designresearch3fr

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W12 readability edits

Numbers rearraneg and embolded for more visual clarity removed hyphenation and floagters from text

rearrranged portrait to be pulling frog Adjusted background for more whitespace

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W12 Grammer checker and print out

I ran my essay and my object text through an online grammer checker

I also printed out my essay to read aloud and correct one final time

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WEEK 12

classfeedback and teacher feeback

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Week 11. Feedback essay 1. Ive taken this all into account

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WEEK 10

CURRENT DRAFT

i removed all color for a more comicy look. I might add it later but for now I'm working in black and white and focusing on shapes

Detail I like: those little 4 point stars I love to draw, they show up a lot of places in my work. usually in abstract pieces or with fantasy or nature.

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Week 9

The Creative. As a designer my influences are vintage and pastoral styling, retro genre art, internet art and comic illustrations. The western comic influence is direct, the eastern comic influence is through artist models. My work is often handmade and against over industrialization, with an emphasis on personal expression, and using media to explore emotion. There's a focus on aesthetics, for the creation of pleasure in viewing. The aesthetics I create are often aspirational but unattainable, showing western beauty standards and old world aesthetics, though not values. I also need to expand my practice into design and absorb more ux ui, not for any thematic purposes, but the practicality of my career.

The Creation. My work is often illustrative, digitally or traditionally. This is thanks to my childhood love of comics and internet communities, which had me drawing from a young age.  My work is often inspired by classical paintings, in like with queer influenced pastoral movements like cottage core, contains queer themes and a focus on aesthetics. The human and nature are my most common subjects, both for their aesthetics and their different themes. I use my humans to display emotional and interpersonal themes, while nature is often displayed as valuable or existential. Either a key part of tiny moments that make like worth living or larger and scarier than the humans. The latter depiction ties into my retro genre pulp inspirations, often inspired by existential eldritch horror like HP Lovecraft.

I'm worried about the body depictions in my work though, since they fit such a narrow perspective of beauty. It's very inspired by classical western beauty standards, which can be harmful to pursue.

My design library also needs to be expanded. There are a million and one ways to be illustrative and meaningful through design in the same way I do illustrations but too often I stick to my comfort zone. I want to be a designer so I need to step outside of my comfort zone.

Creative communities. Most obviously are European, western and (indirectly) eastern comics. European comics have the most artistic Influences, artists like Moebius, Herge and Kerascoet. For their fantastical, even lined, efficient and yet technically mastered styles. Western comics have the most story influenced (excepting Mike Mignola's high contrast horror art style) with their character first interpersonal stories. Eastern comics influence my indirectly via some of my favorite online artists. Anime styles have heavily influenced Online art communities, since the internet used to be a nerdier, niche gathering place for socially unacceptable hobbies which have now gained mainstream acceptability alongside it.

Genre fiction in many forms has a heavy influence on me. The heightened reality bypasses the emotional distance between fiction and us and allows for poignant metaphor. Pulp and horror fiction are especially important to me and feature heavily in my  artistic influences. From modern societally critiquing horror, to HP Lovecraft to classic exploitation cinema. My affinity for horror also ties into alienating high concept 70s-80s fantasy.

If I could work with anyone I'd like to work with old comic legends like Mike Mignola and the two artists behind Kerascoet. These influence writer artists are the blueprints of individualistic, creative driven comics

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Week 9

pallet 1

some of my fave colors! so my faves I don't feel drawn to them. with the cut out comic style this seems like the overly done grunge album covers of the 90s. Which is a little too retro for my tastes.

pallet 2. More dreamy and y2k. Has one of my fave colros: orange red! Isnpired by the flowers in my old fairy books. heavy discoloration on my skin as referance to some of my fav artist styles and my feeling about my body

color bending the images. Overall I like it less, it has no real connection to me

I dropped the color in the new iterations because it make it look too mcuh like old 90s grpahic design in a bad way. i'm having trouble pinning down a direction, do I'll just do the layout in balck and white as a large variety of comics do, especially japanese. I'll add color later oif it suits.

Completely accidental, but that how a lot of my fav indie western comics worked, for example: hellboy. No resources for color, so they'd be black and white. Only reprints would get colorized then printed with color at a high cost. Once they were already popular and proved sucessful.

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Marked in red: object

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sketch and notes

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3 thing's I'll change

1: Updating my premier idea: the comic collage room. Adding a tux paint interface is both relevent to my childhood and makes it stand out a bit more. Maybe I could make it all in kid pix?

2: Find more less surface level/redunant items. EG: the earrigns and pants

3: I finally added the final 4 objects needed to complete the 20. I tried to make them tie more into the themes i discovered in my formative

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recent work map

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W5 ideation update

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W5

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Maori Illustrators

Chris Slane https://www.slane.co.nz/comics.html

Blood Samoan https://www.bloodysamoan.com/

maori mermaids https://maori-mermaid.myshopify.com/collections/prints

Saramoana https://saramoana.com/collections/prints-collection

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W4

Whats material thinking?

material thinking is working from practice to theory, rather than thery to practice. theoretrical modles mold materials to a preconceived theory. But material thinking is allowing the meathods to create whatever they create and theorizing from that.

Choose one of the creatives from the lecture and go thru their material thinking?

David Sinfield. He found old abandonded buildings and then discovered their history when they were once booming factories. he then went on to interview ex employees to get their perfectives. his typography was inspired by the induistrial grime and dust of the environment, allowing it to speaks for itself.

How can material thinking be seen through your work?

my work has strangs of nature, handcraft and revivalist works. This is inspired by the fantasy works I was explosed to as a child. I also illustrate primarly in pencils and acrylics rather than digitally. the natural variation of physical materials provide easy visual noise. More control over the material. meanwhile natuture and revivalsim are nostaligic, escaping. they are also a rebelion against modernism. they are also interesting ways to express reality by exaduration.

How would

Bolt, B. (2006) Materializing pedagogies. Working Papers in Art and Design 4 Retrieved from URL http://sitem.herts.ac.uk/artdes_research/ papers/wpades/ vol4/bbfull.html

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W4 Inspiration Brainstorming and Ranking Effect