Evaluation

        The Responsive module has provided a number of new and challenging experiences which have been beneficial not only in preparing us for life as creative professionals, but also in making us question the way in which we work and interpret briefs. We have been presented with more stringent guidelines and requirements than we are perhaps used to. We have been taught to think about how we might approach briefs which may not initially seem relevant to our practice, and how this may in fact prove to be an advantage. Yet perhaps the greatest opportunity this module has presented is the chance to work collaboratively for the first time.

            Up until now, every module of the animation course has been individual. We have had full creative control and been able to make all of our own decisions regarding a project’s development. However, this is often not the way that professional animators will work, so it is greatly important that we begin to learn how to work as a team, and not just as an individual. Having never worked collaboratively before, there were times that the necessity of compromise felt restrictive, while I also felt somewhat uncomfortable not being in full control of every aspect of the project.

This is not to say that I didn’t trust my creative partner; on the contrary, I believe that despite warnings against working with friends, the fact that Rebecca and I are close worked to our advantage. We were aware of each other’s skills, weaknesses and working methods, meaning we were quickly able to identify which tasks would be best suited to one another. As we were familiar with one another, it also made it easier to raise issues and concerns, whereas I may have felt uncomfortable approaching someone I was less well acquainted with.

This module has also presented an excellent opportunity to move away from our comfort zones. Working alongside illustration students has challenged my usual way of thinking about a project, as they often raised questions during peer reviews that may not have occurred to an animation student. As many of the available competition briefs did not necessarily require an animated outcome, there has been the chance to create responses that allow greater focus on our chosen area of creative interest, for example character design and storyboarding.

More than anything, Responsive has allowed me my first glimpse into what it may be like to work to the specifications of a client. We have learned to analyse briefs, to identify the areas of importance, and recognise where it may be acceptable to take artistic license. By extensively questioning what a brief is asking, it is possible to determine new and unusual solutions which may allow our work to stand apart from competition, as an animator may visualise a different solution to an illustrator, a graphic designer or a creative advertiser. We have also been introduced to the concept of creating presentation boards, and putting together pitches in order to attract the interest of potential clients, who may be considering the work of several artists. Visits from a number of professionals, as well as CBBC, have helped to enforce how important the ability to create a strong pitch will be during a career in animator, an increasingly competitive industry.

While I can appreciate all of the benefits, lessons, and opportunities that this module has offered, I cannot say it has been one of the more enjoyable modules. It has been difficult to identify a number of competition briefs which I felt would benefit my creative practice. While there are competitions aimed specifically at animators, many of these require an animated entry, rather than allowing me to focus upon design. The vast majority of available competitions were, it seemed, target at graphic designers and creative advertisers. Although some such briefs allowed a certain amount of flexibility and adaptability, others were quite stringent in their require outcomes, requesting typographical outcomes, meaning that they were rather uninspiring to me. However, this is all part of the process of learning to identify suitable briefs. In future, I intend to look more closely at book illustration briefs, as these would provide ample opportunity to look at character, concept and environment design. 

Project Report

WWF - Individual Presentation Boards

        Although we worked on this brief collaboratively, for the purposes of submitting our work to be marked, we are required to put together our own individual presentation boards, documenting what each of us contributed to the project. Although we designed the compositions together, my role was predominantly in finding, photographing and creating the hand crafted/real world assets which would be used within our slides, while Rebecca took on most of the digital and editorial work, as well as creating some beautiful mock ups of our slides. 

Save The Children Presentation Boards

         

        I encountered a minor problem whilst uploading my PDF file to Issuu.  On my first couple of attempts, the visual quality was extremely poor. After searching through the possible solutions given on Issuu's guidance pages, I determined that one possible problem could be the resolution of my document which was 300 dpi rather than the recommended limit of 150. Fortunately, once this change was made the visual quality greatly improved. 

        I will be sure to ensure any other documents which need publishing conform to the advised settings.

Individual Practice Presentation Boards

Tales of the City

        Although run by the Cheltenham Illustration Awards, there is nothing to indicate that the Tales of the City brief requires a response relating to Cheltenham. The only specification is to create an illustration that tells a new (either fictional of true) Tale of the City. This could be a single illustration, or a sequence, exploring a places past or future. It did occur to me that this brief provided an ideal opportunity for a storyboard. However, I instead chose to create fewer, more detailed images.

