About me Through out my life I have always found being creative an effective tool for expressing myself through the use of different mediums. I enjoy using collage, line drawing and combining colours within my work. I hope to become a designer whose work is driven by a moral obligation and to implement societal change.
CREATIVE INDUSTRY PRACTICE Our Module is intended to allow designers to gain an understanding of working practices within creative industries. From working on group and individual projects that replicate those found in real world inventive environments designers will explore in-depth professional ways of working. this will enable us to find the balance between applying creative imagination and critical thinking to set briefs.
FLETCHER This week we looked at the famous graphic designer Alan fletcher. After researching him I think he has a really interesting way of thinking. In one of his interviews he talks about his book ‘the art of looking sideways’ which a is a collection of work that challenges how people perceive visual language. Almost like an aesthetically pleasing puzzle book for adults, the book contains a range of different types of paper marking off each section or chapter and each chapter contains images/drawings/words that make you think twice about what you’re looking at.
MOROSS Moross is a successful and well-known illustrator and art director based in london. Her portfolio includes music videos, posters, clothing, album covers and more for a variety of established music artists and clients.
I love colour, pattern and typography. I work as signwriter along side university, which I enjoy although it does not allow for much creative expressive as my clients require formal type faces and style. as a designer and illustrator, I am still on a journey of discovery in terms of my own style or identity in terms of my work. Defining my artistic style is important as it i will allow me to brand myself and therefore be identifiable. it is clear from Morossâ€™s work that she has a clear identifiable style which is bright and energetic. Consideration for shape is noticable as her font types take on unusual shapes and sizes, these letters/shapes always have an aesthetic and kind of melodic connection to the letter/ shape that follows it. patterns are formed through this mixed with the multicoloured and neon shades used, her images are visually satisfying and evoke energy and excitment in the viewer.
VIGNELLI during our module we researched Massimo Vignelli’s style and influence into the popular Helvetica font. The type face is currently seen in many places; adverts, shops, clothing brands etc. And started out in the 60’s by Swiss artists. A documentary about Helvetica stared Vignelli discussing the key fundamentals within typography. Vignelli points out the ‘white between the black’ when it comes to typography. “It is the space between the black that really makes it, in a sense it is like music. It’s not the notes, it’s the space between the notes that makes the music”
CREATIVE INDUSTRY PRACTICE
MARKET READY CASE STUDY
The Market Ready brief required us to form small groups and create our own design agency and brand. We selected our agency name and assigned our seleves indiviual roles based on research we did on other agencies and identifing how they organise thier work. Our brief consisted of developing a proposal for a product that sells our course to prospective students and to design a promotional plan for a target audience. Our identity became “ThatsSuch” and our product became the “the punchbook”. by taking careful consideration for our target audience we discussed with our peers and researched what art students require flor university. Our conclusion was something that would enable one to collect all their work in one sketchbook easily and efficiently. The idea of combining a light weight hole punch with a high
quality sketchbook became the punch book. A series of plans were put into place to research how to make it, how much materials would cost and how much it would cost and how long it would take to manufacture. The process as a whole was very insightful as to how much work and preperation goes into our every day objects. The main component of the punch book is the hole punch, which we created by lazer cutting sheets of acrylic into rectangular pieces and gluing them together. with the aim of attaching the hole punch to a sketchbook either hand made or bought cheaply in bulk. Our promotional strategy included creating social media platforms to display and potentially sell our product online.
We experimented with different type faces and decided to black out the oâ€™s in the word book. This worked as it highlighted the product itself by replicating the holes that a hole punch makes in paper.
Exploring through the variety of different shops along Bricklane we collected an assortment of branding material. We compared our findings to identify the different ways visual language can promote a brand. A few items we found were leaflets, business cards and restaurant menus. I noticed that the quality of the paper, size and colours used were all paramount in appealing to the target audiences.
Examples of the initial logo design, by using a variety of bright colours and bold text we wanted to appeal to our peer group. Our feedback was that the logo reminded people of a cake shop. After taking this on board we somplified the logo.
The first attempt at making a hole punch to fit onto our sketchbook included using piano hinge and acrylic tube. This idea didnâ€™t work because you can not successfully make a hole if the hole punch relies on a hinge to make a hole. We tried and tested it and the holes were not completely taken out of the paper.
