Development of Creative structure in Illustration and Graphic Design

Managing a Creative Environment

We often overlook the fact that the environment which work is produced in often influences the style, inspiration and over all finish to the piece.

Working in surroundings which inspire you is an excellent way of creating a snow ball effect on the amount of work and content of work being produced. Perhaps by collecting images or objects which you find interesting or just aesthetically pleasing and arranging them in your work space is a good way of interacting with your surroundings when working, like the work spaces below.

It’s almost as if you indulge yourself in what interests you and inspires you, your creativity will flow continuously.

On the other hand, many designers also prefer to work in a space which is sparse and holds very little personal interest and is free of mess or clutter. Perhaps this is for the creative practitioner who likes to work from fresh ideas, who works more spontaneously.

Developing ideational Fluency

Everybody develops ideas in different ways because we all approach problems or tasks in the way we find easiest.

Often when being given a brief or task, we’re flooded with ideas of which we try our best to get down quickly. People translate these ideas on to paper in different ways. Some people draw sketches quickly and messily,

 others write down abbreviations or notes of which most of the time when looking back on, only they would understand

and others mind map or draw a simple spider diagram.   

When creating ideas it is important not to concentrate too much on the aesthetic quality, this is often what stifles ideational fluency because we become consumed with how well the idea is sketched or put down, this isn’t important!

Also reflecting on ideas as you go along helps to produce a bigger idea, finding connectives between ideas can help produce a strong outcome, not only this but it also helps you to see what doesn’t work as well.

Producing more and more ideas can only help and often the initial idea one isn’t the right one.

Production and Outcomes, Influences and Reactions.

How do illustrators amplify the meaning within a message?

Interpretation.

As an audience, we’re constantly being given messages some less obvious than others, they all carry a meaning or idea behind them, whether its illustration, Photography, moving image or sculpture, there is always an underlining meaning and purpose to its form.

As time moves on and technology evolves, ideas and meanings behind texts are forced to be conveyed in a different way.  Whether it’s by the use of different media or form, it is vital that it is made modern and reflects the current technological climate we’re in today, as well as hold values which are present to this day and age, a prime example is the development of the story ‘A Christmas Carol’ written by Charles Dickens in 1843.



The novel reflects the lack of modern technologies at that time with illustrations made from a series of woodcuts, common for this type of illustration. The images produced from the wood cuts are dark and gloomy with strong lines and dark shadows. The woodcuts help produce the gloomy atmosphere and echo the mood of the main character Scrooge.



In contrast, the FILM remake in 2009.

The animation really does portray the magic of the story. Just from the poster above the vibrancy in colour and animated affects show the progression from the original illustrations in 1843. The fact the novel was remade into a film, showed how we have new platforms to target its new audience.

Delivery.

Julie Verhoeven is a fashion illustrator whom I have been interested in for years. Her work is unique, not only because of her style, but the way her work is displayed.

Her quirky images are produced using a range of media such as inks, pen and paint and her choice of media coincides with her technique of drawing. Her illustrations have not only been used to illustrate garments, but she has also worked for big companies such as Versace, with her design embellishing bags, and garments.

Her images have also been printed onto bed sheets and cups!

The fact her work is present on such a range of platforms, reaching so many different audiences, allows her to be successful. Illustrators or creative’s as a whole have to maximise their popularity by utilising every platform possible, the internet, blogs, websites, galleries and any other possible way of getting their work to a range of audiences.

Development of Ideas and Structure in Moving Image

Three Act structure

All stories are made up of a beginning, middle and an end and this is quite simply called the three act structure. This can be developed and be also split into the equilibrium, disequilibrium and new equilibrium.

The equilibrium being a state of balance where there isn’t trouble, conflict or problems. ‘Almost the calm before the storm’ where the viewer is able to take in and comprehend the atmosphere before any disruption has occurred. It is also where the audience is introduced to some of the characters.

The disequilibrium is where chaos occurs. There’s a disruption in the ambience of the story and usually the protagonist is bought forward and takes on the role of ‘the hero’ or even ‘the villain’, but is ultimately the main character. This is also usually where the most action occurs and the conflict is seen.

The new equilibrium is now present as initial state of peace and balance has been restored.

Example of this is in the film Save The last Dance.

Equilibrium: Sarah’s mom has just died in a car accident and she is forced to move location and school to live with her father who has never been part of her life. Their daughter/father relationship is strained. Sarah is also very passionate about ballet.

Disequilibrium: Sarah starts her new high school which is completely different to her majority white school she has moved from. She’s introduced to hip hop music and meets a black boy Derek. Derek introduces Sarah to a new type of dance whilst also pushing her to pursue her career in ballet. Derek’s ex Nicki doesn’t like Sarah because of obvious reasons and they end up fighting, Sarah falls out with Derek’s sister because she doesn’t agree with black/white relationships and Derek and Sarah split up.

