These three observation journal pages are all a review of the same two art projects, and hammering out more of the best way for me to review projects.
The first was my illustration for “On Pepper Creek”, which is now out (with its accompanying story, also by me) in the South of the Sun anthology of Australian fairy tales from the Australian Fairy Tale Society and Serenity Press). I’ve posted about the art process for that illustration here: “On Pepper Creek” — illustration process.
The second was a scratchboard illustration for the World Roulette art exhibition and book (from Light Grey Art Lab). I’ll post more about that once the parcel of books arrives.
The first page was a quick exploration of the difficulties of not having an art director, and therefore having to make decisions myself. I realised that in this situation I frequently take two designs to quite an advanced stage before committing (or letting the deadline commit me). See also this small discarded skull.
I then followed up with a few thoughts about why I chose the final image, and what I liked about it.
- In one case, I chose the simplest idea so that I would still have time to do my second choice if it didn’t work (in fact, I drew several final versions of the first image, getting it to look as simple as I wanted it to be).
- For the other, I chose the design I most wanted to spend the materials on, but ended up using the most complicated technique.
The main things I learned were:
- On the day: Overcomplication is part of how I get things done, and so to leave room for it, within reason. (Efficacy > efficiency.)
- In retrospect: I need to more consciously seize the reins of projects without the voice of a strong art director. I learned this more thoroughly later, but the beginnings of the realisation are here.
The next day, I decided to review other aspects of the projects, realising (although not learning) that one page was not enough for two projects.
Here I looked at likes, alternative concepts, difficulties, dislikes, and things to try. A few themes are the ongoing pull towards denser folkloric designs, the desire for movement, the value to a piece of committing to a strong style for that piece, and the use of space.
I also wanted to leave more room to think about “why this one”, i.e. why this design. So I added it on the next page, the following day.
As suspected, this was an illuminating question. As when I looked for the sparks in writing ideas, it has the potential to speed up the process (I’m sure I’ve posted about this, but maybe it’s still on the way). But completing this page also gave me some guidance around choosing projects when working under pressure.
A few highlights:
- Playing with the space on a page, and/or filling the space pleasingly.
- Fluidity/movement AND a sense of ornament.
- A strong stylistic choice.
- The pleasures of the material.
- Limits on what I needed to think about.
- Look back over a selection of your drawings/writing/other creative projects.
- Jot down a few notes about what appealed to you about that idea: what made it spark, why did you choose it, what about it made you keep going?
- Are there any patterns to those reasons?
- Choose a few of the strong or common reasons. See if you can retro-engineer an idea that meets those requirements. (Here, for example, a strongly narrative wallpaper design would meet my criteria above, and is in fact a thing I often stumble into playing with — and I’ve finally signed up for some actual lessons about classic pattern design). Do a quick sketch of it (in words or writing.)
- Bonus: Flip those criteria and repeat the exercise above. (For my criteria, that would result in a sort of overcrowded and deliberate ugliness.) Can you do it? Do you hate it, or are there things in it you’d like to try? Does it define the edges of why you mean by those criteria (for example, the point where a detailed all-over design becomes crowded)?
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