For instance, the postcard brief was a challenge because both the software we used and the nature of vectors required things to be stripped back to simple shapes and forms. This had an impact on the way in which I would construct images – I was thinking in separate components and layers, and how they could build to form the object I wanted to make. So creating the postcards is an example of how I applied reduction / simplification into my work, going from line-heavy, gestural drawings to flat shapes.
Another concept I have often thought about in relation to communicating ideas visually is ambiguity. Throughout my work, I have contemplated and discussed the effect of ambiguity within a piece of illustration and whether or not it lessens the strength of a message.
I have considered whether or not holding back answers and being a little bit cryptic only serves to keep an audience at arms length, however having talked about this with peers and tutors I feel it can also be a very powerful tool. For example during our final Persons of Note crit, I was pleased to hear that people enjoyed that they had to figure out and decode the symbols within my illustrations. In some ways, this engages the viewers by making them think.
2. What approaches to/methods of image making have you developed and how have they informed your concept development process? Visual communication has definitely pushed me as I have developed skills in both GIF making and my knowledge of Illustrator. Each of these methods of creating images demanded a different way of thinking and approaching ideas.
The planning of the GIFs required ideas that would work when animated, so as a result storyboarding and ideas for each frame were required. The set materials for the GIF formats (digital, 3D, analog...) also dictated my way of working – these required testing to see which had the best results when they were made into frames. Discussions of GIFs, demos, looking at existing examples, all combined with going through the GIF making process myself all helped to develop my skills in this area.
Similarly
with the vector-based project, the predominance of shape within this type of
illustration meant I had to think of images differently. Although creating
roughs and pencil drawings still helped, I had to expand on this idea of what a
rough was by making mock-ups that were more relevant to the method I would
eventually make the vectors with. Doing cut-paper tests was a response to this,
as it was a way of freely moving shapes around, thinking with solid forms
instead of lines. This process made it easier to translate my roughs into
illustrator as the shapes were already mapped out for me.
3. What strengths can you identify in your work and how have/will you capitalise on these?
3. What strengths can you identify in your work and how have/will you capitalise on these?
For
all three studio briefs, a set of images that all related to one another was
required. I think this is something that is evident within my work for this
module as I was consciously trying to create sequences of illustrations that
worked alongside each other and possessed a cohesive appearance. By using
colour schemes, creating a specific tone, or through other stylistic choices I
think I managed to unite the respective sets of images and avoid them being too
disparate.
Another
strength within my work, which is particularly apparent in the Persons of Note
brief, is my use of visual symbols to represent an overarching theme. I really
enjoy coming up with concepts and ideas, and I’d like to think I manage to
weave these larger themes into my work through my use of motifs. I suppose this
is often a subtle way of putting across a message in a piece of work. My
example from this brief is the use of repetition and orderly compositions to
depict OCD as part of my subject matter. Instead of drawing literal objects or
scenes, I try to think of visuals that imply what I’m trying to communicate.
4. What weaknesses can you identify in your work and how will you address these in the future?
4. What weaknesses can you identify in your work and how will you address these in the future?
A
weakness within my work for this module would be that I don’t feel like I’ve
really pushed myself in terms of how I make images. For the most part I’ve
continued to deal with line, and have used similar if not the same materials as
before. If possible in future projects, I’d like to look at how I can vary my
approach to drawing and making – maybe by introducing new methods and mediums,
or by focusing on a specific element such as shape.
I’d hate to think that things were becoming stagnant or too repetitive so it’s important that I make a point of being more exploratory and inventive with my processes in order to avoid this.
5. Identify five things that you will do differently next time and what do you expect to gain from doing these?
I’d hate to think that things were becoming stagnant or too repetitive so it’s important that I make a point of being more exploratory and inventive with my processes in order to avoid this.
5. Identify five things that you will do differently next time and what do you expect to gain from doing these?
• Be more decisive – either
when it comes to selecting an idea, choosing colours, type, or any other
things, I’d like to become more decisive and confident in making creative
decisions. As a result, that may allow more time for experimentation and play,
and dismiss this restrictive uncertainty that comes with continuing work you’re
not too sure on.
• Talk more freely about my work – not only to I need to make sure I ask for feedback and help when I’ve hit a brick wall, but I feel I just need to discuss things and ask for people’s opinions more! I can be quite a solitary worker, however this can be to my detriment when I become frustrated with a piece of work. By talking and sharing ideas it can not only highlight successes or areas for improvement within my own work, but show me how others go about their own projects.
• Take more risks – I need to not be so tentative with my work, to be more exploratory and make for the sake of making. I’d hope that by introducing more experimental processes (much like how we looked at tasks during visual language) that it will help me to loosen up, get back into drawing and result in work that I’m enthused about and had fun making.
• Be a little more self-indulgent (if the project allows) – Don’t hold back or dilute my tone of voice, create work that I want to create, not by half measures. Of course, this won’t apply to every single brief, and there are times when a certain tone of voice or approach may be more appropriate. However, relating to the point above, if I enjoy making something the end result may be far superior to when I worry my way through something.
• Continue finding things out – I need to keep the ball rolling with looking at the work of existing practitioners, and absorbing any other form of visual culture I deem relevant to my interests – personally and as a maker. I do enjoy looking at and finding new things in my spare time but I must continue to do this as I feel strongly that art, design, film, music – all of these things and many more fuel our ideas and help to inspire us creatively.
• Talk more freely about my work – not only to I need to make sure I ask for feedback and help when I’ve hit a brick wall, but I feel I just need to discuss things and ask for people’s opinions more! I can be quite a solitary worker, however this can be to my detriment when I become frustrated with a piece of work. By talking and sharing ideas it can not only highlight successes or areas for improvement within my own work, but show me how others go about their own projects.
• Take more risks – I need to not be so tentative with my work, to be more exploratory and make for the sake of making. I’d hope that by introducing more experimental processes (much like how we looked at tasks during visual language) that it will help me to loosen up, get back into drawing and result in work that I’m enthused about and had fun making.
• Be a little more self-indulgent (if the project allows) – Don’t hold back or dilute my tone of voice, create work that I want to create, not by half measures. Of course, this won’t apply to every single brief, and there are times when a certain tone of voice or approach may be more appropriate. However, relating to the point above, if I enjoy making something the end result may be far superior to when I worry my way through something.
• Continue finding things out – I need to keep the ball rolling with looking at the work of existing practitioners, and absorbing any other form of visual culture I deem relevant to my interests – personally and as a maker. I do enjoy looking at and finding new things in my spare time but I must continue to do this as I feel strongly that art, design, film, music – all of these things and many more fuel our ideas and help to inspire us creatively.
