Thursday, 25 October 2012
Wednesday, 24 October 2012
Evaluation
The way in which my piece meets the needs of the brief is that I have made an editorial portrait that can go on to a New Scientist page in the magazine. I went down the route of illustration for this project as I was aware that whatever I choose for this project as an option, I will have to choose for the next one, so I went for the option that I knew I would enjoy. I have also included the caoption of under 20 words to describe the person. I decided that I didn't want to actually describe the person I have drawn as the person is quite close to me therefore I didn't feel comfortable in sharing this, so I asked permission on whether it is possible to make this fictional.
I feel that the strengths of the visual communication in this piece of work is the way that I have produced the illustration. The way that I came across this way of working was by experimenting one afternoon, I had scanned all my drawings into the computer and loaded them into Photoshop and I began trying to neatly trace over the lines, but it wasn't working the way I'd hoped and so I did some quick scribbling over it and I found that it was starting to look interesting and different to anything that I had done before and so I think this is a strength with this piece. The only thing that I think may be a weakness is the choice of words that I used over the mouth. I kept changing my mind, I don't really want the words to be readable as I want the main focus to be on the image and style and also the caption that is meant for the image.. so I made the writing really small so that it doesn't become the main interest on the page.
I feel that the strengths of the visual communication in this piece of work is the way that I have produced the illustration. The way that I came across this way of working was by experimenting one afternoon, I had scanned all my drawings into the computer and loaded them into Photoshop and I began trying to neatly trace over the lines, but it wasn't working the way I'd hoped and so I did some quick scribbling over it and I found that it was starting to look interesting and different to anything that I had done before and so I think this is a strength with this piece. The only thing that I think may be a weakness is the choice of words that I used over the mouth. I kept changing my mind, I don't really want the words to be readable as I want the main focus to be on the image and style and also the caption that is meant for the image.. so I made the writing really small so that it doesn't become the main interest on the page.
The audience for this piece of work would be people who read New Scientist as the illustration is based on an article about the psychology of faces. But also I think if this piece was to be a stand alone piece, it could be viewed by anyone, even with or without the caption I am confident that it could work well. A way that I think that this piece could be improved was to be if I had more time to make the piece I would maybe make a series of them of different people. I think that it would look really good in a set of 4 in a row of different colour in each, like the blue is in this piece, maybe a red in a one and orange in another - complimenting colours.
My time keeping in this project I found that I did well, I didn't have as much time as others as I was at Closer Magazine doing work experience for my last 4 days of the project and so I was determined to get all my designing done before I was going away to London and I achieved that. I feel that if I set myself time goals I am more likely to get there if I push myself knowing that I have other things to be doing, it makes a difference for me to push my self that little bit more every time, getting work experience was important to me as having advice from graphic designers and people that I have previously worked with on other magazines gave me that knowledge that getting the experience is key to getting that job. My analysis of the brief was good, I knew what it was that I needed to do and got straight to thinking of ideas for my illustration. I did a small bit of photography research for some inspiration and also editorial photography which I feel did help me get inspired. Through out this project I have done quite a lot of experimentation with drawing - I wanted to a selection of drawings just so that I could decide what it was exactly that I wanted to make this piece look like. The parts that I enjoyed the most in this project is when I was designing and drawing, when I start drawing it begins to get me inspired and I can draw for ages until I find an idea that I really like an this is when I work best.
Monday, 22 October 2012
Making the New Scientist Page
Here I am going to jus show how or where I would place my design on the layout of New Scientist page.
The measurements are ones from the New Scientist website where they have information about their pages.
