EXTERNALPOSITIONING:Patrick Wilford

This portfolio displays my external work and development through the first semester of year 3. Throughout this semester I can identify areas in my independant practice that have overlapped into my external work such as the experimentation with print techniques, typography, written language, illustration. This represents how I am developing an independant way of working to produce graphic imagery that merges both practices. I aim to show how I interact with outside design industry relevant to where I am positioning my work as I approach graduation and employment. In reflecting on my progress throughout this course I can recognise the importance of working in groups as you can share and generate ideas. This process helped me to negotiate issues regarding whos doing what, time scale, what skills each person can offer to the design process. This can be seen in previous competitions or workshops I have participated in. In the second year we had todevelop a direct mail piece and then pitch to the company as a group. Visiting Practitioners which created design as group also set us tasks that challenged us to come up with a solution (Making Do- Hyperkit-The Girls). In this semester this process has been less of a feature as am concerned with where my work is going as an individual and focussing on competition work. Although responding to group critiques of work has helped me to develop my designs in competitions. Handmade and bound also had to discuss ideas and progress of what I was entering with people organizing. Issues such as price, quantity-mutiples of publication,contact information. This Portfolio will show how I am researching into industry and companies that I can position my work. What skills and design practices I have learnt and need to help me to find work with my external practice. In being more independent and self directed in the process of working I feel I habe been able to focus on set goals and what I need to achieve. Aim to reflect my distinct approach to Graphic design and processes.

INTRO:

CONTENTS: Competitions:RSA stampsPenguin Design Award

Progress Critical tensions conferenceHandmade and boundResearch into industryEditorial-what makes you an illustrator?Web prescenceWhats next?-external workEvaluationBibliography

RSA stamp competition 2011/12:Breif A: Social Mail- celebrate and encourage the art of letter writing through the design of a set of stamps that will entice the sender to post a letter:

Initial Research of practitoners and the history of letter writing.

Scripted fonts and handwritten type creates a distinct identity and style. This can be used to be persuasive and further the meaning of written language.

History of writing-production:

Materials and tools used to create letters.Pen, Brush, Quill Pen etc.Paper surface- is it old or new.Handwriting- persons signature+cultural significancefor example the process of caligraphy has a strong connection with China.

Initial quick sketches to help generate ideas related to narrative of the set of six stamps. What messages I can develop to entice people to write letters.

Common phrases associated with letterwriting:

PTODearSee atachedI am delighted to inform you that...I am enclosing...For further details...Wish you were here

Marion Deuchars- I was interested in the way the designer has used type and image to convey inherent messaging associated with shakespeare. This creates a foreceful and direct set of imagery.

Alan Kitching- Stamps are effective in the way he uses typography, colour and graphic symbols to be persuasive. This is extended by the sole use of print and letterpress which gives a cohesion to the set of six and the issues it is dealing with.

Regional Authors:Development

Development of set of 6-Regional authors.Quotes- associated with writing directly/used as a metaphor.Quotes-Using a Scripted Font-layout representative of a letter.Simple b+w stencil-Neon pink colour for Type over author/poets portrait

Regional authors/poets

William Shakespeare- 1564-1616

Robert Burns- 1759-1796

Charlotte Bronte- 1816-1855

D H lawrence 1885-1930

Dylan Thomas- 1914-1953

Carol Ann Duffy- 1955

I decided to research quotes that I could use to emphasise letterwriting. Using the Authors/poets as a vehicle to entice people to write letters. In the development of the stamps I initially used a stencil with quotes overlapped. I feel this was slightly of brief and needed to be simplified. From this decision I decided to focus purely on the quotes using typography to be persuasive. Using 3d hand rendered type , handwriting ,motif of a pen created a more clear enticing response related to the art of letter-writing.

quotes used to emphasise letterwriting:

“quench the fire with word”- w shakespeare“and I will love thee my dear”- r burns“no net ensnares me”-charlotte bronte“writing is like having a good sneeze”- d h lawrence“do not go gentle into that good night”-dylan thomas “stars are filming us”- carol ann duffy

Letters deliver...

what do letters deliver?

communication

shapes

luck

smell touch-texture

pattern

excitement-new pleasure

Development:

Experiment:With this set of stamps I explored graphic imagery with common phrases associated with letter-writing. I chose to use mono-print as it creates a distinct image that is enticing. The use of graphic symbols combined with type such as question mark, heart shape, ear, chair asks to the audience to react.