Our website is easy to use and straight to the point. We could add to this by changing the lay out to across the screen instead of going down the screen. I really believe that changing our colour scheme for the punchbook will give us more freedom with colour on our webpage allowing it to have more character and become more aesthetically pleasing. Market stall design, it is simple and tidy. The hole punch banner at the top is something different and creative. I like the stall however I feel that a bit more colour and something a bit bolder to draw people in is necessary. I believe if we were to add some hand painted boards at the front and even create zines to about our agency, student life and the punchbook which we could give as a free gift a long with the tote bag.
In terms of thinking about how to push our product further in the future, I think that focusing on the quality of the paper for the sketchbok in which the hole punch would be attached to would make it more suitable for creative students as good qaulity sketchbooks are paramount in adding to and creating good work. By taking more consideration to the style of our social media platforms this would also promote our brand and products more successfully.
Creative Industry Practice
MICROSOFT SURFACE PROJECT
As a brand microsoft believes in people and what they can make possible. With this in mind our brief is to create branded content for microsoft surface that reflects this idea.
I propose to create a film or a series of short films that portray the inspirational values of microsoft that is not only emotive but reflects the qaulity and potential of the product. To achieve this I propose to (as part of a group) research branded content thouroughly to gain a clear understanding of the difference between this and advertising. The aim is to include examples of change and development, we will do this filming certain elements and objects changing and moving. For example filming paint being thrown at a blank canvas keeps a clear link to the creative audience that we are aiming this at, and by including other more abstract objects like silver marbles and water droplets. I have considered adding animated characters that are struggling with being creative to our film as this will make our narrative stronger and easier to understand by giving it context and reinforcing the meaning. We would like to include dramatic audio/ music to enhance the feeling of the over all film. To see the final outcome of our microsoft film brief please visit Roseannawarethecass.wordpress.co.uk
FUTURES PAST STUDIO PROJECTS
our brief asks us to engage with activism as a theme and produce outcomes based on research of a topic of our choice. the outcomes will consist of a pamphlet, a banner and a placard that explain, evoke and commemorate. with consideration to the past and present issues faced within society, i decided to build my project around the problem sexual harrassment. This is a subject that appears within communities all over the world. By raising awareness we begin to challenge the problem.
Fimo jewelry to promote awareness about sexual harrassment, i produced a variety of body parts painted in bright colours.
The topic of sexual harrassment is something that still needs to be addressed within different societies through out the world. This was evident when researching this issue. I conducted interviews with local councillorâ€™s that specialise in dealing with people who have experienced sexual harrassment, It was informative and gave me an insight into the extent of how many people are seeking help to deal with difficult ex- i found inspiration in a variety periences and the extent of people that of current practitioners such as may be suffering in silence. Along with Bijou Karman whose work this i have read feminist literature; this usually depicts portraits of women that are bright and colourful. I allowed me to understand how long felt that applying a similar style to sexual harrassment, certainly from a my own work would depict women female perspective, has been prevalent in a positive way. within communities through out time. Florence Given is a particularly useful artist to Social media also offered an aray of look at, i would considstories, blog posts and art work all portraying the depth and severity of this er her style interesting subject. Being conscious of past, pres- and the concepts for her ent and future, I researched old slang illustrations are all about terms and decided to illustrate them to empowering women and raise awareness about sexual harrass- challenging ignorance ment. I did this by designing images that about sexual harrassment relate to the slang words and used an through artistic ability. old style type face placed over the top.
Whilst illustrating designs to fit in with the slang slogans i experimented with print making and collage in black and white.
With the aim of being shocking and hard hitting about a topic i believe is shied away from.
Experimentation sketchbook work. my phrases include â€˜Banks closedâ€™ an old term meaning no petting or kissing. I used this for my final banner design. I felt that using old slang words combined with illustration was an appropriate way of visually communicating my message in a subtle and interesting way.
