Personal Module Evaluation

Personal Module Evaluation           Zahra Aliyah

     To begin fully understanding what the three projects where asking for and the suitable outcomes was the challenge. To be able to work within the guidelines and have the proper understanding of what is being asked and producing a piece for a suitable target audience. ‘ Hidden stories’ was the project I struggled most. I had difficulty grasping the concept and creating a piece that was suitable for the audience and how I would present it.  With the other two projects to compose a successful final image counted on good detailed audience research giving me a direction to base my ideas off.  Editorial featured mainly a male audience at the average age of forty-six and with the competition fan art again featuring mainly males dominated audience with a wider range of ages between 17-35. But Bond was not only target audience Bond was a brand.

   Research was vital at the beginning stages of ideas and designs. Editorial and competition brief had a specific target audience in which we ourselves had determine and discover the key conventions. Artist research such as Becca Throne and William Russell Flint immensely helped with initial ideas with my projects giving me a insight to what suitable work to produce. However at first, some of my work had ignored this knowledge and my own personal preferences resulted in a James Bond piece which was argued as not suitable for the  target audience and branding. To over come this problem I researched into other Fan art Artist and then amended my work taking a different approach to my piece. I came up with a few ideas experimenting with color and different materials with all projects, but to be able to determine which path was the best for my final piece I gained for tutor and peer feedback, which helped me create suitable images for my final outcomes.

   My tutor and peers aided in the development of my ideas giving me an insight to what worked well and what didn’t achieve its purpose in the terms of target audience. I explored different outcomes and edits to help be decided on an appropriate final piece looking at the use of colour and how it can change a mood or pre impose ideas into audience head due to it’s own personal conventions. Colour was important for editorial, After studying the illustrator Becca Throne who currently produces work for BBC History magazine and majority of her work features only one colour experimenting with different colours within my own personal work was very important. Colour is mood to the audience eye. With my James Bond piece I looked at the Illustrator Gillette to help with the redirection and influence my work. Gillette’s work also featured on the idea on the use of only a few colours; in his Novel covers creating sophisticated stylistic pieces. So choosing the right combination for my image was important and to help me do so I referred to the colour wheel to compare complimenting pairs.

    When composing my final pieces I personally prefer the uses of traditional art such a pencils and paint. However this is a digital generation, if not forgotten.  So I decided to collaborate this, initially drawing my ideas or piece and the scanning it on to the computer an editing on Adobe Photoshop adding background, colours and text. The reason I decided to digitally edit my drawings was the findings through research. Both Editorial and Fan art are generally digitally modify, as it’s one of the conventions of this genre resulting in both digitally based outcomes. With the Hidden stories brief I felt it was a chance to explore my own personal preferences and take a creative approach on simplistic piece of work so therefore decided to create a physical piece exploring the ideas of multimedia and a chance to convey a image other than digital.

   Developing ideas would be a weakness of mine. Coming up with initial ideas based on research and planning I can do, however within my work I can get lost and get distracted from what the brief is actually asking me to do. My James bond piece I explored the idea of a bond girl. You can visually see my development and how some of my ideas losing the iconic Bond branding. But after feedback and revaluating my final outcome with the influence of Gillette’s work I felt I composed a stylistic successful piece.

  There are  parts of this module which I felt were successful such as my research and my Hidden stories piece in the fact I took a difference approach and experimented with multimedia. The Editorial which was my least favorite brief I felt  I grasped the concept well and created appropriate illustrations for the magazine and audience, yet I don’t believe the digital editing of my illustration to the magazine was professional enough and dead space is present. This is due to the lack of my editing skills. I would look into widening my knowledge in this field if I were to compose it again. 

  Modifying my future approach to this module I would focus on development ideas and work with different outcomes for all my projects in more detail resulting in a wider range of material to work with. My lack of time management effected the quantity and quality of some of my sketchbooks as I focused and explored irrelevant ideas e.g. James Bond. If I were to do this module again I would look into widening my development with my sketchbooks looking at alternative ideas and time managing my three projects better, possible introducing a schedule.

