Visual Journal - Research, Flying Leaps

An interesting essay on fly posting:

http://www.flyingleaps.co.uk/notes-on-flyposting-and-porous-urban-space/

"Propaganda must be made directly by words and images, not by writing,” states Goebbels […]. Reading implies time for reflection, a slowing-down that destroys the mass’s dynamic efficiency".

- Paul Virilio (1977 [1986:5]) Speed and Politics Semiotext(e), NY, USA


There appears an interesting similarity between what Adrian Burnham called 'incongruous eruptions' and what I am making with my textures. Both show simply the hand of the maker and not much else, they serve no commercial or capitalist purpose, the sell nothing and say little, but that is their point. Whether they are simply 'eruptions', visually appealing or refreshing oasis's among the jungle that is public advertising space, or whether they have a deeper meaning, provoking thought and making a statement against the system, they have a certain charm and boldness about them. They exist to exist, and are there whether they are meant to be or not, unapologetically. 

Visual Journal - Textures

I wanted to use this opportunity to just experiment with, and get lost in, making different textures and just seeing where it took me. Whilst drawing the first few I was thinking about advertising and the influx of sale posters and billboards up around this time of year, post-christmas. I considered it an interesting concept to make fake posters, essentially selling textures, for example a texture background with a common sales phrase on top, such as '50% off'. These posters would exist merely to entice a consumer into thinking, into wondering what is for sale but not actually acting upon their retail urges. The more I thought about it the more I found an interesting relationship between what I was doing and what big companies were doing; I on one hand was spending hours slaving over intricately detailed textures, with no profit in mind, only the curiosity to explore texture and the desire to make something visually appealing and engaging, whereas on the other hand companies are pursuing the fastest, cheapest methods of getting their offers across as efficiently as possible. Often the results of the latter are ugly and boring and disinteresting, but are made to grab the consumer and entice them into buying whatever products are up for grabs for whatever discount is offered. Mine however are all hand drawn and aim to also catch the viewers attention, but make them think and question what is 'half price', what the poster is for and what it is offering them.

Hand drawing all the type also got me researching again about sign painting, something I have a big previous interest in. The ethos around the trade is one of appreciating hand crafted and traditional signs over cheap vinyl ones, for their charm and character and value as pieces of art as well as identities for the businesses and companies using them. In this way, perhaps using one's talents for commercial means is a worthwhile investment after all, if done right and with quality and tradition in mind.

Here are some of my outcomes:

Visual Journal - Research, Steven ESPO Powers

Steve Powers started his artistic endeavours on the streets of Philadelphia, writing his name 'ESPO' on walls and gates around the city. But among the traditional lettering styles common within the writing culture, there is something unique about the extensive work Steve made illegally on the streets, which led to a prolific mural project, A Love Letter for You, among other sign painting and mural projects around the world. A lot of his work was made to not look like graffiti, whether that was in the act or the resulting finished artworks. He devised a way of painting storefront gates so that it looked like he was just re-painting them, and then with a few swift movements to finish, he would create the letterforms leaving his name ESPO in big clear block letters. Other pieces are painted to look like advertising, selling imaginary products, similar to a lot of his more fine art work, in which he is inspired by sayings and phrases, creating signs selling feelings or emotions. 

I like the way in which he disguises what he is doing as something else, in a way making it more accessible to the general public who are so used to advertising and commercial imagery in their day to day lives, but also how he manages to hide in broad day light. He uses the commonplace of advertising to his advantage, giving him the opportunities to get away with making his often illegal works of art without being suspected. He adopts the techniques and aesthetics of old advertisements to create new pieces of appealing work that engages with communities, but also subtly commenting on the situation and power that advertising has. 

Visual Journal - Initial Responses, LINE

Inspired by the research I had done about the line work by the artist Word To Mother, I started responding to my idea of advertising using just ball point lines. Picking certain images from the newspaper, I wanted to try and portray a busy, confusing, dystopia representation of advertising that you may not notice at first.

By using lots of elements, I wanted to recreate the bombardment with which advertising is forced upon us even in our newspapers, including the vocabulary commonly used, especially around christmas time; words such as SALE, NEED, DON'T MISS, all used to dictate what we should spend our money on.

I found it quite interesting how lots of the adverts out at the moment are for furniture and sofas, all very similar and portraying an idealistic ideal of a home and material goods that should be in it. It links to that idea of illusion of choice, when actually there isn't much difference between one sofa or another. I like the way in this drawing the words used to persuade the viewer into buying the product are overlapping the actual product; usually people end up buying things just because they are on sale or they feel they need them, not because they genuinely want or need the actual product, in a way making the deal more important than what is being sold. 

