Narra$ve Image Making Unit 48 By Rhona Taylor
Contents: Ar$st Research Primary Research Concepts & Ideas Use of Photoshop-‐ Scene response Zine developments Use of Adobe illustrator-‐ Character making Typography Manipula$on Use of In Design-‐ Zine layouts
Narra$ve is an art that tells a story, either as a moment in an ongoing story or as a sequence of events unfolding over $me.
Small man, BIG show The upcoming series of photos are of Bruno Mars’s concert in the Echo arena Liverpool. The sequence of photos are taken 10 minutes apart to show progression in the arena. The progression shows the volume of people growing crea$ng a dense atmosphere which is replicated in the dark imagery. The imagery is placed in a chronological order to ensure that the development is clear. The imagery compliments each other allowing the imagery to show through in its full poten$al.
Big adventure for four small legs To start the narra$ve photo’s I have taken the first picture of my dog, this then ins$gates the journey of her going to London vie the bus. This whole story is made up meaning that I had to create a story line which is believable but yet no$ceable that its’ not realis$c. Each image is a primary photograph which I have taken into a narra$ve aspect.
Humument has been a work in progress since 1966 when Tom Phillips set himself a task which was to find a second-‐hand book for three pence and alter every page by pain$ng, collage and cut-‐up techniques to create an en$rely new version of the book, however he challenged himself to keep the original elements of the storyline within it. The book he found was an 1892 Victorian obscurity A Human Document by W.H. Mallock and Phillips transformed it into A Humument. The first version was printed by the Tetrad press in 1973, and Phillips has con$nued to transform it, revise it and develop it ever since. When looking at Phillip’s pages it’s more invi$ng to read on as the pages are colourful and made up of colour and shape allowing the mind to read the book more simplified. This is one aspect in which Phillips contributes his ambi$ons too; to make the reader interoperate the book as a crea$ve take on the novel, but to also understand the general gist of the text. The book page to the le` is colourful with a map sugges$on layout which emphasis the words further. The colours used are contras$ng colours, green and pink, however Phillips has also used complimentary tones with the pink and greens to so`en the split up approach on the page. The words Phillips has chose are fun and playful which in my opinion contribute to the reason of why Phillips has used bright intense colours. For example the colour green is relevant to future as it replicates bright and healthy. Pinks replicate the feeling of warmth and crea$vity allowing the greens to compliment well against the pinks as well as physiologically, making the page look warming.
to the eye. When reading passages within the text Phillips has used complimentary colours towards the words as well at texture, marks and medium. With all these aspects being complimentary to the overall aesthe$c, it contributes to the relevance when put together, allowing my eye to see relevance with all the different aspects put together as a whole. With the amount of pages Phillip’s has simplified each page is unique to that individual page with relevance, which is unique skill with in itself. This has allowed his work of The Humument to be successful and to be sold as a different approach on the original novel.
Sample responses with one page of text
I chose 5 different sentences from 1 book page and drew 3 set of thumbnails for each sentence. For each thumbnail drawing I have linked the words into the image either with a linear approach or by using a simple character. With all thumbnails I have drawn I have used a secondary sourced image and stylised the image to make it making it more relevant to the narra$ve aspect of the brief allowing it easier to follow.
Thumbnails for 3 outcomes For these set of three thumbnails I have placed the wording of where it is on the page allowing to posi$on my imagery around it. This helped me with the overall composi$on when adding it to the real book page. With the images I have drawn I have added characters which are simple but they s$ll replicate a story behind each one as they carry a meaning of the words used with the sentence created.
For these three outcomes I have approached the sentence with simple linear drawings to enable the background to be the main focus of the story. When choosing these words I had an idea of composi$on and style which included dark tones of blue acrylic, this ins$gated me to leave out the background space as a nega$ve area.
These three drawings have been inspired by secondary imagery in which I have manipulated around the word placement on the page. The drawings have been stylised by my linear approach which creates tone. I have chosen a character in the top right to communicate a real life story of an individual which links in with narra$ve image making.
One reckons drowning him in fear would ruin the only greatest century
Can she live with shame
Thick sky enlivened by just stars
Final Book Pages-‐ Response to Tom Phillips Hunument
My thought process behind this outcome is that the character in the bodom le` is too ashamed to reveal their true self. This is shown through the paper bag placed over her head. The words of shame take up the right hand side of the page which allows the person to be the main focus. The words act as clouds hanging over the character, this is shown through the different scale of words and the informality of the text.
For this outcome I wanted achieve a colourful response as well as a simple one due to the simplicity of the actual sentence. The sentence reads ‘thick sky enlivened by just stars’ this is a sentence that I though I could get a scene image out of. And so following on from this I covered the page with blue tones and used white acrylic to perceive these speckles as stars. To highlight the sentence I used thin white strokes above and below to replicate shoo$ng stars.
To show the obvious word out of the chosen sentence within the book words I used an image I found from source imagery to replicate the significance if drowning. I have created the image by using biro pen to show a deep message with in the dark coloured medium. I have also used white acrylic paint to highlight allowing the overall structure to look more 3 dimensional. The wording is placed around the page resul$ng in me to decide on a white wash over the text to highlight the meaningfull words further.
Edward Lear (1812_ 29 January 1888) was an English ar$st, illustrator, musician, author and poet, and is known now mostly for his literary nonsense in poetry. In 1846 Lear published A Book of Nonsense, a volume of limericks that went through three edi$ons and helped popularize the form and the genre of literary nonsense. In 1871 he published Nonsense Songs and Stories, which included his most famous nonsense song, The Owl and the Pussycat, which he wrote for the children of his patron.
