Other Work In Progress… Jan 2017

•January 24, 2017 • Leave a Comment

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So, I’d got to that point where many artists get to at some point, wondering if a change of style was in order.

I worry sometimes that my figures are a little too stiff, and that edging toward a more caricatured cartoony style might loosen the drawings up a little. So I dove into the sketchbook to try some more flamboyant figure styles…

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All skinny legs and top heavy bulk… These guys (above) up to no good in alley way, police vehicles dropping out of the city sky in the background…

Or this dude, a DJ carrying his vinyl boxes back from a gig…

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Not sure who this guy is or why he’s running, bit again with those skinny legs…

Then finally this sketch…

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Four brave space warriors (including the robot)… Perhaps the stars of their own TV series, “Super Space 5”, which means I’d need a fifth, enter Sykes, the Space dog.

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…and his well loved tentacled space monster pal.

I decided it was worth throwing some quick digital colour at this one, so into Photoshop and three Blue and Marroon suits and a new flame based superpower later, I was done…

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Oh… and I even outlined a possible villain for this lot…

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But yeah… The image at the top of this post is an extension of the sketch below:

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I’d been thinking about a graffiti artist, chilling after finishing a mural of the devil, whilst the devil came to life, watching the artist on their mobile… The Mural would remain flat the devils are still 2D on the wall, but the juxtaposition of the kid and the devils hand would make it look like the mural had come to life. Scanning this sketch then adding extended background space to include a view over the wall at the city beyond all done in PS.

It currently remains a work in progress…

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Oh and there was this also…

Drawn very quickly one morning, based on a dream…

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Fan Art… Sketchbook Stuff and beyond.

•January 23, 2017 • Leave a Comment

I’ve said it before, but I’m not a big Fan Art sorta person… That said, here’s some more that spilled out onto the page from late last year.

1940’s/early 5o’s Superteam…

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There’s a good chance you know all these guys… but hey, Lobster Johnson, The Rocketeer, Namor, a young Hellboy, and an ageing Indy… I’m a fan of this period for adventure stories… I’m currently working on one of my own set in the ’30’s. It might not show too obviously here, but I had wondered about a female Rocketeer (maybe Jenny Blake?).

Anyway… I’d been messing about with other stuff too…

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I’m a big Batman and Martian Manhunter fan… but these were just doodles for fun in my sketchbook…

Elsewhere, I also got interviewed back in 2016 for Dirty Rotten Comics… I guess that feeds into this “fan/creative” concept a little too… I talk a little about Lovecraft and some of the other influences on my comics writing… The interview above was post on Dec 5th.

Then more recently Sarah and I binged Del Toro‘s great 26 part, Trollhunter series, a mixture of Monster House, the Goonies and I suppose the more recent Super 8 (JJ Abrams), whilst watching it I doodled a page in my sketchbook and threw it up on Twitter…

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Which to my surprise got a whole bunch of RTs and likes… including a bunch of the talented people who designed and worked on the show, and included these two as well…

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I was pretty happy with that to be fair…

But still, out of all of this fan art gubbins…

It was the Hellboy and Indy image that I thought I could take a little further…

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The first drawing on the left, as you can see, includes an older Hellboy… I revised that and added a couple of other contemporaries…

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I beefed up the sketch using the Levels tool in PS, and then started adding colour on a separate layer using the Multiply layer blending mode. I thought I’d include Cap, but then realised he’d probably be on ice at this point… but it struck me that Hellboy might be a fan so he made it in anyway…

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Maybe I’ll do a fully finished version of this at some point… but I get a little weird about this stuff… copyright, copyright, copyright… apologies to everyone concerned etc. I might even finish THIS someday.

Laters,

 

Inktober 2016

•January 23, 2017 • Leave a Comment

A little late but I collated my Inktober sketches and doodles… I didn’t use Jake’s list, I was kinda in the middle of pulling together Ake’s Trial (a Viking Comic, click the link for a review) for Thought Bubble so some drawings were done just under the wire around 11.30pm, but still managed to get at least one drawing out each day… I’m definitely doing it again next year…

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These were all posted to twitter during the event last October…

72 Nights (Part 1) – a sketchbook & possible comics/book project (WIP).

•January 23, 2017 • Leave a Comment

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I like drawing monsters and creatures…

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If you didn’t know that, then this and another following post will probably put any doubts to bed… laughs.

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This particular project came about whilst trying to “warm up” after the usual hiatus following the rush to get things ready and printed for Thought Bubble.

