Studio Brief 2 - Illumination... INITIAL IDEAS

DECODING LANGUAGE

The most basic function of illustration is to communicate a message and studio brief 2 reflects this through an editorial task. To get us thinking we played of articulate, seeing if we could guess a word from lots of tiny drawings. While I wasn't very happy with my drawings, it was a great exercise in generating lots of simplified images and I learnt from looking at the work of my peers that simplest can be the most powerful.

INITIAL IDEA GENERATION

The paradox of play: Real fun should be terrifying

The article I have been given is not the clearest to understand as the author is in a flux of opinions,  but the general themes of article are that adults have lost the ability to have fun, we should find fun in mundane things and embrace the world as it really is. Working from these starting points I began to think about imagery that is quite satirical of fun, poking fun out of the that fact fun has been lost. Making domestic objects into kites, having a party at the office, and mowing patterns into the lawn were the main ideas I explored in my initial sketchbook work. I decided to take a more satirical approach to the subject matter as I felt that this would be more appealing to a wider audience and the humour would hopefully speak universally. A few of my ideas at this stage seemed a little over complicated and so I opted for the more simplistic images to use as my roughs. I found that I struggled to compose complex images effectively as I struggle to capture proportion. Working with more complex images may require me to explore cut outs as a means of collating multiple images, this is something I could explore as my project develops. 

ROUGHS

Taking these roughs to my tutorial, the discussion opened up new considerations:

-How little information can I get away with?

-Do the figures need faces? Would an anonymous character speak more universally?

-How will you produce these images?

The idea of minimalism is very interesting to me as the success of an illustration relies on it being understood, communicating to its audience. I therefore wonder how much visual information is needed for an idea to be conveyed and understood. Similarly, does a character need a face or could anonymity make the illustration accessible to a wider audience? Perhaps a removal of characters would enable the audience to engage more personally with the text. These ideas will be considered in the development process through further visual research. Echoing the idea of simplicity, the brief states we can use only 2 colours in each image. I intend to explore screen-print mimicking on photoshop to experiment with layering of colour, a process which should hopefully maximise the potential of the palette as well as producing textural details.

Studio Brief 1 - How to... Outcome and feedback

FINAL OUTCOME
-Process and conclusion

Having tested a range of media, I applied collage to achieve a tactility which would enhance the blanket motif across the vignettes. I chose to use  a range of different textures across the images to give each vignette a unique quality and allow the pattern and texture of the blanket to remain a key element of the aesthetic. The collaging process allowed texture and form to be considered as I attempted to mimic the layers and movement of the blanket through layering of cut paper, allowing the disjointed patterns to reveal the sense of form. Applying china-graph and pen to the character details sustained the monochromatic aesthetic of the poster while introducing additional texture and tone, while not detracting from the blanket in each vignette. 

- Feedback and reflection

A recurring point made in feedback from my peers was the effect of the mixed media, noting that the collaged blankets achieved an interesting tactility and texture across the poster and gave the subject definition. The use of character was also well received as my peers felt that it achieved a consistency across the poster, which was supported further by the blanket stitch border. I chose to use the stitch border to almost translate the poster into a blanket itself, again to add a cohesive aesthetic. As a point for development I think I would give further consideration to my use of text as I feel I could have made better use of the negative space with this.

Studio Brief 1 - What is drawing? LINE QUALITY

FUNCTIONALITY OF LINE
This weeks studio task focused on line quality and the application of line in image making. Considering Andrew Loomis' primary functions of line (1947), the process of drawing with line became more informed for me and my experimentation with line seemed to achieve new marks in line with this.

The seven primary functions of line:

1. To convey it's own intrinsic beauty
2. To divide or limit an area or space
3. To delineate a thought or symbol
4. To define form by edge or contour
5. To catch and direct the eye over a given course
6. To produce a grey or tonal gradation
7. To create design or arrangement

The primary focus of the drawing task seemed to relate to Loomis' function of conveying a line's 'own intrinsic beauty', a beauty which could then be employed to achieve Loomis' other functions.

Creating a range of lines in a selection of tools produced a wealth of line qualities that could be employed in more developed drawings. Working with brush and ink seemed to offer the most interesting lines as the action of brush on paper continued to vary in outcome and the tapering of these lines achieved a sense of fluidity that pen and pencil could not create. I did fine that the line quality created by chinagraph pencil was lovely in its texture and varying tone. The crayon-like mark seems to create a juvenile aesthetic and holds so much charm. The range of line qualities produced by this experimentation with media and process unveils the breadth of aesthetics and moods that can be manipulated by line quality. The two drawings below illustrate this variety in the contrast achieved in the application of one media.

