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.

ITAP Week 3

Key Practices: 

• Legibility
• Visual Hierachy 

When designing a visual communication, in particular one with a direct intent to provide information to the viewer, it is incredibly important that the message put across is legible. A designer commissioned for a large project does not wish to confuse the audience; the correct balance of text, image, composition and overall layout is essential.A visual communication for the commercial sector must have direction and the image must be aesthetically clear and concise. Sometimes a second or two is all that is available to capture an audience, therefore this practice is key. 
The second practice to take into account is that of visual hierachy. This is in simple terms, the way image and text are formatted on a page to determine the order in which we view them. This is present in almost all forms of visual communication, and is particularly relevant in web design, newspapers, books, leaflets, forms etc. 

Take this webpage for example:

Although the software claims to be "easy to use", the legibility of it's website suggests otherwise. Considering it's visual heirachy, we are first drawn to the rectangular panel to the left of the screen, which although attractive in terms of colour, font size and scale, is merely a repetition of the upper banner which due to its light grey tone is only noticed third or fourth - we only need to see the web URL once on the page, especially considering we are likely to have typed it in ourselves to find the software.  The mixture of bold links placed repetetively mid-sentence is confusing and the lower 3 columns with no weighty breaks and light background colours make this section appear to merely be a wall of text - relatively offputting when deciding whether to download a 'simple' piece of software. 


In contrast is this page is legible in a typographical, structural and aesthetically-bold sense. Individual sections have their own links to the side of the page, splitting content into defined sections, unlike the open office site. The visual hierachy is clear, with colourful images of food taking the main stage, thus projecting the company's values as fun and contemporary.We then observe the title with logo, increasing brand awareness. This is a similar story in magazine publishing, with an image taking centre stage before the publication name, so we directly associate the two and become increasingly aware of intended audience, magazine content and brand values.

ITAP Week 2 - Illustration Research and Development

Key Principles:

• The notion of 'inspiration' derives from constant inquiry, based on research, observation, recording and experimentation.

• An understanding and knowledge of 'an audience' can enhance and focus the communication.

For a commercial illustrator, "artist's block" is simply not an option. That is why recurring and constant influence from anywhere and everywhere should be absorbed, recorded and responded to. It is this process that creates the most interesting images, both when considering aesthetics, meaning and intent. This way, the creative mind is always at work and from intentional subject research and chance inspiration, a confusion of thought processes can be filtered to create exceptional ideas that can be applied in exciting illustrative ways.

An example of a practicing artist utilizing this method is Paul Davis, whose notebooks are always in use as a creative personal record; stemming from the sights, sounds and events of everyday life. His works culminate in a book entitled "Us and Them"- a brilliant example of a body of work that portrays our two key principles. 
The book is inclusive of many observational drawings collected whilst travelling America and England, which have been merged with hand-written text to form a social commentary on the way in which the two countries percieve one another. Davis demonstrated an ability to conduct primary research through his direct conversations, inclusive of inquiries and answers from residents of both countries and subsequent recordings. In addition he collected original photographs for this research; only adding to a diverse original bank of self-collected inspiration for the project. The quick sketches from his notebooks are then constantly added to, with ideas and quotes switching places and mediums, growing larger, smaller or being discarded completely. The artist himself comments on this process with "Notebook after notebook after notebook, because I feel sick when I forget potentially good ideas. I don't slack. I take photographs. I scan. I photoshop."
Through observation and inquiry we see how other's have created and expressed ideas. We see colour, light, dark, opinion, culture, life, composition, emotion, intent; be this in existing art, conversations, nature, lifestyles. We can use this observation and it's subsequent record to create something of our own form of self-expression.
This is what Paul Davis has managed whilst retaining, however, a sense of his audience. His work is not only a social commentary designed to appeal to an intelligent audience with an interest in modern social and geographical relationships but are tinged with an ironic sort of humour. The artist knows that his images are somewhat crude and so fuses this with similar typography and correlating quotes of a naive nature to form a neat visual package with clear communicative intent.

 Knowing that his audience will mostly consist of the English, his take on Americanism learns towards stereotype, although is valid as he has conducted primary research and collected additional quotes himself. His books are provided as an unusual form of visual entertainment for the audience, many of whom we can presume are broadsheet readers who have viewed his illustrations accompanying articles. This audiences' opinions are similar to his; they understand his social commetary through simple visual message encoding; the creation of a 'smile in the mind', a feel of belonging to a group whose voice is correlating, of intelligence regarding social geographical issues. We can tell this as in his other book "God Knows" the artist reveals his belief that “Corporate American hell is winning”. This would be an unusual statement for an artist with no intent to portray a social commentary, thus he is demonstrating a faith in his audience to agree and presume that one reason they view his work is on common political grounds. Therefore, it is continually published in the same manner.

ITAP Week One - Connectivity

Key Principles:

• Notions of Originality  

• Can recontextualised ideas be contemporary?

Defining the means of the originality of something; be it a means of visual communication, spoken word or abstract thought, can be difficult as we are constantly bombarded by existing influences. We retain these consciously or subconsciously to be applied in our own lives - be it through an opinion, way of thinking or the way in which we express ourselves generally and artistically to others. When creating a visual communication, often there is a discreet balance between self-inclusion and homage that deems not many contemporary images truly original. However, can we say that anything created by man is truly original?
Take an example: The man who first made images or marks on rock or ground, distinguishing existing objects such as trees or animals, was only original in a material sense as all his ideas we pre-existing in nature. Therefore we can say, that unless a person has never been exposed to the world beyond their mind, no work can be 100% original. Visual Communication can however, be a great tool to express new personal, social, political and cultural ideas, and which placed in different contexts, can become contemporary rather than directly unoriginal.

Take for example this music video still from Bob Dylan's 1965 track Subterranean Homesick Blues:

Literal signage has been used for thousands of years to convey information, but here it is used as a tool to accompany musical expression. This still in particular is tinged with irony. The musician himself is putting across a persona that is not commercially viable, yet it is within a video to promote the sales of his own music. Is the artist subtly mocking his audience, his label and the wider commercial music industry by portraying his opinion in this manner? This is where a notion of originality is put in place, as the signage tool becomes less literal and opens up an array of wider social and cultural contexts regarding celebrity and entertainment; bringing an otherwise unoriginal form of communication into more contemporary territory.

More than 40 years later, Gillian Wearing further demonstrates the use of subject expression through signage in her series of photographs: Signs That Say What You Want Them To Say And Not What Someone Else Wants You To Say. This visual social commentary includes the image below right, which along with the Bob Dylan still is has ironic intent. The child has written out a passage from the Bible. He is using existing words as a form self-expression, directly juxtaposing the series' title. Again this shows originality in an old idea; the message is visually conveyed almost identically, but now contains a religious commentary that remains contemporary.

The final example of how a recontextualised image can be contemporary is shown above left and is a 2009 Government Advertisement. It utilizes modern photo editing techniques to draw attention - the foreground is sharply focused; this man is an individual; this is his opinion. Again a social statement is made but with the intent of informing and provoking action through personal experience. It demonstrates the second key principle through fusion of literal signage, personal opinion, modern photographic techniques and it's overall advertisment-based intent.