Monday, 29 December 2014

SIM: Part 2 Visual Narrative/Treasured Possession - Artist Research.

Stage 2 of this Sequential Image Making module has us looking at possessions and memories.

I've decided to submit a double-page spread composed of between 8 and 18 panels.

I've got a rough script together, but want to look at some practicing artists to get some ideas about how I can play with composition, transition, mood and style in my short comic. 

Lilli Carre


Lilli works a lot with comic books and animation, though this piece of illustration really stood out for me. The division of the image connotes sequential panels. Using the panels to form another visual element or image could be an interesting method to play with. 
We'll see what works for the narrative, but I'd quite like to break away from solely using rectangle panels. 


Brecht Evens


Here Brecht uses decorative elements to break up the monotony of the bog-standard panel.
What caught my attention more was his use of colour to infer which text belongs to which character, rather than surrounding it with the traditional speech bubble. 
In a story that is wordless, using colour to associate different image elements with each other may be a handy technique in furthering the clarity of communication in my images.


Jon McNaught


McNaught provides an example of how different sized panels are suited to different purposes. Like a wide establishing shot in film, the left panel which introduces a setting for the adjacent panels takes up a whole page. 

Also evident is the use of colour palette to communicate a certain point of time in the day. 

Expanding on this idea, Brian Hitch talks about the use of colour to produce mood also in his book 'Ultimate Comics Studio' 




Chris Ware



In Ware's graphic novel 'Building Stories' He uses a change in colour palette and panel border style to communicate abstract events depicted in thoughts and dreams. I'll use visual cues like these to help communicate what is going on in my narrative. 

Monday, 8 December 2014

SIM: Zoetropes - Animation

For our second task we looked at analogue and digital animations.

For the analogue animation we looked at zoetropes.
The animation consisted of 15 frames, so we looked at producing a cycle of movement. The movement had to be clear and simple due to the limit frames and we found that high contrast images were the most effective.



After seeing some examples, I particularly enjoyed the work of Neil Sanders and wanted to create some weird creature with an elaborate walk/flight cycle.





We were asked to bring in some action figures as a visual reference for movement, I dug out some old power rangers and some new-ish transformers.  My transformers are monster/dragon-like and boast pretty garish colour schemes, so I thought I'd use these as a basis to my animation.



As I began to re-draw the figures and develop my own monster from the two, I realised that the detailed and complex design wouldn't work well as a zoetrope image. Nor would it's length work well on the 11X12 frame.




After considering producing a free-hand animation, I remembered about my time in complementary studies last year and the rotoscoping sessions I had. What I took away from that is that I'm slow to draw free-hand and what I produce doesn't look great. However the section of animation that I rotoscoped worked really well.




This led me to deciding to produce the digital section of the week, a GIF, first. Then print it out and use a light box to trace onto a zoetrope strip.

So I sourced a video of a lizard to get a walking cycle from it.


I then roughly sketched over the top



And worked from these sketches to deviate slightly from the original video. I used bold colours for a high contrast and limited myself to block shapes to keep the image simple.



Considering how to use the stage area most effectively, after discussion with one of my peers I decided to duplicate the animation and have two lizards racing each other.




When it came to re-drawing the frames onto a strip of paper, I decided to work in black and white after seeing some examples of other's work and after drawing a couple of frames in pastel and felt tip in colour. I didn't have my ink with me to hand, so thought I would explore how mark-making looked in movement.




When not in movement the image looks pretty sloppy, I've used a white pen to block over some areas where I've been a bit too expressive with my mark making. And the simple nature of the image just looks unfinished. However, I needed to get the contrast to make the image work in motion and had quite a quick turnaround to meet.

Whilst using the light box, I noticed how pleasant the blue-green looked underneath the paper texture and tried implementing that aesthetic into my GIF, though it's presence is barely noticeable due to the low resolution at which the GIF is exported.