New equilibrium: Sarah and her father’s relationship blossoms. Derek turns up her important audition for the royal ballet school which she gets through and they make up. Derek’s sister realises she was wrong and Sarah agrees to let bygones be bygones. The peace is restored and she is now happy again.

Character Design

Character design is vital in creating a good story. There are several vital elements which contribute to us the viewer interpreting information correctly.

Example – Danny from the film Grease.

In the film grease Danny Zuko takes on the role of protagonist, being the main character (alongside Oliva Newton John) and experiences the most conflict throughout the film.

The antagonist being Leo and his boys, the group of boys from another school who are part of a sort of “gang rivalry” against Danny and his boys.

The two groups of boys take on this ‘cool’ stereotype where they all speak with a twang and will not be seen without sick hair and matching leather jackets.

They all take on the stereotype of high school heart throbs. An even clearer stereotype is that of Eugene Felsnic aka the school nerd with glasses and a squeaky voice.

Danny: Appearance: Handsome, cool and fashionable

            Actions: Goes to school, smokes and drives.

            Interaction: Cool lingo and cool walk.



Reflective Visual Journal

The Brain

The brain is divided into two parts and as a result of this, the two sides work differently. The left side of the brain is conscious and decisive and takes on the responsible approach to thinking or creating, whereas the right side of the brain is playful and naive and unaware of restrictions. Like a child, the right side of our brain allows us to be fully creative and revert back to a child like state of mind where we can run away with ideas.

Taking these two fashion illustrations below.

The first image is free and more experimental. The use of colour makes the image more expressive and eye catching and adds a certain flare to it. This is the typical kind of style you associate with the illustration of garments, as fashion illustrators tend to pay a lot of attention to style and create more expressive and ‘free’ images. The right side of the brain has definitely come into play here, but the human form is still in proportion and evident which suggests the consciousness and seriousness of the left side of the brain. In comparison, the left side of the brain is evident in the image below that of the two men which is produced in pencil and the only colour is in the tie. There isn’t any attempt at creating great attention to the garments but holds a simple and realistic look. There’s a more ‘sensible’ approach to the garments and image overall. I think this is also because of a difference in the target audience.

Developing Visual Language

As a creative practitioner, it's important that you establish your individual visual language. You must grasp your signature way of communicating and create a language which runs through your work. I have taken my example from illustrator Rebecca Kitchen. The group of editorial images I have taken of her work all relate and respond to each other through style and atmosphere as well as a consistancy in the use of media. They speak to us, the viewer because we are able to see a narrative without the use of words.

The picture below also shows a different kind of visual language through colour, texture and image. The mood board is another way of communicating from one to paper and from paper to an audience. Where someone from a business type backgroud would perhaps a traditional cloud and arrow type word mind map, this fashion practitioner has her own unique a style relating to the type of work she does. The idea behind it is quite simple and self explanatory. There’s obvious research into colour schemes for the garment and even texture which could be applied. This as well as the little annotation which is being used to describe what going on, all creates a form of visual language the maker of it has an obvious style and way of working which comes through effectively.

Legibilty and Visual Hierarchy

Legibility.

Legibility is very important when it comes to communicating with an audience. Whether it in the form of a poster or advertisement, billboard or photograph the information displayed must be visible and easy enough to be taken in efficiently but the viewer.

There are numerous factors which contribute to producing a good form of visual communication and they vary from typeface to colours, size of fonts and also its legibility when being used in different conditions.  

A good example is road signs for drivers. The signs are bright, big in size and readable at a glance with its large white and uncomplicated typeface which is vital for a driver. The colour red is used to symbolise danger and to draw attention quickly. This sign is legible as it works well for its purpose.

An example of bad legibility can be seen below on this tin of custard. The ‘how to make’ instructions are just far too small and the free space around the instructions suggest it could easily be made larger.

Again the construction notes of an aircraft. There’s far too much small type which makes it hard to read. No colour makes it unattractive and less inviting to read.

Visual Hierarchy.



Visual Hierarchy is used by all visual communicators as it is often something we create without even realising but when done effectively, it can really enhance the effect of how the audience will process information.  

Within everything we are presented with as viewers there is something which captures our attention first and this may or may not be the produces intended ‘immediate focus point’.

Below is a very clear example of visual hierarchy. The event, date and contact details are all present but are not all the same font size or boldness. The most important factor for the producer is the title of the event or – what the event is. This is clear as it is the biggest and boldest section of type on the page and is also situated right at the top page which suggests we are to see and read this first.