The Owl and the Pussy-‐cat went to sea In a beau$ful pea green boat, They took some honey, and plenty of money, Wrapped up in a five pound note. The Owl looked up to the stars above, And sang to a small guitar, 'O lovely Pussy! O Pussy my love, What a beau$ful Pussy you are, You are, You are! What a beau$ful Pussy you are!' Pussy said to the Owl, 'You elegant fowl! How charmingly sweet you sing! O let us be married! too long we have tarried: But what shall we do for a ring?' They sailed away, for a year and a day, To the land where the Bong-‐tree grows And there in a wood a Piggy-‐wig stood With a ring at the end of his nose, His nose, His nose, With a ring at the end of his nose. 'Dear pig, are you willing to sell for one shilling Your ring?' Said the Piggy, 'I will.' So they took it away, and were married next day By the Turkey who lives on the hill. They dined on mince, and slices of quince, Which they ate with a runcible spoon; And hand in hand, on the edge of the sand, They danced by the light of the moon, The moon, The moon, They danced by the light of the moon. Edward Lear
As I read the poem the reality of it is nonsense however due to the rhymeing of each verse it sounds fipng to the overall theme. The twist between reality and non is that it compliments each other. The one no$ceable aspect of the poem to address is that the cat and owl speak. This is not a fact which applies that it is made up and a fic$onal story point to make up the storyline, and although we see it as nonsense we read it as it makes sense due to all the words being fipng to the overall scene. The mood that the poem portrays is sweet and jolly between two friends, this impacts how we read words, the easier the story line the less $me we take in and realise that the whole poem is based on a fic$onal concept. Words are repeated within the poem to create emphasis on them, this in result allows the reader to understand the characters moods and how much they affect the mood and atmosphere of the poem as a whole.
While depressed, Milligan wrote serious poetry. He also wrote a novel Puckoon, which was wriden in the style of Dylan Thomas, and a very successful series of war memoirs. He wrote comedy songs, including "Purple Aeroplane", which was a parody of The Beatles' song "Yellow Submarine". Glimpses of his bouts with Nonsense poetry is explained as a good way of depression, which led to nervous breakdowns understanding the difference between poetry which can be found in his serious poetry. and prose -‐ the words seem to make sense but Say B azonka every day actually make none. A well-‐known nonsense That's what my grandma used to say poem of Spike Milligan is , 'On the Ning-‐Nang-‐ It keeps at bay the Asian Flu' Nong‘. And both your elbows free from glue. So say Bazonka every day Milligan was born in Ahmednagar, India, 1918, (That's what my grandma used to say) the son of an Irish-‐born father,. His mother, Florence Mary Winifred Kedleband, was born Don't say it if your socks are dry! Or when the sun is in your eye! in England. He spent his childhood in Poona Never say it in the dark and later in Rangoon (Yangon), capital of (The word you see emits a spark) Burma (Myanmar). He lived most of his life in Only say it in the day England and served in the Bri$sh Army, in the (That's w hat my grandma used to say) Royal Ar$llery during World War II. Young Tiny Tim took her advice He said it once, he said it twice he said it $ll the day he died And even a`er that he tried To say Bazonka! every day Just like my grandma used to say. Now folks around declare it's true That every night at half past two If you'll stand upon your head And shout Bazonka! from your bed You'll hear the word as clear as day Just like my grandma used to say! Spike Milligan
The poem to the le` is made up of made up words in which help structure the main point of the poem. The nonsense word is Bazonka, in reality that word is made up however due to Milligan repea$ng the word it sounds familiar to proper English. Although the one word is repeated in each verse it s$ll looks out of place when you say it or see it. The mood that the poem portrays is warming at the start, however further down it reads the mood progressively becomes more suspicious towards the made up word of, Bazonka. The overall story line as I read it is the made up word acts as a miracle or prayer that solves all problems. In my opinion, within the second verse I think the message of the overall poem is to be grateful for the lidle things in life and not to dwell on serious maders that are in the long future.
Characters-‐
Spike Milligan On the Ning Nang Nong On the Ning Nang Nong Where the Cows go Bong! and the monkeys all say BOO! There's a Nong Nang Ning Where the trees go Ping! And the tea pots jibber jabber joo. On the Nong Ning Nang All the mice go Clang And you just can't catch 'em when they do! So its Ning Nang Nong Cows go Bong! Nong Nang Ning Trees go ping Nong Ning Nang The mice go Clang What a noisy place to belong is the Ning Nang Ning Nang Nong!!
With these thumbnails I have linked the objects into characters which in my opinion help link into narra$ve image making as characters tell a story through the expressions they pull, this is called personifica$on as they have human like quali$es without the look a human. Narra$ve image making also includes sepngs which contribute to the narra$ve approach as the scenes can include bright colours to replicate moods. They can also include simple layouts and imagery to help contribute to the words on the page.
Cows Monkeys Mice
Objects-‐ Tea pot Trees
Se@ng-‐
Ning Nang Nong -‐ Jungle Nong Nang Ning-‐ Kennels Nong Ning Nang-‐ Zoo Ning Nang Ning Nang Nong -‐ Forest
Paderns are usually used as well to replicate an area of the seen or to replicate a meaning behind the words. For my drawing of the sepng I have used a simple approach to draw out a forest sepng. To develop on from this I will be able to add colour and paderns which have no relevance as the actual poem too doesn't’t make sense. Making the overall sepng of the Ning Nang Nong to be totally random and irrelevant to real life allowing me to choose any sepng which meant something to the my interpreta$on of the poem.
Thumbnails
Edward Lear-‐The Owl and The Pussy Cat
Characters-‐ Pussy cat Owl
Objects-‐
The Owl and the Pussy-‐cat went to sea In a beau$ful pea green boat, They took some honey, and plenty of money, Wrapped up in a five pound note. The Owl looked up to the stars above, And sang to a small guitar, 'O lovely Pussy! O Pussy my love, What a beau$ful Pussy you are, You are, You are! What a beau$ful Pussy you are!’ Pussy said to the Owl, 'You elegant fowl! How charmingly sweet you sing! O let us be married! too long we have tarried: But what shall we do for a ring?' They sailed away, for a year and a day, To the land where the Bong-‐tree grows And there in a wood a Piggy-‐wig stood With a ring at the end of his nose, His nose, His nose, With a ring at the end of his nose. 'Dear pig, are you willing to sell for one shilling Your ring?' Said the Piggy, 'I will.' So they took it away, and were married next day By the Turkey who lives on the hill. They dined on mince, and slices of quince, Which they ate with a runcible spoon; And hand in hand, on the edge of the sand, They danced by the light of the moon, The moon, The moon, They danced by the light of the moon.
