Drawing Into Print

- Lost Letters

[context]

Looking at creating an image through a letter/number given to us. Through screen printing.

1. Were you able to adapt your idea and visually language to the screen print process?

When I was first developing ideas around my letter 'g' I had no specific idea of the process which I would be using to create my image. When I was told that we would be using the process of screen printing this allowed me to adapt my idea in a number of ways. Such as I had to ensure that all shapes included in my idea were whole shapes, as well as this, I had to work with a limited colour palette to produce my image, meaning in some places I had to change my ideas as the shapes would not be clear enough due to only using three colours.

2. How did you find the restrictions shape your final image?

I actually enjoyed having restrictions for the process of producing my final image. The restrictions allowed me to not go off on an unnecessary tangent. For example, the page size restriction meant that I had to in some ways scale down some original ideas which were bigger. Also, there was a sense of a challenge to the brief in the fact that we were printing onto paper with a pre-pressed letter on it. Of which we had to create our image around. These restrictions meant I had to think more deeply about the process and plan how I wanted my piece to look before jumping in and starting to produce. Which, in my opinion, in the end produced a better more thought out final image.

3. What were the biggest challenges you faced during the workshop?

Having never screen-printed before my biggest challenge was getting my head around the way my piece would be produced, and hence adapting it so that it would work in a screen-print. But this was a beneficial challenge to have, having little experience I made sure I explored all options during preparing my piece and really enjoyed seeing it all come together in the end. 

Drawing into Print

- Print

[context]

In this workshop we printed the plate which we had prepared previously. We learnt and took part in the print-making process, as well as, assembled our final designs.

In this workshop I continued to carve out my design into my plate. I also had to pick my material, of which I was going to print on. As my final outcome was 3D I decided to print my design onto pieces of white card. 
I then assembled my outcome from the nets into individual cubes. Upon constructing my cubes I found that I could have improved my outcome by using a thicker card in the printing process. This would have benefited my final outcome through the cubes being more sturdy and therefore looking and holding better when all placed together as a final design. 

Still and Moving Image

- Do Undo Redo

[context]

Working to generate a look book through styling and photography. We had list of words to respond to as well as a set of fabric and materials, of which, related to those items. We then conceptualised and photographed these looks.

Within this workshop we looked at transforming specifically picked items we had brought into styled looks which we then photographed. Through first looking at white and black materials and clothes we styled three separate looks white, black and then a combination. While styling these looks we looked at the flow and form that the materials gave. I found it beneficial being in groups of three, each taking turns on styling, photographing and modelling the looks, I enjoyed this as we were able to gain a glimpse at these three roles in a short space of time, and it also encouraged all members of the group to be involved, whereas if this specific task was not set in place then others may have naturally taken a back seat and not got involved as deeply. It was also beneficial to work collaboratively rather than alone as we were able to discuss our ideas together, such as what mixture of textures would photograph best together, as well as, discuss starting points for designs and assist each member if they're struggling with their set task. 

With completing this task, I was introduced into how it is not only the styling of the garments that is important to a successful styling photo, but also the position in which the model displays the garments, and the set in which they are captured. If done efficiently the final image should all communicate a certain vision and message. This was something, which we could, both as a group and individually work on with practice of this type of task. Being able to communicate visually through body positioning and surroundings particularly, we did explore the idea of this through our first shoot of black and white matertials. We explored the idea of liberation and breaking free. How we did this was having the model reach out to the camera while being wrapped in white cloth covering the integrity of her body and face, as well as, being further wrapped by black materials. We explored the idea of liberation while being trapped in a current start of mind through photographing the model through wired netting from above, this created an effective look as the model looked small and trapped, which conveyed the communication we wanted, but in a series of images the model is seen to be trying to break free and hence become liberated.

Core Design and Typography

- Making Meaning

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Looking at 4 given words: absence, order, organic and oppose, we looked at visualising the words through combining type and image.  Then we looked at 10 short texts which we had previously annotated and looked at subverting their original meaning through looking at the original context, meaning and tone. 

