Weeks 9-10: Political Cartoon Satire

Task 1: Caricature

Caricature is the process of exaggerating features on a person, but retaining a likeness. Gerald Scarfe, in particular, likes to exaggerate a person’s features or turning them into something else entirely (1). Scarfe was famous for caricaturing Margret Thatcher. Through his caricatures he was able to change her entirely into an axe due to the exaggeration of her nose. (2)

 

Scarfe’s Caricatures of Thatcher (2)

 

For this task I decided to caricature Donald Trump. Working in similar style to Scarfe I decided to work directly on to the paper in ink. This gave me the opportunity to try and understand how Scarfe works, as there aren’t any chances to make mistakes. I took care in making sure that I didn’t stretch the caricature so far that it wasn’t recognisable as Trump anymore. For my caricature I wanted to emphasise Trumps chins and how it always looks like he is about to spill out of his suit.

Trump Caricature

Task 2: Anthropomorphism

Anthropomorphism is the attribution of human characteristics to a non-human being or object (3). Anthropomorphism works well for political satire cartoons as throughout history it has allows momentary relief from the real world.

I found this task enjoyable as I’ve always imagined a certain politician as tortoise and this task gave me the opportunity to anthropomorphise him. Similarly, to caricature I didn’t want to change him too much as I felt he may not be recognisable any more. I found the end result of this experiment unnerving as personally I could still see the politician within the anthropomorphised creature.

Anthropomorphised Farage

Task 3: Angry Pen with Ink Lines

The Angry Pen method is a way in which Ralph Steadman creates his pieces. By splattering ink, paint and other media on to paper, Steadman sometimes manipulates where he wants it to go by blowing it. (4) Using other media he then works into it.

Illustration of George Orwell by Steadman (5)

This experiment was great in that I could be experimental with the way I work, as normally I work very cleanly, trying make as minimal mess as possible. But with this experiment I was able put ink and paint on the paper and then work into it. I found working in a similar way to Steadman quite interesting as it showed me that political cartoons do not need to be neat and refined.

 

Own Experiment using Steadman’s Methodology

 

Task 4: Pastiche of famous art

Another methodology of cartoon satire is that of taking a famous piece of artwork, and changing it so that it reflects current events.  Steve Bell uses this methodology in his own work, mainly recreating famous Star Wars Scenes with famous politicians as the characters (6).

Steve Bell Comic Strip for the Guardian (6)

For my experiment I chose to do a pastiche of Harry Potter (7). In particular replacing Voldermort with Trump and Umbridge with Clinton, referring to how the audience hated Umbridge more than Voldermort. Initially I found it quite difficult to think of a piece of art or scene from a film that I could apply to current events. Although I found difficulty in choosing an idea, I felt that the methodology itself was enjoyable as I was able to take something serious and make it more light hearted – something which political cartoon satire aims to do.

 

My own Pastiche Experiment. Pencil and Digital Colour

 

 

References:

(1)   Scarfe, 1986

(2)   Kinghorn, 2015

(3)   Heller, 2008

(4)   For No Good Reason, 2012

(5)   Steadman, 1984

(6)   Bell, 2016

Bibliography:

Bell, S. (2016). Steve Bell’s If … Darth Tony Blair appears to Jez Bi Wan Corbyn. [online] the Guardian. Available at: https://www.theguardian.com/commentisfree/picture/2016/nov/28/steve-bells-if-darth-tony-blair-appears-to-jez-bi-wan-corbyn [Accessed 4 Dec. 2016].

For No Good Reason. (2012). [film] United Kingdom. Dir, Charlie Paul.

Heller, S. (2008). In Praise of the Anthropomorphic. [online] Design Observer. Available at: http://designobserver.com/article.php?id=7537 [Accessed 4 Dec. 2016].

Kinghorn, K. (2015). Gerald Scarfe’s controversial Margaret Thatcher cartoons on show – BBC News. [online] BBC News. Available at: http://www.bbc.co.uk/news/uk-england-tees-31711778 [Accessed 4 Dec. 2016].

Scarfe, G. (1986). Scarfe by Scarfe. 1st ed. London: H. Hamilton.