Once you start paying attention to the photos used by advertisers to portray an ideal to a possible consumer, they start to appear quite disturbing and just odd. These images are of people pretending to be happy to give the impression that whatever is being sold will have the same effect on it's consumer, but they're actors and their expressions are fake, its all an act. They are always very over the top and 'perfect', whilst very false and sinister. 

Trying to push this idea of dystopia and sinister, and the bombardment of desires and persuasions.

Visual Journal - Research, WORD TO MOTHER

Word To Mother's work is very distinctive in style and aesthetic, often consisting of many layered elements; mixed areas of colour, drips of paint, textures, hand drawn typography, illustrated characters, symbols and lines, all building up often highly detailed pieces that appear to suggest a certain narrative in each. What is the most recognisable thing though, is the way in which he draws, the way he uses line to make images.

• His lines are often loose and scribbly, but very organic and full of energy. There are imperfections everywhere but that is where the character and charm of his work lies. The messy nature of them is very appealing and tangible.
• The forms his lines make up are also loose and almost free form, it seems as though they were drawn quickly and almost spur of the moment. Lines create forms layered and merging with other forms, emphasising the almost otherworldly, slight dystopia quality to his drawings. Skulls and twisted faces are common-place also. 
• Similar to his painted pieces, the pencil only illustrations use may different elements, and the idea of layering. Faces sit with pattern and next to trees, under letter forms and more faces. This layering creates an interesting relationship between all the separate parts, one that could be in unison, or of conflict. 

I want to try and re-create adverts in a style that is quick, using line only, but also merging several different parts together, to create layers of messy and loose lines to show the dystopia of the commercial culture and the violence and damage inherent in it. 

Visual Journal - Research, BRANDALISM

'Brandalism is a revolt against corporate control of the visual realm'

The brandalism group/movement exists as an opposition to traditional advertising in our public spaces, commercial advertising that has not been chosen by the public but instead is controlled by financial power and aims for profit. By using the techniques and methods derived from street art, the movement takes over massive billboards, bus stops and other advertising spaces within our urban environments, replacing corporate advertising with artwork from hundreds of artists from around the world, often with a political subject and activist intent. The work they do is displayed illegally, but directly combats the visual bombardment that is commercial culture, using the big business's own tactics to reach mass audiences, provoking thought and exposing the absurdity that is consumerist advertising to the general public. 

'We start from the democratic conviction that the street is a site of communication, which belongs to the citizens and communities who live there'

The project also has another side to it, that is the ownership, uses and authority over public spaces. They aim to take back what they believes is rightfully theirs, that is the public space as a space to express and communicate how the occupiers of that space choose, not how an outside entity like a wealthy business or governmental body dictates. It becomes an issue not just of the corporate culture itself, it's negative effects and the misuse of design for it's damaging motives, but also the way in which it uses, and misuses, the environments in which the majority of us live in and use daily. 

One thing I think that is really effective with the campaign is the breadth and variety of work that is produced in response to the societal issues the artists choose to communicate. From simple type posters, with strong slogans and powerful messages, to more illustrative, ambiguous posters which are more subtle in their messages and intent. The former creating a bold statement, immediately urging the viewer to think about the meaning of what they are reading, and the latter perhaps more focussed on beautifying a frame that was formerly filled with meaningless consumerist imagery, but still with a deeper, more thought-provoking message ever-present. 

Visual Journal - Initial Ideas, Choosing Direction

KEY IDEAS FROM QUOTE & ESSAY

• Illustration is changing - boundaries are blurring, distinctions and definitions widening, responsibilities of creators are shifting.
• Illustration has potential for positive change and influence - should have meaning and purpose, many create work that doesn't fulfil this need, discipline needs to realise it's potential.
• Certain motives and purposes are better than others - advertising is a lesser function of the discipline, political means and those for the betterment of society are more important, should comment on 'big debates of society'.

MY IDEA

I have decided that I am going to pick a current affair, a political issue that is relevant and important to today's society, research about and around it, and explore it using the formal elements, in the hope of creating work that informs, questions, impacts and communicates the issue to an audience. 

'[Illustration is]...a visual reflection on current affairs' - Andrew Zbihlyj 

This immediately links to my essay and original quote, as I am using illustration and visual communication to present and comment on an important political issue. I am giving the work I create through the formal elements a purpose and message behind it, something that Zeegan believes the industry needs more of. By picking an issue that is political, it also inherently links to my overarching theme.

