Contextual Practice Week 3 / Reflection 18/09/19

1) What struck you most about the designers we saw in the presentation? Why?

What struck me most about the designers we were shown today was how their designs were not overly complex - something could be so simple yet still so effective. For example, Jean Jullien’s illustrations were almost naive in style, and he often used a limited colour palette, but the results were still extremely powerful all the same. After the Paris terror attacks in 2015, Jullien’s ‘Peace for Paris’ illustration became a viral symbol of unity - he simply combined Gerald Holtem’s well-known ‘Campaign for Nuclear Disarmament’ icon (synonymous for peace) and a representation of the Eiffel Tower. The resulting, monochrome, image was straightforward but bold, conveying a strong message of solidarity.

2) What does image-making mean?

Image-making is creating a visual representation of a certain theme or message, using illustration, photography etc. The image needn't be realistic; often works can be simplistic to make them more impactful or easier to undertstand.

3) How can an icon affect your life?

Icons are instantly recognisable symbols and can affect our lives in numerous ways. They can fill us with a sense of familiarity, making us feel more comfortable and connected to them, almost as if they represent something more legitimate. Messages and concepts can become engrained into our minds, all through association with a certain icon.

4) In which of the projects did you find it easier to find a communication? Why? Which one was more complicated and why?

I found the projects that had a strong visual, combining both the brought photos and illustration, the easiest to find a communication in. By using photos and drawing, the projects became more personal, telling a story specific to that person, as we were asked to do. I particularly liked Tenzin's project (pictured below).

He took a fairly ordinary photo of people's feet in a queue but through his drawing he turned it into a narrative about enrolling at UAL, feeling out of place amongst the masses of students wearing expensive designer clothes. He conveyed his story in a clear and concise manner - he didn't overcrowd and overcomplicate the image as some people did - making his story-telling particularly effective in my opinion. Some people just stuck loads of images down to fill the page, not necessarily communicating a story, while others just used drawing - their projects could look visually pleasing but the stories were often a fantasy, failing to make that personal, relatable connection. Sometimes it can be best to work with what you know.

5) How did you use graphic elements, fonts and materials to create your illustration?

Firstly, I looked through the photos I took of London to see if any stories sprung to mind. I decided to combine fruit in a grocery store with a canopy from outside a hair salon to create a fruit stand - from this visual I decided on a story to communicate: my fear of oranges! I used a simple line drawing to finish off the stand and also create the grocer. I then placed an image of myself (from a gallery trip) at the forefront of the page, using composition to create the sense that I was running away. The bold font of the 'ARGHHH' hopefully emphasised my fear, while the contrast with the smaller, more ordinary font should display the over-reaction to a normal situation.

6) Which designers/illustrators seen today stimulated a reflection on your work? Why?

I think Jean Jullien's work relating to modern life could help me develop my work further. If I had more time, I think I would work with a more limited palette - the images I used were very vibrant with lots of colours, but if I used Jullien's approach, I would simply just use white, black and orange. This would highlight the fruit more and may even eliminate the need for text; Jullien's work often communicates his chosen message through illustration and expressions only - simplicity is key.

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CONTEXTUAL PRACTICE

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