Allison Bianco | Maritime Screen Prints

An example of IMAGE MAKING from artist/print maker, Allison Bianco. These prints reflect her home, Rhode Island, and it's coastal and industrial connections. Really nice use of colour and vague, drifting compositions that make the images seem dream-like.

You can see more of Allison's prints here

OUIL403 Visual Skills | End of Module Self-Evaluation

1. Which practical skills and methodologies have you developed within this module and how effectively do you think you are employing them within your own practice?

• Rough sketches have been an important part of the projects within visual skills. I think that I have used them to not only put down any initial ideas, but have used them to think about how I could develop an idea further. It has also been useful for me to see that a rough sketch doesn't have to look like a finished piece of work, and that it doesn't dictate the quality of your finished piece.
2. Which principles/theories of image making have you found most valuable during this module and how effectively do you think you are employing these within your own practice?

• A principle that has been mentioned during this module that I agree with strongly is that good 'image making' isn't enough - design is equally as important. This mainly came through in the final book jacket brief. I believe that bad design (composition, colour choices, typeface..) can drag an originally good piece of illustration down. It was good to hear that successful illustration comes from more than making a nice picture - and that concept, communication, and design are huge factors too!

• I'm interested in design, however this module has made me want to continue bringing design into my work. I would love to create intelligent illustration that can make an audience think and feel, design can even make an image interactive in some ways.

3. What strengths can you identify within your submission and how have you capitalised on these?

• I think that one of my strengths during this module has been my research and idea generation. Whether it is researching a topic more broadly, gathering bits of information, looking at relevant illustrator's/artist's work, or brainstorming multiple concepts, to me it all helps to create an idea that is stronger, well-informed, and more considered.

• Another strength I feel I have shown throughout visual skills is how I experiment and develop my ideas by trying different approaches. Whether this is in terms of the materials I use, layouts, or how I consider more than one idea, I try and see how multiple things could work instead of just settling on the easiest, or the first outcome.

4. What areas for further development can you identify within your submission and how will you address these in the future?

• During visual skills I have always felt that my final pieces of work have fallen short somehow. This could be due to difficulties faced during final production, technical errors (e.g. measurements, mistakes with a material, etc..). I can address these issues by allowing slightly more time for the production stage of a project, and by taking my time (especially with work that is heavily practical - like the book jacket brief).

• Another way in which I can solve this in future projects is by being more forward in asking for peer feedback and opinions. I sometimes fail to stop and ask for help from those around me, but by asking they could pick up on something I have missed. Getting pointers from others is really valuable as you can get a range of views different from your own, and so I will have to feel more comfortable in doing this.

5. In what way has this module introduced you to the Ba (Hons) Illustration programme?

• This module has definitely introduced me to the pace of the work and the quick turn-around of brief-led projects. Having produced work for 3 structured briefs, I have got into the swing of how I approach a brief and respond to it. In some ways it has helped me develop a 'process' for this type of work and how much time I allocate to different stages; researching, initial ideas, development, and so on.

• Visual skills has also allowed me to get used to blogging and documenting my work. With the 'work process' I mentioned above, I feel that blogging these steps helps me to order my work and reflect on what I have done and consequentially, what needs to be done next. I think I have found blogging to be surprisingly straight forward and something that I do on time which is a positive as it is a requirement throughout the illustration programme.

Houses at Night | Todd Hido

various photos from the 'Houses at Night' series

Visually interesting to me - moody, atmospheric. The locations seem to be both specific and anonymous at the same time. I like the colours and how they create an otherworldly feeling.

I enjoy seeing this collection of photos and find myself scanning the images for other things (hidden figures?). I really admire how emotions and moods can be conjured from images of buildings and streets.

The audience embodies the viewpoint of the photographer, hanging around these suburban homes but at the same time you feel like someone could be watching you.

Study Task 2 | What do I want to know? What am I going to do?

1. How can I set my work apart from that of others?
I feel this question will be relevant to many of those wanting to make it professionally, as it is important to have your own visual stamp in a world where there are many people doing similar things. This may seem especially difficult with art/illustration and how it exists on the internet, as more visual work is being seen and distributed, so it could be hard to create things that are truly 'original'. 

However with that said, I think in order to achieve this I'd have to produce work that is reflective of my interests, background, and other things that are personal to me. Evaluating and developing what I produce would also make sure that my work is constantly moving.

2. How do I improve my technical ability?

I would like to improve my drawing skills in terms of refinement (e.g. drawing a subject better), and being able to draw confidently without reference (with some exceptions). Additionally, I'd like to become better at using a wider range of media.

These improvements will obviously be helped by carrying out the degree programme, as we will be producing a large body of work and will have access to these materials as well as workshops. However, continuing with drawing in my own time will also be valuable as I could explore personal ideas, as well as things that may not be part of a studio brief.

3. How do I put my work out there?

This question could have two parts to it - in the most straight-forward sense e.g. which platforms, online and otherwise, do I use to showcase work? and how to I become confident in displaying work for a wider audience?

I'd also like to learn about branding and how an illustrator can portray themselves and their work, both digitally (websites, blogs, folios) and physically (business cards, other paper-based media).

I'm sure that throughout the programme, we will hear and learn about what resources are available for illustrators and their portfolios. This may be from tutor advice, sharing knowledge with peers, and possibly when we speak to practicing professionals during Big Heads talks.

4. How can I become a better communicator?
(In terms of communicating messages/ideas through illustration) I think improving the ability to communicate through work would be helped by keeping up with news and current events, as well as reading broadly and researching various topics. This could regard existing interests or be a case of gathering new knowledge. I think that having this 'database' of things, whether it is on pop culture, history, politics, etc can make your creative work more informed and interesting.

