Sunday 27 April 2014


“…[Visual Communication] also explores the idea that a visual message accompanying text has a greater power to inform, educate or persuade a person or audience…” –Kenneth Louis Smith (1)









Various notes and research...


I have really struggled to settle on a subject that I wanted to research, that would ultimately enhance my own working process. I wanted to look into Visual Communication in more depth as Illustration is essentially communicating effectively with images, and the more successful you are in portraying the right messages the more successful your images will be… I also wanted to look at how various artists convey different types of atmosphere or emotion in their work, for example, happiness, sadness, loneliness, humour, whimsical, otherworldly, jolly etc… How altering aspects of an image like colour, perspective, line, composition, lighting will have on the effect of the images visual language, and how it is perceived by its audience. It will mean that for the experiment to be as fair as possible, and to properly examine what elements work appropriately I will have to use the same image and subject matter for each experiment, this also means it will be clearer to analysis its effectiveness.


Planned outline of enquiry for Research Experiment:

v  Research Visual Communication in more depth…
v  How people perceive images…
v  What elements effect how an image is viewed…
v  Pick an image to explore these elements…
v  Research various Artists/Creatives and what methods/processes they use to communicate different emotions and how effective they are…
v  Use these to try and alter my image…

v  Evaluate their effectiveness in my own work…






More notes, research and ramblings...


“…The evaluation of a good visual communication design is mainly based on measuring comprehension by the audience, not on personal aesthetic and/or artistic preference as there are no universally agreed-upon principles of beauty and ugliness.” – Jorge Frascara (2)  

There are various aspects that need to be considered when studying Visual Communication, such as the basic physics of light, the anatomy and physiology of the eye, cognitive and perception theories, colour theories and semiotics to name a few. Understanding how people see, and what elements the brain processes when viewing an image, as well as signs, symbols and the meanings behind these, help us to effectively analysis others images, as well as successfully produce our own.

Aldous Huxley was an English writer born in 1894. He wrote various books such as ‘A Brave New World’, ‘Island’, ‘The Art of Seeing’ and ‘The Doors of Perception’. (3) He suffered an illness, Keratitis Punctata, in 1911, which ‘…left [him] practically blind for two or three years’ (4) and his vision never fully recovered. He tried to overcome his disability with physical exercises, teaching himself how to see more clearly, without the aid of glasses.

“The more you know, the more you see.”- Aldous Huxley

The method he came up with for clear seeing was Sense, Select, Perceive, Remember, Learn, Know, and is often visualised in a circular diagram as it is a continuous pattern.

The more you know, the more you sense. The more you sense, the more you select. The more you select, the more you perceive. The more you perceive, the more you remember. The more you remember, the more you learn. The more you learn, the more you know…

“…The process of sensing, selecting and perceiving takes a curious, questioning and knowledgeable mind… The goal of a Visual Communicator isn’t simply to have an image published or broadcast. The goal of a Visual Communicator is to produce powerful pictures so that the viewer will remember their content. Images have no use if the viewer’s mind does not use them…”- Paul Martin Lester (5)

There are four basic perception cues the human brain processes when viewing images. These are Colour, Form, Depth and Movement and need to be considered thoroughly when designing a memorable image.










Research notes on visual communications, list of artists/creatives to look into etc...

There are three ways of describing colour: objective, comparative and subjective. “Colour is a highly subjective and powerful means of communicating ideas… no two individuals see a colour in exactly the same way” (6)

Objective method of describing colour “rests on the assumption that the perception of colour is simply the result of various light wavelengths stimulating the cones along the back of the eye’s retinas.” (7)

Comparative method of describing colour is when one would compare a colour to an object or entity for example green as the colour of grass, but one person’s conception of the colour green isn’t necessarily someone else’s.

Subjective method is when “a person’s mental state or association with a coloured object strongly affects the emotional response of the message…in their drawings, children tend to prefer abstract colours to shapes and lines…lighter colours tend to be viewed as soft and cheerful, and darker colours have a harsh or moody emotional quality about them…” (8)

“Colour easily draws attention to itself. Used the right way, colour can emphasise an important part of a message; if used casually or too often, colour can be a serious distraction.”- Paul Martin Lester (9)


Form defines the outside edges and the internal parts of an object and has three parts: dots, lines and shapes.

