OUIL503 end of module evaluation

Responsive has been quite an interesting module!

I have had some very small experience working for other people with my work for Fuzzy Logic but when at university and constantly working on projects for yourself or your assessors it definitely felt different to make work for competitions and other clients. And in itself too working for competitions feels different to working for clients despite them both being live briefs- with competitions although it is made for someone it feels more free- I feel competitive and enough pride in myself to put a lot of effort into projects but take them more at this point as an opportunity to try and push something new in a relatively quick brief. I felt this notably in regards to War Horse, diving straight into the final images painting when I hadn’t done very much of it before. I wouldn’t say it’s the completely correct approach though! But this way I did learn that I very much enjoy painting.

Compare this to Fuzzy Logic and Coffee Shop North. Notably, I didn’t take on Fuzzy for Responsive but rather it was work that came along whilst I happened to be doing this module- I didn’t want it to be considered part of the main chunk of this module so took on enough other projects for it to instead be considered a side project, but included it here because I undertook this work during 503 and felt I had still learned something from it. Regardless, with Fuzzy and CSN I find myself being a little apprehensive when creating work for it, with less (but still some) desire and inspiration to be experimental with techniques and ideas because of limited timeframes but mostly perceived expectations from the clients. Dan Saul Pilgrim from CSN found my work through the Off the Page exhibition, and with it I was a little concerned he was expecting something just like what I had had in the exhibition.

Studio Brief Two saw me work creatively in a group which is not something I’m wholly used to. I had worked quite successfully in a group for OUIL502 PPP’s Life’s A Pitch project but this was entirely creatively focused and involved making rather than just being theoretical. I found it hard to share creative focus and struggled with feelings of inadequacy compared to animators- but overcame this when I actually discussed my technical issues with them! Even though I’m not sure the final videos suited the Dazed aesthetic and objective (as discussed in the project report) I think it was a successful animation in itself and I came away from it having learned a lot- about working in groups but also technical things like filming, stop motion and animating.

I picked briefs out of personal interests. I have interest in working in editorial and publishing, so The Guardian and The Folio Society’s competitions seemed like prime opportunities. I took on Secret 7 mostly because it sounded fun which I don’t think is necessarily a bad thing- I’m at a point in my life where I can take on fun projects just to do that! Coffee Shop North wasn’t something I would have thought of or maybe even taken a second glance of given the title (I like coffee but am no connoisseur) but being given the opportunity to be published is great I think. Maybe this is a sign that I should pay attention to briefs that don’t have fancy exciting titles- after all a project is what you make of it.

I’m starting to think about how audiences aren’t necessarily divided up by age or gender but rather interests and focuses. War Horse was written mostly for children in mind but I’m sure there are plenty of adults who enjoy it, and when combined with the context of The Folio Society and their types (and prices) of books suggests a collector audience. I think I’ve covered a good range of audiences and contexts through Responsive but wonder if I could have challenged myself a bit more. Admittedly my work for Secret 7 felt so open and non-specific that I felt like I was just completing it for the sake of the module, and at once I didn’t want to limit it by forcing it into a set but also felt that it was directionless.

As I go along I’m also learning more about ‘communicating with clients’, which sounds a bit silly but I think it’s worth thinking about consciously. Many times I have rewritten emails because after a pause of looking over it I realise I’m being too apologetic, or too rambling. It seems weird but I think you need a certain assertiveness when talking to clients! Be simple and direct.

All in all I feel like I’ve learned a lot and have largely enjoyed myself. I’ve learnt a lot technically and about where I want to go- the editorial and publishing briefs were what I enjoyed and quite possibly were best at, so might well be worth keeping up.

OUIL503 Responsive Project Report

responsive: D&AD Dazed and Confused boards (collaborative brief)

responsive: war horse (substantial brief) presentation boards

responsive: coffee shop north presentation boards (small individual brief)

responsive: secret 7 presentation boards (small individual brief)

responsive: the guardian presentation boards (small individual brief)

Like my work for Fuzzy Logic, I hadn't taken this project on with Responsive in mind. However I feel I learnt a lot from it, and it informed my ideas about my practice (and that editorial may well become part of it).


I found this a really tricky brief. The topics themselves were fairly straightforward, but it was too easy to dive straight into a literal approach- i.e., pictures of portfolios or art materials or the stereotypical looking student. I tried to avoid this sort of imagery, and try to appropriate it into something visually interesting when possible- e.g. the perfect portfolio editorial becomes character based and surreal looking. This became my favourite piece of the three for its simplicity in idea and composition.

responsive: fuzzy logic presentation board (small individual brief)

I've been working with local indie night Fuzzy Logic since 2014, and have continued to work with them during this academic year. I hadn't taken on the projects for Responsive particularly, but as they are indeed live briefs I'm responding to, I suppose they fit in as an addition to the work I've done specifically for it.