I have decided that for my hand in I am going to include an article that would match with the article theme. I found one online that I thought might go quite well. This is it:
ABSTRACT: ANNALS OF PSYCHOLOGY about reading people’s facial expressions. Some years ago, John Yarbrough was working patrol for the Los Angeles County Sheriff’s Department. It was about two in the morning. He and his partner approached a parked car and, suddenly, a man jumped out of the passenger side and pointed a gun directly at him. The two of them froze, separated by no more than a few yards. It was just a matter of who was going to shoot first. But for some reason Yarbrough didn’t shoot him. It was a gut reaction not to shoot-a hunch. So Yarbrough stopped, and sure enough, so did the kid. Many years later, Yarbrough met with a team of psychologists who were conducting training sessions for law enforcement. They sat beside him in a darkened room and showed him a series of videotapes of people who were either lying or telling the truth. On average, people score fifty percent which is to say that they would have done just as well if they hadn’t watched the tapes at all and just guessed. But every now and again -roughly one time in a thousand-someone scores off the charts. A Texas Ranger named David Maxwell did extremely well, for example, as did an ex-A.T.F. agent named J.J. Newberry, a few therapists, an arbitrator, a vice cop-and John Yarbrough, which suggests that what happened that night may have been more than a fluke or lucky guess. In the nineteen-sixties, a young San Francisco psychologist named Paul Ekman began to study facial expression after learning about and meeting with a Princeton professor, named Silvan Tomkins, who may have been the best face reader there ever was. Tomkins, it was said, could walk into a post office, go over to the "Wanted" posters, and just by looking at mug shots, tell you what crimes the various fugitives had committed. Tomkins felt that emotion was the code to life and that with enough attention to particulars the code could be cracked. After meeting with Tomkins, Ekman decided to create a taxonomy of facial expressions. The entire process took seven years. By working through each action-unit combination, Ekman and his collaborator, Wallace Friesen, sorted through over ten thousand possible visible facial configurations and identified about three thousand that seemed to mean something, until they had catalogued the essential repertoire of human emotion. On a recent afternoon, Ekman sat in his office with writer and began running through the action-unit configurations he had learned. "Everybody can do action unit four, "he began. He lowered his brow, using his depressor glabellae, depressor supercilli, and corrugator. "Almost everyone can do A.U. nine." He wrinkled his nose, using his levator labii superioris, alaeque nasi. The Facial Action Coding System, or FACS, the assemblage of all the possible facial combinations, takes weeks to master in its entirety, and only five hundred people around the world have been certified to use it in research. They learn to read the face the way that people like John Yarbrough did intuitively. Ekman recalls the first time he saw Bill Clinton, during the 1992 Democratic primaries. "I was watching his facial expressions, and I said to my wife, This is Peck’s Bad Boy. There was this expression. It’s that hand-in-the-cookie-jar, love-me-because-I’m-a-rascal look. It’s A.U. twelve, fifteen, seventeen, and twenty-four, with an eye roll."Ekman called someone on Clinton’s communications staff about the incriminating facial tic and volunteered to meet with Clinton and work on it. The staff-member, though, thought the expression was better than taking the risk of it getting out that Clinton was seeing an expert on lying. Silvan Tomkins once began a lecture by bellowing, "The face is like the penis! And this is what he meant ñ that the face has, to a large extent, a mind of its own. Often, some little part of a suppressed emotion leaks out. Our voluntary expressive system is the way we intentionally signal our emotions. But our involuntary expressive system is in many ways even more important: it is the way we have been equipped by evolution to signal our authentic feelings. Yarbrough has a friend in the L.A. County Sheriff’s Department, Sergeant Bob Harms. Harms, like Yarbrough, is a gifted face reader. One night he was working in West Hollywood and spotted a man in drag. He rolled down the window to ask the guy a question just to get a reaction. The guy came over to the squad car and said, ‘I have something to show you.’. Later, after the incident was over, Harms and his partner learned that the man had been going around Holllywood making serious threats, that he was armed with a makeshift flame-thrower, and what he had in mind, evidently, was to turn the inside of the squad car into an inferno. All Harms had was a hunch, a sense from the situation and the man’s behavior-something that was the opposite of whatever John Yarbrough saw in the face of the boy he didn’t shoot. Harms pulled out his gun and shot the man through the open window. His partner looked at him like, "‘What did you do?’ because he didn’t perceive any danger." Harms said, "But I did."
the article is from:
http://www.newyorker.com/archive/2002/08/05/020805fa_fact_gladwell
The measurements are ones from the New Scientist website where they have information about their pages.
