Part 3: working it out: project visuals: making a mock-up

For this exercise I chose to make a mock-up of the book 'The catcher in the rye' by J. D. Salinger, first published in 1951.

It is narrated by the main character, Holden Caulfield, a troubled seventeen year old boy who has just been expelled from boarding school (again!).

The book is an account of how he spent the next few days in New York city, following his expulsion from school, before returning home to his parents for the Christmas holidays.

He is angry, disturbed and disillusioned.  One of the few people with whom he can communicate is his younger sister, Phoebe, whom he loves.

He is on the brink of adulthood and sees himself as a saviour of children, protecting their innocence.  He pictures himself in a field of rye at a cliff-edge.  Children are playing around him and he catches them if they go too close to the edge - he is saving them from adulthood.

For the illustration I wanted to communicate the anger and disillusionment that he felt, and so I decided to use mainly red, together with black, white and grey for the colours.

As Phoebe was so important to him I needed to include a representation of her place in his life.  The name Phoebe means bright and pure, and in Greek mythology she was a Titan associated with the moon.

Across the top third of the illustration a row of rectangles represent books on the left hand side (as symbols of his school life) and on the right they represent New York city blocks.

At the front is a field of rye - on the left hand side it is trampled and broken, whilst on the right it's blowing freely in the breeze.

The illustration represents the torment felt by Holden, the reality of his life and his hopes and dreams. 

version 01

As part of my research I looked into the styling of Penguin modern classics with the intention of using the format for the illustration.  As you can see by the front cover of 'On the Road' by Jack Kerouac and 'Breakfast at Tiffany's' by Truman Capote, the styling is not compatible.  So I made an another mock-up in Penguin modern classic style to see how it would look.

Part 3: working it out: project visuals: client visuals

This exercise is about understanding how to create a readable client visual by reducing an illustration to its main structural form.

I chose to work on a vintage advertising poster and a print by Angie Lewin.

In version 1 of the poster I included all the basic structure, some detail and hand drawn text.  It gives a good idea of how it would look.

In version 2 I reduced the detail and just indicated where the text would be placed.  It still makes sense and could probably be edited further and retain its readability.

For the other illustration I chose Angie Lewin's wood engraving 'pale day'.

 

 
In the first version I included lots of detail and it gives a good impression of how the finished piece would look.  In the next two versions I reduced the amount of detail and I think it still retains its readability.  Again, it would be possible to reduce it further to its basic shapes, but I think maybe it wouldn't convey the real feeling of the piece.

Part 3: working it out: project visuals: viewpoint

This is an exercise in looking at objects from different viewpoints to determine the most suitable format, angle and zoom that best communicates an idea.

I started by making a small collection of objects around a theme from a given list - I chose 'workshop' - with a potting shed theme.

The next step was to document them using a digital camera, from different angles and zoom, looking for interesting shapes and textures.

digitally documenting a collection of workshop objects 01

digitally documenting a collection of workshop objects 02

digitally documenting a collection of workshop objects 03

I then had to repeat the activity - this time by drawing the objects and using a different format from the viewfinder - I decided to use a square format.

the same objects drawn in a square format

Next we had to select one design to draw at a larger scale as a client visual.

For this I wanted the illustration to be an informal pattern of gardening tools - as if they had been thrown into a box ready for use.  I wanted it to look quite flat - the sort of design that could be made into a lino cut or wood cut.

For me this format and layout works - I can imagine it as a finished work as a lino cut.

This was a useful and interesting exercise.  Initially I just threw the objects into a wooden seed tray and photographed them.  As I worked through the exercise I consciously made decisions about the choice of objects and their arrangement within the seed tray.

As usual I really enjoyed it - and I would like to go on to make a lino cut of it!

Part 3: working it out: diagrammatic illustration - giving instructions

The brief here was to create an instructional illustration from a choice of topics, from which I chose 'Making a cup of tea'.

I was talking to my sister about the exercise and she asked if the illustration could be used at the school where she's an infant teacher.

She needed a set of sequence cards for making a cup of tea that was to be used by a small group of children for whom English is not their first language.

This was marvellous!  I had a client brief - and I had to ensure that the outcome fitted the brief.

The brief: To create a set of sequence cards for making a cup of tea, suitable for primary school children where English is taken as an additional language.

• Must show the sequence of activities simply and clearly
• Illustrations should be attractive to primary school children and include enough detail to provide opportunities for language development
• Images should be in a suitable format to allow them to be cut up for using as individual cards

For inspiration I researched informational illustrations generally, and tea-making specifically.

http://www.fordillustration.com/Instructional-Illustrations

http://www.fordillustration.com/Instructional-Illustrations

From The Times online

The illustrations from Ford illustration are a real inspiration - they are so clear and attractively drawn.  They use a muted grey colour palette with small amounts of colour to highlight details.