Penguin Design AwardOne Flew Over The Cuckoos Nest:

Adult Breif- Penguin Design Award- create book cover for One Flew over The Cuckoos nest by Ken Kesey-1962.

Initial research:• previously read book+watched film- aware of themes and characters explored within the narrative.• Narrator- The Chief (native American)• Set In an Oregan Asylum• Critique of institutional Process+ human mind• Against Authority-references with symbol Nurse Ratched who uses subtle and coercive methods• Ken Kesey Influenced by drug taking (LSD) has sympathy towards patients+ reflects period and

countercultures Beat generation and Hippies.

Test:layout of typography

Testing out use of colour:

photo-collage birds eyes-idea that they are watching you inside medicine cabinet- reflects narrative in novel where they cant escape.

Development:

Influences:

I became influenced by the da da artist Hannah Hoch. Her dynamic photomontage compositions have a surreal quality and communicate a message in modern way. The use of scale and juxtaposition of imagery helped me with my own ideas-layout.

Andy Warhol- Chelsea girls film Poster.

PROGRESSTHEN&NOW:

Areas I feel I have Improved most in is work that has to developed to a more finished solution. Through exploring possibilties,variations with typography, colour,composition,written language etc.This has helped significantly when aapproaching design work for competitions. I also feel more able to produce and edit a number of responses to a breif which stops it becoming a limited response. Attending worrkshops in Html helped me to have a greater understanding when attempting to create a web prescence. In view of my progress initially in year 1 my work was generally meterial based-print-illustration. Course has taught me to incorparate digital and typographic process when appropriate. We also had to work with limitations or restrictions with set breifs which was challenging. This process has continued throughout the course. Teaches me that you sometimes need to rewrite breifs or break design rules to create a more succesful response. I can identify that I need to continue to be aware of comercial design and processes that are being used that reflect a particular style.

1st year 2nd year3rd yearSilk-screen

Mono-printTypographyDigital workshopsCollabarationResponding to a set breifReading design magazinesPresenting workDiscussionSketchbookIllustrationBook bindingCritical AnalysisBook layoutGrids/anatomy of type

Pitching an ideaCompetitionCollage workshopTalking To IndustryDesign InvestigationLetterpressEmbossing-letterformsTypographyDigital workshopsCollabarationPresenting workDiscussionIllustrationCritical Analysis

Competition-RSA stamps,Penguin Design AwardTypographyDigital workshopsPresenting workDiscussionIllustrationCritical AnalysisSilk- screenBook Layout

Notes/ Insights taken from conference

Jonathan Barnbrook

“The worse the designer the more typefaces he uses”

A better society through more rational letterforms.

You can use language as a weapon/seductive.

Subvert existing forms to tell new truth. Cruelty and beauty coexist.

Research into typefaces and refinement is a long process and can take years.

Typefaces- used in different contexts-Bastard Type,Infidel, Melancholia,Drone 1992,Tourette, Prototype,Nylon, Northern Ireland Font project.

Vaughan Oliver

Visual Pressures- ambiguity-open to interpretation

Golden section-influenced Pixie cd cover

Derek Yates

51% Designers dont have a degree

Gap between Industry and education

Importance of collabaration+work across disciplines. Being innovative with restrictions. Specialize-utilise skills into an area.

Studio 8-zoe

Editorial design-work across a range of publications-RA magazine, Le Gun, Future industries

Big type-evolution of design content reinforces it.

I attended the Critical Tensions Conference and I was drawn to Alan Kitchings us of letterpress and print. He showed us his vast collection of wood type and how he and his wife had ordered it in his studio. His work has an immediacy that resonates with the rapid nature of everyday life. He created maps and routes made using solely type these were really interesting as the environment was reduced to a simple form-type.