THE ISSUE 

Although not an issue with much presence in the news as of recent, I am going to explore the concept of corporate power, more specifically advertising and how it is used, and abused, in our public spaces. It is a political issue, debating power and ownership of space, linking closely with the subjects of consumerism and commercial culture. It links to my essay, debating the uses and functions of illustration and design, and the First Things First manifesto I researched. 

Study Task 5 - Issuu Presentation

Visual Journal, Research - BLAQK (Texture)

The work of Blaqk, the collaboration between graphics designers Greg Papagrigoriou and Chris Tzaferos (Simek), focusses on experimentation and energy, often consisting of heavy weight freeform lines full of texture and a dry brush effect, contrasting with more geometric, regimented lines of similar weight but no texture, instead a solid black. Despite being freeform and arguably loose, they are by no means random; the lines seem very thought out, in their placement on the walls and in relation to each other, as well as the shapes and forms they create, often reflecting similar forms to certain letters, taking on a typographic, calligraphic quality. They remain abstract and ambiguous whilst nodding strongly to typography and symbols, hinting at a deeper meaning or motive behind the work. The juxtaposition between the strong boldness of the cleaner lines and the textured, looser lines creates an interesting conflict within the work, there is a conversation and a relationship between the two, of which could be interpreted very uniquely by every viewer. Despite the conflict between them, there is also a kind of unison, with the textured lines overlapping and holding the regimented lines; they flow around, behind, in front of, and over them, which could be read as a taking over, or a overcoming, or a surrounding, or a more positive, constructive interaction. 

I also find it very interesting the way that the textures get more dense on the line as it overlaps with itself. The darker areas of the stroke are very powerful within the overall form and composition of the lines and could be something to play around with when I start creating my own work in response. 

The placements of the work is also a crucial part. They often paint in and on abandoned buildings and the textures of the walls morph into the textures created by their brush strokes creating even more layers of tone and tangibility. The forms created by their lines also play with the forms featured within the buildings, creating another aspect of a relationship between shapes and objects. Also the act of painting illegally on walls is inherently political, an act of rebellion, or an expression of creative destruction, or a giving of life and energy to something neglected by society. Just as work within graphic arts is apparently unavoidably political, graffiti is even more so. 

Linking to the theme of politics, this cross could be symbolic of those found on ballot papers, the two contrasting lines building it up reflecting the two opposing sides or parties. Despite perhaps an obvious, boring interpretation, it's starts to link to my theme. 

This circle form this piece creates is one of my favourite works they have made. There is something very appealing about a circle built up of different lines and other forms; they are free in form yet very contained and restricted at the same time. It is a softer piece compared to the others, which demonstrates the other formal element of shape and it's uses within visual communication. 

Visual Journal, Study Task 4 - Elements Definitions, Studio Task

To start exploring the 5 elements, it is important to figure out what they actually are, what they mean and stand for, and then how they can be used for specific purposes.

The initial definitions remain quite broad and vague almost, with lots of cross over between them all, which I believe there always will be and it can always be argued this way. They are all related and contribute to each other; a line can make a shape, or a texture, and vice versa, just as colour can do the same also. It is down to the creator and the viewer to decide their own personal interpretations of what these elements are or can be.

To begin with, I am interested in texture, which is closely linked to line, and I am interested in how line can build up texture. There is something very tangible and appealing about texture, and I think it can be very evocative of mood and feeling and concepts.

I am going to start to research into all the different elements first and try and narrow them down, trying to not just pick texture straight away and leave it open to new discoveries about the others.


I will research:

• artists who use the elements as an important part of their work.
• political uses of each element, how and why they have been used and to what effect.
• hierarchy of what elements are more effective to my overarching theme than others.  

Study Task 3, Image Analysis - Rob Hodgson

This wooden figure by Rob Hodgson is a good example of work that Lawrence Zeegan is perhaps pushing against. It has no function beyond being an aesthetic piece of illustration, to be bought and owned. It has no message or statement, it doesn't comment on or say anything. It's execution is very simple, the image making very basic, but it is not this that causes it's lack of substance, instead it's the reasons for it's production and the purpose it serves as a piece. The motives are personal to the creator however and little is given to hint at this in the finished object, but it is clear that it is not a reaction to anything particularly profound or deeper than probably the manifestation of the desire to make imagery and a finished product. It doesn't provoke any questions or even a specific reaction, and certainly doesn't comment on or nod to the big debates of society Zeegan believes illustration should. 

