I had mixed feelings after my critique today… Luckily it doesn’t appear as if I am significantly behind, I just to keep my stamina up and keep working on refining and producing imagery. I was also pleased to hear that everyone really liked my typography; I was initially worried about displaying all the work I’d done on this as illustration students are often told to steer clear of hand-rendered text unless it is particularly successful.
On the other hand, my imagery approach was questioned by my tutors which is disconcerting as I’m not sure specifically how I can amend my current image ‘issues’. I believe the best solution for this is to keep producing thumbnails and drafts from which I can decide what features & compositions work and what don’t. I also need to keep in mind the US market audience to ensure that the designs are contextualised with the project brief; giving myself rules to meet this, like limited colour palette and bold shapes, may help focus and refine my compositions.
The artists suggested to me by my tutors are generally not to my taste – my work reminded them of such practitioners – and am anxious that my work may currently be putting across a style/tone that does not reflect me and my work how I intended.
Tutors’ written critique feedback
- Informed understanding of the sector is apparent.
- Look at painting by Eric Ravilious, John Nash, John Piper and Edward Bawden.
- Has considered US/UK book markets.
- Has identified early on a ‘watery’ theme to unify the book jacket covers.
- As discussed, simplify in areas.
- Strong contextual analysis of work.
- Drawing, photography and experimental mixed media underpin this project.
- Hand-drawn type is well-executed (maybe a traditional font might work for the title).
- Cover elements could be refined.
Any other suggestions / resources include
- Strong, hand-rendered script as text works well.
- A good body of research is helping to underpin the developing designs and concepts.