Development of Creative Thought and Structure in Illustration and Graphic Art

Overcoming Mindsets as an Illustrator

As children, we were all bursting with imagination. With Lego, K-Nex and Meccano popular on the market, we could build anything we wanted with little plastic blocks. The piece above, by Christoph Niemann, is an illustration we can all particularly identify with - and it presents a point that with some imagination and different perspectives, we can portray any image effectively. When we owned Lego and K-Nex as children, we too thought in this way - they weren't just blocks, they were cars, flags and food.

We develop mindsets throughout our education on 'how things should be', and in order to become a flexible and effective illustrator, one must learn to break them. The first step is to identify the blocks in your mindset - sometimes, these aren't always visible to us and it takes someone else, such as a peer or a lecturer, to point them out. Once we have identified the issue, we must study the rule itself and challenge it through play - a good chance to stretch our right brains! Different forms of mark-making, drawing with the opposite hand, all of these could produce that spark of inspiration. Our logical left brains can then analyse the pros and cons of the experimentation we produce, and when to take a certain idea further. Following this process, I can learn to overcome a mindset, and hopefully look at a brief with fresh eyes.

Restating Problems

When receiving a new brief, artists and designers need to avoid predictability. Predictable answers will easily run stale, and a new, imaginative perspective is needed. To do this, there are a number of ways: the most effective, for me so far, is the method of asking random questions and relating them to your brief.

The picture above shows two responses to two random questions asked in Illustration, yet I have related them to the topic of my brief ("the underbelly of Birmingham"). The left page is an answer to "How do you plan to disguise yourself in real life?" and the one to the right is "On Noah's Ark, which animal would you throw off first?" Both of them address issues personal to me (not being able to lie, and protesting against the huge increase in student fees and the cuts) and they address the brief, but in a much more imaginative way than my first thoughts were when I originally received the brief. I feel, using this method, many artists and designers can look at their brief with a new imagination, and, through this method, I formed an idea which I took further into a zine.


Links I found useful:
Christoph Niemann, personal website and portfolio - http://www.christophniemann.com/
http://visual-journals.blogspot.com/

The Testing and Methodology of an Illustrator

A large part of an illustrator's (or any creative) job is to promote themselves. Promotion ensures that their work is seen by a wide audience, and in that wide audience are potential employers as well as fellow artists who can offer valuable feedback.

A very useful tool for self-promoting is the Internet, which is what I shall focus on. With the popularity of sites such as Twitter, Facebook and Flickr, many illustrators participate in social networking as a form of promotion. The 'quick update' aspects of the former two sites are a convenient way for the illustrator to let his or her 'followers' know that, for example, a blog is updated, or that they are featured in a magazine/art exhibition. An alternative is the good old social forum, which if successful and active, can be a brilliant way to get feedback and to see the work of other artists.

Flickr has a 'community' option in which members can join and add their images to a 'group pool'. Although a nice way of sharing work with others, and a way in which I have found new artists who I follow the updates of, I have found that there isn't much constructive feedback given here as there would be in a forum.

Another way is to be promoted in an illustration blog - one example above. Pikaland features illustrators from around the world who have caught their eyes, and also offer services such as projects and their own Ning and Flickr groups. Being featured is a great way to see what others think of your work, and which pieces have worked successfully.


Also, your methodology will come into play. Part of a successful illustrator's methodology is researching popular artists/illustrators of the day. My own methodology is as follows:

I will carry out artist research relating to the brief I have been given.

I will also research into the concepts behind my (eventual) final piece.

I will also experiment with different forms of media.

If it is relevant, I will go into character development and art style based on the research and other studies I have made.

... and with this information, I shall go on to developing my final piece.

The Three Act Structure, and The Hero's Journey

When one thinks of acts, the theatre comes to mind - not necessarily artwork. However, an important aspect of visual communication is that of storytelling and effective communication with the audience.