Phil Baines

“Design is not the agony of distortion”

Print and media can affect change

HANDMADE AND BOUND St Bride’s Zine- Exploring everyday combines print with every day

phrases. For hand made and bound I chose to create a zine that reflected my continued experimentation with print and the theme of the everyday. As a vehicle to express my ideas in relation to exploring the everyday I felt print as a medium would help me develop compelling visual images. Print is all around us and we consume it on a daily basis. I am aware through observing work in magazines; poster design of the need to create an authentic voice/visual these can be explored through challenging processes and creative use of type and image. The event of Handmade and bound was really exiting to see and share the work. It was a great platform to test and externalize work.

SOMETHING FOR EVERYONE

KEEP EVERYTHING IN ORDER

FROM MINUTE TO COLOSSAL

HOW TO TURN IT ON

EMBRACE WHATS COMMONPLACE

ATTENTION TO DETAIL

IDEAS ARE EVERYWHERE

UTILISE THE EVERYDAY

GATHER OBJECTS

What is Illustration? (Essential Design Handbooks)

CUT IT OUT MARTIN ONEILL

RESEARCH INTO INDUSTRY: I found it quite difficult to access books specifically on Illustration.

This book was really useful as it went through the fundamentals of illustration.How people work as individuals or as a collective. Below our some of the groups or individuals within the book that interested me.

Tom Gauld

Developing on from my intial research in year 2 (design investigation).Editorial reflects research undertaken on industry and the three illustrators that are making a living from their work. Key elemets of research are communicating with illustrators via email through the use of set questions relevant to this industry. Interview with Nina Chakrabarti.

EMAIL RESPONSES:To TimEllis, in response to questioning the industry of illustration, I was interested in how your illustrations are concept driven and can be used in abroad range of contexts. In particular I admired the way the illustrationscould be re-appropriated into published formats, advertisements, t-shirts.

I wouldgreatly appreciate if you could reply to these questions...

I read an article from the computer art magazine from November 2004 that featured yourwork using the software Photoshop. What are your views on digital vs. handdrawn illustration? I enjoy both. My work is hand drawn and tweaked digitally. I use layering quite a bit in my illustrations, which allows me to easily adjust compositions. This is a good bonus as clients sometimes need work rejigged in order to fit caption text.

How have you continued to develop a strong visual identity? Pseudo name? As it is possible to draw anything in any way/media establishing frameworks or limitations can really help focus your work and shape a strong visual identity. Starting out my work was strongly hand drawn, concept-driven and worked with anonymous figures, which have developed over the years. New characters have crept in - clients asked for them - but the core essence of my work hasn’t changed.

You have initiated a lot of your own illustration projects. How does this compare (pros/cons) to clients commissioning you to do the work?I enjoy both. Personal projects feed my commissioned work - it allows clients to see how I work in different ways such as using hand type within my work. It also allows me to explore new themes and try out different techniques. I think it is important to keep your work fresh and moving forward. Personal projects also keep you busy between commissions too.

What would you tell young illustrators trying to break into the business?Work hard. Be persistent. Broadcast your work. Live your dream.

Do you prefer working as a collaborative or an individual?Both. The commissioning process is collaborative by nature, and I’m as happy working on my own projects. Some commissions are quite open for me to do what I want such as the Mantra band design work and others can be quite specific such as a recent Brodies LLP piece, where I drew a oil pump. I enjoy both as it challenges me to work within the contraints of a brief or to set my own boundaries or to break them.

Thank you foryour timeAll thebest Patrick Wilford

You’re very welcome,Tim

EDITORIAL: WHAT MAKES YOU AN ILLUSTRATOR? You have initiated a lot of your own illustration projects. How does this compare (pros/cons) to clients commissioning you to do the work?