How Visual Communication Gave Voice to ‘The Women’s March’ of 2017 On 21st January 2017, a protest took place that went beyond the boundaries of its country of origin, developing into a global event with a legacy. The original march, that was to take place in Washington, USA, snowballed into the largest single day protest in US history and inspired 137 simultaneous events, under the same banner, outside of the US (Broomfield, 2018). This particular incarnation of women’s rights advocacy was sparked when Donald Trump, someone who had publicly made what were considered by many to be misogynistic comments, was elected president of America (Malone and Gibson, 2018). In reaction to this, a Facebook page (started by Teresa Shook- a retired lawyer with no previous affiliation with activism) touting a relatively undeveloped idea was created, going on to become an effective and organised movement with fully formed goals (Stein, 2018). I will examine how visual communication gave voice to this issue, using the theories initially proposed by Ferdinand de Saussure (1857–1913) and Charles Sanders Peirce (1839–1914) known as semiotics, and that have been developed and added to. The Women’s March had and has an online presence that takes advantage of the ability of visual communication to signify meaning, what Pierce would call ‘semiosis’ (Crow, 2010). I would further argue that- the adoption of established marketing strategies, that draw heavily from semiotic theories, formed a digital space that was palatable and persuasive to a global audience. A striking feature of their website and social media channels, is consistent style. Red, white and blue make the colour scheme throughout, the text fonts are paradigmical (in that they all belong to the same family of fonts) and there is a logo on every page, video or product. These are some of the features that collectively create a kind of internal, visual dialect that is exclusive to Women’s March. This is a familiar approach that can broadly be defined as ‘branding’. What is interesting is the adoption of corporate style branding by a protest group, when traditionally- branding has been associated with commercialism and has connotations of amorality. This seems incongruous to the righteous underdog character that one might typically associate with peaceful protest (Wengrow, 2008). However, in utilising modern online marketing practices, the protest movement showed an awareness of its potential audience, and of the context it was working within, which helped them to connect- through making their visual output as open organisation had the kind of effect and reach that may have only been accessible to a much more powerful and resourced organisation historically. Visual communication theorist Charles Sanders Pierce
defined a sign as: “something which stands to somebody for something in some respect or capacity. It addresses somebody, that is, creates in the mind of that person an equivalent sign, or perhaps a more developed sign” (Sebeok, 1977). So, in communicating visually through signs, ‘The Women’s March’ is attempting to transfer information regarding an “object” through an “interpretant.” In this case, the object is, simply put, the group’s collective ideology and plans. The ‘Guiding Vision and Definition of Principles’ document lays out these complex and varied ideas, which transcend gender equality. For our purposes, a statement from Women’s March will suffice as a summary of their mission, it reads: “to harness the political power of diverse women and their communities to create transformative social change” (Womensmarch.com, 2018). The logo of the movement, designed by Nicole LaRue, is a sign (or interpreter) that attempts to transmit a concentrated, diverse set of beliefs, as well as a call to action (Chronicle Books Blog, 2018). The colours work well together, avoiding clashing whilst allowing contrast, this echoes the spreading and celebrating of diversity through equality that the group pronotes. It also avoids employing clichés, like bright pinks, without losing femininity. In fact, designer Nicole LaRue said of the colour palette “I had chosen a color palette that I felt was strong but also had a sense of femininity.” Also, the colours (red, white and blue), are reminiscent of the American flag, which could serve the political purpose of not seeming anti-America, which may have been a shrewd instinct given the march was opposing the president, at least indirectly. Along with the colour palette, the graphic of three female silhouettes- each having: a different colour, a nuanced smile and a subtly upwards and optimistic look- successfully capture the group’s philosophy. For example, women working together, embracing diversity, towards a shared goal and implementing change. The lettering, which is often used alongside the logo, is an instructive call for action (see fig 3). This attempt to mobilise people, by inspiring them or relating to them, is played out with the statement: “Women’s March – on Washington.” The lettering itself is angular, bold and bordering on defiant, which may have appealed to the type of person likely to connect to this event. The possessive ‘women’s’ takes ownership and the ‘on Washington,’ plays the practical role of telling protesters where to go, whilst remaining interchangeable with other locations. This encourages spread as the image can be adapted and adopted by supporters all over the world. The text can be defined, arguably, as relay text, which: “is usually a snippet of dialogue and works in a complementary way to the image. It can be found in comic strips, for instance, and is particularly important in film. Relay text advances the reading of the images by supplying meanings that are
