Exercise: Choosing Content

Final image, method below.

The main character would be:

• white, middle aged
• stern, angry looking, steady
• solid, serious, hardened
• brooding, dark, patient
• dogged, slow, formal
• pessimistic, resigned, sad

He would be wearing:

• a suit, dark, formal
• a tie
• black shoes
• a hat, but not inside

The furniture in the office:

• a desk and chair
• a telephone
• maybe a desk lamp, a filing cabinet, a clock

I collected visual reference through an internet search:

• fashion, hair style
• interiors
• colours, textures
• illustrations
• wartime London
• 40's detectives

Sketchbook: Visual reference 1 and mood board

I selected key words from the text:

• austere, bleak, functional, motionless, slantwise, shaft of shadow, derelict, fixed contraction, wartime, anger

From the list, I chose 'bleak' and looked it up in the thesaurus:

• barren, bare, dreary, flat, cold, grim, stripped

I was imagining a man with a shadow across his sad face- angry/sad, not soft/sad. The text says that his surroundings are austere, there's a hardness to the outlines here, no comfort, nothing soft.

This hardness made me think of a line drawing, to accentuate the man's contracted features with cross hatching to convey the monochrome bomb-site textures I had found in my research.

I was also inspired to try a line drawing after looking at the OCA students' forum and being particularly impressed by the drawings of 'Red Dirt' http://oca-student.com/node/71452.

Also, I met a Brazilian artist last week who showed me her sketchbook, which had some beautiful, flowing line drawings of figures. Since then I have tried some figurative line doodles in my sketchbook.

I decided on a limited palette of dreary green, which was evocative of the era and appeared in several images I came across in my search. The green shaded office desk lamp of this period would have given off green hues too.

I wanted to use ink, again inspired by the work of Red Dirt and also by some of my earlier mark making experiments.

So I settled on a combination of Indian ink for the outline, which I wanted to be solid, and washes of water based inks for the background and shading, which I wanted to be more nebulous and dreary.

I collected more images of men from the 40's with their faces partially shaded, as I wanted to place the character sideways, in front of the office window.

Having made a few rough sketches I also decided to draw a fairly close cropped portrait of the character,using his features to portray bleakness and leaving the office and its furniture out.

Sketchbook: Visual reference 2 and preliminary sketches

I practiced the Indian ink and water based ink combination over this pencil sketch:

And traced a line from the larger sketch on this page:

which I then outlined in Indian ink:

Having shaded the line visual with cross hatching, I applied washes of ink to enhance the shading and colour the background.

I made 2 versions.

Version 1

Version 2

I think I've conveyed bleakness quite well in both versions but the man in version 2 looks more angry than the man in version 1, who looks more sad (because of the shading in the eye brow area).

The shirt collar on the light side of both versions is not in the correct position; it should be higher up the neck than the jacket collar.

I prefer the stronger shading, the eye outline and the ink wash on the jacket and the background in version 2 so I'd choose that as my final version.

Next time I would inspect my pencil outline even more carefully for errors before applying the ink as I'm a bit disappointed about the collar position.

I'm pleased overall though.

7.4.12 tweaked collar and colour in photoshop (see top of page)

Exercise: Black and White

I chose ‘building’ and decided to draw from one of my photographs of the village, selecting what I thought would make an interesting composition to represent tonally, since it contained some strong angles and shadows.

The photo I worked from:

I made a line visual from the photo but wasn’t sure how much detail to add. I wasn’t entirely happy with the line visual as it appeared a bit stiff, but I decided to go ahead.

I also decided to work at A4 rather than A3 so that I could more easily use my home scanner and printer since I was working at night.

The line visual:

The focus of the original line visual was the middle building at the top of the first flight of stairs; obviously the stairs draw the eye here as does the slope of the roof of the foreground building.

I liked the inverted version since it was more forceful than the original.

Inverted line visual:

Once I started to collage the smaller ‘highlighting’ shapes to the image I could see why it had been suggested to work at a larger size, as it was very fiddly.

I applied more areas of foreground shadow than I had included in my line drawing to improve the sense of depth.

