mediated illustration ‘dizzy madness’

chose task 3.

broken 1st statement down (ref to brainstorm in work book). Link to madness def.

Conclusion so far…statement FOR dizzying madness (life/truth/fun/spotaneous).

“Men are so necessarily mad, that not to be mad would amount to another form of madness” (Pascal, Madness and Civilisation).

Concept = meaning

Grinning faces = litteral, joker, models, psycho

underneath the underneath (paranoid like) emotional manipulation through signified signifiers to either 1. spin the truth around 2. gain support of. Partisan agendas, need more visual examples! (want to avoid obvious WW posters).

Personally the statement means making someone smile inside. and the only way of explaining myself so far is refering to the conitive intuition brief we had.

thatcherillusion3 Link to explaination

we’re too used to seeing things our way, that when things are turned upside down we can’t really see the difference.

optical-illusion-wheels-circles-rotating1optical illusion makes u dizzy

cafe-wall-illusioncan u imagine a room with walls like this O.o

sandgirlsand sun and shade…

gardner_deerhow many are there?

Taking too long to research images think I may become stagnant on this statement. I can see that this statement can be taken quite litterally what it stands for (on the surface) ie: masking hidden thoughts (‘assumptions are a sin’), past’s (‘putting on a brave face’) etc…

political examination

Looked at the iconic Smileyas a starting point for grins:


Development of this idea follows through in sketch book.

Here was one of the first results:


Repetition of a different smiley (looks like legomen).

Repetition-consistant, predictable, familiar, usual, what you expect.

Smiley-taken from the iconic Smiley by Harvey Ball in 1963, popularised in the 70s by Bernard and Murray Spain (t-shirts, mugs, bumper stickers etc…). ‘Have a happy day’ devised by Gyula Bogar (slogan).

Yellow-positive, sickness, energy.

Square shape-contained, boxed in, walled in, bricked in, part of a system (Matrix), old, lack of manuverability.

Legs-to move, reflection on old Disney characters in mad like scenarios:

Slight out of reality, exagerated energy and movements. Reason I latched onto Disney inparticular was the fact these characters were used during WWII (1942-1945). The whole propaganda goals and aims hidden behind a positive charade.

I’d realised the style in that era (1940s) had similar limbs, and eyes.

cart51 Goofy Goat 1933.

To further the design (it’s incomplete) have a look at optical illusions since the imagery is strikingly dizzy.


Alter each smiley individually so they represent types of people (culture, race, the Benetton effect):


Would like to look into politics, how they cover things up for own agendas (on the lines of fakeness/propaganda).

Thought of the optical illusion when u see the bigger picture from far rather then close.

Then I stumbled on this artist RALPH UELTZHOEFFER

Thoughts on making a sequential set of images all revolving round a boxed room. Taking things litterally quick idea of a room with legomen fixed to the walls (lego wall) going about daily routines, another with mobile phones, and another….I should just sketch it….

Noticed effective shadows simple clean cut, Michael Jackson has obvious signifiers people pick up on to recognise its him (hat, tie, band, shoes, glove, stance).


cd covers.

Realised celebrity people/characters tend to wear hats that are known for their wacky antics (Jack Sparrow, Charlie and the Chocolate factory, Johny Depp, Michael Jackson, Dr Who, Pete Doherty, The Blue Brothers, Inspector Gadget and many more). Hiding maybe? As sugeested by Mark.


Noticed relation to The Mask and Michael Jackson’s choice in attire:


Funny how the Mask also spins litterally when morphing and Michael Jackson with his signature spin.

Quick image spam of development of hat=madness:


Sketch from one of the above photos.


1. Recognisable pose only created by Michael Jaconson and globally known for (signifier).

2. Cd cover from one of his albums (inverted idea of ‘the spotlight’);



Tried using live trace first to figure out a good body pose before manually vectorising it. Above image shows a venture that didn’t express the character I was trying to immulate.


Illustrator Vector design for flexible sizing. Chose this pose because Michael Jackson was known to perform this move and no one else before or after really made it an iconic move. As a signifier is works with identifying the shadow to the creator…the Michael Jackson lean. Just realised theres allot to Michael Jackson that is…memorable/unique a genius or just very different, linked yet disjointed…*wonders*


Tried emmulating a broad smile with shadow repetition in different sizes and placements.