The illustration 'It's you to a tea' from The Times online is also very attractive and in a similar style to those above with clean lines and a muted colour palette.

I like the simplicity and the clarity of these drawings.

If possible I would like to be able to sequence the tea-making activities without written descriptions.


I started to work out the steps required to carry out the task.  I really wanted to have 6 steps as these would fit conveniently on an A4 sheet at a reasonable size for clarity and be handy for photocopying.  However, 8 steps make a clearer picture sequence of the instructions, so I decided to create the illustrations to fit on 2 sheets of A4, with 4 steps on each sheet.

I started by making thumbnail sketches of the equipment and sequence of the activities.

sketchbook -sequencing and thumbnail sketches

For each illustration the main activity must be obvious - drawn in a simple and bold style with a subtle background image that doesn't detract.  I thought the best way to achieve this would be to use Adobe Illustrator - it would provide clean precise blocks of colour and sharp lines.

I started by creating a subtle kitchen-feel background - a tiled wall with a worktop in front - in pale grey.  Against the background I placed the 8 illustrated steps, showing the equipment in clear simple drawings, outlined in black.

Using Illustrator allowed me to easily experiment with colour.

experimenting with colour

For example, I could test the kettle in different colours to assess the effects.  I chose to use white because the bolder colours looked too loud and dominant.  White allowed the kettle to take a secondary role and the water to take the lead - because the water in its different stages is vital to tea-making!

I prepared an initial set of images for my sister to look at and to give feedback.  Mostly she was happy with the results, with just one or two comments.

Taking her comments on board, and after looking at the drafts carefully myself, I made some adjustments to the drawings.  They have now been printed out and are ready for laminating and cutting into individual cards.

They haven't yet had a test drive at school so I can't comment on how they worked in reality, but here they are!

Part 3: working it out: abstract illustration

This exercise is an introduction to abstract illustration.

From a suggested list of musicians we are asked to listen to a piece of instrumental music, and to create marks which convey our interpretation of the essence or mood of the piece.  To then stand back from the worksheet and choose a word that describes the tone of the piece.

Being conscious of the mood, and continuing to listen to the music, to select a square area of the worksheet that communicates the meaning of the chosen work, to reproduce it and develop it to enhance the representation.

As I don't know anything about music of any type, this exercise would have to be approached entirely spontaneously.

From the list of suggested composers I selected George Gershwin, and using Google to find free downloadable versions of his work, I found Rhapsody in Blue.

I chose to use only part 1, from the original recording in 1924.  It was written for piano and jazz orchestra, and in this recording, the piano was played by George Gershwin himself.


reference website for music download:
https://archive.org/details/rhapblue11924

I first of all listened to the music a few times and then started creating marks in my sketchbook - with a graphite pencil at first, and then soft coloured pencil crayons to give a more textural appearance, and watercolour - all in shades of blue and grey.

I looked at the marks to decide upon a word that I considered was a reasonable interpretation of the music - and the word that came to mind was 'loopy'.

I went back over the pages again and selected a square area that I felt communicated the word and tone of the piece of music.

I then had a go at reproducing just that square, and developing it so that communication of the mood of the piece of music, through the original marks that I made, was enhanced.

Below is a photo of the original square selected from my sketchbook.

I reproduced it including only the essential elements needed to communicate the message of the music.

Then used Photoshop to give the marks a bit more oomph!

The next image is a photograph of wax-resist on watercolour paper.  I wanted to use this for the background of the illustration.  Again, I took the photo into Photoshop just to increase the intensity of colour from the original, and experimented with effects to get a more granular look to it.

Next are my experiments in Illustrator using the prepared background image together with the original marks used in different ways.

Each time I look at these I seem to change my mind about which one I think works the best.  I still don't know.  I think each one has different merits.

I like the simplicity of this one, but maybe it's not bold enough for the music.

I also like the simplicity here.  I've made it blue and bold and fluid. 

It shows the liveliness of the music and the different types of sound within the piece.

For this one, the marks are less bold, but retain the appearance of the original lines, which I like.

But are they too much like the tone of the background?  Although I quite like the subtlety, I think it probably isn't bold enough for the music. 

Sometimes I think this looks too busy, but other times I think it's ok.

It has a liveliness that works well with the music.













I like the appearance of the marks in this version - they look like original lines drawn in crayon on rough paper.  The different colours and shapes represent different styles within the music.

But it may be just too busy.