First blocked out version:

There were still lines visible at this stage: mostly on the stairs and also between the walls of the buildings. I liked this effect, but blocked them out as instructed, using paper for the lines between the walls.

Second blocked out version:

and using photoshop instead of paper for the stairs as I’d had enough of the collage by this stage. This is probably cheating but justifiable I reckon.

Photoshopped version:

In the blocked out image the focus is the shadow in the foreground and on the stairs, which seems to dominate the whole- so I cropped it to reduce that area and think it’s more successful as a composition.

Cropped version:

Overall, the use of blocks of black and white makes the image more powerful.

I actually prefer the first version of the blocked out image which still has lines on the stairs, as these break that big black area and lift the eye towards the centre of the picture, the stairs lack definition without them.

Lastly I inverted the blocked out image. I prefer it this way; I find it more imposing, the lack of definition on the stairs is less important and it reminds me of an alpine village in the snow.

Inverted blocked out version:

On reflection:

Immediately after I'd finished the collage, I wasn't happy at all with the image, but looking at it the day after I actually quite like it, although I still prefer the version with the lines on the stairs.

Next time I would take more time to make the first line visual more interesting by drawing it in a looser way, less stiffly, with more character, perhaps exaggerating the 'upward' perspective.

Some examples of other illustrators' work which I would describe as graphic:

Lynd Ward http://www.theparisreview.org/blog/2010/10/13/the-woodcuts-of-lynd-ward/

Beautifully dark, solid and brooding, with lots of line shading.

Caroline Andrieu http://www.hautstyle.co.uk/caroline-andrieu-illustrations/ Forcefully delicate, with precise line work and lots of white space.

Art Spiegelman http://ghostlypineapples.files.wordpress.com/2011/02/new-yorker-cover-spiegelman.jpg?w=232&h=320 This cover for The New Yorker magazine is very powerful and 'graphic' in nature although the artist has chosen barely differing tones.

Aubrey Beardsley https://encrypted-tbn3.google.com/images?q=tbn:ANd9GcTZ95sZ89061FYEOfWBJsWyaDT6eK_l_afC3QD8wLo9N2t4VSpIDg A superbly rendered figure, elegantly swirling with black blocks and lines against white.

Rani Niemi http://www.changethethought.com/wp-content/raminiemi.jpg The artist uses spots, thickish lines, blocks and perspective to great effect in this image of a collapsed Pluto.

Jesus Barraza http://dignidadrebelde.com/gallery/view/12#932 achieves beautiful textural effects in these images

Owl print, unknown artist http://data.whicdn.com/images/9014506/black,and,white,illustration,owl,j,telefons,b,w-ce0d9f08b3bbcd96029a27ea9bf8eb78_h_large.jpg I love this; the artist has used a grey background and lots of line to make a delicate image. This reinforces my view that my blocked image with the lines on the stairs and between the buildings was the most effective.

Gina Maria Fontana Siepierski http://www.fontanafreelance.com/illustrations.html

I love the strikingly simple graphic nature of 'Lightening' and 'Tea' which the artist drew with pen and India ink.

Camera http://s1.favim.com/orig/20/awesome-black-and-white-illustration-polaroid-pretty-Favim.com-204599.jpg This is a beautifully loose and humorous little graphic drawing. I wasn't able to see who the artist was.

Moonassi http://vi.sualize.us/view/70e723ded441147374427e16aee0dd00/ I find this image quite strange and spooky, probably because of the ties and mask, but I love the way the artist has conveyed the sense of lifting.

Jasper Goodall http://www.jaspergoodall.com/projects.php#3 In the New Goulston Street project the artist used black gloss paint to decorate the shop shutters with powerfully elegant graphic images of animals that inhabited ancient England.

Exercise: A subjective drawing

I wasn't really clear about the instructions for this exercise (should the new object be chosen from the previous list? Should the drawing be subjective?), but decided that since the exercise was subjective I should go with my gut feeling, so I chose scissors, made an objective line drawing and picked 'sharp' from my list of adjectives:

Line drawing:

I tried scanning some found objects (barbed wire, dental instruments, pins and a craft knife) which represented 'sharp' for the mood board, but unfortunately they didn't come out clearly when I printed the image

so I drew over the barbed wire image with silver pen and used other images cut from magazines.