        The city that I know and love best is York, yet it is a city of two halves. While today it is viewed as a place of culture and beauty, it has a dark and violent history, ranging from the Norman conquest to the civil war and beyond. It is this juxtaposition that I wished to convey through the Tales Of The City brief.

        At the centre of York is Clifford’s Tower, one of York’s many iconic historic buildings, which has an illustrious past as a fortress, a prison and now as a tourist attraction. It is also the subject of old wives tales and superstitions regarding  a medieval massacre, which saw more that a hundred Jews commit mass suicide within the burning keep. Blood still reputedly weeps from the solitary keeps walls.

        This is a marked contrast to how the tower appears at present, looking out over the tranquil river,  its motte blanketed in daffodils. I feel that it is for this juxtaposition, and the castle’s iconic appearance, that Clifford’s  Tower is an ideal fit for the message I wish to convey.

        Based upon the somewhat dark tone of one of my illustrations, I am aiming at a more mature audience, who will not be disturbed by some of the more disturbing stories hidden beneath York’s surface. Although I would like to imagine these illustrations alongside stories, they may also be suitable for use in attracting tourists and visitors.

        I created a pair of illustrations, relying upon colour to communicate a contrast in the mood and atmosphere between the two. I was apprehensive, as I have not read deeply into the significance and  effects of colour. There is also the possibility that painting can go drastically wrong, ruining a carefully drawn line image.

        Of all of the competition briefs which I partook in, I found this one to be the most enjoyable. Perhaps it was because the subject is something I am deeply passionate about and have great affection for. I am proud of my Yorkshire roots and welcomed the opportunity to share some of the wonder I feel towards my home city. I would love to further develop this project, perhaps incorporating other sites from around the city, and delve deeper into York’s hidden histories.

  

Yorkshire Tea

        Yorkshire Tea’s brief allows for a certain amount of creative freedom. The specification for a product innovation could encompass any number of possible outcomes, from a new packaging design, to a new drinking experience. My first instinct was to use this opportunity to design a character, who could appear on packaging and merchandise, similarly to PG Tips’ Monkey, and the Tetley Tea men. Although the intricate pastoral paintings seen on the boxes of Yorkshire Tea are distinctive, the company does not have an instantly recognisable figure which can be used  as a brand representative.

As many on the existing packaging designs feature shepherds,
and farmers, I liked the idea of including a faithful companion,
as a canine figure may appeal to us, a nation of dog lovers.

        A character also seems to be a reliable method of appealing to a younger demographic, which is Yorkshire Tea’s ultimate goal with this brief. However, as I began to sketch out characters, they all seemed too cartoonish and not in keeping with the Yorkshire Tea image.  As a brand, it comes across as mature and traditional, and not to acknowledge this fact may result in alienating established customers in favour of attracting a younger demographic. I felt that my product innovation should reflect the Yorkshire Tea’s personality, an uphold the company’s values.

        ‘Lets have a proper brew’ is Yorkshire Tea’s slogan, and effectively encompasses the brand’s enthusiasm for doing things properly. As is the Yorkshire way. I wished to incorporate this traditionalism and pride in the brand’s roots into my response. Rather than continue with a character design, I began work on a new packaging design.

          Whilst researching the brand, a division of Taylor’s of Harrogate, I discovered that its origins lie in Victorian Yorkshire. I was struck with the inspiration to re-imagine the company’s traditional bucolic packaging, depicting rural Yorkshire life, in the style of Victorian etchings and engravings.

        Many of the scenes on the tea boxes show farmers and shepherds, which I was keen to maintain. Yet I still wished to place more of an emphasis on human figures. I imagined the founding Taylor brothers, taking in the scenery, and enjoying a ‘proper brew’.

        To balance the new aesthetic, and introduction of more prominent human figures, I attempted to remain faithful to the countryside compositions created by Andrew Hutchinson. As a member of the younger demographic Yorkshire Tea wish to attract, I can honestly say that quality, hand made, traditional  products and techniques have a strong charm and appeal.