If I were to develop this image further, I would look at producing a more detailed image, as the digital method of animation has less limitations than that for the zoetrope. This would include shadows and backgrounds.



Friday, 28 November 2014

WBL: Hallmark Character Design Brief - Inspiration

To try and develop some variation in my stylistic work, I've had a browse on Illustration Mundo at some character design artists. Here are my favourites;


Peskimo



Chris Edser



Damian O'Donohue



Justo Cascante



Wissem Eid


And seeing as I'm a bit Jim Field mad at the moment



I think things just feel a bit stagnant at the moment and this brief calls for a return to basic shapes and exaggerated proportions to produce unique characters. 






Thursday, 27 November 2014

WBL: Competition and Commission Posters

Over the summer holiday we were tasked with entering the National Student Survey design competition. The survey, ran by Ipsos MORI, is a higher and further education survey undertaken by final year students. It gathers information on the quality of courses and publishes that information for prospective students.

I worked on this over the first half of this term, too.  The brief required for the inclusion of specific headings, text and logo placement. As well as bright and bold visuals, intended to be informative and persuasive.

The brief also called for an awareness and consideration of the development of other forms of advertising and uses of the main graphic image.


My final poster design submission. The two typefaces were developed from previous commission work, but cleaned up and tweaked slightly. A return to typeface generation after a fair few months meant that they aren't perfect, but work OK.  I wanted to demonstrate the audience of the survey in the graphic, as well as emphasise the message of the tagline. I went for the brain (the vessel of opinions) shining like a chest-full of treasure. Perhaps this would have been communicated more clearly if I had used yellow, but I wanted to maintain a colour scheme from previous posters which echoes the surveys logo, as well as that of Ipsos MORI. I also just wanted to bring a bit of fun to what is quite a mundane, though beneficial task. 


A rough design for a web banner. I also proposed how this might be animated.


A rough wallpaper design, to be used on computers at institutions which take part in the survey. 


More recently, over the last week or so, I've worked on another poster.
A commission from the University of Nottingham Christian Union, to produce a poster for a Christmas themed pub quiz. They supplied the event title and critical information, but the design of the poster was left down to me. Free work, of course. My girlfriend studies at Nottingham and mentioned my availability. Quite handy for them, as the University doesn't have any design courses to call upon! 


Festive colour schemes and themed fonts. A bit of experimental play really. I'm not sure whether or not I had worked out a decent composition, but I was trying to finish the project quite quickly. 
Just a quirky illustration highlighting the quiz and the inclusion of a free mince pie. Some stylistic elements inspired by Jim Field. 


Saturday, 8 November 2014

IP: Advertising Charity Poster


For our second half of Illustration Practices we had a choice of several charity campaign related briefs in which we had to produce an A3 poster. I decided to go for shelterbox's  socks 4 syria campaign. I chose this over the others as it sounded like I could have some fun experimenting with a simple concept. I had intended on painting loads of wacky socks in watercolour, but my focus wavered a bit towards amending my editorials from the first half of the module and working on personal projects. 



I began by considering the contextual elements of the campaign, the syrian war and iconography of Syria. But decided that these elements would detract from the fun and simple idea of the fundraising event - wearing silly socks and donating a small sum of money ( A mufty day with a specific purpose, basically.) 


Moving on, I created a list of several written ideas, and then sketched them out. By annotating my work I explore the strengths and weakness of the ideas and their visual effectiveness. 


I also make a few initial considerations in to how to implement type into the design.



I explore my favourite concepts a bit further and have a play with colour before taking my ideas into photoshop.




Research which helps me to develop my concept and provides stylistic influences. Initially I looked at the official campaign posters. And try to find professional responses to similar briefs. This lead me to find Jenny Bowers, who had produced a christmas card for Shelterbox. I couldn't source a decent image of it, but her work above is coincidently appropriate.  


Jenny is part of a group of artists known as the Peepshow Collective, which I checked out in hope of finding some examples of limited colour palette or silhouette-like work. I came across Spencer Wilson; whose sharp, limited-colour images suited the kind of response I aimed to produce.


