Who is your favourite expert?

I am into a lot of styles and genres of artists, but mainly I enjoy cartoons, street art and graffiti, 'modern day' graphic design. One artist that I have always been interested in is Jon Burgerman, a UK based artist that uses bright colours and child like illustrations. As an artist I find him very appealing, eye capturing and exciting, but also as a personality. He isn't strict with himself, limits what he says or makes much sense when he does have an interview, much like his work, he is random, daring and provoking.

 Working across a variety of media that includes drawing, painting, print, animation, large scale murals and toy design, his art retains a hand-made, hand-drawn quality. A sense of self-deprecation, dry humour and modern-day anxiety imbues his work. He has quickly become a very popular artist with his use of unique and colourful doodle-artworks of swooping, intertwining lines and hyper-emotional characters.

Burgerman is defiantly an artist I aspire to be like. His work is very much influencing my own style, not only the nature of the design but the different prospect of medias that he is designing on. From surfboard for Ripcurl, to Pepsi Cans, even My Little Pony's, his work is always different and exciting, because it is not always on a flat white canvas. It shows me that I can design more than in a sketchbook or on a computer, I can potentially draw on anything, and make it into my own piece of artwork. I think to create work like this you have to be beyond imaginative and creative, you have to be inspired by literally everything around you, from other artist's work, to what the man is wearing on the seat next to you, or how you dinner looks at night, literally everything has to be a source of inspiration and design.

As an artist, Burgerman is the most original and broad minded creator I have come across in a long time, and with his constant array of fresh ideas and new characters I feel that he shall be a very big inspiration to me for years to come.


Bibliography
http://ucalibraryblog.wordpress.com/2010/06/01/jon-burgerman-video-interview/
http://english.mashkulture.net/2009/11/04/jon-burgerman-economies-of-scale-exhibit/

Where do you rate yourself on the 'Novice to Expert' scale?

The 'Novice to Expert' scale even though not very complex in design, has very clear levels of profession and understanding the areas of practise. I wouldn't say I am at the level of novice or beginner anymore, though when I first started studying Graphic Design of course I was at this stage. I would like to believe that I am now comfortably at the level of competent, however slowly starting to develop the qualities of a proficient. I will analyse each section of the scale to analyse myself, and my working style.

KNOWLEDGE 

"Good working and background knowledge of area of practise"

After studying Graphic Design for three years now, as well as being interested in it from a younger age, I have had many influences from history that have inspired me into creating my own style. I also feel that I understand the general practise of Graphic Design, the wide range of medias, skills and styles, understanding what is appealing and effective in comparison to what isn't.

STANDARD OF WORK

"Fit for purpose, though may lack refinement"

I feel that my work as a whole has continued to get stronger and more suited to briefs and projects throughout my time of practise, however, as I am now starting to find my own personal style and define that, my work can sometimes lack the small details that make it a complete piece. However as I continue to practise and develop my work and my style, getting used to working for clients and their needs over mine, I will start to refine more until it is at the level of proficient work.

Autonomy

"Able to achieve most tasks using own judgement"

After completing many projects whilst developing my skills, I have had a lot of practise in making judgements on what would work and what wouldn't work within my designs. I have had to judge the audiences point of view, layout and styles and overall making sure that the design is working to it's full potential. This has made me critical on my designing process, making sure that everything works together, making the judgements that are necessary for a good design.


COPING WITH COMPLEXITY
"Copes with complex situations through deliberate analysis and planning"


Throughout my practise I have learnt to deal with difficult situations with the technique of time planning and analysing the problems to overcome them the quickest way possible. With the use of time planning I can manage what work needs to be done, and when it should be done by, therefore making sure that I have left enough time to successfully complete each section of a brief to its maximum potential. Analysing my work frequently helps me figure out what is working, and what can be changed, concluding in producing a piece of work that is potentially better produced than what would of been without analysing and time planning. 



PERCEPTION OF CONTEXT
"Sees actions at least partly in terms of longer goals"
    
This is where I feel I differ mainly from the competent level of the scale and feel that I am more in the proficient category. Instead of just viewing what work I am creating now as just a project towards my final grades, I see it as development in my own personal portfolio, that I could potentially use in the future. All the work I produce is work towards my overall achievements, that signifys who I am and what my style is about and for.

Can a photograph really capture what's going on?