I concentrated on sharp contrasts in tone and sharp angles to represent the adjective, also including finger nails, stiletto heals and spikes.

Line drawing with list of adjectives and sharp mood board:

At this point I decided that my drawing wasn't big enough so I blew it up using photoshop, printed it out and cut around it so that I could open the scissors, thus giving more of a 'sharp' impression.

I was going to use squared paper as a background because of the angles:

but once I'd collaged the magazine images onto the scissor cut out there wasn't enough contrast between the image and the background so I chose black paper instead.

The black paper had been rolled and I had a job to flatten it, but this threw up an interesting 3D effect when I released the paper having applied the first spot of glue:

Finally I collaged other elements to the scissors image to reinforce the sharp motif: the cut ribbon and the sharp nailed hand with a drop of blood from being cut by the handle:

On reflection, the addition of the extra collaged elements was probably 'cheating' since the 'filling' of the line drawing was supposed to effectively convey the feeling of the chosen adjective.

I think the accidental 3D image is more effective at conveying a sharp feeling and is also more interesting and attractive. This may also be because of the lighting, it was photographed and not scanned so I may be able to improve the final image by adjusting the contrast.

Final image following tone and saturation adjustment and 'tidying' of the angle of the base of the hand:

I still prefer the 3D image. This was a lesson in 'less is more' and the 'magic' of the accidental.

Exercise: An objective drawing

I made a line drawing of a shoe with pencil and tried to convey the texture of the suede with stippling and the varying textures of the sole, the lining and laces with different line qualities, using as little shading as possible to keep it simple.

I think it works.

It was actually very relaxing to just sit down with a pencil and carefully draw what I saw after the brainstorming experimentation of the 'exploring drawing and painting' exercise.

I'm not drawing enough and this exercise has encouraged me to start a more complex drawing.

Exercise: Exploring drawing and painting

This exploration could go on forever!

Here are my favourites:

Apliquéd

Charcoal and acrylic wash on canvas with crackle glaze and chalk over the icing

Lino cut printed with white emulsion over red acrylic and red guache. The guache dissolved into the white paint giving a nice pink effect

which was also left on the lino, an interesting image in itself

Bitumen stain on watercolour paper applied with a dip pen and brush, splattered and smeared. Coloured with watercolour, felt tip, chalk, pastel and guache.

I applied crackle glaze over the middle row and coloured the cracks with chalk and bitumen stain.

Silver ink applied with a dip pen on black paper.

Unfortunately the metallic quality of the ink doesn't scan.

Red ink applied to sheet music with a dip pen and covered with pink chalk, which I then smeared with a wet finger.

This gave a nice frosted effect, although I don't like the page overall as it lacks coherence.

Red marker pen and white painter pen, applied in stippled layers onto silver paper.

This was rather beautiful in the 'flesh', the white painter pen giving a good icing effect but sadly the metal paper doesn't scan.

Red and black ink applied with a dip pen and splattered onto newspaper.

Unfortunately the paper was too thin to handle the wetness of the ink and so crinkled.

The newspaper article was about the death of sugar cane workers so the cake image seemed quite apt.

I experimented with gas canisters before the cake exercise; mixing different colouring media with black ink applied with a dip pen.

My favourites were the felt tip and water based pastel as the flow well when water is applied over them.

Watercolour paint doesn't work over water based ink as the whole thing gets muddy.

Overall I learnt that the weight of paper is really important when choosing the materials to apply to it and that metallic finishes don't scan.

Project: Mark Making

Pencil, liner pen, metallic markers, felt tip, charcoal, ink with white marks and bleach:

I was most surprised by the different qualities and possibilities of stippling and also particularly liked the effect of drawing with pencil on its 'side'

Drawing inks:

I particularly liked the effect of overlapping the translucent colours, especially with dry brushing and printing with the roller end.

Drawing inks:

Good to experiment with nib widths, dry and wet brushing on dry and wet paper and splatter.