Within this workshop we explored the importance of typeface to set the context, menaing or tone of a word. Through firstly looking at single words, 'absence', 'organic', 'order' and 'oppose', we did a series of quick 1 minute exercises in which we wrote the previous words, just using type, in a way in which we thought best conveyed them. This was really engaging to do as it encouraged us to not overthink the words, as I may have done if I had been given more time. For the rest of the morning we developed one of these words, I chose 'absence'. Looking at not only the overall type of the word but also the imagery in which surrounded it. My first development of the word 'absence' was using a black background with 'ABSENCE' in white san-serif capitals written in the corner of the page. My thoughts behind my ideas were that the black against the white conveyed a feeling of something being missing from the picture. As well as this, I used a san-serif font in order to create a minimalist and understated type - because of the continued communication of the word being absent or missing from the image. When talking to my tutor, we discussed my use of capitals in the type she explained to me how the capitals in someway contradict the sense of the overall theme trying to be understated and for the words to become, in a sense, absent. This is because of how the capitalising of the type enables it to almost be shouting at the audience and the type therefore comes off more confrontational and apparent, within the outcome. I then looked at using a lower case lettering, keeping all other variables constant, apart from inverting the white on black so I could visually see a different outcome. Through using a lowercase type I enjoyed more the softness and vulnerability it gave to my work. Through developing this piece of work I looked at Seb Lester as one of my researchers and explored the use of irony in my work through creating colourful - obviously not absent pieces. This was interesting as it was a complete flip on what I had started developing for the word 'absence' but in the end I preferred my original pieces with black and white text, looking at a more straight forward communication.

I then looked at the ten short text examples I had gathered, choosing one of these' Fire-Exit keep clear', I looked at subverting the meaning of the word. Originally I looked at simply changing the meaning to effectiveness of the word through minimising the text, making it smaller enabled the message, 'Fire-Exit keep clear',  to be communicated poorly. This in my eyes changed the meaning, as it was much less effective as a form of communication. Then I looked at the type used. I decided to look at more calligraphic styles of type, changing form the standard san-serif type used previously. Through this alone I changed the communication of the visual as it became much less official and therefore would be communicated in this way. 

As a way of displaying the text I first looked at showcasing the work on a chalkboard outside of a door for a building. The temporary aspect of this created irony in the work I was creating as if the weather was to change, the message would likely be washed away. Using a calligraphic type further subverted the meaning of my phrase as well as the visuals I drew around it for aesthetics, of which, would not be acceptable for a fire exits ordinary circumstance. Through being positioned by a door, the communication is essentially the same - showing where the fire-exits of the building would be, but the way it is delivered is much different, more playful and in a sense in a way which is not normal or standard for this procedure. I then looked at introducing colour. Colours such as blues and pinks, especially pastel tones, are not often associated with fire-exit signs, with the standard colours being green or red. Therefore this enabled me top further subvert the text from the original meaning and way of being displayed. 

I then looked at the type being displayed as a graphite stamp on a brick wall. Still having arrows pointing towards a door, the communication is still very much constant, in a way. But the way it is perceived is different - is it a piece of art? is it meant to be there? these questions create uncertainty within the audience and therefore the instruction of 'Fire-Exit keep clear' may not be met. 

DRAWING INTO PRINT

- Drawing to visualise

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In this workshop we looked at adapting our lost letters outcome into a theme which we could then adapt to a drawing or visualisation. We first looked at a range of drawing skills.

Today we looked at converting our screen print into visual interpretation. This could have been sequential, 3D or spacial, in this workshop we had a lot of creative freedom as to what we were going to create. I started off the day by looking at what my screen print which was a face, I decided to focus my thought among the idea of the idea that one beauty standard does not fit all faces. I then created a drawing, which consisted of a face with the normal features as well as being covered in shapes, for this I looked at face mapping as well as 'Bjork' a singer who often uses her face to create art. I chose to cover the face in fitted shapes as it continued my idea of the face being a puzzle, one of which, could simply not fit to one face type. To make my piece more interesting, as at the moment it was a flat image, I created a stop-motion animation. Within this animation I covered the rest of the drawings facial features with shapes until all was left was the shapes. This created the look of a person wanting to hide within themselves or equally this could represent a person becoming lost against a sea of everybody wanting to look the same, and fit this beauty standard. To present my final outcome from this workshop I projected my image onto a classmates face. This allowed me to amplify my message as the image did not fit my classmates face shape. As well as this through showing my final outcome on a projection onto a real face, in my opinion it became a better communication as it was more intriguing to look at for the audience, allowing me to further amplify my message.

Still and Moving Image

- In the studio

Which one of the themed photos was the most successful, and why?

OWN IMAGE FOR 'BLACK AND WHITE'

In my opinion the photo above from the 'black and white' shoot was our most successful outcome. Personally, I really like the distinct contrast between the white and black, which is complemented by the reflective shadowing and movement from the shiny card material which we used in the shot. This image also has minimal touch up, we simply edited out the fishing wire used to elevate the glasses, as well as, editing out the logo on the glasses to achieve a cleaner look to the final image. 