Devolpment: Hidden Stories

What originally appealing to me about Williams work was that most of his work featured water colour. I initially experimented with idea of water colour and then explored textures and textiles with in illustration. Williams work also explored print making and oil based pieces which inspired me to take Silver and gold and create something current and multi media.

Silver and Gold was painted in the 1930's; within the brief as asked i wanted to give it another dimension. Looking at a current approach. Possibly creating a collaboration with a present day influenced. I then discovered the Worldwide TV programmed Downtown Abbey Also set in the 1930's. Situated in a Manor house "A chronicle of the lives of the Crawley family and their servants, beginning in the years leading up to World War I. "(Downton abbey, 2011).   

I believed that the collaboration with Flint's intentions For Silver and Gold; a women enjoying herself in the comfort of the of the golden sheets and the luxury of her bed and colour whilst wearing and stunning gown would fit perfectly with Down town Abbey.  The Crawley Family attending balls and events whilst maintaining there family name and there manor house; This extravagant life style is in the life of a maiden is seen but never lived. The maids are apart of the manor but only as servants never to be.

I wanted to give  Silver and Gold a hidden message "simplicity of the painting, however it  conveys a greater depth within colour and with holds a deeper and darker message throughout the image; The reflection of colour contrast almost  is a physical representation  of a story hidden within. " 
  This deeper depth to the image needed a meaning so I created a story: 

The Perspective of a Maiden. Not only do the servants know everything and the works around a manor house they are intrigued by the deeper secrets of the wealth and the hidden affairs. Crossed paths between a pauper and the rich never to be approved. Love and heartbreak, world wars to making a bed, Although a maid may never have a high financial status she is the information and the knowledge of any manor. The maid is never seen or heard.  Whilst making a bed of her lady she gets lost in a dream and indulgence in the luxurious golden bed linen only wishing for a second how it may feel to be her lady. A moment in time, just to experience what she has seen but never been. A dream which could never be her reality.     

Artist Research : William Flint Russell

After feedback on a direction on how to continue with the ' Hidden Stories' brief, Wendy Ramshaw's work already consists of many depths. Her work has it's own individual story and uniqueness; therefore to focus on her work as a direction for this project wouldn't have to creative dimensions and interpretative opportunities as other pieces featuring in the museum.


So decided to interpret and experiment with William Russell Flint's piece  ' Silver And Gold'. And oil based painting composed in 1931.
Flint was a Scottish water colour artist and illustrator present from the year 1880- 1969. Flint studied at a variety of art institutes in both Scotland and England, ending up in London."He was an artist for The Illustrated London News from 1903 to 1907, and produced illustrations for editions of several books"

" Showing a semi-clad woman in repose on a bed of gold fabric. The artist celebrates beauty and sensuality in his depiction of her form and the sumptuous colours."(Limited, 1931)


What appealed to my eye as an audience is the simplicity of the painting, however it  conveys a greater depth within colour and with holds a deeper and darker message throughout the image; The reflection of colour contrast almost  is a physical representation  of a story hidden within. 

Bibliography

Limited, A. (1931) Stock photo -. Available at: http://www.alamy.com/stock-photo-silver-and-gold-an-oil-painting-by-william-russell-flint-68558712.html (Accessed: 10 November 2015).

Final Piece: James Bond

I composed my reconstruction of my final piece under the influence of the artist Michael Gillette.  I originally  pencil drew the figure of  Monica Bellucci; a Bond Women staring in the new Spectre movie.  I then scanned it to photoshop and digitally modified the piece resulting in the Final image below.

Spectre Final Piece By Zahra Aliyah

I used the same editing techniques that I used to compose the experimental images shown previously. I added a layer below the image to create a depth and gave of set finish. The reason for this was I admire the finish in Gillette work and how they are very stylist but still remain a traditional art feel of illustration.  The solid colours is something I felt gave it a deeper depth and a physical transition. I used the colours with the inspiration of the colour wheel and using complimentary colours beside each other. I did experiment with other others shown, however I preferred the bright bold colours, remaining similar to Gillette's work. The waves in the background where to give a stylistic feel and acknowledge the fact that majority  of James bond pieces are very digital conventional; I wanted to included this.  I created this by adding an external layer and fading the image.

