Tag: OCA

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Part Three: Making Research Points, Part Three: Making

Research Task:​ ‘Fast’ and ‘Slow’ Art

Brief

Search for and record your thoughts on the production of both ‘Fast’ and ‘Slow’ artworks in your learning log. What are some of the arguments for and against this kind of real-time viewing? Research these artworks and artists for different approaches in different creative contexts:

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Visual Skills 2: Visual Exploration

I started doing research on the list of artists provided in the brief by googling them online.

Koyaanisqatsi

The first person I researched was Godfrey Reggio, who directed a film called Koyaanisqatsi in 1982. The title of the film I did not understand so I researched what the word Koyaanisqatsi means and discovered it is taken from the Hopi which are the westernmost group of Pueblo Indians, situated in what is now northeastern Arizona. The word means “life out of balance”.

Next, I watched the film that is available at this link, https://watchdocumentaries.com/koyaanisqatsi/ and made notes whilst watching it.

Fig. 1 notes (2024)

The film is about a collection of visuals that capture a mix of natural landscapes, displaying all the different elements on our planet. It then transitions to scenes of human civilisation. From striking architecture to various technology advancements. The imagery I felt emphasises the profound impact of human activity. Throughout the film, there is a saddening emphasis on the damaging effects of pollution, warfare, and sights of abandoned structures. Sometimes parts of the film are sped up or slowed down which made it even more dramatic. Initially, I was apprehensive about how long the film is especially with it being only visuals and music. However, I found myself fascinated by the united relationship of the visuals and music.

Upon reaching the end of the film, I had a sense of sadness. It dawned on me how unknowingly, some of our actions over the years have brought devastation upon our world.

Next, whilst researching I found a documentary with Godfrey Reggio and Philip Glass explaining the making of the film.

It is an interesting video and it is clear Godfrey is a clever man with a high intellect. It was mentioned during the video “It is up to the viewer to decide on what they think about the film”. Godfrey also said “We live technology it is the air we breath, we are no longer conscious of its presents.” (Reggio, 2018).This statement is true and its is saddening to realise how we are so proud of our technological advancements but neglect to see the implications they are having.

Longplayer

Next, I looked at the work of Jem Finer’s project ‘L​ongplayer​’.

Researching the project Longplayer I discovered it is a unique piece of music designed to last 1,000 years, composed by Jem Finer, who is a musician and artist. It began playing by an algorithm played through a computer and was first played on 31st December in 1999 and will continue to play without any repetition until the year 2999. Apparently, the idea of the project was not about music but more about the experience of time. Longplayer resides in a lighthouse in Trinity Buoy Wharf in London.

Given the length of time this project is expected to last for causes various arguments for and against real-time viewing of Longplayer:

Arguments for real-time viewing of Longplayer.

Having music played nonstop for a millennium and considering the countless individuals who will have come and gone, who have heard and seen the music is quite remarkable. It’s a truly unique experience. Throughout the next millennium, viewers will be able to observe its progress. Experiencing Longplayer in real time might help people establish a relationship with time, as well as giving people space to reflect. It is evident from online research that people frequently travel great distances to visit Longplayer.

As can be seen in the video above, people are sitting about the bowls, enjoying the music, and even meditating there. As such, it provides a chance for people to join together and it makes it possible for people to gather, listen to the music, and converse about it. As a student myself, it is also a valuable educational tool allowing students to investigate and evaluate the artwork.

Arguments against real-time viewing:

Although I hope the project works, I don’t think the concept will last a millennium. People’s time will need to be dedicated to maintaining it. It’s also questionable if people will grow tired of the concept. One of the biggest issues I can see is the technical challenges that will come up. For instance, ensuring that it continues to play, adjusting to new technologies, and maintaining Longplayer.

Andy Goldsworthy’s sculptural practice.

Andy Goldsworthy is a British sculptor, photographer, and environmental artist known for his distinct sculptures and land art projects. His creations are often created in natural settings, including forests, riversides, and coastlines, and he frequently works with the environment, using materials sourced directly from the landscape such as rocks, leaves, branches, and ice. Through his art, Goldsworthy explores themes such as the relationship between humanity, nature and the passage of time.

Arguments For real-time viewing of Andy Goldworth’s artwork:

Goldsworthy’s art is about the concept of not lasting forever. People who viewing his work, with such a short time frame are reminded of the beauty of nature and its lifecycle and are given time to appreciate the natural world around them. Watching Andy work in realtime allows the viewer to understand his working practice and therefore gain an appreciation for his art. Also, stumbling across his work would create more of a sense of excitement. A friend of mine has been doing similar art whilst on her walks in the Forest of Dean, people are always excited to see and find her designs.

Below shows photographs of my friend Alisa Swanson’s artwork which I think is similar to Andy Goldsworth’s style.

