ITAP WEEK 7

Production and Outcomes
Influences and Reactions

Key Principles

• Interpretation
• Delivery

 In order to convey the use of zeitgeist (ideas and spirit of time: the ideas prevalent in a period and place), I have elected to study the works of traditional illustrator Vania Zouravliov (right). The artist's pieces retain a distinctly creepy, unsettling quality through the use of deeply complex line art and beautifully diverse and accurate executions of light and shadow. Zouravliov's visual vocabulary establishes links with a dark victoriana style; his subject matter ranging from the beautiful to disturbing, sometimes combined; every image holds meaning. Illustrations are presented in striking grayscale or sepia, some nearing pure black and white, truly reflecting the spirit of the Victorian era; crumpled beige photographs, ghostly portraits. Although a relatively young and modern artist, his influences are evident when comparing works to illustrations of eras passed; most notably those accompanying books, such as Tenniel's art for Alice In Wonderland (below right).













All of these images are linked through their use (or lack) of colour, which truly allows for an exquisite range of light and shadow depth, contrast and texture. This is particularly evident in the demonstrated Victorian photograph to the left and the work of Vania Zouravliov above, both of which though presented in different media, have different intended audiences and vastly varying timelines, truly capture the spirit of an age long gone. The visual language creates an unsettling feeling; reflective of the poverty and disease, pollution and early death present in so many lives of the era. The visual link is further established between photograph and drawing through the evidence of a
curved frame of negative space, allowing images to be self-contained; a moment, frozen in time and the viewer's mind.

To demonstrate the theory of delivery as an incredibly effective method of defining and understanding the effectiveness and success of visual communication, I have chosen to observe the works of tattoo artist and illustrator Regino Gonzales.



With subject matter spanning endless themes due to his custom, client-based tattooing work, Gonzales' traditional canvas paintings are beautifully crafted images that pop and flow in a natural, organic way beyond the confines of skin, and thus we could also say, vice-versa. Delivering a piece of artwork on a living organism serves to bring a whole new dimension to the field of art, and what we consider to be art. For generations tattoos have been widely seen to be crude; associated with crime and absence of intelligence. However, in recent years finely-crafted tattoos have brought up associations with fine art through the understanding that most mark-making, if executed with precision, talent and care, (especially with intent behind the literal visual), can be considered as artistic. To have your designs on the living body of another could be considered the highest form of flattery; a lifelong expression of your work, your personal visual language made human.

Along with the obvious ingrained visual, presenting a tattoo is one step to becoming a walking advertisement for the artist. With the popularity of tattoos and tattoo art increasing dramatically over recent years, Gonzales has used his credibility to display original canvas works in his own gallery shows and through his personal website. This in turn allows for more human traffic to access a once-disregarded art form in many different mediums, deeming his choices of delivery incredibly successful.  

ITAP WEEK 6

Development of Ideas and Structure in Moving Image.

Key Principles:

• Character Design
• Digital Storytelling

To further describe the principle of character design, I have selected the character of ‘Chihiro’ from the Hayao Miyazaki/Studio Ghibli film ‘Spirited Away’ (Original title ‘Sen to Chihiro no Kamikakushi’) as I feel she is an unusual protagonist when compared with western character design in both film and television. As with other works by the company, the use of a young female lead is a refreshing change from male ‘action-hero’ types so commonly found in many aspects of modern animation, television and film.

Chihiro is unremarkable, initially her visual presence accurately conveying that of a modern child, with an oversized t-shirt, suggesting she is not in a hurry to grow up, along with shorts and Dorothy-style red shoes. It is this normality that we are able to relate with, following the often-used technique of presenting an average person as someone who is able to become stronger and wiser through the course of their actions and subsequent reflections. As the film progresses, her attire changes to match her role as an average bathhouse worker, yet is a passionate red hue. 