The reason why I chose this poem is because of the sepngs and the characters. I thought that both these aspects are relatable to children due to them might having a pet cat, seeing an owl or playing at the seaside. This to me was a decision that I thought I could get a lot out of, narra$ve wise as I can imagine scenes from my own child hood as well as being into wildlife as a child.
Honey Boat £5 note Guitar Moon
Sepngs-‐
Sea Farm Boat Beach Fields Hill Moonlight
Shipper is based in Nopngham and London, UK. His work is based on children's illustra$ons for books as well as websites, his clients include Yoodoo. Com and Mellow man$s. His illustra$ons specialize in adver$sing primarily but he broadens his crea$vity to include animals, cartoons, character design, children. He also specializes in corporate, editorial, humorous, logos and product design. Schippers main so`ware to create illustra$ons is the so`ware that is well known as Adobe Photoshop. The image to the right called DIY Octopus is hand rendered using Acrylic paints and collage. The composi$on of this illustra$on is of a rom sepng allowing the octopus to be the main focus as it is placed in the centre of the image. Schippers has cleverly interoperated the Octopus into a character which shows imagina$on and skill as octopus’s are an organism which don’t have feelings or emo$ons meaning that Shippers has used anthropomorphism. This means when something non human has been created with added features of human traits, for example Shippers has added facial features and human ac$vi$es to the animal as it is holding a drill, paint bucket, hammer and paintbrush as well as balancing on a ladder. The character Shippers has created looks happy and smiden with the job he is doing. Shippers has taken the advantage of the octopus’s 8 legs and expressed what he is able to do at once knowing that realis$cally this cant be done by an actual human being, crea$ng a visual concept of something that is unrealis$c. In all illustra$ons shown Schipper has created an excited aspect to each character as they are all smiling perceiving a posi$ve aptude and mood towards his illustra$ons.
DIY Octopus
The colours in the top right illustra$on has used a different perspec$ve compared to the other two images. The other two illustra$ons are flat angles which makes the illustra$on easier to create, plus it make the character in my opinion more fun and more crea$ve looking. With a perspec$ve image it is hard to keep the character in propor$on effec$ng the overall aesthe$c, for example from far away detail is lost within it the character. Although to solve this problem when it comes to my work I will be able to scan in work and repeat the image and s$ll keep the same quality as the original, this will be the most effec$ve approach. I also like Shippers approach to the backgrounds he uses, in the top right he has used text for the hill to create a fluffy texture. For the octopus illustra$on the area behind it is nega$ve allowing the effect to look ripped, this effect reminds me of a collage approach making it look hand rendered.
As for the background above Schipper has used only one third of the image to show the sepng of the sky. As the blue rectangle only features behind half of the character it makes more emphasis on the aspect of him falling as there is nothing behind allowing me to interoperate that he is falling quickly, the scale of the clouds are small which also implies that he is falling fast. To add to the collage effect the cloads are placed on the outside of the rectangle making it look hand rendered.
Fanelli was born in Florence, Italy. She came to London to study Art and has been working there as a freelance designer and illustrator ever since gradua$ng from the Royal College of Art in 1995. She has worked for a diverse range of clients interna$onally, dividing her $me between her books and self-‐ generated projects, and commercial illustra$on commissions. Her clients include; The New York Times, Penguin, books Faber and Faber, Tate Modern, Tate Britain the Victoria and Albert Museum, BBC Worldwide and many other huge leading names. She has also wriden and illustrated a number of children’s books which have been published in many languages. From (1997) Fanelli's favoured medium is collage, which she has developed in a very personal way. She took it up not just as a way of moving on from the flat colours she'd always used in her pain$ngs, but also to make use of a vast collec$on of bits and pieces Illustra$on. When looking at this illustra$on from the book ,Wolf, it is clear that Fanellli has considered the layout of the double page spread and shown great visual skill with the composi$on with the overall aesthe$c. The elements of illustra$on that Fanelli has used create a visual narra$ve without having to over narrate with words making the book
easier to follow for children which is the main audience. The different areas of the sepng split up into colours, for example the foreground is green to replicate the grass field, this then leads into the background which is bright orange. All colours used within the sepng are complimentary which makes the sepngs mood seem relaxed. This compliments the text on the page as the words within it are also relaxing, such as: lovely and sunny. The text is placed above and beneath the path which follows the realis$c aspect of the horizon line. The horizon line is the apparent line that separates earth from sky, the line that divides all visible direc$ons into two categories, this is what gives the page look
almost 3 dimensional with. The composi$on of of the page is thought out as the path is the the main focus due to it star$ng from the bodom corner on the le` then stops in the distance in the top right corner. Although text isn't the main focus it should be no$ceable to read, this is why Fanelli has placed the text along the path as this is where the eye is drawn to first. As for the all the other elements on the page it looks like the Fanelli has used collage to create vibrancy and style. The elements added are stylized features of realis$c features, for example the buildings and trees are in unrealis$c shapes and colours, this visually adracts children beder as they are prone to more simple block colours and shapes. Over all the double page spread is simple for children to understand.
Scene thumbnails
Each thumbnail is related to my chosen poem of the Owl and the Pussy cat. There is a verse which says ‘The Owl and the Pussy-‐cat went to sea, In a beau$ful pea green boat’ This inspired me to create a sea/beach sepng. In each one I changed the composi$on however I s$ll added in the same elements, for example, palm trees and waves. To communicate a story like scene I chose to draw them out in a simple style to help the illustra$ons be more relatable to children. The style of my drawings are in a linear approach to separate the layers between sea and land, I have also added line into the drawings to create tone to separate the foreground and background, this is apparent in the le` 3 thumbnails. I have also used different thickness of lines to create more structure to give the visuals consistency. As well, the lines allow the visuals to look simpler which is a aim of mine due to the theme being targeted to children.