Alisa Swanson’s artworks

Fig. 2 Snow circle (2024)
Fig. 3 Snowballs (2024)
Fig. 4 Patchwork sticks (2024)
Fig. 5 Animal face (2024)
Fig. 6 Coloured stems (2024)
Fig. 7 Moss (2024)
Fig.8 Leaf snail (2024)
Fig. 9 Pebbles (2024)
Fig. 10 Seaside circle (2024)
Fig. 11 Autumn (2023)

Arguments Against Real-Time Viewing:

Focusing on Goldsworthy’s real-time process may distract from the final artwork itself. Instead of appreciating the completed piece, viewers may become fixated on the artist’s actions.

From my own experience when I have had people watch me in real time create art work I have found it disrupting and distracting. Which possibly could affect his final artwork. The presence of an audience or observers may influence the artist’s decisions or alter the intended outcome of the artwork. However, this is a personal thought, and he may not feel this way when creating his works. Also, by watching him work there would be no mystery or excitement compared to stumbling upon it.

Marina Abramovic performance ‘The Artist is Present’​ 

Out of all the people and creations I have researched this one personally is the most bizarre. The artist Marina Abramovic, sat motionless at a wooden table in a museum located in New York City, in 2010. Visitors were invited to sit across from her one at a time. The visitors were free to sit with her for as long as they wished, and they were encouraged to make eye contact with Abramović during their time together. This performance lasted 8 hours a day for three months.

However, when I watched the clip below, it made me reconsider my initial impressions of the performance. It was truly emotional and made me think is there more about the whole process of this project then I first thought. As Marina sat ready to meet her first guest she was unexpectedly greeted by her ex boyfriend and they sat for a minute gazing into each other’s eyes.

After careful consideration, I now believe through her art she is teaching people to be present in the moment, quiet their minds and to find time to connect with themselves and others. As most of the time people are so busy in their own fast pace lives they do not experience times like these. I also think it shows dedication and endurance from Marina to do such a project. After the effects of Covid it would be good to see how the same experience would affect people if they took part in the performance in 2024.

 While I was researching, I discovered some of Abramovic’s earlier works. One was her performance in the 1974 production of Rhythm 0. This performance scared and stunned me possibly even contributed to a nightmare I had the following night of reading about it. Without getting into specifics of the performances, I can say that she is devoted to her work as a performance artist and is willing to push herself to the limit.

Tehching Hsieh

Again, I was surprised by the next artist and his dedication to his art. Tehching Hsieh, is a Taiwanese artist most known for his five ‘One Year Performances’​  These works are known as the following:

  • Cage
  • Time Clock
  • Outdoor
  • Rope
  • No Art

Time Clock

Below is a small documentary, discussing the work produced while creating the project, Time Clock. For this performance Tehching, punched a time clock every hour, for a whole year. Each hour he photographed himself which resulted in thousands of photos documenting the process. These photos were then sped up using film, that gave a better idea of the hardships he faced. Such as never having slept longer than fifty minutes, in a whole year. The philosophy of this piece was to document the passage of time. In his own words “You consume time until you die, every minute, every hour is different, you cannot go back, every time is different but also the same thing.” (Hsieh, 2014). In all of his performances he has pushed the boundaries of art and endurance, provoking viewers to consider the nature of time.

Next, I watched an interesting documentary of Tehching Hsieh, talking about all of the above works and his life story.

Reflection

From researching all of the above creators, a similarity can be seen between them all which is, their intention for the viewers to slow down and engage in a moment of shared presence, allowing for a deeper exploration of either the environment, time elapsing or the human experience within our world.

References

Berry, M. (2022). The Path of Performance: in Conversation with Tehching Hsieh. [online] http://www.youtube.com. Available at: https://youtu.be/DI7TjiHdEOQ [Accessed 11 Mar. 2024].

Blumberg, N. (2018). Andy Goldsworthy | Biography, Art, & Facts. In: Encyclopædia Britannica. [online] Available at: https://www.britannica.com/topic/Andy-Goldsworthy.

Borges, D. (2023). Marina Abramovic and Ulay – a Minute of Silence / the Artist Is Present (MoMA 2010 Performance HD). [online] http://www.youtube.com. Available at: https://youtu.be/op_AGbEBMro [Accessed 11 Mar. 2024].

Cohen, A. (2023). Andy Goldsworthy: Co-Authorship With the Earth through Land Art. [online] TheCollector. Available at: https://www.thecollector.com/who-is-andy-goldsworthy/.

Lader, R. (2013). The Artist Is Present and the Emotions Are Real: Time, Vulnerability, and Gender in Marina Abramovic’s Performance Art» Writing Program» Boston University. [online] http://www.bu.edu. Available at: https://www.bu.edu/writingprogram/journal/past-issues/issue-6/lader/.