Steadman, R. (1984). Between the eyes. 1st ed. London: Cape.

Week 7-8: Concept

Task 1: Decalcomania

Decalcomania is a method of putting paint between two smooth surfaces. The removal of the surfaces creates a suction which in turn creates unique textures and design. (1)

Upon discovering this technique, Max Ernst (a German born surrealist) coined it the term Decalcomania and used it a lot within his own practice.

Max Ernst’s ‘Europe after the Rain’ (1)

To create my own experiment, I squished paint in between two pieces of paper. Using Photoshop, I cut out shapes to create a surrealist setting. I enjoyed creating this landscape as it’s a method I would not normally use, but allowed me to work in more surrealist way.

 

My own Decalcomania Experiment

 

Task 2: Frottage

Another technique used by Max Ernst, Frottage is the method of taking rubbings of textured surfaces (2).  Ernst would use frottage as way of making larger compositions.

Max Ernst’s Forest and Sun (3)

For my experiment I took rubbings of various surfaces to get a variety of different patterns and textures. I chose to work digitally with the rubbings as I was able to change the colour of the shapes I had cut on Photoshop. Using a low opacity colour I was able to keep the lines of the rubbings. As well as the rubbings I included use of the brushes within Photoshop to break up the frottage technique a little bit.

Own Frottage Experiment

Task 3: Speed Painting

A main form of concept art is that of Speed Painting, where artists work quickly to create visual ideas in the development of a project (4).  Normally Speed Painting occurs within a time frame, any alterations afterwards and the finished is not considered a speed painting. (5)

For my attempt at speed painting I decided to give myself the time frame of an hour to see how much I could do. For a first attempt at a speed painting on a digital platform I was pleased at how it was beginning to turn out, although if I had given myself longer I feel I could have made it more realistic with the shading and colours. However, this would have stopped it from being a speed painting.

End Result of Speed Painting

Task 4: Character Design

Another major part of concept art is character design for games, films, television shows etc. A character can be driving force in an animation, comic book, children’s book etc.  (6) A character designer may usually create four drawings of a designed character. A view of the front, a view of the side, a ¾ view and a view of the back. This normally happens for the 3D modelling purpose for an animation. Character design can also develop the different positions the character might be  in (7).

For my experiment I decided to try and design a character and draw it out four times of the different views. When developing my character, I found that the character’s personality started to show in the designs. I enjoyed designing my own character,as as an illustrator it’s a valuable skill to be able to design characters. Although I found it enjoyable it was challenging to try and draw out the character from the different view points without changing the character.

 

Own Character Design Experiment

 

References

(1)   Backus, 2014

(2)   Max-Ernst, 2016

(3)   Phelan, 2013

(4)   Raymond, 2014

(5)   Stewart, 2016

(6)   Bancroft, 2016

(7)   Poehler and Docter (2015)

Bibliography

Backus, J. (2014). Beyond Painting: The Experimental Techniques of Max Ernst. [online] Artsy. Available at: https://www.artsy.net/article/jessica-beyond-painting-the-experimental-techniques-of-max [Accessed 21 Nov. 2016].

Bancroft, T. (2016). What is Character Design? Characted Design Defined. [online] Taughtbyapro.com. Available at: http://taughtbyapro.com/what-is-character-design/ [Accessed 21 Dec. 2016].

Max-ernst.com. (2016). Forest and Sun, 1927 – by Max Ernst. [online] Available at: http://www.max-ernst.com/forest-and-sun.jsp [Accessed 21 Nov. 2016].

Phelan, M. (2013). Max Ernst, ‘Forest and Sun’, 1931, graphite frottage on paper. [online] Mags Phelan. Available at: https://magsphelan.wordpress.com/2013/02/24/research-point-max-ernst-frottage/max-ernst-forest-and-sun-1931-graphite-frottage-on-paper/ [Accessed 21 Nov. 2016].

Poehler, A. and Docter, P. (2015). The art of Disney Pixar Inside Out. 1st ed. San Fancisco: Chronicle Books.

Raymond, J. (2014). Concept Art: What Is Concept Art And Why Is It Important?. [online] Artistry In Games. Available at: http://artistryingames.com/concept-art-concept-art-important/ [Accessed 21 Nov. 2016].