I wanted to simply create a project that could be picked up or put down depending how busy I was, and that would get my imagination ticking over and my drawing arm moving…

I recently been putting together a simple mini-project brief for students that looked at both creating a project that allowed them to wear their enthusiasms on their sleeves (lets face it, it is those enthusiasms that often get us into the creative game in the first place) as well as looking at the type of side project that can bear fruit in the long term, whilst providing sketchbook/downtime creativity in the short term or between other projects… Projects which can take on a life of their own, like Jake Parker’s “Pop Culture Robots” and of course his Inktober project, which has borne much fruit and from many creatives since its inception, and similar projects from others, among them the excellent “Spaceships” and “Isometricness” illustrations of Rob Turpin (thisnorthernboy) – Check out his blog if you’ve not seen it.

The brief simply stated the following (paraphrased):

1 – Choose something you would like to draw a lot of. Any subject…

2 – Draw a lot of it, lets set a target of 100 drawings, but lets go for at least 20 over the Yule break.

3 – Think about how these might be brought together as a final project (a book? a set of mugs?) , don’t do it, don’t even mock it up… just think about it and write those thoughts down (if you want to sketch out your idea, fine).

So for me what to draw? Pirates? Giants? Mythological Creatures? Well I like all those… but, it turned out that something weird cropped up during a conversation with Sarah that would make me sit down and look through a list of potential inspirational descriptions.

Somehow the conversation had gotten around to discussing the pseudepigraphical account of Solomon reigning in an assortment of demons via an angel given magical ring, to help build the Temple (I can’t quite remember how we got onto this – so it goes).

So, back at my desk I’m now leafing through the internet to look up more about this and other related legends/accounts and texts, just for my own pleasure at this point. When I came across an illustrated list of Ars Goetia of The Lesser Key of Solomon, a text that appears to list and describe the particular provinces or specialisms of the demons mentioned above.

The illustrations are at once intriguing and annoying… and without much provocation I decide to have a go myself.

Straight in with ink, into my nearest sketchbook… then some pencilled variations as I started to see it turning into something…

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As I drew them out I started to think about how the project might pan out… How could I link them all together?

Perhaps I could add a figure, a sorcerer… a summoner, who raises these fell spirits?

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And with that started thinking about the various possible narratives that could get our protagonist in front of these creatures/entities…

I love that sequence in The Exorcist where Merrin sees the statue of the Demon in the desert… So I started to consider a travelogue style book…

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Where our protagonist seeks out a book or a scroll to bring back to his home, and raise the spirits.

Probably in his basement or some such sepulchre-esque venue.

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But when I started to put my ideas down on paper, the male protagonist above transformed into a woman,

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…and the setting shifted from now to the 20’s/3o’s…

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With the opening sequence in a loose comic book form, very little dialogue…

I began making thumbnails of how this might pan out…

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Then working up some of the ideas for the panels…

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I had also wondered about some sinister types hanging about… Fedora’d henchmen hiding in the shadows…

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With that partially resolved it was back to the creature designs, which after all would be the main draw of the project (for me anyway)…

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Then I thought it might be fun, whilst working up these illustrations to try and take a look what the book might look like… just a quick mock up using the sketches I had…

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I set this first page below between New York and Germany… and decided to set the final scene of the intro in Lisbon (via Eastern Europe and the Middle East), as I’d recently been there, and had some observational drawings that I thought might fit the feel of the book (weirdly I watched The Ninth Gate again around this time only to find scenes set in Lisbon…).

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I then made an interactive PDF from the art I’d pulled together… and created a video which I uploaded to my Youtube account, ready to throw on social media (I had posted most of the sketches to Twitter and FB as I went along). The finished Video is below.

And that was that… not quite a hundred.

Maybe closer to 40 designs, at least to thumbnail level.

But it’s in the ball park and who knows, maybe there are other texts with other descriptions I can add to the 72.

And I’ve still no idea beyond “warming up” as to what I could do with it at this point.

But for now there are other irons in the fire…

Maybe I’ll get back to it later this year…

 

Quick 3D concept through to 3D model exercise (with Paul Starkey)

•November 16, 2016 • Leave a Comment

Okay… Here we have a series of concept designs for a range of medieval or fantasy carts. The type of thing that would be useful as props for an open world environment as well as a practical vehicle design. These could variously be use in states of disrepair, loaded or unloaded or being loaded with items set about it.

