For this assignment I had to prepare a presentation of my work that I believe is engaging and varied in addition to reviewing the work completed during part 2 of Visual Exploration and thinking critically about how I work.
Key words from the brief:
Look back through all of the work you have produced in this part of the course, especially the final outcomes of each of the seven exercises.
Make a Powerpoint, Keynote or other slideshow presentation that selects and presents what you think is an interesting and varied collection of work.
The slideshow could be seen as a selective sketchbook or portfolio that underpins some of the thought processes and decisions you have made throughout this part of the course.
You could add notes from your learning log or a voiceover to explain or discuss your thinking in more detail.
illustrate your commentary by showing examples of your work and also how you work
These should draw on your visual responses to the exercises so far, but can also make reference to your previous work.
Use the slideshow to visually present your creative making process, which may include showing your working space
Five to seven minutes long
For the presentation I looked at various ways I could present such as filming myself, creating a PowerPoint presentation and using other presentation software. Finally, I settled on using Adobe Express as I felt this gave me a way to present my work clearly and be able to talk about my work using a voice over. Below is my presentation.
Presentation
Reflection on the assignment
What have you learnt about your practice by reflecting on creative processes?
Upon completion of the work I have created in part two, I have come to the realisation that I am motivated by illustrations that trigger feelings or somehow communicate a message.
However, I’ve also recognised that I found some of the work difficult, like beginning the collage project. As said in the presentation I have not enjoyed collage in the past however, after I gave it some context, I started to like it.
What I enjoyed about this part of the course is it has made me experiment with new ways of working and each one has helped me to generate new and exciting ideas.
How did the experience of making a video go for you – did it communicate you and your practice successfully?
Creating a presentation using Adobe Express was a technical challenge for me as I have never used the program before. It was difficult to know how long to talk about each slide without talking too much. To overcome this I typed out what I wanted to say for each piece of work and made sure each slide didn’t go over thirty seconds. Once I got to grips with it I found it enjoyable and exciting to see a show about my work come together.
Animating some of the work and text made the slideshow more interesting visually and I hope it captures the viewers attention. Being able to add my voice to the presentation allowed me to express myself and explain my working process. Hopefully this helped me to connect with my audience at a deeper level.
As all the work had been completed when creating the presentation, I decided not to do a live video as I didn’t think it was necessary. However, in the future I would like to create a similar video but add in a couple of short clips of me drawing or painting. I think this would add an interactive element to my presentation allowing viewers to witness my creative process in action.
Reflect on your outcomes but more so on your creative process – what worked for you, and how might you adapt these approaches for future projects?
Exercise 3 was enjoyable it is something I have not done before and got me really thinking about what I could draw whilst having a constraint. Only having the word ‘making’ to use as inspiration was quite challenging, yet I was pleasantly surprised at the final outcome.
Exercise 4 was a fun activity where I had to generate a series of mind-maps to generate associations based on a single concept. It was surprising how many ideas I was able to come up with and proved to be a useful tool for the future, for example when having a mental block.
It was enjoyable to experiment with digital painting and to gain new skills, but I am disappointed that I still have a lot to learn in this area. Due to my lack of technical understanding in this field, it will take some time for me to make a digital drawing that I am proud of. However, I will continue to practise this whenever possible.
In the last month I have recently purchased an ipad and bought the drawing program Procreate which I am excited to learn to use as I think it will be beneficial for my illustration practice.
Exercise 5
For this exercise I had to play the word association game using Word on the computer. I have never done this before and it was quite interesting to see what list of words I came up with. I also enjoyed making some of the illustrations such as the sea scene.
Exercise 7 is a debatable one for me. On one hand I have never liked doing collage work or looking at other artist collage work. Yet, by doing this exercise it has pushed me outside of my comfort zone and I have been able to express different thoughts and messages in my artwork. I was able to do this by carefully thinking about the composition of mixing textures, colours, and illustrations. It allowed me to open up to new ways of thinking and spark creative connections.
Which pieces of work do you feel have been most successful and why?
Exercise 4
Exercise 4 led to a successful outcome with the creation of a fantasy illustration of a wizard. It has shown me how effective mind-mapping can be in sparking creativity and generating ideas. Being able to overcome mental blocks when they arrive and finally being able to turn it into a positive and imaginative result I think is a success.
Overall all these exercises have pushed my creative boundaries and I can see they are valuable for my personal and artistic growth.
Have the exercises helped you to think about things in new ways or try out new ways of working? What have they been and how has your viewpoint changed?
Yes these exercises have helped me think about new ways of working and have created successful outcomes by doing them. For example, the mind mapping exercise, the word association game exercise, the cutting up exercise and the collage exercise have all been able to enhance my creative problem-solving skills, overcome mental blocks, and discover new approaches to my work that I can take forward in my practice.
What area(s) would you like to develop further?
The reason I am on this degree is not only my love of illustration but that my aim is to illustrate children’s books and book covers in the future. With this in mind there have been a couple of fantasy illustrations that I have drawn in the unit and I realised I became totally absorbed when drawing them. I would quite like to have another go at this perhaps for a fairy tale children’s book and spend time experimenting with ideas and creating an array of character designs.
As said above in exercise five, I was able to express myself, be imaginative and create art that had meaning. This is something I would like to do more of but perhaps not in the form of collage.
This exercise builds on the previous ‘Cut Ups’ exercise, but instead of using found material from newspapers or magazines, you will need to generate your own visual material, either by drawing, designing or photographing your own images.
First you will need to create the following ‘pool’ of images from coloured paper and your own drawings, designs or photographs.
A group of coloured shapes, like a yellow circle, green triangle, black square etc.
Images of 5-10 figures; these could be ordinary people, superheroes, characters from history or celebrities, depending on the sort of images you want to create.
A group of 5-10 background landscapes, for example a city street, country road, mountain-scape, famous landmarks or the surface of the moon.
A group of other random visual elements like objects (a bus, a building, dinner table, a bunch of flowers, etc).Photocopy these at different scales and sizes so that you have several versions of each image.Cut them into individual items with which to work. These will all then be separate pieces of paper or cut-outs that you can incorporate into a single image space.Working with an A3 format, arrange some of your cut-outs to create 10 composite images. These could be either representational or fantastical, they could be single images or they could form a visual narrative. You could make your images physically by sticking them on sheets of paper or card or scan them and make digital collages. You can be implausible, satirical, political, comical, horrific or polemical, or all of these approaches together!
Visual Skills 2: Visual Exploration p67
Keywords from the brief
Generate your own visual material, either by drawing, designing or photographing your own images.
Create a ‘pool’ of images from coloured paper, my own drawings, designs or photographs.
