JOHNNY RYAN - PRISON PIT

Found this awesome comic called PRISON PIT by a dude called JONNY RYAN and it's awesome, Super violent, funny, and just a crazy world to get engulfed by; I know it's going to effect this project and have an impact on me. Possibly through using narrative and comic strips to better explain stories or experiences.

505 Research

Looking at statistics and all that about all the bad things that happen in Leeds. There's a lot of it. An being a skint student I live in quite a rough area and here my fair share on things. After just breifly looking at it I'm starting to think it's a bit much. Not in that I can't handle that kind of thing but I'm aware I tend to stumble in this direction with my work so maybe I should consider something more light hearted?

Proposal

BA (Hons.) Illustration   LEVEL 05

Module Code:OUIL505    2014/15    Module Title  :ILLUSTRATION 2: Applied Illustration

STUDIO BRIEF 1: Project Proposal 

Project Rationale

What are you proposing to do? (Product, Range & Distribution)
Create a range of products that are all finalized on none traditional canvas’ e.g Plates; cuboards; walls; shoes etc etc.

What do you want achieve?
I want to put my work in places where It wouldn’t normally be viewed and by people who wouldn’t normally do it on objects you wouldn’t usually see It on. I want to create my own audience by where I place things. Not waiting for a gallery as It were however this is no way a movement against gallerys or in a protest that my own should be in one

What do you want learn from doing it?
How different media and products react and work to non-traditional canvas’ and how people react to work that is in the same form

THEMES / SUBJECTS
What Themes/Subjects will form the content of your work for this module? This should include Theoretical and non- creative based content and concerns. This section should identify your consideration of the social, cultural, ethical and creative concerns of contemporary practice

GENERAL THEMES:
Social and political happenings in citys and around the world. Monsters in the real world.

SPECIFIC SUBJECTS:
Violence; Injustice; Wrong doing.

PRACTICAL & CONCEPTUAL APPLICATION
What areas of Illustration do you intend to investigate in relation to the practical and conceptual, production / distribution of work in response to selected briefs.

SPECIFIC DISCIPLINARY AREA:
N/A. This is about exploration for me.

AUDIENCE/CONTEXTS:
Audience is defined by where my work goes, as opposed to who would want to see it

PRODUCTION / Distribution Methods:
Guerilla techniques

CONTEXTUAL REFERENCES
Identify areas of professional/creative practices that will inform the contextualization of the work that you produce. This should include specific illustrators, studios, practitioner’s and products as well as broader creative disciplines and methods of Production / Distribution.

ILLUSTRATORS / DESIGNERS / STUDIOS: Neckface; Ralph Steadman, Eterno, Cleon Peterson, Ron Wells,

Thoughts

The main discrepancy I found with making the two images on the plates, wasn't actually what I thought it would be. The media I used worked differently but not really too far from what I expected. The worst part was actually taking photos. Plates are shiny; catch light easy; don't angle right; don't stand up by themselves. So effectively I'm going to look into getting the work for this project professionally studio shot as-well as getting plate stands and anything else I might need to make it look better

Failed Photos:

Plate two

After the first one, An using the marker I decided to draw on a bigger plate and use the marker and a fine liner to get a different weight of line since the heavier marker couldn't pull off certain lines I waned to achieve on the first page. It was really different drawing on ceramic, It takes the ink well and it's really smooth but there's certain weights of line you can't achieve like you can on paper or canvas.

'If I drink and smoke for long enough, somethings bound to happen....'

I like these as practices and a quick idea, It's also good to find out working with a different canvas hasn't effected how I work quickly and hasn't been detrimental to the way I create images.

Plate one.

I can only mock things up for so long, I need to get to grips with the materials I'm working with. I got a small plate and a used some of these new TOUCH-Twin Markers I've got to see what it was like. I started by planning to do a few sketches in my book first to get he right idea but the first sketch turned out fine, Didn't take much tweaking.

'EATING MY VEG, IS LIKE LOOKING AT YOU. I DON'T LIKE YOU...'

Messing around

Decided since I've picked up a few more photoshop skills that I never had, I can make this whole trial and error part and little bit smoother. So I threw together some of my designs onto a nice photo of a plate I found, Just to give myself an idea of how this looks; composition and the likes.

