Context: Connections Between People: Flowers and Objects

Context: Connections Between People: Flowers and Objects

I want my Final Major project to be something I want to draw more than anything else. Being passionate about it means I’ll make some of my best work. In preparation for the project proposal, I’m doing a little research on interpersonal relationships so I can take a better and more thoughtful approach to illustrating my characters interacting.

All of the sources can be found in the bibliography for my FMP.

Connection/kəˈnɛkʃ(ə)n noun

  1. 1.a relationship in which a person or thing is linked or associated with something else.

relationship/rɪˈleɪʃ(ə)nʃɪp noun

  1. the way in which two or more people or things are connected, or the state of being connected.

love/lʌv noun

  1. an intense feeling of deep affection.

“Material objects determined how people related to one another by providing a key means of conceptualising and processing their emotions. They also played a vital role in preserving the identity of the giver, acting as an important site of memory for the recipient.”

Things like coins, ribbons, swatches of fabric and flowers were all given to mark important moments in relationships. This was in the 18th and 19th Century.

“These aspects were in their turn all related to what has been termed the 18th-century ‘culture of sensibility’, denoting a period where emotional responsiveness and expression of sympathy were highly valued aspects of social life.

The ‘cult of friendship’ was in its turn characterized by a marked idealization of friendship, which was viewed as the noblest and most virtuous form of social relation. These friendships took on an increasingly emotionally intense guise during the end of the century, the language of friendship becoming increasingly difficult to distinguish from the language of romantic love.”

This aesthetic preference mirroerd his emotional response to nature, according to which spending time outdoors was not viewed as a source of powerful, dramatic emotion, but as a means of achieving happiness and bliss.” – Maybe take this as a chance to explore an area that makes me feel this way, or an area that would make my characters feel this way?

“Within this vast collection the object of inquiry for this article can still be found: pressed flowers carefully enclosed in tiny paper packages.” – I can’t believe that this article I’ve chanced across perfectly merges my two recent interests… pressing flowers and relationships… if there could be a scholarly article on the importance of baking cupcakes on relationships now I’d be on cloud nine!

“The concept of sensibility did not encourage all form of emotional expression, but rather established a nuanced code of emotional behaviour that could be mastered by the individual.[17] In the Gjörwell family, the emotional expressiveness connected to ideals of sensibility was centred on affection for family and friends, sympathy with the plight of others and happiness.”

“Sally Holloway emphasizes that in the case of courting relationships objects ‘facilitated the development of intimacy by encouraging lovers to think deeply about a relationship, imagine their beloved’s physical qualities, conjure the joy of being with them, and renew their romantic promises’.[19] Although not necessarily used in conjunction with courting relationships, similar functions could be served by flowers in maintaining a level of intimacy and emotional connection over distance in the Gjörwell family. This also includes the physical aspects of intimacy. The practice of sending flowers per letter often includes a description of how these were kissed before being sent off, followed by a description from the recipient of how the flower had been kissed when received, in effect constituting a sort of transporting of physical touch through the object.”

See here a little flower, it carries a little tender kiss, it has been pressed to my lips. Therefore you will do the same, and never forget your little Stafva, who with all her heart and soul is your little friend and wife.” – Tell me this isn’t lovely. This is making my day.

“After gently reproaching her for not granting him the pleasure of seeing his child after a long time apart, Gjörwell tries to put the incident behind them by sending his wife flowers picked at a local health spa, Vårby:

At Vårby we drank to your health for the first time, and I picked the flowers here enclosed by the clear, salubrious and refreshing brim of the spring. [We] have all kissed them, why I also ask, that they be kept as memory of the feeling that enliven us all for you.”

“His procedure of keeping flowers is intricate and clearly draws on themes from pastoral literature wherein flowers are used to make sacrifices to the Gods.[40] These practices were common in Roman and Greek antiquity, both in religious and civil contexts, and are often depicted in Greek poetry.”

“There is thus a distinctly ritualistic character to the way in which Gjörwell views and keeps flowers, serving a function to repeatedly mobilize positive emotions. After extensively viewing the flowers he has received or picked himself they are kept in what Gjörwell terms a ‘friendship herbarium’. Herbaria are collections of pressed plants usually mounted on paper sheets or placed in convolutes on which the species’ scientific name is added, often along with other information such as date and location of collection.”

White daisy = “as of yet unseduced” but only from man to man specifically.