In school, children are taught in Literacy that every good story has a beginning, a middle, and an end – or an establishment, a crisis, and a resolvement. We establish a scenario - whether this includes a backstory or not is optional, but the audience is given a 'here and now' portrayal of our protagonist. A crisis or the 'meat of the story' comes up in which the equilibrium is thrown out of balance, usually thanks to a choice that our protagonist makes. And, finally, at the end of the tale there is a form of resolve, where a new equilibrium is restored (and not necessarily a 'happily ever after').

For example, let's take Disney's UP (one of my favourite Pixar films):

The establishment is as follows:

-          Many years ago, Carl and Ellie are a normal couple.

-           They save for Paradise Falls

-          Other obligations require the money.

-          Ellie suddenly falls ill and dies in hospital before the trip can take place.

-           Carl alone, grieving and bitter.

The current scenario:

-          Carl still in a state of grief and lives alone in the old house, where building sites surround it

-          He is opposed to the construction around him

-          The court declare him a 'public menace' and he is forced to move into a residential home.

Carl makes a decision:
-   Using thousands of balloons, he lifts the house into the sky to travel to Paradise Falls
-   He accidentally takes with him a young boy named Russell (a stereotypical sidekick).
-   Arriving in Venezuela, they meet a flightless bird who Russell dubs 'Kevin', and the main antagonist, Charles F. Muntz.

The main crisis of the film is that Muntz is after Kevin.

Resolve is brought about:
- Muntz’s death trying to snatch Kevin
- Kevin is later reunited with family.
- The house lands perfectly by the side of Paradise Falls, fulfilling Carl's promise to Ellie
- Carl has turned from a bitter, crotchety old man into a kindly grandfather figure
- Carl finally accepts Ellie's death. A new equilibrium is restored.

Secondly, another form of storytelling is that of The Hero's Journey - or in the words of one Joseph Campbell, a monomyth.

For this example, I shall use the 1994 Disney film The Lion King, the story loosely based from the Shakespearean tale of Hamlet.

-          Simba flees Pride Rock after the death of his father Mufasa, out of fear that he was the one that caused it.

-          He meets Timon and Pumbaa, who are his mentors and helpers as he grows up.

-          Later on he meets his childhood friend Nala, who reveals to him that Pride Rock has fallen into a state of ruin, and Simba conflicts with himself over returning to take his place as king

-          ‘Gift of the Goddess’ is when Mufasa appears to Simba as a ghost in the clouds

-          He finally returns to Pride Rock and fights his uncle Scar

Useful links:
Hamlet and the Lion King, by Trey McElveen. http://www.lionking.org/ - accessed 2nd Nov, 2010
Monomyth - The Lion King. http://wiki.unknowableroom.org/ - accessed 2nd Nov, 2010

The Creative Brain, and the Importance of Working By Hand

Sketching diagrams by hand is essential for getting initial ideas down. The use of ‘mind maps’ is popular in schools and jobs alike, as they display a connection between the key word or idea, and related ideas.

Secondly, sketching by hand can help you get a feel for the composition, or general look of a piece of traditional work in a way that a digital program can not. We can see the general idea of our work in our mind’s eye, however it is not very often that we can capture those little nuances in such detail.

Drawing with the hand improves hand-eye coordination, and your relationship with basic artist tools. We can test media in sketchbooks, how it reacts with the paper and other surfaces, and not have to worry about how it looks as a final piece. Experimenting in this sense is a key part of creative play, and without it we would not develop our artistic skill nearly as much.

My own reflective visual journal (now referred to as RVJ) is full of experimenting - both ones that have worked well, and those that have failed. Through that, I believe I can see the pathway that my work has taken with each brief - aside from the occasional use of printouts (mainly images), little of the work in my RVJ is digital. I have also made small sketches for design ideas and mind maps at the start of briefs to get my brain working, and I believe they have been a benefit in my journey.

Also, evident in one's RVJ is that of the collaboration between the left and right brain. The right brain is a child at play - responsible for our creativity and love of all things chaotic, artistic and messy. When we're lost in a piece of work or experimenting with a new set of paints, our right brain is taking over. Our left brain, however, is the complete opposite - it takes control of our logic and thinking. We can use our left brains in our work by applying logic and asking questions of our work - what is this doing? Why? Where will it lead? Annotations can be applied to our experiments, and in doing that we can give our right brains a general direction or theme to play around in next.