A group of coloured shapes
Images of 5-10 figures
A group of 5-10 background landscapes
A group of other random visual elements
Photocopy these at different scales and sizes so that you have several versions of each image. Cut them into individual items with which to work. These will all then be separate pieces of paper or cut-outs that you can incorporate into a single image space.
Working with an A3 format
Create 10 composite images.
Pool of images
It has been said many times during the degree how valuable keeping sketchbooks is. For that reason rather than generate any new illustrations I decided to look back at all my past work including the very first module I did. Next, I selected any work that I thought may be used for this exercise and put them into categories.
Backgrounds
People
Visual Elements
One of the challenges with this exercise is to play with various scales and sizes. To simplify this process, I decided to scan all the artwork and manipulate them digitally. This approach allowed me to easily and quickly scale the different elements according to their specific requirements.
Coloured Shapes
The coloured shapes in each of the collages were made from various coloured and textured papers that I had collected for this exercise. Each paper was scanned into the computer and digitally cropped into various shapes and sizes to use in each of the collages. This method allowed me to create a diverse range of visual elements for my collages, adding depth and uniqueness to each piece.
Below are photos of the papers collected.
Other Characters
There were a few characters I came across that I thought may come in useful so I put these into a separate folder.
Collages
One
For the first collage, the following images were used.
I also used cut-out circles from the coloured background. Below is the final collage.
I enjoyed making this collage as I felt it expressed a lot of emotion. The content in this collage was intended to express the emotional struggle of individuals with depression, highlighting the stark contrast between their outward appearance and their inner troubles. It also made me think about the deceptive nature of social media, where people often portray a facade of happiness despite internal struggles. I hoped this collage conveys this concept through using an illustration of a girl appearing happy at one angle, but appearing sad when the image is rotated. I hoped it emphasised the importance of truly seeing and understanding others.
Two
For the second collage, the following images were used.
Below is the final collage.
This collage is a personal piece. Each image holds a special significance, representing different aspects of my life and experiences. The flowers were given by my closest friends and the autumn view is a photograph of my favourite place to walk with my dog, it is tucked away and not widely known about. The coloured lines represent the people I have crossed paths with during my life and the journey I have taken.
Three
This collage was a more playful one and I tried to think of it as an image taken from a children’s fantasy book so perhaps wasn’t really creating a true collage. Still, I managed to combine an image of a castle, a troll and rolling marbles into an eerie composition.
I wanted to capture the essence of a children’s fantasy book, where anything is possible and the surreal comes to life. By blending the image of a castle a troll and rolling marbles, I aimed to evoke a sense of wonder and adventure.
Four
Below is the final collage.
At first, when creating this collage, I carefully arranged the different elements: the man in a suit gazing out at the city through the window, the teacup, the troubled expression of the woman, and the textured paper. I experimented with various sizes for each element, thinking about how to incorporate the woman’s face into the collage. As I got further into the process, my thoughts turned to transgender individuals and those who struggled with their desire to embrace a different gender. Considering how some may struggle, denying and concealing their inner thoughts. In this collage, as the man looks out the window, he is met by his reflection as a woman, appearing fearful.
Five
With this collage, the composition came more quickly than the others. The elements of the shocked woman, the textured waves, and the background illustration of innocent refugees trying to escape war but falling into the ocean fit together nicely.
The contrast of these different elements, I hoped, would create a powerful message about the human cost of war and displacement.
Six
Below is the final collage.
I enjoyed creating this collage as it was a much more lighthearted collage than some of the others I’ve worked on. The image of the young girl is actually a drawing I did of my best friend’s daughter. I wanted to capture her joyful personality, which is why I opted for a colourful background. The added marbles in the collage were meant to convey the feeling of them spinning in the air after she had thrown them, adding an element of movement and playfulness to the overall composition.
Seven
For this collage, I really wanted to push myself out of my comfort zone and create something a little zany. Many of the collages I researched seemed quite unusual, and I found that aspect to be intriguing. I was determined to break away from the conventional and try and create something a little more eccentric. To achieve this, I selected a drawing of a 1950s lady, a 1950s television, an autumn background, and textured red, round patterned circles. I decided to use the television to replace the lady’s head with a falling apple inside, introducing a surreal and thought-provoking element into the artwork.
Eight
For this collage, I tried to create an artwork that is more about creating something aesthetically pleasing. To do this I used a pattern green background, illustrations of sunflowers that I had previously painted and an image of myself taken on one of my favourite walks. I also added a pastel pink shape lowered the opacity of it and layered it over my top. I felt this added a soft and gentle contrast to the vibrant green and added a visual interest.
Nine
For this collage, I just tried to be playful and see what the outcome would be. It includes a man sitting in his underwear and slippers, perched on the edge of a flying teacup soaring through the sky. With the addition of marbles swirling through the air and escaping from the man’s bag to add a little humour. I found this collage amusing as friends and family think the man I drew in the picture is my husband which was not intentional.
Ten
For the last collage, I wanted to be experimental and chose to use a lady’s face I painted with black Indian ink, a sea scene I painted in acrylics, poppy flowers I painted in acrylics and a black and pink background.
Using a clipping mask in Photoshop I merged the sea scene into the lady’s face and erased some parts of the sea. To the side of the woman’s face, I placed a number of the poppy flowers which I thought would add an intriguing and contrasting element. These elements were then placed against the black and pink background.
I am not quite sure why but I really like the outcome of this collage. The composition works well and the black and pink background works as a striking backdrop. The result of the final composition is quite mysterious.
Reflection
This exercise has been difficult as it is very much out of my comfort zone. I have never been interested in collage artwork or creating it myself. However, as I began to play with the different elements, I found myself embracing the freedom to explore different combinations and push myself artisticly. It was also fun to allow my imagination to run wild and I was surprised at how I was able to express different thoughts and messages in my artwork. This exercise has inspired me to keep trying new media and experimenting with different forms of artistic expression.
For this exercise you need to have access to a computer with Microsoft Word or a similar word processing programme with a thesaurus (if not you could use a standard dictionary for this exercise but it will take longer). In Word the Thesaurus is the second option in the ‘Tools’ drop-down box. The starting point for this exercise is an automated word association game.
Here is an example of how to play the word association exercises.
● Choose a word to examine – the example here is the word ‘grass’ as a starting point. Type the word ‘grass’ in a new Word document.
● When you highlight and look up ‘grass’ in the thesaurus you are given the alternative words ‘sward’, ‘grassland’, and then the third definition of grass which is the word ‘meadow’. Now type that word in after ‘grass’:grass meadow
● If you then look up ‘meadow’ on the thesaurus then ‘lea’ is the third alternative word, making:
grass meadow lea
● After continuing this process of looking up and adding the third alternative word for a while, you will eventually develop a word poem like this:
● After a while you will reach a point where the alternative word begins to loop and repeat and you can’t take the exercise further. In this case you could switch to the fourth alternative word, or the fifth if you then start repeating again.