What new skills have you acquired from today's lesson and how will this change your approach to still life photography?

I have learnt many new skills during today's workshop, such as how important the communication is between the person behind the camera with those who were operating set design. This was particularly evident within our first shoot (black and white), where we were elevating the glasses in the air and bending the card for each shot taken. The person behind the camera had a very important role, especially as we only had around a 10 minute slot in the studio space to shoot our shot. so communication of what the image was looking like and what had to be positioned where was vital as we did not have time to all look at each shot before we shot the next.

What role did you enjoy the most as part of a team?

 Personally I enjoyed the set design role the most. This was because I was able to try and communicate a message simply through the basic props we had. I also liked being given direction from the camera as to what should be shifted in order to achieve my desired look, we worked well as a team in this way. While I was doing the role of set design, it was really important for me to first sketch my ideas and record anything I was thinking before starting to assemble a vision. This was a very successful way of working, and we were encouraged by our tutors to work in this way. 

Contextual Practice

- Lesson 3

What struck you about the work we saw in the presentation?

 What struck me in the presentation was how when a piece of art, for example, is given a different for of communication, such as a video format, the whole communication is delivered differently. Despite the fact that they are developed from the same origin. For example, Rembrant

Why did we pay attention to the spectre project and in general to the manipulation of images and reality?

the works of the presentation have a great communicative power Why?

Through 'Spectre's' presentation they were able to grab the audiences attention in a universal way through using iconic figures, of which, can be recognised worldwide. For example, when Spectre was trying to communicate the power tech companies have over our data, they used Mark Zuckerburg, founder of Facebook, through manipulating his speech into narrating the dangers of Facebook an audience are more likely to register with what Mark Zuckerburg is saying rather than somebody, of whom, the audience don't know. Because Mark Zuckerburg is renowned in the tech world and therefore respected by a greater audience of the public.

Another example was the way Spectre manipulated the artwork of the Mona Lisa into generating speech. As an audience it is seen as not natural that this iconic painting could behave in this way and is in some ways uncomfortable to watch, because the communication of the painting suddenly changes through the audience seeing the painting in a way which it hasn't been displayed before. But through this the visual gains great communicative power. It is so obscure that it starts a conversation and attracts attention. Similarly Spectres work shows them doing similar manipulations with many influential icons, such as Freddy Mercury. As we already have a label/visual of how these icons act/behave it creates a feeling of unease when they are manipulated into a way which is out of character. Generating a discussion and therefore an effective communication.

Do you think an ethical position in communication is important?

An ethical position in communication is important. But it could become a tool to catch an audiences attention if something was done unethically to grab attention, this would likely immediately start a discussion and engage the audience. For example, a visual communication could make noise through saying something perhaps unethical, such as Spectre's use of manipulating the United States president Donald Trump into speaking very informally and in a strange manner when doing a 'press release'. Though what was being spoke could be considered unethical, as well as, using data from Donald Trump in order to manipulate his speech, the video was impactful and shocking enough to engage an audience. Who would therefore be open to what message could have been said after the clip.

Core Design and Typography

- By Hand

[context]

A workshop of various lettering techniques in which we explored the logic behind letterforms. We then took a phrase from a postcard given to us and produced both 2D and animated forms of the type.

1) How does hand-lettering enable an alternative form of communication?

2) Explain how you used your postcard to generate an idea for the text content of your outcome

3) Which animation experiments were your most successful, and why?

Using the process of hand-lettering in todays workshop allowed me to give my work a personal touch. In my opinion the use of hand-lettering allows work to look softer and less harsh, because of the brush strokes and, in my case, not perfectly straight lines, which you would achieve when using type digitally. Hand-lettering also allowed me to find a medium between text and design, through being able to decorate my type or use it to display my imagery and what I am trying to communicate. Hand-lettering can also mean using other objects, such as flour, to create the type. Through this process the final type outcome almost becomes the whole design idea through its intricacy and skills which were applied.

When looking at my postcard I first analysed the text I had been given on the back, from this I was able to generate a multitude of ideas. Such as the emotions behind the text, who the card was being sent to and who it was being sent from and the relationship of the communication, as a few examples. From these kind of questions which were asked either by myself or by my fellow peers, I was able to gather an insight into the tone and mood of the postcard. From this I focused in on a few key quotes from the text. Such as 'us folk', 'clear blue skies and warm sunshine' and 'rain, rain and rain', as a few examples. This allowed me to generate a few ideas, such as arrangement of these words, which I could use in an animation. Furthermore I also used the postcard as a way to generate ideas through looking at where the card was being sent from and where it was going. This allowed me to gain a further sense into the emotions and tone of the card - for example, I asked questions such as, was this being sent from a holiday destination or a distant family relative, in my case I believe the postcard was being sent from one family home to another home - no holidays involved!  Adding to this it was really interesting to also look at them image of the card as a way of distinguishing what type text to use. I generated a few words from looking at the cover of the postcard, a view of an English harbour. From this I could either translate these words into a type and use them or I could use the words as inspiration for imagery I might use in my animation.

