Glossary Of Terms: AHIS 430 01

comics: juxtaposed pictorial and other images in deliberate sequence, intended to convey information and or to produce an aesthetic response in the viewer. 

Icon/iconography: an image used to represent a person place, thing or idea.

Gutter: the space between panels, host to much of the magic and mystery at the heart of comics!

Closure: the phenomenon of observing the parts but perceiving the whole.

Types of transitions between panels: moment-moment. subject-subject, scene-scene, action to action,  aspect-aspect: 

Non-sequitur: the term refers to a conclusion that isn’t aligned with previous statements or evidence. In Latin, non sequitur literally means “it does not follow.” Example: I read about a pitbull attack. Our neighbor owns a pitbull. My life is in danger.

non sequitur

Foreground: The foreground is an art term that describes the objects in the scene that are closest to the viewer. It is the part in front of everything else and has the most detail.

Panel: A panel is an individual frame, or single drawing, in the multiple-panel sequence of a comic strip or comic book

Futurists: an art movement initially taking place in Italy based on a systematic decomposition of moving objects in a static medium

example from Futurist movement

Zip-ribbons / motion lines: representation of moving objects through space 

zip ribbons

Subjective motion: works on the assumption that if observing a moving object can be involving, being that object should be more so. 

Polyptych: where a moving figure or object is imposed over continuous backgrounds

polytych

Synaesthetics: artforms that appeal to and unite different senses – first realized through the expressionist movement and the likes of Wassily Kandinsky and his peers.

famous example ‘Scream’ from expressionist movement

Categories of combinations:

Duo-specific=both words and pictures send essentially the same message.

Picture-specific=where words do little more than add a soundtrack to a visually told sequence.

Word-specific=where pictures illustrate but don’t significantly add to a laregely complete text

Additive=where words amplify or elaborate on an image or vice versa.

Parallel=words and pictures seem to follow very different courses without intersecting.

Montage=where words are treated as integral parts of the picture.

The process of creation: idea-form-idiom-structure-craft-surface

Bananafish sketches: AHIS 430 01

Some sketches for Banana Fish Novella. Our copy-writing consultant saw the printed story on my desk and urged me to pick up J.D. Salinger’s book of short stories which I intend to do! I plan to do this digitally, mixing a style of off-register line work, flat colours and textured Photoshop brushes. I think emphasizing a darkness in certain areas of the panels containing Seymour will be effective in communicating a sense of volatility and his disturbed state of mind. It was difficult which dialogue to choose as the story is very heavy with it. Looking forward to how this is going to come out though!

(ps sorry the sketches are sideways, i could not seem to rotate them!)






GDC Cross-Platform Project

It’s unfortunate that lack of finance seems to be at the root of a lot of their problems, I guess that’s where the community has to pick up the slack (like us!). In these times where alternative resources are more accessible all over the internet, the importance of face to face interactions and the value of being a part of a community can be more easily overlooked by younger generations. Focus is on the individual, by the individual more than ever. As students with high education costs in an expensive city, something like a 60 dollar membership can easily be overlooked in favour of groceries or bill payments. We need to see demonstrated value more than ever before committing and so hopefully some of our output can be of help for Nicole and co. with the issue at hand.

Reflecting on this assignment it was refreshing to see how it all came together in the end. I especially enjoyed the dynamic of the large group brainstorming sessions, with everyone politely spit-balling on the whiteboard and someone else’s little addition can strengthen your contribution so significantly. While we’ve had a taste of team-based assignments before, this one required a higher degree of organization from all and everyone held their end in pulling together a cohesive proposition.

As far as my group’s contribution, Emma and I initially fell into the trap of developing an unrefined idea and the results reflected that. I think a part of it was having trouble agreeing on direction and feeling some pressure to get started but as we experienced our pitfalls, our communication improved and we learned to better navigate our differences and be patient in the flushing out of things as a unit. While this lesson seems to be a hard one to cement in oneself, I hope it’s among the last times! Ultimately, however, we persevered and our concept came together overall, ending up much more on target than in previous weeks.

For a self-appointed grade, I’d give myself an 8/10 for an effective result and a good comeback after getting derailed. Although this event would take some serious organization it could have a strong impact on participants and the community. It is also feasible with the limited budget in mind, relying on the community more so than money. Which is what GDC is all about, right?!

Through our involvement, I’m now aware of what the GDC has to offer for students and I will certainly be more inclined to take advantage of those resources!

Rationale

The concept behind the poster is based around the time limit of the event. Working in such a short window, there’s guaranteed to be a lot going on. The tornado graphic emphasizes this flurry of activity CONTAINED within that 12 hours. The stopwatch indicates a sense of urgency, with time revolving as does the creative process. The colours are vivid and high contrast to support the vibe of excitement and the pink background and heart reflect the fact the caring nature of the event, in that it is community driven, for the community.

Have a great summer Judy, always a pleasure in your class, Cheers!