Another example of visual hierarchy

In this colourful poster below, the image of the face is definitely striking in its colour but even so, the white type next to it is even more eye catching because of the contrast in colour between the background and foreground. The website is less high up in visual hierarchy and this is why it is less visible and placed right at the bottom of the page.



The notion of ‘inspiration’.

The notion of ‘inspiration’ derives from constant inquiry, based on research, observation, recording and experimentation.

"Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever... it remembers little thing, long after you have forgotten everything." - Aaron Siskind

Inspiration can come in the form of almost anything, perhaps that’s why a photographer tends to carry a camera 24/7 to ‘capture the moment’ or why the illustrator of the bunch clutches at his sketchbook doodling with content when recording a word, feeling or image which sprung up from thin air. It’s then developing what u have found and experimenting with it to produce a deeper meaning or concept or even for just pure aesthetic appeal. All artists are inspired by something or someone, take illustrator Phil Dunne for example. (Examples of his work below)

                                                                   
                                                        

His work is so fresh and exciting, and yet his inspiration comes from artists such as Andy Warhol and Picasso but more interestingly he is inspired by his observation of music videos! Director Hype Williams videos in particular attract his attention and when comparing elements of his music video ‘Universal Mind Control’ (Pictures below), ‘Video Phone’ by Beyonce and 'Digital Girl' by Jamie Foxx to Phil’s work, the colour, robotic forms and angular shapes almost dominate Dunne’s illustrations and its apparent where the influence lies in his work.

  

• An understanding and knowledge of ‘an audience’ can enhance and focus the communication.

It’s vital to know the audience your targeting within Visual communication as this will allow you to address people on a level which is personal to them and in turn convey a meaning or idea more effectively. Taking children’s story books for example, the images are clear and colourful to keep the child’s attention and to allow them to visualise quickly what they are reading or what is being read to them.

When applying this concept to an older age range where the message or idea is more serious, the maker consciously presents images or text to us which ‘shock’ or scare us. This method is also used when persuading us to do something or take action because adults are harder to persuade or even manipulate. Below are some pictures which apply.

                                                                    

                                                        

                                                     

Target audience is even more important when distinguishing groups of people, perhaps by their ethnicity/race, financial differences or gender. The images below display this.

         

Communicating to these groups of people is easier than targeting the mass media, although it’s important to distinguish what is acceptable and what is offensive as sub cultures of people would find in certain lights the message or idea behind a text to be insulting and therefore feel they are being discriminated against.  

Understanding your audience is possibly the most important factor when communicating with people.

         

Conectivity

Can Recontextualised ideas be Contemporary?

Recontextulised ideas certainly can be contemporary and it’s something the producer intentionally does to attract the current receptive audience. The original idea or purpose behind an advert or poster etc is often taken away or changed when bought to a fresh audience so that they can relate, understand and be interested by what’s being shown to them. For example taking the ‘Levi’s’ poster below from the 50’s. Above the image of a middle aged man is printed ‘the working cowboy’s brand’, the intended audience is very clear here, obviously targeting males. The fact ‘working’ is also used, suggests the overall is durable and can withstand day to day wear and tear. The intention  here is to sell the overall.  The intention is very clear.

In contrast, it’s interesting to see the change in context when targeting the audience of 2010.  We see the clear difference or change in society's attitude and how we have become de-sensitised to images such as this. The idea of ‘Levis’ being the ‘working man’s’ clothing, no longer exists and now takes on a whole new idea, purpose and audience. The target audience is no longer for the 'working man' but for a younger age range and because of experience and exposure, Levi's in the present tense now represents a young trendy fashion culture.

Notions of Originality

All art is formed by someone who has been influenced by another’s work whether consciously or otherwise. Throughout the history of art there is constant repetition from the Mona Lisa painting made between 1503 – 1506 by Leonardo Da Vinci above. A moustache was added by Marcel Duchamp in 1919 and this is also possibly just as famous as the original peiece. The same.... but different!

A lot of biblical paintings have been re-interpreted by other artists also. Such as the 'The Last Supper' by Leonardi Da Vinci in the 15th century as seen below. This original piece was created as a visual to assist a biblical narrative.

The scene has been mimicked and taken into a whole new context with the image below. The poster was made to accompany a film made in Hong Kong but it’s interesting to see how even biblical art can be taken and used for advertising purposes and because of our prior knowledge, we automatically link the layout of the people, the posture of the women in the middle and the overall atmosphere shown through the photograph to the original peice 'The last Supper'.

It goes to show that there are always notions of originality, but each time a piece of work is ''re-worked' in some way, it is usually for different reasons... maybe to attract a different audience, advertise an idea or to put forward an idea. An image which is familiar to us as an audience will always spark thought because we want to work out and understand the new purpose.