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Final Major Project: 0907855 Patrick Wilford GDYR3 UNIT EGRD3015


INTRODUCTION:


This portfolio aims to represent how I am developing my skills as an illustrator and ideas leading to the outcome of my FMP. Throughout the duration of my three years on the Graphics course I have continued the development of a distinct personal illustration style. Whilst attending Digital workshops that help me to present my work in a more coherent manner and keep up to date with modern trends. The ability to communicate with fellow students and people who work in industry helps to create further clarity on your development and that of others. Attending design talks has helped this engagement and talking to people in the industry I want to pursue. For example in the previous semester I attended the Critical Tensions Conference, which was extremely useful in giving me a broader insight into the important subject of typography. Looking to the future I need to have a greater awareness of how I can position my work into mainstream design and the skills needed to achieve this. The challenge of time management and the extent to which I develop my project is crucial to its success. In relation to the direction of my FMP I intend to explore a series of everyday systems, which provide information, instruction and humour.


INITIAL FMP PROPOSAL:


During my graphic design studies the question of communication methods has been a constant challenge. My interest in personal mark making and the need for a general visual vocabulary, which informs, instructs, and communicates has been enhanced by specific graphic designers such as Nina Chakrabarti, Tim Ellis. Their ability to retain a personal style whilst delivering effective communication on a variety of themes has inspired me to pursue what I feel to be an individual pathway, one which retains a sense of my visual understanding of the world and my ability to communicate this understanding in as informative a manner as possible. I have always found the imagery utilised by American Pop artists such as Andy Warhol very compelling, both as visual images and in the creative processes used to render the surface detail. Ordinary, everyday objects are transformed into iconic almost reverential images by being taken out of their normal context in both scale and situation. The combination of screenprinting, photo montage and hand drawn elements in the work of artists such as Jim Dine creates an effective range of tonal surfaces and particularly appeals to my own visual sensibility. The everyday object, routinely used, familiar through repetition to the point of being ignored is a theme that I have focused on through my previous studies and which still fascinates me. I have celebrated the humble and often ignored through creating a variety of visual studies, which include hierarchies of the everyday, and an alphabet of familiar forms, which have been rendered in my particular and specific style of mark making. I now wish to create an almanac or guidebook, which will instruct the user on HOW TO‌ I envisage this guide to instruct, inform and to entertain. I intend to use a combination of visual methods and techniques to bring the project to realisation including screen-printing, photography and hand rendered imagery. Each page will celebrate a specific HOW TO‌ task and will function as a poster-containing text and visual imagery as well as forming a single unit of the whole guidebook. I envisage a cover, title page with index and an end page etc.


CONTEXTUAL LINKS: The importance of context, research into practitioners/movements will help me to develop content and style in my project with a greater confidence. To research current trends, processes and techniques that are being used in the mainstream. When researching illustrators that produce work today I was drawn to the work of Nina Chakrabarti. I had previously been to a talk where she reflected on her influences and practice. Nina combines digital and handcrafted techniques.For example hand rendered typography, which is a visual influence from her birthplace of Calcutta, India. I was particularly interested in how she composes imagery and has developed a commercial style with the contrast of intense line work and an outer line. Her style could lend itself to packaging, book design etc. I was also influenced by Andy Warhol and Jim dine both were part of the art movement-Pop art who celebrated the everyday, or objects that reflected a known narrative such as opening a can of soup. The playful use of composition and repetition of the ordinary helps to create Iconic imagery and place emphasis on something that is ignored.

Nina Chakrabarti- strong use of outer line,distinct use of typography and mark making.

Jim Dine-Tool drawings-Tools are objects that can be ignored or used repetitously.

Andy Warhol-use of everyday objects to create iconic images.

DADA- playful and dynamic use of imagery and type-contrast between scale of object/type.

Christina Christoforou-hair potraits of the Presidents. Hierarchy orderGeorge Washington to Barack Obama.


MUSEUM VISIT:

I visited the Museum of Brands, Advertising and Packaging. I entered the collection and it was overflowing with objects, a visual treat. The collection represented a history of British consumerism, culture, design and domestic life spanning 120 years. The contrast between type and image and periods was fascinating. I was drawn towards the end of the collection where objects became grouped, placed in order of age, size etc. Becoming a composition or scheme that highlighted a narrative related to objects.


DEVELOPMENT ILLUSTRATION:

Responding to feedback from the previous semester. I became aware that my style of illustration had a limited suitability for commercial design. This led me to use fewer marks to render an object and enabled the illustrations to be scaled up and down. This has also placed emphasis on the use of outer line. I enjoy the contrast of intense mark making to bring a drawing to life not to be flat and linear. The marks I have developed throughout the three years of the course also identify me from others as an illustrator. In reflecting on this point it is also to be aware of current trends in illustration and learn new skills that are appropriate. Initially with the development of illustration I began by drawing as many common everyday objects I could find. Not as concerned with an end product but perfecting the style of my illustration. Thiwould help me create a more confident visual understanding of my chosen theme.