Stewart, C. (2016). 10 Top Speed Painting Tips. [online] Creative Bloq. Available at: http://www.creativebloq.com/art/10-top-speed-painting-tips-71621260 [Accessed 21 Nov. 2016].

 

 

Weeks 5-6: Editorial

Experiment 1: Illustrated Article

Experiment 1

Illustrated Article

For this experiment I chose to illustrate the Mind article ‘A must-read? Really? Make me, says Oliver Burkeman’. After reading it I liked the idea of being able to illustrate the term ‘culture cantankerousness’. Immediately I thought of a stubborn person refusing to listen to suggestions. I wanted this experiment to reflect the article. I began with the initial idea of the person and suggestions. The final outcome of my idea didn’t come out the way I had hoped, so I began to change it slightly. I found that I was able to illustrate the stubborn person, but struggled with incorporating the suggestions into the illustration. Eventually I decided that the suggestions would work best within speech bubbles. I found that producing my own editorial illustration of this article was a lot more of a challenge I had anticipated. Although I had thought of an initial idea it took some time to develop it.

Experiment 2: Fraser and Artzybasheff Inspiration

Experiment 2

With these two illustrators I wanted to fuse their methodologies together. Eric Fraser tends to work in black and white tones (1), whereas Boris Artzybasheff uses a more surreal method to his create his illustrations. My initial idea was to illustrate the idea of people watching through a camera lens. Inspired by Artzybasheff’s surreal editorial illustrations my experiment is a fusion of a woman’s body and a camera for a head. I then used a methodology preferred by Fraser, the use of black and white tones. With my experiment I used pen lines as a way of building up the shading, similar to that of Fraser, on the illustration.

Experiment 3: Conceptual

Experiment 3

Using the guides provided, my third experiment wanted to focus on the theme of global warming. I found that using the hourglass and world guide would emphasise the idea of time running out. My natural style of drawing is a lot different to this as I prefer illustrating more realistic and observed themes, so to try and illustrate a concept, that has widely been illustrated, uniquely was a challenge for me. That being said, I took inspiration from Aude Van Ryn’s illustrations (2) and his ability to illustrate conceptual themes in a way that is understandable to all. For my experiment I wanted to illustrate global warming in a more abstract way, but with a human element to it.

Experiment 4: Creating a GIF

Previously editorial illustrations would be more physical, printed in newspapers and magazines. With the digital platforms so accessible editorial illustration has adapted. Over recent years GIFs have become popular as it challenges illustrators whilst making websites more interesting and interactive. Through researching GIFs (3), I found that many would only have a small part animated, but it would work effectively. I knew creating a GIF would be a challenge so I wanted to keep it as simple as possible. However, once I started I found that creating a GIF was a lot easier than I had first thought. Taking inspiration from illustrated GIFs I created an illustration on Photoshop, challenging what skills I already had, and animated a small section of it.

References:

(1)The Guardian, 2016

(2) Byers, 2012

(3) Tang, 2014

Bibliography:

Byers, M. (2012) Great editorial work by Aude Van Ryn. Available at: https://illustrationage.com/2012/08/27/great-editorial-work-by-aude-van-ryn/ (Accessed: 7 November 2016).

Tang, K. (2014) 20 insanely talented GIF illustrators you should follow. Available at: https://www.buzzfeed.com/kevintang/20-insanely-talented-gif-illustrators-you-should-follow?utm_term=.kap5yz1Zv#.nk64aZMRp (Accessed: 7 November 2016).

Unknown (2016) Illustrator Eric Fraser: Radio times legend – in pictures. Available at: https://www.theguardian.com/artanddesign/gallery/2013/apr/11/eric-fraser-radio-times-in-pictures (Accessed: 7 November 2016).

Weeks 3-4: Sara Fanelli

Experiment 1: Exquisite Corpse

Exquisite Corpse

Exquisite Corpse

For my first experiment I created a creature using the exquisite corpse game (along with three other people) (1). I chose to use this method as it creates surreal creatures which look like they could have been inspired by the Dada movement and in turn could have inspired Fanelli. This method’s outcomes were unique as many of them started out with animal heads. Although it created unique outcomes, it was surprising to see some similarities such as the bird heads and tentacles. This methodology could work as a Sara Fanelli piece, as even though it is a surrealist drawing it allows it to be developed further, such as using Fanelli’s preferred methodology of collage.