Would the illustration be suitable as a CD cover?  Well, because this exercise is totally subjective, I must say yes it would be fine.  If I said otherwise it would mean that I hadn't carried out all the processes spontaneously - and I did!

I really enjoyed this exercise.  It was entirely a new experience for me - I just had to follow the instructions and go!

Part 3: working it out: visual properties - image development

L S Lowry 'Market scene, Northern town'

The brief for this exercise was to select an image with a range of content, to create ten edited versions by cropping it in different formats, and to choose a word for each that relates to its content.  And then to use one of the images as a basis for an illustration, drawn up as a poster, with colours and textures to emphasise the message.

I chose this artwork by L S Lowry because it has plenty of content with lots of opportunities for cropping in different ways.

The original, complete image is of a busy market with people going about their business of the day.

The picture is more or less divided into two halves.  The lower half shows crowds of people - buying, selling, queuing, chatting, waiting.

There is a foreground of people divided into groups slightly set apart from the main bustle of the market.

The top half of the picture is a roofscape.  The roofs of the market stalls make a bold horizontal line across the centre of the image from which a large redbrick building appears to rise.  To the sides and into the distance there are other smaller buildings and rooftops and chimneys billowing smoke, so that gradually there is no distinction between building and sky.

cross-section

'cross-section'   This crop demonstrates cross-section in a several ways.

• It's a physical vertical cross-section through the picture - from the solidity of earth to the sky above.

• A cross-section of people shown by the two quiet, self-contained figures at the front and the noisy bustle of activity taking place at the market stall.

• A cross-section of society represented by the higgledy piggledy informality of the market stalls with the solid permanence of the redbrick building beyond.

bustling

'Bustling' is just a busy image.  The figures are all involved in their own activities either alone or with others.  Interactions are everywhere.  Mostly the figures are in dark colours but brighter colours are scattered throughout directing the viewer's eye around the image.


It could be a crowd anywhere.  No longer restrained by the market stalls, it could be Christmas shopping in Oxford Street, a theatre, a station - wherever the viewer chooses.

together/apart

I used the same crop for both 'together' and 'apart'.

The two figures in the foreground are such strong characters.  They look very much together - independent, upright, confident.

They are physically separated from the group in the middle ground - these are busy traders and shoppers engrossed in their world, apparently oblivious of the figures looking on.

Set apart from the others they also look isolated, have a sadness about them, but at the same time have a great strength and solidarity.

orderly

The crops 'orderly' and 'waiting' are both images of figures waiting.

In 'orderly', the group are in a line across the image, looking purposeful and good-natured.

waiting

In 'waiting', there are two figures waiting and watching.  The child leans towards the adult.  They look close and supportive towards each other, but also vulnerable and isolated.  They have been given a physical separation from the other figures in the image who seem to form a frame around the waiting figures reinforcing the distance.

family

'Family' is similar - a small family unit with physical separation, reinforced by the surrounding figures forming a frame - except that here the family appears strong, independent and confident - they don't have the vulnerability of 'watching'.

small

In 'small' contrasts are achieved by dark and light colours.

There is a small dog that's dark against a light background.

Emphasising the smallness of the dog shoppers and passersby create a dark frame around it.

However, the dog doesn't seem vulnerable, it looks confident, walking purposefully with head and tail held high.

energy

The word 'energy' suggests vitality - possibly not a word readily associated with the subtle colouring and sleepy appearance of the image.  But I like this contrast.

The energy is there - the smoking chimneys, the street lamp, the embodied energy within the building materials and the energy of construction, plus the wind and solar energy potential from the natural environment.

elevated

'Elevated' - above street level - market stalls and houses, street lamps and flagpoles, chimneys, spires and domes - all reach upwards.

And from the informality of the market stalls a large redbrick building appears to elevate itself further as if presiding over everything below - the architecture as a reflection of society.

For the poster I decided to take the image 'small' as a starting point.

Like the Lowry painting, I wanted to include a figure, small and dark against a light background, but without it appearing vulnerable.  The dog walked confidently even though it was alone in a busy marketplace.

I had the idea to show a skier on a snowy mountainside and I felt that it compared well with the detail from the Lowry painting.

For references I searched online for vintage posters of winter sports resorts as I felt that they had the right look for what I needed to communicate. 

sketchbook work for 'small'

sketchbook work

I didn't want the skier to look vulnerable within the vast bleak environment, and so I decided to create a winter Olympics poster - which coincided rather well with giving it relevance to now with the winter Olympic games in Sochi, Russia.

Using 'Google Translate' to find the word for 'small' in Russian characters, I added this to the bottom of the poster.  I also included it in English, plus the year 2014, using a simple non-serif font to keep the vintage appearance.