 

Both drawings were made using ink and dry brush, the first using a broader, slightly wetter brush and the second using a stiffer, dryer brush. Both achieve a texture and tonal gradation through the pressure and action of the brush, the dryness of the brush creating a delicateness that supports a more sensitive aesthetic and perhaps a more muted message or function. Line quality here demonstrates the ability to manipulate the volume and mood of an image and the aesthetic curiosities offered by certain line qualities.

Studio Brief 1 - What is drawing? WHAT IS A SKETCHBOOK?

FUNCTIONALITY

As a starting point to the visual language sketchbook, the discussion of what a sketchbook is opened up a greater understanding of the functionality of the sketchbook. A place for an ongoing, iterative process, pressing ideas into the page in whichever way they fit. It is a place in which to teach oneself about drawing and the development of ideas revolving these drawings.

WORKING TO A VISUAL SUBJECT

As a first response to the sketchbook process, I documented a selection of drawings working to the visual subject of sheds and tree-houses.

Using a range of media I explored line quality through texture and tone. Working in ink produced very fluid, quick drawings to document ideas on the page quickly. I worked into some of these will pro marker and chinagraph to add colour and variation. The chinagraph pencil worked well to achieve tone and texture through it's grainy quality, while the pro markers added a more graphic aesthetic through bold colour. 

To develop my practice it could be useful to use the sketchbook to document a wealth of smaller drawings on one page, to document as many ideas as possible which could be worked from with more consideration in a later process. Finding a way of working in my sketchbook will come to me as I work through the modules and so experimentation will be key to my practice at this stage.

Studip Brief 1 - How to... Development process

DEVELOPMENT OF IDEAS
-Transformative moments and changes to be made

Having gained feedback on my initial idea generation I chose to alter the focus of my ideas to cover just the ideas that referred to wear in the 'on the body' sense. My peers identified that a consistent approach would be more cohesive and communicate the instruction in a more succinct manner. In line with this I continued to work from my reference photographs to draft the 24 images that I reflected on as being the most visually communicative. Having rejected character in my initial drawings, I reintroduced this in the development process, employing a character to aid the visual consistency of the poster. I chose to change this as I felt the key element in the imagery was the blanket and so to aid the focus on this, a simple character was used.

-Experimentation with media and layout

Experimenting across ink, china-graph, acrylic and pen, I explored a range of textures and marks that conformed to the monochrome constraint, yet offered textural and tonal variations. The use of ink throughout my initial ideas seemed to lack depth and it seemed that the blanket needed some variation to fully communicate. Now that I have planned a layout for my vignettes, I will work on applying these textures to the characters through collage to develop the texture and tactility suited to the blanket subject.  

Studio Brief 1 - How to... INITIAL IDEAS

INITIAL IDEA GENERATION

Studio brief 1 asked me to devise 100 possible responses to to the problem of 'How to wear a blanket'. Unpicking the brief, I considered the various definitions of 'wear'; to cause deterioration, to have on the person, and to carry as a covering. Working to three interpretations gave me more scope for ideas, covering fairly conventional responses such as 'on your knees', to more humorous ideas; 'dress up as a burrito'. Working with written ideas first helped my process as I was struggling to draw from the first ideas and so recording these in writing helped me to pin down and exhaust possible paths within the 100 ideas. My initial drawings documented possible imagery but I was struggling to really understand the form of the blanket and I was advised my my peers to reject character at this stage as it restricted the reality of my ideas. I worked in photographs to record these 100 ideas as an exercise in getting to know the blanket.

Activating my written ideas with practical investigation provided not only a wealth of visual resources from which to develop my drawings, but an acquired understanding of how the blanket should perform in these drawings. Being playful with the blanket opened up further ideas whilst also making some ideas seem challenging to realise.

From these references I then observed a selection of my ideas in ink drawings, mimicking the fall of the blanket with the flow of the brush. To develop my 24 refined images I will make more drawings from my collected resources and practice these to achieve an idea about which seem most communicative.

Studio Brief 1 - What is drawing? PHOTOSHOP DEVELOPMENTS

IMAGE 1                          IMAGE 3                             IMAGE 2

PROCESS & EXPERIMENTATIONS

Following on from the observational tasks we carried out on plant studies, I have used photoshop to develop these through layering and blending modes. I initially found it quite difficult to achieve treatments that complimented the subject matter, trying to achieve adjustments that did not distract from the delicate and natural aesthetic of the plant drawings. An outcome I felt did work quite well was the use of duplication and blending. Duplicating areas of the images and transforming these enabled me to create layered compositions that enhanced the natural textures in the drawings. 

