About Me
- John
- Birmingham, West Midlands, United Kingdom
- Aspiring illustrator for the computer games industry. Currently Studying Visual Communication at the Birmingham Institute of Art and Design
Thursday 13 January 2011
Production and interpretation
Interpretation
Interpretation will always be subject to the spatial and temporal situation of an individual. An illustrator’s interpretation of work will be moulded through an understanding of it’s historical context. For example, a religious painting would have evoked much more emotion to someone viewing it at a time where to be religious was somewhat compulsory and innate due to that individual’s place in history. An illustrator of today would have to comprehend this to interpret such work but it would inevitably never be appreciated truly the same way as someone viewing it in that period of history. Illustrator’s and ‘creative’s’ incorporate the ‘Zeitgeist’ (which means, ideas and spirit of the time) of their time in order to interpret work with more informed judgment. Many artists in every sense of the word have different interpretations and visions on a how a common piece of work, usually contemporary, should be presented. For example, Lewis Caroll’s novel: Alice in Wonderland has been adapted into film by many different individuals who had particular ideas of how they wanted to portray the story. One of the most notable to take is that of Jan Švankmajer, Švankmajer was concerned with the grotesque and this ideology effected his inspiration and lead to his somewhat ‘disturbing but not repulsive’ portrayal of the children’s story. Then if we take the most recent adaptation, Time Burton’s, we note he, as an artist is more concerned with the characters. Although he somewhat deviates from the original telling, he pays particular attention to detail in character design etcetera. This shows clearly the importance an individual’s interpretation when considering work and the amplification of the ‘meaning’ within a message.
Production
Another important principle to consider when looking at an illustrator’s production and outcomes is the testing of one’s work and how an illustrator may convey this to their audience. There are many means for an illustrator to test their work and get feedback in order to disseminate it with success. This could be to publish their work, exhibit it in galleries, and post it on forums, through social networking sites and other general websites. This entitles the illustrator to constructive feedback from the general public, alongside friends, critics and other artists. As a result of this feedback, the illustrator may then edit and reedit their work in order to perfect the outcome they desire. The illustrator will not only receive feedback for their work but also gain a general reaction which may shape the direction they then wish to pursue.
Interpretation will always be subject to the spatial and temporal situation of an individual. An illustrator’s interpretation of work will be moulded through an understanding of it’s historical context. For example, a religious painting would have evoked much more emotion to someone viewing it at a time where to be religious was somewhat compulsory and innate due to that individual’s place in history. An illustrator of today would have to comprehend this to interpret such work but it would inevitably never be appreciated truly the same way as someone viewing it in that period of history. Illustrator’s and ‘creative’s’ incorporate the ‘Zeitgeist’ (which means, ideas and spirit of the time) of their time in order to interpret work with more informed judgment. Many artists in every sense of the word have different interpretations and visions on a how a common piece of work, usually contemporary, should be presented. For example, Lewis Caroll’s novel: Alice in Wonderland has been adapted into film by many different individuals who had particular ideas of how they wanted to portray the story. One of the most notable to take is that of Jan Švankmajer, Švankmajer was concerned with the grotesque and this ideology effected his inspiration and lead to his somewhat ‘disturbing but not repulsive’ portrayal of the children’s story. Then if we take the most recent adaptation, Time Burton’s, we note he, as an artist is more concerned with the characters. Although he somewhat deviates from the original telling, he pays particular attention to detail in character design etcetera. This shows clearly the importance an individual’s interpretation when considering work and the amplification of the ‘meaning’ within a message.
Production
Another important principle to consider when looking at an illustrator’s production and outcomes is the testing of one’s work and how an illustrator may convey this to their audience. There are many means for an illustrator to test their work and get feedback in order to disseminate it with success. This could be to publish their work, exhibit it in galleries, and post it on forums, through social networking sites and other general websites. This entitles the illustrator to constructive feedback from the general public, alongside friends, critics and other artists. As a result of this feedback, the illustrator may then edit and reedit their work in order to perfect the outcome they desire. The illustrator will not only receive feedback for their work but also gain a general reaction which may shape the direction they then wish to pursue.
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