The premise of the film revolves around Chihiro reluctantly moving to a new town with her parents whilst being their continuous source of exasperation due to her sullen attitude to the excursion. This however, builds audience empathy as her personality is built with such realism, complimented by the finely detailed and true-to life animation style of all of the Ghibli works. Initially the character is timid and afraid as she is absorbed into a world of traditional Japanese monsters and spirits but after a friendly interaction with a spirit boy named Haku, she is able to overcome her fear of the unknown and eventually build up the courage to begin an escape from the strange world. At first she seems resigned to her fate of remaining trapped, but through the establishment of friendships and consequent fearlessness, she overcomes her selfish nature and realizes how her actions affect others and herself.

In order to demonstrate the digital storytelling prinicple, I have selected the Harry Potter brand, which spans over an astonishing range of media and franchises in order to further engage the audience and therefore widen commercial prospects.

Although 8 films have been produced from the original book series, the covers of which were illustrated traditionally; the progression of the story as a mega-brand has been aided by the use of Warner Brother’s official website (screencapped right), which can also be found here.

As the plot revolves around a fantasy world, the series is incredibly visually-orientated; designed to leave audiences with a sense of escapism and amazement. This is continued on the flash-laden website, with dramatic film stills and promotional photographs taking centre stage in layout and thus promotion. The site changes with every upcoming Potter Film release in order to gain viewers through visual information and interactivity with audience. For example, the web viewer can truly feel a part of the series by uploading their own photograph into a Potter-style newspaper article (above left), or download an app for their Iphone; something that may be of interest to older viewers. It is this multi-layered use of differing media including such broad interactivity that truly brings the viewer into a fantasy world, engaging them and thus enticing them to view the films, buy the merchandise, and spend their money.

ITAP WEEK 5

Reflective Visual Journals
Key Principles

• Developing Visual Language
• The Cyclic Design Process

Every artist's work at some point in their lives, most likely after much experimentation and repetition, is likely to be defineable by their use of personal visual language. Visual language can be described not merely by the way that marks are made, but also by the image content, intention, use of colour, theme, light, space, texture and medium amongst a myriad of other factors. It is this use of visual language that is so important to artists and illustrators of all kinds, along with their viewers, as it sets their work apart from that of others and establishes a starting point for all consequential personal image-making.

Visual language is often distinguishable by it's use of paradigm. For example, the alphabet is made up of different single letters, all of which can be placed together to establish endless differing goal meanings. Akin to this, we mark-make linking different aspects of personal visual language in order to establish an intended meaning or outcome.

An example of this can be found in the works of artist and sculptor Henry Moore. Although he works in different mediums, we can recognise his use of personal visual language and expression through the paradigms of bulbous and curved lineage, texture and use of negative space. Take the sculpture above. Although it's exact form is abstract and thus somewhat undefinable, it retains a beautiful organic quality, like a rock eroded by time and washed ashore. This is aided by the polished feel of the stone, giving greater depth of light and shadow to the piece - something that runs through the majority of his sculpture and also textured pastel drawings (above left), thus further establishing a personal visual vocabulary.


Next, we're looking at the cyclic design process. This is the way in which repeat and edit ideas in order to achieve a desirable outcome and is all about working to create visual solutions to visual problems. We first think about what we want to achieve and begin planning; how do we want our images to look? What do we want them to convey?
We then work on a theme, be it a simple literal one (e.g - plants/animals/transport/buildings/politics/news/portraits) or merely studying the way in which we physically create art with differing mediums.
Once we have created, we evaluate. Has this worked? What could be improved? Is the audience considered? Is the intent clear?
If not, we then rethink, learning from our previous experimentation to further the visual means with the knowledge it has given us. This process can be recompleted many, many times before a true solution can be established. It is as simple as the old phrase...'If at first you don't succeed, try try again.'

A perfect example of this problem-solving technique can be found when observing the sketches for Thomas Edison's Incandescent lightbulb, pictured above and left. The inventor created over 10,000 prototypes before finally finding one that worked efficiently. In addition to this, it is believed that he created over 2,500 notebooks during his lifetime. When thinking visually, some ideas are never going to reach an adequate solution, and therefore it is this trial, error and learning process that enables the artist to truly reach their full potential.