The work I make for myself is free from guidelines, and my only purpose is expressing my ideas and developing myself as an artist. It's very important to me to keep developing my work, because I don't want it to ever become just a job where I keep repeating myself for ever and ever. Plus, sometimes self initiated projects can lead to commissioned work as well, or to a collaboration, or an exhibition. As far as commissioned work goes, I find it very exciting, although it is definitely more difficult because you deal with another person's vision and you are trying, intuitively, to give them what they have in mind. I sometimes make more images if I have an idea that I think they might find interesting, which means doing more work for the same money, for the chance to publish something I really believe it. How have you continued to develop a strong visual identity? How many years can an illustrator get work with a particular style? To the first part of your question, I think it's because I constantly work really hard! As for the second part of the question, I think it's very useful these days to have a particular style, because art-directors don’t really have time to keep up with all the illustrators so when they are looking to commission someone they think in terms of who does what. That means that you get a lot more work for a while and then when you are not so trendy any-more, you get less. And then it may be time to develop your work again. I don't know what that means is years, I suppose it varies. What would you tell young illustrators trying to break into the business?I would tell them not to look at what other people are doing, to just do their thing and work really hard Do you prefer working as a collaborative or an individual?I prefer working as an individual mostly, but it's great to occasionally collaborate, exchange ideas and create something as a team. It's quite a different feeling, and it's nice not to be in my own world all the time.

CHRISTINA CHISTOFOROU

INTERVIEW: NINA CHAKRABARTIHow have you developed a strong visual identity?I keep a scrap book of found material and keep up with the skill of drawing on a daily basis. I use Ro-tring pens, felt tips, biros and the apple macintosh. I like the quality of intense line drawing and utilise in my work the use of outlerline. A significant skill that that I have used in my work is hand rendered typography. This has been influenced from my own culture in Calcutta India. Work is often concerned with collections and compositions of objects.

What influences you an illustrator?Im interested by handcrafted design such as signs-lettering. Influenced by imagery of Gregory Blackstock 1970s-way he catlogues-orders imagery. Other designers that influence me are Ivan Billabin (detail-borders),Andy Warhol use of a clean outer line, Robert crumb-intensity of drawing.

Do you prefer working as an individual or as a collaborative?I enjoy the challenges of both for example when commissioned by Angus Hyland- Pentagram for the ‘Myths’ project had to work and develop a book cover for the Author Magaret Atwood. The Book ‘Penopliad’ had to go through a number of changes before it was resolved.

How much commission do you charge?I charge for most work 25%

Have you ever had any problems with the issue of copyright?When working with Studio Isle with illustrations designed for a packaging range- Cowshed. I gave them exclusivity rights to use my drawings which was a mistake.

WHAT MAKES YOU AN

ILLUSTRATOR?

“I use Rotring pens, felt tips, biros and the apple macintosh. I like the quality of intense line drawing and utilise the outerline in my practice”

“It’s very important to me to keep developing my work, because I don’t want it to ever become just a job where I keep repeating myself for ever and ever. Plus, sometimes self initiated projects can lead to commissioned work as well, or to a collaboration, or an exhibition”

“Starting out my work was strongly hand drawn, concept-driven and worked with anonymous figures, which have developed over the years”

In questioning what makes you an illustrator? I chose to compare three illustrators that are working in the industry today. In asking them questions via email and interview. I hoped to have a greater understanding of how illustrators generate work,ideas and continue to develop a distinct style. Interviewing Nina Chakrabarti after a talk she had given on her illustrative work. I was interested in how she generated ideas and developed her work using mainly hand crafted techniques. This represented how her style had developed a unique identity through skills in hand rendered type, compositions and collections of objects.

“I keep a scrap book of found material and keep up with the skill of drawing on a daily basis”

In looking at examples of her work certain uses of style repeated such as the use of an outerline, graphic themes,hand rendered typography.This can be seen in the book ‘My wonderful World of Fashion’.This shows the importance to an illustrator of defining your practice so clients can identify with your work.

In asking Nina What Influences you as an illustrator? I learnt how from an early age she was drawn to signs and hand painted letterforms in her birthplace Calcutta India. How she collects catolouges of imagery and type that Influence her. This notion of collecting what goes unoticed and impacts on our lives day to day. Suggests an important skill of an illustrator, an abilty to observe. Also the importance of design in general,other practitioners that use similar skills.