Photography, since it has become an art subject, has had many influential criteria and aspects. Not only does it capture a moment in time, the emotions, the setting and the people there, but it can also mislead and misguide people, making us think that there is one reason to it, when there could be hundreds of other reasons for it's purpose

These first two photos, both by anonymous seem pretty basic. The first one looks like a scenic landscape, with the sun setting over a field, after a bout of rain, the land looking moist and full of life and nourishment. The one below is of a run down house, which looks like it is full of idyllic little stories of the family which has lived in it, a little suburban house, which would of been set in a whole street of houses just like it. The colours are natural and unedited, just like a quick snapshot. However, both of these scenes were both host to horrific murders, however the photographs do not capture this, they just capture the idyllic scenes they have been captured as.

Another artist that uses misleading photography is Trent Parke, who's series called Minutes to Midnight is daunting and dark, however looks classic and simple. His images captured his trip across Australia are not like the typical holiday snapshots, however are both very different within themselves as part of a series. The first one is very traumatic and stressful, however instead of being part of a war scene in which it resembles it is something a lot more innocent, just everyday Australian life for the people in poverty. As for the bottom picture it is very idyllic and innocent, just a crowd of people looking out on the beach, however it is misleading because of the colours it has been set in. With the dark contrasting black ans white editing, it looks alot more harsh than it actually is, like the public are looking out onto a scene more horrific and life changing, instead of just an ordinary day at the beach. The main thing that makes these photos more misleading from traditional holiday snaps is the colouring, especially considering it is Australia. Connotations of holiday snaps, especially Australian ones, is that the black and white colouring give it that eerie and depressing feeling, of which was more than likely a very enjoyable visit.

In conclusion, photography is meant to be an honest and truthful subject, but clearly, every photo can have a hidden message or a completely seperate meening all together.

"The camera never lies"

Bibliography

Vhttp://www.theblurb.com.au/Issue50/TrentParke.htm

Can adding text effect our perceptions on a photograph?

Photography is a brilliant way to capture a scene or a moment in time, quickly recording what was happening at that moment in time, with just a click. However, photographs can often be misleading in what they are representing, leaving a red herring to what the true story is.

For example, Gillian Wearing shot a series of photographs of everyday public on the street holding signs, expressing a thought they are having, an emotion they are feeling, or basically giving them a chance to say something they have always wanted to say but been to embarrassed to. In the first image to the left, Wearing captured an image of a very well dressed young man, who if, if walked by in the street, people would assume had a good and happy life. However, with the sign in front of him claiming that he is 'desperate', our whole perspective on the model is changed. He is suddenly no longer the happy business man that we would perceive him as without the sign, thus our emotions and perception on the model has changed.

Another artist that uses the technique of adding text to change our concept of a photograph is Jim Goldberg. In his series named 'Raised by Wolves', he captured stories of runaway teenagers living on the streets of Los Angeles and San Fransisco. The tale of their lives of abuse, drugs, prostitution, and of their desires, fears, and loyalties is narrated by means of some 170 photographs, video and audio installations, documents, and objects in vitrines. There are also handwritten statements by runaways, adding emphasis and soul to the images. In the image to the left, Goldberg photographed a young boy, who ran away from home after issues relating with his parents. If the images were on their own, we would just see a skinny, malnourished figure,  with a few wounds. We would probably make the assumption that this person has had a hard life, but without the writing that accompanies it, we wouldn't have a true understanding of the pain and the emotion that that specific person was feeling at that time. "My mom was a 15 ye old junkie slut who I aint never seen. My old man is a biker from hell. The fucked up ass hole shot me in the gut when I was 12 yrs old, aint gone home since or had one" With this narration on the side of the photos, we see a completely different side to the boy. We truly see how hard life has been for him, and instead of just assuming a malnourishment and a little bit of a difficult life, we realise how truly disturbing his life has been. It adds an eerie feeling to the work, and gives viewers a sudden sense of sympathy, because the figure in the photo finally has a voice and a story.

Adding text to a photography, no matter if it is a secret, a story or just one word, can completely change original perceptions on what the image is representing. It gives the model or the scene a voice, and a way of speaking out, so the public doesn't have to imagine what the photo is about, or giving them the time to make inaccurate assumptions. It plays on our emotions, as well as making it last on the mind for a longer time.