With a limited colour palette in mind, I headed over to NoBrow and spied upon Matthew the Horse. With similar techniques to Spencer Wilson, it was the use of free floating lines to give definition that I liked about this image. 


When I'm out and about some place where there are a few galleries, or somebody mentions a particular artist, I make memos on my phone. Lo Cole was once such artist and I have no idea where I got his name from. Regardless, his work was appropriate to my research and I loved the simple textural element to this design and consider implementing textures into my own.



Starting off as 'socks in the spotlight,' I wanted to simply convey the idea of the event whilst tying in iconography of the charity and Syria. A minimalist representation of one of the shelterboxes, with text sat in place of the logo. I decided against implementing a comic-book style 'ZAP' jagged-edge box, as I didn't want it to conflict with the shapes of the socks. 


Displaying a menagerie of socks I decided to structure them in the shape of a sock. Though visually interesting, the concept was not as strong.  I had intended to produce a pattern of different socks and implement that into my other concept, but ran out of time to explore combining elements of the two. 

Through feedback in a group tutorial, I decided to progress with the first concept. As well as making visual amendments, my focus turned towards developing the typography.  Deciding a bold, hand-written font would best compliment the simple design of the poster, I sketched out a few ideas. 


These were then drawn out in photoshop, exploring several colour possibilities. 



Originally drawn on black, I looked at how they would work on a green background to make my decision. 

 

The final design. With knowledge that we could use shades of the colour palette, I replaced the white lines. The layout of the font changed too, condensing it all within the box, leaving the white space above the socks uninterrupted. I also paid attention to the text reflecting the shape of the central section of the box. I also brought in some simple pencil texture elements to evoke a sense of material and provide further contrast between the box and socks. 



Tuesday, 21 October 2014

Illustrative Practices: The Great Editorial Race Megapost

So we've just finished the first half of our Illustrative Practises module, which was a full-on reintroduction to the course; wherein we've spent the last 3 weeks or so looking at and partaking in Editorial illustration briefs.


What can only be described as a swift kick up the buttocks back into illustration, despite feeling somewhat similar to this illustration; which I created as a response to Illustration Friday on the subject of Peace over the summer, The Great Editorial Race has got me feeling like and illustrator and has been a great confidence boost. 


The Great Editorial Race is a scenario set up by the course leaders, which sees students playing the role of professional illustrators; working to several briefs at a time and meeting back-to-back deadlines. These briefs were delivered as templates (page layouts) of articles in magazines and newspapers, such as The Guardian Weekend and Betty Magazine. (More on that particular publication in a blog to follow!) These templates were accompanied by art direction written by the tutors also.

10 briefs were devised in all, two of which were mandatory for all students to complete; however the responsibility of completing the others worked a little differently. As teams of around 7 students, we were to work together as a sort of Illustration unit; deciding through group discussion at least one individual for the fulfillment of each individual brief.



Over the course of the summer, I set up a social media page on Facebook; also I explored developing a personal style through subject matter that interested me; at my own (somewhat slow) pace. This module has brought about a swift and welcome change.


Quite simply the scenario sought to encourage:

Competition - The most effective, considerate editorials would receive points to tally up in the form of 'Illustration Money.' And the most successful team would win a grand chocolatey prize.

Participation - If a group fails to submit at least one response to the brief, that group is penalised; adding some weight to the responsibility of doing your part! As well as this, failure to attend the 'judgment' of submitted work; a group crit of sorts and the reveal of the 'powers that be' or 'art directors' (tutors) choice of best editorial, would result in the winners prize becoming null and void.

Support network - Asked to create a team blog or page on social media as a platform to show and discuss each other's work, developing and improving concepts through the opinions and suggestions of others before submitting to the deadline.


In all I submitted 6 of the 10 editorials, only two of which was I the sole submitter; we had a great, proactive group.