I have made three columns as that is what New Scientist use on their layouts on some of their pages. Others they use 4, but for the editorial image that I am putting on I think that it will be suited to 3 columns.
ABSTRACT: ANNALS OF PSYCHOLOGY about reading people’s facial expressions. Some years ago, John Yarbrough was working patrol for the Los Angeles County Sheriff’s Department. It was about two in the morning. He and his partner approached a parked car and, suddenly, a man jumped out of the passenger side and pointed a gun directly at him. The two of them froze, separated by no more than a few yards. It was just a matter of who was going to shoot first. But for some reason Yarbrough didn’t shoot him. It was a gut reaction not to shoot-a hunch. So Yarbrough stopped, and sure enough, so did the kid. Many years later, Yarbrough met with a team of psychologists who were conducting training sessions for law enforcement. They sat beside him in a darkened room and showed him a series of videotapes of people who were either lying or telling the truth. On average, people score fifty percent which is to say that they would have done just as well if they hadn’t watched the tapes at all and just guessed. But every now and again -roughly one time in a thousand-someone scores off the charts. A Texas Ranger named David Maxwell did extremely well, for example, as did an ex-A.T.F. agent named J.J. Newberry, a few therapists, an arbitrator, a vice cop-and John Yarbrough, which suggests that what happened that night may have been more than a fluke or lucky guess. In the nineteen-sixties, a young San Francisco psychologist named Paul Ekman began to study facial expression after learning about and meeting with a Princeton professor, named Silvan Tomkins, who may have been the best face reader there ever was. Tomkins, it was said, could walk into a post office, go over to the "Wanted" posters, and just by looking at mug shots, tell you what crimes the various fugitives had committed. Tomkins felt that emotion was the code to life and that with enough attention to particulars the code could be cracked. After meeting with Tomkins, Ekman decided to create a taxonomy of facial expressions. The entire process took seven years. By working through each action-unit combination, Ekman and his collaborator, Wallace Friesen, sorted through over ten thousand possible visible facial configurations and identified about three thousand that seemed to mean something, until they had catalogued the essential repertoire of human emotion. On a recent afternoon, Ekman sat in his office with writer and began running through the action-unit configurations he had learned. "Everybody can do action unit four, "he began. He lowered his brow, using his depressor glabellae, depressor supercilli, and corrugator. "Almost everyone can do A.U. nine." He wrinkled his nose, using his levator labii superioris, alaeque nasi. The Facial Action Coding System, or FACS, the assemblage of all the possible facial combinations, takes weeks to master in its entirety, and only five hundred people around the world have been certified to use it in research. They learn to read the face the way that people like John Yarbrough did intuitively. Ekman recalls the first time he saw Bill Clinton, during the 1992 Democratic primaries. "I was watching his facial expressions, and I said to my wife, This is Peck’s Bad Boy. There was this expression. It’s that hand-in-the-cookie-jar, love-me-because-I’m-a-rascal look. It’s A.U. twelve, fifteen, seventeen, and twenty-four, with an eye roll."Ekman called someone on Clinton’s communications staff about the incriminating facial tic and volunteered to meet with Clinton and work on it. The staff-member, though, thought the expression was better than taking the risk of it getting out that Clinton was seeing an expert on lying. Silvan Tomkins once began a lecture by bellowing, "The face is like the penis! And this is what he meant ñ that the face has, to a large extent, a mind of its own. Often, some little part of a suppressed emotion leaks out. Our voluntary expressive system is the way we intentionally signal our emotions. But our involuntary expressive system is in many ways even more important: it is the way we have been equipped by evolution to signal our authentic feelings. Yarbrough has a friend in the L.A. County Sheriff’s Department, Sergeant Bob Harms. Harms, like Yarbrough, is a gifted face reader. One night he was working in West Hollywood and spotted a man in drag. He rolled down the window to ask the guy a question just to get a reaction. The guy came over to the squad car and said, ‘I have something to show you.’. Later, after the incident was over, Harms and his partner learned that the man had been going around Holllywood making serious threats, that he was armed with a makeshift flame-thrower, and what he had in mind, evidently, was to turn the inside of the squad car into an inferno. All Harms had was a hunch, a sense from the situation and the man’s behavior-something that was the opposite of whatever John Yarbrough saw in the face of the boy he didn’t shoot. Harms pulled out his gun and shot the man through the open window. His partner looked at him like, "‘What did you do?’ because he didn’t perceive any danger." Harms said, "But I did."