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From those early designs I chose this four-wheeled “war wagon” that might have been used for carrying troops or arms…

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This design was then refined further after discussion with Paul Starkey who wanted a more streamlined, two-wheeled affair.

This was the result.

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Next up a quick (15mins) sketch block out from Paul Starkey. Used to show students how to model “a cart”.

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Which was followed by an additional build by Paul Starkey based on the concept art above that showed further refining, adjustments and additional detail…

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Still, this model is less than 500 polygons.

Environment Design For Games – Early considerations & Ideation

•October 19, 2016 • Leave a Comment
This session was originally delivered as part of the Creative Futures – Skillsets programme to both Yr 1 Animation and Games Design students.
The Session currently follows on from a session looking at the wider role of production design and the Production Designer (and related or comparable roles, Art Director etc) in the development of Entertainment Media projects. With a focus here on Games Design.

To recap:

In the last session, we set a Mini-Brief, i.e. : “Adaptation/Production Design Pitch”

“You are to consider a new idea for a game*.

This game is to be based on an existing concept from another media (a story, a novel, or an original performance event, an opera, stage play, song or music album concept, a historic event or a myth, a radio-play, a film, live action or animated, or other media product, any of which will be considered in consultation with your tutors/staff.) but NOT an existing computer game, this existing media does not have to slavishly be represented, but instead perhaps simply help provide a narrative structure in the form of basic plot and character types for your concept. You may also need to consider a second theme, with which to augment your narrative structure.

In the wide world of entertainment media the development or re-imagining of existing ideas has been a staple of the production houses method of developing new properties.

Hamlet + Animated Anthropomorphism (the animal kingdom) = The Lion King

Hamlet + Gritty Urban Setting (the hierarchy of Biker Gangs) = Sons of Anarchy

Journey To The West (eastern mythology) + Post Apocalyptic Future = Enslaved

The Tempest = Classic Fifties SciFi = The Forbidden Planet

Sherlock Holmes + Dr Watson + Contemporary Urban Medical Setting = House

and of course…

Westworld* – out of control SF robot cowboys + Dinosaurs = Jurassic Park*

(*both by the same author) 

“Adaptation Project” Part 2, Looking at ENVIRONMENTS for GAMES:

Stylistic Considerations

<p><a href=”http://vimeo.com/1264514″>Rolando for iPhone – Teaser trailer</a> from <a href=”http://vimeo.com/simonoliveruk”>Simon Oliver</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

We know there are different styles of games as far as the players view is concerned; isometric landscapes and city/streetscapes; travelling aerial views ; room by room point and click, 2D level games or rolling character games (i.e. those designed for i-phone style interfaces like LocoRoco or Rolando – above); fully immersive 3D environments, BioShock, Halo or Enslaved (below);

…or hybrids like the Gabriel Knight series that mix 2D, FMV (Full Motion Video) and 3D.

 

<p><a href=”http://vimeo.com/7336360″>SUPER HYPERCUBE</a> from <a href=”http://vimeo.com/polytroncorporation”>POLYTRON</a&gt; on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

Even experimental games environments like the then cutting edge Virtual 3D (and seemingly completely abstract) games like Super Hypercube (see video above) have considered the look and design of the environment, that you the gamer moves through.

Phil Fish, co-creator of the game, on being asked “Should the screen look that grainy?”.

“Yeah, there is a grain to it. Also some vignetting around the edges. We went for a look that is – hyper modern but retro – Which the game really is, given that it (the game) uses both Digital 3D and anaglyphic stereoscopy.

… 

ITS SAFE TO SAY THAT: No matter the style of game; someone has considered the overall visual feel of the product, usually taking as his or her starting point the over-arching concept of the game, rather than just leaving it to the medium of choice to wholly dictate the finished style.

RESEARCH & EARLY CONCEPTUALISATION

Okay… So what to consider? What within the overall concept of your game or animation  is going to impact upon and influence your design decision-making when it comes to the development of your environments (and later design elements, Props and characters etc)?

 Well, I suppose understanding how your Chosen Media for the final product may affect your product,

Side-Scrolling Platformers for example aren’t all created using 2D tools any more.

That… and perhaps beyond this, coming to understand the distinct differences between medium and genre.

See this image from Scott McCloud on that difference.

So then, what Genre?… Is your game a Horror? Fantasy? Humourous? Sci-fi, Film Noir, Urban game?

