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.