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?

I have begun to look at using shape as a means of image making. This was initially informed by my experiments in the OUIL404 Visual Language module but in using it in Visual Skills I have discovered how I can apply this to my more illustrative work. I’m finding that I prefer it as a tool to use and also as an aesthetic in other artists’ work. Textures have also been prevalent in my practice for this module. I have used them in different ways for each studio brief. Most of the time these received positive feedback, though the use of digital textures received a mixed response and is something to be careful with.

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?

Before this module I did not pay quite as much attention to the importance of roughs and, the even rougher roughs, ‘scamps’. I have found them very helpful, though I feel like I could extend this even more by considering colour and media as well as just the composition when sketching these out. I have also found working in prescribed formats helpful and also understand that this practice is closer to professional illustration practices than without.

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

I have been able to consistently work to deadlines with good time management (for this module). Although some of my work was not as I hoped I feel I have been able to successfully identify what had gone wrong (or just what had not been done) and evaluate how I plan to improve my practice. I feel that the work I have produced has been crafted well to a fairly high standard and thoughtfully produced (aesthetically at least).

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

Often I find that my work can become very similar stylistically, and I am keen to produce and practice a diverse range of images. As I learn and experiment with media, tones of voice etc in OUIL404 Visual Skills I hope to be able to apply these to my work in other modules, like this one. And when OUIL404 has ended (and in other modules anyway) I hope to continue this practice of not being afraid to experiment. I like to look at work that is very concept/ idea driven but I am finding, especially towards the end of this module, that I am finding it difficult to create, and portray, good ideas myself. It’s a very important part of illustration for me and I am disappointed that it was not one of my stronger points for this module.

5. In what way has this module introduced you to the Ba (Hons) Illustration programme? Blogging in this format has been the newest concept for me. At the beginning I struggled a little but getting into the routine of blogging regularly, and in stages as a brief progresses has helped. Having such short and busy briefs to work from has also been a new experience. I am finding that I am beginning to be able to work faster and arrange my time more in accordance to this.

study task 3

For me, illustration is about:

• Being a translation of reality. Illustration is here to record but not perfectly imitate real life. Illustration is a kind of fantasy, perhaps. It's here to add something new.
• Being playful, and experimental in technique. It is nice to have a high level of crafting, and to look at something and know that a lot of  thought was taken in it's production, but sometimes the thought is put more into it's message, rather than its aesthetic. The key is to have a unique tone of voice!
• Having a message. An illustration has something to say, or a job to do. It holds its own but can also be an addition to something else. 
• Telling a story, through visual or sequential narrative. Storytelling is a love of mine, but also in an illustration having a message a narrative is, for me, inevitable and strongly tied.
• Tone wise I favour heavily stylised work that still retains personality, often with a hand crafted charm. I have little interest in realism, but also the uber graphic. Shape and texture is very important, as well as quality of line and as I progress through the course I recognise them more and more. 

EXAMPLES OF WORK I FOUND WITH PINTEREST:

(here is my pinterest)

Character 

Luke Pearson

Not having Pearson's Hilda books to read as a child I feel like I have missed out, but I feel I can appreciate them as an adult nonetheless! The character development of Hilda and co is a strength of Pearson's. I also like how he has been able to capture character in image alone too. With no dialogue Pearson uses gesture and body language to convey the feelings of the giant.

Shape

Ping Zhu

I couldn't choose between these two artists for this category! What I love about Zhu's work is how she is able to capture such fluid movement. Her combination of shape and texture makes her work really unique.

Kunae Sato

On the other hand Sato's work is very flat and minimal, but still captures that essence of character and personality. I think it could be that the shapes themselves are clearly hand-drawn, their imperfections and naiveté offer something more than vector drawn shape work. 

Line

Margaret Bloy Graham

Perhaps there's a sentimental bias towards Bloy Graham's work but I do love it! The weight of her lines is very characteristic to the 1960s. There's a balance of playfulness and craft.

Marcus Oakley

On the other hand there is something crude but quite charming about the linework here in Marcus Oakley's illustration!

Composition ( + perspective)

Harriet Lee-Merrion

Lee-Merrion's illustration of Murakami's 'After Dark' fits the book perfectly. There's a sense of distance here between the viewer and the character created by the above angle composition, The lack of colour and minimal use of anything here fits the quiet atmosphere of the book.

 Texture + pattern

Laura Carlin

Carlin's work is very atmospheric and sensitive. The textures she uses compliment this. There's a sense of the artist's hand at work here.