When producing work as an illustrator the addittion of new skills are important when approaching new work for a client. These may be learning a new skill such as digital that alters the communication of your style to a clients specification. An example of this appropriation of skill can be seen in a project for Cowshed- a packaging design-tolietries. This also represents how commercial design can offer work for an illustrator.

“Comissioned by Angus Hyland- Pentagram for the ‘Myths’ project had to work and develop a book cover for the Author Magaret Atwood. The Book ‘Penopliad’ had to go through a number of changes before it was resolved”

When getting responses to my questions from Christina Christoforou. I could establish that her work used hand crafted and digital processed illustrations. Her work was strongly influenced by music,lyrics ,mythology and her own social life. As an illustrator she embraces a wide range of techniques and tools such as tip-ex,colour pencils,newspaper cut outs. This represents that illustrators often need a number of visual devices to strengthen communication.

A interesting point that came from the findings when asked about creating a strong visual identity. This helped to clarify the process in which illustrators recieve work. In the answer she mentioned “art-directors don’t really have time to keep up with all the illustrators so when they are looking to commission someone they think in terms of who does what. That means that you get a lot more work for a while and then when you are not so trendy anymore, you get less. And then it may be time to develop your work again”.

When looking at Tim Ellis work it was clear his illustrations were concept driven. Through the broad range of clients he attracts-editorial,design,advertising. Such as Nokia,BT, The Times, The Telegraph, Microsoft. It is clear through having a distinct style and abilty to circulate his ideas he been able to create success.

What I learnt from questioning Tim ellis was the need to broadcast your work. When asked how personal projects and commissioned work interact. He suggested that work produced independantly can link with and help develop commissioned work. I can see that identity plays a large part in his work which is also important to an illustrator as their a need to introduce new characters- visual signs to maintain interest. Also to become an illustrator you need to recognize the importance of digital skills as clients may require a specific or edited result. I have found out to be an illustrator requires an indivual to develop a distinctive style. That being an illustrator you to need to constanly observe,collect,research and keep up with practices such as drawing.To promote your work through websites and externalise work into formats that may generate work. Such as T-shirts,Book design,Posters,Zines etc.

Pentagram-website clearly layed out in a grid system.

Web prescence- One important piece of information is that as a freelance illustrator you need to have a website to circulate your work. I started to read about designing a website using HTML code and attended workshops. I want my website to be simple so the audience can interact with the work.

Christina Christoforou’s was good in the way you had to click on the illustrations to enlarge into focus.

Tim Ellis’s website was layed out clearly and he used a pseudonym which also forms a part of his work.

WEBSITE DEVELOPMENT:

http://patrickwilford.wordpress.com/Please follow link to website:

WHATS NEXT? EXTERNAL PRACTICE:

Installation combining the influence of the shadow catchers exhibition, figures, embossed and debossed letterforms, and sewn 3-d letterforms. I felt the process was a chance for me to experiment and I documented my work as it progressed.

2x A2 Poster biscuits-ordered plain to rich-commissioned to create.

Looking to the future I have identified examples of my work-influences of that I need to continue to develop to create a distinctive style and a possible career as a freelance illustrator.

collecting type- use when creating hand rendered type.Continue the practice of drawing and using a number of

techniques to produce work.

Development of Typo-Illustrated letterforms-Using the Alphabet as a vehicle to express collections/ observations of the everyday.

Keep up with skill of photomontage.

SEMESTEREVALUATION:

The skills I have Learnt in the duration of this Graphics Course and last semester. Has given me a greater confidence as I approach a future career. I enjoy the process of learning and how design can affect society on a daily basis. My focus has primarily been concerned with the development of a distinct and personal illustrative style. Whilst learning skills that strenghthen the ability to communicate and may lead to work as a freelance illustrator .Such as combining imagery with typography, learning graphic rules and breaking them, collage, talking to people working in industry. I have learnt through presenting or pitching to an audience. The importance to express messaging and the rational with work you produce. This insight is valuable for the future as I will have to justify and alter my work to a clients specifications.

