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Visiting the installation by WeiWei I was drawn by the scale of the landscape created. A mass of identical porcelain seeds. They reminded me of quicksand. These had been hand painted,crafted which made them unique yet I felt the work had a unity that translated a whole message.This idea of mass production ‘Made in China’ where we are detached from reality of where things are produced. This is echoed by the millions of sunflower seeds poured into the space. The sunflower seeds as a symbol refers to everday life and to hunger,which was evidant in Maos great famine where forty five million died. As an activist WeiWei reacts against law that controls society under the comunist regime in china. This has led to being imprisoned and exiled. In a previous work done for the Beijing olympics he designed the stadium called the Birdsnest. Which is contradictory as a political activist to promote the regime of the motherland china, that imprisons its people.


Visiting the exhibition I was made aware of the various techniques and processes. I was amazed by the way the artists fixed shadows onto the light sensitive surfaces,casting shadows,manipulating light, traces,signs,fragments,memories.Methods such as Gelatin-silver print,luminogram(block light),chemigram,Digital C Print, Dye Destruction print.In particular I was interested by the the photograms as I have experimented with these before.Previously I had only looked at Man Ray who was a pioneer of this process. Floris Neususs extends the use of the photogram by use of scale,awareness of shaow of light, movement and stillness. His images through visual treatment created a 3dimensional quality that reflected the content.

MARC QUINN:self portrait 2006-National portrait gallery When first confronted by this portrait I felt uncomftortable as it challenged mortality and the method of how the installation was produced using pints of the artists blood.It also had to be preserved using a refridgearation process. In researching futher I found out that Quinn has to replace this portrait as it rots.The portrait also reminded me of death masks that i had scene such as william blake. I feel Quinn pushes portaiture to the extreme where it is made of flesh.

In reflection of my visit to exhibitions,in particular the shadow catchers exhibition interested me. The varying ways each practitioner used process/technique to capture shadows on surfaces to reflect their theme. Shadow objects- I wanted to capture iconic everyday objects that we recognise and have a function.

What Is Illustration? In order to answer this question I conducted a comparative study between: Nina Chakrabarti Tim Ellis Christina Christoforou To understand their practice I researched their background extensively. I selected key points that reflect their identity as an illustrator,recent projects, methods+techniques,work in a team or as an individual. In creatively presenting the information back to an audience. I chose to use life size figures cut out of canvas which then using creative typography captures the identity of each practitioner. They almost act as a billboard where people can acess the information. I wanted the audience to be able to view the figures in an unprecious way so I layed them on the flloor opposed to wall.

I contacted via email and met Nina in person after a talk she gave, for an hour where we discussed working as an illustrator. I had prepared a set of questions related to them as individuals and the industry as a whole.

Lab:Make me think! ENIGMA+PERSISTENCE OF FORM. We recognise Form but by casting Impressions+ Shadows we create new Images+ Forms. Combining influence from Shadow Catchers Figure work (Figures+Type) Embossing Sewn letterforms

Darkroom- initial experimentation with photograms-using hair,watch,negs.keys.

Group-Aphorism: Cherish each hour of this day for it can never return The group consisted of myself, Sarah Berry, Ricky Byfield, Urjuan Toosy and Russell Beswick. Notion of cherishing conversations and ideas we have in University.This idea of things we say being lost or being merged. I found this example of creating a narrative through the obliteration of type in Type in Motion this led me to experiment further with this process that I felt could communicate this idea of something being lost.


Dissolved Type-fabric

Continuation on from the manifesto brief. I wanted to create a Catalogue whats commonplace and how we implement these factors into the everyday. I used illustration,collage, printed type and colour to emphasise the message of each composition. I was interested in collections of objects and how in some their is order in scale,use,age e.t.c.

Type Origins-I researched into the background of type and became interested in Victorian music hall posters and how they layed out the type. This created a clear hierachy with the information being shown to an audience.

Selected Found typography-magazines/photos to hel.p inform me how type is used in varying modern settings, considering scale,effect of typeface,composition etc.

Group portrait- In our group we focused on the metamorphosis of multiple identities into a single identity.We achieved this by setting up a fixed spot for each member to have there image taken from three set angles. In the stop motion we then increased the speed to heighten the sense of beings merging.

Making Do- In our group we discussed adding and taking away from the publication to create a new translation. We seperated early on and found that this was a mistake as we didnt create a unified response. In our division we wanted to add to the publication, we made do with materials we found and created a fold out sleave. This included key points from the manifesto, to give a whole account of what they stood for.

