Panel One

In the main music video product, Jonny stands in the sea as waves slosh around his ankles.

The ancillary texts are strongly linked to main product making for a strong combination. The audience will recognise the poignant image from the music video of Jonny standing in the sea on panel one, creating a relationship between texts.

Within panel two and panel three of my digipack designs, a thematic link is made to my main production, in creating an image of a British seaside landscape across the two panels. This image is a notable one in the music video, being the same location that the majority of the music video was shot in. Within the music video production itself, this location amplifies the overall bleak tone of the narrative, and the imagery in panel two and three reflects an identical tone of melancholy, creating an effective combination of the two products.

Panel Two and Panel Three

The main location of my music video to promote Jonny Dylan Hughes’ Bravery is the Norfolk seascape, and this is where the climax of the narrative, Jonny walking into the sea, takes place.

Panel two and panel three of my digipack to promote Hughes’ Bravery makes use of identical images to that seen in the main music video product. My audience thus recognise this link and creates a strong partnership between the two products. The combination of the main product with the ancillary texts is therefore very strong.

Main product – music videoDigipack – Panel Two/Panel Three

The British seascape theme has taken the role as a brand style which the audience will begin to recognise as being associated with the products of Jonny Dylan Hughes, due to it's repetitive and predictable use within the music video and throughout the digipack print designs.

For example, The Beach Boys create a brand style through imagery which all fans of the genre and their music recognise as belonging to them, as artists. The beach landscape is used in their digipack designs for their album ‘The best of The Beach Boys’ (2001), a location which is used throughout their music videos in referencing the wistful tone of their psychedelic electropop genre, but also indicating the artist's Californian heritage. This combination of ancillary texts with the main music video productions are effective in that The Beach Boy's branding is carried throughout, and maintains the identity that fans of the artist will recognise throughout all of the texts.

I have created this identity within the combination of the main music video project to promote Hughes' Bravery alongside the ancillary texts to promote the album in maintaining the use of locations which amplify the mood, as a tool of brand recognition.

The beach landscape is used in the music video to promote I Get Around by The Beach Boys (1964)

The beach location is similarly used by The Beach Boys in their 1963 music video to promote Surfin USA.

The album, The Very Best of The Beach Boys, references this thematic link between all of the Beach Boys’ texts in following the created brand style which has comes to be associated with the artist’s music.

In my panel two and panel three designs I similarly create this sort of brand style of the British seascape in reproducing images of the poignant location seen within the main music video product, and also throughout the ancillary texts, including in panel one. My audience, who will be fans of the artist will recognise that this image has come to be a symbol of Hughes’ products and so makes for an effective combination of the main product with these ancillary texts.

Panel FourPanel four of my digipack production features an image of the raindrops which are similarly seen in the main music video production, in a close up shot of the rain drenched window as Jonny looks out. The dismal weather outside builds on the theme of sadness and isolation created in the music video production, and by incorporating this design into my ancillary texts, a strong relationship to the music video is created. The raindrops take on the form of a motif which have strong connotations with misery and gloom and the continuation of this motif through to the digipack print productions assures a coherent and thus effective combination of the main product with the ancillary texts.

The raindrops, as viewed from an interior window in my music video to promote Hughes’ Bravery.

The motif of the raindrops is continued through to the digipack, displaying a coherent link between the two products.

The 2009 film 'Fish Tank' uses the motif of open windows and birds, not only in the main film text, but also in ancillary texts such as the poster to promote the film's release. Used to emphasise the feelings of restraint felt by the protagonist, Mia, as well as her desire to and desire to follow her dreams of becoming a dancer, the audience are constantly reminded of these themes and their significance within the film. This makes for an effective combination of the film with it’s ancillary texts. In a similar way, the audience of Hughes' 'Bravery' are reminded of the isolation and loneliness of the protagonist, Jonny, when they recognise the motif of the raindrops on panel four, and in this way, a huge thematic link is made between the music video and the ancillary texts, making for an excellent combination of these products.

Use of motif in ‘Fish Tank’ (2009)