Thursday, April 17, 2008
Wednesday, April 16, 2008
Monday, April 14, 2008
Lonely John
This is such a funny concept - shows how a story can change when you erase a character. http://garfieldminusgarfield.tumblr.com/
Sunday, April 13, 2008
Poor Sailor
The little book that started it all. I found it in a lovely book shop in Barcelona. The story is heartbreaking, the kind that is almost cliche but still stays with you. I really appreciate the craft of this narrative- the 'shots' are planned in a way that truly enhances the storytelling.
Friday, April 11, 2008
Abstract
As Visual Communicators we deal in enhancing information every day. We are there to grab, to inform, to express, to persuade - yet in design it is rare to truly connect and leave an impression.
Enter the narrative.
Information and storytelling have been interlaced throughout history. A story can enter a person’s life and touch them in a way no other method of communication can. It forms a link and creates a memory. Stories become a vessel we project ourselves into, to experience something we may never experience. Our imagination ignites something from within.
To be able to create this connection is a powerful thing. Communication design is constantly creating superficial connections. We are barraged with visual information every day and a majority of it recedes into the background. As designers we are often told that the trick is to distill the idea to say one direct thing. This way we may grab attention or even instill our message, but it doesn’t penetrate the memory in a meaningful way. By creating a narrative and involving the audience, we have a chance of creating a message and making it a part of them.
The starting point of my research is to define what a narrative is. A dictionary definition may be adequate, but it doesn’t explain the precise link between the narrative and visual communication. To create a greater level of understanding there needs to be a set of boundaries or defining elements. There are two examples of ambiguity I wish to discuss. In the visual world it is implied that a narrative is a sequence of images or symbols, but is time really a defining factor? And does a collection of images need a common thread to be considered a narrative? These two questions show that in order to become a useful tool in communication design, a set of defining elements and boundaries need to be uncovered.
The focus of my research is to find the most effective techniques in storytelling. We see the narrative in so many fundamental cultural practices, from novels to film, theatre to music, and artworks to architecture. I plan to study the methods used in these areas and transpose them into a graphic context. The most interesting and successful ideas will be noted and I will discuss how different methods create different outcomes.
The findings will not only create a useful set of knowledge, but a form a forward step in the value of our communication. By discovering the way to connect and involve an audience I can become a designer that makes cultural contributions to society. I will be able to make an impression and create a dialogue with the world, and it will resonate.
Enter the narrative.
Information and storytelling have been interlaced throughout history. A story can enter a person’s life and touch them in a way no other method of communication can. It forms a link and creates a memory. Stories become a vessel we project ourselves into, to experience something we may never experience. Our imagination ignites something from within.
To be able to create this connection is a powerful thing. Communication design is constantly creating superficial connections. We are barraged with visual information every day and a majority of it recedes into the background. As designers we are often told that the trick is to distill the idea to say one direct thing. This way we may grab attention or even instill our message, but it doesn’t penetrate the memory in a meaningful way. By creating a narrative and involving the audience, we have a chance of creating a message and making it a part of them.
The starting point of my research is to define what a narrative is. A dictionary definition may be adequate, but it doesn’t explain the precise link between the narrative and visual communication. To create a greater level of understanding there needs to be a set of boundaries or defining elements. There are two examples of ambiguity I wish to discuss. In the visual world it is implied that a narrative is a sequence of images or symbols, but is time really a defining factor? And does a collection of images need a common thread to be considered a narrative? These two questions show that in order to become a useful tool in communication design, a set of defining elements and boundaries need to be uncovered.
The focus of my research is to find the most effective techniques in storytelling. We see the narrative in so many fundamental cultural practices, from novels to film, theatre to music, and artworks to architecture. I plan to study the methods used in these areas and transpose them into a graphic context. The most interesting and successful ideas will be noted and I will discuss how different methods create different outcomes.
The findings will not only create a useful set of knowledge, but a form a forward step in the value of our communication. By discovering the way to connect and involve an audience I can become a designer that makes cultural contributions to society. I will be able to make an impression and create a dialogue with the world, and it will resonate.
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