Gestalt means form or shape in German. The Gestalt theory of visual perception, by Max Wertheimer in 1910, concluded that “…the eye merely takes in all the visual stimuli and that the brain arranges the sensations into a coherent image. Without a brain that links individual sensual elements, the phenomenon of movement would not take place…” (10)

“The whole is different from the sum of its parts.” (11)

It takes a combination of sensations, not individual sensual elements, to create perception as we know it. Later it was “…refined to conclude that visual perception was a result of organising sensual elements or forms into various groups. Discrete elements within a scene are combined and understood by the brain through a series of four fundamental principles of grouping that are often called laws: Similarity, Proximity, Continuation, and Common Fate…”

§  Similarity “…states that, given a choice by the brain, you will select the simplest and most stable form to concentrate on. This principle stresses the importance of basic shapes in the form of squares, circles and triangles…”

§  Proximity “…states that the brain more closely associates objects close to each other than it does two objects that are far apart…”

§  Continuation “…rests on the principle, again assumed by Gestalt psychologists, that the brain does not prefer sudden or unusual changes in the movement of a line. In other words, the brain seeks as much as possible a smooth continuation of a line…”

§  Common Fate “…is when a viewer mentally groups five arrows or five raised hands pointing to the sky because they all point in the same direction. An arrow or hand pointed in the opposite direction will create tension, because the viewer will not see it as part of the upwardly directed whole…” (12)


“…A sign is simply anything that stands for something else. Almost any object, action or image will mean something to someone somewhere…”- Paul Martin Lester (13)


Semiotics is the study or science of signs. There are three different types of signs according to the research of Charles Sanders Peirce who was an American philosopher. These were Iconic, indexical and symbolic and they are not necessarily mutually exclusive.

§  Iconic Signs “…are often the easiest to interpret because they most clearly resemble the thing they represent…”

§  Indexical Signs “…have a logical, common sense connection to the thing or idea they represent rather than a direct resemblance to the object…”

§  Symbolic Signs “…are the most abstract. Symbols have no logical or representational connection between them and the thing they represent. Symbols have to be taught, which means social and cultural considerations influence them greatly. Because symbols often have deep roots in the culture of a particular group, with their meanings being passed from one generation to the next, symbolic signs usually evoke a stronger emotional response from viewers than iconic or indexical signs…” (14)


“…Visual Communication contains image aspects. The interpretation of images is subjective and to understand the depth of meaning, or multiple meanings, communicated in an image requires analysis. Images can be analysed through many perspectives, for example: Personal, Historical, Technical, Ethical, Cultural or Critical…” – Paul Martin Lester (15)


§  Personal Perspective: “…a gut reaction to the work based on subjective opinions…”
§  Historical Perspective: “…a determination of the importance of the work based on the mediums timeline…”
§  Technical Perspective: “…the relationship between light, the recording medium used to produce the work and the presentation of the work…”
§  Ethical Perspective: “…the moral and ethical responsibilities that the producer, the subject and the viewer of the work have…”
§  Cultural Perspective: “…an analysis of the symbols used in the work that conveys meaning within a particular society at a particular time…”
§  Critical Perspective: “…the issues that transcend a particular image and shape a reasoned personal reaction…” (16)


There are a lot of elements to consider when creating and analysing the successfulness of an image. I now need to look into a variety of artists and deconstruct a sample of their imagery, considering all aspects of the pieces, and recreate what I think they have done successfully into my own work, and analysis the effect it has had on a particular image and its effectiveness on a viewer in portraying the type of atmosphere or emotion I wanted to convey.   



Thumbnail designs for potential images from FMP...


I have decided to use a couple of the double pages in my children’s book to experiment with a variety of processes/techniques that other artists have used to portray certain emotions or atmospheres and use those elements replicated in my own work and evaluate the successfulness of each.

The first phrase to be illustrated is: ‘Frankie and Clive jumped aboard their ship…and sailed in pursuit of the Scotties…’ This is when she begins her imaginary adventure, using various items she has found in the attic, to rescue Button-nose from the Scottie dogs… The ship is created using a cardboard box and an umbrella… This should convey the transition from reality to her imagination, be exciting and cheerful, with an element of magical/otherworldly.

The second phrase is: ‘Inside… and snoring loudly, was a gigantic scaly dragon…’ this image is near to the end of the book, and should represent aunty Iris (the sleeping dragon) asleep on the sofa in the living room, the Scotties with Button-nose, and Frankie and Clive. This image should convey a sense of suspense or tension, but not too scary as it is a children’s book.