It seems to me as though the exact type of flower mattered less at the time than the intentions behind it: if you happened across a carnation, you might pick it just because it looked nice and you were thinking of a friend rather than because carnations have a specific coded meaning.

Research: Art Noveau – Alphonse Mucha and Will H. Bradley

Research: Art Noveau – Alphonse Mucha and Will H. Bradley

In one of the books I’ve been reading called Greetings From – Retro Design, I carried out some research on Art Noveau as a movement.

It was an artistic response to the rapid technological increases in the 1800’s, for example advancements in electricity and machinery. Artists showed the aesthetically pleasing elements of living in a city around this time. It was a holistic art movement in that the ideology could be applied to almost anything: architecture, furniture, advertisements, etc.

It is defined in the illustrations I’ve researched by a few specific conventions. These are:

  • Flat, densely detailed illustration
  • A central female figure – often lewd, or suggestive
  • Natural and organic detail filling up as much negative space as possible.
  • Pastel, muted colour pallettes.

Alphonse Mucha is typical of this art movement. His works are some of the most famous of the time.

I’m inspired by Mucha because of how beautiful his illustrations are. I’m really attracted to the shapes he creates in the images – the circles, the loops and natural curves and how they interact.

I will likely take inspiration from Mucha in terms of my colour schemes. The pale pinks, light browns and beiges are all colours I enjoy wokring with.

I like the way the hair is drawn and how it crosses over itself in a hundred intersections. The fact that it’s in block colour and only the outsides are lined attracts me.

Another artist famous in Art Noveau is Will H. Bradley.

You can see similarities in Bradley’s work, but his work was slightly more progressive in that there’s more negative space than traditional art noveau illustrations. There are larger expanses of flat colour here. Bradley was also famous for designing the covers of Chap Book, a publication that ran through the time of Art Noveau.

I’ve made some work in response to Mucha and Bradley and their working styles.

I couldn’t help but notice that an artist I’ve been inspired by for a long time, KomunHorangi, is clearly influenced by the flowing style of Art Noveau. You can see similarities to Mucha’s work in the way she draws hair.

Although you can clearly tell that she’s been influenced by Japanese manga and animation style (see the huge eyes and facial proportions), you can also see an obvious stylistic similarity in the way the hair is drawn.
Future of the Body: Week Five – Evaluation

Future of the Body: Week Five – Evaluation

The final sheet! Ft. one fully made, three-dimensional pill box.

I have evaluated the whole of Unit Two against the seven criteria I know I will be assessed on.

Evaluation

Context

I feel as though I’ve tried hard to ensure there was context to Unit Two. Throughout Utensia, I was finding examples of contemporary artists and taking note of where their work sits in the professional field. When I took inspiration from them and made my own work, you could tell that my work would sit in a similar context to, say, Samuel Shumway. His papercraft sculptures work on their own as illustrations and have helped him establish an identity in the industry.

My futures project also referenced context with illustrators like Jonny Hannah. His early work in illustration has led to him creating a book which he’s become well known for. My Spaceoline brand packaging is very similar in tone to his illustrations, and would establish my “look” to potential clients or commissioners.

Research

My research has come in two forms: researching artists’ visual styles and taking reference for my own work, and research into the actual content of the project to get ideas for my illustrations.

An example of the former is my research into Bruno Mangyoku and Toma Vagner’s illustrations. Of my two Spaceoline final designs, the wraparound pot’s colour scheme was directly taken from one of Mangyoku’s illustrations, and the pill box from one of Vagner’s.

An example of the latter is my research from Futures into body modification, e.g. the A.Human fashion show and research into bioluminescent animals for potential aesthetic future surgeries. There is also research into Asimov’s science fiction worlds via reading some of his fiction and then research into the ingredients of pills (paracetamol, opioids, etc) in designing an illustrative “ingredients” sheet.

Development of Creative Practice

There is evidence of experimentation with media throughout my sketchbooks, and notably in my Utensia media worksheet and my Futures initial ideas sheet. There is examples of collage, acrylic, watercolour, collage, buttons, wires etc. and 3D work.

In using my command of watercolour and control over the media, I feel I have created a polished final work in making the two Spaceoline packaging designs.

Problem Solving

One example of a problem I have had to solve was in creating the Utensia oven. The paper I had chosen to use was too flimsy to maintain structural integrity, especially because I had made it wet once with watercolour and warped it slightly.

I solved this problem by reinforcing each panel with dry, sturdier paperstock. This allowed the thin, elegant visual design I’d hoped for (rather than having used bulky cardboard) while still creating a sturdy final outcome.