Off paper

We have chalk in our house among lots of other pens and lots of things that are just lying around so I tend to draw things on things, I usually forget to snap a picture before someone washes it away but i've got a few examples. It's nothing special but it's interesting to show some off paper examples. 

It most important thing to note is that when off paper, the tool your using is really important and different. Some surfaces don't well so certain drawing tools, Some will even damage them and the line quality so completely different on a was as opposed to on paper.

Sketching.

Some small scanned doodels of almost nothing, Just felt it was important to document he first sketches I did. No reference or anything just me drawing what comes to my head, almost a warm up. Still in stages of feeling things out at the moment. Used a graphite crayon though instead of a pen, and really liked how I worked, Will have to use It more, Creates interesting textures.

Eterno

Eterno, NOMAD tattooist. This style of tattooing has blown up recently. Very minimalist. His work is very similar to Cleon Peterson's just in a tattoo format. Eterno is all about word of mouth, people seeing his work; wanting it; finding out who did it and then seeing if he's coming to a city near them. (I for one know it's difficult to find the guy, and then difficult to book in time) I see tattooing as a very strong line to object and environment. Tattoos on people; it's artwork that;s always moving around. Always being around it's environment. My favorite thing about Eterno's work is the underlying social and almost political messages behind his work.

Tattoo work:

Cleon Peterson

Cleon Peterson is an LA based artist whose chaotic and violent paintings show clashing figures symbolizing a struggle between power and submission in the world around us. (Seeing a connection with artists I relate too yet) I hadn't heard of Cleon before but as soon as I saw his work I really resonated with me. The violence, the characters, everything. A print based artist who works on huge murals as well, it's really up my street. He seems to be blowing up in popularity atm, taking commissions left and right and having lately released some clothing designs for the company THE QUIET LIFE as well as being featured on the front of juxtapoz magazine a few months ago.



In my last project I used Cleon Peterson as a heavy influence. I used his use of space to expand my practice into places it's not been before. Challenging my idea of space more. I felt it really made my practice move in a new direction - not necessarily a forward direction but none the less

NECKFACE

NECKFACE, like Ralph Steadman is one of he driving forces behind my work; what I make and why I make face. Neckface is more of an in your face offensive opinion based graffiti artist. I find his stuff hilarious and he almost represents the personal side of my work, the stuff I do because I want to do it. Obviously works well here due to the fact object and environment is his thing, graffiti is all about object and environment, It's just something I want to explore more. It's quite obvious Neckface' art is his advertisement. He does use instagram now and has done collobs with some big companies such as Nike but before all that it was all about making a picture and tagging your name.

Graffiti and paint work.


As well as graffiti his work as also been placed on skateboards; shoes etc which is what im really interested in pursuing



Below is a collection of my work, it's take a strong influence from Neckface. It's always been my way or working but it's reassuring to know that there's someone who does similar things to me and it's really popular.

Ralph Steadman

Ralph Steadman started at  London Printing and Graphic Arts College were he pursed his passion.  Forcing himself to challenge the things and the world around him. He would spend our his museums and gallery's honing his craft, improving his ability to just draw. His vigor and passion for what he was making came after.  Then his world exploded with the art of Gonzo and between Ralph and Hunter S Thompson they had down too a tea. They were there own walking advertisement.

It may be argue that under my chosen category (Object and Environment) Ralph Steadman falls short but I'd argue he's one of the strongest artists I've looked at on the subject. Ralph was always someone who pushed what he saw going on in the environment around him and threw that in people faces. He made people look where they may normally wouldn't,

I've had the pleasure of speaking to Ralph Steadman, even receiving a book and painting off him, he's a real inspiration to what I believe illustration should be, it's not just about pretty pictures; it's about having a passion; a voice.

Early Work Later work The main thing I want to take from Ralph, is the balance of passion and practice and to always keep the drive improve and drawing from life and objects and remember even if im passionate about making anarcic images, it all has to come from somewhere.

 Some older work of mine which was in responce to a text, imagery strongly influenced by Ralph Steadman