Step by Step-‐ Sara Fanelli Response
To start the process off in response to Sara Fannelli I chose appropriate surfaces to work from which had been scanned in already. For example I chose the music sheet which is a sandy colour to replicate sand. As for the palm trees I chose a subtle line paper which allowed the colour to show through more so than the padern ensuring that the subject is the main focus. In the second step it shows how I am crea$ng the sea. Knowing that I wanted to create a different perspec$ve on the landscape I knew that the cutouts would have to be posi$oned accurately and propor$onally. I chose a paderned blue
paper which reminded me of the frof in the sea. With this aspect I cut out the first sec$on which replicates one wave. To do this I placed the padern where I thought it’d look best fided to the landscape. I then selected the polygon lasso tool which enabled me to create a jaggered cutout to replicate the hand rendered approach to the collage in response to Fanelli’s technique. To copy and paste this cutout I selected cmd c, cmd D to paste. To create all three waves I did the same process however changed the size and posi$on of the papers to create a realis$c dimension aspect to the landscape without it looking flat. For the Palm trees I also used this technique and duplicated the shapes to reate again a 3 Dimens-‐ ional feel to the landscape. With choosing the
colours of the palm trees and waves I added different tones. To do this I went into each individual shapes effects and went to colour satura$on and depicted on which colours look complimentary to each other, this as a whole ensures the sepng has a realis$c approach making it less flat and less based on shapes. Again carrying on with the realis$c aspect I chose appropriate shadows to ensure that the cutouts show trough more prominently. For the sky I liked the white background as this highlights each colour within the sepng allowing me to choose a simple background surface, for example I used a second resourced padern of black and white polka dots. I liked how it turned out as it doesn't’t over face the scene. Over all the scene looks part of a childrens book.
Final Scene Response
Development of Character thumbnails
Sample using Adobe Illustrator For character making/crea$ng I originally used thumbnail mockups to get a basic idea. To roughly understand the shapes of what the characters of the pussy cat and the owl are made up of I drew them in different posi$ons. Allowing myself to draw them in different posi$ons I have created a character that has more depth and meaning within the sepng I have created on the previous slide.
Sample
To start the owl character which links in with the poem The owl and the Pussy cat. I started off by sketching thumbnails and separa$ng character from the poem, for example the poem only had 2 characters in which I drew thumbnails of a cat and a owl. To start the illustra$on off I stylized the character with big eyes and feathers which s$ck out. When I added the illustra$on into Adobe Illustrator I created the thumbnail into a template and started to work on top of it. To work on top of the template I added a new layer and proceeded to use the pencil tool in which allowed me to create shapes. To create different shapes over the template I created new layers and used different tools to create a stylized character. The sample to the le` was created roughly by the untouched pencil tool, however to develop this further I have used mul$ple tools to manage the final outcome. To create a fun character I have
used bright contras$ng colours which help it stand out further. The tools I used are gradient tool to so`en the colours. I have used the width tool create strokes which are stylized, for example this is evident on the beak. With the gradient tool I used it individually on each stroke to replicate the feather look for the wings. The colours that I have used in the head are the ones I have applied to the wings also to keep the overall character complimentary. To keep the character look like a cartoon I experimented with gradient to give off the illusion of 3 dimensional. However this feature in my opinion looks too much for the character as it over faces the simplicity of the shape. The simplicity is what I have carried through into the character as I have applied minimal effects the drawing which in my opinion works best overall as the true replica$on of the drawing is shown through with simplicity, however stylized simplicity I what I have tried to achieve.
Final Scene Explained For the overall aesthe$c of the collage response I have in my opinion achieved a narra$ve scene which relates to the poem of my chose, The Owl and the Pussy-‐cat. As a scene I think the composi$on works well together due to the foreground being simple with the background being more collectable. The colours used are blue and green which are complimentary colours. The reason why I have chosen the composi$on of the colours is to overall please the eye as they both sit in the opposite corners allowing the other two corners to compliment each other with their uses of neutral colours. The shape of the cut outs are ridged and haggard to relate to Sara Fanelli’s hand rendered approach in which I have replicated through using the rubber tool and the polygon lasso tool on Photoshop. One aspect in which Fanelli’s work inspired me further was the use of type to carry the eye through to the middle and into the background to allow the scene to have more dimension. In my scene to create dimension I have added an angle on it making the eye look further than just the two different uses of colour to split the two grounds apart. The subtle shadows I have added also allow
more clearly allowing both ar$sts I have researched to focus their storylines on imagery. Their imagery focuses on being simple but yet bold with colour. This allows children to focus on the scene more so than the type or verse as they understand the narra$ve being shown visually. The type used in the scenes link with the imagery used and the characters ac$ons. Through a character I am able to create emo$ons and create different posi$ons to more dimension to the scene. Overall I have taken portray different ac$ons. This is another aspect inspira$on from Fanelli and interoperated it into of narra$ve image making, through a character my own style to create this scene as a narra$ve I people can interoperate it into a scenario or piece. situa$on which is a basic story line, this is called narra$ve. To tell a story through a scene is challenging as I didn’t know what to start with. Meaning did I have As a overall scene I have linked the words into it to connect the colours I uses into emo$on or use and the characters feelings. The concept behind certain imagery which set also relate to emo$on. this scene is to portray on the sepng more so When researching Sara Fanelli and Martyn than any thing else. In my opinion with the Schippers I have realised that the scene is based sepng I have created it is a response with around the story line and the characters elements used from both ar$st Sara Fanelli and movement. For children books more the imagery is Martyn Schippers. more prominent more so than the typography on
Sara Fanelli Response with Type and Character added
Anchor point Text The owl and the Pussy-‐cat went to sea, in a beau$ful pea green boat. To start the manipulated fonts in Adobe Illustrator I chose a verse from my chosen poem of ‘The Owl and The Pussy-‐cat. I used a simple font and kept the same front throughout each word which allowed me to become more crea$ve when it came to the next word and the next. I chose words which are within the verse and chose different ones to stylise it in a way that linked into the word itself. For example with sea I though of choppy waves and sharks, this inspired me to create a sharp edges like a sharks fin. As for the word boat I decide to keep the word playful and simple just like the word itself and so I stretched the anchor points and inflated it into being wonky and unique. 1
To start the process off I wrote words which were in a simple Calibri font, to manipulate I had to select object, rasterize each word, change shapes then press, ok, image trace, expand, direct selec$on tool. This allowed me to select an individual leder and create mul$ple anchor points on the leder which then I was able to manipulate with to create the styles to the right. By adding a different style to a word it makes it more unique but I can stylize it to make it more fipng to the concept or situa$on. A word can be manipulated to achieve a narra$ve perspec$ve behind it as shown in the word, Sea. This is a concept which I think unique however it links in with the theme and it inspires me to think of other narra$ve aspects with in my zine.