Bibliography

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBOiqNudsHDshRAmSlZTe02Uout5sENNefT9HgwKjzdy0aIRr9Ni1Ex-kwltbWzZ5II21dIQeIw14fOO1e0kpvoKmuq7svXf-MHE5bJyO57wXhdWCWss7ccf9HyMCA5S3930nEizqwQDo/s1600/P78348_9.jpg

http://media.photobucket.com/image/jim%20goldberg%20raised%20by%20wolves/americansuburbx/Jim%20Goldberg/20071217_6c637a75887f98faf7c19lebI8.jpg

Developing Ideational Fluency

When being set a new brief, it is easy to get into the same mind set of previous work and obvious conclusions. However, this can lead to predictable work, that doesn't have as much effect than if the brief was thought about and analysed effectively, to create something new and exciting, that people have to think about and analyse themselves.

Mind mapping is a great way to get a new idea, and a brilliant source of answers to refer back to. A mind map holds no boundaries, and can continue to grow and grow as the brief is thought more and more about, gathering hundreds of new ideas, that without mind mapping might not have occurred.
Another method similar to mind mapping is writing down roughly 100 ideas that could be used as a final piece. Subsequently, the first 20 ideas will be obvious ideas, however, as you develop further, and think more about it, more and more original and fresher takes on the brief will start to develop.

When developing ideas for work, I use both theories, on two separate occasions. This means that I can come up with the most ideas that I can imagine, meaning that I will create a pierce of work that isn't so predictable.


Mind mapping and creating lists can be useful for many parts of a brief, and can be used constantly as a resource of development until it is completed. It can be used with situations such as colour schemes, typographic development, layout ideas and media formatting. Pros and cons of a design, audience and essential information.
 



Bibliography
http://www.navtaassociates.com/blog/wp-content/uploads/2009/01/feature-81-mind-map.gif 

Managing a creative environment

The working environment in any business is very important for the right mind-set and standard of work. More importantly when it comes to an artist's workspace. Their environment has to be comfortable for them, surrounded by resources and inspiration that will make them work in a more productive and free-flowing way. Every artists design environment is different to another, as every different person is influenced by hundred's of different things. Some artist's work stations may be a complete mess, overgrown with work, books and sources of reference, where as another would be completely organised, with everything in order. 

To the left is an image of Farkin's studio. Based in his kitchen he describes it as "Cozy but not ideal since I keep stopping to snack out, do the dishes or pick up the phone!" This environment is quite messy and unorganised, with work and paintings all over the place, equipment in several different locations and constant distractions surrounding him, the phone ringing, the food. However, there is a lot of inspiration surrounding him, wherever he looks, whether it is on the walls, through books, or even outside the windows on the wall, he is surrounded with references and influences.

Farkin's studio is a far cry from Gail Williams' studio , pictured left. Her studio is very much the opposite, with everything in a place and tidied away. However, there is a lack of obvious inspiration surrounding this work space, meaning she either gets her referenced from books, or from collections that have been packed away. Similarly to Farkin's space, Williams' studio is also facing outside, meaning that not only do they have natural light, but also look out onto ever changing scenes and new sights every day.

This is a photograph of my working environment whilst being studying at Birmingham. As I am living in a university room, I am limited to space, and have to work with what I have been given. However, I constantly surround myself with inspiration and influences from other artists and designers, books that I take idea's from and all my stationary. It isn't my dream environment, however it works for me.

 

Bibliography:

http://painting.about.com/od/artsupplies/ig/Photos-Artist-Studios/Studio-Farkin-Now.htm

http://painting.about.com/od/artsupplies/ig/Photos-Artist-Studios/Studio-GWilliams2.htm

Delivery

Illustrators and designers often use several medias of platform to get their creations across to their fans and to the general public, and in todays new modern age, there has never been more ways to achieve this. Illustrators have so many options, from gallery exhibitions, to plush toys, billboards to clothing design, the opportunities are endless and forever growing. Jon Burgerman, a british born designer and illustrator, uses as many possible platforms available to him and his designs, and is a brilliant example of an artist that uses more than one platorm throughout their career. Burgerman has worked on several types of surfaces, thus reaching out to a large audience. Burgerman's main platform is 2d work, wether it be wall illustrations, to poster design. Burgerman's wallpaper design is completely unique and inspiring to other creators. Not only has this delivery got the option to be mass produced, but it is also going to be seen by hundreds, and last a long time, not just like an exhibtion. It is inspiring to other designers, as it is inviting them to colour and draw all over it. Another piece of 2-D work of Burgerman's, a front page cover of 'Computer Arts' magazine, a popular choice of creatives and designers, is classically set in his style of cartoon drawing, using the space and colour wisely. Front cover design on a magazine of such high reputation would of boosted the interest in Burgermans work, creating more enquiry and a bigger interest in his styles, methods and thoughts on art. However, Burgerman doesn't just design on 2-D designs, and has produced many fantastic pieces of 3-D modelling. His design on the 18" graphic model 'munny', was extrememly popular when exhibited, promoting both the design and the branding, and showing that they can work together. The 'munny' is very bold and busy, which completely signifies Burgerman in every drawing, as it is covered in his almost randomly designed yet prefectly placed together characters. 