Decolonization Project: Land Of Bannock Food Truck

Our group’s goal for this project was to help increase the visibility of the three major aboriginal bands residing in the lower mainland and surrounding area, the Squamish Nation, the Musqueam and the Tseil-Waututh. Working as a group we divied up the research into categories in order to cover more ground. Upon reconvening to share our finders we agreed on the shared connection that the First Nations People have with the land as our focus. Based on this insight we brainstormed ideas and applications. We sketched out tons of ideas and drafted up some of our better project approaches, in the end deciding on a food truck as an interesting and potentially effective solution. It also had a lot of potential collateral output ensuring our group had our work cut out for us. An educational experience built around food is a great entry point to spark interest, making information and learning about it more engaging and digestible (pun intended). This project came with it’s hurdles but we dealt with them accordingly and consulting the film students was very helpful in our result in the end.

The course of this project has provided me with significant insight and raised my awareness surrounding indegenous people and their relationship with Canada. It’s still hard to wrap one’s head around the fact that there is little to no education on them and their history included in the public school curriculum as we could all benefit from it. Aside from what we gathered through research, learning about proper conduct and procedures when dealing with indigenous involvement in the industry was very eye-opening. As deisgners, seeking out culture consultants, ensuring permission is receieved when neccessary and recognizing appropriation is very important.

Due to the nature of Canada’s past in dealing with indigenous people, its certainly understandable that resentment towards white people is harboured by some. I think I speak for the whole class in that having no first nation’s heritage and getting thrown off the deep end into this information for this project, we had our worries. The last we wanted to do was come off as ignorant, inappropriate or offend someone. Because of that, it was very refreshing to meet with Michelle and the film students. Their advice and knowledge went a long way in helping us all with our perceptions and confidence. Reassuring us that its okay to ask Questions, and not know or be wrong but it’s definetly not okay to make assumptions and act on them.

Working in a group definitely allowed us to cover more territory and our work sessions prompted some really good, interesting discussions and dialogue surrounding these topics. Execution-wise, everyone did their part, helping others when needed and I feel the result was cohesive and successful.

Aidan Zecchel: Resume, Rationale and Self-evaluation

For my tailored resume I chose Brandever, a small branding agency specializing in beer, wine and fine food packaging. Their strategic and creative driven approach has churned out some lovely work that’s been catching my attention since before pursuing design on my own! I really love the versatility displayed in their work, especially applying traditional medium treatment to some of their projects. In hopes that their niche in the design market reflects their own appreciation for good food and drink, I made referred to my past vocations in the food industry. I even made my own wine glass stain on paper and transferred it to my layout. For typography, I chose a strong contrasting pair, Eczar for title has a strong personality, especially at a heavy weight, while Helvetica balances it out. I ended up reducing my written content in favour of more white space.

This assignment was a fun one that I’m sure the class would agree with me, prompted some excitement and anticipation for our futures! While researching agencies I stumbled upon Brandever and although there wasn’t a lot of background info on them I was super stoked on their portfolio and ethics. With lots to say about myself, I found it tough to remain succinct but managed in the end as I’m reminded that a resume’s purpose is to bring you, not get you the position! I had hoped to organize with John Lau to print my resume on a thicker stock and then put my wine glass on it (which is what I will do if I decide to forward this to them) but the timing didn’t work out. As a result, I used my camera to photograph some I made and place it behind my text which was a bit finicky. I found myself building layouts more so around the constraints of the size of my photo etc. rather than the other way around. After playing around with my composition, however, I’m happy with the results as I’ve nodded to their speciality in a conceptual way but I believe I could re-execute it even better.  I give myself an 8.5/10. Below are included a few alternative layouts.

Rationale For Mannifesto

For my sustainable design mannifesto, I considered a few different analogies for sustainability before deciding on the footstep. To me, it relates well to the idea of the double-edged sword of design and its impacts (perpetuating consumerism as well as impacting the world in positive and progressive ways. The imagery chosen expresses a different perspective that designers should always strive for while approaching and examining problems from different angles. By thinking ahead and applying sustainable practices we are looking up at the impact of our decisions in advance. The color motif reflects and acknowledges the role of the environment within the message. The typography is sans serif and contemporary, tying in with the theme of acting with the future in mind.

Evaluation 8/10

I believe this poster is aesthetically pleasing, boasts a nice layout and the imagery ties in with the copywriting. It has a fresh and heartening look to it. Having played with inverting the image so as to have the figure white instead of black indicating the “lightness” of the footsteps I decided against it as the contrast between impact vs footprint is lessened. The Hierarchy in the headline is intended to support it. I had hoped to break get expressive with the last few lines of my copy letting it flow out of the grid indicating the power of strength in numbers and inspiring others to follow however upon experimentation it seemed a bit too ambiguous even for me. I am unsure if applying white to distinguish the type referring to the four pillars of sustainable design was a good idea or an unnecessary and confusing distraction.