the article is from:
http://www.newyorker.com/archive/2002/08/05/020805fa_fact_gladwell
Friday, 19 October 2012
Progession
Whilst in a lesson where I could get on with the project I looked again at the illustrations that I had downloaded to the computer that I have drawn and I opened them in Photoshop. I started to use the pen tool around the edges of one of the drawings and I carried on just roughly going around the edges and filling in the gaps again quite roughly, changing the opacity slightly as I went along. Here is some development of this idea:
I feel that it is going really well, as I didn't plan this as I didn't think of this idea at first I am really happy with what has happened. i am going to carry on with this idea and see how this developed and see if this image works as what I want to use. But I have thought that I may use another illustration or photograph.
Here is my final of this piece:
I have decided to use text over the mouth as I think that it makes the illustration look a little more interesting. I really am so pleased with the outcome of the Photoshop illustration that I did over the photograph and drawing that I did originally.
I feel that it is going really well, as I didn't plan this as I didn't think of this idea at first I am really happy with what has happened. i am going to carry on with this idea and see how this developed and see if this image works as what I want to use. But I have thought that I may use another illustration or photograph.
Here is my final of this piece:
I have decided to use text over the mouth as I think that it makes the illustration look a little more interesting. I really am so pleased with the outcome of the Photoshop illustration that I did over the photograph and drawing that I did originally.
Thursday, 18 October 2012
Progression from crit
Today I did a selection of paintings using watercolours and Gel pen in black ink. I did around 8-10 different types of faces. Here are the drawings/paintings I did today:
Idea that I have previously thought about doing with colour being the psychology of the face, using the feelings that colour represents - after the crit and hearing others thoughts and opinions about whether colour has a universial meaning. Some colours do, for example green - jealousy and red - romance and love but there are colours such as yellow that are a little more tricky to recognise as a meaning.
I had a quick go at drawing an angular face, but quickly then decided that it wasn't for me and wasn't anything like my style.
As a final go at doing some paintings today. I did a simple set of line drawings from a photo of a hair model in a magazine. I did one at first and then really liked the outcome as I felt that it would work well with the style of drawing that I have done for previous projects, also I don't want to stray too far from my style as I think that it would take away the speciality of my work.
Idea that I have previously thought about doing with colour being the psychology of the face, using the feelings that colour represents - after the crit and hearing others thoughts and opinions about whether colour has a universial meaning. Some colours do, for example green - jealousy and red - romance and love but there are colours such as yellow that are a little more tricky to recognise as a meaning.
I had a quick go at drawing an angular face, but quickly then decided that it wasn't for me and wasn't anything like my style.
As a final go at doing some paintings today. I did a simple set of line drawings from a photo of a hair model in a magazine. I did one at first and then really liked the outcome as I felt that it would work well with the style of drawing that I have done for previous projects, also I don't want to stray too far from my style as I think that it would take away the speciality of my work.
Wednesday, 17 October 2012
Crit - Monday 15th Oct
Before the crit on Monday I wrote down some notes that I thought would help me. The notes that I wrote are:
IDEAS;
- Watercolour dripped down pag, face drawn around and with the colour, using the colour from the watercolour to be part of the personality. Every trickle to represent a apart of a personality, showing that everyone is different, shown by the trickles and way the colour colides together to mix. This could be shown in 3-4 different pieces (all the same idea) so this then shows a theme for portrait and also psychology.
