Thursday, May 7, 2009
Layout
Here is a look at my first draft for the layout of the site. You can see that the final piece retained the simplicity of this first draft. I chose to use the navigation of the "contact page" below and get rid of the arbitrary line elements.
Writing my "Bio and Design Philosophy"
I wanted my "About" page to function as an artist's statement and address my philosophy as a designer in order for the viewer to get insight into my work and the things I value about design. A few months ago, I wrote an artist's statement using a guidelines from a fellow's artist's website: (http://www.mollygordon.com/resources/marketingresources/artstatemt/). This is what Molly advised to do before writing mine:
WRITING YOUR ARTIST'S STATEMENT
You'll need pencil and paper, a dictionary, and a thesaurus.
STEP ONE: Assemble the Ingredients.
1. Take five minutes and think about why you do what you do. How did you get into this work? How do you feel when work is going well? What are your favorite things about your work? Jot down short phrases that capture your thoughts. Don't worry about making sense or connections. The more you stir up at this point, the richer the stew.
2. Make a list of words and phrases that communicate your feelings about your work and your values. Include words you like, words that make you feel good, words that communicate your values or fascinations. Be loose. Be happy. Be real. Think of these as potential seasonings for your stew. You don't have to choose which ones to use just yet, so get them all out of the cupboard.
3. Answer these questions as simply as you can. Your answers are the meat and potatoes of your stew. Let them be raw and uncut for now.
What is your favorite tool? Why?
What is your favorite material? Why?
What do you like best about what you do?
What do you mean when you say that a piece has turned out really well?
What patterns emerge in your work? Is there a pattern in the way you select materials? In the way you use color, texture or light?
What do you do differently from the way you were taught? Why?
What is your favorite color? List three qualities of the color. Consider that these qualities apply to your work.
4. Look at your word list. Add new words suggested by your answers to the questions above.
5. Choose two key words from your word list. They can be related or entirely different. Look them up in a dictionary. Read all the definitions listed for your words. Copy the definitions, thinking about what notions they have in common. Look your words up in a Thesaurus. Read the entries related to your words. Are there any new words that should be added to your word list?
6. Write five sentences that tell the truth about your connection to your work. If you are stuck, start by filling in the blanks below.
When I work with__________ I am reminded that___________.
I begin a piece by______________.
I know a piece is done when__________________.
When my work is going well, I am filled with a sense of _____________.
When people see my work, I'd like them to ________________.
STEP TWO: Filling the Pot.
Write a three paragraph artist's statement. Keep your sentences authentic and direct. Use the present tense ("I am," not "I was," "I do," not "I did.") Be brave: say nice things about yourself. If you find that you falter, write three paragraphs about an artist whose work you admire. Then write about yourself as though you were an admiring colleague. As a rule, your artist's statement should be written in the first person. Refer to yourself with the pronouns "I, me, my." If this blocks you, write in the third person, then go back and change the pronouns as needed when you get to Step Four. Use the suggestions below to structure your statement. Write three to five sentences per paragraph.
First paragraph. Begin with a simple statement of why you do the work you do. Support that statement, telling the reader more about your goals and aspirations.
Second paragraph. Tell the reader how you make decisions in the course of your work. How and why do you select materials, techniques, themes? Keep it simple and tell the truth.
Third paragraph. Tell the reader a little more about your current work. How it grew out of prior work or life experiences. What are you exploring, attempting, challenging by doing this work.
STEP THREE: Simmering the Stew.
Your artist's statement is a piece of very personal writing. Let it simmer overnight before your reread it. This incubation period will help give you the detachment necessary to polish the writing without violating your sense of integrity and safety. While your statement simmers, let your mind wander over the ingredients you assembled in Step One. Allow yourself to experience the truth of your creative experience. Marvel at the wealth of seasonings and abundance of vegetables you have at your disposal. Enjoy the realization that your work is grounded in real values and experience. If you think of things you might have left out of your statement, jot them down, but leave the statement alone.
STEP FOUR: Taste and Correct the Seasonings.