not to be found in the images themselves” (Crow, 2008). The combination of imagery that- transmits meaning through metaphor, and text that- capitalises on the mood cre ated to make a call to action, means the logo of Women’s March can be seen as an adroitly administered visual communication that added to the persuasive voice of the campaign. Scrutinizing the official visual communications of a protest group can only get us so far. Protests result when there is a group of people that are disenfranchised with the establishment and then become organised and proactive. It would, therefore, be remiss to not examine what symbols and signs the people themselves display- both individually, and as a collective. A symbol that was seen throughout the world on January 21st 2017 was the symbol that has become known as ‘the woman power symbol.’ The symbol has certainly been around since the 1970’s when WIRES (the women’s information and referral enquiry service) used it as the cover image for their national newsletter, and is used today commonly within feminist protest. The symbol consists of 3 main elements, which combined form an effective piece of visual communication that successfully conveys an important message. Centred in the symbol is: the raised clenched fist. This symbol, widely recognised and documented throughout history, is synonymous with strength, power and solidarity. It has been associated with different causes dating as far back as the early 19th century. Appositely, an early example of the raised fist appearing in a protest is during the first wave of the feminist movement. Emmeline Pankhurst, the leader of the 19th century suffrage movement, was photographed making a speech to a crowd of people raising her fist in passion (fig 5). This is a striking image that contributes to the signification of strength and solidarity in the face of injustice against women that the raised fist. Modern day campaigners for women’s rights have used a sign associated with defiance and rights for women, helping to give dramatic voice and impact to an issue that, to their minds, still needs addressing. Another comparable example of this sign being used was within the black power movement, where the clenched fist is appropriately coloured black in produced images to represent the cause. This supports Peirce’s assertion, that visual communication, “is part of an active process between the sign and the reader of the sign. It is an exchange between the two that involves some negotiation. The meaning of the sign will be affected by the background of the reader; their background, education, culture and their experiences will all have a bearing on how the sign is read. One of the most visible examples of this is the symbolic use of colour in different cultures.” In this
example, the use of black in an unashamed way appropriated, from a suppressor that viewed black as inferior, so the same design choice empowered the protesters and challenged the establishment. With regards to The Women’s March, the two groups both have the same symbol which implies a connection to the black power movement, reinforcing ideas of inclusion and rejecting establishment political ideas, whilst aligning to a previous, credible cause. According to semiotic theory. meaning is formed within a sign or symbol in different ways. The structure of the sign and the context in which it is used is hugely relevant to how the viewer will interpret it. To understand how signs convey meaning, 3 main categories are used: icon, index and symbol (Crown, 2008). As iconic symbols are those that physically resemble the signified, like the example of the clenched fist. Here, the use of an iconic symbol helps ensure clarity of meaning- giving voice to the movement. Another extractable element of the woman power symbol is the Venus symbol. The Venus symbol is believed by most historians to have come about “when men noted that there were certain regular correspondence between the movements of heavenly bodies” and is associated with the Greek Goddess of love, beauty, fertility, prosperity and seduction (Stearn, 1961). As such, it embodies many of the stereotypical feminine attributes that women are encouraged to fulfil and is synonymous with the classification and separation of women. However, when combined with the clenched fist symbol, a juxtaposition is created that subverts old ideas, thus creating a completely new message: that women are strong and powerful in the face of injustice and oppression. Without exhaustive explanation it clearly displays an impressive message that is capable of provoking change. It manages to, without being aggressive or reverting to militant tactics, empower women. The use of pink with the woman power symbol exaggerates its relation to women. By using pink, the signs are made more noticeable and relatable. This is curious as the central organisers chose to reject pink and the near universal association that it has to femininity. Many activists chose to wear the colour and use it in their signs. The association, though seemingly arbitrary, is now so entrenched that protesters were able to repurpose it to emphasise femininity, showing that it is not female qualities that are problematic, but discrimination and inequality.
