Study Task 3 - Print Practices

MARK WHEATLEY

-Employs screenprint to translate studies of abstraction

-Channels painterly qualities and collage textures

-Prints sold online, exhibited at regional print fairs

ALICE PATULLO

-Reduced palettes to translate typologies and narrative images

-Celebrates traditional aesthetic through analogue textures and tone of voice

-Publishes books, exhibits at major galleries

JAMES GREEN

-Screenprint as a means to translate surreal imagery within restricted palettes

-Lino cut to explore reduced forms and textures

-Exhibits at regional print fairs

Studio Brief 1 IDEAS PICTURES - REFLECTIVE REPORT

FEEDBACK
From the final crit, it seemed that my editorial responses were well received, celebrated for their composition and texture. The use of bold colours to zone areas of the image was identified as a strength, although the grey textures lacked clarity in some areas. Improvement points were mainly around the clarity of the landscape image and further explorations of tone and contrast.

WHAT WENT WELL?
- closely cropped compositions with elements falling out of the frame worked to achieve a sense of energy and exaggeration appropriate to the narrative
- in the portrait and square images I have effectively applied line of sight to zone the images and direct the eye around the narrative
- the aesthetic decision to use mirroring in the square image compliments the narrative content, creating a cohesive relationship between image and text

WHAT COULD BE IMPROVED?
- the landscape image, through low-contrast and competing textures, lacks clarity and message
- to enhance the coherence of the set, I could develop the composition of the landscape image so that it feels as cropped and rigid as the other two images
- the quality of print on the portrait piece appears slightly pixelated so I would check the resolution and maybe reprint this
- slightly more developed resolutions could be achieved by exploring different media, such as digital collage

REFLECTION
As an introduction to the module, I found this brief really useful in encouraging me to be exhaustive and to think outside the box. Generating 50 roughs was very daunting but I learnt a lot about substitution and composition in order to generate a wealth of possibilities. The editorial context does not usually appeal to me but I feel the restrictions really pushed my image making and consideration of composition which I hope to carry through in the next briefs.The content of my final portrait and square images I feel successfully achieve direct and engaging illustrations of relevant Shakespeare motifs and narratives, however my landscape image seemed too specific and led by a particular narrative which appears too complex for the editorial context. From this brief, I will carry forward the successes of simplified and direct imagery and consider the value of motifs when working to a wider audience.

Studio Brief 1 IDEAS PICTURES - Refinement of Roughs

COMPOSITION PLAY
Developing on my initial roughs, I have carried forward the elements of nuissance, confinement and ridicule but begun to explore how these images can best occupy the space. The image of confinement required the most play as the posture and stance of the character is pivotal to the level of entrapment communicated by the image.

I feel that re-roughing my images has aided me to achieve much stronger compositions that use line of sight and picture area much more to their advantage. Translating these through collages has also provided clarification of tone and colour as I have been able to explore the values of notan and how these interplay with narrative.

FEEDBACK ON REFINEMENTS
-Consider vingettes
-Explore a darker background for the twin image to change weight and tone
-Experiment with monochrome and one primary colour in each to explore a fluid consisency
-Continuous aesthetic achieved through costume and character. 

MOVING FORWARD
In order to achieve immediate editorial images, I need to carry out further media experimentation to ensure a clarity of aesthetic and ensure that the drawings translate fully as cut-paper collages. 

Study Task 2 - Editorial Illustrators

ANNA WRAY
- Restricted colour palette
- Manipulation of line to create texture
- Her images capture a narrative that is meaningful yet appropriately ambiguous
- Visual clues conduct a narrative supported by secondary visual information
- Light hearted tone of voice achieves an engaging and universal aesthetic

MARI KANSTAD JOHNSEN
- Wide colour palettes achieve a playfulness appropriate to her tone of voice and the engaging function of editorial work
- Humour and playfulness communicates narratives that are accessible to a wider audience
- The use of block colour backgrounds seems to give more weight to the action in her images
- Balances immediate imagery with powerful visual metaphors

Studio Brief 1 IDEAS PICTURES - 60 Roughs

Within an editorial context, I have approached my idea generation from the point of view of a specific article theme they could accompany;

-How does Shakespeare employ ridicule to drive didactic messages? 

-How does theatre serve as an arena for transgression of social codes? 

-To what extent is twinning used as a comedic device in Shakespeare's plays?

My intent for practice across my study of Shakespeare is to explore the translation of narrative and message across international media, considering the visual legacy and awareness of plays carried by visual media. The carnivalesque and topsy-turvy worlds are pivotal to his comedies and so my roughs channel playful and lighthearted responses to narrative content.

FEEDBACK ON ROUGHS
-exaggeration of character is strong
-do you need a body? could the focus be on the stupidity of the rough
-combine line and figure to create more abstract imagery
-enhance sense of entrapment
-explore squashed character within an open landscape, paradoxical and subversive imagery
-consider restrictions of primary colour wo attain playful aesthetic