In my opinion, the animation experiments which I found most successful were those in which I used a time-lapse animation. I found this worked more effectively as you could see the letters being formed which was intriguing whilst watching, there grabbing the attention of the audience proving as a more successful communication. Although, while I do agree with finding the time-lapse more appealing to watch, there is something much more clean and put together with using the stop-animation. This is partially due to the fact that no human contact is seen in the filming process of the text. I therefore found the animation I produced below to be fairly successful, for my final outcome I will do a few changes and modifications but as an experiment it was successful as I experimented with mixing water with my drawing materials - creating a different effect which was relevant through the text being 'rain' and therefore being able to be symbolised through wetness.

Core Design and Typography

- By Hand

1) How does hand-lettering enable an alternative form of communication?

2) Explain how you used your postcard to generate an idea for the text content of your outcome

3) Which animation experiments were your most successful, and why?

Contextual practice

- Lesson 5

OWN MOOD BOARD PRODUCED

1) how did you respond to working as a team?

what were the ways you found to combine your ideas to create a  new and unique moodboard?

I enjoyed working in todays workshop as a team, through looking at the art direction side of fashion communication. We were able to look at the image and share any sources and ideas of what we thought was communicated within the image we were given to look at. Through this I was able to gather a larger range of sources and materials which I looked further into, through our different, and equally correct, view on the image. To combine our ideas effectively we all first looked individually at how we would interpretative this image, making notes and looking at images which represented these ideas. Then, as a group, we each reflected our ideas to each other. Through this we all were able to add something different to our mood boards which we eventually created singularly. 

2) how were your ideas of fashion communication challenged and developed by the references presented by Rhea Dillon?

My ideas on fashion communication design were very much challenged by Rhea Dillon. I was surprised that so much videography was involved, particularly in what she was most interested in. Her short-films were works of art where she expressed her own and other's thoughts and emotions through not only styling, but also editing style and casting within each film. Particularly in Dillon's film 'Black Angels', in which both the casting and the styling of the outfits and the set that surrounded the cast added to the overall storyline and therefore communication of the film. This all challenged my idea on fashion communication, as I would have initially suspected the styling to be done by Dillon but all aspects of the film were produced by her: casting, filming, editing, set design.

3) how did making the moodboards transom your ideas/thinking into a concise shoot or styling prep moodboard?

 Creating the mood boards allowed me to visually display my ideas in a more concise way. Through creating a mood board it allowed me to visually see the look I was going for, so therefore if I was ever to continue with this project, much like when I sketch out my ideas for a graphic design poster idea, I have a much better starting point when digitally creating the images and set for my initial visions of the brief.

Core Design and Typography

- By Hand

Barbara Kruger                                 Olafur Eliasson                              Hiro

Untitled (Skate)                                 Cold Wind Sphere                         Tilly Tizzani with Blue Scarf

1/11/17 - 19/11/17                            2012                                              1963

I have a deep appreciation for design. Particularly within GCD, where the design and layout of an outcome can impact the intended communication. Good designers change the way we acknowledge everyday communications, forcing us to consider a communications deeper meaning.

In the Drawing into Print module we explored different methods of creating images, such as screen and relief printing. Within this, one of the practitioners that I was interested in was Nick Morley his use of positioning screen printed text in order to create an image was very effective. Within these workshops I also looked at projection as a form of displaying my work. This was particularly inspired by my visit to TATE modern to see Eliasson’s ‘In real life’ exhibition, looking at installations such as ‘Cold Wind Sphere’. ‘Cold Wind Sphere’ projects coloured shapes onto the surrounding walls, creating an immersive experience. I found the use of projection a key tool in allowing audiences to interact with my work. Through transforming many of my outcomes within this workshop into animations, I not only familiarised myself with the tool, but within my present projects I use this technique to better communicate ideas before I reach a final outcome. Such as within ‘White Space’ I used a quick animation of one of my poster designs as a form of experimentation. I enjoyed these workshops as a way of gaining new skills, but as a whole I found I felt restricted by my personal skills in this area, which I feel would limit me moving forward to this pathway.