But even these delineations are not the end…

 If you are choosing Horror…is it the classic gothic horror of Frankenstein? Or the contemporary, industrial/warehouse aesthetic we see in horror-movies like Saw and Hostel?

Cultural?Could it be that your story is set in the Far East? Japan? The Japan of today or a far flung tomorrow, or the feudal Japan of armoured Samurai and black suited Ninjas?

Is it set in a fantasy world of your own imagining? If so, what were the characteristics of the civilisations that have shaped that world? Could those traits be reflected in their architecture just as we have seen in the various civilisations of our own world?

Consider the afterlife obsessive Egyptians with their Mega-Mausoleum building, the warring, expansionist Europeans of the middle ages with their castles and military hierarchies, the British Victorians with their faith in building, engineering, prefabricated iron structures and steam power.

You can help make your fictional environments that much more believable or authentic by trying to understand (by which I mean creating, designing, drawing and writing for yourself) a little more about what has shaped them, whether you are looking at the fictional cultural and fictional historical influences on the architecture of your imaginary cities, or the fictional geological upheavals and fictional weather conditions that could have shaped your fantasy world’s natural landscapes amongst which your cultures may have decided to live.

Has war impacted in the look of both of the above? What clues could there be to the events that have taken place there, of the people that have passed through there. What is the function of the building you are designing? What kind of neighbourhood is it? Uptown? Ghetto? What kinds of people inhabit it?

Is it an residential building? A barbershop?

Trust me. It is far easier to design something specific like a barber-shop than a “generic” building. So taking a little bit of time to think about seemingly irrelevant details like the uses of the various buildings in your street scene, or the economic history of your (ultimately fictional) city block, it may well save you time later on. So, you have your overall concept and now you are looking at designing a scene… try starting with a basic aerial plan of the scene. Just a rough thumbnail to identify the layout and what elements you may have to design.

If it is an interior you are looking at, what kind of person uses the room you are visualising? What fingerprints to their personality have they left there?

Environment design, particularly those environments that have been shaped by people/characters, is just an extension of character design, albeit Character Design, In Absentia.

Who has been here? What have they left behind? What about this environment would have been different if an alternative personality had helped shape it, what unique traits can be seen in the residue of these personalities.

Sherlock Holmes Living Room.

ONE LAST THING…

During your design phase you will produce a number of drawings/visuals (some of which may be using 3D tools)

It is tempting to always just straight to the final medium. But you miss out on a lot of the opportunity to fully explore your ideas this way. Often resulting in a less than appropriate response that is based upon your commitment to completion of a complex digital rendering process, more than your belief in your works appropriateness in terms of a solid solution to the problem at hand.

Don’t worry about producing work that is not the finished artefact.

Abandoned design works and images are a natural part of the process of creation.

And think about what media is the most appropriate for the task in hand.

“Drawing with an old fashioned pencil is still very, very hard to beat for the sheer simplicity and speed with which you can record ideas and share them with others.”

– Scott Robertson, The Skillful Huntsman

“All good design starts with an idea and then is conveyed to your audience with strong drawing and then rendering skills.

Over and over I have observed with my my students that strong drawing skills go hand in hand with strong design skills. Good drawings support better looking designs.”

If you are not confident at drawing. DO NOT avoid it. PRACTICE!

Further…

…It is worth considering before your start each piece, “What is the purpose of this visual?

What, and to who, are your trying to COMMUNICATE, through this piece of work. And also… just how long do you have to communicate this idea? So what tools will you use…

Are you trying to get a feel for the atmosphere of a scene? Or are you trying to show detail or layout of an area to aid in the building of that setting for the 3D model-makers?

These two ideas can occasionally be seen together in the same visual, but for the most part you will find them separated.

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Images taken from The Art of Final Fantasy IX

The images above both show designs for the same game, yet they have very different properties and qualities due to their function within the design process. The images on the left with their aerial view, clean lines, clearly showing each object and prop and its place within the scene is what we might call a “design”. While the image on the right, with its preoccupation with mood, atmosphere and the character’s/player’s POV (point of view) is a “visualisation”.

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Finally.

If you are struggling for inspiration, get up and get outside (or simply take a closer look at the building you are already in). USE YOUR DAY-BOOKS, make notes on how the light glints off that modern structure, get a thumbnail sketch showing the shrubs and small trees growing out of that abandoned building; the un-boarded, broken windows in that run-down street; graffiti; air-con units; unique window details; the exposed industrial materials on that warehouse. Look at the way those roof planes interlock showing how the buildings have slowly piled up on each other.

