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.