        I produced a number of slight variations, each of which could potentially be used as a design on the Yorkshire Tea box, while aspects could be extracted, and used as designs on tea bag tags, and other products as appropriate.

WeTransfer

        I enjoyed the WeTransfer brief, as unlike some briefs, which I feel were not particularly relevant to my creative practice, this brief was beneficial. Even if I do not win the competition, I will be able to use the illustrations I produced on my web pages (Youtube, Twitter, Blogger) and on business cards (print), and perhaps even on other platforms as the need arises. We have discussed the importance of creating a consistent professional image across our online presence, and the series of illustrations I hope to create will be an ideal fit for this task. 

        I began by exploring the concept of a future self portrait. To be honest I don't see myself being drastically different to how I am now. What is more important is what I see myself doing. However, I persevered with creating a number of quick portraits which would help me create my final illustrations.

These portraits embody my 2D working practice: ink
and watercolour.

 

        I have a fairly firm idea of where I hope to be in 10 years time. By then I will be in my early thirties, and ideally would be an established professional. While stop motion animation and puppetry are my dominant aspirations I also have a desire to explore theatre production, practical effects and taxidermy.

        Rather than choose between these paths, which may in fact be beneficial to one another, I chose to envisage my self as an artist with multiple specialisms, spanning theatre and screen. I hoped to create a small image, suitable for use on a business card, for each specialism. I did not manage to complete all of them in time, but there is no reason why I cannot continue to develop these images in my own time.

        This is a relatively personal brief, which in my case will aim to attract potential clients, employers or collaborators, and promote my skills and practice. I felt that consequently it was important that the visual style was an honest representation or my work. Although I do not yet possess the modelling and fabrication skills I hope to have in 10 years time, I feel that my drawing skills are a suitable fit and still effectively communicate my working style. I incorporated a number of tropes which have become evident in my work over the last few years: intricate line work, decorative borders, and cross hatching rather than bold colour.

        What made this brief challenging is envisioning how the nature, not only of illustration, but the creative industry in general will have changed in 10 years time. Will there still be a place for stop motion animation, puppetry and the other traditional skills I wish to specialise in?

Tales of the City - Brief Analysis

        The final brief which I selected as part of individual practice is the Cheltenham Illustration Awards Tales of the City competition. As with most of my previous briefs, there is a degree of freedom in this project, calling for emerging and established artists to consider the role of the city, and creating either a single illustration or a series of illustrations which tell a new story about a city. What inspired me about this brief was that unlike WeTransfer, this wasn't just about looking to the future, but also about uncovering the past and inspiring the imagination. The tale need not even be true, allowing the artist to invent a fictional narrative, about a real or fictional city.

What Problem is identified by the brief?

Tales of the City is this year's brief for the Cheltenham Illustration Awards, who are looking for submissions which can form part of an exhibition and annual, with the theme of cities (real or mythical) and the stories that surround their past and present.

What Is the brief asking you to do about it?

The requirement is to create an illustrated outcome. That could be a single image, or a series of illustrations. Although the brief is set by the Cheltenham Illustration Awards, there is nothing to indicate in the brief that the city in question must be Cheltenham It could be anywhere you wish, as long as the focus is upon narrative and visual storytelling.

What is the brief trying to achieve?

The aim of the brief is to attract a body of work suitable for exhibition in Cheltenham Art Gallery & Museum, and other venues. The work will also be published in an annual which will be distributed to educators and publishers, providing an ideal platform to display your work to industry professionals and other artists.

Who will benefit?

The Cheltenham Illustration Awards, as well as any venues showing the exhibited work, will be given credit for supporting emerging and independent artists, while the successful artists will also benefit as this brief will allow their work to be viewed publicly at an exhibition, but also be more widely distributed via the published annual.

What is the message?

The aim is to focus upon narrative and visual storytelling, telling a new Tale of the City, perhaps providing a new perspective or insight into a place that people already feel they are familiar with. The brief also suggest that the illustrations explore the relationship between man and the city, and whether the city brings isolation or unity. I like this dual aspect of the city. Perhaps I shall explore this contradiction through my illustrations. This is particularly apt for my home city York. While small, it has a big history, with many dark and disturbing stories, which I feel would be ideal candidates for illustration.

