Tim Knowles designed helmets with a pivoting wind sail attached at the top that uses the direction of the wind to guide the person wearing the helmet on a journey. The wind walker is guided solely by the wind and creates a route which is captured on film. These journeys have been completed throughout the countryside in England, as well as on walks from Charing Cross in London. Knowles will return to the studio afterwards, and refer to the GPS attached, to create an image representing the route he took part in. There was also a group of 50 wind walkers who followed this experiment and were recorded live through an app to create a live drawing of the walk. 

I found this is a completely different way of making someone partake in a creative experiment. The wind walker has no choice but to follow the wind and they are using their whole body to complete this journey. It is evident that the person participating in the experiment won’t necessarily have a smooth journey, and is likely to collide with buildings, cars, walls etc. This is further displayed in the drawings made once a walk has been completed. But parts of the city’s construction are acknowledged and revealed through this process and there will never be a walk identical to another. It’s an interesting task to set someone, because not everyone would want to give full control of a project to the weather. Some might disagree with this idea, others might have a disability and aren’t able to cooperate. I definitely like the concept and think it’s an interesting method to help someone become more creative. 

Act 2 compelled us to design an ‘experimentation pack’ for another student on our course. The idea was to gain research and growth, as well as influence creative working behaviour on someone else. Before I started designing my pack, I looked at ways people have designed tasks for others. 

One of the designs I looked at was the Oblique Strategies that have been created by Brian Eno and Peter Schmidt. Oblique Strategies are a deck of cards in a black box that contain statements, or in other words, working principles that can help guide someone in the right direction when currently stuck with ideas. If, for example, you are stuck in an artistic dilemma you can reach into the deck at random for a possible solution.

The cards consist of methods such as “Don’t be frightened to display your talent” or “Would anybody want it?”. I was impressed at how conveniently they are designed to be able to fit almost anyone’s problem. The cards can be interpreted in a variety of ways, which almost gives you more than one solution to your problem. They can be adapted to anything and so you just need to figure a most suitable resolution for yourself. The cards themselves have been designed in a pretty simple way, with a single instruction written in a 10-point sans serif face on one side and the other side is covered in black. Although this may not look the most fascinating, they are presented in a clear way and give guidance towards almost any problem. 

As our outcome for Act 1, we are to show all of our work produced in the related workshops and tasks in a ‘container’. This container could either be chosen or built and could vary from being an archive box to a suitcase. For me recently it has been important to recognise all different types and forms of illustrations. Having said this, I wanted my box to represent a type of illustration that I haven’t been able to create myself yet or show in my work so far. 

My container is covered in maps. Maps are a source of information for our surroundings. We use them to navigate and make sense of our location and whereabouts. Through the use of simple patterns and lines they give order and help us understand. I find maps are created in an aesthetically pleasing way but are also rational and analytical. Once I came across this box that was covered in geometric lines and roads I thought it could be the perfect container to display my illustrations, because I felt like it almost gave order to the random illustrations that are all part of Act 1. 

The hand in exhibition we had for the containers was very effective. It was incredible to see everyones containers displayed in our studio. What I love about studying a design course is seeing the outcomes from a brief. I find it incredible to see how everyone interprets the same brief in such a diverse way. I was curious and intrigued to look at other peoples work and see what inspired them for this project. The feedback we received for each other was very positive and I feel that everyone enjoyed this ‘exhibition’. I acquired compliments on my style of work and ideas for the project. Below are examples of other students containers. 

Before we were briefed on Act 1, we were given an ‘automatic writing’ sheet, as can be seen above, and 20 minutes to fill the sheet with 96 words of our choice. We were advised not to put too much thought into each word and try to fill it up swiftly and instinctively. The words I chose fluctuate between adjectives, feelings, objects and many more. 

During Act 1 overall, we were challenged to develop our visual language. This included reducing our usual habits of image making and instead working with our  instinct. I found this concept quite difficult to grasp if I’m honest, because usually I will spend a lot of time thinking about what I want to create and how to create it. 

I think instead of just creating a large number of illustrations, I was focusing too much on trying not to literally be interpreting my words from the extraction sheet. I made sure I didn’t literally interpret my words into an illustration that would depict the exact same image, and rather think about how words relate to other words and what type of connections they have to each other. I was considering responses to the words such as feelings, senses, emotional and atmospheric responses. 

