Production - ITAP

• The Experts
• From Novice to Expert

When observing the long process of considering oneself an 'expert' at something, there are ways of defining each level of garnered knowledge and in turn creative, demonstrational and organisational ability. Int his particular ITAP, we viewed a chart aiming to describe and evaluate these steps.

When evaluating my own work in relation to these experience presets, I looked at each of the criteria and in turn realted them to my own work (shown right). I would have to conclude that my experience and skill level varies greatly when considering terms as simple as illustrative style. Therefore, I have chosen to critically observe my manga-style artworks and knowledge, which I have been practicing since an early age originally due to media influence and an interest in the visuals of Japanese animation.
I could say I consider myself between competent and proficient in this area as opposed to being a novice through to beginner. This is due to several factors. I have a high understanding of the origins and continuing culture of the subject area, as well as the visual techniques employed to create the most effective images; composition/signs/colour/tone/subject/visual heirachy etc. Over nearly 10 years my manga-influenced works have become more consistenltly visually and personally rewarding, backed up by a relatively high internet following and continued positive reactions. No assistance in creation is required and I am able to deal with problematic aspects of an image by either restating or reworking. When creating an image, I view the wider 'picture' by taking into account my online audience, the broader outlay of a character's world and the way in which they are visually presented.

Looking at the expert graphic designers observed in this particular ITAP lecture, the typographical work of Neville Brody stands out due to both it's familiarity and effective use of visual variation within the given framescale. His layout for the new compact version of The Times are proving a huge factor in the iconic nature of the paper, recognized nationally and even globally. His choice of composition, font and aspect sizing all donate to it's reputation as a more distinguished chronicle than most competition, with headlines avoiding feeling somewhat sensational and loaded through their modest size and relatively slim typeface. Text is neatly divided into seperate stories, yet pages are full and still boldly illustrated, whether this be photographically or graphically. Brody's work is an excellent reflection of how the intent of a piece can be demonstrated; visuals affect audience broadity, the literal information contained within, in which order we view it, and even the expected price. If published material appears to have alot of content from the way in which it is presented, the economical value can become greater. Although we may not realise when picking up a broadsheet or indeed mini-version, image choices themselves can affect and define opinion making his work very powerful.

Another principle previously discussed in these blog posts is that of visual heirachy. In this case, and in the wider case of composing text for publishing, this is heavily utilized by the designer. Although all aspects of the cover are somewhat in competition, the layout of these are meticulously placed to define what we as an audience will view first - as aforementioned, a huge part of the power of media. Subconciously or not, we take notice of what corporations want the public to absorb. Selective placing for full power of intent.

Development of Creative Thought and Structure in Illustration and Graphic Art

Key principles

• Overcoming Mindsets
• Restating Problems

To overcome preconcieved ideas about just about anything in life, we must first challenge convention, and in turn conventional approaches to problems and ways of thinking. Preconceptions are often formed well within our desired comfort zone and from previous experiences, whether this be in regards to general opinions, morals, actions and indeed art. From an illustrative and visual perspective, our mindset can lead us to create images which could be considered unoriginal or unexciting; boundaries are not pushed and reactions are not extreme. Convention can be considered the norm, average. In all forms of art, thinking and breaking outside the box can open a whole range of creative opportunities.
We can think about this in terms of the basics. Colour, composition, texture, tone, intent, media, medium, meaning, signs, messages. After establishing this principle, we can begin an entirely new visual language; unique to the creator.

A good example of an artist who utilizes this principle to aesthetically-stunning effect is American tattooist and painter Shaun Barber. His oil and acrylic on canvas pieces push several preconceptions spanning across a broad range of ideas. First of all, many people still consider the action of placing ink in skin through tattooing to be linked with criminals and those of a low IQ. Tattooing is unfortunately widely thought to be inaccurate, unsanitary and dangerous. However, in more recent years many qualified and experienced artists have made tattooing their profession, inking impressive custom pieces that would be equally as fitting framed as on skin. Tattooing has become an art subculture, with influences from all forms of visual media. Barber's works redefine standards through his depictions of bodies adorned with beautiful artwork, self-contained within their own wider painting; an inconventional paradigm. In addition to this, barber adds extra limbs to display the 'in-art' artwork to full effect. Though his techniques are inspired by the old masters, they are steeped in a truly modern illustrative culture through their subject matter.

Beginning to observe the second principle can begin with the question - How do we solve a problem?

Problems can be faced when illustrating, which can be down to things as simple as the artist's ability to accurately convey image elements, whether from references or simply original ideas. Aspects we consider to be repeatedly erroneous or difficult to put across effectively can actually be restated to create new, original and exciting prospects. This can be acheived by repeatedly reworking and redesigning ideas or visuals of an image and is something we as artists do, intentionally or not, in every work we do. A fine example of this principle in action are the works of Valeria Petrone.
His images are somewhat reminiscent of the cubism artform; bold and wavy shapes are composed to give an impression of reality, although a somewhat warped one. This is a key link to the artists unique visual language, wherein problem solving through reworking is evident. Limbs are replaced with fine lines, what we expect to exist does not and is concealed within or completely obliterated by unexpected movements. We get the impression that this visual progression began when the artist accidentally flinched when mark-making or scribbled in frustration over the initial problem, possibly through an inability to accurately progress an aspect. Her probable unintentional marks when initially creating these works ultimately lead to a much more exciting visual idea and outcome.