Editorial 1: 'Forever Friends'   Publication: Betty Magazine.   Deadline: 03/10
Art Direction: Illustrate your choice of 'must have' beauty products, ensuring they are recognisable (I.e. brands/logos can be seen and product name & costs are clearly listed)


I was really quite happy with this one and the reception it got. The publication and subject matter don't exactly relate to me; this fact made the brief somewhat challenging, despite being simple in nature. I had to do a bit of research, bearing in mind the audience of the magazine; I tried my best to find affordable products with decent reputations. Thinking about the style of the magazine too, I took some inspiration from 1960s bedroom furnishings and wallpapers. Once I had the products sorted though, I felt quite confident in trying to communicate the materials and giving the products a scene in which to sit. 

Feedback and comments suggest that I should work on integrating the templates odd block of text into the illustration. Personally I'd quite like to emulate the glass effect on the perfume bottle on the two nail varnish bottles also, as well as giving the type in the bottom of the image some focus; in terms of hand-drawn price and general layout. 


Editorial 2: 'Grand Budapest Hotel'  P: Little White Lies  D:06/10
AD: Portrait of Ralph Fiennes as M. Gustave. Initial drawings from film research. Previous publication covers for inspiration. Your cover illustration must incorporate the film title in hand lettering.


Another well received image, although perhaps over stylised. I had come up with a few drawings and sought feedback from my peers, the general consensus was that the heavily stylised was preferred; but perhaps that's because they knew who I was drawing. The elements of the image are reflections of the colour scheme of M. Gustave's suit. The pink and stripes are inspired by the cover of The Society of the Crossed Keys, a selection of writings by Stefan Zweig; which inspired The Grand Budapest Hotel's director, Wes Anderson. I used a still from the film to observe a sign suspended at the hotels entrance in order to come up with the typography.

I will definitely re-work this image to provide a better likeness, going back to some other sketches as a basis. From feedback I know that I can also afford a larger margin for the text down the sides of the page.


Editorial 3: 'Basil on the Moon'  P: Wonderpedia  D: 07/10
AD: Produce a vignette illustration with a limited colour palette of greens and greys.


Evidently I must have been somewhat tired and lacking attention to detail as I rather daftly have drawn the spaceman holding parsnips rather than turnips. That'll be an amendment to make,which will also probably have me looking at getting further asymmetry in the arms. I may also look at ways of modifying the hat and helmet as the combination communicated for some something similar to a bee keepers hat. 

I took inspiration mainly from the Apollo landing space suits, though very much tried to be as loose with the design as possible. The gardener elements come from my Grandad, who used to grow a lot of vegetables in his field. It's rare that he goes anywhere without a sleeveless jumper on. But also from my Dad, who likes to do a spot of gardening. Stylistically this image wouldn't be out of place in a children's book. That style sort of developed from the initial sketch and worked well with the colour palette, it was more a practical decision than one concerned with audience, however I thought the concept is quite fun, so the image should be too! 


Bonus Portrait 1: 'Neneh Cherry' P: The Guardian  D: 13/10
AD: Inspiration: 1980s New York artists Keith Haring or Jean-Michel Basquait


This portrait was a bit of a struggle. In an attempt to aim for a decent visible likeness, the stylistic inspiration became a secondary aspect of the image for me. I decided that I would use Keith Haring as inspiration for decorative elements, taking some iconography from one of Neneh's early music videos. 

The likeness is there in some ways, but there are elements I need to work on. Namely the hair, which could have more volume and the mouth; which is quite large and the teeth need some work. The portrait and decorative elements are totally compartmentalised and I think an effective response to the brief would be to marry the two together. That would enable me to rearrange the portrait to fill the space. 


Editorial 9: 'Anger'  P: Therapy Today  D: 17/10
AD: Inspiration: Christoph Niemann, Paul Blow.