When researching artists, I will have to look at images or visuals that convey the atmosphere or emotion that I am looking to portray in my own work. 

I made a list of various artists that I had found along the way, and set about researching them further and then trying to pick a couple of different ones to study more closely. I think I have subconsciously taken elements that I admire or think work from most of them, especially analysing them using what I have picked up from the theories of visual communication.

Leonard Weisgard (1916-2000) was an American illustrator, with more than 200 children’s books he did work for. He was ‘…influenced by cave paintings, Gothic and Renaissance art and avant-garde French Illustrators of the 1920’s… [And] used a wide range of colours and media in his books, including gouache, poster paint, crayon, chalk, decoupage, stencilling and pen and ink…’ (17)




First Image by Leonard Weisgard..




Second Image by Leonard Weisgard...



Third Image...




Additional Images...


The first image of his has a simple colour palette, four complimentary colours plus the use of grey and white. This gives the image a unity with the different objects and perspectives he has used. There are a lot of detailed elements across the whole page which means the viewer is forced to look closely at each area of the image. He uses multiple perspectives which enhance a dynamic composition. The uses of bold and simplistic shapes are appealing and easy to identify. There is a clear narrative. And the use of layers means the image has a great depth to it, all of which helps the viewer to interpret the visual language portrayed.

The second image is a similar style, and originally from the same book He has used silhouetted shapes in bold, bright colours. A larger range of colours and tones used in this image, some clashing, gives the image a bustling, hectic vibe, crowded and loud. Again a lot of details to take in, the canvas is split diagonally and the multiple perspectives draws the eye across.

The third image is a lot darker, and the marks are a lot looser, less constrained. This creates an illusion of movement and depth with the variations of tone. A much simpler composition. Creates a moody atmosphere.

Will try and use some of these techniques on the first image… So I will try stencilling with a limited, but vibrant colour palette as I want to portray excitement and adventure, as well as the ‘imaginary’ aspect the image; it also signals the jump from reality to make believe… Perspectives could make it more dynamic, and I will want to introduce more depth to the image.




Stencils with gouache...




detail in sepia...



I didn’t really like this process, but some aspects ie. The box and umbrella I think works quite well. Overall I think the image was too basic or simple to work this way. In his images there is a lot going on, they are busy, and that helps to create depth and interest. I think I could use a simpler or limited colour palette, with only a few set colours throughout the sequences.


The next artist I have looked at is Chris Van Allsburg (1949- ), an American Illustrator and Writer of children’s books such as Jumanji in 1981, and The Polar Express in 1985.

“I use many different things [mediums]. I use charcoal pencils. I use coloured pencils, pastels. I use a little watercolour sometimes. I use pen and ink, and I use something a little different for each book because that way it is always interesting for me to make the pictures.”- Chris Van Allsburg (18)





Images by Chris Van Allsburg...


The first image is a tonal illustration with a variety of textures and a great attention to detail. It has a balanced composition, the stairs drawing the viewer through the image. He has used light and shadow to create depth. It portrays a subtle but magical atmosphere, haunting and tranquil.

The second image also uses dramatic light and shadow which is something that is very prominent in all his work. Through the composition of objects in the foreground and background creates the depth. It is detailed, and gives the viewer the opportunity to really examine the various parts of the image. It gives a soft, peaceful or lonely atmosphere.

The third image has a similar use of light and shade to create depth and volume in the piece. Again textured detail enhances the variations of surfaces. A full composition, there is not much white space in the image, but it is balanced, and easy to read.





Pencil sketches focusing on light, shade and tone...


I have then decided to create a couple of images where I used tone rather than any colour to create the various surfaces, paying attention to the light and shadow in the illustrations.

I decided to use pencil and nothing else to work with because I want to simplify the process. I haven’t used just pencils in a while, and the change was actually a good thing. It meant I had to really focus on my drawing skills, and try to create subtle tone variations and the illusion of depth and form. I think there is some successes in this technique, but it would improve as I improve my draughtsmanship skills further. I could also work on having a greater variation of tonal values which will hopefully create more depth and form within the frame.

I then wanted to try some tonal work with heavier materials such as gouache, biro and ink. They have greater impact because the contrast of the tonal areas is more obvious. The structure of the room is more detailed and the perspective gives depth.