Research Links

  • https://www.vitsoe.com/gb/about/good-design
  • https://www.core77.com/posts/40586
  • https://graphicdesignfestivalscotland.com/2018/how-can-design-transform-our-economy-what-impact-can-design-have-on-innovation/
  • https://pjrvs.com/manifesto/
  • https://backspace.com/notes/2009/09/the-social-role-of-the-graphic-designer.php

Revised Analysis Essay

In a world of increasing overpopulation, we as Canadians are privileged to exist where we do and often forget the large percentage of those who occupy condensed slums as their homes. Despite their shortcomings, when we peel back the exterior, one finds an intricate way of life led with surprising ingenuity. By acknowledging the subtle victories that homegrown communities have made and offering some support and security to them, there is a great opportunity for gathering insight and constructive knowledge. The grey area of rights and legalities surrounding Dhavari are in a stagnant state if not a volatile one, especially with increasing interest through privately owned parties. On the other hand, there is clearly something incredible taking place here that could be mutually beneficial to residents and state alike if nurtured correctly. Developments like Dhavari should not be overlooked in the larger scheme of things as they have an organic quality of natural evolution and adaption to them that could be effectively applied elsewhere. 

In their article ” This is not a slum” (2016) Echanove and Srivastava take the time to investigate and acknowledge the miraculous transformation of rickety cloth lean to’s into a rich, dynamic neighborhood (20). High population density coupled with a lack of construction regulations has resulted in consolidated, multi-purpose dwellings assembled by the inhabitants for their own specific needs (21). These tactics are arguably as sophisticated as they are primitive and the output of hard work is reflected in economic contributions. According to conservative estimates “Dhavari produces around 500 million in yearly exports” which is enormous for its size of just above 2 square kilometers (20). This information surely reinforces Dhavari’s achievement of more than a hopeless slum but rather a testament to hard work and resiliency of humans doing their best with what they are provided, no matter the size.

Dhavari, however, remains “an illegitimate urban space”, an unplanned slum. Although they have found benefits to defying building codes, Dhavarians lack in basic amenities and have no real security to their occupancy. Those rights are occasionally given to some seen as key players yet homes are still subject to demolition if municipal authorities despite supposed political protection (22).

Echanove and Srivastava suggest that by “reflecting on the continuous updating of shelters and business’ by the residents over generations” cities should try appointing areas free of real estate market influence with legitimate occupancy rights. These would be designated to affordable and creative use of space, with less regulation. This, in turn, would ensure large amounts of rentals and substantial economic possibilities could grow from it (23).

Being an artist and creative person I admire such places, their resourcefulness, complexity, and success despite marginalization. Here we have happy people that have a way of life that is built on working together and collective support. By looking at what’s been accomplished on their own one could imagine the benefits from some outside assistance. Sadly, when backed by private parties, city planner and “slum rehabilitation schemes tend to flatten occupied land with false claims that include rebuilding proper housing for the existing residents (22). Yet after allocating only a small portion (if any) towards that, profits are then reaped by selling the rest at market value.  Vancouver residents like myself may be reminded of similar claims being made here in regards to development in our own Downtown Eastside for low-income housing. These silver-tongued proposals are often accepted and don’t remain true to the initial plan but by then there isn’t much that can be done.  The greediness, lack of compassion for the for the lives and basic human rights of the disenfranchised are truly sickening.

  Unfortunately, the influence of the real-estate sector run deep in all corners of our world and advocation of rights for those in the way of their plans often fall on deaf ears. Affirmative action like that suggested by Echanove and Srivastava such as ” creating enclaves that are free from speculation led real-estate markets to increase their dynamism and creating a framework for legitimate occupancy rights” are the first step in the direction of viable and humanitarian solutions scenarios (23).

  Along with the authors, I agree that the Dhavari model is not applicable to all areas with large slum populations. Yet as the number of people increases so rapidly and population density issues mirror that, we are in need of direction and perspective. By keeping an open mind and learning from the possibilities inspired by places like Dhavari, we are increasing our chances of a better, more productive urban future. Flexibility opens the door for innovation. Maybe the answers lie not in the speculation of those formally trained to plan the future of our cities and their impending problems but the demonstration of ingenuity by those working together making it happen right there in there out communities. By any means.

 

About Me. Just checking in!

It took the better part of my life for me to realize my passion and interests in art but since it’s become one of the biggest and crucial elements of my life that also led me to Capilano University. I had been interested in the Idea program since high school but a trepidation of commitment and desire to check out other possibilities led me to take a bit of time off, which ended up being 5 years! I believe this move was a clever one though, as I’ve had a lovely time in my discoveries and experiences, within myself and with the world around me. Now having found myself back around full circle, I can know and be confident now that this is the right channel for me to work towards my dreams. The company I’ve kept over the years has had a powerful influence on me and I’m lucky to have been blessed with such friends and family. I’m very excited to see what the future has in store and intend on enjoying all it has to offer

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