In the Still and Moving Image brief we looked at a range of image applications for GCD, such as film, sound and still images. As well as this, within this module we completed workshops in the fashion communication aspect of GCD, looking at styling and art direction within the media tasks. I looked at Hiro, an American photographer who is known for his fashion and still life photography starting from the mid-1960s. Hiro worked with art director Brodovitch at Harper’s Bazaar for a number of years. I was inspired by Hiros work, particularly his images where he focuses on the faces of models, in particular looking at shadowing and textures of fabrics against the facial features. I enjoyed this workshop as a way of looking at new skills which I could in corporate into larger projects areas. But I found myself looking at the images produced in a wider aspect, such as when I was looking at Hiro’s work I found myself focusing on how he integrated his image with the type of articles. I also visited a small exhibition by students at The Slade at Sworders London gallery, the short-film ‘Untitled’ by Larry Bush’, I particularly liked his use of quick clips combined with type allowing for a very engaging piece. I used this as inspiration when constructing my own projects within moving image.

Within the Core Design and Typography brief we looked at type, layout and combining text with image. Immediately this fascinated me as I have an appreciation for layout. Whether this is simply setting out my portfolio or staging a poster design, I find the process of being able to more clearly communicate a message through a considered layout satisfying. Within this brief some practitioners that interested me included, Barbara Kruger. I was fascinated by Krugers use of combining text with image, as well as, her large-scale installations using solely type to communicate her message, such as ‘Untitled (skate)’, where Kruger displayed a number of her famous slogan lines, e.g. ‘ Whose hopes? Whose fears?’. I connected with Kruger’s designs as her communications are still relevant today. Within my own work I experimented using an approach similar to Kruger by solely using positioned text in order to communicate a message. This was displayed in the Making Meaning workshop, where I looked at re-communicating an existing message, through playing with longevity and positioning of the type. I greatly enjoyed these workshops and would love to explore further into this area of design.

Within the white space project I found myself focusing on producing a graphic design outcome, as this is the area within GCD I favourited throughout part 1 of this course. Creating a mental health campaign, ‘I’m ok’, I looked at using white space as a representation of ‘clearing the head’. As well as, white noise being created through whispers and background noise which I insinuated through the use of type within my designs. I was heavily inspired by the works of the Takashi Murakami x OFF WHITE Virgil Abloh merchandise from their exhibition collaboration. Through their use of tape throughout the exhibit as a way of creating white space.

I have always had a preference for Graphic Design, but before starting the course, this was mainly computer based GCD. Through going through part 1 of this foundation I have been able to broaden my skills within GCD enabling me to produce a greater range of outcomes within my Graphic Design practice. In the future I would like to further my studies in GCD by doing an undergraduate degree and continuing my work experience in this area of study. At this moment in time I am most drawn to branding and advertising as a way of communication, and so feel I would benefit most specialising into Graphic Design.

Bibliography

Journals / eLibrary resources

Morley, N., 2016. Linocut For Artists & Designers. Crowood Press.

Art, B., 1988. Barbara Kruger. National Art Gallery.

Visits including museums, shops, exhibitions, etc. 

TATE Modern, Olafur Eliasson ‘In real Life’, Bankside, London SE1 9TG, 11/07/19 - 5/01/20, £18 free for members

Sworders, The Slade UCL, Sworders Fine Art Auctioneers, 15 Cecil Court London WC2N 4EZ, free entry

Websites/ Online retailers 

Gagosian. 2018. MURAKAMI & ABLOH “AMERICA TOO”. [ONLINE] Available at: https://gagosian.com/exhibitions/2018/murakami-abloh-america-too/. [Accessed 26 October 2019].

Core Design and Typography

- By Hand

1) How does hand-lettering enable an alternative form of communication?

Through using hand-lettering in my work throughout the day, in my opinion, the type held more meaning and gave a personal touch to my work. Hand-lettering can also provide 

2) Explain how you used a postcard to generate an idea for the text content of your outcome?

Throughout the day I used the postcard as the starting point of my ideas. This allowed me to gather ideas from both the text written on the card and also the imagery on the front of the card. I found it interesting to annotate the text written on the postcard as it conveyed a hidden emotion and was meaningful through somebody taking their time to write it out and send it to somebody of their choice. Time was taken the doing this and consequently thought. Therefore, in my work Iooked at not only the directly written text but also the thought and process behind it - why was the card written and to whom. This allowed me to try and add emotion into my work, perhaps in my next outputs I could convey a hidden meaning 

3) Which animation experiments were your most successful, and why?