Though currently existing in a contemporary setting, elements of these type of details can be used regardless of whether your environment is a modern urban setting, a futuristic cityscape or a Tolkien-esqe fantasy world.

In animation these environments can be used to enhance the narrative, with key locations almost becoming “characters” in themselves.

Of course games design has its own unique characteristics to consider. Especially in fully immersive 3D games, where low polygon counts of game assets are crucial, as is “iteration” (or the use of repeated objects or assets in order to improve a games performance). But at the concept stage discussed above it is probably not worth completely “cramping your style”, allowing yourself a freer hand. You can always “value engineer” you concepts in the later design development stages.

Try working up your own mini-briefs that test your ability to rapidly develop ideas.

THE NEXT SESSION:

“Adaptation Project” Part 2,  OBJECTS, PROPS, VEHICLES & WEAPONS etc.

What sort of objects or props could there be in your environment… Could it be something your player character needs (a weapon, a vehicle) or just something that adds to the feels of the design? Boxes and crates? Furniture?

Reference:

If you want a guide to 3D games design/entertainment media concept art in one great book, you can’t do much better than the “The Art Of Final Fantasy IX” from Brady Publishing, 2000. ISBN 0-7440-0050-5. It has some great layouts covering characters (inc’ character comparison sheets), props, objects, weapons, flying machines, creatures and a whole stack of environments, as both designs and mood visuals that works almost as a “how to…” reference book. Another great book for this kind of work (though not a great film) is “The Art Of Judge Dredd The Movie” from Boxtree Publishing, 1995. ISBN 0-7522-0666-4. You should be able to pick this up second hand for very little, it is full of great concept art covering everything from furniture through to costume designs and interior and exterior sets. It also has some good examples of storyboarding.

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Finally, don’t forget to pick up one of the various periodicals occasionally, even if it is just to flick through in Tesco’s without actually buying it… “Edge” magazine has some excellent in depth articles, and January’s edition of “360 Gamer” mag’ had that great little article on Mini Ninjas, which flagged up a lot of points we are discussing in these sessions (I’ll make sure there is a copy of the article scanned and saved somewhere in your dept, in fact it might be worth making an arch lever file that you can add inspirational visual and written resource to yourselves).

Some thoughts on Note Taking and Planning.

•October 3, 2016 • Leave a Comment
The following set of notes and images have been pulled together as a work in progress looking at potential hacks for students regarding developing better note-taking and assignment planning skills.
I will add further info and visuals as more hacks and example visuals are developed. 

NOTE-TAKING

There are a number of thoughts and research strands to look at when first starting out consideration of the value of student note-taking in academic sessions.

Research has shown that attempting to write everything that is said in a lecture is often counter-productive, as the whole activity becomes exercise in dictation with the note-taker becoming a passive conduit for the information discussed from the mouth of the lecturer to the notes on the paper or alternatively the electronic device (iPad, laptop etc.), rather than aiding in the practical uptake of information.

Notes don’t even need to be neat or beautifully organised (just legible).

What they need to be is useful.

I’ve included some of my own note-taking below.

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Notes taken in a PGCE session with a doodle expressing an extension of the lecture (synthesising and developing lecture content) looking at management hierarchies, culpability and blame culture.

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Differentiating complex notes with a little colour for clarity.

As far as examples of research into this particular field of “study skills”, its worth taking a look at Pam Mueller and Daniel Oppenheimer’s work, found here in Scientific American – Hand written (edited notes) over electronic (verbatim) dictation and here in its original form in Psychological Science.

While New Scientist goes a step further in its damning of elements of this digital revolution in study practice (whilst elsewhere praising it).

Studies appear to show that the development of edited notes whilst listening to a presentation or lecture are more beneficial to the learner, as it is just this editing process that appears to allow the learner to recall the information faster and more readily interconnected and ready for application at a later date, than having just taken the information down verbatim.

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Notes taken during a PGCE lecture using interlocking jigsaw pieces, cranes and canyons as visual metaphors for division, building and entrapment.

Recent research has also pointed to the value of visualisation as part of note taking, the use of visual metaphors to shortcut or “short hand” the capture of information, an activity that sees the listener having to adapt and edit the information further, adopting sybolic reference, visual language and visual metaphors.

See for example, see this article found at the online design magazine Core77 by Craighton Berman, and his subsequent “how to” article.

So, it may be worth considering the use of visual imagery in your note taking as well.