Further to layering, I explored blending modes to explore interplays between colours and layers, almost mimicking a screen print outcome through dual-layers. I feel that a success of these outcomes is the use of a repeated motif, transformed to create the impression of a busier image. This could perhaps work well in order to create consistent, yet aesthetically varied images within a given theme. 

                      IMAGE 4                                                             IMAGE 5

Images 1 and 3 both demonstrate a consideration of composition through the rule of thirds which works well alongside dark and light variations of the imagery to create interesting compositions. While images 2, 4 and 5 show lesser considerations of composition, they demonstrate consideration of layering and colour interplay, exploring colour palettes and opacity to create textural imagery that demonstrates a use of digital collage and blending modes.

REFLECTION

From this task I have developed a greater understanding of the uses of blending modes and how these can work to mimic screen-printed qualities. This could be particularly useful as a method of testing out possible positives before committing to the screen print process, and could also work well within digital collages to achieved interplay between layers and components. However, I would be looking to develop some stylistically different photoshop treatments in order to use it in its most relevant form. 

Studio Brief 1 - What is drawing? OBSERVATION & REFERENCE

DRAWING FROM REFERENCE

Considering the qualities of a drawing, working across reference, life and memory, I have produced a range of responses, and qualities. Beginning with a reference task, attempting to draw from a picture we had seen but could not refer to during the drawing process, my image making took a rather inaccurate approach. From the first image to the last it is clear that more and more details have been observed, but these don't necessarily appear understood until the image is in front of me for complete reference. I found that attempting to translate an image from memory restricted the detail in my drawings as I seemed to sacrifice details in an attempt to try and perfect the ones I had miss-communicated previously. For this face I struggled to translate the angle of the chin and the concealment of most of the right side of the face. The outcome of the complete reference drawing (top image) demonstrates a much more realistic record of form without being overly representative in line quality. From this task I feel the value of drawing from reference has become more key to my visual language. Observation reveals details that imagination cannot and so even to devise a non-representational drawing, an understanding of what is being altered and omitted is key to the image being of quality.

DRAWING FROM LIFE

Working from life was a great exercise in rejecting preconceptions, observing again and again to create a body of studies that translate a wealth of interpretations and mould a more informed outcome. Drawing with ink, I felt I was able to work more fluidly, thus my drawings taking a more gestural aesthetic. Layering tone and textural qualities, the drawing process encouraged me to observe more of the tone and line information than the immediate figure of the plant, allowing these observational drawings to become less about representation and more about translating clues to the audience. From these exercises I feel I neglected my concerns with what the object looks like photographically, and focused more on what the plant looks like to me as the artist.

PEER REVIEW

Looking at the work of my peers, it seems some of the most successful images are those that observe form through quick gestural lines, relying on the process of brush on paper to translate the shape and movement of the plants in a more interpretive sense. I like the way the first image relies on the grey textures to decode the yellow imagery, showing how the artist has interpreted the plant to a stage where shape is the only concern, allowing the observation to be unique of a photographic observation. Alternatively I feel the graphic quality of the bottom image is charming in its use of more angular marks on the leaves, issuing an element of style, again offering an element that challenges a photographic translation.

Studio Brief 1 - What is drawing? OBSERVATIONAL DRAWING

TRANSLATING INFORMATION

The process of drawing from life has revealed so many values for me during this task. The constraints, or titles, that we had to work to forced a greater acknowledgement of the things around me and the sights I see but perhaps don't observe fully. Working from observation required us to seek out places and things to refer to, showing us the value of drawing from something rather than attempting to make it up. The drawing above answers the constraint 'from above', a constraint that required me to take notice of what I could actually see out of my window, thus I learnt the wealth of visual resources that observational drawing can tap into. Using graphite I have used gestural marks to guide the shapes in my drawing and worked into these with pen lines. I feel that this image is successful in its documentation of shape and location through the roughness and speed of the drawing, noting down key information without formalising the imagery. 

I enjoyed observing plant forms as these take on so many shapes and directions that gesture becomes key to documenting these. To record this observation I used broad and fine marker pens to layer brush like marks with line. Layering a few green tones creates a distinction between the plants, supporting the communication of the marks without these needing to be highly representative. I found from this drawing that my perception of plants was changed as I realised the lack of formality in their structures and shapes, a formality which I would have falsely translated working from imagination. I do however think that this drawing could benefit from a greater use of texture to fully communicate the qualities of what I was observing.

Recording my peers as they drew challenged my drawing of figures as I tend to draw very characterised, comical figures. Drawing from life forced me to document more proportional figures and really take note of the way people hold themselves and interact with the world around them. I feel I struggled with the translation of mouths and eyes in my figure drawings so this may be something to develop through continued observation of life. Capturing the action of my peers is something I feel I have done well but I would benefit from studying the figure more as a whole.