Levin, J., Eshun, K., Wertheim, C. and Wertheim, M. (2019). Longplayer. [online] Longplayer.org. Available at: https://longplayer.org.

Mramoeba (2023). Longplayer. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Longplayer [Accessed 10 Mar. 2024].

O’Hagan, S. (2010). Interview: Marina Abramović. [online] The Guardian. Available at: https://www.theguardian.com/artanddesign/2010/oct/03/interview-marina-abramovic-performance-artist [Accessed 11 Mar. 2024].

Payne, C. (2009). LongPlayer Live. [online] http://www.youtube.com. Available at: https://youtu.be/NhEI3FEvxU0 [Accessed 11 Mar. 2024].

Qatsi, K. (2001). Koyaanisqatsi. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Koyaanisqatsi [Accessed 10 Mar. 2024].

Reggio, G. (1982). Koyaanisqatsi (1982) | Watch Free Documentaries Online. [online] Watchdocumetaries. Available at: https://watchdocumentaries.com/koyaanisqatsi/.

Reggio, G. and Glass, P. (2018). Godfrey Reggio & Phillip Glass on ‘Koyaanisquatsi’. Filmschoolarchive. Available at: https://youtu.be/PK03KKcdzl0?si=rRnSmHL67r0hbLLg [Accessed 10 Feb. 2024].

Royal Academy of Arts (2023). Marina Abramović | Exhibition | Royal Academy of Arts. [online] http://www.royalacademy.org.uk. Available at: https://www.royalacademy.org.uk/exhibition/marina-abramovic [Accessed 11 Mar. 2024].

Sheetz, K. (2019). Hopi | People. In: Encyclopædia Britannica. [online] Available at: https://www.britannica.com/topic/Hopi.

Tehching Hsieh: One Year Performance 1980-1981 (201). Tehching Hsieh: One Year Performance 1980-1981. [online] YouTube. Available at: https://youtu.be/tvebnkjwTeU.

Tehching Hsieh: One Year Performance 1980-1981 (2014b). Tehching Hsieh: One Year Performance 1980-1981. [online] YouTube. Available at: https://youtu.be/tvebnkjwTeU.

Illustration list

Fig. 1 Fowler, G (2024) Notes. [Photograph] In possession of: Fowler, G: Forest of Dean, Gloucestershire.

Fig. 2 Swanson, A (2024) Snow circle. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.

Fig. 3 Swanson, A (2024) Snowballs. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.

Fig. 4 Swanson, A (2024) Patchwork sticks. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.

Fig. 5 Swanson, A (2024) Animal face. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.

Fig. 6 Swanson, A (2024) Coloured stems. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.

Fig. 7 Swanson, A (2024) Moss. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.

Fig. 8 Swanson, A (2024) Leaf snail. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.

Fig. 9 Swanson, A (2024) Pebbles. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.

Fig. 10 Swanson, A (2024) Seaside circle. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.

Fig. 11 Swanson, A (2024) Autumn. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.

Categories
Coursework Part Three: Making

Exercise 2: Slow

For this exercise I have to create a short comic strip based on the themes of slowness and pace.

Key words from the brief:

Option 3: A Comic Book

  • This option involves developing a simple narrative and then producing an illustrated storyboard in a comic book style
  • Have a look at a few comics or graphic novels and note down your thoughts on their respective styles in your log
  • Emulate one of the artists you have looked at in the production of your work, or you can work in your own style.
  • The theme of the exercise is based on slowness and pace
  • Keep it simple so that you can concentrate on making the panels of your storyboard interesting
  • Three page narrative, with either 6 or 9 panels per page.

Research

Before starting any sketchbook work I decided to do some research into comic books and comic book artists. Firstly, I looked at a comic called ‘Watchmen’ written by Alan Moore and illustrated by Dave Gibbons.

The Watchmen was originally a series of twelve comics that was published in 1986 – 1987, by DC Comics. Eventually it was complied together to make a graphic novel called’Watchmen’. Below is a lecture I watched from ArtsOne in which the teacher talks about the book. It was interesting to get a better understanding of the decisions that were made from an artistic point of view and getting a better understanding of the narrative of the comic.

Alan Moore  & Dave Gibbons – Watchmen

To get a closer look at the comics content and the illustrations, I looked at pages from Watchmen using Pinterest.

Key points noted from the lecture and my own interpretation of the artist.

  • Nine panel grid used throughout the book
  • Careful consideration of the composition of each panel
  • Capturing motion through the use correct use of composition and panel layout.
  • Realistic illustrations with a focus on facial expressions and body language.
  • Altering perspectives.
  • Overlapping pannels
  • Contrast of colours and emphasis on shadows and highlights.
  • Careful consideration of character design.
  • Detailed illustrations of architecture.
  • Muted colour palette enhances mood and atmosphere.

