Persons of note - Jazz record album covers!

Coleman Hawkins. Label: Asch Records 1940
Design - David Stone Martin

Jazz at Philharmonic, vol 3 Label: Mercury/Cleff, JATP 1951
Design - David Stone Martin

AltoSaxes Label: Norgran 1035
Design - David Stone Martin

• I've been looking at old Jazz record album covers and thought that it was similar as to what I am doing for this project. I particularly like these covers due to the minimal and striking aesthetics. (very jazzy!) Though what caught my attention was the combination of colours, shapes and line work.  Despite the simplicity and lack of detail, I could still tell what the album cover is trying to depict. 

• I did more tests on shapes and patterns, as well as simple embroidery. I thought that texture emphasises certain tone/mood, which I think it does. As what I am currently exploring is more towards solid, clean and flat textures (quite graphic design based/2D)

• I tried working with text, though I feel that it just obstructs the image as a whole and I kind of like the clarity of just shapes and colours. As well as having the audience, decipher a bit and try to make sense of the intention/message.

• Though I am still not sure how I feel about shape-driven concept. It's rather vague as it could just mean anything. I still need to think through and plan a suitable approach in terms of communicating my person. 

Persons of note - more tests and paper cuts

more roughs

Quite like the brightness of the shapes.

roughs for the stamps + postcards

• I am quite satisfied with how this is progressing. Though I didn't expect to go towards a more figurative direction (still unsure whether I would do so). I would say that I am quite fixed with the solid colours and patterns. I feel that it is most effective in terms of communicating an abstract concept (sounds).

• I think that all I need to think about is composition and the intent of these imageries. Since it is quite conceptual/broad to a certain extent, it might be difficult to truly communicate sounds through shape? Perhaps text might help? or an action?

A2 - tests

A bit too crowded. Hard to focus on a
the main subject matter.

Tried focusing on one aspect. 

• First of all, A2 is bigger than I predicted since I have been making roughs on an A4 sketchbook. It is strange in a sense that enlarging my designs makes it look empty? I suppose it was quite challenging when I had to consider the use of space. It was either too crowded or empty.

• Though I quite like the translucency and the combination between line work and solid shapes (they compliment each other/balances out). Though looking at it again, I might actually incorporate 'everyday sounds' and actions as that is what John Cage himself consider as music. I just need to consider how I would visually communicate this. 

Persons of note - feedback

2nd calendar. This is literally stuck on my bathroom door. Need to keep track
of my days. 7 days until the next crit.

• It's slightly nervewrecking since I still have no clue on how the product would look like and I only have about a week left to further develop my ideas and create the final pieces.

• It's piecing my ideas together that is consuming my time. Though I feel that I would invest more time on developing  before committing to the final design. I feel that it was something I didn't really consider during the previous briefs.

Shapes! Texture! Colours! Yes! Yes! Yes!

• There were points such as looking at electronics and 'moving out of sync' that I thought was interesting. Electronics/circuits doesn't really relate to Cage's practice, though the idea of movement might be a good way to approach this.

• Today's crit also made me think of what makes an exceptional illustration? I personally think that I still can't properly answer that question. Though I believe in the phrase: 'quality over quantity' (unless you can do both)

• Quality, being the thought and development placed into the work. I suppose that's where you can see how and why a certain illustration is made. As well as being able to see authorship/tone of voice is something I find fascinating within illustrations. I am pretty sure there are hundreds of illustrations (even more) and being able to show that, a distinct character/authenticity is quite difficult.

Looked into collaging. 

Thought of illustrating sounds from
his compositions (Music of Changes)

Wanted to try out layering. I feel that the shadow
creates a 3D illusion. I feel that the layering works
as I might use different elements to communicate
different sounds.

things to focus on

• Personally, I think I have got some ideas on what I would like to focus on -Cage's concept of music. He stated in an interview that music is sound and noise to him. 

• He stated that he prefers sounds and noise as they are constantly different/distinct, whereas music basically consists of chord patterns, repetition. This actually made a lot of sense as to why his practice is very conceptual/experimental.

what do do next

• work on roughs and design within a frame. Also think about composition! Texture would work alongside shapes and colours. It might work well? it might not? I feel that it is particularly hard to visually communicate something that isn't visible nor tangible.