What it does spark is the age old debate about the definition and requirements of illustration. Zeegan would perhaps not argue whether this is illustration in nature but more that it isn't pushing the industry forward, or reaching a wide audience or making a change. It is applied art so would fall fairly comfortably within the discipline, and if commissioned by a company it would then also have a more defined purpose, but as a personal product made to be sold as the object itself, it could be thrown into a grey area, only to be transferred to one discipline or another through personal opinion. It is more a commodity than a questioning, purpose-driven, change provoking piece of illustration. 

Study Task 3, Image Analysis - Pat Perry

When thinking about current, politically and socially active illustrators and artists, I always come back to the work of my favourite creator of image, Pat Perry.

This particular image is in response to the trouble in North Dakota that has occurred over the last few months regarding the construction of the Dakota Access Pipeline, a four-state oil pipe which threatens local wildlife, water supplies and cultural heritage sites. As an image it is very simple and almost ambiguous; at first I wasn't aware of what it was protesting, being ignorant of the meaning behind DAPL, but I was immediately drawn to it and of some research am a full supporter of the cause. It is not obviously political, especially if there was an absence of words. It is a beautifully drawn image, monotone and intricately detailed. Linking to Zeegan's quote, it is in equal measures form and function, appealing the audience with a highly aesthetically pleasing image but with a strong and important message behind it, conveyed almost solely through the use of text. 'This concerns everyone' is a very powerful and profound sentence, these three words provoking a response in a viewer almost immediately, with concern and curiosity. The ambiguous nature of 'No Dapl' also adds to this, as they want to find out what that refers to.

I believe Perry's success especially with his more politically and socially conscious work, is his ability to make beautiful illustrations which portray the issues but in a subtle and less obvious way. The drawings stand alone as pleasing images, but then spark curiosity in their humanity. This is especially true of his depiction of people, he fills them with emotion and character and humility, urging the audience to connect with the characters, whether thats with empathy or sympathy or just some sort of energy, there's a connection there which rarely fails to convey the overall issue which he encourages the viewer to act for or learn about or think about.

Lecture - Print Culture & The History of Print 1

Print is a topic I am personally very interested in and fond of, as a lover of analogue processes and physical forms of art as opposed to those viewed on a screen. The history of print can be traced back to around 1450, with the invention of the Gutenberg Press, with which moveable type could be arranged, laid out and printed from, allowing the mass production of printed material. For the first time large volumes of print was able to be produced, the Gutenberg Bible being the first major book to be printed in Europe. From then on, everything stemmed from this revolutionising invention, to where we are today, which is coined the 'late age of print' by theorist Marshall McLuhan.

Centuries after the Gutenberg Press, there was a divide in society and art was considered a thing only for the higher classes. Art schools taught the traditional 'arts', namely painting, sculpture, architecture, music and poetry. There was strong elitism within society in this regard, and life was very fixed; the rich were rich and the poor were poor. With the advent of the Industrial Revolution between 1760 - 1840 this class divide became even more apparent, causing what is considered as 'the making of the working class'. Cities were booming as new technology was being realised, factories started being built and consumerism was born out of large scale production. Factories owners and factory workers illustrated the clear separation between the classes with industry creating this physical divide, and people adopted an awareness of their place within society and the world. The arts and culture of the ruling class was still very much restricted from the lower class, which eventually caused those in the latter to start creating their own organic forms of culture, un-dictated by those above them. Great works started being reproduced, many made careers as engravers to create renditions of paintings to sell and distribute; art for the people, by the people. In the mid 19th Century Illustrated London News featured pull out poster prints, bringing art to the living rooms of the masses to frame and hang, allowing anyone to own art, to possess what was once owned solely by the higher class. Design schools also began to open, which focussed more on vocational and industrial educations than the disciplines taught at art schools. This sparks a debate on culture and the conflict between popular art and fine art, with people such as FR Leavis believing that culture should be for the elite and should be dictated by the minority.

As a sort of backlash, there was an attempt by fine art to present itself with an 'Aura', that is to portray itself as otherworldly, mysterious and less attainable for those not involved with it, a step back towards time before the Industrial Revolution when art was for the elite. This was and still is achieved with and by institutions, galleries with admission fees and steps leading up to them, famous paintings behind bullet proof glass and barriers such as the Mona Lisa. But as mentioned in the history of the image lecture, this Aura is often challenged and threatened, especially when art leaves the institutions, or when it is recreated on mugs or other memorabilia; another way that the common people can have art in this homes to own and enjoy. This cult-like snobbery is still apparent today, which I will touch upon in the second entry for the print culture lecture part 2.