In conclusion, Burgerman always very carefully chooses his platform to deliver his illustrations, and yet, it always works, and would quite possibly always word on just the same piece of paper. He makes sure that the work he has created is placed on the right playform for maximum potential audiences, and the maximum inspiration. As new delivery method's modernise, I would not doubt Burgerman, or other illustrators will be experimenting within it, to find even more exciting ways of expressing their work.

Bibliography

http://www.jonburgerman.com/Work/category/2d_work/P6/

http://www.jonburgerman.com/Work/category/3d_work/

Interpretation

Throughout time, books and plays have been modernised and regenerated to suit the times they are being interpreted in. Doing this keeps the stories alive, but interpreting them into the modern day, means that audiences are forever captured, watching and reading images that they are used to, instead of images that are dated.

Within 50 years of the story been published, Peter Pan was made into a movie and musical adaption. In 1950, Leonard Bernstein produced the first musical theatrical performance of the novel. The play poster, designer unknown, was very bright and captivating, almost removing the innocence of the story with its strong appearance. However, it is clear from the poster design that Peter Pan has now been completetly visualised as the caricature of the flying boy wearing green. In 1953, Walt Disney interpretated the story of Peter Pan, bringing it to movie screens. Once it was bought out on video and DVD, the covers continuously changed, so that they were suited to the times they were being re-released in. The most recent one, using the most modern technologies, still holds onto the same idea's that have been used in previous designs for the past, such as Peter wearing the same green 'elf' costume, Mary wearing the blue peticoat, which was originally seen in Attwell's illustrations. The use of colour and editing gives the image the most mystical and magical appearence it has had. The innocent and magical characters would capture children of the millenium generation, as this is an image they would understand in comparison to the originals by Bedford.

In conclusion, artworks for stories, movies and productions will be constantly edited and changed as they stand the fight against time. This is mainly so that they will continuously appeal to and suit their targeted audiences as well as developing possibilities of development in different medias, keeping the novel's alive for years to come.

 Bibliography

http://en.wikipedia.org/wiki/File:Peter_Pan_1915_cover.jpg

http://www.fanpop.com/spots/fairy-tales-and-fables/images/732364/title/peter-pan-photo

http://upload.wikimedia.org/wikipedia/en/b/b8/PeterPan-1950-ArthurKarloff.jpg

http://findmeapirate.com/Pages/Captain%20Hook/Images/Peter%20Pan%20DVD%20cover.jpg

A classic example of interpretation within stories is J.M Barrie's novel Peter Pan (1904), which was later adapted twice into two new novels, Peter in Kensington Gardens (1906) and Peter and Wendy (1911). The original book cover illustrations, by F. D. Bedford, are quite typical for the era they were designed in. Using engraving and ink, Bedford has created a very mystical and detailed picture, with peter looking like an ordinary boy, a far cry from the caricature of the mystical boy in green.
In 1921 Mabel Lucy Attwell illustrated another publication of Peter Pan, bringing it into the new decade, and new generation of children. Attwell introduces colour to the characters, and starts to illustrate Peter as a more magical character. The colours are soft and innocent, giving it a more friendly feel compared to Bedford's illustrations. The characters have more detail in their faces, representing their personalities and the angelic theme of the story.

Pre-production: Character Design

Getting the right personality for a character in a movie or tv production is vital for the screenplay to work. The main three traits to a character are their appearance, actions and interaction. If a character doesn't look the part, or interacts with other characters in the right way, it could fail the complete production.

I will use The Joker, out of the 2008 production of The Dark Knight, a film about heroes and villains, the Joker being the main antagonist. (See left for images.)