I realise that the work was expected to be quite abstract, which I think I struggled with slightly, but the task has definitely made me start to think more abstract, even if it’s not that obvious in the work I’ve created for Task 4. This is something I’ll consider within my next tasks and feel that I may find this easier now that I’ve realised this myself.

The following work is some of which I’ve produced from the different tasks we were set in Task 4. I used a wide range of materials and mediums including pencil, pen, fineliner, ink, watercolour, pastels, collaging and printmaking. 

Illustrate the words with 5 letters:

Lines

Noise

Shape

Order

Space

Style

Illustrate the words with 8 letters:

Confused

Material

Location

Illustrate the words beginning with T:

Tone

Taste

Time

Illustrate the words that you resonate with:

Expressive

Subtle

Mood

Illustrate the words that make you think of home:

Relaxing

Plant

Comfortable

Connection

Illustrate the adjectives:

Play

Movement

Sport

Illustrate the words that are objects:

Angle

Pattern

Illustrate the words that make you angry or upset:

Uneasy

Difference

In preparation for Act 1, I read up on a few different artists. I will explain in short paragraphs what interests me the most about the way each of them work.

Jackson Pollock is seen as an influential American painter. He has a very abstract style and detaches line from colour in order to redefine the categories of drawing and painting. His ‘action paintings’ were created in a loose way where he placed the canvas on the floor or leaning against the wall. Instead of using a paint brush, Pollock would let the paint drip from a paint can and add detail using sticks or knifes. This style can be seen as a surreal movement, as it incorporates his expression, emotion and mood. Jackson Pollock was willing to take creative risks within his work, inspiring upcoming artists to work against set boundaries in the art world.

Number 23 1948 Jackson Pollock 1912-1956 Presented by the Friends of the Tate Gallery (purchased out of funds provided by Mr and Mrs H.J. Heinz II and H.J. Heinz Co. Ltd) 1960 http://www.tate.org.uk/art/work/T00384

Lubainia Himid creates paintings, prints and often installations that celebrate black creativity. She thinks of herself as a “painter but at the same time as a cultural activist”. In her installations and cut outs she tends to use found objects that represent a given history and then creates a history over the top that isn’t necessarily talked about. This could involve black British representation or identity. Lubainia often doesn’t want her paintings to be hung on a wall, but rather have her pieces on display around the room. They then become a body that surrounds the observer and gives an inaccurate effect of feeling like you could gather and arrange them differently as you please. Her idea is to have the work involve the onlooker rather than just being gazed at.

She was mainly influenced by her mother who was a textile designer. This meant that she was regularly involved in observing colour, other peoples clothing, galleries and shops. She studied Theatre Design, which I find visible in the way she displays her work, as you could almost imagine it being on a stage. Once studying this it also helped her gain an interest in using theatre as a political tool.

Wolfgang Tillman specialises in photography, video, digital slide projections and recorded music. As a photographer, his main interests lie in observing his surroundings. Although his photographs include portraiture, landscape and intimate still lives, he manages to push the boundaries and create abstract artwork.

It seems as though he is interested in the transformations of the world, and in order to transform, one has to engage. He does this by capturing politics, sexuality, homosexuality, freedom and its limitations, youth culture, the music scene and fashion. He constructs a new perspective for the viewer to see the world from another point of view.

Terry Winters is a painter and printmaker. His style is very abstract and in his work he explores layers, patterns and symbols. He rarely produces a continuous fluid line, instead he separates the lines into sections, with a sort of scratchy movement, which will often show how he develops a painting piece by piece. The layered process is made out of materials using oil paint, wax and resin. They allow him to be in control of the single shapes in each painting, and lets him change ideas along the way. Winters’ choice of colour also has an effect on the sense of movement that is subtly suggested by the direction of the shapes. His inspiration is usually drawn from the natural and technological world.