Now think of your own word and try the experiment. Sometimes you might begin to repeat very quickly, but experiment with a few words until you achieve a list you find interesting.
Once you have reached a 20-30 word text or ‘poem’, draw pictures or take photographs of each of the words in the sequence. These can be quick sketches or snapshots, but keep the order the same as the ‘poem’. These don’t have to be perfect drawings or photographs, more a visual record of the text, maybe structured as a comic strip or storyboard. Here is an example of the ‘grass’ poem:
OCA Visual skills 2 – P57
I began typing words into Word but found it quite frustrating as each word wouldn’t generate enough new words to make the word poem.
Below are images of words I attempted.
Eventually I found a word that worked and this was Ocean.
This word poem is:
Ocean
Waves
Gesture
Signal
Beam
Smile
Twinkle
Shine
Glow
Flush
Burn
Smoke
Cigarette
Chore
Duty
Task
Assignmment
Charge
Impose
Con
Below are the individual illustrations I created for the poem.
Ocean & Waves
For these words, I painted an image of the ocean with crashing waves. This was created with acrylic paint.
Gesture
For this word, I decided to create a gesture drawing.
Signal
For this word, I created a flag which is a signal to say there is a danger of strong currents.
Beam
For this word, I used Adobe Photoshop to add a beam of light to the sea painting.
Smile
For this word, I created an illustration of a man smiling using pen and water colour paints. Then I enhanced the illustration using Adobe Photoshop using various brushes and the smudge tool.
Twinkle & shine
For these words, I added shine and twinkles to different parts of the sea painting using various brushes in Adobe Photoshop. Below is an example of part of the painting.
Glow
For this word, I added the sun to the painting and creating a warm glow using Adobe Photoshop.
Flush
For this word, I drew a lady looking flushed using a dip pen with black Indian Ink and watercolour then enhanced the illustration using Adobe Photoshop.
Burn, smoke & Cigarette
For the words burn and cigarette, I created an illustration of a lit cigarette and then added smoke using brush tools and blurring the marks using Photoshop.
Duty
For this word, I drew an illustration of a sign warning the public that there is no lifeguard on duty.
Chore , Task & Assignment
For these words, as they were very similar I decided to think about them as one and drew an illustration of a lady litter picking.
Charge
This was my favourite word of all them because I got to draw my pet dog charging towards me. The illustration was first drawn and painted with acrylic paint.
Then using a reference photo of him shown below, I then enhanced and added further detail to the drawing using Photoshop.
Impose
For this word, I painted a picture using acrylic paint of a sign imposing no alcohol.
Con
For this word I decided to create an illustration of a con artist. This particular con artist is an individual who tries to trick people into believing or investing in something that is not what it appears to be. Such as selling fake designer goods to tourists on the beach.
I like to think the illustration serves as a creative way to highlight the issue and remind people to be cautious when encountering such situations while traveling.
This illustration was created with pen and water colour and enhanced using Photoshop to add detail to the face and skin using various size brushes and the smudge tool.
All the individual illustrations I compiled into a final illustration which can be seen below.
Final illustration
Reflection
This task took me longer than I expected, partly because I made some images in great detail. I knew it wasn’t necessary for the exercise, but I wanted to challenge myself and see what I could come up with.
Generating images for each word was challenging to begin with. However, the more I thought about it, the more I could envision an interesting final illustration.
Putting all of the various sketches together helped me to create one cohesive artwork that visually tells a story. For example, combining the con artist’s illustrations generates a visually appealing image.
This exercise enabled me to put complicated ideas into one single image. The final illustration allowed me to express an idea while also displaying my artistic creativity. I hope it engages viewers and provokes thought and emotion.
For this exercise I was asked to choose a word and make a list of the different manifestations that the word can take.
Here are some keywords describing concepts:
PAINTING
WRITING
SOUND
DESIGNING
MAKING
Next, I was asked to visualise this written list by drawing thumbnail sketches of each of the words and phrases.
Once I have made a collection of sketches I have been asked to incorporate some or all of them into one A2-size image.
Keywords from the brief
Choose one of these words and make a written list of the different manifestations that the word can take
Draw thumbnail sketches of each of the words and phrases of your own list.
Observational studies of objects or people
Incorporate some or all of the sketches into one A2-size image.
Redraw or collage copies of your drawings
Organise your icons into a design, or cut up and combine copies of your photographs
Reflect on the process and the exercise.
Written list
As I was not sure which word to choose, I began the exercise by making lists for each of the words.
From all the words, the most interesting lists came from the words sound and making. I finally choose the word making.
Thumbnail sketches
Below are my thumbnail sketch ideas for each of the sentences.
Observational studies
Visual experimentation
Next, I selected some of the sketches and experimented roughly what they may look like when used together to form a new illustration. Below are these ideas.
The final sketch reminded me of a day when everything becomes too much for me. For example, having too many decisions to make and too many errands to run while juggling family life. It seemed to have a story to it, so I decided to recreate the drawing into a complete image.
I started by redrawing the thumbnail sketches into more proportioned characters and painting them in watercolour.
The illustration was then modified in Photoshop by making the image have more vivid colours and adding shadow and shade.
Final illustration
Reflection
To begin with, I thought this exercise was a little random and didn’t see the value of drawing random scenarios. However, after sketching thumbnails, I realised how it opened up my thought process and led me to interesting concepts. It’s a creative practise that could come in handy if I ever get stuck illustrating for a project and don’t know where to start. I felt relieved after finishing the final illustration. Reflecting on it I thought It captured me on a day when I felt overwhelmed because I didn’t know where to start with a project and I enjoyed the illustration I created of my beloved dog Cody since I thought it portrayed his likeness beautifully.
After completing a project’s final illustration, I frequently examine whether it could be used productively in the future for another venture. After staring at the artwork for a while, I decided it would be amusing to use it as the front cover of a notepad for my academic work. To remind me to avoid procrastinating and get things done. This was a fun exercise that I may repeat in the future. Below is a mock-up of the note pad.
I was relieved to hear that my blog is simple to use, as this will make it easy for visitors to find and read my work.
I said in part one that I struggle with managing my time, and getting some help from my tutor was great. My tutor advised me of the 888 principles, so I investigated this more (Kit.,2020). Planning eight hours of study, eight hours of ‘me time’, and eight hours of sleep will assist me in better managing my everyday life. I may not have the exact schedule, but it offers me something to plan for.
