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PROCESS

COLLECTION Jack Frischer Word and Image I — Spring 2018 Sam Fox School of Design and Visual Arts


“Make a visual display for a collection of artifacts based on your assigned topic. Your display should be visually rich, integrate text and images, and should show clear and specific relationships between elements of your collection.� 2

Word and Image I


CONTENTS

05 Research 11 Discovery 25 Refinement 35 Criticism Process Book: Collection

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THE WIDE WORLD OF WORMS 4

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Research

With high anticipation for the start of this project, I only needed to know what would be my assigned subject during the next month in studio. Before my name was called, I could hear my professor cracking up at the sight of the next assignment, and my heart starting pounding. It was that moment I would be designing a poster derived from the theme, “The Wide World of Worms.” I was anxious at first with the realization my next month would be consumed in designing a poster about worms, a subject I thought to be disgusting or boring. In preliminary research, my expectations were spot on as I could barely read through the first paragraph of articles on worm biology, genetics, and statistics. As a result, I looked at my task through a different lens: how can worms fit into a field that interests me particularly? From that point I started looking into worms in cooking and cuisine. Once I narrowed my theme from “The Wide World of Worms,” into “Worms as Delicacy,” my research involved various kinds of worms used

Figure A | Worm Research Wall

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Earthworms Are A Source Of Protein, Calcium And More. So Why Don't More People ... Eat .... Them? : Goats and Soda : NPR

2/25/18, 11(35 PM

ON AIR NOW

St. Louis Public Radio

goats and soda WORM WEEK

Should We Make Room For Worms On Our Dinner Plate? August 10, 2016 · 11:56 AM ET ALISON BAITZ

Lisa Brown for NPR

In southern Venezuela, the Ye'kuana people gather them from the mud around streams or dig them up from the floor of the highland forest. They're gutted and boiled and eaten — or smoked and sold at prices three times that of other smoked meats.

https://www.npr.org/sections/goatsandsoda/2016/08/10/489302134/should-we-make-room-for-worms-on-our-dinner-plate

Figure B | Worms as food research

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in dishes and countries that incorporate worms into their diets. After pursuing further research, most of my findings revolved around the Mopane Worm, located in Southern Africa, and the Coconut Worm, cooked in a variety of Asian Countries such as Vietnam. Purely out of appearance, I decided to focus more narrowly on the Mopane Worm over the Coconut Worm. I later focused on the process to cooking Mopane Worms, recognizing lots of my found imagery showed the process to how Mopane Worms are prepared from harvest to plate. It was through several layers and moments of research that I concluded to study Mopane Worms from farm to table.

Figure C | Various worm preparations

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Figure D | Harvesting and preparing mopane worms (Zimbabwe)

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Figure E | Early Thumbnail Sketches

Figure F | Mopane Worm Mind Plot

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Discovery

In my discovery, I brainstormed steps to preparing moping worms and drew up small thumbnails for layout. When creating thumbnails, I wanted to establish hierarchy through a dominant photo that presents the over-arching theme, “Worms as Cuisine,” and follow that with smaller imagery showing the progression of mopane worms once harvested. I began generating imagery in photoshop with the duotone effect in order to establish a more cohesive set of photographs. Furthermore, I used a mahogany brown and desaturated teal blue to create a greater rustic sensibility. Once applying these photographs in layout, my professors and peers regarded the number of “containers” in my composition. The presence of rectangle frames distracted from the overall subject and seems excessive. Therefore, I started to consider illustration. While thumbnailing layouts, I often made side sketches of the photographs in my free time. My professors responded positively to these sketches, and challenged to pursue them more in depth.

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Figure G | Duotone generated images

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Figure H | Poster Layouts (with photographs)


Figure I | Early pen sketches

I spent the next several classes working specifically on image making. In such process, I scanned my pen sketches into Adobe Photoshop to remove any paper grain and saturation. Leaving the sketches in their form, I placed them into several layouts. I faced several problems initially to overcome. The simplest would be the background color. To create the rustic and farm sensibility, I applied a desaturated green. Immediately my professors called upon this unable to fathom why I added a background. Next, several of my illustrations felt repetitive. As a result, I spent move time afterwards to create new images. Lastly, there was little contrast between my images in scale and little clarity for the progression. My layout changed significantly throughout the project, even from vertical to horizontal, to accomplish clear progression from to image to the next.