Read your statement out loud. Listen to the way the sounds and rhythms seem to invite pauses. Notice places where you'd like the sound or rhythm to be different. Experiment with sounding out the beats of words that seem to be missing until they come to mind. Do this several times until you have a sense of the musical potential of your statement. As you read your statement, some phrases will ring true and others false. Think about the ones that aren't on the mark and find the true statement lurking behind the false one. You may find that the truth is a simpler statement than the one you made. Or your internal censors may have kept you from making a wholehearted statement of your truth lest it sound self-important. Risk puffing yourself up as long as your claims are in line with your goals and values.
Keep reading and revising your statement until you hear a musical, simple, authentic voice that is making clear and honest statements about your work. Refer to your word list and other Step One exercises as needed. By now your taste buds are saturated. You need a second opinion. Choose a trusted friend or professional to read your statement. Make it clear that you are satisfied with the ingredients on the whole, but you'd like an opinion as to seasoning. In other words, you alone are the authority for what is true about your work, but you'd like feedback on clarity, tone, and such technical matters as spelling and punctuation. Once you've incorporated such suggestions as make sense to you, make a crisp, clear original of your artist's statement. Sign and date it. Make lots of copies, you will have lots of people to serve it to!
STEP FIVE: Summon the Guests.
There's little point in concocting a fabulous stew if you don't invite anyone to dinner. Every time you use your artist's statement you extend your circle of influence and build new branches of the support network for making, showing and selling your work. Enclose a copy of your artist's statement whenever you send a press release, letter of interest to a gallery or store, or contact a collector. Send it to show promoters and curators. Enclose a copy with shipments of your work so it can be displayed wherever your work is exhibited. The rest of this manual will suggest many opportunities for using your artist's statement to express your truth and support your presentations.
STEP SIX: File Your Recipe!
Save all the notes and drafts that you've made. You'll want to revise and update your artist's statement from time to time to reflect changes in your work.
Still, it is likely that many of the underlying expressions of your authority will remain the same. Having access to the "recipe" for your original statement will help you generate better revisions and will give you a sense of creative continuity. Whenever you need copy (for announcements, packaging, exhibit catalogues, etc.) return to your warm-up exercises. The words and phrases there will help you write openly and honestly about your work. And repeating the exercises will help you chart new creative territory.
Following her advice, I did some free writing formatted like "Step One: Assemble the Ingredients":
1. Why I do what I do
I love art. I particularly love art with meaning
i want to use art to send messages.
i love that visual communication is so powerful. Picture is worth a thousand words...
digital media gives us yet another medium with which to express ourselves. expansion of this capability is cool
I love the elation i get when i produce work that is pleasing to other people and evokes a reaction
i feel accomplished and fulfilled when I'm productive but also when I'm producing work that that is edgy or different but most of all, effective
my favorite things about graphic design: it's hipper than fine art but also allows you to use fine art in a new way....brings good art to the masses and makes everyday life more colorful, and more aesthetically pleasing...like graffiti.
function in art is appreciated
2. real
effective
efficient
down to earth
communicate to the masses
bring color to everyday life
art as a speakerphone, art as a weapon, art as a tool
arrangement of text as beautiful...glorifies the messages...assists its delivery to those that will listen...
3. a. fave tool: scanner? pen and ink...texture
b. material...ink
c. what it means
d. elements of design arranged and use pleasingly. interaction.. all working together to produce one cohesive loud message that speaks clearly and directly to the audience
e. patterns: i like textures, i like illustrations,
f. I begin a piece by analyzing what message will be communicated. I want a list of words explaining what needs to be said and then make a list of images that are associated with or symbolize those words or concepts from the first list.
I know a piece is done when time is up.... :(
When my work is going well I am filled with a sense of accomplishment and pride. I want to show off my stuff and ask those that have more experience how the pieces can be improved even further.
When people see my work, I'd like them to produce some sort of reaction to the design or the message and want to go to the event that I've advertised or consider whatever I'm saying, rather than pass it by.
From this brief brainstorming session I composed the following:
"Being able to utilize the potential power of visual communication to evoke reactions, bring elements of fine art to the masses and everyday life, and to create effective, functional, and memorable designs is the foundation for my art, and the fundamental reasons I am a graphic designer. When I work with digital media and graphic design I am reminded that there are an infinite number of solutions to each visual problem, but I am tasked with finding one that works well and that stands out -- holds stopping power.