After I researched the illustrator Dave Gibbons and watched an interesting interview with him explaining his methods of working. I found it invaluable to see how he draws using Clip Studio Paint, I thought perhaps I could apply some of his methods to my own illustration work when I learn how to use Procreate, or perhaps Adobe Illustrator/ Photoshop.

Three points he recommended.

  • Be really good at your job
  • Be reliable
  • Be a nice guy.

Richard McGuire’s – Here

Next, I then looked into Richard McGuire’s graphic novel. It’s called “Here.” I found McGuire’s website online, and when I clicked on the link with the book information, I was astounded by the images and narrative displayed. It is one of the most imaginative books I have ever seen. Each page is organised in the same location, which is in the corner of a living room. The narrative effortlessly spans through many historical moments by jumping back and forth in time. The pages from the website excited me so much I had to buy the book.

Below are images from the book ‘Here’ that I downloaded to my iPad kindle app.

Upon completing the graphic novel, I became aware of how captivating and visually striking “Here” was—a study of space, time, and human behaviour as viewed through the lens of a single room. It is a fantastic source of inspiration for my illustration work and leads me to consider my relationship with my own home and the hidden secrets it may hold.

Notes that make the comic successful which I could apply to my own comic.

  • Single location
  • Minimalistic artwork to allow readers to understand the complex narrative
  • Line drawings
  • Limited colour pallette
  • Reoccuring graphics
  • Interconnecting panels, capturing the passage of time
  • Emotional connection (joy, sorrow, love)

Chris Ware’s – ‘Jimmy Corrigan: The Smartest Kid on Earth’.

Finally, I researched Chris Ware’s – ‘Jimmy Corrigan: The Smartest Kid on Earth’ by watching a couple of video reviews about the book and other research material.

Originally the story was a series of comic strips published in a weekly newspaper in Chicago, before being published as a standalone book in the year 2000. The narrative is based on a mid thirty’s man who is sad and lonely and constantly having to deal with his over bearing mother. Everything in his life is a little dull until one day he receives a letter from his estranged father asking to meet him. Jimmy then undertakes this trip and eventually meets his father. However, there is also a parallel story about his Grandfather who has a similar upbringing to Jimmy that is set in 1893.

Notes that make the comic successful which I could apply to my own comic.

  • Emotional connection
  • Relatable relationships
  • Passage of time
  • Grid based layout
  • Muted colour palette
  • Precise line work
  • Small lettering
  • Arrows to guide panels layout
  • Repetitive illustrations
  • Illustrates life

To get a better understanding of comics I read the book Studying Comics and Graphic Novels by Karin Kukkonen. The book goes into depths about how comics are laid out and how the viewer interprets the visual information in front of them.

Below are some notes I have made from the book to consider when creating my own comic.

  • Sometimes hand written text.
  • Emphasis on facial expressions.
  • Different postures of characters.
  • Size of lettering indicates if someone is shouting or talking quietly.
  • Character design Symbolism and metaphor.
  • Different perspectives in panels.
  • Gaze of the character can inform direction of page and importance.
  • Gestalt Theory- Similarity, Continuation, Closure, Proximity, Figure/ground, Symmetry and order.

Recently, I have purchased an iPad, having never owned one I am currently getting used to how to operate it. The main reason I purchased it was to learn how to use Procreate. Therefore I feel this exercise is a good opportunity to do so.

Idea generation

 Considering the word “slow,” I began creating a spider diagram.

The sentences circled in the mind map are ideas that I thought had the most promise for a short comic. After thinking carefully I decided to look more closely at the word insomnia. To this I created another mind map.

Idea development

I began sketching out thumbnail ideas using the thoughts from the mind map above. I felt the idea, which centres on a tired mother and wife trying to go to sleep but is having trouble falling asleep, was suitable for the term “slow.”

After sketching these ideas I also had a slightly different idea about a young boy who wouldn’t go to sleep. Again, I produced some thumbnail sketches for this concept too.

Comparing the two concepts I decided to go with the first idea about the tired mother/wife.

Next, I began sketching out some more detailed drawings for each panel before creating detailed visuals.

Visuals for page one

Using my sketches I then enhanced them using Adobe Photoshop by adding colour, highlights and shadows. After getting used to using Photoshop I managed to do some further drawing using the brush tool with a Manga Crisp brush to do the other drawings.

Visuals for page two

Visuals for page three

Final design

Please press the arrows on the slideshow to see the final design.

Reflection

What did you find most challenging?

This exercise was rather challenging because aside from my earliest memories of reading comics like Dandy, Beano, and Garfield, I had yet to find adult comics very appealing. Subsequently, I’m not used to seeing comic book formats and have had trouble with similar exercises in the past.  
Yet, as I began comic book research, I recognised I ought to be more open-minded of the various inspirations available to me. For example,  I liked reading Richard McGuire’s graphic novel Here,  and I’m sure there are many other comics and graphic novels I’d like to read.