Who is the audience?

The brief does not specify an audience, but given that the published annual will be distributed to educators and publishers, I can assume that at least part of the audience will be affluent, adult professionals, but perhaps also students. The exhibition may attract other artists and illustrators, ranging in age from late teens to 60+. In short there are a wide variety of people who may see the successful illustrations. This could be an advantage, as the judging panel may select a variety of work to appeal to different tastes. For the purposes of my illustrations, which will explore the dual nature of the City of York, I am aiming at an audience of 18 - 30, who may have heard of York but be unfamiliar with its murky past. I hope to exploit any interest this demographic may have in darker stories.

How will the message be delivered?

The only mandatory requirement for this brief is that the outcome be illustrated. There do not seem to be any limitations on how the illustration(s) may be viewed or displayed. I aim to keep the format simple, which will allow the work to be used in books, posters, online etc as and when required. Although this brief and its emphasis on visual storytelling may be an ideal candidate for a story board, which could later be transformed into an animation or other form of moving image.

Can you foresee any problems in responding to the brief?

The main issue with this brief would be ensuring that my work stands out. As I am not an illustrator, I am not really aware of current trends and fashions in the industry. I can only interpret the brief and respond in a way that I feel suits my chosen city. York is not a loud, brash city, but rather an elegant, quiet, historical place, so it would not be appropriate, in my opinion, to respond with modern styles and bright colours. To do so would undermine the stories I hope to tell.

WeTransfer - Brief Analysis

        The third individual brief I chose was WeTransfer's challenge to create a self portrait of a future version of myself. This brief was unusual and intriguing. While some briefs (Yorkshire Tea) allow a degreet of creative freedom, this brief is almost entirely without restrictions. It is left to the artist to specify the audience and the purpose of their projects and produce illustrations accordingly. While some of the available briefs also felt completely irrelevant to me as an animator, although this is an illustration brief, it is relevant and beneficial to me if I am able to use the final designs for self promotion.

What Problem is identified by the brief?
As the future inevitably draws nearer, and technology keeps on advancing, how can we future proof ourselves, and be prepared for whatever may come? This brief provides the opportunity to ponder these questions.

What is the brief asking you to do about it?
The brief requests that we produce an illustration of the 'future you'. There should be two parts to this illustration, a print and an online component, which should relate to one another, and work together, but also stand alone as individual pieces. Aside from these specifications, the brief is very much open to interpretation. It is up to me to decide who the audience is, what the purpose of the illustrations is, and what medium to work in. However, it must be relevant to the future me.

What is the brief trying to achieve?
This is an interesting question. Arguably, it is attempting to get artists to consider the future of illustration, and our perception of what illustration is and its place in an increasingly digital world. Will there still be a place for traditional techniques, or will CGI begin to dominate the world of illustration as well as animation? There is also a strong emphasis on ensuring that a strong concept remains at the heart of illustration.

Who will benefit?
Unusually, it seems to be the artist who benefits the most from this brief. In my case, the resultant illustrations will be used for self promotion, on business cards and websites etc. Consequently, they help promote me, I will be the main beneficiary. WeTransfer also gets the good publicity of encouraging an emerging generation of artists.

What is the message?
The message is all centred around who and what I wish to be in ten years time, and what I hope to achieve. I want to be a professional puppet maker, model maker, and taxidermist. I would also like to branch out into theatre and film (props, puppeteering, prosthetics, practical effects). As you can tell, I have a number of dreams and aspirations, but many use similar skills, and may benefit one another.

Who is the audience?
My audience that I wish to attract, is fairly broad in terms of age and gender. I wish to reach out to like minded people, who are interested in puppets, modelling, taxidermy etc. It doesn't matter how old they are. What is important is finding potential clients, employers and collaborators.

How will the message be delivered?
The best way to deliver this message would perhaps be to build something, as set or a puppet for example which would visually represent my interests and skills. However, I do not yet have the modelling and fabrication skills that I hope future me has, so I feel that my drawing skills would do better justice to this project. 