Da font experiments
And hand in hand, on the edge of the sand, They d anced by the light moon of the I have used different fonts from Da font and manipulated them in Adobe bridge. The fonts have been added to the so`ware by going to file and place enabling the fonts to be less pixilated in compared to being pated into the document. The fonts are of different widths enabling me to manipulate this aspect further. I have added in extra elements for example I have expanded the edges of the words allowing the main body of font to be the same as the original. To tweak the original fonts I have only slightly manipulated the fonts to show that even the slightest of change can s$ll be as effec$ve as something that was manipulated to a great extent.
Da font experiments With Path Finder To the land where the Bong-‐tree grows And there in a wood a Piggy-‐wig stood With a ring at the end of his nose, With these manipula$ons I have used mul$ple effects and tools in Adobe Bridge. To start off I chose words which were related to my chosen poem allowing me to become crea$ve with the effects on the words. To join the two different fonts together I placed the font into the so`ware and into window to find Pathfinder. I the pressed on object to enable me to expand each font. This is a crucial step as this allows the direct selec$on tool to focus on only one leder at a $me allowing the font to look unique. For most of these fonts I overlaid them then added the shape modes over the top to enable the effects to be unique.
Scale & impact Scale creates impact to visually show the understanding of different impacts fonts and scale give to observers. Bigger the scale the bigger the impact, this is because the eye is drawn to this aspect first. Scale can be experimented with numerous leders and words to express the more important words. It is also an aspect in many concepts to express the meaning of the word, for example in speech, he shouted, “Pass me the ball” to enable more character and more realisa$on of the words, the word SHOUT could have been an expressive word to make people aware of the meaning and to mentally prepare to enable to create a louder voice as they read the speech. In my case I have experimented with scale within the $tle, in my opinion the impact needs to fit and compliment the scale as well as the layout. In this case I have used a simple but yet effec$ve scale.
Nega$ve space Nega$ve space replicates the white space that surrounds text and imagery. To show this concept off I have chosen a $tle that includes only five words, an image and a small box of text underneath. Nega$ve space is a layout rule that makes work look professional. The nega$ve space is added to work to help people no$ce things more clearly. This simple layout is effec$ve to show off different elements within a structure allowing it to be simpler and easier to read.
Minimal Type Minimum type is a aspect to show off a $tle or a the main body of text which is usually a small sentence to explain something. Minimum type allows the small amount of text can be focused primarily on that, this allows the main focus to go on this one depicted area. Minimal type usually consists of either one word or a handful. Due to the minimalis$c style this allows graphic designers to produce a more unique and stylised approach to their layout allowing the concept to be more visually appealing.
Hierarchy of type Hierarchy of typography is a layout of which results in the most important text to show through as a bigger scale to show their importance. As the scale is bigger the more aden$on is drawn to this par$cular area making it the more recognisable feature. In this case I have chosen to create the $tle in a bigger scale to show more importance than the Poets name, this is usually the case in the concept.
had to save the image first then select File Place, this allowed me to choose an image from my files and I was then able to click and drag the image into a chosen area. Although this so`ware looks more confusing and more technical with all the borders they are all there for the users benefit. The so`ware allows images and text to look professional in simple coordinated way. The images are easy to crop as if they are bigger than the columns outline which mine was to the le`. To fit the image propor$onally I was able to select the image and drag the border to the outline of the column, this cropped the image into scale. As the lines of the columns are there to help you the template can be over facing when the text boxes and the images are added as there are lines which are no longer necessary to follow. I found it helpful to preview the layout without lines as it was a clear observa$on of the overall layout, and I was able to pick things out which weren't out of place, although the guidelines helped with that making my layout look professional straight away, to preview the layout I pressed, cmd, column. To start the process I knew that I needed a grid When choosing a layout I decided to scale the layout to add images and type, a grid helps bring imagery different on a double page spread but everything together propor$onally. To start the keep it consistent throughout the actual mock layout I selected four columns to be added up zine. The layout in my opinion is duplicated the pages un$l I had 12 of the same complimentary allowing everything to look pages with each one with four columns. I had professional. When choosing imagery I will to keep in mind that the zine I will make will have to consider what direc$on I put them as have a front page and an end page as well two like the two to the le` are of facing opposite feature pages at the front and at the back. To but to make the design professional and add text it was simple just like any other so`ware. relatable I had to place them facing together Such as Word or PowerPoint. To add images in I for composi$onal reasoning's.
InDesign Experiments
Zine research What is a zine? It is a mockup of a magazine style that are usually hand made, they are not popular to the extent that their in shops as they are created to be personal. As zine’s are personal they document work of the individuals, usually containing areas such as graphics, art, illustra$on or photography. A zine has the same elements as a magazine, hence the name however, a zine allows the crea$vity to be the main focus. For example the layout can be emphasized with block colour and organic shapes. Imagery used can be manipulated to look stylised and more personal. The font used can also be organic with elements of hand drawn situa$ons allowing it to be unique in contrast with a formal looking magazine, for example Elle and Vogue. Zines allow people to express their passion as well as a their personal crea$vity and a zine is a fipng area/space to show a collec$on of them.
Issuu examples-‐ Zines
When researching zines I have realized that each and every one has a different take on imagina$on and layout. When looking at this individual zine piece by piece and opening the book up further I have no$ced a con$nuous padern/ theme. The repeated theme that occurs is the deep blue page that makes a appearance every other double page on the le`. This is a technique which shows consistency and which helps the overall zine to flow well. Another element that’s added to the zine to help it flow is the colour scheme. Each drawing is make up of a subtle teal colour which compliments the deeper royal blues. What I personally like about this zine is the mixture between text, they have used different scales and switched between font styles.