My tutor also advised me to use a stopwatch for me to sit and study for a designated time such as an hour, so I did this as a test and it did stop me from being interrupted by social media, phone calls, or coffee breaks. She also suggests that I use a Gantt chart to visualise time I have available for each assignment. I researched it, but I also found a very user-friendly app called the Todolist. I have now added all of my upcoming tasks to this app. It is useful since I can now see the work I have to perform in the upcoming days, weeks, and months. To further help me keep organised, I have also created a computerised daily schedule. Both of these new strategies will make it easier for me to calculate how much time I have left to study. There is also a choice to add personal events to the daily schedule.
My tutor has suggested a book to help with writing about art, (Barnet, 2014) which I will borrow from the library, and I was relieved to find that, despite my dyslexia, my written work is developing positively.
It was discouraging to learn that my citations were not correct. Every time I have written something from a source, I have ensured I included references. I was unaware, however, of the unreliability of Wikipedia and the Tate as research sources and that my format was incorrect. It was fortunate that my tutor pointed out that I was not properly referencing because she informed me that the university library offers a tutorial that would teach me how to do it correctly.
It is interesting that my tutor said it might be time for me to launch a website; this is something I have been considering doing for a while. I currently have a digital portfolio that needs additional work still, but it is not a website. I have not felt prepared to do this because I have thought the only work I can show is what I have done during this degree. Reflecting on this issue it has made me realise I ought to be producing work that I enjoy doing in my leisure time, too. Now that I have a time management strategy in place, this will be simpler to do.
The last assignment of part one helped my practice by allowing me to think differently about making mistakes and being more confident. Hopefully, I will remember to practise this skill throughout the rest of the course.
Overall, I have learned a lot from the work produced in part one of this course and can now go forward with new ideas and new strategies of working.
Bibliography
Barnet, S. (2014) A short guide to writing about art, global edition. 11th edn. London: Pearson Education.
Kit., C. (2020) 8–8–8 Rule: Living a Balanced and Happy Life. Singapore: CKSPACE. Available at: https://youtu.be/hZizLOgrVBo.
The purpose of this task is to find artists who use “flow and “play” theory in their work and I hope to eventually apply what I have learnt to my work.
Firstly, I looked at the recommended essay entitled Memory, Instinct, and Design: Beyond Paul Rand’s “Play Principle” Michael Golec
The essay was incredibly detailed, and I found it to be quite difficult to read so I hope I have understood it. I believe it to be a critical examination of the famous graphic designer Paul Rand’s design philosophies “Memory, Instinct, and Design Beyond Paul Rand’s “Play Principle.” The essay specifically criticises Rand’s emphasis on the “play principle” in design, which he claimed was essential for producing work that was both visually appealing and useful.
Analysing the quote above and from my understanding of the essay, the author of the essay is arguing that, while the play principle can be useful as a starting point for designers, it is insufficient to produce magnificent work. Instead, to push the boundaries of what is possible and create designs that truly resonate with spectators, designers must be willing to draw on a variety of different cognitive resources such as instinct and memory.
Next, I looked at some of the recommended artists and I researched first Hilma af Klint.
Hilma af Klint
Hilma af Klint was a Swedish painter best known for her abstract works. Originally, she began as a botanical and landscape artist. Her later works were created in the late nineteenth and early twentieth centuries, long before abstract art as we know it today. Her paintings were notable for their use of bright colours and geometric shapes, as well as spiritual and mystical themes.
Many of Hilma’s paintings were part of a series titled “The Paintings for the Temple.” She explored various spiritual ideas through these paintings. What fascinating was that she began holding seances, during which she said the spirits would send her images, which she would then paint. I am not religious, but could she have seen something from the spirit world? Surprisingly, these artworks included a total of 193 pieces. The paintings frequently feature complex geometric patterns and abstract forms that are meant to represent spiritual ideas and concepts. Her paintings frequently feature bold and vibrant colours that radiate energy. Her paintings also use a variety of textures and patterns, with some using intricate lines and others using large, sweeping brushstrokes.
Below are some examples of the works.
When discussing a painting she created in 1907, Hilma af Klint said:
“The pictures were painted directly through me, without any preliminary drawings and with great force. I had no idea what the paintings were supposed to depict; nevertheless, I worked swiftly and surely, without changing a single brushstroke.” (Paintings for the Temple | The Guggenheim Museums and Foundation, no date, para. 2)
Above describes the act of play and flow extremely well.
Joan Miró
Following that, I looked at Joan Miró (1893-1983), a Spanish surrealist painter, sculptor, and printmaker. His work drew me in because of its playful and childlike style, which employs simple forms and bright colours to create dreamlike compositions. The colour palette and style reminded me a little of some of my previous work, which can be seen here.
The Surrealist movement, which emphasised the subconscious and unconscious mind, had a strong influence on Miró. He frequently used biomorphic shapes, abstract forms inspired by living organisms, to create works that evoked a sense of mystery.
Miró began to experiment with varied materials and techniques later in his career, creating sculptures and ceramics in addition to his paintings. He kept using bright colours and playful imagery.
Overall, Miró’s work is characterised by a sense of freedom and experimentation, as well as a deep connection to the unconscious mind.
Bob Cobbing
I then looked at Bob Cobbing (1920-2002). I was interested in learning more about him for several reasons: one, I liked his artwork; two, I struggle with typography and thought I could learn something from his work; and three, I enjoy poetry.
He was a British poet and artist known for his work in concrete poetry, I discovered. Concrete poetry is a type of visual poetry in which the design and layout of the words on the page are as important as the words themselves. Cobbing was a key figure in the British concrete poetry movement, and his writing, performance, and publishing activities helped to popularise the genre. Cobbing’s work often featured experimental typography. He used a range of techniques to create his concrete poetry, including cut-up and collage methods, as well as hand-drawn lettering and experimental printing techniques.
Cobbing’s work, in general, pushed the boundaries of traditional poetry and helped to broaden the definition of what poetry could be.
Conclusion
From this research I have discovered that playing (meaning drawing without purpose) and drawing are both important activities that can stimulate creativity and imagination, but they serve different purposes and can have different benefits.
Drawing and playing (drawing without a purpose) are both important activities that can stimulate creativity and imagination, according to my research, but they serve different purposes and have different benefits.
Playing is important because it allows us to experiment and explore without feeling pressured to achieve a specific result or goal. We can try new things, make mistakes, and learn from them. Aside from that, it can assist us in relaxing and improving our mood. As a result, many people enjoy mindful colouring books, which have the same effect.
Drawing, on the other hand, is a more focused and deliberate activity that requires a result, which can be stressful at times. However, drawing can be a useful tool for capturing our thoughts and observing people and objects.
While drawing is important, it can also be structured and rigid at times. Simply playing would allow me to break free from my usual habits and thought patterns. It would motivate me to take risks and explore new opportunities. It would also be useful to ‘play’ if I were stuck for ideas or starting a project and was intimidated by the blank page. To summarise, both playing and drawing have distinct advantages.