The field of politic protest, when specifically thinking about visual communication, has the interesting feature of often being a collective and collaborative area. Crowds may unconsciously or consciously tend towards adopting certain slogans, colours and themes in their visual communication. At the Women’s March’s worldwide, a sea of predominately pink but also multi-coloured signs were waved and held high whilst the marches took place. There was a lot of diversity in the signs seen at the various marches. Some of the posters relied on shock images, like painted drawings of uterus’ and fallopian tubes adapted to take on a human-like gestures- by giving the middle finger or making a fist. This drew attention to recent legislation on women’s rights around abortion and mocked some of the derogatory comments from Trump. Other posters used comedy, like poking fun at Donald Trump’s appearance or using word play to change the word trump to dump, adding to a culture that undermines what is sees as unjust authorities. Others chose to keep it simple by printing the words ‘we won’t go quietly back to the 1950’s’ highlighting the history of oppression upon women and making it clear we must progress with equality, not regress. The collective use of pink and the individualistic expression of tone helped portray the qualms, desires and power of the protesters and also demonstrates the passion and identity of the movement, at once inspiring hope in supporters and fear in opposition. As we have seen, posters are a popular and powerful tool in protest, sometimes referred to in this context as ‘picket signs’. They are cheap and easily reproduced on mass and are a medium that can be put out into the world quickly. Most commonly used commercially to attract consumerism, posters have been used in politics as well. The difference being that commercial posters are designed to be attractive, and play on over the top ideologies. Conversely, the political poster appeals to people’s morals. Susan Sontag’s essay about posters postulates: “most political posters, like commercial posters, rely on the image rather than the word. As the aim of an effective advertising poster is the stimulation (and simplification) of tastes and appetites, the aim of an effective political poster is rarely more than the stimulation (and simplification) of moral sentiments. And the classic means of stimulating and simplifying is through visual metaphor” (Sontag, 1970). So, in general terms, there is an excellent argument to be made that posters are an effective medium of visual communication in protests. For Women’s March, posters allowed the marchers to portray the views of the collective, whilst celebrating the personalities of the individual. This clearly promoted the correct arguments through employing, albeit unconsciously, semiotic theory. It would be difficult to separate visual communication from Women’s March. At every level it serves to extend, explain and provoke a struggle that has been being fought since long before this march, a event that achieved a definite step in the right direction because of it. Even to-
day, more than a year on, the movement continues to gain ground and possess the righteous idealism that defined previous incarnations of women’s advocacy. The study of semiotics, among other gains in human capability- such as technology, have given this and other worthy causes access to tools that make them a force for hope.
Development designs including the phrases ‘no drugstore cowboys’ a drugstore cowboy was a term used to describe a creepy guy who lingers around the streets. ‘blowing your wig’ was a term used for getting excited so i turned this into ‘dont blow your wig over me’. After illustrating the designs by hand I experiemented by manipulating the images, trying different colours and layering text over the image by using photoshop.
I’m no ducksoup (Im not easy) illustration. Final Placard design onto plywood.
I found that exploring activism and using an important and current issue to inform my work was insightful and inspiring. I feel that in the future I want to use the power of visual communication to reach out to people and raise awareness. It has made me consider that design is far more influencial than i realised before and therefore i believe it should be used to help society.
In terms of this project It could be improved by creating outcomes such as my banner, placard and pamphlet that are cohesive in design, i feel that i have tried to include too many ideas and designs and by doing this the message isnâ€™t as clear as it could be.
A5 Pamphlet containing slang designs and quotes from a variety of feminist literature. Image includes A3 banner, a5 lazer cut plywood placard, pamphlet, fimo jewelry and silk screen printed t-shirt.
studio project past, present and the future 100 years from now. Project 2 entailed imagining what the future would be like in 100 years time in the area of Bow and roman Road. Our vision of this could be open and imaginative and we were given the choice of displaying this in either the format of a book, film or 12 still images.
By all means protect your child, But thereâ€™s a balance between a flashing screen and the deadly wild.
When it comes to imagined representations of the future, film seems much preoccupied with dystopia. Dystopia as a genre or theme of creative output is not only entertaining but serves the purpose of making the inhabitants of the present think about where they are going- potentially bringing about conversation or action. The genre first became popular in the 20th century with novels such as Orwell’s 1984 (it would be remiss to not mention Orwell, so It seems best to get it in early) and Huxley’s Brave New World, in which themes including: identity, politics and technology were explored. The authors projected their respective, grim visions of what the future would look like if the then current trends were to continue unchecked. Today, in an age where most people do not have the attention span to read a challenging book let alone write one, film has taken on this role. This makes sense in an increasingly more visual age where film making techniques are advancing and are available to any one who has a computer. The skilled filmmaker or team can create a multisensory representation of what is to come. The film Gadget – a dystopian sci-fi short, which was produced at Goldsmiths and set in a vague near future, is good example. The film opens with a relatable man out running, the only jarring addition to the modern world being that he is wearing some techy sort of glasses. We soon learn that the glasses act as sort of emotionally detached, micro manager to Mr. Relatable. Providing encouragement, through a character that is a bit like an evolution of the Microsoft paperclip, to the building design he has created using a Tony Stark-esque 3d hologrammatic software. The future, according to ‘Gadget’, is not all nifty glasses and smooth user interfaces. As the protagonist’s productivity drops the glasses suggest the man meets a local escort for anonymous sex, saying that desire to meet someone in ‘the old way’ is ‘unproductive’. We see the broad point that the film is making, that we are becoming more detached from each other and increasingly reliant on technology and are, therefore, less happy. The narrative continues in this vain, climaxing with Mr. Relatable meeting a girl he likes which releases whichever chemical he needs to continue working in his brain, and is then beleaguered to do so. I don’t reject this idea, but I do feel that you may as well apply it today as to the future. In the present we have, rather than a pushy pair of glasses, smartphones and economics and competition and fear and alienation to tacitly drive us to a life the revolves around consumerism and work. What is perhaps more interesting about the film is the vague sense of irony one feels about the fact that it’s audience are largely internet based and that the reason that it is possible for the film to exist is because of the technologically advances that it is so rightly dubious of.