With Gillette's novel illustrations they feature the bond title and the author, as my final piece was not designed for a Novel but a piece of Fan art for the movie I decided to include the name of the James bond actor.  I placed the title in a 'cross word' style again giving another dimension to the image. This physical play on words  or puzzle reflects the movie of James bond: How is sent on a mission to solve the problem.

Audience: BBC History Magazine

BBC History magazine is one for Britain biggest selling magazine for an insight to History. Supplying an informative and enjoyment to historical facts engaging an loyal Audience. 

"Reaching a core audience who are mature, highly affluent and educated"
 (BBC history magazine | immediate media Co – the special interest content and platform company, no date)

"We may be a history magazine, but we’re never stuck in the past. Whether it’s the latest research on major historical topics, or explanations of how history can inform current affairs, we always offer our readers a fresh perspective on what’s gone before. With a remit that encompasses everything that’s ever happened, we rarely struggle to fill the magazine. In fact the hardest part of my job is deciding which fascinating subjects will have to wait for another day.

 "

"Rob Attar, Editor - BBC History Magazine"

Being the number one history selling titles, the question that follows is who is the audience the magazine attracts. 
Knowledge from research the magazine audience hits an impressive number of 228k readers, and their online footprint generate 174k on Facebook.  

Audience Profile: 

• On the Jincars Scale : B-C1 
• Both Male and Female audience who are educated and have a desire and interest into politics and Historical events.
• The Magazine will attract middle age people from 35-50 (Average 46)

Bibliography

BBC history magazine | immediate media Co – the special interest content and platform company (no date) Available at: http://www.immediate.co.uk/brands/bbc-history-magazine/ (Accessed: 5 November 2015).

Theory Lecture : AfroFuturism

Afro-futurism : as the Outsiders's Gaze


How do people see technology: " Technology is no mere means, Technology is a way of revealing .. it is the realm of revealing , i.e of truth" -- Heidegger. 

"What is Afrofuturism : speculative fiction thats treats african American themes  and addresses African American concerns in the context of the twentieth-century techno-culture". -- Mark Dery

"Afrofuturism is a literary and cultural aesthetic that combines elements of science fiction, historical fiction, fantasy, Afrocentricity, and magic realism with non-Western cosmologies in order to critique not only the present-day dilemmas of people of colour, but also to revise, interrogate, and re-examine the historical events of the past. "(Afrofuturism, 2015)


The world of science fiction in the present day has an absence of culture diversity, and afro futurism is aiming to make a change, and clear this absence in the future. 


Janelle Monae- Many moon - Video is about how she is a twenty century person who DNA has been stolen where is become this dancing puppet for the rich and powerful. 




















"Janelle Monáe has made a conscious effort to restore Afrofuturist cosmology to the forefront of urban contemporary music. Her notable works include the music videos "Prime Time" and Many Moons", which explore the realms of slavery and freedom through the world of cyborgs and the fashion industry" (Afrofuturism, 2015)


Sun Ra first introduced the themes of Afro Futurism to the music industry, in Chicago , when he collaborated with other artists producing music with  "hard bop and modal sources, but created a new synthesis which also used afrocentric and space-themed titles to reflect Ra's linkage of ancient African culture"(Afrofuturism, 2015)


"Wangechi Mutu (born 22 June 1972 in Nairobi, Kenya) is an artist and sculptor who lives and works in Brooklyn, New York. Mutu is considered by many to be one of the most important contemporary African artists of recent years, and her work has achieved much global acclaim" (Wangechi Mutu, 2015)

Afro Futurism over the years has become well established, recognised world wide, its a growing concept which today could even be classed as a genre. 

Bibliography

Afrofuturism (2015) in Wikipedia. Available at: https://en.wikipedia.org/wiki/Afrofuturism (Accessed: 30 October 2015).

Wangechi Mutu (2015) in Wikipedia. Available at: https://en.wikipedia.org/wiki/Wangechi_Mutu (Accessed: 30 October 2015).