The hand wriden sec$ons make the zine personal as well as the quirky drawings and the imagery do too. I like how they have added words which are relatable to anyone who is reads them, they also create the drawings which relate to certain words which links in with narra$ve imagery. The images tell a story all by them selves as they look imperfect and quickly drawn, this allows me to think the person behind them wasn’t planning on drawing them although they are s$ll fipng to the theme of travelling and mind sets. As the drawings aren’t of something specifically and are paderns my interopera$on of them is what they feel and what they see there mindset as in a picture in that moment of $me. Fore example I interoperate the swirls as they are confused and don’t know which direc$on to take. This all comes down too
Zine Research
To research further into zine’s and the use of them I have come to reasoning of why people use the for different meanings. This one I have chosen is called’ Your Are Here’ which to start off is a opening phrase that intrigues the reader, but it also has meaning to it. The meaning is spread over three different sec$ons of the zine, then, soon and now. These sec$ons highlight the movement of $me as well as the emo$ons this individual carried at each $me of their life. To layout this zine Stewart the creator has used simple colours and simple text to engage the reader more so into the imagery used to highlight the decisions he made, then, soon and now. The layout of the typography across the whole of the zine is a mixture between right and le` alignments. However to see the typography and the images used spread across two pages I can understand the reasoning of why Stewart uses both, to compliment the imagery used to create this as the main focus. The jus$fy used within this zine is clear to me that he has used spread of words to for fill the full width of the
column used, the reason behind me knowing this is because the spread of words don’t look out of place. The guders used within the zine aren’t apparent however when used they are used to again compliment the images. The text relates to each image whether it be a quote, a memory or a lesson, the layout is simple to read as well as to follow as each element links and relates together. Singular columns are more prominent within the zine, although the widths change accordingly to the nega$ve space and the imagery used. The nega$ve space allows the imagery to become the focus. The text against the imagery is small in comparison allowing the overall image to be the centre of aden$on. Even though the pictures used are all different scale the actual style are similar as it has this polaroid effect on them, this old effect works well and compliment the fresh nega$ve space which borders them. Although each page is different wit their alignment and column size the style remains consistent allowing the overall aesthe$c to work well overall. With zines text isn’t a priority as imagery is the main focus to create a narra$ve, however in this case the text links with the imagery but its also a narra$ve feature of someone's individual life.
To share his meanings of his friends as well share his own adributes to them by adding them in. In my opinion I like this feature as he is talking about life in general allowing different aspects to be revealed, but the one thing he repeats is his friendships. This is shown consistently through pictures, text and featuring them through their own contribu$ons to the zine. This is why I chose the zine overall as the whole en$rety links with a narra$ve of friendship and leading their own stories to tell through the aspect of their life. When choosing the style that I want to achieve through my zine I will consider the priority over imagery or text. I will also have to take in to considera$on the hand rendered elements and how they will become complimentary to digital fonts and designs.
These two pages featured are carrying on the zine from the previous slide of ‘You Are Here’. I have added in these two double pages to show the variety if text Stewart uses to help compliment the pictures. The composi$on is well thought out overall as the images compliment previous pages as this one to the right takes up the whole page as well as the previous page which is to the top right. The composi$on of the cap$ons are small and are placed to compliment the shape of the image. A feature that I like the most is the quotes or memories added beside the imagery as text. Hover it doesn’t distract the overall aesthe$c, but with the text below there is a name of a personal friend of Stewarts that makes these quotes up. This is featured in a biggere font underlined to show more emphasis
Primary Research
For this zine above it is laid out differently than the typical zine booklet. This style consinteeners in four squares and opens up as a wallet style to find four photographs which are all black and white. As the imagery is dark the colours purple The simple zine above is layed out in a double help the imagery contrast against this making it sided consinteener format. The overall style is the only thing you see. Also the different tones of simple with quicky drawings added to li` the purple has been used to separate different pages with excitement. The colour that is consistent is the colour dark green which contasts elements of the zine which I find interes$ng. To deveop my work on from this I will consider how I off the cream backgrounds. To take inspira$on am able to use colour for different elements with away from this I will consider the uses of in my zine. consistent colours throughout my zine..
This zine above is shows that a two column layout is running throughout the zine with consistency as. The imagery used is ink drawings with lots of tone added. The scale within type and imagery are small and so when considering my zine I will experiment with scale through type and imagery. I will also consider how to manipulate hand drawn elements can be incorporated.
Zine layout inspira$on
Even before finishing her studies back in the early 90s, Rebecca Gibbon was taking commissions, and her magical and imaginary worlds were coming to life on the pages of children’s books. There’s a naïve quality to her work, a lidle bit like LS Lowry, but with lots of colour and plenty of ac$vity in just about every image. Gibbon illustrates children’s books as well as doing a diverse amount of other crea$ve sectors such as travel illustra$on, adver$sing campaigns, packaging and editorial imagery. Her client list consists of Vogue, Weston Woods, Chicago zoo, Royal Mail and many more. Both contemporary and nostalgic vibes shine through in Rebecca’s work and her style is bright, painterly and colourful, with a naïve, childlike quality to it. There’s usually a touch of humour to round things off. This is clear in the image beside to the right, the scene is filled with energy due to the characters enjoying the ac$vi$es but it shines through more so with the colours Gibbon uses. The bright greens, blues and reds work well together as they are either complimentary or near contras$ng colours allowing the overall composi$on to look complimentary. Her work consists of using shape primarily then she works into them with intricate detail. As she focuses on simple shape to create relatable ac$vi$es she also focuses on colour to be the main priority as these block colours are able to be no$ced from a far distance allowing the eye to catch these elements first. When the colours pull you in
it becomes more obvious the sepng and the humour within the image. The characters are all people which all have a stylised approach to them. They all have thin legs, long body and hair that makes each character individual. Her style is carried through with objects, there is a scale that Gibbon plays with allowing her work to look overall complimentary. This is shown with the umbrella in the bodom right, it is much bigger than the character underneath
but there is a added so`ness to the scale as Gibbon has used a so` blue and a small tassel that is blowing in the wind. As a scene it is self explanatory meaning that the concept in the image talks for itself. There is no text needed to tell interpreters what is going on which in my opinion is the whole point of Narra$ve Image Making, the image talks more about the concept and situa$on allowing it to tell a visual story through the imagery.