Can you foresee any problems in responding to the brief?
The level of freedom could potentially prove to be problematic. While these illustrations are ultimately a self portrait, I will also need to consider what may appeal to my proposed audience, and not just to what I wish to see. How can I market myself. Another major concern is the brief's emphasis on the future of advancing technology. My skills lie squarely in the hand drawn and handmade. What place will traditional techniques have in the future? How can I present myself to appear relevant in this speculative future? 

Yorkshire Tea - Brief Analysis

        I selected Yorkshire Tea's 'product innovation' brief as another individual practice project. Despite ostensibly appearing to be a product design brief, the final outcome is fairly flexible, with the brief explaining it could be anything from a simple design tweak, to a new packaging design, or even something as abstract as a new drinking experience. Perhaps I could design and knit a tea cosy?

        Although the brief expresses a desire to attract a new, younger demographic to the Yorkshire Tea flock, I am of the opinion that any innovation should not deviate too far from the brand's traditional, nostalgic image. The tranquil, bucolic and idyllic images of Yorkshire country life is, in my opinion an integral part of Yorkshire Tea. It would just not sit well to introduce bright, bold colours and abstract designs. Any change must remain true to the spirit of the brand.

What Problem is identified by the brief?
Although one of the most popular and dominant brands of tea currently available on the market, Yorkshire Tea believes that the consumption of 'mainstream black tea' is on the decline, with customers buying less tea by volume and often choosing to switch to coffee.

What is the brief asking you to do about it?
The brief is asking for a product innovation, not an advertising or marketing campaign, which will engage with younger consumers. This product innovation could be anything from new packaging, a new drinking experience, or even a 'simple design tweak'. Packaging, format, occasion and usage could all be explored within this brief.

What is the brief trying to achieve?
Ultimately, Yorkshire Tea is looking to reinvigorate the tea drinking public via a product innovation which will serve as a reminder of just how good a 'proper brew' can be. The band wishes to maintain its strong position in the market, and also attract a new generation of customers. 

Who will benefit?
The main beneficiaries are Yorkshire Tea themselves, as if my the product innovation is successful, it should attract more custom for the brand. It could also be argued that the tea drinking public will also benefit, if they are introduced to Yorkshire Tea for the first time and find it truly is a 'proper brew'. As I am not a tea drinker myself, I could not comment on the quality of the product.

What is the message?
Yorkshire Tea's core value is that of a 'proper brew' - tea with great taste and done properly. In short, a high quality, reliable product. They wish their brand, from its product to its packaging, to reflect Yorkshire honesty and integrity.

Who is the audience?
Yorkshire Tea currently caters to a very broad audience, ranging in age from 35 to 55+, with an even divide between male and female consumers. However, they are keen to engage with a younger demographic, between 18-35 years old

How will the message be delivered?
I aim to communicate the brand's message through a new packaging design. This design will not be radically different from the brands current packaging, which through its use of pastoral and idyllic Yorkshire scenes effectively communicates the brand's position of honesty and integrity, as well as celebrates the roots of both the product and the company. However, I feel that there are changes which can be made which would not only attract a younger audience, but also reinvigorate the brand.

Can you foresee any problems in responding to the brief?
In a brief that asks for innovation, yet also desires to stay true to the brand's honest and traditional image, it may be tricky to innovate when only making 'simple design tweaks'. 

WWF - Finished Slides & Submission

        After much discussion, and a few last minute details had been attended to (we weren't allowed to put our names on the slides for submission, checking for any final typos or awkward grammar) we were finally satisfied that our entry was ready to submit.

        The final task was to pick a name for our project (a submission requirement). Neither of us had any ideas, as we had not been required to name our YCN submissions. However, remembering a comment from our informal pitch that cliches can be good, and 'the cheesier the better', we decided to name it The Apple of Our Life, in reference to the Earth's importance to life. 

        Although the brief only requires the presentation slides to be submitted (any supporting material will only be viewed if the slides themselves impress the judges) we had noticed that another collaborative pair who had also worked on WWF had submitted a brief explanatory slide. We decided that this was a good idea, so I wrote a brief summary of our approach and reasoning behind the project, while Rebecca assembled it into one last board.