APPEARANCE: The Joker's appearance is very unsettling, 

a theme that is typical of a film's villain. The face paint and the hair are dirty and messy, showing that they are trying to look rough and haggered, threatening compared to someone that is well put together. His stance is crouched over and hunched, in a defensive yet strong pose. He appears threatening and nerving, seperating him instantly to the other characters and the mixture of heros and villains.

INTERACTIONS: The Joker is very threatening and demanding throughout the whole film, proving that he is the main villain fighting against Batman. He is a killer, and this is clear in the way he reacts with people and plans against them. Throughout the whole production, he doesn't have many long conversations with other characters, unless they are threatening or plotting, proving that he doesn't give away too much information, but only the information that is needed to spur characters on. It is obvious that he is more of the 'doing' character than a talking character, which only emphasises his evil and wicked character.

ACTIONS : With the Joker being the main villain in The Dark Knight, he is the main source for wrong doing and wicked games. His actions of murder and immoral plans are completely stereotypical for a villain in a superhero movie, however, unlike most stereotypical villains he doesn't hide away the fact that he does it. He is open about his plans, makes characters in the production act upon his ideas.

The Joker is a very strong character in The Dark Knight, and is brilliantly presented to the audience as to what the film is about and what his character is about. He is the perfect representation of the character The Joker, and is brilliantly executed in all areas of character design.

  Bibliography

http://messageinthemedium.files.wordpress.com/2008/08/dark_knight_joker_heath_ledger_poster.jpg

http://thequarterbin.com/wp-content/uploads/2009/01/heath-ledger-the-joker-in-the-dark-knight5.jpg

Three Act Structure

Beginning : Middle : End

30 : 60 : 30

Establish : Crisis : Resolve

Film annotation for a Three Act Structure is "The Dark Knight", Christopher Nolan, 2008.

Many screenplays and films have a Three Act Structure. The three acts are the beginning: the set up of characters, location and the original dilema that the characters will have to persue, the middle: where the obstacle is tackled, and the end: where the problem is bought into a climax and usually resolved. In a typical 2 hour film, the beginning and the end are roughly 30 minutes, where the middle when the majority of the action happens is 60 minutes.

Fitting The Dark Knight into a Three Act Structure is difficult, because there are alot of story lines and plots mixed into one overall script. However after watching the film, I have broke it down into three different acts.

ESTABLISH

Introduction to characters and location (Gotham)

Joker's Conmen raid banks

Batman is called by Gotham

Joker claims he will kill until Batman reveals his identity

Joker Kills targets

Batman fights Joker

Joker sets new targets

CRISIS

Batman sets out to capture the Joker

Joker sets more targets against the government and police service

Batman hides evidence of himself to avoid tracking

Harvey hands himself as Batman to protect the real one (Bruce Wane), gets transfered to jail

Joker chases Harvey, thinking he is Batman

Batman chases Joker

Joker is captured

Harvey and Rachel are Kidnapped

Joker gives option to save either Harvey or Rachel, Police go to save one, Batman the other

Joker blows up police station, freeing himself

Batman saves Harvey, his face is severely burnt, birth of two-face, Rachel dies

Joker blows up hospital, publicans flee to boats

One boat is full of criminals, one of civilians

Ferry enginges stop, find detinators for bombs on the other boat on both ships

Cop's family are kidnapped by two-face

Resolve

Chase to save the cop's family and boats

Joker fights Batman

 Criminals throw away detinator

Joker is caught

Cops go after kidnapped family

Two-face threatens to kill them all

Batman arrives, saves family

Two-face dies

Batman Light in Gotham is turned off

Batman goes into hiding

As you can see, as detailed the film is, it can still be broken down into a 3 Act Structure. The beginning sets the scene, the agenda and introduces many of the main characters. The middle is full of solving issues, and the ending is resolving the main problems, and tying up the story into a couple of scenes. Most films, when analysed, break down into this structure, no matter how complicated they are when watching, and no matter how many story lines are wrote within just one.

“Every movie needs to have a beginning, a middle
and an end, but not necessarily in that order.”
Jean-Luc Godard

Bibliography

http://www.nolanfans.com/thedarkknight/

Working By Hand

Drawing is a technique that is quickly dying out, however it is the greatest skill an artist can have. Getting ideas down on paper, scenes they have seen means that ideas are not lost, and can constantly be revistited at any time of life. It engages a physical connection between the three most important tools any person can have, the hand and the brain and the eye.