Riso printed image of virtual reality.
Other examples of dystopian filmmaking, such as the German short DIS, are more nuanced. This is animated in black and white and looks something like a storyboard drawn in chalk. This classic, low tech aesthetic juxtaposes with the content, which is of a character with burn hole eyes fleeing a despotic eye. This serves to highlight the unnaturalness of ‘big brother’ culture (a nod to Orwell) and it also goes on to represent alienation. This short relies more heavily on imagery and allows the reader to form their own impressions.
experimentation using paint, inks and pen which was followed by riso printing 5 different layers together.
For me, doing a sketch of someone in the future is the same of doing a sketch of someone in the past. They will look different and have different features, but the process is the same. When drawing a subject, live or imagined, you consider the practical composition of the person- to my mind: the human being will not, and has not, changed drastically.
Girls and boys lost in the matrix, Concerned with how the filter looks or how good the game is.
If you imagine a picture of a man 100 years ago you might think of him wearing a tweed jacket and smoking a pipe, today with a blue tooth headset or a fashionable haircut, in the future with an antennae and aluminium jacket. I accept that these are basic examples, but the point remains that it is purely a limitation or application of imagination or observation and skill that dictates the ability to draw.
Of course, there is no such thing as a live subject from the future, so we are reliant solely on imagination, drawing on our understanding of how humanity progresses and where it is going. What would be particularly challenging is to portray a dystopic tone in a sketch. For example, blurring a characterâ€™s features to create alienation or putting them in a crown to exaggerate loss of identity.
Different types of media deal with the future as it is a subject that fascinates the public. The dystopian novel was first popularised in the 20th century and has since become a genre in of itself. The fascination with considering how modern life will evolve and continue is not hard to understand as it allows us to see the potential effect of our behaviours or of cultural developments. My work has often centred around the unrealistic social pressures to look a certain way and Scott Westerfield’s dystopian novel ‘Uglies’ takes this idea to the nth degree. This is typical of the creative power of portraying the future, the artist can take an issue or idea, isolate it and magnify it, provider the audience with a dichotomy of its true nature. ‘Uglies’ presents a world in which extreme beauty is maintained through surgery, where ‘to be normal is to be ugly.’ This is an extreme continuation of a current dangerous trend that was masterfully played out in the novel with a depth that lends itself well to examining the future. The factual book can also put across a powerful message. Andrew Keens “The Internet is not the Answer” argues that the internet has had a disastrous impact on our life, which is an even more powerful argument as Keen is an ex Silicon Valley pioneer. With the internet being an ever-growing phenomena, this is an ominous idea. The other place where the public gets a preview of what is to come is via news reporting. Like in this video from the BBC. My emotional response to the dog is that it seems a little perverse, and paints a future of reliance and coldness. A more humanist consideration of technology adoption is put forward in ‘To Be a Machine’ where Mark O’Connell presents the burgeoning occurrences of trans-humanism, taking on aspects of a machine or computer physically. Apart from the moral and lifestyle implications this makes for a fecund subject for an illustrator.
After rersearching a variety of literature, film and current news, it helped me to invision a dystopian future corrupted and controlled by technology. The issues raised within my illustrations are very current issues however i believe that the addiction and isolation experienced as a result of technology/the internet will worsen and become more prolific as we become more dependent and reliant on our technology devices. I have focused my designs around characters that portray the effects and emotions brought on by using (or not using) tech.