WWF - Final Crit Feedback

        At the time of the final critique, Rebecca and I were still completing our assets, so were unable to present our final slides. Instead, Rebecca created some mock ups which clearly demonstrated our chosen compositions. Rather than presenting our boards to the group, we were instructed to view each others' work without the benefit of having the artist there to explain their project. It is important that our work is clear, as our tutors will not e able to ask us to explain our projects when it comes to marking.

        We received a good amount of positive feedback, which was encouraging, yet it also seemed that a number of people assumed our presentation slides were a storyboard, despite us displaying a brief analysis which explained that this was not the case.

Here is a selection of the comments we received, and my responses to any queries:

• Someone wrote that they liked the consistent image of the Earth as an apple...
• ...while another questioned the representation of the Earth as an apple. Our reasoning behind using the apple is that it is a globe shaped, natural object, which could be dressed to look like the planet, and consumed as we consume the Earth's resources. It is also fragile and transient, as is the Earth the Living Planet Report describes.
• We were complimented on our use of media, colour and visual style, and our original concept sketches.
• We received a couple of comments regarding the quantity of text on our explanatory board. However, we realise that this is not necessary for submission. It was simply there to explain the brief.
• Thankfully, some people let us know they thought Rebecca's mock ups were clear and concise...
• ...and that our clear, simple designs were a good fit for the brief.
• One person even wrote that they loved our idea.

Otherwise, there were a couple of small issues with typos, and page numbering, which can be quickly resolved before submission. After this feedback, we felt confident in our idea, and that the slides would look even better when composed of our finished assets.

Save The Children - Complete Storyboard & Submission

        After the final critique I undertook a few last minute alterations. The most notable of these was adding in the first half of the storyboard, which provided a little more character insight, revealing how the little boy character is brushed aside by his father, and his desire to be read to goes unfulfilled. These frames will also more firmly establish the importance of colour in representing 'bright futures'.

        I also chose to remove any contextual reference images which had previously been included on the second board. We had been advised that any work included on the pitch boards should be our own, so it would not have been appropriate to include the work of other artists and illustrators, even if only as reference images. This also gave me a little more space to include additional character variations, showing the two little boy characters in their daywear, as well a night wear.

        A recurring comment which I received was a suggestion to reduce the amount of text on each pitch board. Yet despite my best intentions to streamline my writing, I could not help that everything I had written was necessary to explain the project. After all, many others had little or no explanatory text on their boards, making it incredibly problematic to understand the project from the boards alone.

        One other suggestion which I did act upon was that I could perhaps include more examples of how the actual animation would be viewed. Although I had included contextual images showing fathers engaging with the posters and supporting material, I had neglected to demonstrate how audiences would engage with the film itself. Visiting professionals from CBBC revealed that the internet video services such as Youtube are overtaking television of the main way children view animations. There would also be the potential for the campaign film to be shown as an advert on Youtube. 

        Finally satisfied that I had made as many modifications as I could (there will always be things which could improved, I have discovered), it was time to submit my work. Judging does not take place until later in the year, and I do not have high hopes my work will be among the winners. Regardless, it would be useful to receive some constructive feedback so I know how my work was viewed by the judges, and what I can do to be more successful in the future.

Qwertee - Campaign

        After a somewhat uncomfortable wait, I am pleased to announce that all 5 of my designs were accepted and are now live for voting on Qwertee's website. 

        An important part of submitting work to Qwertee is campaigning for your designs via social media, doing everything you can to garner more votes. Unfortunately, I do not spend much time on either Facebook, Twitter or any other such sites, so am at a bit of a disadvantage, as I do not have hundreds of connections I can galvanise into voting. Nevertheless, I needed to everything possible to draw as much attention to my work as possible.

        However, it was heartening to see that my designs had already gotten a few votes before I began requesting support. It is always encouraging to see evidence that others appreciate your work. As I suspected, the designs featuring Toothless, are proving to be the most popular, but the others are not far behind. 

        I now have two weeks to get as many votes as possible for my shirts.