For this question, I had to read and answer the following questions.
What do you need to be creative?
I have always had a strong will to be creative. I used to create clay sculptures, Fimo jewellery, write stories, create games, and make pottery on my kick wheel potter’s wheel that my dad and I had restored when I was a young child. Combined with continual painting, drawing, and reading. Yet, I had little skill or interest in anything academic, especially maths. Therefore a good imagination, which I inherited from my love of reading, is important to help be creative. Yet, it also demands perseverance and endurance. I can think of numerous occasions when a project I was creating failed. For instance, a pot I made on my potter’s wheel that was crooked. Or a painting where the paint merged in the wrong place.
I think what I am trying to convey is that to be creative; we need to be willing to attempt new things and explore new possibilities. A gorgeous sunset, a stroll through the woods, a recent artist piece, or something that happened throughout the day can all serve as inspiration for me to get started on my work.
Are there certain factors that are important for you to develop your work?
During this degree I have learnt a lot and have realised many factors that help me to develop. I have gained a lot of knowledge and have realised a lot of things that help me improve my work effectively. I wish I had known these things earlier, but that is progress all by itself.
Below is a list of the factors I have realised help me to develop my work.
Experimenting
The secret to discovering anything that works is experimentation. Regrettably, I do not do enough of this. Usually, this is because I did not allow enough time to include this into my practise.
Time management
This leads me to my next topic, which is time management. It is imperative I ensure that I provide enough time for study, blogging, experimenting, and creating. To allow myself time to take a break from my work. This is crucial because occasionally, after a break, when I return to my work, I can find fresh perspectives or a method to advance the project.
Research
I always undertake extensive study before starting any work, and it helps me to produce fresh ideas.
Environment
I need a comfortable workspace because I find it difficult to produce ideas while my kids are yelling and frequently fighting behind me. In addition, with my pets demanding my attention. This is the reason I am currently converting my children’s old playroom into a studio. It will improve my progress by having a room set up with inspiration boards, relaxing music, a creative workplace, and a peaceful environment to work in.
Collaboration
I was quite shy at the start of the course and did not want to share any of my artistic attempts. I thought I was not good enough and was afraid of other people’s judgements. Now, I no longer think in this way. It is crucial to share my work, and I frequently do this by uploading images of my projects to the Discord chat site. I also send pictures to my loved ones and friends. My peers’ feedback is extremely helpful to me. Yes, it is a little intimidating when I first upload my work because I obviously want people to appreciate it. However, they may spot something in the creative piece that does not work. It might be the composition, alignment, or typeface, and by showing my work to others, they get a different viewpoint and can provide their ideas. I may incorporate their ideas into my work and develop it accordingly.
When, where, and how do you work? How might you develop this approach further?
I work primarily under my stairs as was previously mentioned. Here, I conduct research, write blogs, and create computer-generated designs. I will, however, utilise the kitchen table or an art table that is in my children’s playroom when I need to be creative. I work primarily during my children’s school hours, but I also try to squeeze it in whenever and whenever I have free time.
Given your creative process, how do you best document your work? What kinds of questions do you use to reflect on your work?
Any time I finish a piece of creative work, I will take photos of it and post it to my WordPress blog. I will describe what I did followed by a reflection on what worked and what did not during the creative process. I have a lot of questions for myself when I consider my work, some of which might be as follows:
What inspired me in the project, and how did that influence me?
What method did I use, what techniques did I use?
What were the biggest challenges I faced during the project and how did I overcome them?
What about this work do I like the most, and how could I make it better if I were to do it again or work on something similar in the future?
What did I learn while creating this piece, and how can I apply what I have learnt to future work?
What do I want to explore or experiment with in future works, based on what I learned from this piece?
How can I challenge myself creatively in my next project, and what new techniques or approaches do I want to try?
Does the work contain a message or meaning and what impact do I hope it will have on others? (Depending on what the artwork is)
How important is reflection to your process?
In my process, reflection is important. But when I first started the degree, I did not understand why it was so helpful; instead, I just thought it was a hassle. However, I now realise that it helps in my ability to comprehend my own artistic process. It makes me aware of my weaknesses and strengths, which help me produce new strategies to use in future projects. Also, it reveals to my tutor where I am having trouble, so they may offer me advice. It is helpful to reflect on my work so I can explain to people why I did what I did and what the meaning was. Overall, it helps me grow my skills and artistic expression.
Can you develop new questions or prompts?
One question I realised I forgot to include above is, did I achieve what I set out to do? And if not why? This question then leads to, has my plan shifted or changed since starting, and if so, how?
What feedback have I received from people? Did this assist me in the development of the project?
How does this reflection help feed back into your making? How would you describe your creative process?
I am a little confused by this question because I feel like I have already answered it, but to sum up, the reflection process is helpful because it gives me a way to move forward. I can strengthen my weaknesses and develop skills that I might not have known I had if I had not thought about the project in detail.
What sort of stages do you go through to initiate and develop your ideas and work?
Understanding the brief
To start a project, I will read the brief, then create a list of keywords from the brief. This helps me to understand what the problem is and how to find the solution.
Collect information
Next, I will collect relevant information. These could be books, photographs or anything that will give me inspiration.
Research
I will research the topic first, but along the way sometimes my ideas shift and develop in a way I didn’t imagine. Therefore, I will need to continue to research throughout the project.
How important are restrictions to the process?
It is crucial to have limitations during the project. It is easy to get distracted by something and run out of time to do the remaining tasks on the project. For instance, as said above I spend a lot of time researching, which helps me produce ideas, but because I do it for too long, I frequently run out of time to experiment and explore.
Do you start with an idea or proposal, start making and see where it takes you, or work in a different way?
I would say yes, that is how I work. I do start with an idea and see what happens, but sometimes I wish I would explore more avenues.
Do you have any strategies to deal with creative blocks or obstacles? What does experimentation look like to you?
I need some help with this. I frequently get creativity blocks, at the start of a project. I do not handle it very well. I get discouraged and put off dealing with the obstacle. I am aware that this is not helping me.
Where do you work, what kind of physical spaces do you need? When do you work, and how best can you structure your time?
As said before, I am in the process of setting up a studio and work when my children are at school.
How do you draw on inspiration to feed your creativity?
I currently get inspiration from books, the internet, and Pinterest. I am aware, though, that I need to widen the places I find inspiration, such as museums and art galleries. Nevertheless, I have a tough time scheduling time for this because I squeeze study time into the week around collecting the children from school. Plus, I do not live close to any art galleries and the children’s activities fill the weekends. I could do with some tips on this from my tutor.
For this research task, I had to look at a range of artist and designers that have developed projects over-time.