“My focus has primarily been concerned with the development of a distinct and personal illustrative style”

In reflecting on previous work, ideas were presented in hand based mediums such as print,collage, hand rendered typography. As these were essential to defining my unique visual practice. I have continued to apply digital approaches when appropriate to the communication. This may be in certain contexts that digital design has a greater authority such as packaging or posters. I have gained more confidence in the the use of digital design. Through attending workshops and reading books that inform you about graphic rules.Reflecting on me as an individual I have realised I need to sketch out layout of ideas and research content before I begin the use of digital.design.

Comparing my progress from last year I realised I needed to circulate my work. To create a vehicle to express the work and methodolygy behind it I created a simple wordpress website. The purpose of this was to emphasise my distinctive style and hopefully get a response to my work. If I was to extend the use of the website further I may use some of the illustrations in a marketable format such as Posters,T-shirts or other printed ephemera. “I need to have a greater awareness in developing connections and making the most of oppurtunities. To remain focused in developing a distinct illustrative style and learning the appropriate skills that reflect modern and commercial design”

Looking to the future I am aware of the present situation in the economy. This alerts me to the fact of available jobs in the industry. To confront this issue which is approaching me. I need to have a greater awareness in developing connections and making the most of oppurtunities. To remain focused in developing a distinct illustrative style and learning the appropriate skills that reflect modern and commercial design. To learn how to position my work and gain employment. I need to continue researching relevant practitioners and design companies that operate as a collective or individual.

BIBLIOGRAPHY:• Shaughnessy, A. (2005) ‘How to be a graphic designer without losing your soul’,Laurence King• Goslett, D. (1984). The Professional Practice of Design. London: Batsford• Poyner, R. (2006) Designing Pornotopia: Travels in Visual Culture. London, Laurence King• Farrelly, L and Triggs, O (2010) For Love and Money: New Illustration. London, Laurence King• Taylor, B. (2004) Art Today. London, Laurence King• O’Reilly, J. (2002). No Brief: Graphic Designers’ Personal Projects. Crans-Pres-Celigny; Hove: Rotovision• Poynor, R. (2003). No More Rules: Graphic Design and Post-Modernism. London: Laurence King• Jonathan Barnbrook (4 Sep 2007) Barnbrook Bible Publisher: Booth-Clibborn editions.• Rick Poynor (30 Nov 2000) Vaughan Oliver: Visceral Pleasures Publisher: Booth-Clibborn Editions.• Phil Baines (17 Oct 2005) Type and Typography Publisher: Laurence King; 2 edition. • Lawrence Zeegen (1 Aug 2009) What is Illustration? (Essential Design Handbooks) Publisher: Rotovision.• Edward Gorey (11 Jan 2004) Amphigorey : Fifteen Stories Publisher: Perigee Books, U.S. • Edward Gorey (5 Nov 1998) The Gashlycrumb Tinies Publisher: Bloomsbury Publishing PLC; New edition. • Gustave Dore (July 1976) The Doré Illustrations for Dante’s Divine ComedyPublisher: Dover Publications Inc. • Beryl Mc Alhone (1 Sep 1998) A Smile in the Mind: Witty Thinking in Graphic Design Publisher: Phaidon Press Ltd.

Exhibitions/exhibits

• British Museum: Grayson Perry Tomb of the Unknown Craftsmen.• Vorticists- Manifesto For A Modern World- Tate Britain 14 Jun- 4th Sep tember.• The Poster King, E.Mc Knight Kauffer, (14september-18december, 2011) Estorick Collection: London.• The power of Making VA museum.• Dominic Mc Gill- Saatchi Gallery- He Results As Cause Of Himself.

Magazines

• Umberto Eco’s book The Infinity of lists: Eye magazine-Rick Poynor• Creative Review July Issue-The Illustration annual (2010)• Baseline• Adbusters• Eye magazine