Another example of a problem was in colouring the black space between designs on the Spaceoline pill box. The watercolour bled into the coloured designs and was ugly, which I hadn’t seen in retrospect because my practice had all been with lighter colours and painting the outlines before coloured work.

I solved this problem on the go by outlining the words in black fineliner, which bled far less seriously, before going on to paint the rest of the design. This created a barrier between the colours that reduced the bleeding considerably.

Planning, Progress and Production

I have had the chance to create aims and act against them continuously through the project: both Utensia and Futures. This can be seen in weekly numbered blog posts. At the end of each week, I take a step back and create aims for the following week. I also reflect critically on whether I have achieved what I hoped to in the past week. This process has allowed me to stay on top of my work and have something concrete to work towards rather than becoming confused or off-track.

Evaluation and Reflection

In consistent blog posts, I have reflected critically on my own work both positively and negatively. I use a list of questions given to me in Unit 1 to ensure I evaluate effectively. I’m also evaluating right now!

Communicating and Presenting a Creative Practice

I started my work in a sketchbook because the idea of working on A1 sheets made me feel a little ill at the beginning of Futures. However, having the choice suddenly made me realise the value of working on A1 sheets. I just had to come to that conclusion myself!

Since that point, I have presented my work for Futures across multiple platforms. Written research and scratchy ideas are in my sketchbook because I have that to hand most often. Visual development was more successful on A1 worksheets, so I have three sheets of picture reference, drawn images and experimentation that an audience can see a clear line of thought between. My blog has been useful for critical reflection and more in-depth research, e.g. documenting relevant illustrators and documenting the basis of my sci-fi ideas.

Retrospectively, what would I have done differently to improve?

In an ideal world, I would have created another A1 sheet for Futures with more research and initial ideas. There’s easily enough work to fill a sheet in my sketchbook, but my tendency to work small and feel daunted by such a big sheet held me back this time from creating a more completed and professional piece of work.

Now I’ve had the chance to try out so much experimentation in units 1 and 2, I’m getting a better feeling for what I actually enjoy creating. In the Final Major, I feel excited about it because wherever it takes me I can still put my own happy spin on it and enjoy creating the work.

Future of the Body: Week Four

Future of the Body: Week Four

The group crit from last week left me in a good position. Since then, I’ve been creating illustrated packaging for Spaceoline.

The illustrations are a massive mixture of all of my research up to this point and a lot of new picture references, which I have saved to my drive. I’ll collage them in my sketchbook when I get the time… which it looks like won’t be for a little while. Yikes.

This is the finished jacket for a small pill pot. The limited colour scheme is inspired by one of my favourite images by Bruno Mangyoku. The textures within it are pretty directly inspired by my texture and experimental work from the previous worksheets.

What do I feel was successful? I was really happy with this pot. I feel like the checked effect worked well, as well as the automaton hand. The limited colour scheme worked very well too – so I took it into the next piece of packaging.

This is the front cover of the Spaceoline pill packet net in production.

I had to do some pretty intense problem solving here, so I thought I’d mention it. When I started to add the black watercolour in, when I was painting crisp lines next to previously coloured spaces it bled into the watercolour pigment. This was ugly and a huge issue because I was working so small. See the top image: I realised quickly that I couldn’t continue to paint,

I thought about it, and ended up using a black fineliner to outline any coloured work to create a barrier between the colours. This worked pretty well, and staved off disaster! I used the knowledge with the back side of the pill packet, which came out far more crisply in terms of rendering the design.

What do I feel was successful? I reused the check design, coming out of a rocket just like in one of my early worksheets. I love the font I ended up deciding on for the word Spaceoline, and the phrase “When in doubt, Space out!”

You can see here that it’s a far clearer piece of work than the front, simply because I bought all of the knowledge and problem solving through with me to create this piece.

Here, I really liked the space hostess. I based her outfit pretty directly from the ones in PanAm: a show I haven’t watched and an airline I don’t know much about, but do like the glamorous, vintage hostess feeling. Like the ladies from Fifth Element on the cruise ship to Floston Paradise.

Where am I going to take this?

I plan to scan these pill packet nets in to keep the design safe and high quality. Then I’ll use the scanned designs to make up some actual packets, which I’m looking forward to!

The project is actually finishing this week, and assessment is next week. Furthermore, I have a terribly busy week with two interviews to prepare for just before the assessment.

