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.