 There is no limitation on what can be used within a drawing, or indeed what can be used. The obvious would be pen and pencil and a drawing of what the eye see's, however this takes minimal imagination and exploration into the wide varieties that can be experimented with. Text, photographs, paints, chalks, food, almost anything can class as a drawing. Often there are feelings of limits, due to critisising of the brain, analysing the work in which it thinks wouldn't work or wouldn't look right. But there is no right or wrong when it is our own creation. Drawings, good or bad, masterpieces or a rough two second sketch, explain themselves, yet don't need an explanation, don't need a reason or a meaning.

Anyone can draw, create something that noone else has seen, put down their ideas and imaginations, dreams and thoughts. Not neccessarily creating art, but instead creating idea's that could spure on a new generation of style, instead of nesting away in the head, and not taking to life.

 

"A drawing is simply a line going for a walk."

Paul Klee

Bibliography

http://www.utrechtart.com/community/images/kdh_sketchbook.jpg

http://www.boingboing.net/images/_Everyday_month_days_page160.jpg

http://www.brainyquote.com/quotes/keywords/drawing.html

Utilising the Creative Brain

Everyone has two seperate sides to their brain, both specialising in two different qualities. The right hand side, effectively used more as a child or in the art industry, is more creative and playful. It is spontaneous and innocent, curious and carefree. Using the right hand side of the brain is difficult as artists grow up, as the left hand side of the brain, the side which is organised and evaluating, concious and critical oftern takes over, in terms the left hand side is more mature than the immaturity of the right hand side. 

When working in RVJ's and other sketchbooks, having a prominent right hand side is the best tool when creating quick sketches and work that we can later return to and reference from. For example, Henry Moore used his right hand side for quickly sketching possibilities for a new sculpture. These drawings were not in very much detail, instead were drawn up with just a few lines very quickly. Like a child's drawing, to anyone else these few lines would not mean much, but they are carefree and experimental, instead of creating 3D analysed and critical drawings. However, when creating a piece of work, concious awareness is always the best way to make use of the most ingenius tool we have been granted with as artists. Analysing work is an important factor because it reminds the artist and potential work collegues as to where the idea came from, where the idea could potentially go and how it could be edited. Critising work helps when developing ideas, in showing where the piece is going, whether the annotations are in alot of detail, or just summed up in two or three words, could really give a design life and a clear path.

Neither side of the brain is more important than the other, as the brain needs to both explore and analyise, be aware of what is on the paper. The brain needs to both breathe, yet be tamed, as it could be the most useful blessing or most dangerous plague on a potential masterpiece.

Visual Hierarchy

would be recognised are the newspaper title and the holiday offer.However on the VW Fabia magazine advert, the factor 

they want people to see first is the picture of the car, and 

how they have cleverly designed it to be made out of 

cakes. It is eye catching, interesting and appeals to families. 

The type however, isn’t as eye-catching, but settling into the background means it still has effect, but is noticed second.

Biblography:

http://news.sky.com/sky-news/content/StaticFile/jpg/2009/Feb/Week2/15222428.jpg

http://www.vwaudiforum.co.uk/forum/images/mainsite/ad.jpg



There are alot of elements that make up a piece of design, on the front of magazines, newspapers and on posters. It is important to get the right type and the right image in the correct place so that it enhances the products selling, and therefore they get more profits. Newspapers and publications are the biggest users of visual hierarchy, using the mixture of headlines, and photos for bigger profits. As evidence, this picture of the front page of The Sun newspaper proves that the placements of factors are crucial. They use a very big white bold headline, which is very eye catching and jump out from the page. This would be ideally the first thing that would be seen. Beneath this is a full photo of the boy that has made the headlines, for people that notice pictures before words, and plays on the curiosity as there isn’t much of the story on the front page at all, it would make people read more. Other factors of the front page that 

Tone of Voice

Every piece of typographic design and illustration has a tone of voice. It has an impact on the public, wherever it is placed. Getting the tone right is critical for it to have the right effect, whether it is selecting the right typeface, colouring or style. For example, the World War II ‘Keep Calm and Carry On’ poster was originally designed to boost morale. To do this they used quite a simple sans-serif white font that would appeal to all age groups. They also used the image of the queen’s crown, which of course would reinforce the patriotism of the time. However, these photos as well as boosting moral reassuring the public the poster also told people what to do, in an almost demanding way. The tone for this piece was spot on in which its task was. Similarly, in advertisement, the tone of voice has to be correct to suite the audience. In a Givenchy advert for perfume, they use photography for their voice. The photo of the mysterious woman appeals to the women that want a fresh new smell, the scent of mystery and devious antics. The use of dark and light contrasting colours emphasise this style as well. The image over powers the type, because it is more important and eye catching. However, the type is kept simple and classic, so that it doesn’t get too fussy or over complicated. The tone is feminine, mature and classy, appealing to their target audience.