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Notes taken whilst watching a documentary on drawing and architecture.

Further, this blog post by Curtis Chandler on Middleweb, looks at similar principles and ideas but for younger students.

Its also worth considering the efforts of organisation such as RCA Animate who have added a “sketchnote” style visualisation to lectures that where originally oral delivery only.


All of the above also ties into research on the differences between reading text from a book and reading from the screen, and the related discussions on information uptake.

Discussions which look at the topography of the written word in print versus on screen and how this allows for student’s recall to tap into properties of written text (such as the idea that books have an expanded geography by comparison to that of the screen).

Further still, knowing that something is on the right or left page of a book, or that a specific piece of information resides about “half the way through” a chapter or book, may well help order and structure a more efficient recall of information.

All of which appears, more obviously perhaps, to be supported by the historical precedent that goes all the way back to the beginning of the printed word, i.e. that of illumination and illustration being added to text to expand on the content of text.

[Or that in actual fact text is, without any doubt, simply images that originally represented concepts and ideas and have overtime evolved to become shorthand images or marks that we now see as divorced from illustration altogether.]

It’s worth noting (no pun intended) that this visual method can often be misconstrued at a glance by observed and disengaged doodling, so make sure if you find this useful, you discuss it with your lecturer (particularly in the classroom or the studio environment, lecture halls rarely pose this issue) – see this anecdote for details.

PLANNING

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A simple plan for a Critical and Theoretical Studies assignment that shows amounts required through volume.

By extension this method of note-taking can be expanded to help with planning assignments and written or practical project work.

For example, lists can sometimes be deceptive, the written lines that follow (below) belie the effort involved the given tasks in their use of space within the said list.

Task 1 – Researched Essay, 2500 words.

Task 2 – A short paragraph on the links between stereotyping and attitudes in the media and video games violence, 250 words.

The first task appearing short at just four words, the second racking up a word count of eighteen, four and a half times the length of the former, whilst the task in actuality fact is one tenth of the word count.

Perhaps this is part of the issue with those students who struggle with dense lists of information.

We can see a further example of this with the pure text list below versus the visually “thickened” list, with image based “variable volumes” denoting the various tasks and their complexity or expected effort.

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Variable Volume based visual planning versus a straight forward list.

With the example above and below I went as far as to draft a more finished visual aid to help with the grasping of the various elements of the course requirements.

x-paul-starkey-visual-assignment-plan-test-001b

Visual Assignment Plan

The addition of check boxes allows for a sense of achievement as project elements are completed, as well as the advantage of a readily “readable” account of the volumes of work required.

Essays and their chapter/section requirements can be denoted in this way also.

essay-planVolume based assignment plan.

Giving the planner a quick visual cue for the amount of work perhaps expected for each section of the work and so an opportunity to concentrate efforts to some of the denser areas of the project rather than leaving writing heavy section until its too late.

The same can be done for practical projects.

scan-112Volume based project plan.

Where above, (A) might suggest a written proposal, (B) through to (G) will be reflective practice notes, and (H) a written evaluation written using hindsight and notes gleaned from your reflective practice, while parts (0) through to (5) suggest the effort/work loads expected from the practical sections of the project work at the various stages of production.

An elaborated version of this idea can be found below explaining the expected workloads/effort/evidence expected from students layered over the traditional design process.

The amount of work expected for a projectVisual/volume based plan to show expected and often received workloads.

Concepts can be organised on paper in this way also, using a mixture of short notes, headings and areas for further research, plus visual metaphors and symbolic representations, a plan can be formulated in a way that allows a holistic overview of the entire idea in one glance.

Just to be clear, you don’t have to have great drawing skills for this mixture of visual and written notes to be viable – But… if you are at art school, well perhaps its another reason to hit the sketchbooks and the life class.

the-moral-and-ethical-line-of-no-consequence-games-designA predominantly visual mind map looking at the ethics of designing video games that contain the ability to enact violent acts.

Again… This is all something that in previous centuries, painters, architectural sculptors and symbolist illustrators dealing with major themes and subjects in limited spaces knew and employed on a regular basis.

Hopefully these ideas may be of some use in your tackling of both note-taking in lectures and other sessions as well as your planning of projects and assignments, or even just establishing a concept.

scan-115Sketch notes attempting to figure out correlations and differences between narrative media such as literature and interactive games.

Don’t just copy those lectures verbatim…

Listen, synthesise, edit and then record your understanding.