Letterpress Workshop

In our group we were asked to create a Social Kit that makes people go somewhere. At first our ideas were more literal in the sense of a person physchically moving to a place such as a treasure hunt. We then thought that you can make someone go somwhere in their imagination. By projecting an ideal or symbol that evokes a response to the audience. We tested this out on foundation students and asked them to respond to the images we had selcted to find which where most effective in making people go somewhere.

Paperco competition-Direct Mail 1B

Numbers 1-7 represents the percentage increase of recycling using the product range in the green portfolio on the paperco website.

The direct mail also works as a sample book because it shows different products that are available and the recipient can interact with the different weights and textures of the items.

We wanted it be small A5 size so it could be easily sent to prospective clients as a direct mail piece.

Badge Workshop- Mark Pawson.

Martin Oneil workshop(Junk letterforms)- This was an exciting change in the way we created our practice. This required us to be resourceful with the materials we had sourced. To create 3d letterforms that made a whole phrase. I feel the found/natural objects that had not been disassembled were most effeective in there communication.

Web prescence- One important piece of information that came from the design investigation is that as a freelance illustrator you need to have a website to circulate your work. Looking forward I have started to read about designing a website using HTML code. I want my website to be simple and the audience can interact with the work.

Website examples

Tim Ellis’s website was layed out clearly and he used a pseudonym which also forms a part of his work.

Christina Christoforou’s was good in the way you had to click on the illustrations to enlarge into focus.

Pentagram’s website used an effective grid which then had a link to work.

Evaluation In reflection of this semester and unit, I have learnt to apply my research to a brief with greater understanding of the effect on the audience. In externalizing work testing work directly on an audience can help determine whether the outcome is successful or needs to be rethought. A good example of this is the Aphorism brief where we had to communicate through moving image at the Epsom playhouse theatre. In working in groups I feel the idea process is strengthened when it comes to delivery as any problems can be negotiated and is not a closed singular vision. In reviewing my own practice a realisation to extend my own practice through wider formats such as photography, collage, video, and animation e.t.c can help create different responses that are more appropriate to a set brief. Focussing on my development using a personal illustrative style I am starting to combine greater experimentation with media such as collage and a sewing machine as I like the intense quality of line, stitch-work. 足It is also important to peruse the critical understanding of others work inside and out of the college. I have developed this by continuing to read book, magazines, articles and attending talks from practitoners in the design industry. This depth of research was carried into my design investigation where I conducted a comparative study between three illustrators Nina Chakrabarti, Christina Christoforou, Tim Ellis. I wanted to learn about the industry as a whole and what advice they could offer. I had a 1hr interview QA with Nina Chakrabarti where I had prepared a set of questions and was able to show my work and get her response. This was highly motivating to get encouragement to pursue illustration as a career and to understand her practice and how she externalises work as a freelance illustrator. A brief that challenged my approach in particular was the lab: make me think, which challenged us to participate in a space that we could experiment, collaborate, and most important make people think. This was a really exciting experience as the space developed and 1st and 2nd years communicated together. I wanted to experiment with processes and ideas that had influenced me. I created an installation combining the influence of the shadow catchers exhibition, figures, embossed and debossed letterforms, and sewn 3-d letterforms. I felt the process was a chance for me to experiment and I documented my work as it progressed. Although the idea of an installation that was interactive was interesting. The photographs I felt had more power in capturing the message of persistence of form. In looking forward to the third year I need to cement my positioning within graphic design/illustration and take more opportunities in externalising work.

Bibliography Berger, J. (1972). Ways of seeing. BBC Bernd and Hilla Becher (1 Jan 1988) Watertowers Publisher: MIT Pres Creative Review July issue / The Illustration Annual (2010) Christina Christoforou (14 Mar 2011) Whose hair? Publisher: Laurence King Flusser, V. (1981). The Shape of Things: A Philosophy of design. London UK: Reaktion Books Ltd. Hunterian Musuem Lawrence Zeegen, (1 Aug 2009) What is Illustration? (Essential Design Handbooks),Publisher: Rotovision Matthew Meadows (29 Jun 2010) Insider Art, Publisher: Herbert Press Ltd Matt Woolman, (12 Sep 2005) Type in Motion 2 Publisher: Thames & Hudson National Portrait gallery-Marc Quinn death mask Nina Chakrabarti, (21 Sep 2009) My Wonderful World of Fashion, Publisher: Laurence King Olaf Breidbach, (1 Aug 1998) Art Forms in Nature: Prints of Ernst Haeckel, Publisher: Prestel; illustrated edition Shadow Catchers (13 October 2010 - 20 February 2011) V&A Tate etc. magazine (Issue 20 / Autumn 2010) The artist as Activist-Ai WeiWei Weiwei Ai (2010) Tate Modern

Audiences and Contexts  

Yr2 graphics patrick wilford

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