Creating comic book-style artwork posed another significant challenge for me. I delved into various digital drawing software options, such as Procreate, Adobe Illustrator, and Clip Studio Paint, under the assumption that digital tools were the optimal choice for this style of work. However, my lack of experience with these programs led to unsuccessful attempts at drawing. Consequently, the majority of my illustrations were created by hand and subsequently enhanced using Photoshop. Despite this setback, I gradually gained confidence as I refined my drawing skills and identified a suitable digital brush for sketching. Towards the end of the comic, I successfully produced several drawings entirely through digital means. This experience has boosted my confidence to explore other software programs and embark on tutorials, particularly focusing on improving my skills in Procreate.

Is establishing a particular pace something that you have experimented with before?

Yes, I have experimented establishing a particular pace before in the past. This was achieved in the unit, Key Steps in Illustration where I illustrated making a cup of tea over a small time frame. This work can be seen by clicking the following link. https://kolb2016.wordpress.com/2016/10/14/giving-instructions/ . Also for the same unit in Assignment five I had to produce a series of illustrations for a poster entitled “How to train your dog in seven days” again this can be seen by clicking the following link. https://kolb2016.wordpress.com/2018/03/24/assignment-5/ In both of these previous exercises I remember struggling with creating successful layouts but reflecting on my previous work I am happy that my technical skills and illustrations have since improved.

Would you attempt this again and if so how would you change your approach?

Absolutely, I would try this again. I really loved making the final comic strip, and the people I showed it to—friends, family, and fellow students enjoyed reading it.

Before embarking on a similar project however, I would like to read more graphic novels, and attend more tutorials on comics. As this can only improve upon the outcome and teach me more about comic styles.

During this exercise, I did take part in a study event with the university called Creating Comics for Beginners Workshop.

It was helpful to hear other peoples questions and ask a professional in the industry questions. I showed Julian Gray who is a comic artist one of my illustrations and he said he really liked it and would be interested to see the final outcome. He also said not to include speech bubbles like the one shown below because he said they are dated and to stick to a six panel layout if I am new to designing a comic.

I received several helpful resources from the session, which I will review later and utilise some of the advice for my future work.

References

https://www.facebook.com/CreativeBloQ (2018). The designer’s guide to Gestalt Theory. [online] Creative Bloq. Available at: https://www.creativebloq.com/graphic-design/gestalt-theory-10134960.

Kukkonen, K. (2013). Studying Comics and Graphic Novels. Chichester: Wiley Blackwell.

McGuire, R. (n.d.). Here. [online] Richard McGuire. Available at: https://www.richard-mcguire.com/new-page-4.

McGuire, R. (2020). Here. Pantheon.

Wikipedia. (2022). Jimmy Corrigan, the Smartest Kid on Earth. [online] Available at: https://en.wikipedia.org/wiki/Jimmy_Corrigan.

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Reflection on tutor feedback Research & Reflection

Reflection on tutor feedback 

Part Two: Visual Approaches  

After receiving my tutor’s feedback regarding my artwork, I was pleased to discover that I had explored a diverse range of concepts and mediums. This demonstrates that I experimented more and attempted to finish each exercise to the best of my ability, pushing myself beyond my comfort zone.


Hearing which artworks my tutor enjoyed the most was interesting, and her answer surprised me. She particularly enjoyed a sketch of a wizard that had been digitally enhanced.

She thought the drawing was strong, and even though I was pleased with it, I have never felt confident creating digital art, so hearing that my technical abilities have improved was reassuring.

As I mentioned in my blog, I’ve never been a fan of collage work, but I began to enjoy it when I understood it could be utilised to express ideas. Hearing that my tutor loved looking at them was encouraging.


The fact that my assignment presentation was well-received and that I overcame the technical difficulties of utilising a new software package made me happy. I’ve received a few constructive comments from my tutor to help me polish the presentation more before I submit it for assessment. I had never created a live presentation before, so discussing my work was a little intimidating. Yet, now that I’ve done it once, I believe it will be simpler the next time.

After finishing part two and speaking to my tutor I am surprised that my artwork may go in a new direction in the future. Previously, I had liked creating illustrations that conveyed everyday humour. However, I have realised now illustrations with a narrative, meaning and sometimes with a political stance are more memorable and have a bigger impact on my audience. This is something I am going to have to think hard about how to take this strength forward in my illustration practice. For the first time, I am embracing change and recognising strengths in my work and not being so hard on myself.

Categories
Coursework Part Three: Making

Exercise 1: Fast 

WARNING!

CONTENT CONTAINS SOME EXPLICIT IMAGES DUE TO LIFE DRAWINGS OF NAKED MODELS.