- Photograph traced by hand, little sister, big sister, psychology of the face, different within siblings, which parts of a siblings face is the same yet they can look so different (me and sister did iPhone face juggler app - swapping faces made no difference to how we look.. yet we look completely different in person.)
- Similar idea to 1. Using penil , lighter and more detialed where as I have done idea 1 more simple. - Could possibly combine the two, scan then into Mac and use Photoshop to enhance them and layer up. Similar tools and technique of my surf board project.
-Use a repeated pattern to create a face, using brush tool on Photoshop? Scanning something in that I have drawn to create this.
I have then gone on to choosing my ideas that I have favourited out of those. Suiting to what I feel I could make work and progress well with.
Ideas 1 &3
Using pen (fineliners) and a pencil to create face. Already started to create examples of what I would like to do.
Here are those examples:
More notes that I took during the crit:
IDEAS;
- Watercolour dripped down pag, face drawn around and with the colour, using the colour from the watercolour to be part of the personality. Every trickle to represent a apart of a personality, showing that everyone is different, shown by the trickles and way the colour colides together to mix. This could be shown in 3-4 different pieces (all the same idea) so this then shows a theme for portrait and also psychology.
- Photograph traced by hand, little sister, big sister, psychology of the face, different within siblings, which parts of a siblings face is the same yet they can look so different (me and sister did iPhone face juggler app - swapping faces made no difference to how we look.. yet we look completely different in person.)
- Similar idea to 1. Using penil , lighter and more detialed where as I have done idea 1 more simple. - Could possibly combine the two, scan then into Mac and use Photoshop to enhance them and layer up. Similar tools and technique of my surf board project.
-Use a repeated pattern to create a face, using brush tool on Photoshop? Scanning something in that I have drawn to create this.
I have then gone on to choosing my ideas that I have favourited out of those. Suiting to what I feel I could make work and progress well with.
Ideas 1 &3
Using pen (fineliners) and a pencil to create face. Already started to create examples of what I would like to do.
Here are those examples:
NEXT:
I am going to make around 10 pages with watercolour drips on so I can choose what colour ways and patterns will work with certain people that I want to use with their personalties.
Then after that I am going to do some research into the colour wheel and the feelings in colour so that I can get the colours and feelings right for every person.
AFTER CRIT
Here are my notes after the crit with Sancha, Colin and the rest of my class.
Feedback on my idea that I have choosen to go with didn't go quite as well as I'd hoped. Although I think that it has helped me in getting some more ideas to push me forward but not loosing out on my idea too much.
Feedback that I got that stuck in my mind was that 'are the colour meanings universal? Will people looking at the article all think the same thing about the colours; Green - Envy, Jealousy and Red - Love, Romance but could also mean Anger which is kind of the opposite to what I might want it to represent. I have taken these thoughts into consideration and I am going to do some different types of drawings and paintings to inspire me.
- What is it that identifies people as the classical meaning of BEAUTIFUL? Does a doctor always look like a doctor? Does a teacher always look like a teacher? Does a persons face give away enough about the person? No, I don't think it does. Everyone is so quick to judge a person by looks. Everyone is guilty of this at some stage. (Kerry)
- What makes people class each other as attractive? Marilyn Monroe was classes as the most beautiful woman in the world, but she did not fit or match what is known to be classically beautiful. Her eyes didn't line up, her proportions of her features were slightly wrong, but she was still classed and very beautiful.
- Linking to Somerset house, you know what the piece could be able without reading or looking quickly and the piece of writing that goes with it. It has to be an image that could be a stand alone piece, so it can be complete. Need to develop my work to be able to live up to my concept.
- Look at Julien Opie - Blur Album Cover
Friday, 12 October 2012
Photoshop Illustration Lesson
In this lesson I was being taught a slightly different way to finish of or do a different way of illustration - digitally.
We used 3 different images layered up onto Photoshop and used the cut out tool to make a quick effect for experimentation. The cutout tool I did the different levels so that the buildings are still recognizable.
We then made a brush on Photoshop.