Bryan Eccleshall
The first person I researched is Bryan Eccleshall. I started by watching a short video of Bryan Eccleshall talking about his challenge that he set himself which was to create a drawing a day for a year.
After years of employment, it was great news to discover Bryan has returned to his artistic pursuits and is now a renowned artist and tutor at OCA.
Whilst watching the video, I discovered he created drawings that he purposefully did not want to be too showy or dramatic but a catalogue of illustrations as part of his self-challenge, and when they are viewed all together, they become a work of art.
Below is a quote from his video:
“If I just do something, and keep doing it, something will happen.” (Parry, 2013)
This quote has been a source of inspiration for me as I am often scared to begin something and will put it off. As he said, I just need to act and keep at it, and hopefully something will happen in my creative process. Through his challenge, he has noticed an improvement in his drawing ability, a quickening of his workflow, the addition of new techniques, and the creation of a catalogue of illustrations.
Christian Marclay
I then did research on the movie “The Clock” by Christian Marclay and I watched a portion of the movie on the internet, which in full is a 24-hour-long montage of motion picture and television clips.
We can see part of the film below.
Each clip reflects or refers to a certain time of day. The movie keeps pace with real time, and each clip appears at the same moment it depicts, creating a captivating experience for the viewer.
The movie contains snippets from a variety of genres and eras. He and his team have arranged the footage to give the feeling of a continuous story. His group of six assistants spent years looking through film footage to discover the ideal snippets to use in this movie.
As I watched part of the movie, I noticed that Marclay and his team put clips from different films together in a clever way, making the audience think about the past, present, and future. This lead me and possibly other people too feeling anxious about our lives. Are we utilising our time in the best way possible? It made me think how many times I look at a clock each day? I think about making sure to get my children to school and to their after-school clubs, cook dinner, and start the bedtime routine, all according to a timely schedule. I am always aware of time in many other circumstances as well. What would life be like when not conforming to the clock? The film most importantly underlines the importance of the present.
Overall, the movie experience is very intriguing and is a clever work of art which will cause viewers to think about how they spend their time.
On Kawara
On Kawara was a Japanese conceptual artist that explored time, language, and human existence. He was born in 1933 in Kariya, Japan, and lived and worked in various cities around the world until his death in 2014.
Below is an interesting video I watched where three art curators discuss Kawara’s artwork. The artwork was exhibited at the Guggenheim Museum.
The “Date Paintings,” which Kawara started in 1966 and lasted up until his death in 2014, are what make him most famous, according to the film. Each painting is based on the passage of time, is painted in monochrome and have the creation dates on top of the canvas for each work. The dates are painted by hand in either white or black letters. The paintings frequently represent their place and culture by being made in many time zones and languages.
It was pleasing to see that the exhibition was held at the Guggenheim Museum, as this was a particularly significant venue for On Kawara’s work, as he had long admired the building’s architecture and believed that its spiral design and open interior space emphasised the passage of time.
Kawara’s other notable works include the “I Got Up” series, in which he sent postcards to friends and colleagues every day for two years, each one stamped with the time he woke up that day. He also created the “One Million Years” project, which consists of two sets of bound volumes, each containing pages upon pages of printed years and dates. The first set lists the years from one million years ago to the present day, while the second set lists the years from the present day to one million years in the future.
Douglas Gordo
Douglas Gordon, like On Kawara, is an artist known for conceptual works that explore time. His other works explore memory, identity, and perception.
One of Gordon’s most famous works is, “24 Hour Psycho,” a video presentation of Alfred Hitchcock’s classic film “Psycho.” It was first shown at the Tramway gallery in south Glasgow in 1993. The film was played in slow motion for twenty-four hours. By stretching the film’s duration, it encourages viewers to consider the emotional as well as psychological impacts of time and memory, Gordon has created a sensation of paused time.
Overall, Gordon’s work frequently uses perception, repetition, and distortion to question traditional ways of seeing. By doing this, he is encouraging viewers to question their own perceptions and assumptions.
Tatsuo Miyajima
Japanese modern artist Tatsuo Miyajima is known for his use of digital technology and his exploration of time, space, and life cycles. He enjoys creating performance artworks to create interactive experiences for his audiences.
His work is motivated by three ideas: “keep Evolving,” “connect with everything,” and “continue forever.” He has produced many long-term projects one which he is most famous for is “Counter Void”: This project features a room filled with LED counters that count down from nine to one. The subject and purpose of this project is to question “life and death.”
Below is a video where Tatsuo takes you through one of his sketch books and explains the meaning behind his work.
Alfredo Jaar
Alfredo Jaar is a Chilean-born artist who is known for his socially and political works of art. He has created numerous projects throughout his career, but one of his most famous and influential projects is “The Rwanda Project” which he began in 1994.
When I investigated this project more, I learned that it was a project in response to the 1994 genocide in Rwanda. I did some further study because I was unfamiliar with the history of the genocide and the reasons it occurred and thought this would help me to better understand Alfredo’s thought process.
I started by doing some research on Google, then I watched some films about the genocide in Rwanda.
One video of such is displayed below.
I was shocked and saddened to learn what had occurred. I learned that the Rwandan genocide claimed the lives of about a million innocent individuals in just 100 days. Two ethnic groups, the Hutus, and the Tutsis, were battling over the land they shared for many years. Many Tutsis fled the nation after the Hutu community overthrew the Tutsi monarchy in 1959. Later, to help the Tutsis community with their return to their homeland, they established the RPF and signed a peace treaty with the Hutus in the 1980s. Yet, on April 6, 1994, a Hutu president was killed along with everyone else on board the aircraft that had been shot down.
Extreme Hutu groups in revenge planned to massacre the Tutsis people in large numbers after blaming them for the crash. Women and girls were seized as sex slaves and many Tutsis were killed with machetes. Three months were spent with their bloodshed.
After the genocide, Jaar visited Rwanda to record the destruction and produce a body of work that would bring attention to the catastrophe. The project had several parts, including a collection of images, a video display, and a public engagement.
The video below displays a portion of Alfredo’s creation. I teared up a little when I read about what happened in Rwanda and when I saw Alfredo’s response in his artwork.
The film mentioned above shows a record of 17 front covers from Newsweek issues published between April and August into Alfredo’s exhibition. None of the front covers, save for the last, refer to the genocides taking place in Rwanda. At the base of each cover, Alfredo writes a brief caption outlining the events in Rwanda. The last cover of The Seventeen honours individuals who have perished in genocides. This serves as an emotional ending to his artwork.
His work is quite straightforward but incredibly moving and thought-provoking as a tribute to the Rwandan victims. Together, the covers demonstrate how art can be used to speak out against political and social injustices as well as to bring attention to human rights crimes. It also serves as an example of what journalists should not do.