There is somewhat of a middle ground in this conflict between popular art, considered as cheap and for profit and a threat to the value and aura of fine art, which is seen as important and to be worshipped and respected. William Morris in 1877 coined the term 'The Lesser Arts' to refer to art that 'does not either stir our emotions deeply, or strain the attention of the most intellectual part of our minds'. He was a self-titled advocate of art that was perhaps not considered as the Great Arts, but was accessible to most. He set up a print co-operative to create printed material that did not compromise on quality, but was available to the masses and the people. There are many many similar co-operatives, creatives and collectives who are doing similar things today, some still with mechanical printing techniques, but that is all featured in number 2 of this Lecture and blog entry.

The History of Type

Chronologies 1: The History of Type Production and Distribution

This lecture was a basic introduction to type and language, their origins, usages and how they have changed over time. It all linked back to the overall idea that language is negotiated, an agreed upon set of definitions within a group of people; the decision that one thing will stand for another. In relation to this, type is what language looks like. It is the visual representation of language and communication, and is used in an infinite number of ways for effect, altering the way language is read and interpreted but with the main focus on communication. This falls into the category of typography, however, being defined as the 'art and technique of printing with moveable type; the composition of printed material from moveable type; the arrangement and appearance of printed matter', whereas type is simply the actual letters, symbols and glyphs used to represent language.

Type has been unmistakably useful in documenting history, acting as a physical and visual record of language and communication throughout time. The story within these records has helped piece together history, from the first ever uses of type. 'The written word endures....the spoken word disappears'; type is the translation of spoken word into written and without it, a lot in history would have been lost due to the temporary and fleeting nature of audible words.

Study Task 2 - Triangulation

Triangulation - The ability to compare and contrast at least 3 different pieces of information, analysing they contents and meaning, as well as their context, the validity of the sources in comparison to each other based on their socio-cultural contexts, their authors, and their relevance to the overarching theme.

Although these may not be the specific texts I use in my essay, it was good to make a start on deciphering and reading deeper into pieces of writing relevant to my quote. I found it slightly hard to keep it related to my quote and especially the overarching theme, as not many articles I have currently found seem to discuss politics in relation to illustration directly. 

Also the original quote is becoming quite difficult to define and make full sense of. I am debating whether he is not actually opposing the definition of illustration per se, but is instead calling out illustration focussed on aesthetics and style for not having the substance and purpose that it could or should have, in his opinion. He may not being stating that it isn't illustration, he may just be looking down on it for not having a back bone like he believes it should. 

I perhaps need to carry on digging deeper into the quote and Zeegen's opinions and motives, as well as trying to find more directly relevant texts, which discuss the use of politics within illustration and also the politics within illustration, and the conflict of definitions. I believe I have made a good start so far though. 

Study Task 1 - Research Sources

 Although I didn't look into each piece of research in too much detail during this task, I feel like I have some good sources to refer back to at a later date when needed. Some of the research processes and tools were a lot easier than others, taking a fraction of the time and ending up with better results. The library for example is one of the best resources, providing plenty of good quality material in one place. The illustration and design sections in particular had a wealth of books all covering or touching on the purposes of illustration and how it can be defined. The internet was another good starting point, if used correctly and carefully. It is easy to get lost down a rabbit hole of links and articles that in the end aren't all that useful or relevant, however the volume of material provided online cannot be matched anywhere else. Although the reliability of the sources online can be questionable, it is a good place to go for a variety of different opinions and thoughts surrounding illustration, and not just those that are decidedly important by a publisher. Google Books had some okay sources on, although a lot of them you only get to see a preview of a select few pages of each publication. It's good in that it has a variety of bookstore library may not have, the amount on it is broad, however it is not the easiest to search on and is basically a worst version of having a physical book in front of you. By far the worse in my opinion from what I experienced in this task were JStor and Google Scholar. I don't know if I was just searching wrong or not including enough key words, but the search engine on both of them was quite poor meaning every search brought up useless and irrelevant results. I think they just take the words you search and find any article with that word featured, causing a lot of scientific and economic articles following an 'illustration' search. So much so that I couldn't find 3 quality sources from either in an appropriate amount of time. I can imagine it would be good for finding maybe older or more obscure sources, as the results seemed to be those which may not show up on a standard google search, but for general research sources it wasn't that impressive.