I made an X as my experiment. Here is a brief step by step guide of how I created a brush:
- I created a seperate document to create the brush; putting an X on the page.
- On the layer CMD and click the T box and that should create 'marching ants' around the X
- Go to Edit
- Define brush edit - Name the brush
- Go to Window and get up brush and brush presets
- Go to the Brush tool
- Then in brush presets go to shape dynamics
there you can change the size, spacing, angle and scattering of the letter or image that I use.
We used 3 different images layered up onto Photoshop and used the cut out tool to make a quick effect for experimentation. The cutout tool I did the different levels so that the buildings are still recognizable.
We then made a brush on Photoshop.
I made an X as my experiment. Here is a brief step by step guide of how I created a brush:
- I created a seperate document to create the brush; putting an X on the page.
- On the layer CMD and click the T box and that should create 'marching ants' around the X
- Go to Edit
- Define brush edit - Name the brush
- Go to Window and get up brush and brush presets
- Go to the Brush tool
- Then in brush presets go to shape dynamics
there you can change the size, spacing, angle and scattering of the letter or image that I use.
This is the brush preset pallet this is where I changed the size etc of the X
These screen grabs are just showing how the X brush turned out on the piece.
Final of the images layered up and the brush tool around the edges.
--------------------------
From this I have learnt a new skill, I can use this brush idea with anything. I could scan in some drawings and use this as a way to finish off a piece of work, with a digital feel. Combining hand drawn and digital.
IDEA
Do my own drawing and make a brush from a small drawing.
To make my repeating pattern idea - hand drawn then finished off in Photoshop using a brush or colout blocking to make a smooth finish.
Ideas so far
I am going to document a few ideas that I have had so far in this project. I have already experiemented with drawing a face free hand from a photograph.
From here I know that I do want to use hand drawn illustations, i don't think that my face drawing is perfect, but I think this could work in my favour, making it slightly abstract as I don't want it to look exactly right, as I may as well go photography if that is what I am aiming for.
IDEAS:
- Watercolour to be dripped and dried down a page, once dried try to create a face from the shapes created from the colourful lines.
In this ideas I think that the base of psychology of faces would work well with this idea, colours all spilling into each other could portray personality and looks.
Colour also shows a massive part of this, for example; green with envy, red for anger or even love etc. I think this could work well against the psychology part of the piece.
- Using a photograph and then drawn/traced by hand. Trying different mediums such as pen, pencils, watercolour or acrylic or a combination.
- Use a repeated pattern to create a face - repeated pattern could be hand drawn, like waves.
From here I know that I do want to use hand drawn illustations, i don't think that my face drawing is perfect, but I think this could work in my favour, making it slightly abstract as I don't want it to look exactly right, as I may as well go photography if that is what I am aiming for.
IDEAS:
- Watercolour to be dripped and dried down a page, once dried try to create a face from the shapes created from the colourful lines.
In this ideas I think that the base of psychology of faces would work well with this idea, colours all spilling into each other could portray personality and looks.
Colour also shows a massive part of this, for example; green with envy, red for anger or even love etc. I think this could work well against the psychology part of the piece.
- Using a photograph and then drawn/traced by hand. Trying different mediums such as pen, pencils, watercolour or acrylic or a combination.
- Use a repeated pattern to create a face - repeated pattern could be hand drawn, like waves.
Wednesday, 10 October 2012
Trip - Somerset House and National Portrait Gallery research
Here I am just going to write my notes that I took n the day of the trip to Somerset House and National Portrait Gallery.
I wrote down names of Illustrators and some Photographers that I thought would be helpful with my inspiration within this project. I have wrote small descriptions on some of them as to remember what they pieces looked like in order to be able to find them online as there was no photography allowed in the exhibitions.
First of all when I got to Somerset house I saw a book that I liked the illustrations of on the front. There was also a big version of the illustrations up on the wall which caught my eye. The illustrators name is Harriet Russell. The book is called: Sixty impossible things before lunch. I think I am going to try and buy this book as every page I looked at through out the book gave me more and more inspiration as the style and look of her work is similar to mine and what I like to create.