“I don’t like, and I do not except the term political artists. We are all artists and we all critically engage with the world because we act in the world so everything, we do represent a conception of the world in that sense we’re all political. When it is not critical, when there is no conception of the world, that is not art, that is decoration.”
(Louisiana Channel, 2013b)
This remark spoke to me since, after finishing college, I battled for years to rediscover my love of art. The purpose of drawing seemed pointless since a camera could capture every detail. After thinking about it I realised and understood that I wanted to produce work that had a purpose and a meaning rather than merely a drawing.
With all the artists I have looked at, his is my favourite and most inspirational body of work.
Next, I answered the following questions from the OCA textbook
How might you produce a similar daily project?
As Alfredo inspired me the most out of all the artists, I have thought about how I could produce a similar project to his but based upon a different topic.
First, I would need to identify the issue that my project will address. It could be a social issue, an environmental issue, something based upon current news. I would then need to research the subject to understand the problem better and think about potential solutions. I would need to think about what I wanted to achieve from creating this artwork. I would start with a mind map of ideas and then develop selected ideas further into a detailed plan.
What could the subject or content be?
As said above the subject content could be based on social issue, an environmental issue, something based upon current news. Having a quick look at what is happening in the world today I realised sadly there will always be something I could create. For instance, as a starting point the subject could be about any of the following below.
Poverty
Knife crime
Racism
Ukraine War
Think of things that happen regularly but might change slightly, like going to the shops, or reading a newspaper, or a domestic routine.
I have always wanted to make a daily diary of what has happened in my day using illustrations, this is thinking very differently from the ideas above. I often consider how bizarre something was and how my life would make an excellent comic book. For instance, one time when I was walking through the woods near my house, a middle-aged woman dressed all in red came skipping towards me singing before she vanished into the distance. This kind of thing is unusual, therefore would be an interesting starting point.
Here is an illustration I created while I thought back on a walk I took with my children. As you can see, it was not as relaxing as I had hoped and is the sort of thing that I would put into the diary.
Below are some other examples of the type of illustrations I could include.
How could the way you record it vary, or what form might your record of it take? Could it be drawn in a diary, or as a calendar? Could it be 365 photographs of the view outside your window, or a series of collages from the daily newspaper?
As previously said, I intended to compile a diary of incidents that happen in my daily life. This diary may be illustrated in the way shown above using watercolours, but it could also contain photographs and handwritten notes. A few collages from my daily newspaper might also be added so I could refer to the day and other events that were occurring on that day.
I like the concept of keeping a diary since it serves a purpose. I can use it to reflect on what has happened over the year, see how my children have changed over time, practise sketching, and create a special memory to pass down to my children.
For this research, I needed to read some OCA student quotations about their creative process. Then view a Stephen Johnson film that explains the source of good ideas and recognize any statements I agreed with.
“I generally start with an idea and a plan. But the plan usually changes during the process.”
Ros, OCA Textiles, Level 1.
I am in full agreement with the previous statement. I start with a concept and develop a plan from there. As I work on the first idea, the plan can change, and a completely different idea can come out of it.
“I have not been making art for very long yet and only just started to reflect on the process. For OCA exercises, I tend to start with realistic pencil drawings in order to get to know my subject. I then gradually leave that by changes in media and bolder interpretations. It is at this stage I feel creativity kicking in. I try to do many different versions because the doing sets in motion a chain of thoughts, ideas and things to explore. I stop when the ideas cease or I have a picture I am happy with.”
For my own work I go a similar path if I start with an idea of what I want to do. If I haven’t I mess around with water and water soluble media until I see something emerge. I then use that as a starting point. This makes for very surprising subjects and often abstract ones.
Ideas pop up at unexpected times and I have started to jot them down. When I am not able to develop them visually I use words. I think I should combine the two – visual and verbal – as they lead to different things. Verbal is faster and so allows for a train of thought to flow more freely. Visual development takes hold of a first idea and develops that out of the processes involved.”
Sibylle, OCA Drawing, Level 1.
I agree with the above statement. In my work, I usually begin with a pencil sketch and then when I am sure of what I am attempting to accomplish, I become more at ease with the question. This then gives me more motivation to try more mediums.
“I often start out with an intention but the work finds its own way somewhere else and that’s ok. Sometimes work that I’ve done for an exercise will offer itself up for development into something else and that’s fine. Once the work’s started it often feels as if I’m chasing after it rather than guiding the work.”
Kate, OCA Photography, Level 1.
The above statement is sometimes the way I work. I can have an initial idea, but as I work on it, it can lead to something different.
Next, I watched the recommended video ‘Where Good Ideas Come From’ by Steven Johnson. Then answered the following questions in response to the video.
Do you agree with Johnson that ideas take time to develop?
I agree with Steven Johnson’s idea that good ideas take time to develop. In his video, Johnson argues that many of the world’s greatest innovations and inventions were not the result of a sudden “Eureka!” moment but emerged slowly over time, through a process of trial and error, collaboration, and sharing of ideas.
Johnson points out that many of the most significant breakthroughs in the world have resulted from “slow hunches”. Each idea often gradually developed over weeks, months, or even years. He suggests that this process of gradual idea development is critical to creating truly innovative ideas.
In my opinion, this is an accurate description of how ideas often develop. It’s rare for a brilliant idea to appear fully formed out of nowhere. More often, it’s the result of a long process of experimentation and refinement.
Are his ideas equally applicable to creative disciplines?
Steven Johnson’s ideas about idea generation and creativity are equally applicable to creative disciplines.
In his video “Where Good Ideas Come From,” Johnson argues that creativity and innovation often emerge from a collaborative, networked environment. He uses examples from a range of fields, including science and technology, to illustrate this point.
This idea of collaboration is equally important in creative disciplines. For example, many successful artists often collaborate with others to create new and innovative works. Such as Andy Warhol and Jean-Michel Basquiat, who successfully worked together. From 1980 to 1986, they created many pieces of art together. A popular example of their collaboration together would be the painting of the Olympic rings. (2023)
Furthermore, Johnson’s emphasis on the importance of slow hunches and the gradual development of ideas is also relevant to creative disciplines. A long process of development is used to refine and improve ideas, resulting in many successful creative works. An example where an artist has done this is Graham Rawle with his book ‘Woman’s World a graphic novel’. In his quote below, it explains this long process of development.
“The book took five years to create. I first drafted the novel in outline, then searched through hundreds of women’s magazines, cutting out anything that seemed relevant to the scenes I’d written: sentences, phrases and words that when joined together might be rearranged to approximate what I wanted to say. These pieces were transcribed, filed and stored, and from them I began to assemble my story as a Word document. Little by little, my original words were discarded and replaced by those I’d found. Once the text was finalized, I pasted up each page from the organised snippets. The method was primitive: scissors and glue. Apart from a little post-production tweaking, everything was done by hand.” (WOMAN’S WORLD BOOK, n.d.)