5. How do I gain confidence in my own work?
This question is very subjective, and there isn't a simple answer. However I think that by looking at my work from the viewpoint of someone other than me would help. Reflecting on progress and creative choices (whilst blogging) is a way of achieving this and removes a bit of personal bias. Also, highlighting the positives as well as the negatives is a good way of looking at my own practice in a well-rounded way. 

6. I want to become more immersed in illustration/design
Focusing on my own work is important, but I think that seeing what is happening in regards to art and design on a broader scale is just as significant. This can be done by reading design-based publications, and attending events and exhibitions to gain an insight into what others are creating. Not only on a 'professional' level, but to see what people do out of a love for illustration, art ,and design. I personally want to discover more graphic novels and zines.

7. How can I improve my time management?
I'm a fairly organised person, however an issue I sometimes have with time during studio briefs is how to distribute time evenly between stages. For example I may get carried away with research and not spend enough time developing my ideas. In order to change this I may have to dedicate a set number of days to research, development, and production.

8. I want to become better at presenting my work and ideas
Although I can manage with presentations on a smaller scale or with friends, large group presentations are something I'm not so confident with. It is especially frustrating as I do enjoy sharing stories and ideas and hearing people's responses. Hopefully the numerous presentations across the course along with peer review sessions will help with this, as well as eventually contributing during discussions.

9. What kind of illustrator could I be?
For me, this question would be about looking at existing roles within illustration and the contexts in which it could exist. More interestingly, I'd like to see examples (of either illustration or practitioners) that work in more than one way. I wouldn't like to bottleneck myself by defining what I do with one word/type of illustration. Instead I'd like to see how I can create things that span across many different formats while still achieving a level of cohesion.

10. How can I continuously evolve my work?
As an illustrator, continuously developing your practice is important as it prevents your work and ideas from becoming stagnant and repetitive. This could be approached by considering different methods of working (materials, processes, techniques) as well as how you utilise these methods (the distinctive way in which you draw/express ideas). Similarly with other answers, thinking critically of your creative output means you understand not only what you have done, but the direction in which your work may go. 

In some ways this question could be answered by doing a combination of things already mentioned: evaluating your own work, looking at the visual world around you, exploring new roots technically, etc.

Study Task 1 | Who am I? Why am I Here?

Jon Juarez | Sebastopol
His illustrations tend to mix the mundane everyday with the strange.
Even though digital processes have been used, the character of the pencil lines still come through

WHY ILLUSTRATION?

• Illustration is the best of both worlds, merging art and design
• I couldn't see myself not pursuing a creative degree
• I like how illustration can be as communicative as you want it to be, covering so many topics (music, film, news, history..)
• On my foundation course, I specialised in graphics and almost always approached briefs in an illustrative/image-based way
• The dream of having a job/career that is in line with my interests (not dragging your heels to work every day..)

Keith Negley | "Persistent Pain" for NY Times
Expressive, a knack for picking colours, somehow the shapes/figures are naive and sophisticated at the same time.
His pieces with a greater deal of mark making are more emotive and energetic

WHY LCA?

• Good location with a decent amount of arty things and places
• Relatively small classes (enough space, resources, and time for feedback)
• It's a specialist place that only caters to creatives 
• Nice facilities
• Good reputation without being intimidating (very important to me)

Paula Troxler | concert poster for Scout Niblett

Unusual compositions. The combination of concentrated patterns, line drawings, and block colours
creates something visually interesting. A cool illustration lady with amazing printing skills

STRENGTHS

• It's important to me that when I have a task, I do it well 
• I enjoy the analytical/contextual side of things (or maybe I just have a collection of useless knowledge..)
• In terms of drawing, I think one of my strengths is my use of line. I try to think of different ways of making it
• Whether it's finding out a new piece of information, or picking up a new method or technique I enjoy learning things
• Although sometimes I doubt my ability, I acknowledge that I've grown and wish to continue doing so!

A couple of pages from one of my sketchbooks.
I can be really selective about them even though they are for fun/personal use.
I like making mock-ups out of bits of paper or materials that I've hoarded
IMPROVEMENTS

• TECHNICAL SKILL! I want to evolve my skills and produce a greater body of work
• I want to get better at not throwing out work I deem as "bad"
• I want to become further immersed in design, art, and illustration (see, hear, visit, pick up more art/design things)
• This year especially, I want to try more experimental approaches to work
• To improve my group speaking, be more willing to put out ideas in front of a large group

Dadu Shin

Work has a dream-like quality and a sense of atmosphere. Really great at utilising colour for impact or to create a mood.

Demonstrates the best of both traditional and digital methods

Illustration Analysis | Dadu Shin

CONTEXT
Editorial illustration | San Francisco Chronicle | Book review | "Death of the Black-Haired Girl" by Robert Stone

IMAGE
• Monochromatic, cold, static
• Even though there is no apparent outline, the forms are filled with scratchy, heavy pencil lines
• The medium of choice makes the overall image more textural - the hair appears brittle, and the skin looks rough
• Pencil (graphite?) marks give the illustration a naive, handmade quality
• The characters gradually become more faded which creates the illusion of perspective

IDEA
• Colours are synonymous with death. Lack of vibrancy, lack of life
• The viewpoint of the illustration is at floor-level and is that of the title character
• The name of the book implies that it's genre is crime. However the tone of the image is not brutal or violent. Instead, the mood is mysterious, solemn, and still
• The other figures that are present in the illustration are faceless and vague - they could be either bystanders or perpetrators.

[http://dadushin.com/SFCBlackhairedgirl]