Pop Artist Andy Warhol, famously known for his screen printed images of soup cans and Marilyn Monroe in the 1960’s, he is one of my favourite artists. His work covers a range of mediums including painting, screen printing and film. Sketchbook work. Practicing sketching different faces using pencil, pen and black ink.
A combination of his style and free thinking attitude to producing work makes him some one to admire. The use of colour and mixed media in a few of his images is something my eye is really drawn to and I believe they represent his ‘kookiness’ . From researching Warhol and looking through his designs there is no pattern, his work feels expressive, inconsistent and full of emotion. I have used this as inspiration to inform my own work as I would like to create 12 images that contain similar movement and power within them whilst
portraying what I believe the future will hold in 100 years from now. As my prediction is that of a dystopian place where by we have all succumbed to the pressure, addictions and isolation that technology and the internet could bring, combining layers, colours and the use of different mediums (paints, pencils, pens, riso) would a create an uneasy sense of what the future could bring. Below is an example of Warhol’s work, it is an image of Mick Jagger
I have developed 6 different characters based in the roman road area. I have chosen an old man to represent the isolation that can be experienced from not being able to use devices that younger people use to connect with eachother. My research has shown that more and more young people are becoming increasingly narcissistic due to social media and taking selfies i have tried to illustrate this with my image of a young woman whose phone forms lots of creepy faces around her. It is predicted that addiction to gaming is on the increase I have represented this through the tired looking young man with layers of computer screens and energy drinks. A young child hypnotised by a smart phone, the man that is turned into a robot after his death and a woman living in virtual reality are all illustrations trying to convey a very dark message about the potential impact of technology on society in the future.
Look at where we’ve come, Look at what we’ve done, The light that shines from tech is just a glare from artificial sun, Mothers, fathers, sons and daughters, All we need is decent food to eat and cleaner water, The waves around us are not healthy, Rather than see the world.... ....You take a selfie, Girls and boys lost in the matrix, Concerned with how the filter looks or how good the game is, There’s many different ways to say this, It’s like we’ve lost a limb and machines replaced it, Technology is taking over, It should cost to go to war, but now the robots have replaced the soldier, Suits and ties send drones to fight, And cyber bullies have made a stranger take their life, This earth is rich in natural beauty, We mass produce computers, the truth is we have slacked in duty, By all means protect your child, But there’s a balance between a flashing screen and the deadly wild, There is no danger in rolling hills, And social media promotes no social skills, Do not mistake a motherboard as a part of family, Only a human heart has the chance to save humanity.
Do not mistake a motherboard as a part of family, Only a human heart has the chance to save humanity.
Francesco Romoli is an Italian designer whose work is extremely inspiring for this current project. As his work has a seemingly dark vibe to it. By combining photography and mood lighting his creations set the tone of eeriness.
Do not mistake a motherboard as a part of family, Only a human heart has the chance to save humanity.
One of my characters for the 12 still images, a man that has been rebuilt as a robot after death. riso printed in red and blue.
A few images in particular caught my eye in reference to my own futuristic project as they show the transformation of humans into robots. This is topical as I envision something similar due to the progression of technology within society. Research has shown that robots (whether in the form of the transitional association of a robot that replicated a person or animal and robots considered as phones, computers and so on) are being more of a norm to have in our lives and as a result we are becoming more and more dependent on them. Romoli has managed to capture the transition of the human to robot idea remarkably well.
Another kind of life.
The photography exhibition held at the barbican located in london is a collection of work by 20 different photographers. To name a few Diane Arbus and Jim goldberg whose work i admired the most. The gallery is full of photographs of people living on
the margins of society. This brutally honest and beautifully captured exhibition reflects a more diverse, complex view of the world. A truly fascinating insight into the lives of people such a transvestites in the 80â€™s, prostitutes, drug
addicts and misfits. some of the images were of people in very harsh, unsettling conditions, this was applified by the fact that the photograph was produced and displayed with such a contemporary, flawless finish.
I found this exhibition exciting as it was so raw and honest. I would hope to use photography within my work in the future.
Workshop Riso Printing.