Experiment 2: Merging of Work

Onion’s Great Escape (2)

Another way of creating surrealist pieces is to merge pieces of work together. For my own experiment I chose to do this methodology slightly different. Instead of putting together several different pieces, I photocopied a double page from my sketchbook and began folding it. I felt that by doing it differently I would be able to use a form of paper engineering, as by folding it in on itself I was able to create a distorted version where lines don’t match up and parts of drawings are missing. Fanelli uses paper engineering within her work, most noticeably in The Onions Great Escape (1) where the removal of the character from the book creates a disappearing book.

Merging of Work

Experiment 3: Fairy Tale Character

Pinocchio (3)

Fanelli is a children’s book illustrator has illustrated Pinocchio (3) using her preferred methodology of collage. Working in collage is not my favourite choice of methodology, however I thought I would have a go at trying to create a fairy tale character using collage. When looking at Fanelli’s collages I could see that she uses a range of methods within collage, such as brush strokes, pen marks and making different textures. For my own experiment I chose to recreate The Little Mermaid. I was inspired by Fanelli’s use of mark making and textures so I decided to create a printed background using bubblewrap. I used a variety of materials for the body but chose to use another painted texture, similarly to the background, for the hair. I wanted my experiment to be easily recognisable yet unique and I feel, although I would not have chosen collage as my first methodology, that I was able to produce it.

Collaged Fairy Tale Character

Experiment 4: Collage with Quote

Dear Diary (4)

When creating collages, Fanelli uses the Dada methodology of photomontage within her work. She uses photographed eyes instead of drawing them on, which creates a more surreal effect. Her book Dear Diary (4) uses a variety of techniques to create an informal feel to the child audience as the mark making and collage effect makes it less refined. I wanted to have a go (again) at creating a collage. This time I wanted I wanted it to centre around a quote, as many of Fanelli’s work uses text or quotes. Also within this collage I wanted to include photographed eyes as I felt that it would give me an idea in to how Fanelli works. For my experiment I used the quote ‘What good are wings without the courage to fly’. I wanted to illustrate the idea of a child with wings wanting to fly but not having the courage to do so. Similar to Fanelli’s scratchy style of drawing I decided to make marks on the collage. The marks, although smudged, illustrated the child stood on the ground looking up.

References:

(1) Sheri, 2008

(2) Fanelli, 2012 

(3) Collodi, Fanelli, and Rose, 2010

(4) Fanelli, 2001

Bibliography:

Collodi, C., Fanelli, S. and Rose, E. (2010) Pinocchio. Somerville, Ma: Candlewick Press (MA).

Fanelli, S. (2001) Dear Diary. London, United Kingdom: Walker Books.

Fanelli, S (2012) The Onions Great Escape. London: Phaidon Press.

Sheri. (2008). Exquisite Corpse (aka the drawing game). [online] Available at: http://mslk.com/reactions/exquisite-corpse-aka-the-drawing-game/ [Accessed 25 Oct. 2016].

Weeks 1-2: Chris Ware

Chris Ware’s style of work is different to my own, as I feel his work is more refined with use of clear lines and flat colour. Not reserved to clear lines and flat colour, Ware also plays with the concept of time as well space in his work, either accelerating the progression of the comic, or decelerating it.

Experiment One – Time and Space

(1) Big Tex (Chris Ware)

(2) Gasoline Alley (Frank King)

 

Whilst looking at this particular methodology of Ware’s, I looked at ‘Big Tex’ (1) as a starting point. Within the fifteen squares Ware shows the time spaced over a number of years with the inclusions of the seasons as well the life and death of characters within the fifteen squares. Further research found that Ware was influenced by Frank King’s Gasoline Alley (2). King’s work focused on the use of space within a number of squares. Although from looking at the comic, it is possible to suggest that King included the concept of time but not on a large timescale. From this Ware could have taken inspiration and included time as a more noticeable feature.