Future Of the Body: Context: Asimov

Future Of the Body: Context: Asimov

For the sake of keeping recent context in one place, I will copy in a few excerpts that I’m drawing inspiration from at this stage in the project. These all come from Asimov’s short story I’m In Marsport Without Hilda. I’ve put anything I particularly like in bold, because chances are you’ll see it come up in my work.

“He had thrown me. I knew what Spaceoline was. If you’ve been on a space-hop you know, too. And in case you’re Earth-bound yourself the bare fact is that everyone needs it on the first space-trip; almost everybody needs it for the first dozen trips; lots need it every trip. Without it, there is vertigo associated with free fall, screaming terrors, semi-permanent psychoses. With it, there is nothing; no one minds a thing. And it isn’t habit-forming; it has no adverse side-effects. Spaceoline is ideal, essential, unsubstitutable. When in doubt, take Spaceoline.”

“Big industrialists don’t go space-hopping much; they use trans-video reception. When they do go to some ultra-high interstellar conference, as these three were probably going, they take Spaceoline. For one thing, they don’t have enough hops under their belt to risk doing without. For another, Spaceoline is the expensive way of doing it and industrialists do things the expensive way.”

“The one who carried contraband, however, couldn’t risk Spaceoline—even to prevent space-sickness. Under Spaceoline influence, he could throw the drug away; or give it away; or talk gibberish about it. He would have to stay in control of himself.”

“He said, in a dreamy voice, “Surrealismus of Panamy hearts in three-quarter time for a cup of coffeedom of speech.”

That was Spaceoline all the way. The buttons in the human mind were set free-swing. Each syllable suggests the next in free association.”

“One of them must be faking. It wasn’t hard to fake the thing. Comedians on sub-etheric had a Spaceoline skit regularly. You’ve heard them.”

Future of the Body: Week Three

Future of the Body: Week Three

This week I had the chance to get more work done on my Futures project, having successfully uploaded my e-portfolio and sent it to Brighton.

I finished off the worksheet with all of the photo references I’d been saving along the way. You can see where I’ve used them in generating initial ideas here.

I re-read a couple of Asimov’s short stories and stumbled across a drug called Spaceoline. It makes space hops easier – which are usually associated with feelings of free-fall and terror, and can be quite traumatic mentally.

Here I experimented with the product’s branding and form. I looked at American gas station logos and Americanised product branding. Then, I speculated on what form the drugs would actually take – but I’m pretty settled on powder pressed into pills.
This was a hastily concieved idea of a Spaceoline jar, for the purpose of experimenting with all sorts of media. I have become enamoured with this piece, even though it’s just a concept sheet. Shown above is: Embroidery, collage, pen, pencil, marker, concertina paper, rings of paper glued on and weaving through the paper.

What has been successful this week? I particularly like the row of pill bottles with collaged insides on the first worksheet. The pill bottle made of concertina paper was actually an accident, but I’m really pleased I kept it: the shape is pleasing and I like that it stands off the page.

The woven paper in the second sheet became the trail for a rocket launching, which I LOVE. I might have to use it again, or use the texture as inspiration. I was told that the blue watercolour puddle was successful as well, so might incorporate that in further work.

Where am I going to take this?

The next steps for the project have been worked out through a group crit we had on Monday, which is a blessing as it makes me confident in where I’m going. I’m going to design and make some brand packaging for Spaceoline. Since it’s a fantasy world and not an actual graphic design project, I can go absolutely goofy with it and have all the fun designing this in the world. Into week four!

Artist Research: Jonny Hannah

Artist Research: Jonny Hannah

A particularly groovy illustrator I found in an Illustrator Journal from 2003 is Jonny Hannah. I’m hoping to make some work inspired by him in my Futures project as I continue it.

Jonny’s illustrations are excitingly busy; the longer you look at them, the more detail you see. He also has a passion for hand typography, which you may know I’m quite passionate about. His work is blocky and stylised and he uses a mix of drawing and printing in creating his works. I like that he had a long phase of liking 1950’s paraphernalia and style: this lends itself well to my retrofuturistic work in Futures of 50’s American advertising.

He released a book called Greetings from Darktown in 2014. Inside he has created his own world. In this image, I love the composition of the folded up sheet. It reminds me of bookbinding.

I’ve just had a thought… I know I’m going to be creating some brand packaging for Spaceoline. What if I also made a wonderful fold-out instruction / information leaflet like you get inside some medicine boxes? I know usually they’re just packed with boring text, but I could make this one beautiful.

