Using the evidence I collected during the winter break I was to use illustration to explain ‘How to Create Chaos’. I was to explain ideas, concepts and give information through images, using as few words as possible.
The methods that I could have used were:
- A series of images/symbols/diagrams
- One image
- A diagram
- A book or leaflet
- A short film (animation or live action)
- A machine or interactive object
Otto Newrath- Made pictograms, which is a graph made up of a single image which is repreated in alternate numbers and colours to give different meanings. The images as blocky and 2 dimensional, which makes me think that perhaps they were done with stencils. the images are also symbols because they can be understood universally. I like this work because it is so simple yet so effective simply because it is universal and as well as being easy to reproduce. I also think that because it is so effective and unique that it would be difficult to draw inspiration form this without copying the idea completely.
Oli Aicher- Was a graphic designer, best known for being the lead deisgner for the 1972 Munich Olympics. Like Otto Newrath, Aicher made pictograms. His Olympic images all use the symbol of a stick man performing different events. These are, again like Newrath, universally understandable due to their simplicity.Heath Robinson- is a cartoonist and illustrator best known for his drawings of eccentric machines. So much so that the term “Heath Robinson” has come to mean an unnecessarily complex contraption. His images are done in a subtly cartoonist way, which is how I want my exploded view diagram to look. With black line, limited shading and text.
Rube Goldberg- Is an illustrator who is practically a US version of Heath Robinson. To create my exploded view diagram I decided the first step would be photograph my car, then create a line drawing from a tracing of it.
Tracing of the original carAnd this is a digital tracing of the original carI began tracing areas of the car such as the bonnet and lights, then beginning to explode the image, giving me this image below. However I think I was so focused on trying to make each piece equally spaced from each other that they became too far apart and it lost it’s effect because the pieces almost seem random and lost in space.So I took the image apart and put each piece closer together, whilst adding a few new pieces, which I think made it alot more effective, see image below. I then added numbers and limited text. I think this diagram does need a bit of text to explain the whole story, but I think you get the idea by looking at the image itself.The image once it had been coloured. Debating whether it should be done in colour, coloured but shown in black and white for ink cost purposes or no colour at all, a simple outline.I photocopied my coloured image in black and white, and I think it works really well. My scanner not working meaning I need to photograph the diagrams does this one no justice but in the flesh it is a different story. Obviously black and white is a most cost friendly alternative to color, which in this case, isn’t really essential. The coloured diagram does not tell the audience anything more that the black and white one does. Yet seems to tell us more than a black and white outline diagram would. At this point, i’m pleased to leave this particular image alone to be submitted as a final outcome for this project.
I wanted to take this further to create some more outcomes based on this idea and the imagery I had created, so i went back to my original photograph of the car, and began combining it with my drawings.This image didn’t photocopy well in colour, a lot of the colour quality of the original printing was lost and the black and white photocopy was too dark to be submitted as a diagram which was easily understandable, which I think is something my diagram needs to be.
I did briefly begin to experiment with the original photograph digitally on photoshop, attempting to explode it on there. However I quickly discovered that if i was going to do this I was going to have to spend a very long time on it, or else it would look very cheap and unskilled.
Moving in a slightly more unconventional direction, inspired by the plastic card I had burnt to simulate the smell of my burning clutch, I started experimenting with charcoal. I looked back at the outcome I had already created and decided the remove the figure from it in future. It wasn’t drawn well and didn’t bring alot to the image. My new idea was basically to draw the car in charcoal on an A3 sheet of paper, then on the following sheets, explode the image gradually, whislt reducing the quality of the drawing, causing it to be increasingly distressed. Shown below:
At first I was finding it really hard to draw my basic car shape using charcoal, as usually I would use charcoal for sketchy, quick drawings, rather than ones that are meant to be technical, so I spent alot of time trying to get the first image right. But as the images became more chaotic, it became easier to work with the charcoal, to create mess and confusion. It did mean however that the messier it got, the more unclear the parts of the exploded drawing became. For example by the end, i’m reasonably sure that I’m the only one that know what the shapes flying from the engine are meant to be. But I don’t nessacarily think that this is a bad thing, because the whole point of it is for the chaos to increase, and not knowing exactly what’s going on, can cause alot of chaos.
My idea has changed from a single diagram to a series of diagrams showing progression through stages. It has certainly moved on from my original idea inspired by Heath Robinson.