Bridging the gap between a conventional photocopier and laser printer, Risograph printing, aka Riso, is a simple yet brilliant tool for anyone interested in producing high quality prints. Regarded by many illustrators and designers as a more economical alternative to silk screen printing, the technique is growing in popularity, with printers in London and further afield offering dedicated services to students and professionals alike seeking affordable ways to self-publish.
I was introduced to riso printing in my first year at university and since then I have applied it to a series of different projects. I think that it adds a professional looking finish to any design. I like the layering of different images and colours. In our risograph printing workshop we created a collage of different images, mine were photocopies from an old book about 1900â€™s Bow (london) we used the risograph machine to experiment with how to create a promotional poster for our second brief. The idea being that we consider and analyse our outcomes. The choice of colour and how this affects the mood of the image. The placement of text, does this coordinate with the image. does the image, text and colour comply with and convey the message and mood you want? This was an interesting workshop and i look forward to using and experimenting with riso printing in the future.
examples of my experimental designs for my promotional poster. The original images are riso printed and i then enhanced them by adding text and layers using adobe software. I dont think i will use them as part of my final outcome as i would prefer to use still images from the projection mapping film to create a poster from. I began by using the words â€˜the future isnâ€™t brightâ€™ although this felt too literal so i took a couplet from my poem and incorporated that into the image seen on the opposite page.
Projection Mapping shots from practicing with projectors.
creating foam board roman road set.
Projection Mapping uses everyday video projectors, but instead of projecting on a flat screen, light is mapped onto any surface, turning common objects of any 3D shape into interactive displays. More formally, projection mapping is â€œthe display of an image on a non-flat or non-white surfaceâ€?.
Continuing on from our second brief we were tasked with developing a visual proposal for the possible implementation of our work in a real world context. with the choice of either film or print I have decided to use projection mapping to show how my images along with a recording of the poem would be experienced in the real world. I envision it being projected into the busy streets of roman road market. As it is a thriving multi-cultural community i feel that projecting my work there this will allow it to be experienced and interpreted by anyone and everyone. I have tried to design images that contain characters that are relatable and i would hope that people from any background would understand my message. By using a projector and a pa system i could set this up along the roman road and use bright white spotlights to be seen in the evening. Implementing this idea would involve contacting the local council to gain permission to be there. I think the projection mapping really adds to the futuristic feel of the project and combined with the recorded poem it allows the viewer to get a clear understanding of what i am trying to say. The future of society could be darker than we think...
Shots of experimenting with projectors on a small foam board set that represents the roman road market, image above - manipulating character images using millumin software.
Raw Waves Colaborative Publication. Possible front cover
I have decided to colaborate with a contempory poet that goes by the name of Halo Pain, his poetry is emotive and covers many topics for which in our joint publication i will illustrate each poem. I plan to divide the book into chapters depending on theme and narrative. The title, â€˜Raw Wavesâ€™ embodies and represents the raw feeling found and felt within the writing and art work, by using the word waves in the title we want to create an association to the beauty and depth of the ocean, the life issues mentioned in the poetry are repressentive of waves in that life can be up and down sometimes it is calm sometimes it crashes to the ground. Raw waves is the name of the opening poem in which the autor talks about... Through the use of illustrated poetry and raw emotion we have tried to create a book that take one on a relatable journey touching on common experiences and feelings. I believe that publishing this book with a hard cover and matte finish pages it will aesthtically represent the content, we do not need shiny glossy pages, there is no glamour or idealistic fantasy here, only real work made by real people laying out real feelings.
Riso printed publication of bricklane observations.
After researching and visiting bricklane a few times, I developed my photographs and illustrated over the top of them. I wanted to combine photography and illustration together for my layout to riso print. I thought about which colours would be appropriate to portray the vibrancy of banglatown. Greens and oranges sprung to mind as they are bright and apparent within the Bangladeshi environment along bricklane. I found some paper which had some interesting colours and patterns, however as I didn’t design the paper myself I won’t be able to use it in my final outcomes. I chose a light blue coloured paper as you only have a choice of red, green and yellow to riso print and when I experiemented with different layers, colours and card the colours did not compliment each other. So tried keeping my colours simple and let the images speak for themselves.
Drawing life from PEOPLE.
The desire to draw and design is undeniable. I will continue to do so by focusing on people. Human beings from any walk of life have their own story and i want to capture this through illustration.
A collection of work displayed in book form, by a Level 5 Illustration Student