Betun Judaica (Jewish Bitumen stain):

I loved the smudgy effect, drawing with a dip pen and the splatter with the crackle glaze and stain on top.

This is messy stuff...it seeps through paper.

Black marks:

I made 3 rows of black squares using ink, acrylic paint and black gloss paint, with a loaded/partially loaded brush, splattering and paper towel and mixing in other elements with some, intending to over paint them with bleach and other materials, but I found them so interesting that I decided to record them as they were.

I may experiment with other materials on top or redo the exercise.

These exercises were great fun and the pieces are beautiful in themselves as well as throwing up useful combinations and techniques.

Part 2 Exercise: Writing a Brief

I forgot to post this when I did it...hence it's out of order:

Reflection:

This was a very useful exercise, good to work backwards and made me research different illustration styles.

I used what I learnt in this exercise to clarify the brief for the illustration project I'm working on with the author of the short story (we are both novices).

Part 2 Project: The 1950s

My finished illustration....method detailed below.

Stylistically, America springs to mind, because in the post WW2 recovery period they, having sustained less structural damage than European nations, were able to quickly divert their manufacturing infrastructure to produce ‘luxury goods’.

The Marshall Plan set out to ‘aid’ the economies of those European countries that would commit to capitalism and consume these non-essential items.

Hence the American advertising industry erupted (‘Advertising is about happiness...’ Don Draper, Mad Men episode 1, set in 1960), in the hope of giving everyone the itch to have their own little slice of The American Dream (on credit, without thought for the environmental impact), a right which they were prepared to defend with witch hunts and a nuclear defence programme to keep the communists at bay.

Despite seeing the drawbacks of this racist, sexist, homophobic era I love it stylistically.

General trends: clarity, elegance, lightness, gradual reduction in formality and conformity as the decade wore on. ‘Organic modernism’.

Colour: muted- beige, brown, grey, olive/dark green, yellow/mustard, orange/pink/red, turquoise

Shapes: organic, curvaceous, symmetry in furniture, asymmetry in surface design, sweeping lines and points, ovals, rounded corners

Textures: shiny, hard, wood, chrome, leather, cotton

Ideas and visual trends: abstraction, style/ function/ comfort/ luxury, glamour, fun, male and female stereotypes

Sources:

http://www.telegraph.co.uk/property/interiorsandshopping/8716420/Festival-of-Britain-Back-to-the-Fifties.html

http://www.vegaschool031.co.za/?p=709

http://www.fashion-era.com/1950s/1950s_9_timeline_chart.htm

http://www.fashionencyclopedia.com/fashion_costume_culture/Modern-World-1946-1960/Post-World-War-II-1946-60.html

H bomb http://video.google.com/videoplay?docid=8075130353722461105

Contemporary design with 50’s influence is everywhere! I counted over 20 references in this month’s Spanish edition of Architectural Digest magazine, particularly to chairs.

Also

Surface pattern and decoration, wall papers and fabrics by

Sandersons

http://www.carolinekamp.com/2011/02/fabulous-fifties.html

http://www.sanderson-uk.com/50s-wallpaper.aspx

Cath Kidston

http://www.cathkidston.co.uk/p-11620-cath-kidston-cowboy-wallpaper.aspx

http://www.cathkidston.co.uk/p-14275-cath-kidston-london-scene-cotton-duck.aspx

Orla Kiely

http://www.orlakiely.com

St Judes

http://www.stjudesfabrics.co.uk/

Festival of Britain inspired table ware and wall paper by Mini Moderns

http://www.minimoderns.com/products/festival-porcelain-tableware

http://www.minimoderns.com/products/-festival-wallpaper

Graham and Brown

http://www.grahambrown.com/us/wallpaper-style/retro-wallpaper

Beauty Products

http://fiftieswedding.com/make-up-products-in-vintage50s-style-packaging-perfect-for-gifts-or-yourself/

Reproduction furniture and accessories

http://www.vita-interiors.com/

http://www.cultfurniture.com/accessories-c13/clock-c5

Paint colours

Wayne Hemingway has created a range of Fifties-inspired paints for Crown.