In developing a narrative with the everyday I used repetition with the t-shirts and phrase-blink and you’ll miss it! In using a grid like format with the illustration representing a hierarchy with bottles ranging from small to large- eye drops-2 litre sprite bottle.

When considering the use of type with my Final Major Project I felt digital type when combined with my illustration would not be as effective. The majority of illustrators I had looked at have developed skills in hand drawn typography which I find particularly compelling. The use of hand drawn type and quality of line is more authentic and delivers a greater communication. This led me to begin drawing typefaces-serif/ sans, 3d type etc. Type taken from the everyday-books, washing powder, soap, magazines etc. This exercise would help me with the skill of hand drawn type and applying type with image.


In these illustrations I was concerned with observing everyday objects found in compositions such as lines, collections, which suggest a narrative. I also wanted to demonstrate the progress in my use of line drawing. As a further experiment I transposed the objects onto a bookcase to place emphasis on these ordinary objects that form a part of our daily lives.


As an experiment to explore other possible uses of my illustration involving everyday narratives. I photographed known everyday settings such as a fridge, kitchen cupboard, and a medicine cabinet. I then transposed my illustration over the object to question what is real? I used a frame as a tool to place emphasis on the question.In the image below I wanted to take objects you find in a certain location and place them into an inappropriate one. This had an effect of isolating each object thus creating greater significance.


CONTEXTUAL LINKS:

As my Final Major project has progressed further influences have come from Marion Deuchars Book-Lets Make Some Great Art, Craphound-zines, Gregory Blackstock. As I approach a format to present a narrative based around my chosen theme. The book by Marion Duchars is successful in the way it invites the audience to react and participate with imagery that reflects an iconic theme. The handcrafted design using black and white illustration with hand drawn type is effective. The selected use of colour is used to instruct and entice. I was drawn to the illustrations in the zine Craphound that uses clip art and illustration. To form compositions of objects around a chosen theme such as scissors, skeletons, circus etc. I was interested in the mesmerizing compositions contrast between scale of object, photography and illustration. How type was introduced to reflect a theme or suggest another narrative. Finally I admire Gregory Blackstocks meticulous way of cataloguing imagery and ordering information to graphic effect.


In watching the documentary Objectified by Gus Huswit.The Documentary examines the role of the everyday non-living objects,people who design them, impact on our daily lives. I was interested in the way the film brought attention to everyday objects, from a toothbrush to peeling knives and vacuum cleaners.


CONTEXTUAL LINKS:

Whilst researching imagery for this project. I was drawn to 1950s and 60S Ads and catalogues. The imagery and text was displayed in a creative and fun way to emphasise what is commonplace such as washing detergents to clothes. In particular the objects in the catalogues use a grid to highlight a hierarchy or grouped collection.

Andy Warhol uses repetition to emphasise iconic imagery. Through the distinct and expressive rendering of the objects it highlights their function and importance to our everyday lives.


RESEARCH-BOOK EXAMPLES:

Whose Hair?- Christina Christoforou, My Wonderful World of Fashion- Nina Chakrabarti. A coloring book- Andy warhol: commissioned by the Edelman Company in 1961.


Plan: To proceed with my FMP I would like to develop a coherent series of related illustrations, which combine imagery, type. These will be informative yet playful in style and content. I am proposing to develop a book or compendium, consisting of everyday instructions covering a variety of normal tasks. The framework for the compendium/manual may follow ‘a day in the life’ format, perhaps of different lifestyles-manual worker to banker?

Rough- Framing statement-summary of content. This book celebrates the everyday object that is so often ignored. These ordinary objects form a part of our daily routine and affect our lives. Objects that we need to progress through the day or encounter regularly. Whether it’s making a cup of tea, tying a Knot or opening a can of soup let the book guide you in how to interact with objects and implement the everyday. The book invites you to participate and sets out to instruct inform and entertain.


To help develop the format of how I present my illustrations. I created a mock up- A5 size. I want the publication to remain portable so the viewer can interact with the imagery and narrative of the everyday.


When developing the book I wanted the layout to reflect the narrative of the everyday. I created a number of mock versions and a prototype to establish the most effective format. This also would help me display the imagery and text in a cohesive and compelling way. For The initial prototype I decided to change the format to A4 as my visual images and distinct mark- making would benefit from being scaled up. Ben Branagan came into give a talk on producing a book in view of our FMP. In the examples of books he presented there was a clear consideration of the content of the book in relation to the chosen format. Visual effects employed such as scale, colour, typography and hierarchy of content helped to further the communication. I was lucky to have an individual tutorial with Ben. This helped to clarify issues with the book such as use of white space, front cover, how I was going to bind the book together. When considering the amount of pages in my book I decided to use perfect bound. A useful point that came from the meeting was that pages within the book could act alone as a screen-printed poster.