Images I found useful:
- my own work
- http://ninespv.files.wordpress.com/2009/03/left_right_brain_xp1.jpg

Legibility, and the 'Tone of Voice'

In illustration and design, it is important to make your message as legible as possible, whether it is through text or image. First, an example:

Although this anti-smoking advert is not in English, the message can still be easily understood by those who don't speak Czech - when a nursing mother smokes, the dangerous toxins will be passed onto the child. The image is hard-hitting and controversial, but it is a very good example of a legible advert through image.The text itself is bold, and although it is small, the heading in the yellow banner draws one's attention.

This is another anti-smoking advertisement from the Department of Health, one that drew a lot of controversy in the UK over its disturbing image. The image itself, if the text was removed, would not be very legible on its own. The supporting text and the slogan 'Get unhooked' is what makes this advert so effective. The text itself is white on a dark background, which is easy to read, and is limited to a few words (which is easier for any viewers to remember and take in). In comparison, the Czech advert is quite 'wordy'.

Secondly, do text and fonts have a tone of voice?

Here, a simple phrase "Hey, you!" is reproduced in a number of different fonts. Each font lends a 'voice' to the phrase, and affects how we read it in our head. The big, bold, capitalised statements are read in a loud, commanding shout, while the lowercase and more cursive fonts are seen as friendlier and soft-spoken. The voice provided by fonts and texts are very important to the illustrator or graphic designer, as it can lend itself to the feel of the entire piece as well as appeal to a certain audience.

For example, this piece shows vibrance, the choice of colours making it a very legible image (especially the use of red text in 'live' of Alive). The words are all portrayed with boldness and energy to match the design and colour palette, and is a good example of showcasing tone of voice in fonts and legibility.

This screengrab of the Times website also has a tone of voice in its text, although a very different one. Leaning away from energy and dynamic fonts, The Times's choice in text presentation and layout portray a very simple, no-nonsense business-like approach with good legibility to match its audience (mainly adults, easier to read for those on the go and browsing using their phone, or only having five minutes in a lunch break - those in more of a rush will not want to take time out to navigate around a difficult-to-read site). In contrast, the CBBC site for Newsround is designed specifically to appeal to kids - bright colours, more interesting fonts to hold their attention.




Images used:
http://lh5.ggpht.com/ash88leigh/RwvEYsJTj9I/AAAAAAAAAFE/pU1LXCupHLw/untitled5%5B1%5D.png
http://static.guim.co.uk/sys-images/Media/Pix/pictures/2007/05/15/smokead128.jpg
http://www.kumailht.com/blog/wp-content/uploads/2009/03/typography.png
http://image.guardian.co.uk/sys-images/Arts/Arts_/Pictures/2008/04/30/fishhook460.jpg

Articles used:
http://www.guardian.co.uk/media/2007/may/16/advertising.uknews
http://www.dailymail.co.uk/news/article-455106/Anti-smoking-advert-frightening.html
http://www.thetimes.co.uk/tto/news/ <i>[screencap taken 25/10/2010]</i>

The Importance of Research and Experimentation in Visual Communication

Research, from reading books or the newspaper to using your eyes and ears in the outside world, is essential to any artist, not just illustrators, although illustration will be focussed upon in this blog post. It deepens one's understanding of the subject assigned, and if the illustration is a successful one, it will at least make a contribution to the reader's understanding.

For example, a caricaturist spends much of his or her time studying human anatomy and how the muscles, bones and joints are structured in order to be able to exaggerate them effectively. An illustrator for young children would study popular picture books, animated TV shows and toys, and maybe even ask a classroom of children about what they think and what holds their interest. A cartoonist who works with newspapers will keep up to date with current affairs and populat figures of the day, and if their art is particularly political they may research further into satire. When an illustrator specialises into a certain area (if at all), research is still very much needed, and there are many sources to draw inspiration from.