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Figure J | Harvest: Picking

Figure K | Harvest: Climbing Figure L | Mopane worms in markets

Figure M | Drying Process

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Figure N | Squeezing mopane worm insides for preparation

Figure O | Squeezing mopane worm insides for preparation (far)

Figure P | Cooking mopane worms

Figure D | Transporting mopane worms Process Book: Collection

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Figure Q | Draft Poster (Illustration)

Figure R | Draft Poster Studies

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When bringing color into my illustrations, I started with a very digital approach. As shown in Figure S, my initial approach outline the form and filled the shape with flat color. I missed the more textured quality of my sketches, and felt the digital flatness did not relate to the harvesting of mopane worms. Therefore, I began experimenting and created illustrations with a rough and textured edge and without outlines. Also, I used a looser hand to connect the drawings with the rustic sensibility I’ve been searching for. Figure S | Color Study

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Figure T | Color Illustrations


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MOPANE WORMS FARM TO TABLE The mopane worm is an edible worm that feeds mainly on the leafs of the mopane tree, hence its name. In Southern Regions of Africa, mopane worms are a staple part of the diet in rural areas and are considered a delicacy in the cities.

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Harvesters carefully pluck the worms from lower branches of the mopane tree.

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Once they’ve been dried out, they can be eaten straight away or cooked In a variety of dishes.

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From one tree to another, people harvest mopane worms until their buckets are full.

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For higher worms, harvesters climb partway up the tree to shake off the mopane worms.

Figure U | Layout Studies

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Mud-walled homes are covered with thousands of worms, laid out to dry in the hot sun.

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Harvesters squeeze out the entrails where there comes out a thick slimy green fluid.

Mopane Worms are commonly fried with a combination of tomatoes, garlic, peanuts, chillies and onions, or added to a stew, boiled to soften, or simply eaten raw


In layout, I continued to make progress with greater variety in scale, but needed more images. I initially drew the mopane worm and cow relationship to show their significant protein, but later made the illustration for cooked mopane worms because the cow became too distracting. I also drew the mopane worm exchange close up to clarify the notion of markets.

Figure V | Color Illustrations cont.

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Figure W | Illustration Refinement

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Refinement

I refined my images in numerous ways. To start, I changed my original attempt at coloring to follow the more textured drawings. Furthermore, I changed the figure’s red skirt to be brown so the figure was regionally appropriate and fits in the 3 hue limit. Although the textured edge was what I had been looking for, the granular roughness became excessive when set to large scale, and started to appear sloppy versus intentional. Therefore, I needed to make some adjustments to better define the illustrations such as the scene of picking mopane worms. In addition, I continued to develop the layout of images in progression, working to clarify the movement from one image to the next. I attempted various layouts whether incorporating the text between images or separating the two parts. To help, I created more thumbnails with arrows to establish directions. I had a better sense for how I wanted the viewer read my images. I finished my layout with the goal to have any viewer read my images in progression from left to right slightly downward in two rows.

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Figure X | Layout Thumbanils (Direction)

Figure R | Layout Refinement Iterations

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Figure Y | Finale Poster (Version 1)

Continuing to clarify the movement, I added titles to all the steps involved when preparing mopane worms. As a result, I hoped to help distinguish the order of images by provided easier descriptors for people to read in progress. For type, my thought process was very last minute. Since the beginning, I’ve had a similar header and subheader established and place somewhere in each composition. As final critique was approaching, I spent some extended time thinking what typeface I wanted to use, and decided the Abril serifs and curves would work nicely against my illustrations.

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Discovery (Again)

Thought to have finished our assignment and be prepared for final critique, my classmates and I were surprised to learn we would spend an extra class to experiment with type for expansively. From what my professor refers to as “sameness,� many students including myself arranged the type to sit at the top center. This did not sit well with our professors, and so we were tasked to reinvent the typography of our poster to be more expressive. Hearing this, I immediately thought to make my type bigger. Abril Typeface became overly distracting when enlarged, and so I transitioned to use Balboa, a condensed typeface that would be able to extend over the majority of the composition. With the text enlarged, areas of text either conflicted with the legibility of captions or did not successfully interact with the images. Color and value became an important consideration. In the end, I drew colors from the images to have better cohesion. Furthermore, I made sure the type was a light value to permit legibility of captions over the header.

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Figure Z | Expansive Type as Image Iterations

ABRIL TEXT LIGHT ABRIL TEXT REGULAR ABRIL TEXT SEMIBOLD ABRIL TEXT BOLD ABRIL TEXT EXTRABOLD 30

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Criticism

With what I would say was the most challenging assigned theme, I’m proud of the work I have made throughout this process. I haven’t produced illustrations with such textured edges, which enjoyed and want to continue. I also loved the task to reinvent our type. Seeing the poster before and after the type challenge, I have become more open minded about when a work is actually finished. Where I would normally think the critique determines when you have exhausted everything to be fully done, I better understand now that all work can be reworked. There are also still problems I could work on for this poster. Although I find the large type more expressive and overall more successful, it was nice to see the illustrations in white space. With so much information, the illustrations come accross to feel corwded or less substantial. Furthermore, there are inconsistencies between the image/type interactions at the top versus the bottom. While the images on top overlap and lay behind the header, all the illustrations below just lay over. I am very happy with the end product, but now more than ever realize there are many adjustments I can work and problem solve afterwards

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Word and Image I Process Book: Collection  
Word and Image I Process Book: Collection  
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