Notes that I took on the book:
'Like the illustrations and colours used, kind of like my style of drawing and I like the type-writer text that is used. good contrast. I like the detail used, simple, funny, illustrative, block colours, interesting to look at all the way through.'
Other artistst that I wrote down are:
Shane Noonan - Fox Fur.
Fox in human skin hands around it - making light on animal cruelty of the fur trade - turning the tables, how would we like it? I found the piece interesting and straight away I knew what this would link to, even without looking at the description, it is straight to the point, it still looks a friendly piece but with a lot of meaning. Works so well and in a lovely style of illustration which is why this piece initally caught my eye.
After looking further into Shane Noonan I have dicovered a new illustrator that I really like. I looked at his website which on the directory shows he has drawn some portraits. These portraits aren't what I would usually look at for this type of research but by looking through his other works I have seen his few different styles of his use of colour within his work too.
Jason Brooks - Sir Paul Nurse 1949
This painting (which looked like a photograph until up close and reading the decription) Acrylic on linen.
I wrote down names of Illustrators and some Photographers that I thought would be helpful with my inspiration within this project. I have wrote small descriptions on some of them as to remember what they pieces looked like in order to be able to find them online as there was no photography allowed in the exhibitions.
First of all when I got to Somerset house I saw a book that I liked the illustrations of on the front. There was also a big version of the illustrations up on the wall which caught my eye. The illustrators name is Harriet Russell. The book is called: Sixty impossible things before lunch. I think I am going to try and buy this book as every page I looked at through out the book gave me more and more inspiration as the style and look of her work is similar to mine and what I like to create.
All images from http://www.harrietrussell.co.uk/
Book cover of Sixty impossibly things before lunch.
Editorial for National public radio - general promo for npr's summer books.
Notes that I took on the book:
'Like the illustrations and colours used, kind of like my style of drawing and I like the type-writer text that is used. good contrast. I like the detail used, simple, funny, illustrative, block colours, interesting to look at all the way through.'
Other artistst that I wrote down are:
Shane Noonan - Fox Fur.
Fox in human skin hands around it - making light on animal cruelty of the fur trade - turning the tables, how would we like it? I found the piece interesting and straight away I knew what this would link to, even without looking at the description, it is straight to the point, it still looks a friendly piece but with a lot of meaning. Works so well and in a lovely style of illustration which is why this piece initally caught my eye.
After looking further into Shane Noonan I have dicovered a new illustrator that I really like. I looked at his website which on the directory shows he has drawn some portraits. These portraits aren't what I would usually look at for this type of research but by looking through his other works I have seen his few different styles of his use of colour within his work too.
Kate Winslet
I carried on looking through his site and found the album of Olympic House Party and within that there is many plain drawings of buildings in London, including Buckingham Palace and the Business Design Centre. I really like these because of the simplicity used, it's not all perfectly in line but in good proportion which I think here is what is really important.
Lizzie May Cullen
I saw a piece at Somerset House called Lightwells at Somerset. But after looking at her website I found this:
If you go on to her site (as you may not see here) the detail in every single part of this, and all of her work in this style too! I just love all that is going on in this, along with the white of the road which gives the busy of the rest of the work to have a break on the eye. It draws you in bringing you into the piece. Another reason why I like this is because of how gaps have been filled, in a previous project I have used waves (as I was basing my piece on surfboards) so it fitted the theme well but on this she has used them to fill spaces and to create that dream like feel to the piece. If you know London you will know this is real, but along with the waves and line detail it almost looks like its a fairytale.
Jill Tytherleigh - The floating cinema 'Puff' Pattern single unit.
This painting (which looked like a photograph until up close and reading the decription) Acrylic on linen.
Thursday, 4 October 2012
Research - editorial
For my specialism I am going to do illustration but I am for research I still think its benificial to do research into photography. I do find photography interesting to look at and admire but I don't enjoy taking the photos as such. I find portraits with photography interesting looking at faces so I want to do both as I think I will find photography inspring for my drawing.