Largely the work with Fuzzy is not wholly what I’m interested in- I’m starting to find that my own personal tastes of ‘style’ are drifting from this largely digital look that has come to be expected as I continue what is needed of the brand. However, it is mostly an enjoyable experience, and I have and am learning a lot by doing it- mostly time management and learning how to manage projects like this alongside my core university work.

responsive: coffee shop north complete

I had originally intended to use one of the simplistic compositions but as I began to draw it out I found that it looked a little empty scaled up to A4 (the publication size). I added a few elements into the design and sent this to the art director. He was pretty relaxed about the design, and mentioned that many of the other illustrations were very simple so I toned it down a little again.

the first sketch, a little crowded

I decided to paint the image largely because that’s where I’m interested in my illustrations being. The piece was monochrome on request. I couldn’t help feel that the combination of washy painted shapes and black and white made it look like a poor man’s Eleni Kalorkoti, but tried to make it my own.

I’m not entirely happy with the final image, and have some hope that it might look better printed as I feel it does as a physical painting. Coffee Shop North were happy with it as a final image, which I suppose is the most important person to be happy in the exchange.

I wonder if keeping to the more simple compositions of before would have been more beneficial. I still feel unsure of the concept and whether I could have pushed it to be something more loose, but I’m also learning that yes, literal depictions with a focus on atmosphere aren’t all that bad and quite relevant to some projects!

Although it’s a painting it didn’t stop me taking advantage of Photoshop to create small variations. It was decided that the obscured faces were better, and I felt that although I found the composition felt more interesting that the final one was the most balanced. I also discovered that CMYK files don’t really like black.

responsive: secret 7

Now my designs got rejected from the Secret 7 competition I can post them here!

I tackled the project in quite an.. intuitive way I suppose. I listened and I drew, the only thing connecting the final images that they were (mostly) painted. I didn't want to purposely create a series, and rather *feel* the music but looking back wonder if that was the right approach- I wonder if it made it too easy for me and I didn't take the project as the challenge I could have done.

responsive collaborative: making of video

Making Of video as part of the required submission to D&AD. I didn't edit it but helped to write the script!

In Design workshop :-)

DON'T SCALE TO FIT! IT'S BAD MAN, MAKE IT THE SIZE IT SHOULD BE

Bleed: Everything that goes to the edge of the page should extend beyond it, so when trimmed it will account for errors. You should print on paper larger than what you are producing. Standard bleed: 3mm. Slug area is used for printing marks, but you can do that stuff when you print. Handy for fold marks if needed!

Spreads appear on screen as reader's spreads and In Design will do the pagination fun for you.

It's best to make your document less than an A-size so it can be printed on A-size up with full bleed.

File > Document Setup will bring you back to the setup menu if you decide on a change of layout (except margins and columns- to do that you have to select the pages on the pages palette, go to layout > margins and columns but you can only do this to one page at a time UNLESS using the A-master)

No left or right margins, 'inside' and 'outside' margins instead. It can sometimes be useful to have a wider insider margin than outside. The binding can sometimes hide parts of the pages.

If you want rows go to layout > create guides

A-MASTER: MASTER PAGE! document template. find in the pages palette. These objects will be locked BUT you can access them by using command>shift>click on the item.

Page numbers: type > insert special characters > markers > page numbers

mmmm graphic design



CONCERTINAS

The recommended way to make a concertina is to stick pages on the back of pages to bind it together (the above and the below)

Divide each page into two columns with no gutter as a way of seeing where the image goes. Put some slug on for folds. No facing pages! When the document is open, grab the ruler to the left and drag out a ruler marker- drag it to where you will be folding and it will leave a mark on the slug (release the mouse off the page)

wahoo

To get the pages next to each other:
On the pages palette untick allow document pages to shuffle
Drag the thumbnails next to each other

 

Image considerations:

300DPI, ACTUAL SIZE, CMYK, .TIF OR .PSD !!!! File > Place > pick a pic

responsive: coffee shop north

At the Off The Page show I was informed by Andy and Becky at CMV that someone was interested in my work and had given him my email. I found that he had emailed already earlier that day (oops) and was interested in me providing work for his publication, Coffee Shop North. 

"The first visually-led book that serves to document, explore and showcase the independent coffee scene in north England. An intimate insight into the industry in 2015/16, the book will involve the drink, the place and the people."

 I was hesitant to join the project on the basis that I wouldn't be paid for it. I'm not sure I'd consider *free* work again unless it was something truly spectacular, but I figured it would be a nice addition to the OUIL503 Responsive module, as well as being an interesting little project (it would be just the one illustration).

I was given a poem to illustrate for the book. When given a subject as physical as "coffee" it's hard to go about it in metaphorical terms.

One of the phrases I kept thinking about from the poem was about the "thick bursts of steam". The poem is largely literal, and this is too but also seemed to have some capacity to become a bit more... otherworldly (?). A little different. I kept trying and trying with this motif, though it took a while to get it to the point of a more balanced composition. I think it still needs work to get there.

I figured that if I was to illustrate something quite physical I'd think more about the atmosphere and the composition. The poem made me think of the quiet moments one has and appreciates during busy work times.

These thumbs were some I did at the beginning mostly to get them out of my head. They're so boring, they look like some cheap newspaper editorial. But I find I have to draw them or else my mind will just linger on them.