Lecture 2 - 20,000 Year Non-linear History of the Image

This lecture ran through a sporadic history of the power of the image and it's uses and employment in different years. It was interesting to be made aware of the connections between image making by different people, from different places and at different points in history, and to listen to Richard's thoughts on the authority and substance behind certain works of art.

Going all the way back to cave paintings, the creation of image appears to be a pure human act, a natural and almost spontaneous expression of visual creation. I feel like they are equally documentations of daily life and the world around the creators, as they are mystical communications of magic or the work of a higher plane of consciousness. There is something inherently deeper about image making that goes beyond mere passive documentation, something uniquely human and conscious as to why somebody feels the need to create a mark on a wall. And I don't believe that the same compulsion is anywhere near lost today. As a species we still make images, even more so than 20,000 years ago, and even if the motives and reasons have developed and altered since, that pure necessity for creation still exists. However, an interesting question was posed in the lecture, debating whether this connection was genuine and true, or whether a higher authority had dictated this, making a false link between the earliest uses of images to the present day. Institutions such as art galleries and universities perhaps romanticise this notion for their own benefit, or because they believe it true even if it is not.

Richard Long's 'Red Earth Circle' creates this link between aborigine and modern contemporary art, whether that link fictitious or otherwise. The motives behind this are ambiguous; on one hand, which is probably the most likely, Long is paying tribute to the art practices that have come before him, referencing the traditional sand paintings on the floor with his mud circle on the wall. This creates a dialogue between the two cultures and times in history, uniting the two acts of creation and displaying that concept of human expression still being relevant today as it was thousands of years ago. Another interpretation however is one a little less considerate, that is that this exhibition is commoditising aborigine art and even suggesting that the third world is behind the first world. By displaying the two together, it almost teases the aborigines with a place that they could reach if they developed more, a place accessible and free to the western world. It could show superiority, especially with the placement of the mud circle rising above and looking down on the sand painting of the third world. Although which meaning is true is, in a way, down to the viewer to decide, no matter what the artists and institution claims. 

Authority and hierarchy in the art world is quite a predominant and interesting discussion. Linking back to whether the connections between art from history and art from today are legitimate or institutionally made up, there is a similar argument as to what art is deemed important. It is commonly supposed that the galleries and higher powers have the final say in what work is praised and considered  a higher status that others, and thus changing peoples perceptions and responses to certain work. As questioned in the lecture, take the Mona Lisa for example, arguably the world's most famous painting; is the painting famous for it's technical superiority? or just because someone high up said so, provoking people to make pilgrimages to worship the portrait? A sheep like mentality ensues, to the point where tourists are queuing, elbowing each other aside to get digital proof that they have seen the real thing. Artists since have highlighted this absurdity, such as Duchamp's L.H.O.O.Q version, where he has drawn facial hair on a cheap postcard of the Da Vinci portrait.

A similar thing happened with the likes of street artist Banksy, that is the art world deciding something is important and the general public bowing down to this dictated status. He is one of the only artists ever to be praised so highly for illegal graffiti, when other artists often more talented and prolific are put behind bars for the exact same act. So much so that people rip down walls he has painted to sell at auction, where people pay thousands to own, and councils put up plastic panes over his work to preserve it in the streets. This is something that has constantly baffled me and rattled my cage for a long time, the unapologetic hypocrisy of the authorities, in the art world but mostly in the government and those in power of the law. Yes, his work is thought provoking and controversial but he is not the only one making work in that vain, but then maybe it is an argument of accessibility; the general public can more or less understand and read his work. Not that it is watered down per say, but it makes sense to people and even if not the same sheep mentality takes strong hold; the institutions have the power to change people's behaviour.

As the title of Banksy's film suggests, 'Exit Through the Gift Shop', art is made into a commodity by those in power. Through entry fees and merchandise, they use the creations of others to make money, selling postcards, plates, t shirts and everything in between, shepherding you past these commodities before you can exit the gallery or museum. However this could also give the consumer of these items power, degrading the imposed status of the work and making it accessible and usable, even if just as a decorative item. Even if they are not bought, by making this worshipped image into a novelty, almost throw away object, it inherently does this degradation, reducing the value and superior facade of the work. Art as a commodity loses it's power and meaning. 

