I’ve worked hard on the prints that abstract the pattern of dry stone walls to make ‘glyphs’ but I don’t think what I’ve done so far is very strong. I think the idea in itself is okay, but when I’ve used it before for graphic design I was working from images of the Mancunian Way - an overhead motorway that runs south of Manchester city centre and gives you some very strong images of slip roads, flyovers and so on to work with that I thought were easy to read as well. These dry stone wall images aren’t quite strong enough (or readable enough) for me.
I had a think about what I could do to make a better print out of the idea. The first thing that occurred to me was that I didn’t really like the textured backgrounds and didn’t feel I had any good ideas for them. What has been making me happy during the project has been stuff like this:
I really like the flatness of the areas of colour. I think I’d been trying to get texture in because I thought it was what other people would expect. When I look at my graphic design work I can see that I don’t have many ways of texturing things up and I don’t really seem to care - but there, you’ve got an extra layer because you have the client’s message on top of what you do.
The calligraphic forms taken from the dry stone walls were too fussy, as well, so I found another photo with a bit less in it to work with. Back to Illustrator to work out crops, positioning and so on, and in today’s session I got some finished prints:
I’m still not 100% convinced, and my emotional reaction to some of the silhouette is mixed, but I think this is much more satisfying overall.