Option one: Rapid Portraits

Brief:

For this exercise, I had to use a modelling material to produce a range of rapid portraits. With a maximin time of three minutes for each model.

To begin the exercise, I printed off a selection of portrait expressions from the internet that I wanted to try and capture. From this reference photo, I picked ten to try and model with my selected material.

Fig. 1 Facial Expressions reference project (2012)

Next, I gathered some of my son’s plasticine modelling clay that he uses for animation purposes, some modelling tools and put a three-minute timer on my laptop.

Fig. 2 Materials (2024)

Below are ten facial expressions I tried to capture with my portrait models.

Shocked

Fig.3 Shocked (2024)

Tired

Fig.4 Tired (2024)

Holding breath

Fig. 5 Holding Breath (2024)

Angry

Fig. 6 Angry (2024)

Resting face

Fig. 7 Resting face (2024)

Scared

Fig.8 Scared (2024)

Laughing

Fig.9 Laughing (2024)

Embarrassed

Fig. 10 Embarrassed (2024)

Looking up

Fig. 11 Looking up (2024)

Looking down

Fig. 12 Looking down (2024)

For an extra challenge, I tried to capture a confused facial expression with a one-minute time limit.

Fig.13 Confused (2024)

Reflection

I really enjoyed this exercise. I often find I don’t leave enough time to play in my work and this was just that playing. As an older child, my favourite hobby was sculpture and making pots on my refurbished potter’s wheel. So, to be able to sit and sculpt portrait models was not only fun but I was able to reminice.

Working with the clay rapidly was made challenging by the three-minute timer.  I haven’t used plasticine since I was maybe seven years old, and I forgot that it’s fairly hard and requires hand warming before handling. Therefore this was an extra challenge.

Seeing how much expression I could achieve in the allotted time was interesting but I was happy with how much information I could portray with each sculpture. The ones that I struggled with the most were the ones that were smiling and looking down. It’s interesting to see that I also have difficulty when I try and draw these angles. So maybe to get better at them, I need to study them more in my sketchbook.

If I was to try this again it would be interesting to see how the sculptures would look using a single-colour clay. Would I still capture all of the expressions?

Another option

Option two’s brief appealed to me too and I believed it would enhance my illustration capabilities, even though I could have completed Option One alone for this task. It meant I would have the opportunity to do some more exploring.

Option 2:​ Continuous Line Drawing

Brief

For this exercise, I had to create various continuous line drawings. (This means making drawings without taking my drawing tool off the paper until it is complete. ) With an added challenge of a maximum time limit of three minutes for each.

Research

Before starting to draw, I researched some examples of artists who use this technique in their practice.

Pablo Picasso 

One of the masters of art during the 20th century was Picasso. During this time he drew many pictures using continuous lines. It is quite amazing to see the amount of detail and complexity he can convey, in what appears at first to be a simple drawing. When looking at the drawing of the horse below I enjoy how he has captured the sense of movement with his fluid use of line.

Next, I watched the short film below which is about an exhibition of Picasso’s line work dating from his first to last drawings (1901-1969). There are 100 sketches in total some never seen by the public before. What I like about his line work is how expressive and creative he is. In the video, you can see how he challenges himself to look at things in new ways and experiments with lines.

Other well-known artists who use lines are Egon Schiele, Sherrie Levine, Andy Warhol, and Henri Matisse.

Henri Matisse

Matisse produced artwork during the same time as Picasso and there are some similarities in their artwork such as how they used line. Yet, there are some differences I think Picasso’s work was a little more complex especially when he started experimenting with cubism where his lines become much more angular and intricate. Where as Matise’s work was much more decorative and simplistic.

Al Hirschfeld

Al Hirschfeld was a 20th century illustrator best known for his black and white line drawings of caricatures. He had an impressive nine decades of illustrative work, including working for the New York Times. On the website https://www.alhirschfeldfoundation.org I found many examples of his work to study. I really enjoyed researching his work they are full of movement, humour, expression and cheekiness.

DFT

Next, I wanted to see what illustrators today may be using the continuous line technique in their practice and came across a French duo of artists called DFT (differantly). It excited me to see that their work has attracted interest from world famous brands such as Apple, Hermès, Nike and Adidas.

Below is a video of one of the artist showing how they create their work. I found it incredible how quickly the illustrations were drawn but amazingly there is still such large amounts of detail.

After, researching past and present-day artists that have used this method I have to say I am a little apprehensive at what I will be able to achieve especially with a maximum time-limit of three minutes but looking forward to experimenting.

Continuous line sketches

To begin the continuous line sketches I began with a sheet from my sketchbook and used one of my clay models as a still life to draw from. This was a warm up sheet before starting properly as it has been some time since I have sketched anything.

Fig. 14 Warm up sketches (2024)

I was surprised at how difficult it was to record information quickly without lifting my pen off the paper and found that I seemed to be only able to record half the face unless I went back over some of the lines I had previously drawn.