When I begin a piece I use the limitations or specs of a design as prized commodities -- not as obstacles. These limitations are helpful in narrowing down the possibilities for this one design. I first analyze what message will be communicated by creating a list of words or concepts explaining what needs to be said and then make a list of images that are associated with or symbolize those words. I tend to utilize imagery as much as possible and enjoy being able to include my own illustrations, (particularly pen and ink), favoring images and themes that are humorous or provocative. I enjoy the use of texture to create depth in a design and the potential for the arrangement of text to be beautiful, to glorify the message and assist in its delivery. I enjoy the challenge of designing; arranging the puzzle pieces that we call elements of design to interact and produce one cohesive message that speaks clearly and directly to the audience, at times challenging them for a response.
I am an experienced multi-tasker and focused time manager. I pride myself in consistent attention to detail and strong concepts. As an employee, I will be able to work successfully on a team or independently, using my training and technical proficiency as a pillar of support.
My current work is a collection of experiments to establish a distinct style for myself that is marketable to clients for commercial design and desirable enough to hang in a home as fine art. My work grows out of a desire to create hip and contemporary fine art in a world that needs it everywhere; creating art with function is my goal, making everyday life more full of color and life. Digital media gives me a new opportunity to do this in a clean and polished way and still incorporate the humanness of hand crafted work. My primary focus is to use art as a speakerphone, as a tool to incorporate beauty of imagery and message in one package..
Ashley May
November 2008"
Since November, I've done quite a bit more thinking on the topic of my place within the world of graphic design, and decided to update my artist's statement to one that is now available on my site:
How do you do? My name is Ashley May. I am a visual communications student at Truman State University and a freelance graphic designer and illustrator. My study in graphic design began when I discovered I could draw, and not only that, loved doing it. I was drawn to visual communications rather than a studio concentration for its appeal as an art for the masses, and a tool to enhance the progression of society through a combination of imagery and words. Graphic design has a sort of colloquial elegance that is down-to-earth and accessible, yet has the capacity to incorporate elements of fine art.
I consider myself a part of the creative DIY culture and tend towards work that incorporates human elements, including hand-drawn type and illustrations, textures, and an emphasis on craft. I am fascinated by social media and the potential of online art communities which serve as an artist’s support network for instant feedback, a tangible groupthink. Today’s communication tools mean that graphic design is constantly changing and staying fresh, which is exciting, that room for renewal. My favorite work is always that which carries a responsible social message. What better medium to disseminate powerfully resonating ideas than art? Delivering messages through provocative or humorous themes seem to be the most effective and I strive for this in my work.
As a student, my portfolio is still developing. It is a collection of experiments to establish a distinct style for myself that is marketable to clients for commercial design and desirable enough to hang in a home as fine art. My work grows out of a desire to create hip and contemporary art in a world that needs it everywhere. Creating art with function is my goal. Digital media gives me a new opportunity to do this in a clean and polished way and still incorporate the humanness of hand crafted work. My primary focus is to use art as a speakerphone and a tool to incorporate beauty of imagery and message in one package.
WRITING YOUR ARTIST'S STATEMENT
You'll need pencil and paper, a dictionary, and a thesaurus.
STEP ONE: Assemble the Ingredients.
1. Take five minutes and think about why you do what you do. How did you get into this work? How do you feel when work is going well? What are your favorite things about your work? Jot down short phrases that capture your thoughts. Don't worry about making sense or connections. The more you stir up at this point, the richer the stew.
2. Make a list of words and phrases that communicate your feelings about your work and your values. Include words you like, words that make you feel good, words that communicate your values or fascinations. Be loose. Be happy. Be real. Think of these as potential seasonings for your stew. You don't have to choose which ones to use just yet, so get them all out of the cupboard.
3. Answer these questions as simply as you can. Your answers are the meat and potatoes of your stew. Let them be raw and uncut for now.
What is your favorite tool? Why?
What is your favorite material? Why?
What do you like best about what you do?
What do you mean when you say that a piece has turned out really well?
What patterns emerge in your work? Is there a pattern in the way you select materials? In the way you use color, texture or light?
What do you do differently from the way you were taught? Why?