• Though I personally think that I still need to develop on using visual means to represent music/sounds. I still haven't been able to effectively communicate that. (still seems vague/figurative)

End of Module Student Evaluation

BA(hons) Illustration

Module Code: Visual language OUIL404 Visual Language

Name: Diandra Wardhana

Student ID: dw262485

Please identify where the evidence for each of the learning outcomes is within your submission and how well you feel you have met the learning outcomes. Please also grade yourself in relation to the learning outcomes using terms:

> poor, satisfactory, good, very good, excellent (Note- This is so that the team have an understanding of how well you feel you have done. It is not an indication of the actual grade you may receive)

Learning Outcome	Evidenced where? Blog, Sketchbook, Roughs Final Illustrations, development sheets etc.  (No more than 75 words)	Your grade Using words: > poor, satisfactory, good, very good, excellent
4A5 Demonstrate an awareness of visual literacy and visual language in relation to drawing, image making and the visual investigation of ideas.	Sketchbook, roughs	Good
4B4 Identify and evaluate appropriate principles, processes and media in relation to set problems and individual creative concerns.	Blog, sketchbook	Good
4C5 Develop and present a body of work that demonstrates an ability to practically investigate and apply identified visual principles through visual research.	Sketchbook, roughs, final illustrations	Good
4D4 Effectively communicate informed opinions and critical awareness through appropriate methods of documentation, reflection and self-evaluation.	Blog	Good

Evaluation (See guidance below for more information)

You are required to write a 500 word evaluation of this module.

As a whole, I felt that Visual Language was different to the other modules as we weren’t given set briefs and was quite ‘free’. I personally think that throughout this module it had given me several eye-opening experiences and room to evaluate my own practice. In terms of the practical aspect of this module, I enjoyed the idea of simply focusing on image making and exploring different approaches when creating illustrations. Ways in which I never had thought of before. For instance, I had a misconception of collages for being rather chaotic or random. During one of the short collage briefs, I never realised how much thought and consideration was sometimes needed to put into the composition, content etc. I was actually surprised that I may have grown to like working with shapes and colours, as I was slightly too comfortable working with line quality and details (before getting into this course). The sudden interest in a more playful yet crafted approach to image making was surprising. Though I felt that I should be looser and simply explore different ways of creating images. Perhaps I would find new ways of creating illustrations? However, what stood out to me the most was actually trying to incorporate my own practice or tone of voice. I felt that this was something I have yet to truly capture within my own work. Though throughout the module, I noticed subtle elements or instances where I thought I quite like that particular approach or the media and aesthetics of it. I also thought that learning chunks of image making was helpful. For instance, the sessions we had on composition, it made me more aware and consider planning, crafting and composition into my practice. Whether it is deliberate or not, the things I learnt from these sessions would somehow ripple through the other modules. Though there are times when I felt that I needed to contribute more during discussions. I felt that I was not getting the most out of those sessions, particularly when we had those handout discussions. I personally think that not only do we share thoughts, but also new perceptions or ways of seeing in which perhaps I would never had thought of. In terms of my practical work, I wished that I could have been more ambitious. Perhaps aside from exploring around various ways of image making, I should have spent more time developing and put more attention to some works (when necessary). For example, the 3D and Lens brief and the fan-art poster. Moreover, this module not only taught me ways of creating images but also designing. For instance, the composition and framing briefs, those particularly involved thinking and making various roughs. Even until recently, composition is something that I find challenging and would avoid at all cost if it were possible. Though I learnt that it was essential as it could affect various elements such as the tone, mood, how the audience would read the image etc. I thought that the sessions in particular were insightful and I got to know other creative practitioners. I do try not to get too caught up on wanting to create work like other practitioners and try to develop my own practice. Although the contextual aspect of it would often be a starting point as to how I would approach a certain design problem or brief. Generally speaking, it was an enlightening module as we were not really restricted to set briefs and where we could just enjoy image making.

Persons of note - Shapes! Sounds!

kind of gave up reading the whole sheet.

ended up just marking the tempo. 