Album #5 1988 Terry Winters born 1949 Presented by the artist 1991 http://www.tate.org.uk/art/work/P20055

Monkey Puzzle 1987 Terry Winters born 1949 Purchased with assistance from the Eli Broad Family Foundation 1988 http://www.tate.org.uk/art/work/T05076

Morula III 1983-4 Terry Winters born 1949 Purchased 1984 http://www.tate.org.uk/art/work/P77063

Nigel Peake tends to explore the relationship between illusion, surface and representation. He developed a spontaneous, rhythmic repetition and mainly uses pens, pencils, wax crayons, watercolours and inks. When considering pattern and colour in his drawings, he will focus on composition. Looking at the way things are composed in the every day will give him motivation, for example hanging out clothes to dry. Once the wind catches hold of them they sway, shift and twist as a form of composition and transformation.

After observing something he is intrigued by, he uses what he has to reproduce and understand it. He may not necessarily capture it in its exact form or rather shape but a version “of it”. When creating a piece, Peake will go through the process of mark-making, looking at what he has designed, and then he will return to the drawing and react on it once again until it’s a “collection of decisions, mistakes and moves.”

Emily Schofield

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As a graphic designer, Emily Schofield combines her interests in fiction, contemporary culture, art and politics to influence her design practice. Looking at some of her portfolio work, I was extremely captivated by her digital designs and creative expression that she demonstrates in her pages.

She tries to focus less on style and expression, because “I only find meaning in my work when I see its larger role in society – whether thats functionality, or an ability to provoke reaction, or simply to communicate a message.” I think occasionally it’s important for artists to be able to put aside their usual way of working, especially when working for a client, and therefore agree with Emily in the sense that style is sometimes less important and instead to focus on conveying a message.

Her process involves “picking up on an atmosphere and trying to deepen the associated feelings, or, emphasising an existing message through visual and physical design.”

This book explores the way in which reportage art has turned into visual journalism. Reportage illustration reveals layers of cities cultural, social and political compositions through recordings of real events and situations. It is a form of art that is applied to things of significance happening in the world. As well as sketching the settings, the artist is also expected to capture a story through visual language. Reportage illustration is most commonly used in courtrooms, social events, news reports or documentaries. It differs from photography, because a reportage illustrator will directly transfer his thoughts into the pictures surface, allowing the artist to be selective about what they choose to portray.

Once I picked up this book it almost immediately inspired me to go straight out and start sketching live events as practice. My aim was to practice the skills that are required to be able to draw at a mass participation event. I started this off by sketching on buses, in cafés and other public places. I then went to a live music event in Shoreditch, as well as attending a protest in Oxford Street. The things I considered before I went are listed below: 

• Am I drawing in my sketchbook or bringing a drawing board with loose / rolled paper?
• Consider using coloured paper
• What media will I be drawing with? Wet or dry?
• Using ink or watercolour could be a better way to capture active and fleeting moments
• Will I be working in low light?
• Have I worked out where the best position is to draw?
• What do I want to achieve at this event?

Going out and actually starting to capture the events has definitely helped within my practice of work. I had the chance to practice drawing in a busy environment, but I was also learning to investigate current issues, locations and subjects in a journalistic way. As Jenny Soep recommends, it is useful to “…draw every day. No matter what you draw, it will keep up the hand-eye coordination useful for spontaneous documentation.” Although I found it difficult to start with, in terms of finding a suitable place to sketch, being able to use all my materials and actually trying to create good work, I feel that with more practice I will gain more confidence. 

I was looking forward to being inducted to the letterpress workshop, as this is a type of printing that I haven’t tried before. Letterpress used to be the old fashioned way to print before computers and digital printers arose. The letterpress workshop at LCC also holds one of the UK’s largest collection of lead and wood type.

Our induction was fairly short, because we were quite a large group. We were taken through the safety hazards and main information, before being able to create a small print on the less difficult press. What I found most intriguing was learning about spacing / composition and seeing the incredible variety of different type faces.

Now that we’ve had the induction, we are able to speak to the technicians whenever we have an idea that we would like to explore further. The best thing to do is have a rough sketch of what you’re trying to achieve before speaking to them, so that they are able to give you the most helpful advice.

Hayward Gallery 

This exhibition brought together sculptures and installations that explore perception and space. Although this exhibition doesn’t directly link with the projects I’m currently creating, I thought it would have an impact on the way I view space and layouts in an exhibition. The artworks have been constructed from translucent materials, including glass and polyester resins, as well as reflective materials like stainless steel, polished bronze and even engine oil. These creations work as optical devices that enable the viewers to see their environment in new and unexpected ways. The audience is able to look at, as well as through pieces, bringing attention to the spaces around. Many artworks also require the viewer to move around them to be able to gain a new perspective, involving the whole body rather than just the eyes, disorientating our initial encounter of the work. 