With my experiment of this methodology I wanted to have a go at incorporating time and space as well as I could. Similarly to Ware, I tried to include the seasons, or at least the different weather, as I felt that was a good indication of time passing. My experiment includes the idea of a bridge through the different stages of its construction, from its beginning to its modernisation. I felt including this would enforce the idea of time passing.

Experiment 1

 

 

Experiment Two – Diagram

(3) Quimby the Mouse (Chris Ware)

Before looking at Chris Ware’s work, I had not seen this type of methodology before. I initially found it confusing to look at, as there wasn’t one way of reading a diagrammatic, non-linear sequence. After researching into this, Ware’s ‘Quimby the Mouse’ (3) used this particular methodology to show possible emotions, reactions etc…  Initially I found it difficult to think of an idea that would work well for my own experiment.

 

Experiment 2

 

For my experiment I chose to draw a diagram of my halls of accommodation from last year as I felt there were more possibilities. Admittedly this isn’t my style of working, as I like my work to have a linear sequence within the narrative, so I struggled with developing the diagram. Similarly to Ware’s work I used a black and white colour palette, but instead of using ink, I used fine-liner.

Experiment Three – Slowness of Time

Ware makes a habit of slowing down time as well as speeding it up in his sequences. Whilst reading ‘The Comics of Chris Ware’ (4) I found out that he was inspired by the pre-cinematic era, where film reel frames would look nearly identical to the previous one, but would have slight changes to show movement. From this it would suggest that Ware likes to create narrative sequences where each frame is similar but has a minute change possibly in each.

 

I really liked this methodology as I felt I was able to play around with time a lot more. In my experiment I wanted to convey the idea of the last minute before an alarm. With this idea I kept two panels completely identical. This was to emphasise the idea of time passing slowly. Within the design I included an alarm clock. The reasoning behind this was although it is not obvious straight away that time is progressing. The third panel is where I wanted it to show that time has passed by changing the time on the alarm clock by only a minute. Because it is not that obvious I decided that I would make the colours in the third panel lighter and brighter. This was to create the idea in the viewers head that it was daylight instead of the night.

Experiment Four – Line and Colour

(5) Jimmy Corrigan (Chris Ware)

 

The fourth methodology I chose to look at was Ware’s use of line and colour. His use of this methodology is quite different to mine as most of the time it appears that he uses flat colour and clear black lines, where as I like to use a more loose style of line. In the majority of my own work I don’t use colour. When looking at ‘Jimmy Corrigan’ (5) it suggests that Ware likes to use shades of colours for a background, keeping it quite plain and subtle. He would then use a pop of colour to make the character or setting stand out.

Experiment 4

 

Creating my own image for this experiment was a challenge as it’s not my normal way or working. I decided I would try and keep it as simplistic as possible and not add in loads of detail, with the main focus being on the line and colour. When I thought about what I could do, immediately a scene come to my head: grey buildings and a bright New York taxi. With this methodology I wanted to experiment more and work directly on to Photoshop. This in itself was a challenge for me as I normally would work on paper.

Overall I found this methodology the one I struggled with the most as its not a natural way of working for me.

References:

(1) Ball and Kuhlman, 2010

(2) Carlin et al., 2005

(3) Ball and Kuhlman, 2010

(4) Schiavone, n.d

(5) Wivel, 2011

Bibliography:

Ball, D. and Kuhlman, M. (2010). The Comics of Chris Ware. Jackson: University Press of Mississippi.

Carlin, J., Karasik, P., Walker, B. and Crouch, S. (2005). Masters of American comics. Los Angeles: Hammer Museum.

Schiavone, G. (n.d.). The Art of Chris Ware on penccil. [online] Penccil.com. Available at: http://www.penccil.com/gallery.php?p=226478073829 [Accessed 10 Oct. 2016].

Wivel, M. (2011). Jimmy Corrigan: the Smartest Kid on Earth « The Comics Journal. [online] Classic.tcj.com. Available at: http://classic.tcj.com/tag/jimmy-corrigan-the-smartest-kid-on-earth/ [Accessed 10 Oct. 2016].