An artist will also collect things that they find of interest regardless of whether it relates to the subject they work in, and it will become research in the form of expanding one's 'visual vocabulary'. This includes rubbings of fascinating textures, saving old train tickets, taking photographs, postcards of another artist's work that they feel inspired by, trying out an unusual media or technique - experimentation is extremely important to the development of an artist and a particular style. Illustration is very diverse and adaptable, and it's very easy to not only be confused about your own style, but to be 'stuck in a rut'. Pictured above is Wreck This Journal, by Keri Smith, a book in which wacky experimentation, making a huge mess and completely letting go is the whole point. It helps one to find techniques they like, or even may inspire a drawing style. Pictured below is Smith's introduction to the journal, which sums up the topic nicely:

Images used:
http://28.media.tumblr.com/tumblr_kowhv8J3aq1qz76g8o1_500.jpg
http://photo.goodreads.com/books/1174674083l/428862.jpg

The Notions of Originality, and Recontextualising Ideas to be Contemporary

100% originality in the art world has become close to – if not completely – impossible. Whether a person picks up on it or not, the world around us is fuelling the mind, and has fuelled the minds of every human before them. From the rich and broad history of art across thousands of years to walking in the city to buy a bottle of milk one morning, the brain is constantly being fed information, and whether consciously or not, an artist will incorporate it into their work.

In particular, the clearest information retained is often that which an artist will find hard-hitting or appealing. Literature, real events, the work of other artists and nature are just a few things that can inspire an artist, and in turn, that artist will use those ideas and inspirations to produce their own message. It may not be true originality in the sense of the word, as elements of an idea or a concept may have been thought of or produced before, but the artist him/ herself is recontextualising those ideas to fit their audience and purpose, and producing a genuine piece.

The example shown above is that of Gustav Klimt’s painting of Judith I, completed in 1908, and part of a Klimt-inspired photoshoot by Edward Enninful for Vogue-Italia in 2007. The aesthetic similarities are quite apparent from the makeup, hairstyles and even expressions of both models, and from the emphasis of detail – in Klimt’s case, the jewellery of the model and the ornate background, and in Enninful’s photo, the model is covered in intricate tattoos. However, there are also other similarities. Klimt often portrayed women with a femme-fatale nature, and Judith – a Biblical figure known for beheading Holofernes, as he had threatened her hometown – was no exception. The bold make-up, tattoos and expression of the model in Enninful’s piece conveys a similar aura, especially as the use of skulls and other Gothic imagery in the tattoos are often seen as ‘tough’ or ‘dark’. There is practically a century between the two works, and Enninful has recontextualised the ideas Klimt used to fit a modern market.

Another subject often reworked for contemporary visual communication is that of Greek mythology. In particular, the figure of Medusa – a woman who was known for her beauty, but after punishment was so ugly she could turn living beings to stone - has been reworked. Gianni Versace had a deep interest in mythology and learnt of Medusa’s power. He wished to stop people 'dead in their tracks' as she was known for, and incorporated Medusa into his design house's logo. Although the myth portrays Medusa to be foul, later art (like Versace’s) shows her being beautiful (which, according to the myth, she bragged of the beauty that was successful in seducing Poseidon) but with serpentine themes. In the 20th and 21st centuries, Medusa was and is recontextualised as a feminist figure; a symbol of female rage and strength, as opposed to the fallen woman the original myth portrayed her as.

Sources I found useful: 

"Edward Enninful's Klimt inspired shoot for Vogue Italia" - Catwalk Queen - www.catwalkqueen.tv (accessed 29th September 2010)

"Nothing is Original, So Steal Everything" - Basekit - blog.basekit.com (accessed 29th September 2010)

"Versace Medusa" - Rosenthal - www.rosenthal.cn (accessed 29th September 2010)

"The Versace Logo: A Representation of the Head of Medusa" - Associated Content - www.associatedcontent.com (accessed 29th September 2010)