I sent these sketches over and his reply was

"There are some really nice ideas running through idea. I think you’re right to concentrate on the steam element. I’ve highlighted the ones that I like the most. I think it’s nice not being too literal. I like the other ones on this page with the coffee cups too but I think its more original if a coffee cup doesn’t feature (but its up to you!)"

I agree with the sentiment that if there isn't a coffee cup it would be more original and interesting- the book will probably get quite saturated with that very quickly. I'm also glad to hear he enjoyed the steam ideas because they were my favourites too!

 Now I'll need to decide on  the media to use. He was interested in my work after seeing my prints, and that concerned me a little as I wasn't so keen on printmaking or that really flat way of working after doing it! He had seen my other work online and said he was happy for me to interpret it how I wanted to, so long as it fits the format, works in digital and is monochrome.

responsive collaborative: DAZED final videos

The Dance



The Book



The Crowd



The Face

responsive collaborative: animating

Animating has been... an interesting process.

I've learnt a lot and am really thankful for my group teaching me new skills. The video timeline feature in Photoshop seems like a more effective way of animating than frame timelines, even without video footage, and I can see myself using this in the future! Whilst I don't have plans to continue animating at quite the rate I have been for the last few weeks, it's useful knowledge and good to know as gifs and moving image in digital formats become more prominent.

points and observations

We've been working up until the last minute, even though we've all been working hard. It suggests we could have planned more, but I'm not sure. Maybe we should have planned something less complicated. Still, it's been do-able... with some super long hours!

I think we could have planned more, i.e. with the clothes design but we prioritised time for planning. It seemed to have gone ok though!

The animations could look more cohesive, we agreed on a *style* of bold and fun patterns, and agreed on ones we liked from each other's designs but maybe we could have set a house style on other things, such as colour palette.

My animations at least are very wobbly! I think this effect is called 'boiling'. It's not really a strength or a weakness, and stylistically I think it looks quite nice, quite interesting. It's not meant to look real!

505: Anorak lecture

The Anorak talk came at a great time considering I'm working on children's illustration right now! It was interesting to hear that their most popular editions tended to be on the less-literal topics, they too had a issue on fear and friendships was also another popular one. It gave me a bit of confidence that this is maybe the sort of thing that buyers/ parents are looking for.

505: tutorial notes

• now is the time to develop a 'story', but it doesn't necessarily need to have words or characters
• will it become a book of contrasts? i.e. kids having fun in scary places
• base it on experiences, be visceral
• don't worry about it being massively commercial, now is a good time to create something something sophisticated without the pressures of industry
• do some bookbinding and attend the In Design workshop. Think less about print making in this project, enjoy painting.
• Blurb is a site that will print books for you. This is more a last minute option if things go wrong!
• thinking about the format of the book may bring the project along
• look at Bill Bragg's paintings. I don't know much formally about painting but this is almost better, don't be over indulgent in the *technical* aspects of it

I also came across a Guardian article on the book that Jon Klassen has recently illustrated, The Nest. Author Kenneth Oppel says:

"When we were thinking of having illustrations for The Nest, we decided not to show any of the characters, or try to traditionally illustrate scenes. Jon’s approach was more atmospheric. He told me when he read the book it reminded him of The Shining - whose scary spaces are drenched with dread. Jon’s images are very still, sort of like stage sets before the actors enter, or right after they’ve left. You get the sense something terrible is about to happen, or just has. The images seem still, yet they’re filled with mystery and sometimes menace"

 It appears to be a very beautifully illustrated book and this way of thinking inspired me to approach my own project in a different manner (no words/ no characters)

505: more sketchbook development

As advised in the last tutorial I've just continued working on experimenting with media and really I've just been having fun with my sketchbook. I'm finding that I'm really enjoying using gouache. I'm not really skilled at it but am really enjoying it and like how it can be really playful and fun. I'm feeling really inspired at the minute by painter Miroco Machiko.

I'm realising that I need to start on streamlining the project, and will begin to design characters and stories and words. I like the idea of "would you want to be big and crush your fears or small and hide from them" and the problems that both face (in a literal sense), or maybe not even to do with fears at all. But this is quite loose ended and doesn't really have a real conclusion. I also have in mind a way of presenting that we should be brave and face possibilities instead of hiding from them, because they are either a) not as bad as we think they are b) there is a way around them. This could be presented in quite a literal sense.

I need to get thinking!!!

responsive collaborative: animating gifs

As part of the films we are going to mask gifs on to the footage sequences. I had experience making gifs from before but found this process really really hard, and got quite frustrated trying to make patterns loop. 

One of the things I find hard working in groups is perhaps heightening my expectations of myself too far- I'm afraid to not look like I'm pulling my weight when I have tried and made a substantial amount of work. I find it hard to judge what people expect of me and as a result became quite stressed over a simple task! I know I'm not an animator so was never sure what was 'good' in animation terms.

I had a selection of still images we had decided to make into gifs from the group, but after getting frustrated at myself I just made what I could and improvised with some simpler works. My worrying wasn't worth it as the group liked what I produced in the end! I'm hoping that the next stage of animation will be less complicated for my brain (loops are like puzzles, and puzzles are not a strength) and will not stress out so much! I will be open about what I can make, and will ask for feedback rather than worrying about it!