What is your favorite color? List three qualities of the color. Consider that these qualities apply to your work.
4. Look at your word list. Add new words suggested by your answers to the questions above.
5. Choose two key words from your word list. They can be related or entirely different. Look them up in a dictionary. Read all the definitions listed for your words. Copy the definitions, thinking about what notions they have in common. Look your words up in a Thesaurus. Read the entries related to your words. Are there any new words that should be added to your word list?
6. Write five sentences that tell the truth about your connection to your work. If you are stuck, start by filling in the blanks below.
When I work with__________ I am reminded that___________.
I begin a piece by______________.
I know a piece is done when__________________.
When my work is going well, I am filled with a sense of _____________.
When people see my work, I'd like them to ________________.
STEP TWO: Filling the Pot.
Write a three paragraph artist's statement. Keep your sentences authentic and direct. Use the present tense ("I am," not "I was," "I do," not "I did.") Be brave: say nice things about yourself. If you find that you falter, write three paragraphs about an artist whose work you admire. Then write about yourself as though you were an admiring colleague. As a rule, your artist's statement should be written in the first person. Refer to yourself with the pronouns "I, me, my." If this blocks you, write in the third person, then go back and change the pronouns as needed when you get to Step Four. Use the suggestions below to structure your statement. Write three to five sentences per paragraph.
First paragraph. Begin with a simple statement of why you do the work you do. Support that statement, telling the reader more about your goals and aspirations.
Second paragraph. Tell the reader how you make decisions in the course of your work. How and why do you select materials, techniques, themes? Keep it simple and tell the truth.
Third paragraph. Tell the reader a little more about your current work. How it grew out of prior work or life experiences. What are you exploring, attempting, challenging by doing this work.
STEP THREE: Simmering the Stew.
Your artist's statement is a piece of very personal writing. Let it simmer overnight before your reread it. This incubation period will help give you the detachment necessary to polish the writing without violating your sense of integrity and safety. While your statement simmers, let your mind wander over the ingredients you assembled in Step One. Allow yourself to experience the truth of your creative experience. Marvel at the wealth of seasonings and abundance of vegetables you have at your disposal. Enjoy the realization that your work is grounded in real values and experience. If you think of things you might have left out of your statement, jot them down, but leave the statement alone.
STEP FOUR: Taste and Correct the Seasonings.
Read your statement out loud. Listen to the way the sounds and rhythms seem to invite pauses. Notice places where you'd like the sound or rhythm to be different. Experiment with sounding out the beats of words that seem to be missing until they come to mind. Do this several times until you have a sense of the musical potential of your statement. As you read your statement, some phrases will ring true and others false. Think about the ones that aren't on the mark and find the true statement lurking behind the false one. You may find that the truth is a simpler statement than the one you made. Or your internal censors may have kept you from making a wholehearted statement of your truth lest it sound self-important. Risk puffing yourself up as long as your claims are in line with your goals and values.
Keep reading and revising your statement until you hear a musical, simple, authentic voice that is making clear and honest statements about your work. Refer to your word list and other Step One exercises as needed. By now your taste buds are saturated. You need a second opinion. Choose a trusted friend or professional to read your statement. Make it clear that you are satisfied with the ingredients on the whole, but you'd like an opinion as to seasoning. In other words, you alone are the authority for what is true about your work, but you'd like feedback on clarity, tone, and such technical matters as spelling and punctuation. Once you've incorporated such suggestions as make sense to you, make a crisp, clear original of your artist's statement. Sign and date it. Make lots of copies, you will have lots of people to serve it to!
STEP FIVE: Summon the Guests.
There's little point in concocting a fabulous stew if you don't invite anyone to dinner. Every time you use your artist's statement you extend your circle of influence and build new branches of the support network for making, showing and selling your work. Enclose a copy of your artist's statement whenever you send a press release, letter of interest to a gallery or store, or contact a collector. Send it to show promoters and curators. Enclose a copy with shipments of your work so it can be displayed wherever your work is exhibited. The rest of this manual will suggest many opportunities for using your artist's statement to express your truth and support your presentations.
STEP SIX: File Your Recipe!
Save all the notes and drafts that you've made. You'll want to revise and update your artist's statement from time to time to reflect changes in your work.