The first research I have done was from a book.
I have looked at Vanity Fair Portraits - A Century of Iconic Images by Garydon Carter and the editors of vanity fair with an essay by Christopher Hitchens.
These images I found interesting from a Photography point of view. I think that black and white imagery can definitely work in a photographers favour in the fact that alot of detail can be drawn from the subject. The image of Princess Diana is a particular favorite from all these images, her beauty shines even in the most simplest of photographs which is why I think this stood out to me.
Also the photograph of Demi Moore when she was pregnant is another one of my favourites. I think it shows her braveness and confidence doing a shoot like this which most women at such a stage in pregnancy as Demi wouldn't do but this is still an image of natural beauty which I think should definitely be shown.
After looking at some Photography editorial imagery I have started to look at illustration which is what I have chosen as my path to go down with the next two projects.
I have looked through magazines as perviously I have seen editorial drawings in magazines such as Elle so I am going to go out and continue to look in magazines, in the mean time I have been searching the internet for illustrations. I have found a selection which I find really interesting.
I found this image on: http://www.illustrationserved.com/gallery/editorial-illustrations/743408?sms_ss=twitter&at_xt=4ded5d8dca5ae641,0
I am unsure of the illustrator for this illustration but I noticed it straight away when scrolling through. I really love the drawing that has been done in pencil, but what caught my eye with this is the red colouring pencil that has been used to make the tomato sauce. I think that it really makes the image stand out.
The first research I have done was from a book.
I have looked at Vanity Fair Portraits - A Century of Iconic Images by Garydon Carter and the editors of vanity fair with an essay by Christopher Hitchens.
British actress Helen Mirren, By Snowdon, 1995
Actress Demi Moore, seven months pregenant with daughter Scout, By Annie Leibovitz, 1991
Manhattan Firefighters (men of Engine Company 50, Ladder Company 19) after a 12 hour shift at the World Trade Center site, three days after the September 11 attacks, By Jonas Karlsson, 2001
British model Kate Moss as Marlene Dietrich, By Mert Alas and Marcus Piggott, 2006
British musician and singer song-writer Elton John, Photography by Karl Lagerfield, 1997
Actor Lepnardo DiCaprio, By Brigette Lacombe, 2004
Actress Gwyneth Paltrow, By Mario Testino, 2000
Heavyweight boxing champion Primo Carnera with a young admirer, By Edward Steichen, 1933
Actor screenwriter - director Sylvester Stallone and his danish born actress - model fiancee, Brigette Nielson, on a long island beach, By Herb Ritts, 1985
Singer and actress Liza Minnelli, By Mary Ellen Mark, 2001
Self portrait, By David Hockney, 1975 (cover, Vanity Fair, June 1983)
Diana, Priness of Wales, By Mario Testino, 1997
These images I found interesting from a Photography point of view. I think that black and white imagery can definitely work in a photographers favour in the fact that alot of detail can be drawn from the subject. The image of Princess Diana is a particular favorite from all these images, her beauty shines even in the most simplest of photographs which is why I think this stood out to me.
Also the photograph of Demi Moore when she was pregnant is another one of my favourites. I think it shows her braveness and confidence doing a shoot like this which most women at such a stage in pregnancy as Demi wouldn't do but this is still an image of natural beauty which I think should definitely be shown.
After looking at some Photography editorial imagery I have started to look at illustration which is what I have chosen as my path to go down with the next two projects.
I have looked through magazines as perviously I have seen editorial drawings in magazines such as Elle so I am going to go out and continue to look in magazines, in the mean time I have been searching the internet for illustrations. I have found a selection which I find really interesting.
I found this image on: http://www.illustrationserved.com/gallery/editorial-illustrations/743408?sms_ss=twitter&at_xt=4ded5d8dca5ae641,0
I am unsure of the illustrator for this illustration but I noticed it straight away when scrolling through. I really love the drawing that has been done in pencil, but what caught my eye with this is the red colouring pencil that has been used to make the tomato sauce. I think that it really makes the image stand out.
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