Bibliography

http://www.thewolverineblog.com/wp-content/uploads/2010/09/keep-calm-and-carry-on.png - Keep calm and carry on poster

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwBdIAJP0pT6wwCjJhEHUlK2JzFoSELNZWwdRQyz7iPxZJfclbfMHl7yRS0NveIAyILB7y-XUBly8M73MdulvWzg1yvyOfki3braJ_Ex0mvqEzLexsh2FDyWxuqBElzIOAAqERi4lhhFZH/s200/angeoudemon_mariedevillepin.jpg

Perfume advert

An understanding and knowledge of 'an audience' can enhance and focus the communication

 The audience is the most important role of any design, without knowing what age group or type of person an artist is creating for, an artist can get the whole project completely wrong. For example, a children’s book illustration is going to be completely different that an editorial illustration for The Times newspaper. Illustrations can engage a person and their curiosity so it is vital that it is done correctly. For example, children’s book illustrator Oliver Latyk uses a lot of colours, simple shapes and basic detailing to capture young minds, where as adults wouldn’t necessarily be drawn to his images. But his illustrations emphasise the story, making it more understandable for the child and therefore they have something more positive to follow than words. They talk to the children, and they can use these images as a guideline, and find amusement and joy in them where as an adult essentially wouldn’t. However, illustration for advertisements hosts a completely different concept. For example the job for a road side billboard advertising Coca Cola would be to attract and communicate to drivers and persuade them to buy their produce. This is done with bright attracting colours and large fonts, so drivers don’t necessarily get distracted from the road, but they distinctly know the logo and what it is advertising. Using the slogan ‘welcome to the coke side of life’ and mixing that with the bright splatters of colour emphasises the positivity of drinking coca cola therefore persuading more to buy their product.

Biblography

http://www.google.co.uk/imgres?imgurl=http://www.popandroll.com/coke-art/CSOL3.jpg&imgrefurl=http://cokeart.wordpress.com/2008/07/06/live-on-the-coke-side-of-life/&usg=__WuSewKUmlwc_FZidKmXrwUSAhgE=&h=452&w=850&sz=457&hl=en&start=0&zoom=1&tbnid=HJxppmhMnBeAYM:&tbnh=88&tbnw=166&prev=/images%3Fq%3Dthe%2Bcoke%2Bside%2Bof%2Blife%26hl%3Den%26biw%3D1362%26bih%3D553%26gbv%3D2%26tbs%3Disch:1&itbs=1&iact=hc&vpx=1011&vpy=118&dur=215&hovh=164&hovw=308&tx=247&ty=78&ei=WI20TI_NO8KRjAfes6i_Aw&oei=WI20TI_NO8KRjAfes6i_Aw&esq=1&page=1&ndsp=26&ved=1t:429,r:7,s:0

coca cola advert

http://www.childrensillustrators.com/illustrator-details/latyk/id=6/slideshow/pag=9/

Oliver Latyk Illustration

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

Inspiration can be sourced from most places, whether it is a flyer on the street or a conversation you heard walking by. However, inspiration, and being inspired doesn’t just happen without keeping eyes open, wherever an artist is. It comes from being constantly alert, absorbing everything and anything, whether at the time this source is needed or not, and recording it down. A brilliant artist who represents this curiosity of the world is Jill Calder, who carries sketchbooks everywhere, so that no matter what project she has to do, there is always some inspiration for it. She uses Moleskin sketchpads, or Fabriano paper, and a wide range of materials such as inks, paints, and pens to quickly sketch down what she can see around her, such as cafe scenes and the public, or even just her own imaginations. As an artist, it crucial to take down as much as physically possible, in any form, whether it be a street poster, a sketch, a photograph of something that personally sways us, that later on we could possibly use or quite possibly never need.

“If you start with nothing you have to invent everything from scratch” – Book: Inspired

Bibliography:

http://www.jillcalder.com/jillcalder_sketchbook.php