COP - Investigating Quotes Study Session

'Where is the content? Where is the comment? It's all about the materials, rather than the message. It's all about the quantity rather than the quality. It's all about design doing rather than design thinking. It's all style over content, function following form. Illustration has withdrawn from the big debates of our society to focus on the chit-chat and tittle-tattle of inner-sanctum nothingness' - Lawrence Zeegan.

This quote by Zeegan was written in the Creative Review and is a call to arms to the 'graphics arts' industry. He directs calls out the illustration and graphic design of today, criticising it's motives and substance, holding it accountable for not only it's suggested lack of purpose but also it's supposedly limited reach. He states that the creatives behind the work are more focussed on aesthetics rather than communicating a message, saying that the industry is more concerned with making pretty pictures for itself, than reaching a wider audience and making bold statements about the 'big debates of our society'. It is clear that to him, illustration and graphic design have a duty to have substance and meaning and purpose, to portray a message in a thoughtful and conscious way, but he feels that in this day they do not live up to this. And to some extent, I agree. I believe that the word illustration is commonly used very loosely and is thrown around more than it perhaps should be. There is a lot of work out there that holds the title illustration, yet fails to uphold the content of what that means. But this may be more due to the challenges of defining illustration, than the industry straying from it's core purpose. To me and many others, illustration is comprised of art work created primarily through the process and exercise of drawing, that exists with a purpose to convey a message, make clear an opinion or statement, or draw attention to something whether that physical, ideological or otherwise. It is a thoughtful practice that needs a function behind it, and the portrayal of this function through the work is of importance, even if it is communicated in a very subtle way. I feel that Zeegan would agree for the most part on my views. With that said, even if there is a lot of diluted, meaningless work being sold as illustration, it is unfair, ignorant and just not true to say that it is a representation of the industry as a whole. There are still many illustrators producing quality work which ticks all the boxes of what illustration should be, which conveys a message and has substance and a purpose beyond the idea itself, in order to change peoples opinions in some cases, or make the audience think. Because that is perhaps another core value that illustration must contain, that is the ability to question it's audience, to challenge them in some way or merely just make them consider something that would not have previously considered.

Illustrate 

verb

1. to clarify or explain by use of examples, analogy, etc

To illustrate something is to make clear, to communicate and inform, to translate and interpret in order to enlighten, in this case in a visual way through the creation of images.

Pat Perry is one such artist who's work encapsulates what illustration should be. His work is often very figurative, with a narrative element to the majority. He commonly works out of sketchbooks, documenting his highly nomadic lifestyle, the places he goes, people he meets and the experiences he has. Although this may not usually be described as traditional illustration, I would argue that documentation of daily life and experiences can still be classed as such; it's purpose is to be a record, and within this it can ask questions and highlight and portray a message as well as any piece of certified illustration can, all of which Pat Perry's work does.

Take this poster for example. Simply in it's idea and subtle in it's communication, it illustrates to an audience an opposition to a pipeline. It exists to make people aware of an environmental problem and to fight against a possible ecological disaster, in a way that Zeegan perhaps failed to recognise in his article. I believe that the aesthetics of illustration, although they mean nothing without a purpose or substance, are still of importance in the work and to make the given message more effectively read. As shown true of Pat's poster, the quality of the artwork is a crucial tool in grabbing people's attentions, luring them in through an incredible skilled and beautiful drawing, before spinning their heads as to the meaning and function behind it. The ambiguous three word title of 'no straits pipeline' sparks instant curiosity in a viewer, demanding them to research and learn what exactly it is all about. By remaining subtle and limited in information about the topic he is drawing attention to, he has no doubt spread the message wider than if the poster highlighted every detail about the campaign, immediately allowing no curiosity or further reading from an audience and thus getting tossed aside with every other campaign poster. Instead the theme is hinted at, through the imagery used and basic title, but not spoon fed. It is interesting then to think what Zeegan would make of this piece of work. I feel like to the ignorant, it would be easy to cast it aside as another empty drawing claiming to be illustration, an image with no back-bone but a mere aesthetic purpose, to look nice and say nothing. But this couldn't be further from Pat's work, which often asks questions and is made through a strong process of thinking, consciousness, meaning and purpose.

As much as I agree and disagree with Zeegan's article in equal measures, it has spurred me on and forced me to think about my practice as an 'illustrator' and whether my work does justice to the soul of what illustration is. Reading it has given me motivation to think more about the substance of my work, to work more consciously in order to communicate meaning, ask more questions and comment on issue and debates that are important to me or to an audience. I feel it a duty to try and work with this in mind and push my work in a direction that fulfils this ideal more effectively, to make illustration an industry with purpose and reason.