Development: James Bond

After a  personal tutorial, Id received some feed back regarding the final piece  I originally created. It seemed that a lot of my work had lost direction and I had explored the ideas of a female figure rather than designing something within the convention of James Bond. I had to reconsider my direction. My final piece was referred to 'Horror' rather than 'Bond'. The dripping blood featured on bond opening credits takes a digitally stylised approach, as my homage of this iconic 'dripping red' didn't result in the clean stylistic finish, and gave more of a horror movie appearance.

I took a different approach; I got lost in personal art rather than an illustration design for a specific audience (James Bond Fan Art). I went over my research and looked at different art produced for this project. I went back to the roots of my research and looked at the artist  Michael Gillete who composed the designs for the James bond novel covers and posters.  I state in previous posts " I admire the traditional art appearance in these posters, yet there loud with colour.  They are bold striking images which is a similar feel to what i would like to achieve in my final piece."
This is not something that I achieved after stating my direction. After straying away from the typical bond conventions, I felt that capturing a image with my own personal style but still maintaing a influence of Gillette work would be the best approach to re creating my final piece successfully.


Below are some Experiments I created in result to my new direction. Using the originally figure I composed with pencil and then digitally modified on Photoshop. Editing the colour tint exposure, contrast, hue, saturation and colour balance levels.

Research and Planning : Interpretative Illustration: Vibes

Gallery : Vibes

Roots of Urban Music: In todays contemporary British life Caribbean music is a major influence. Knows as a triangle the vibes consist of three segments of the world: West Africa, West Indies and West Midlands.

UK Hip & Jungle: Hip hop was gradually emerging in the nineties, establishing an independent identity of the US scene. Despite this establishment of the growing Hip Hop, Birmingham maintained heavily under the influence of a ' Reggae Town'. and Due to this demand for Reggae it effect the Region.

Jungle, a new genre had emerged in the 1990's known today as Drum and Bass; it introduced a new tone to reggae and a desire for a 'home grown UK sound’. And even today in the digital era the African percussion still remains today.

Research and Planning: Interpretative illustration : Wendy Ramshaw

Room of Dreams: 

One of the united kingdoms established jewellery designers. Born in North east England 1939. acclaimed internationally her work is a combination of jewellery pieces, sculptures and culture. 
Her work is widely inspired by the recall of her childhood memories, by the sea, fairy tales and love of literature and cultural differences.  

The exhibition in Room of Dreams is Ramshaw's most outstanding piece to the present day. It intrigues the audience to use the imagination and explore the unknown meaning of the collection. Described by herself as a  'Museum in a museum'  the collection is opened to personal interpretation and add your own thoughts and opinion to her work.

"The collection is not cohesive except that is relies on dreams, stories and desires for its inspiration. The room is ver personal to me, but I hope others will bring their own thoughts and ideas to it" (Wendy Ramshaw) 

The room consists of featured ring sets which are displayed and specifically places on the sculptural; resulting in works of great beauty.. This idea of combination of two form has always played a part in Ramshaws life; " as a child Ramshaw would often play alone using and making small objects to create her own homemade museum displays" and interest as a child which became a passion and career. 

Shakespeare and Lewis Carroll's alice in wonderland has had an influence in her work today,with references.  She later developed her work with the idea of science, motherhood and culture, continuing to provide personal stories through out her art forms and jewellery collections.

Research and Planning: Interpretative Illustration

Visit to Birmingham Museum:

I went to both the Think Tank and Birmingham Museum, however I there was more of a variety of choice to base ideas of at the gallery. Below are some images I took whilst there.  

I had a browse through the greek and ancient Egyptian; I felt that they are the typical conventions of any museums and want to find something that was exclusive to Birmingham itself. Seek the 'hidden stories of the museum' and find the culture of Birmingham itself. 

Two of the Galleries at the exhibition stood out to me as I didn't expect to see something so different. It immensely intrigued me to find out further; Vibes and Wendy Ramshaw. I concluded that I will look into both galleries to explore possible outcomes.