Still, it is likely that many of the underlying expressions of your authority will remain the same. Having access to the "recipe" for your original statement will help you generate better revisions and will give you a sense of creative continuity. Whenever you need copy (for announcements, packaging, exhibit catalogues, etc.) return to your warm-up exercises. The words and phrases there will help you write openly and honestly about your work. And repeating the exercises will help you chart new creative territory.
Following her advice, I did some free writing formatted like "Step One: Assemble the Ingredients":
1. Why I do what I do
I love art. I particularly love art with meaning
i want to use art to send messages.
i love that visual communication is so powerful. Picture is worth a thousand words...
digital media gives us yet another medium with which to express ourselves. expansion of this capability is cool
I love the elation i get when i produce work that is pleasing to other people and evokes a reaction
i feel accomplished and fulfilled when I'm productive but also when I'm producing work that that is edgy or different but most of all, effective
my favorite things about graphic design: it's hipper than fine art but also allows you to use fine art in a new way....brings good art to the masses and makes everyday life more colorful, and more aesthetically pleasing...like graffiti.
function in art is appreciated
2. real
effective
efficient
down to earth
communicate to the masses
bring color to everyday life
art as a speakerphone, art as a weapon, art as a tool
arrangement of text as beautiful...glorifies the messages...assists its delivery to those that will listen...
3. a. fave tool: scanner? pen and ink...texture
b. material...ink
c. what it means
d. elements of design arranged and use pleasingly. interaction.. all working together to produce one cohesive loud message that speaks clearly and directly to the audience
e. patterns: i like textures, i like illustrations,
f. I begin a piece by analyzing what message will be communicated. I want a list of words explaining what needs to be said and then make a list of images that are associated with or symbolize those words or concepts from the first list.
I know a piece is done when time is up.... :(
When my work is going well I am filled with a sense of accomplishment and pride. I want to show off my stuff and ask those that have more experience how the pieces can be improved even further.
When people see my work, I'd like them to produce some sort of reaction to the design or the message and want to go to the event that I've advertised or consider whatever I'm saying, rather than pass it by.
From this brief brainstorming session I composed the following:
"Being able to utilize the potential power of visual communication to evoke reactions, bring elements of fine art to the masses and everyday life, and to create effective, functional, and memorable designs is the foundation for my art, and the fundamental reasons I am a graphic designer. When I work with digital media and graphic design I am reminded that there are an infinite number of solutions to each visual problem, but I am tasked with finding one that works well and that stands out -- holds stopping power.
When I begin a piece I use the limitations or specs of a design as prized commodities -- not as obstacles. These limitations are helpful in narrowing down the possibilities for this one design. I first analyze what message will be communicated by creating a list of words or concepts explaining what needs to be said and then make a list of images that are associated with or symbolize those words. I tend to utilize imagery as much as possible and enjoy being able to include my own illustrations, (particularly pen and ink), favoring images and themes that are humorous or provocative. I enjoy the use of texture to create depth in a design and the potential for the arrangement of text to be beautiful, to glorify the message and assist in its delivery. I enjoy the challenge of designing; arranging the puzzle pieces that we call elements of design to interact and produce one cohesive message that speaks clearly and directly to the audience, at times challenging them for a response.
I am an experienced multi-tasker and focused time manager. I pride myself in consistent attention to detail and strong concepts. As an employee, I will be able to work successfully on a team or independently, using my training and technical proficiency as a pillar of support.
My current work is a collection of experiments to establish a distinct style for myself that is marketable to clients for commercial design and desirable enough to hang in a home as fine art. My work grows out of a desire to create hip and contemporary fine art in a world that needs it everywhere; creating art with function is my goal, making everyday life more full of color and life. Digital media gives me a new opportunity to do this in a clean and polished way and still incorporate the humanness of hand crafted work. My primary focus is to use art as a speakerphone, as a tool to incorporate beauty of imagery and message in one package..
Ashley May
November 2008"
Since November, I've done quite a bit more thinking on the topic of my place within the world of graphic design, and decided to update my artist's statement to one that is now available on my site:
How do you do? My name is Ashley May. I am a visual communications student at Truman State University and a freelance graphic designer and illustrator. My study in graphic design began when I discovered I could draw, and not only that, loved doing it. I was drawn to visual communications rather than a studio concentration for its appeal as an art for the masses, and a tool to enhance the progression of society through a combination of imagery and words. Graphic design has a sort of colloquial elegance that is down-to-earth and accessible, yet has the capacity to incorporate elements of fine art.