More tonal tests...


Honore Daumier (1808-1879) produced small sculptures of people that he then drew from. I really liked this approach, as the drawings made from the sculptures were observational and expressive. I wanted to try to make some models of a couple of my characters and then use those to draw from…


Models by Daumier...

I love the texture and expressions created by the clay, and as 3D forms you can grasp light and shade on the objects more realistically.



Aunty Iris...




Aunty Mim...




This process helped a lot with thinking in form and shape, from any angle, and I found it a lot easier to draw from these than straight from of my imagination.



Observational Drawings from sculptures...






Images by Chloe Elliott...

These three images are by Chloe Elliott, a young Illustrator that has had a couple of children’s books published. What I loved about her images was the space that she leaves around the drawings; it is a loose style which often has more expression and movement. The characters are fun and child friendly, with enough details to make them interesting…








Examples of characters in pencil/watercolour...








Examples of Characters in watercolour/pen and ink...
Plus tonal experiments...

This process helped with my character design. The watercolour meant I could get more subtle colours and a greater variation on tone and texture.  The next thing is how I would place them on a page, and whether details of the room were included or just the white space of the paper, or a combination of both…









Mock double-page spreads...


These were a couple of double page spreads from my book that I wanted to incorporate some of the techniques I have researched and how it effects my working process and the outcome. I wanted to incorporate more white space but areas of detail and the room itself.

Some of these work well I think, or that it has potential. It has highlighted a couple of areas I need to work on; Colour palette selection needs more consideration, I need to look at tone and suitability as well as limiting the number of colours used, as this will be a way for the individual elements to blend and unify. It also means that more attention to tone is required as this will help to give it depth and form. The consideration of design layout needs to be better, I need to remember text and typography and the placing of these…

I really struggled with this project, but I really found looking into the theories behind visual communication very useful. It made me look at images in a more analytical way, and what elements combined to help the viewing process. I have a lot to do in terms of my own practice to make really effective images, focusing on colour, form and depth specifically. My general drawing ability needs to improve and how much I plan and consider before creating an image. This in the long run will help me a lot and make projects a lot more successful, consistent and efficient. 



Bibliography:

1.        Smith, K. L (2005) Handbook of Visual Communication: Theory, Methods and Media, pg.123, ISBN 978-0-8058-4178-7
2.       Frascara, J (2004) Communication design: Principles, Methods and Practice, pg.68
3.        Thody, P. (1973) Huxley: A Biographical Introduction, Scribner, ISBN 978-0-289-70188-1
4.       Huxley, A (1939) ‘Biography and Bibliography (appendix) After Many a Summer Dies the Swan (1st perennial Classic Ed.) Harper and Row, pg243
5.       Lester, P.M ed.(2003) Visual Communication: Images with Messages, Wadsworth, ISBN 0-534-56244-2
6.       Lester, P.M ed.(2003) Visual Communication: Images with Messages, Wadsworth, ISBN 0-534-56244-2
7.       Lester, P.M ed.(2003) Visual Communication: Images with Messages, Wadsworth, ISBN 0-534-56244-2
8.       Lester, P.M ed.(2003) Visual Communication: Images with Messages, Wadsworth, ISBN 0-534-56244-2
9.       Lester, P.M ed.(2003) Visual Communication: Images with Messages, Wadsworth, ISBN 0-534-56244-2
10.   Lester, P.M ed.(2003) Visual Communication: Images with Messages, Wadsworth, ISBN 0-534-56244-2
11.     Lester, P.M ed.(2003) Visual Communication: Images with Messages, Wadsworth, ISBN 0-534-56244-2
12.    Lester, P.M ed.(2003) Visual Communication: Images with Messages, Wadsworth, ISBN 0-534-56244-2
13.     Lester, P.M ed.(2003) Visual Communication: Images with Messages, Wadsworth, ISBN 0-534-56244-2
14.    Lester, P.M ed.(2003) Visual Communication: Images with Messages, Wadsworth, ISBN 0-534-56244-2
15.    Lester, P.M ed.(2003) Visual Communication: Images with Messages, Wadsworth, ISBN 0-534-56244-2
16.    Lester, P.M ed.(2003) Visual Communication: Images with Messages, Wadsworth, ISBN 0-534-56244-2