This brief was interesting in that it required both a cover and interior illustration(s), something I was confident I could tackle, but left myself a bit short of time by prioritising editorial 10 over this for a couple of days. The article deals with the subject of anger, somewhat lengthy, it discuss the importance of addressing the emotion, the effects it has on mental; spiritual, physical and social health, as well as behavioral therapies and other methods of treatment. 

Such a weighty article held many concepts and I found it difficult to run with any one in particular. So much so that the concepts became a focus of the brief for me that I didn't consider if there was cohesion between my different illustrations. If I want to use any of this brief as a portfolio piece, I will need to go back to the illustrations and run with a common style and materials. 

Cover: A play on a statistic found within the article; 1 in 10 people have trouble controlling their anger. I had initially intended on producing a more detailed image, with the man in the centre 'blowing his lid.' With the upper section of his head launching away, propelled by steam. Running short of time and energy, I decided to simplify the image after making initial head shapes. Thinking of a recent train-induced study of children's picture books, I thought of Leo Leonni and his simple torn-paper story Little Blue and Little Yellow. 

Comments in feedback noted that the cover is visually striking, but some elements communicate poorly. For example, the shirts and ties were communicating fang-like shapes. I could address this issue by giving the figures more form, separating the suit jackets from the background by using a darker or lighter shade for either. 


Interior: The larger image is a mixture of several concepts, looking into the effects that anger has on health and personality; as well as a play on the phrase 'blood is boiling.' I imagined the arteries billowing with steam as the blood bubbles away. To further highlight that concept, I decided there should be some kind of warning mechanism on a panel of some sort, coming up with a pump-like device. That illustration didn't seem as if it would have enough body on it's own, so I decided to sit it in front of the lungs and throat like a textbook drawing.

 I would have liked to have carried on the water colours, which I used on this image to try and move away from the heavily digital work that I had been doing. As it was a costly process in terms of time, when it came to filling out the rest of the template I moved to creating a digital image.

This second image was to highlight the regret, worry and negative emotions that come after an outburst of rage. The sketch was under-developed, but I ran with it and tried to use a relationship between colour and limited colour palette to evoke the work of Paul Blow.

This is probably where the cohesion of style between the two images matters the most and will be where I focus my amendments.


Editorial 10: 'Sage Concern'  P: The Guardian Weekend  D: 20/10
AD: Source your own article, produce a photoshop template and illustrate as you wish.


I'm a foody at heart, there's no denying it. Much to the disdain of my girlfriend, I love to watch cooking/baking/food shows if they're on. So when I flipped through The Guardian Weekend and saw this article, I settled on it quite quickly. It's part of a series by TV chef Hugh Fernley-Whittingstall, which looks at a particular herb; it's origins, uses and lists a couple of recipes which feature it to. This particular article focuses on sage.

Thinking about the beautiful illustrations of Emma Dibben, I went with my desire to work with water colour. The main image of this double page spread was a lovely big photo, of the recipe discussed to the right of the article. I didn't want to replicate that though, as there us a bulk of text which describes various food stuffs which commonly feature the herb; a few of which were quite peculiar/I had never come across before and felt intrigued to visualise.

My main issue for this editorial was time. I finished it over the weekend, but didn't have access to a scanner, so had to scan and re-size the individual paintings the morning of the hand-in. I thought I had given myself plenty of time, but of course the scanner didn't want to play ball for a good 20 minutes.

However, now with adequate time there are plenty of amendments I can make. Most glaringly is the need to adjust the images so that the white of the water colour paper is the same as the pure background white. I should probably pay more attention to the scale of the different foodstuffs in relationship to each other as well as standardise the size of the text. The illustrations fill the space well, but I could probably have a bit of a fiddle to try and minimise the white space separating them.

The second illustration is a caricature of sorts, replacing a photograph of Hugh. I need to edit the levels of the pencil layer on top of the water colours, perhaps even replacing it with pen, so that it is clearer to see. I will also consider drawing some sort of background pattern or implementing a plain background.