Now that my hand and eye coordination had warmed up, I set my timer for one minute and began sketching the same clay model.

Fig. 15 Shocked line drawing (2024)

Interestingly, with more practicie the lines to each of the drawings are now much more fluid and I am able to record more information.

Fig. 16 Tired line drawing (2024)

Again, setting my timer I practiced more continuous line drawings. Once more, I used one of my sculptures to practise this. The hand added an additional element to the face’s shape, making it more difficult to capture, but overall, I believe the sketches capture the essence of the sculpture.

Following my attempts at drawing expressions in lines, I wondered what it would be like to sketch an actual person. Researching online  I came to a website that assists artists by providing images of models in different poses. The webpage also allows you to set a timer, so I used the two-minute setting for each of the upcoming line drawings. Here are some of my sketches.

Fig. 18 Life drawing pose 1 (2024)

Fig. 19 Life drawing pose 2 (2024)

The sketches are not exactly true to scale or have captured every detail but I am pleased I have managed to capture the women’s poses.

After, I thought would I be able to do the same for a male model? Searching on the website I found three photos of male models to use for reference.

Fig.20 Life drawing pose 3 (2024)

The first sketch I did was the middle one, the second was the one to the right and finally the one to the left was the last sketch I drew. It was interesting to see the line become more fluid the more I practiced and that the last drawing has recorded more information and done so more accurately.

Reflection

This continious line drawing exercise has been an enjoyable one. Having a short time limit has made me not worry about making mistakes but think quickly about what is the best way to convey what is in front of me.

It has been beneficial for strengthening my hand and eye coordination and has made me make deliberate choices in the placement of each mark. This exercise will undoubtedly help improve my drawings if I practice this exercise often.

References

About – DFT – minimalist line art (no date) DFT. Available at: https://www.dft.art/about (Accessed: 01 February 2024). 

Al Hirschfeld (no date) Bio. Available at: https://www.alhirschfeldfoundation.org/bio (Accessed: 01 February 2024). 

Brilliant single line drawings by differantly (aka DFT) (2018) YouTube. Available at: https://youtu.be/xaiUyI9OB5w (Accessed: 01 February 2024). 

Figure study tool (no date) Line of Action. Available at: https://line-of-action.com/practice-tools/figure-drawing (Accessed: 01 February 2024). 

Gallery, G. (2018) Who’s next? – DFT, art-director-portfol. Available at: https://www.geneycleegallery.com/post/who-s-next-dft (Accessed: 01 February 2024). 

Picasso the line (2016a) YouTube. Available at: https://youtu.be/OrPwBPwqI3Y (Accessed: 01 February 2024). 

Picasso the line (2016b) YouTube. Available at: https://youtu.be/OrPwBPwqI3Y (Accessed: 01 February 2024). 

R, T. (2012) Facial Expressions Reference Project, Deviant Art. Available at: https://www.deviantart.com/tamarar/art/Tammy-s-facial-expressions-313627461 (Accessed: 01 February 2024). 

List of illustrations

Fig. 1 Tamara, R. (2012) Facial Expressions reference project. [Photograph, Portrait] At: https://www.deviantart.com/tamarar/art/Tammy-s-facial-expressions-313627461 (Accessed 01/01/2024). 

Fig. 2 Fowler, G (2024) Materials. [Photograph, landscape] In possession of: the author: Forest of Dean. 

Fig. 3 Fowler, G (2024) Shocked. [Photograph, portrait] In possession of: the author: Forest of Dean. 

Fig. 4 Fowler, G (2024) Tired. [Photograph, portrait] In possession of: the author: Forest of Dean.  

Fig. 5 Fowler, G (2024) Holding breath. [Photograph, portrait] In possession of: the author: Forest of Dean. 

Fig. 6 Fowler, G (2024) Angry. [Photograph, portrait] In possession of: the author: Forest of Dean. 

Fig. 7 Fowler, G (2024) Resting face. [Photograph, portrait] In possession of: the author: Forest of Dean. 

Fig. 8 Fowler, G (2024) Scared. [Photograph, portrait] In possession of: the author: Forest of Dean. 

Fig. 9 Fowler, G (2024) Laughing. [Photograph, portrait] In possession of: the author: Forest of Dean. 

Fig. 10 Fowler, G (2024) Embarrassed. [Photograph, portrait] In possession of: the author: Forest of Dean. 

Fig. 11 Fowler, G (2024) Looking up. [Photograph, portrait] In possession of: the author: Forest of Dean. 

Fig. 12 Fowler, G (2024) Looking down. [Photograph, portrait] In possession of: the author: Forest of Dean. 

Fig. 13 Fowler, G (2024) Confused. [Photograph, portrait] In possession of: the author: Forest of Dean. 