Kevin McCloud is curating the Fired Earth Mid-Century Colours collection

Art

Abstract expressionist style photography by Heather Blockey http://freespaceatthewigg.wordpress.com/tag/heather-blockey/

People and Costume

Dita Von Teese and the modern burlesque movement

More detail:

People & Costume

At the start of the decade dress was quite formal: muted colours, knee length dresses with corset aided nipped in waists, high heels, pointy glasses and bras, narrow suits, hats, gloves, overcoats and scarves. Women hardly ever wore trousers. Hair do’s were still common for women and hair for men was slicked back, ideally to go with their square jaws. Women were groomed to be subservient and housebound, keeping things homely for their bread winning husbands without smearing their red lipstick or chipping their perfect nails.

With the advent of rock and roll in the middle of the decade Teddy Boys were the first teenagers to express themselves through fashion. Dress became more relaxed and less structured as the decade went on.

http://www.thepeoplehistory.com/1950s.html

http://www.fashion-era.com/1950s/1950s_9_timeline_chart.htm

http://www.sovintagepatterns.com/1950ssewingpatterns.html

http://www.bing.com/images/search?q=1950s%20modern

glasses video http://www.youtube.com/watch?feature=player_embedded&v=LT_5who36wY

Teddy Boys https://www.google.es/search?q=teddy+boys&hl=es&rlz=1C1AVSA_enES462&prmd=imvnsb&tbm=isch&tbo=u&source=univ&sa=X&ei=yaNXT--pGcOV8gPgsuiADw&ved=0CDAQsAQ&biw=1600&bih=706

Betty Page http://www.youtube.com/watch?v=JzNW7IBXL_A&noredirect=1

http://www.bettiepage.com/

Mary Quant http://www.maryquant.co.uk/top_content.html

Architecture & Interiors

The move was towards open plan living, light, bright, airy spaces punctuated with curvaceous furniture and modern art. Fitted kitchens were introduced.

The typical American motel and diner also spring to mind.

In Europe, however, the reality was mostly still drab, cramped housing for the majority with tiny kitchens which were nowhere near fitted.

Muted colours, curvy chairs, table lamps, spiky clocks and banquettes make frequent appearances.

http://www.franklloydwright.org/web/Archives.html

http://www.midcenturystyle.net/

http://www.flickr.com/photos/cshym74/2090497288/

http://www.dougnewby.com/architecture/Styles/Modern_Post-1950/50smodern.asp

Festival of Britain http://www.vads.ac.uk/learning/designingbritain/html/festival.html

Chairs http://designmuseum.org/exhibitions/online/a-century-of-chairs/1950s

Palettes and patterns http://www.colourlovers.com/home/blog/2010/01/21/vintage-interoir-design-trends-50s-kitchens

http://www.retrowow.co.uk/retro_furniture_brands.html

https://www.google.es/search?q=50's+england+interiors&hl=es&rlz=1C1AVSA_enES462&prmd=imvns&source=lnms&tbm=isch&ei=5chcT_7TMcqA8wPJs4DlDg&sa=X&oi=mode_link&ct=mode&cd=2&ved=0CCcQ_AUoAQ&biw=1600&bih=742

Art: Painting, drawing & sculpture

Pop art, pioneered by Richard Hamilton, Jasper Johns and Eduardo Paolozzi among others, emerged as a reaction to abstract expressionism.

Documentary style photography was pioneered by Bruce Davidson who showed the underbelly of the glossy US.

In contrast, pin up paintings of idealised women clumsily exposing their sexy under garments were also popular. I sound like a tight lipped feminist here, but I love these kitschy images.