DEVELOPMENT OF BOOK: PROTOTYPE SADDLE-STITCH

DISCUSSION WITH BEN BRANAGAN

FORMAT-A4 PERFECT BOUND


Leading on from the development of my illustration. I wanted to focus on groups of objects that form a part of our daily routine such as shoes, alarm clock, milk bottle, tins, sandwich etc. When presenting illustrations I thought carefully about the composition. Using a grid or contrast between scales of objects. When introducing Type amongst the illustration I wanted the audience to interact with the narrative. These selected spreads represent a printed page in my book. You can follow link to view full publication here: http://issuu.com/patrickjwilford/docs/blue_copy_final_book


Within the book the content is visually full. To create a visual pause that reflects an action or activity in the ‘day’. I have isolated a single image to the whole page.


When considering the content of my book/guidebook. I wanted content that could instruct and at the same time be playful. To achieve this when illustrating for example how to make a cup of tea I thought about the contrast between scale and use of hand rendered type.


A2 SCREEN-PRINTED POSTERS:


EVERYDAY BADGES:


EVALUATION:


In the duration of this final major project I have enjoyed the constant challenge of developing my chosen theme. In which I have celebrated the ordinary, everyday object routinely used, familiar through repetition to the point of being ignored. I can identify, that working more autonomously has presented challenges in the way I manage my time and generate ideas. Responding to feedback on my illustration I have been able to refocus and refine my style whilst not losing my particular mark making that identifies my work from other illustrators. The continued development of an individual distinct style of illustration has developed alongside producing and researching visual and written material that relates to my chosen theme for the Final Major Project. This demonstrates my ability to develop work combining Illustration and type. To begin to present the information back to an audience in a compelling, creative and coherent way. This may relate to a narrative or instruction that asks the audience to interact or participate. In reflecting on the success of my final outcomes. In particular the book ‘compendium of the ordinary’ gave me a structure to showcase my illustration and simple narrative. The concept of my illustrated compendium is to celebrate ordinary everyday objects and our daily act of using them. To present this concept I arranged objects in a grid to reflect a narrative. I also introduced a caption below each image to suggest a known narrative or to reflect humour. I feel the book would appeal to a wide audience that might be intrigued by combinations of playful illustration and type that instructs and informs. When contacting the publisher of my book I planned methodically the amount of time to print the publication, paper usage and an initial prototype copy etc. As my printer was in London I was also able to visit the publisher and communicate clearly how I wanted the book to be presented. For example the use of 4 separate colour covers. Utilising pages from the Book I was able to extend the use of my illustration into screen-printed posters and badges.

In conclusion the journey I have taken for this final major project. Has helped me to achieve greater clarity in the communication of visual and written forms. Through constantly producing work and responding to feedback I have a greater confidence in positioning my work and ideas. For example in using fewer marks in my illustration, emphasising the outer line they have a greater commercial potential. This realisation has also been strengthened by research into current illustration and practitioners that function in industry. Looking forward to a possible career as a freelance illustrator. I need to continue to develop my unique style of illustration and the skills required to generate work.


BIBLIOGRAPHY:


Books:

Websites

Chakrabarti, Nina (21 Sep 2009) My Wonderful World of Fashion: A Book for Drawing, Creating and Dreaming, Laurence King.

http://thingsorganizedneatly.tumblr.com/ http://benbranagan.co.uk/ http://www.robertopiecollection.com/ http://www.freestyleprint.com/ http://www.tomgauld.com/ http://www.ellisinwonderland.co.uk/ http://www.ninachakrabarti.com/ http://www.christinachristoforou.com/ http://www.mpawson.demon.co.uk/crap.html-

Christoforou, Christina (14 Mar 2011) Whose Hair?, Laurence King. Deuchars, Marion(1 Aug 2011) Let’s Make Some Great Art, Laurence King. Heller,Stephen (13 sep 2010) Graphic: Inside the Sketchbooks of the World’s Great Graphic Designers, Thames & Hudson. Heller, Stephen (Jan 12 2012)-Mid-century Ads: Advertising from the Mad Men Era: 25 Jahre TASCHEN Hiemann, Jim (29 Nov 2002) All American Ads of the 60’s,Taschen GmbH. Opie, Robert (31 Dec 2007) Remember When, Bounty Books. Warhol,Andy (2011) A coloring book: drawings by Andy Warhol,Thames & Hudson. Warhol,Andy:Musuem (2002) Idea book, Chronicle books. Zeegen, Lawrence (2009) What is Illustration? (Essential Design Handbooks) Rotovision. Article/Magazine Creative Review (2011) The illustration Manual. Twemlow Alice (2011) Eye Magazine: Design discourse is slowly learning to appreciate the essence of the everyday, issue: 80 VIDEO/FILM Hustwit,Gary (2009) objectified:documentary. Musuems/Gallery Robert Opie collection-Museum Packaging and Advertising.

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Final Portfolio