“…[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