Pop art http://en.wikipedia.org/wiki/File:Hamilton-appealing2.jpg

http://en.wikipedia.org/wiki/Eduardo_Paolozzi

http://en.wikipedia.org/wiki/File:Jasper_Johns%27s_%27Flag%27,_Encaustic,_oil_and_collage_on_fabric_mounted_on_plywood,1954-55.jpg

Photography, Bruce Davidson http://www.magnumphotos.com/C.aspx?VP=XSpecific_MAG.PhotographerDetail_VPage&pid=2K7O3R14QG6O&nm=Bruce%20Davidson

Sculpture http://www.independent.co.uk/arts-entertainment/art/features/exorcising-the-fear-british-sculpture-from-the-50s--60s-6287926.html?action=gallery

50sclipart.com

Abstract expressionism http://www.huntfor.com/arthistory/C20th/absexpress.htm

Pin ups https://www.google.es/search?rlz=1C1AVSA_enES462&aq=1&oq=gil+elv&ix=seb&sourceid=chrome&ie=UTF-8&q=gil+elvgren+gallery

Graphic design: posters, books, typography

Clarity of design becomes the focus, with fonts losing their serifs and company logos becoming stripped and elegant, although there’s also a trend to mix fonts and to use ‘humorous’ letter forms.

Palettes are limited and again, colours are mostly muted.

The designs on the following link are achingly beautiful to me, so stark and clean and clever.

Great graphic design timeline http://www.101010.it/storiagrafica/1950.html

http://typophile.com/node/14964

Advertising

Sexism is rife in 50’s advertising, stereotyping appliance hungry but ditsy housewives.

And cigarettes....more doctors smoke Camels and as your dentist I would recommend Viceroy! (I wish I lived in an era before fags were bad!)

There’s a trend towards hand drawn images.

http://www.vegaschool031.co.za/?p=709

http://www.fanpop.com/spots/feminism/images/23226980/title/sexist-ads-from-1950s-photo

http://www.chickenhead.com/truth/

Transport

Beautiful, beautiful British motorbikes- all that snaky chrome and black leather, but with a no nonsense utilitarianism.

Lovely voluptuous vehicles: buses for seaside trips for the masses and cars and boats for the cashed up few.

http://www.andmas.co.uk/travel_new/bikes/motorbikes.html

http://www.royal-enfield.com/

http://www.beautifulbritain.co.uk/htm/norfolk_broads/norfolk_broads4.htm

Film & TV

Typically loads of smoking, drinking and sexism were depicted but very few black people.

Gritty realism, sentimental domesticity, but also many sanitised versions of ‘how the west was won’ (by massacre and thievery).

Two Spanish films which show the stark contrast between the ‘fitted kitchen culture’ of the US and the cramped ‘newspaper as wallpaper style’ of 1950’s Spain where the fascist dictator Franco was in power.

1963 ‘The Executioner’ http://es.wikipedia.org/wiki/El_verdugo

2004 ‘Tiovivo c 1950’ set in 1950’s Madrid http://es.wikipedia.org/wiki/Tiovivo_c._1950

https://www.google.es/search?q=1950's+TV&hl=es&rlz=1C1AVSA_enES462&prmd=imvns&tbm=isch&tbo=u&source=univ&sa=X&ei=XKNXT9XTEc3-8QOxlMCPDw&ved=0CDoQsAQ&biw=1600&bih=742

http://www.crazyabouttv.com/decades/1950s.html

http://www.moviemaidens.com/

http://www.filmsite.org/50sintro.html

https://www.google.es/search?q=1950's+film+stars&hl=es&rlz=1C1AVSA_enES462&prmd=imvns&tbm=isch&tbo=u&source=univ&sa=X&ei=XJ5XT_pOjvjxA8HBhNYO&ved=0CFoQsAQ&biw=1600&bih=742

http://aslan369.tripod.com/Movie/50s/Best50.html

Surface pattern & decoration

Gorgeous, I could lose myself for hours in these geometric, doodley heavens.

Lucienne Day was a genious.

https://www.google.es/search?q=lucienne+day&hl=es&rlz=1C1AVSA_enES462&prmd=imvns&tbm=isch&tbo=u&source=univ&sa=X&ei=yp1XT9CjO8Kk8QOR9rzTDg&ved=0CDMQsAQ&biw=1600&bih=742

First I made a hybrid spider diagram/ words to pictures/ mood board as a brain storming exercise:

NB Added 19.3.12 I've just found out that the Miro piece I used as an example of 50's art was actually made in 1922/3...an example of the internet sometimes being unreliable...