1. Shadows look like they have just appeared out of nowhere.

2. Link between the hat, Michael Jackson to dizzying madness is lost (confusion between multiple messages, less possibility that someone would understand where I’m coming from untill they read my explaination for using an iconic character, stated by Mark).

Image below successfully proves that point:


Reference to brainstorm for first statement:

Touched on propaganda style inwhich usual posters from the second world war had particular colour scheme, type fonts, and that fake like ‘alls good’ grin/smiles.





Note 2 styles painted and a near to vector impression (still using paint) which is funnily enough favoured by the communists of their time (2 tones white and black and red results in stricking imagery). Use of sans serif text for clearer, un-fussed  message (higher archy-importance).

Shepherd Fairy cultic/propaganda influenced works.

‘Because people are not used to seeing advertisements or propaganda for which the product or motive is not obvious, frequent and novel encounters with the sticker provoke thought and possible frustration, nevertheless revitalizing the viewer’s perception and attention to detail.’ Fairy, Shepherd. (1990) Obey

Goes in the opposite flow of making things simple, and relative (not completely obvious just a different angle to things). But still focused in provoking thought. Mention of Fairy here for his way of grabbing attention of audience and their awareness.

Alternative input after mind was wondering…it would be a good idea to figure out/home in, on a realised unified mentality thats shared with the general populace consciousness (ref to work book, Gilles Deleuze Difference and repetition). ALSO what the tutors were pressing on in the last project DUH!


Wanted to see the square smiley faces with legs in a more compact version. Could try and see if variations of grins could mark out a bigger picture (Ralph Ueltzhoeffer influenced but instead of the tiny details telling the truth ie: words that made up the face, the smiley’s are the ones initialls hiding the truth via grins but together they paint the truth behind the grins or life when ‘putting on a brave face’).

One problem with this idea with the dimensions given, would people see the smiley’s? Keeping the smiley’s larger could shatter the illusion of the collective imagery.

Suggestion made Mark to look at Bridget Riley

I can see now what Gareth and Matt were going on about simplcity, it works with getting your message across ‘link’.

Back to this repetition principle for this task I had realised when people see an imagine that has repetitious patterns, theres this curiousity to find irregularities in the work (drawn to), imperfectionsor a sign that takes it out of context; changes the view point of the message; specifically for this piece with so many yellow sick grins I could change the colour, facial features, body gesture, to work with or oppose with the statement. (Synonym and antonym).

Had a break, had another go at the first idea again. Realised images were too complicated so I took away teh optical illusion idea and just kept the smilie’s and mass numbers…also needed to show replacement.


Thought of fragmenting smilie’s, overlaying to create depth. Odd sick unhappy smilie closer to audience, need to clear up the top making the yellow less imposing. Green dude to convey the oddball or maybe the realist in a world forced to put on a smiley face.


Took out some smilie’s, tried to create a path, didn’t create depth.


Added more smilie’s but kept background smilie’s closer together.


Took top half away to see if having a horizon would help with the effects of mass smilie’s.


Added smaller/tighter smilie’s in the far back to further the numerous feel. Created depth?


Added blue hue as sky, and to outline the poster space.

Note: I’m not sure if the colours change as the jpegs were saved using CYMK (for printing) colours not RGB on screen).

chase 017

Ha! I laugh at my failed attempts, this is one of them ‘trying too hard’ with really bad photography skills. Plan was to go to westcroft center and take images of hold the magazine over the staircase to show the ‘dizzying heights’, attempt failed.  Grnning replacing faces of famous people, showing the plastic shell they show (happiness).


Yeah avoid using magazine quotes in things like these. I really should learn composition…

Few more deviations into this statement:

Smiles_08Traced one part of New York Square (made sure it had a worms eye veiw to get that power, superior feel). There are other traces that I was going to use for the project but found that it didn’t meld with the statements.

Smiles_09Added paint splats (initially I wanted to have the paint applied like it was done by a roll on, and also the smilie patterns placed at an angle to keep with the depth of the piece).

Smiles_10Added some focal point and reason for the roll on idea. Or I could say commoner painting over the fakeness of New York, hrmmm graffiti statement?


Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s