Overall, while Johnson’s examples in his video focus on innovation, his ideas are equally applicable to creative disciplines, where collaboration and the gradual development of ideas are all critical to success.
Do you think collaboration is important to creativity?
Collaboration is an important aspect of creativity. As shown in the video, collaborating with others can bring new perspectives, fresh ideas, and diverse skills to a creative project. Which can lead to more innovative outcomes.
Collaboration also allows for the sharing of knowledge and expertise, which can help to overcome creative roadblocks and generate new ideas. For example, the collaboration between Andy Warhol and Jean-Michel Basquiat shows working with others can result in new techniques and approaches to art-making.
Furthermore, collaboration can provide a support network for creatives. I often will contact my peers using Discord chat. This allows me to bounce ideas off others and receive feedback on my work. This can help to refine and improve ideas and hopefully lead to better and more successful outcomes.
However, it’s worth noting that collaboration is not always necessary or appropriate for every creative project. Some projects may be better suited to a solo approach. Ultimately, the decision to collaborate or not should be based on the specific needs and goals of each creative project.
Given the opportunity, who would you collaborate with from another field or discipline? A scientist, for example, or a writer, or painter?
If I had the opportunity, I would love to work with Quentin Blake. Below are the following reasons:
To start, it would be an amazing experience due to his renowned status as an artist and illustrator.
He has made great strides in children’s literature thus has great experience.
He is best known for his illustrations of Roald Dahl’s books. These were my favourite growing up, especially “The BFG “and “Charlie and the Chocolate Factory”.
Working with Quentin Blake would give me the opportunity to learn from a master and gain insight into his creative process.
I could observe how he approaches illustrating a story, how he brings characters to life through his art, and how he uses colour and composition to create a cohesive visual narrative.
Additionally, working with Quentin Blake would likely be a fun and rewarding experience.
By collaborating with him, I could contribute to a project that inspires and delights readers around the world.
References
W. (2023, February 15). Famous Art Collaborations – AGI Fine Art – Advice Blog. Advice for Artists – AGI Fine Art – Advice Blog. https://agifineart.com/advice/famous-art-collaborations/
Writing this is not exactly part of my course work, but I have realised when you stumble across someone that hits something deep within your heart, it needs to be acknowledged, for me this was discovering Charlie Mackesy, who may just have woken me back up to my passion of illustration.
At the beginning of this course, Visual Exploration, Visual skills 2, I met my new tutor via google meet. During our introduction to each other, I mentioned I liked Quentin Blake as an artist. My tutor advised I may like another artist called Charlie Mackesy, which I had not heard of.
Intrigued by this suggestion, I researched Charlie’s website and looked at his portfolio of work. Each piece of his work took my breath away, and I have fallen in love with his magnificent illustrations, paintings and sculptures.
On part of his website, he showcases black and white drawings of jazz bands playing. One drawing can be seen below:
There is an element of realism in the image, but the atmosphere he has captured in each of his drawings has mesmerised me. I felt like I can hear the music and see the people dancing.
Next, I looked at the illustrations he created for the book he wrote called The Boy, the Mole, the Fox and the Horse. It is a beautiful, emotional story about a young boy who meets three animals whilst on his journey to find home. Whilst on this journey, he learns many life skills, one being the act of kindness.
These drawings are completely different in style to the jazz illustrations, in that they are cartoonish, loose ink drawings. Yet, they are still filled with the same amount of energy and expression. Next to these illustrations, Charlie has written the surrounding narrative using the same dip ink pen he uses for the drawings. Which to me gives a unique, personal reading experience. Almost like I’m reading his diary pages.
The book The Boy, the Mole, the Fox and the Horse was published in 2019 just before the pandemic hit. This story has since brought a lot of comfort to people as parts of the narrative are relatable to what we went through during the pandemic, but also other life scenarios.
Below are a few of my personal favourite illustrations because of the simplicity, fluidity and expressive quality of the line used.
After looking at his webpage, I then read the book via the YouTube link shown below. This gave me the opportunity to see the book in its entirety.
It was lovely to see the illustrations come to life on screen. The animated film reminded me of the Snowman by Raymond Briggs, especially when the horse is telling the boy that he can fly, of which the horse takes the boy up into the sky and they fly above the beautiful countryside just like the snowman did. Both stories have a magic that children enthral upon.
After, I then watched a documentary about his book being turned into a film.
It was interesting to see what a nice natured man he is and that he genuinely wanted to create the book in order to help people have a sense of inner peace.
For example, these quotes below are from the book and could mean so much to people of all ages.
“One of our greatest freedoms is how we react to things”
“Doing nothing with friends is never doing nothing.”
“What is the bravest thing you’ve ever said? Asked the boy. ‘Help,’ said the horse. ‘Asking for help isn’t giving up,’ said the horse. ‘It’s refusing to give up.”
“The greatest illusion,” said the mole, “is that life should be perfect.”
And these are just a few of the quotes from the book.
During part of this interview, he showed large boxes and sketch pads that were filled with illustrations that he had created with the possibility of them being used in the book. There were so many! He pointed to them and said,
“All these pads are full of mistakes, if you keep going your find something.”
This really made me think that this is what I need to keep doing. It does not matter if I make mistakes, I just have to keep trying and working hard.
It was interesting to hear that he was born in Northumberland, as I think he may have taken inspiration from growing up there and used memories to help generate some of his illustrations.
It was very emotional to watch him talk about the loss of his best friend. I could feel his pain watching him during the interview, having also lost people close to me. I think he has thrown himself into creating art as a way of escapism and a way of giving him peace, but also a way of coming to terms with what life can throw at us and helping others with what he has had to endure. He has created a piece of happiness that can be read globally.
After writing this, I stumbled across an article from the Guardian. It confirmed that Charlie was working out his own feelings whilst drawing the boy talking to a horse. It shows this in the quote below from Charlie.
“I drew the conversations between the characters fromconversations I’ve had with my friends about what life really means, what’s important; it was a way for me to think aloud on paper with words and drawings.”
Publishers of the book intended to sell 10,000 copies, but to everyone’s surprise, it exceeded this. The total sales of the book in 2021 were 1,967,949 copies. Making Mackesy book to be the UK’s bestselling hardback book since records began.
I have just purchased the book as it is so inspirational and want it next to me to encourage me on my journey as an illustrator but also for my youngest son to read.
References
(no date) “https://www.theguardian.com/books/2019/nov/09/boy-mole-fox-horse-christmas-bestseller-charlie-mackesy.”
Visual Skills 2 