Then drew some thumbnail sketches:

I also printed out more images for colour and style reference:

And made a sketch of a pattern that I found on the internet that I wanted to include in the background of my illustration:

https://encrypted-tbn2.google.com/images?q=tbn:ANd9GcS275SlfDGU4r0CJZXPavpltgp60N84lhmHOKTzSZLZo0R9jkJhYA

My illustration- 'The Dawn of the American Dream':
Reflection:

I got a bit carried away with the research for this project, it was such fun and so fascinating.

I mainly used the internet, in other circumstance it would have been great to visit a museum (Design, V&A) to see pieces in 'the flesh', I also watched a bit of Mad Men series 1, clips of 50's American films on youtube and a couple of Spanish films that the local librarian found for me.

The pictorial spider diagram/ mood boards were time consuming but were a great way of distilling the information and getting a feel for sketching the items that I wanted to included in the final illustration. They also helped me to make more connections between events and categories.

Having sketched the thumbnails I decided that I wanted to include:

• the H bomb cloud, as America committed to a nuclear defense programme at this point to defend their right to consumerism against the communists. I wanted to use the cloud as a metaphor for the 'American Dream' of an endless supply of luxury goods.
• a television, as this was a major advertising tool and colour tv was introduced in the US in the 50's. Although it is switched off its presence is prominent and the chair is facing away from it, but the figure is twisted towards it as she relaxes into a consumerist daydream.
• a woman because the scope for depicting the fashion of the era was more interesting and also because women, white middle class 'house wives', were the target of the advertisers. I took photographs of a friend in similar poses and used those for reference.
• a typical chair, I plumped for an Arne Jacobsen style
• surface pattern, as it was such an important aspect of interior design
• smoking, because it was ubiquitous and the effects on health were not exposed until later in the decade

I chose a cartoon format because it is evocative of the era and the illustration was aimed at a teenager, also I wanted to draw in a loose-ish style.

Colour-wise I wanted the 'real' environment to be a bit 'drab', lots of brown, and I wanted to depict the dream items in glorious technicolour because advertising plays on this juxtaposition.

That's also why I chose the materials-coloured pencil for the 'real' environment and felt tip for the daydream. Felt tip pens were introduced to the UK in the 50's. In retrospect the materials don't give the effect that I really wanted as they're a bit 'rough', but now that I've subscribed to Digital Image magazine I 'll be able to learn to produce the effects I want with photoshop. Ideally I'd like to remake the image when my skills allow.

Added 4.4.12: I've made a digital version of the image (see above) using a very slow method involving photoshop and illustrator, but it was well worth the effort as I'm very pleased with the result. Doubtless my skills will improve with practice. I decided to keep the hand drawn feel of the original but brightened the colours, I like the way they're 'flat', in keeping with the cartoon feel. I learnt the importance of scanning all line drawings before adding colour so that tracing the outline is easier in illustrator.

I chose to apply the pattern to the whole of the background without using perspective as it was easier but also adds to the 'surreal' effect of the dream scenario, being abstract in design.

I'm a bit concerned that I might be guilty of plagiarism with the use of this fabric design, which I found on the internet, because although I adapted it to fit the space and changed the colours to make it more 'drab' and simpler to draw, it's still recognisable as somebody else's work. I will check on this.

I chose to write the title free hand, with a mix of styles, as was prevalent at that time but in retrospect I would have got a more polished result had I opted to add the title digitally using different fonts.

Overall I'm happy with my image, the woman looks relaxed and happy in her reverie, her clothes and accessories are typical and I have included elements from most of the categories mentioned in the exercise. I left out film and TV and could have included images in either the dream cloud or on the TV screen if I had planned it better.

Email responses from tutors regarding plagiarism:

Hi Judy  Always good to check these things but I think your gut instinct is correct.

It's only plagiarism if a student is trying to pass something off as their own work.

The students work is clearly making reference to historical source material within

the context of the exercise,  and she's identified that the designs belong to

somebody else. All above board and perfectly appropriate for the exercise in my

opinion. 

all the best Christian

On 14/03/2012, Judy Brown wrote:

Hi Christian,

I received this email and wondered what you thought. I don't see that there's an

issue but I thought i'd better check!

Best wishes, Judy