• I tried and played Cage's scores on the piano (even though they aren't complete) to get a feel of his music. It sure was different than any other music scores I played as his were very disconnected and chunky. 

• Although his compositions aren't exactly melodic, I could get flow and chord progressions. Though what I realised is capturing those slight changes in the key signatures and generally the new sounds appearing with every note.

• I tried exploring shapes, colours and movement from his music. Though I wasn't too satisfied with the first few pages as it felt vague and doesn't really capture the 'sounds' as effectively. They ended up just looking like abstracts shapes with no exact meaning.

Qubik - Joe Gilmore

Artist's monograph for Tauba Auerbach, Folds

http://www.qubik.com/

• During the tutorials, I was recommended to look into Qubik. I actually really like their work, even though it is very graphic design based. Though there is something about the modern and clean aesthetics of it. There is this mechanical movement going on within their practice in which I thought was interesting (particularly with record label covers)

• It's an interesting aspect to look into in relation to my project. I might actually want to look into creating shape-driven work that has a sense of flow/movement to them. 

• Looking at their work, I am actually considering doing this digitally? However, the draw back is that I might lose the texture/organic feeling. Though referring back to Guzem Vural's work, the analog texture is still prominent.

Record label identity and 12" record sleeve designs for Ge-stell, SF
- Qubik (Joe Gilmore)

Music score for Two Pieces for the Piano

abstract?

I have no idea where I am going with this

Trying to visualise 'silence'. It's hard.

• I tried out sitting in 'silence' (went to a park and a cinema before the movie started) and get a feel of John Cage's 4'33" composition. I did listen to his silent composition, though I was curious whether there could truly be pure silence? 

• Though I feel that what he is trying to convey through this silent piece is to take notice of the 'sounds', tone and atmosphere around us. However, I personally consider it as noise instead of music. Though it is an interesting notion/thought.

4'33" (1951) - https://www.youtube.com/watch?v=yoAbXwr3qkg

• I think that I might do a few more pages worth of exploring shapes and colours to make more sense of visually representing 'sound'. I feel that I still haven't nailed it, to truly capture the feeling. It's either too vague or just doesn't visually communicate the idea well. 

• Perhaps I wouldn't go for the abstract/conceptual approach for the final piece since it be quite difficult to communicate Cage's legacy. 

• Though thinking about the media and how I would create this, I might actually go fully analog. Since I am looking more towards sounds and translating it into visual means, I would also incorporate another way of perceiving -touch/feel. If I were to work digitally, it would be flat and lose that element.

Persons of note - Love her work! Why did I not come across her sooner?!

Gizem Vural 

New York Times - Book review section. Paradise Lodge
by Nina Stibbe.

Cover for Guardian Review about
culture appropriation.

• It's quite Bauhaus-y and  jazzy. I suppose it's because of her use colours and the overlaying of geometric shapes. 

• Colour pencils (?). I still can't pin point the media she used. Though I really like the analog aesthetics of her illustrations. It juxtaposes the rigid and static shapes with the soft textures.

NAUTILUS - about myths of cursive handwriting in education

• Really like the loudness of it. I feel that it suits the feeling of a 'crowded mind' = education. 

• Her use of shapes, lines! Something I would like to explore for this particular project. I feel that I should just experiment and play around with shapes and visually depicting sounds/noise/Cage's music scores. 

• Looking back to the notes from the tutorial session, I still need to figure out Cage's principles. Could it be more than just music? Is it just about capturing sound, tone and noise? I feel that I still haven't found a concrete grounding on Cage's practice to be able to visually communicate it. 

My attempt

• I did a few graphic notations based on Cage's prepared piano compositions. It turned out quite abstract/conceptual. I am just wondering if it might be too vague and difficult to actually understand Cage's practice from these visually simplified version of his compositions. 

• Though I feel that Vural's practice seemed to have influenced my sketches. I do quite like the textures from the China marker more than the coloured markers themselves. Not only does the shape help describe the sound, but also the texture whether it's a fluid or rough tone!

• I think that my current concern is how I could link his conceptual ethos and somehow depict it through image making. 

Gizem Vural (really love her work. obsessed.)

http://www.gizemvural.net/work

http://littleteashi.tumblr.com/