Lecture 1 - Visual Literacy

Visual literacy is something everyone uses, especially creative people, but often without even realising it or being conscious of what it is and how it works. As shown in the lecture, examples of visual literacy are abundant in our everyday lives, from road signs to business logos, advertisements to medicine instructional leaflets. The overarching concept behind visual literacy is that pictures can be read, often universally. We as a society are able to interpret meaning and take in information from images as if they were written word. With being surrounded by images constantly, not only through physical means but also virtually online through social media and even icons on our computers and phones, we are the most visually literate generation yet. We are able to use images, type and symbols as a means of communication and as designers it is our job to create work containing images that effectively communicate a message to an audience in this way. To do this, we have to be aware that the way these images are read is affected by several things, such as audience, context, media and distribution. As a result, we have to understand these factors and construct our work accordingly in order to have the most effective impact. For example, based on the idea that language is an agreement among a group of people that something such an image will represent another thing, if a desired audience is not aware of this relationship between the one image and what it stands for, that is to say that they do not know the language, then they are not going to interpret the work effectively. In this case, the designer would have to alter the visual syntax of their work, the elements used to create the image that affects it's reading, into a more universally understood structure and organisation.
Visual semiotics is essentially the study of signs and is also an important concept to understand and use to a design advantage when trying to present a message through the use of image. It includes a number of visual elements; sign, symbol, signifier, metaphor, metonym and synecdoche. Sign, symbol and signifier are fairly basic to grasp; in the example of a logo, symbol is what the image symbolises literally, so the actual logo image. Sign is what the image is a sign for, that is the company identity and products or service. And so finally signifier is what the image signifies, so the actually brand image of the company and it's values.
Synecdoche, metonym and metaphor are slightly more complicated, but equally, if not more, useful as tools to construct effective communication through images. Synecdoche describes when a part represents the whole, or vice versa. The two are inherently connected and are simply substituted with each other, however this only works when what is represented is universally recognised. The example from the lecture shows how the Statue of Liberty is used to represent New York. The statue is part of New York and is universally recognised and is familiar to most, enabling an image of it to embody the city as a whole. In contrast, a visual metonym applies when a symbolic image makes reference to something more literal, the two not necessarily being intrinsically linked but bearing a close relationship. The connection is made by the viewer by association, requiring the two parts to be somewhat familiar to the audience. The example again being New York, the yellow cabs acting as a reference to the city; even though there are yellow taxis all over the world, by association the audience relates that recognisable image to that of New York City. Finally, visual metaphors are unique again, the two images requiring no close relationship. Instead the meaning of one image is transferred to another, conveying an impression of a relatively unfamiliar subject and associating it with a familiar subject. Again the New York example being the use of the title The Big Apple. New York City has no real relationship to apples, however its meaning has been transferred onto the fruit, which has now become a universally recognised metaphor for the city.

This lecture was a bit of a light-bulb moment for me, bringing my attention to how visually literate we actually are, something I was never really aware or considerate of before. I am now trying to find ways to incorporate these tools and techniques into my work in order to develop deeper meanings and ideas to be read by an audience, finding new ways in which to convey ideas and concepts in a more thoughtful way.

Context of Practice - Module Briefing

I found the exercise we did at the end of the context of practice briefing equally inspiring and difficult. It is a technique that I might adopt in my work in the future when I am stuck for ideas or starting points for what to create. The process of pairing two words together, often of totally varying contexts, makes for some unique and interesting responses, demanding you to think in a different way to depict something you would not have previously thought up.

My two lists were on the cop categories of history and society. I feel like the words on both were quite challenging to respond to, especially when paired together with the same number word on the other list. In the end I chose number 9 to make Group Depression. I feel this evoked the strongest visual ideas as well as allowing a lot of room to play with a concept, rather than just a description of something to draw. 

In the time I only came up with these two outcomes, taking the idea of group depression quite literally, my favourite being the one on the left hand side. Visually I think it is more appealing, although I really could have played around more with the facial expressions and perhaps use of body language too, had I included their bodies. I just like how the heads are vignettes against the dark background cloud, however the composition would have been more effective had they been closer to each other, or even overlapping to create a dense form of heads. I think texture or more detail in the cloud could have worked but I do like the stark contrast of the white head against the dark black. To follow on from this I will try and redo this idea to make the outcome more effective, adding more detail in the faces and background as well as properly considering their composition and layout.