As a children's illustrator there are more elements of her work that are narra$ve as children are able to understand imagery beder. In my artwork which will contribute to my pages within my zine, I will choose a concept and base the themes of my imagery around that. To add imagery into my zine I will have to consider size, backgrounds, characters, colours and composi$on. The one element that will be clear is that it will create a story through out a zine visually. To make the visuals interes$ng I will take inspira$on of my Zine research and interoperate that detail into my works concepts. I have realised now that my zine can be based around personal interests which is a base where I am able to create artwork which I find interes$ng to create.
Originally from Bulgaria, Yordanka is now based in Berlin. Her influences include fashion designers like Prada, Conseulo Cas$glioni and Josep Font, and she also loves Patricia Urquiola glass furniture designs. Her strong understanding of fashion illustra$on is bolstered by her experience working for a French clothing company in Bangkok, where she created material paderns. Clean, bold, stylish and modern, Yordanka Poleganova’s artwork draws its influences
from the fashion scene in Europe and Asia, and as a result her imagery o`en has a broad interna$onal appeal. Her decep$vely simple colour paledes, combined with striking paderns, only add to the charm and depth of her work. Simple shapes, clean lines and primary colours, give Yordanka’s imagery a great deal of impact. By reducing complex forms to their perfect outlines, she has a bold style, which is easily accessible to viewers. Her mastery of
paderns serves to draw you even further in. These bold vector illustra$ons in my opinion are visually exci$ng and appealing due to the use of bold contras$ng colours as well as the angle of the image. The angles are eye catching in the way that Poleganova uses different aspects of a scene to create more impact on the eye, and with colour she emphasis the scene further. The reoccurring colour theme is yelleo and blue, these two colours together contrast from one another this is what makes each piece striking. The format and composi$on is simple, the layout is broken up to sec$ons. For example the image above is in
Four equal sec$ons. Where she has placed certain objects it is clear that she has stuck to a grid method, this is clear in all hr work.
Mostly clear in the image to the right as it is symmetrical with colour and composi$on. This method allows the eye to be pleased and soothed as the overall image looks complimentary. Her style is very block shapes with statement characters or colours. Her characters are stylised in a way that we see perfec$on in the modern society, with long legs slender faces and fashionable. These concepts behind her imagery link in with a narra$ve aspect of fashion which relates to feelings and emo$ons. Fashion can be interoperated in a way of how to express a emo$on of that day. As Polyganova has used style to link in with the scene it can be interpreted on a feelings basis, this can also link in with the bold use of colours. Blue resemble confidence and intelligence as well as calming. Yellow resembles happiness and warmth which
relates and compliments the blue well. When choosing my theme for my zine I want to be able to create graphic type illustra$ons as well as create hand rendered, I will have to choose a balance between the two either I draw illustra$on and scan them into the computer and manipulate them further with inspira$on from my chosen illustrators. Or I can keep my zine stripped back and have a full concept on hand drawn elements or keep everything graphics based and digital.
Brain storming ideas
INTERIORS & SPACE
Richard Caulfeild – Artist research
Patrik Caulfield’s work intrigued me from the first glance. Although his use of simplify interferes with the concept of narra$ve image making it s$ll in my opinion communicates it through his personal style and imagery used. When looking at the image above I am able to see a story being created by ligh$ng. Although the image has no characters of ac$vity to portray a event/ ac$ve situa$on I am s$ll able to see a concept through the ligh$ng and the
composi$on. The image focuses primarily on the block orange room being separated by parallel lines of the window. The immediately stands out from the thick black border of the building gaining more focus on it. The scene is set off centre to allow the border to look less harsh, again the thin black lines enable the orange block to look less harsh. Caulfield has used complimentary colours within the scene to enable a connec$on through it.
The concept that portrays and what I can interoperate from this piece is through the ligh$ng. The one single light is allowing light into an area which is in scale a lot bigger. The ligh$ng used gives off an array of mood which connects to a story being told through the use of bold colours. When thinking about my zine’s concept I will refine it to enable light to be the main element showing through the array of images.
Concept:
All three images are of my own personal space, my bedroom. The overall concept behind my theme is that my space can tell a story through different $mes of the day and how my space changes according to my ac$vity an how I manipulated the area. This space of mine allows me to for fill it with items that I love and have a personal connec$on with. With these three images I have taken above I have captured
different $mes of the day allowing a story to be told visually recognisable. To develop on from this I will take mul$ple images of a certain ac$vity to shoe development and progression of change through my room a`er long periods of $me or short. This overall concept links in with the theme of Narra$ve Image making as the images allow to tell a story visually without added text needed.
Primary Photographs… My space
Primary Photographs… My space
To show different areas of my personal space I have taken primary photographs of my favourite corners to help the narra$ve be personal and understandable from a personal point of perspec$ve.
Sketches For development work I am featuring hand drawn elements into my interior based zine. This aspect of the drawings in my opinion allow the zine to show a personal structure into how I perceive my space and how I am able to relive the narra$ve through the hand drawn drawings. To develop them on to more appropriate responses to my chosen ar$st research I have cleaned up the images and chosen to go for a radical contrast of black and white to give that graphics style. To develop this further I am needing to consider colour choses, other drawn elements and how each image will link to a narra$ve. However to start my ideas off I needed to see which propor$onal and angles to achieve a visual narra$ve to see how I am able to improve to enable a professional approach to my Zine.
Developments For these developments on this page I have started to stylise the original pencil drawings. To do this I scanned in the drawings and added them in to the so`ware Photoshop. To get a clear solid black and white image I changed the levels and the intensity of this. To get the effect of the drawings looking like they are drawn with chalk I inverted the image and duplicated the layer with an effect over the top, overlay. I changed the opacity and this enabled the white to be more intense. In my opinion I like the contrast however to experiment further I need to use different thickness of lines and to clearly draw the drawings out with a pen or pencil tool to achieve a high standard of accurate drawings.