Fig. 14 Fowler, G (2024) Warm up sketches. [Drawing] In possession of: the author: Forest of Dean. 

Fig. 16 Fowler, G (2024) Tired line drawing [Drawing] In possession of: the author: Forest of Dean. 

Fig. 17 Fowler, G (2024) Warm up sketches. [Drawing] In possession of: the author: Forest of Dean. 

Fig. 18 Fowler, G (2024) Life drawing pose 1. [Drawing] In possession of: the author: Forest of Dean. 

Fig. 19 Fowler, G (2024) Life drawing pose 2. [Drawing] In possession of: the author: Forest of Dean. 

Fig. 20 Fowler, G (2024) Life drawing pose 3. [Drawing] In possession of: the author: Forest of Dean. 

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Assignment 2 Assignments

Assignment 2: Presenting Your Work

Brief

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.

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Coursework Part Two: Visual Approaches

Exercise 7: ​Composing Pictures

Brief

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.

Categories
Part Two: Visual Approaches

Exercise 3:​ Words to Pictures

Brief

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.

Image by Freepik -llustration by Author

Reference List

Mock-up of notepad (no date). Freepik. Available at: https://www.freepik.com/free-psd/back-school-template-with-notebook_1293559.htm.

Categories
Research & Reflection Research points, Part One: Being Creative

Research Task:  Flow and Play

Research Task:  Flow and Play 

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. 

“Rand’s instructional theory is a tool for learning, it is not, as Rand proposes, learned. The play principle delivers what cannot be forgotten, what is relegated to some buried placememory. But first it draws an inruirive response, that which is outside of, or beyond, the play principle. The action beyond learning is actually before learning. Furthermore, if instinct is likened to a child’s response, then what is beyond the play principle is actually before Rand’s scene of play. Returning to the rime before learning allows the designer to continue learning, thus the play principle is not a model for memory per se, rather it accesses the very root of creation, which soon becomes just that which cannot be forgotten. This is precisely why play is a tool for learning, or, in other words, play is situated toward learning.” (Page 106 – Heller, Steven., (©1998) The education of a graphic designer Allworth Press [in association with the] School of Visual Arts)

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. 

Abstract Illustration

Below are examples of some of his paintings 

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. 
 

References 

Guggenheim Museum (2018) Hilma af Klint. Available at: https://www.youtube.com/watch?v=CHdud9km7bQ. 

Joan Miro Sculptures (no date a). Available at: https://www.thehistoryofart.org/joan-miro/sculptures/. 

Joan Miro Sculptures (no date b). Available at: https://www.thehistoryofart.org/joan-miro/sculptures/. 

Paintings for the Temple | The Guggenheim Museums and Foundation (no date). Available at: https://www.guggenheim.org/teaching-materials/hilma-af-klint-paintings-for-the-future/paintings-for-the-temple. 

Reporter, G.S. (2017) Bob Cobbing. Available at: https://www.theguardian.com/news/2002/oct/07/guardianobituaries.booksobituaries. 

Tate (no date a) Joan Miró 1893–1983 | Tate. Available at: https://www.tate.org.uk/art/artists/joan-miro-1646. 

Tate (no date b) Joan Miró 1893–1983 | Tate. Available at: https://www.tate.org.uk/art/artists/joan-miro-1646. 

Wikipedia contributors (2023a) Bob Cobbing. Available at: https://en.wikipedia.org/wiki/Bob_Cobbing. 

Wikipedia contributors (2023b) Joan Miró. Available at: https://en.wikipedia.org/wiki/Joan_Mir%C3%B3. 

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Coursework Part one: Being Creative

Exercise 2: Good Working habits  

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:  

  1. What inspired me in the project, and how did that influence me? 
  1. What method did I use, what techniques did I use?  
  1. What were the biggest challenges I faced during the project and how did I overcome them? 
  1. 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? 
  1. What did I learn while creating this piece, and how can I apply what I have learnt to future work? 
  1. What do I want to explore or experiment with in future works, based on what I learned from this piece? 
  1. How can I challenge myself creatively in my next project, and what new techniques or approaches do I want to try? 
  1. 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. 

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Coursework Getting started: Exercises

Setting up your learning log.

Exercise 2:

Throughout this degree, I have used WordPress as a way of recording my learning log. As it has been a successful way to record my work, I created a new blog just for this unit. It took me a while to remember how to set up all the menus and was a bit frustrating, but now they are complete, it will be easy to reflect on my work.

I have found WordPress is a good way to document my work and easy for my tutor to find relevant work because it is all broken down under the relevant headings.

Although it would be nice to have a handwritten learning log, I would get frustrated with my punctuation and spelling being wrong because of my dyslexia.

Now that I have set my learning log up for this unit, I am excited to add my first piece of work. I hope whoever is reading this enjoys looking at through my work.