I consider myself a part of the creative DIY culture and tend towards work that incorporates human elements, including hand-drawn type and illustrations, textures, and an emphasis on craft. I am fascinated by social media and the potential of online art communities which serve as an artist’s support network for instant feedback, a tangible groupthink. Today’s communication tools mean that graphic design is constantly changing and staying fresh, which is exciting, that room for renewal. My favorite work is always that which carries a responsible social message. What better medium to disseminate powerfully resonating ideas than art? Delivering messages through provocative or humorous themes seem to be the most effective and I strive for this in my work.
As a student, my portfolio is still developing. It is a collection of experiments to establish a distinct style for myself that is marketable to clients for commercial design and desirable enough to hang in a home as fine art. My work grows out of a desire to create hip and contemporary art in a world that needs it everywhere. Creating art with function is my goal. Digital media gives me a new opportunity to do this in a clean and polished way and still incorporate the humanness of hand crafted work. My primary focus is to use art as a speakerphone and a tool to incorporate beauty of imagery and message in one package.
Use of Handcrafted Elements
After deciding on my theme, I went to work writing out titles and drawing the speech bubbles and playing with watercolor wash. Below are a number of sketches and splashes that I scanned to use on the site.
"Concept" Development for my Online Portfolio
I wanted to develop a strong theme for the site that would communicate my design philosophy. I brainstormed quite a bit, writing lists of words and making sketches. In my History of Graphic Design course we had been discussing what makes something graphic design and what makes something fine art. it seemed that there was no clear answer, only a blurry line that was defined by whomever was looking. I thinking the difference is mainly in media and the inclusion of textual information. The blur appears especially in the presentation. Barbara Kruger's work becomes fine art when it is put in a gallery setting though it would likely be considered graphic design if anywhere else. I played with the idea of theming my website like a gallery as I had seen done in other websites, including lookatme.com. After much thought however I decided that I didn't necessary want my work to be shown in a gallery and rather on the street, and in the hands of anyone that came across. I liked the idea of graphic design as art for everyday people. Underground, grungy, colloquial, practical, fun. I searched my neighborhood for a red brick wall that I could photograph and use as my background to show that my work was intended to be see for the public and not just people who took the time to visit a gallery.
After more thought, I decided that it was more important to me to show how I valued hand crafted work rather than my philosophy on the audience of graphic design. I wanted to move away from photography and use mostly illustration and hand-drawn typefaces. I decided to use the theme of communication primarily and chose the icon of a speech bubble as a motif that would be seen in the links. I considered combining the look of a writer's brainstorming branch diagram and the speech bubbles for unique approach to my symbol, but the drawings I developed felt too new age and technical than the arts-and-crafts-movement-feel I was wanting to evoke. I visited the website of an illustrator and graphic designer Kevin Cornell (bearskinrug.co.uk) and was influenced by his use of watercolor wash and the gentle shade of purple.
Below are some sketches and notes that document this conceptual and visual development. You'll see my word association lists, symbol sketches, thumbnails for the layout, and notes on color and typefaces.
After more thought, I decided that it was more important to me to show how I valued hand crafted work rather than my philosophy on the audience of graphic design. I wanted to move away from photography and use mostly illustration and hand-drawn typefaces. I decided to use the theme of communication primarily and chose the icon of a speech bubble as a motif that would be seen in the links. I considered combining the look of a writer's brainstorming branch diagram and the speech bubbles for unique approach to my symbol, but the drawings I developed felt too new age and technical than the arts-and-crafts-movement-feel I was wanting to evoke. I visited the website of an illustrator and graphic designer Kevin Cornell (bearskinrug.co.uk) and was influenced by his use of watercolor wash and the gentle shade of purple.
Below are some sketches and notes that document this conceptual and visual development. You'll see my word association lists, symbol sketches, thumbnails for the layout, and notes on color and typefaces.
Subscribe to:
Posts (Atom)