To add colour to these images I will create a colour pallet in which will run consistently through my zine. To create further adjustments I will add drawings in which are of different unique angles to achieve a sense f three dimensional views. I can connect this my visual ac$vi$es and how the in different points of the day changes with angles used. To carry my message through of ‘Narra$ve image making’ the images I will use will be of one area but taking the same shot however through different $mes of day to capture a narra$ve visually. Either it be through my ac$vity or through the change of day.
3 EXAMPLES OF WORK IN ZINE-‐ DEVELOPMENTS
With all eight illustra$ons featured I have drawn them from hand with fine liner, biro and pencil. To the be able to manipulate them I scanned them into Photoshop to create a more professional approach. With the drawings I had
to individually change the levels to create a solid contrast of black & white. Once levels where sorted I was able to place the drawing over a vector stylized photograph. This was simple with the day $me single linear drawings as there was no $ne to allow the image underneath to disappear. This is what happened with the pencil drawings, the tone was to over powering and masked over the detail underneath. This is when I had to experiment and trial different exposures and effects to allow the image compliment the drawings over the top. Once I had sorted that situa$on it was a chance to experiment with colour and layout. The lines I have incorporated as borders on the images is to allow the images to
Be separated from the next. I also think that the borders portray character. As seen within my zine the peach and turquoise blue colours alternate to allow there to be a complimentary feature running throughout. The lines run differently between the images to separate each ones composi$on and individuality. The borders are thin to compliment the main priority of the imagery and keep them looking like the main factors. Overall these developments have been $me consuming as each one needed aden$on in different areas. This way of thinking composi$onally skillful is hard to adjust too bit with imagery it allowed me to follow their lines.
Peer Review
From today I have realised that everyone is at different stages and our work is all depicted on our indusial style. To see everyone's power points and too see how everyone has styled their layouts is interes$ng and freshening to they eye. To see new work I was able to gain inspira$on from different layout choices and different colour choices. When going round individuals power points I spoded opportuni$es that I could include into the own work. For example I no$ced that I could add in going to a gallery visit and become inspired by that. I also became inspired to add in backgrounds as the paderns and colours that I saw linked in with ar$sts themes and their own style. When choosing elements to add in into my power point I was broad in saying what I wanted to develop on. To add more depth into my chosen theme I may do another ar$st research on interior design drawings to that I found inspiring to my own style. To develop on from this I could use my drawings to achieve further accurate drawings within Photoshop or Adobe illustrator to expand my experience with this so`ware.
Final Proposal
Front cover
1st image 2nd image $me
$me
63t image
$me
4st image 5nd image
sketchbook page-‐ final planning
$me
$me
6st image
$me
Refined concept-‐
The concept behind the images I will be using is based around $me and how it changes throughout the day. To make this explanatory as a narra$ve aspect I will put the images into chronological order to represent the change from morning light into the evening. The concept is to show $me and how it changes us as individuals to the manipulate that par$cular space to replace the light from the day.
7st image 8nd image $me
Back cover
$me
My zine layout will consist of 8 images of my space which will be hand rendered as well as manipulated with digital elements to freshen the scanned images. To work with the 8 images included within the zine, Phase, I will add in pages which have different layouts and composi$on to allow the zine to flow. The layout will be simple but effec$ve in terms of using nega$ve space and scale. To compliment the each page I will consider a colour theme that will carry throughout the zine. Preferably developing on from the colours used in my sketches. The 16 pages altogether will carry a strong concept that links in with the briefs name, Narra$ve Image making. The zine won’t consist of type but only the $mes when each picture was taken. This will indicate a subtle approach to the narra$ve. The images should be self explanatory in the way they portray a narra$ve and so this is why I wont use wri$ng to back up the imagery used. The zine will be called Phase which represents $me however in a different manner. This in my opinion works well for my concept overall as it relates to the theme. The amount of leders in the name is 5 which I think is simple name that will adract readers into opening it up to see the true meaning.
Evalua$on-‐ The brief is called ‘Narra$ve image Making’ which concludes stories are communicated through imagery due to concepts or characters. To create a zine which will be presentable for the next Manchester print fair I chose a theme that was men$oned within the brief, home. To dig deeper than what I see everyday I chose a concept from something simple and created a narra$ve through $me and interiors. The format of my zine links page to page through the concept of $me and how the light changes with it through interiors as shown through my personal space. The layout is linked with squares which represent the over lapping of past, present and future which relates to $me. These overlaps also create another square which represents the actual $me in which I took that individual image at, shown on each page. To include more depth and interes$ng feature I have included type on the double page spreads where only one image is shown. The type again is based around $me and where it actually originates from that I s why I have added in the word, temporal as a main feature to educate people. The layout of my zine is simple to follow for it to make sense through only using imagery in chronological $me order as well as prompts. The eight images I have used are all similar in size however some looked composi$onally beder being bigger than others. This has no concept behind the reasoning I did this, it purely just looks visually beder to the eye. The scale I have chosen for the $mes and type is a mix of small and big fonts to create more appealing features to eye to allow the pages to compliment each other with the imagery being the main features of the zine. The typography allows the imagery to look less harsh on top of the white backgrounds this helps as I have lowered the opacity to create a grey scale which creates complimentary tones against the black digital $mes. The space that I have le` around the images is to make the pages relate to each other through using In design which already have borders to work with. The mood in which my zine portrays a upli`ing concept which links in with everybody's day to day life. As my zine is based on interiors in my opinion it relates to everyone’s individual happy place and how they spend their ‘$me’ in that area to comfort themselves. And so overall the mood is light hearted throughout the 16 pages. Overall I am content with my zine and how it communicates narra$ve throughout consistently and consecu$vely.
Bibliography-‐
‘’Every story needs some sort of secret that impels it forward. Otherwise why would the reader bother to keep on turning the pages’’
‘’A poet is someone who can use a single image to send a universal message’’