The first piece we came across, when walking into the exhibition, was an extremely large reflective and rotating mirror that was hung up on the wall. Beanbags were placed in the area in front, where visitors had a chance to relax and observe the artwork and everyone in the surrounding environment. “You meet other people when you enter the mirror pieces.” The artist Jeppe Hein believes that mirrors are a tool for communication and dialogue. I found that although I was looking at an artwork, it was more important to consider the space we were surrounded in and the people involved over the piece itself.

On the walkway that connects two floors together, there was chain linked curtains that hung from the ceiling. In order to reach the top floor, one must step through the chains. This piece influences the way the viewer moves through a space, as they are not only using their eyes, but their whole body. 

This large installation created by Alicja Kwade made me question my environment and my initial instinct about space. A lot of the time I felt like I was almost going to walk into myself or a piece of the work while exploring the piece. Kwade placed double sided mirrors, and objects across the floor, inviting the viewer into the space where she addresses the relationship between reality and illusion. Alicja pointed out that she hoped it would be “more like a feeling or an experience than a solid sculpture.” 

Richard Wilson is arguably considered to be the artist who managed to alter our sense of space in the most impressive way. He is known to rearrange, disrupt and replace spaces in order to achieve this. He flooded an entire room with used engine oil, leaving only a narrow walkway through the middle. The black, dense texture reflects the space above, and creates an almost infinite environment. “We all have preconceptions about architectural space, about rooms, about buildings… and if you can do something that unsettles those preconceptions, you can generate a whole new way of understanding your place in the world.” The wall comes up to waist height and there is a sense of isolation as you walk towards the centre of the room. Everyone walked into the room on their own, as the centre is extremely narrow. This also highlights the feeling of isolation as you are surrounded by nothing but reflections of the room itself. It emulates an undisturbed stillness and I almost felt a little disorientated, but the experience was like no other.

This book by Darrel Rees provides a great deal of advice on how to start up a career as a freelance illustrator, including guidance on how to make a good first impression, building up a portfolio, approaching clients and much more. There are many useful tips, that are presented in an optimistic but also realistic way about the business, which I will keep in mind and read back over. 

P. 12 “The presumption that drawing and illustration are one and the same thing is a common misconception… the main problem is a failure to understand that different skills are required to create a good commercial illustration.”

This quote grabbed my attention, because it reminded me of the discussions we’ve had in our Studio and CTS sessions, where we discussed what an illustration is. The most important aspect for me was that an illustration doesn’t necessarily have to be a drawing. Ideas and concepts can be presented through a wide range of mediums. Drawing is not vital to illustration, but could be used, depending on the ideas being communicated. I think this idea has also been highlighted by Rees in the above quote, because drawing isn’t necessarily the only skill required for an illustration, other skills could include IT skills, being able to work to a brief, creatively solving problems and having a creative imagination. Adding these essential qualities and the variety of mediums that can be used to create an illustration underlines the idea that drawing and illustration are not one and the same thing. 

P. 16 “If you don’t listen, process, consider and weigh up advice from other people, you will be in danger of learning nothing. You have to be open to constructive criticism and guidance, but ultimately confident enough to make your own mind up.”

I think this is very important advice for anyone creative. Constructive criticism is vital for improvement, even if you may not agree with it. The feedback you gain gives the artist an opportunity to find out more about the person they might be working for and how to make them a satisfied customer/client. It also forces you to think about the way you work and if there needs to be any further development. Another essential factor in accepting criticism is not taking the advice personally, not everyone may like the work and its important not to be offended, but rather be able to use the criticism and respond with improvement.

There was also a great deal of information on how to start building up your own network. The one piece of advice that stood out to me the most was starting to ask either teachers or practitioners to suggest someone you could show your portfolio to and get each person who does this to recommend someone else who might be interested in seeing the work. If you manage to gain a new contact with every person you ask, you slowly start to build your own network. This particularly stuck in my mind, because it’s something that I can start doing now, rather than being advice for once I finish my course.