I have been drawn like a moth to a flame by this limited colour pallette. You can see that this is partially printed, with lino cut shop fronts. Maps really interest me – especially ones that use creative license. I also really like the handwriting here, and might have to magpie it, as my primary school teachers might have said.
This is just a mental hodge-podge of images and typography. I love stuff like this. Ideas upon ideas upon ideas.
Artist Research: Toma Vagner

Artist Research: Toma Vagner

Toma Vagner is an illustrator that grew up on a Russian island within easy sailing distance of Japan. Her father was a sailor that often bought back Japanese toys and trinkets, which went on to inspire her work.

The art style of the time went on to inspire her as well- e.g. Hokusai and his compositions and style. You can see this in the flat coloured areas and bold line art of her works.

Here, I love the grainy dark background and the pastel interiors of the piece. Random objects floating about give me an almost abstract, uneasy feeling – but I love it. I want to create this feeling in my work. I have already taken inspiration from the flowers growing behind the hand in one of my Future worksheets.
I am a sucker for pastel pink work. Here, I like the female figure and her cool jacket. I also really like the repeated images throughout the piece, e.g. lipstick, the colour swatch circles and the lights on her mirror. The fact that most of the composition isn’t defined is interesting: it means the flat colour dominates the piece and I really like that.
I like the grey background against the pink. Vagner tends to colour her lineart quite brightly, with pinks and reds. I’ve seen a lot of artists doing this and I think it adds a lot of interest. It gives the eye more to process than just red or just black.

Future of the Body: Week Two

Future of the Body: Week Two

I started a worksheet for week two. I’d been very excited about working in my sketchbook, but I thought that for experimentation’s sake, I’d work larger.

I had a one-to-one chat with Emma. She said her favourite work of mine was the drawing-heavy women with bio-luminescent body alterations. She also suggested that I continue drawing and brainstorming products for a future sci-fi type audience, since I’d done plenty enough research and context.

Wahoo! I couldn’t have asked for a more affirming conversation, since that’s what I really enjoyed doing. I had recently found some other inspiring illustrators, so I began drawing.

You can see media used ranges from watercolour to collage and marker.

Where am I going to take this next?

I’m going to fill the space up with drawings and keep my judgement suspended until then. After that, I’ll either complete another whole experimental sheet or run some self evaluation before I complete any more work. Once I’ve identified what I like a lot, it will allow me to refine the ideas and create more sophisticated work.

I feel I should mention that because Brighton have required an e-portfolio from me on next Tuesday, this project will run slowly until then. After that, I have an interview and will need to design a portfolio for that too. I’m juggling my time and this isn’t my priority right now!

Future of the Body: Week One

Future of the Body: Week One

This project is the first one in which we are really given free reign over what we do. I’ve been drawn to sci-fi and futuristic, creative body alterations or modifications.

All of my scribbled ideas and pathways are in my sketchbook, in mind maps or where I can find space – but what I’m documenting is the ideas I’ve taken a little further – to thumbnailing and experimenting visually.

This was an idea for bioluminescent body alterations, a new beauty standard that exists in the future. I saw an interesting article about futuristic body modification in a fashion show called A.Human, which inspired a lot of these images. I collected a range of bioluminescent animal photo references in order to be inspired here.

You can see the beginning of an idea here. The concept is a pill that you can take which contains a script for a dream that has been pre-recorded. When the user falls asleep, they will experience that pleasant dream. I imagine they’d range from adventures to friendships to romantic and sexual exploits. You can see I play with words for possible brand names – find In Your Dreams – and then immediately thumbnail a possible logo.

This concept was directly inspired by one of Issac Asimov’s short stories, in which a corporation sells dreams and employs creative thinkers to imagine and “record” for them.

On this page you can see I develop the logo so that it has a graphic elegance – an eye winking. I moved away from the realism I’d been sketching before to experiment with bright colours. I continually evaluate the designs with notes to the side.

This page was a fun one to do. I started by laying down the basic watercolor shapes to force myself to include variation. I was happy I did this, because the top right design really spoke to me – so I took it further.

This is where I am currently with this train of thought. You can see some possible brand poster thumbnails – but I’m also considering actually creating the brand packaging for the pills too.

What do I need to do next?

I’m aware that I’ve gone quite specific quite early with this train of thought. I actually plan to do some collage work, create another mind map and widen all of my thinking back out again. With all of my research into sci-fi and notes I’ve taken, I’ll find another path of interest to liaise with for the next week.