see [overview / evaluation].
About concepts “II & I” respectively, for the About page on my website showcasing myself and my guitar among controlled environments. Rory Kennedy helped kindly by taking the basic shot for the second one (presented immediately below). Using Burt Weedon’s cover for his ‘Play In A Day’ for reference.
Front of the professional practice book, minor change.
Finalized Business Card, minor change. (Front followed by the back), the front of the card is planned to have a selective gloss to mimic the shimmering light tropes of the aesthetic kitsch marketing / collectable-baiting special edition DVD / VHS box-sets of the time.
Coloured version to mimic the original digital collage concept.
As my work with ‘Foodcourtlandia’ progresses. I’ll use this ‘calgrant.co’ blog platform as a continuation of my ‘cargocollective.com/calgrant’ progress.
Unfortunately due to wordpress’s restrictions as a registrar and hosting platform, ‘calgrant.co’ is effectively locked down to WordPress. I discussed this and further queries with helpful studio technician JR and found that until I am able to find a suitable domain for the cargo collective (as ‘calgrant.com’ and ‘calgrant.co.uk’ are both taken.)
The email below is a correspondence to cargocollective about the set(menu) text being turned into accesible imagery and what follows is a query about hover over sound mechanics. I might be able to achieve this with independant STFP coding as discussed with JR. The idea was that 5 individual cumulative sounds of guitar skronk and a wave crashing / beach noise would activate/play after hovering over each individual menu.
I figured instead of using cargocollective.com/calgrant, I would be better off purchasing a new domain name under [myfullname].co.uk to separate myself from the ‘collective’ side of the site, cargocollective is a great hosting website however, I’m certain [myfullname].co.uk would be a greater alternative to showcase an immediate indivdualized impressions. I saw that Raymond Pettibon has his website under raypettibon.com so I figured that this slight name addition would be negligent enough to pass this by. Ideally in the future this would be improved upon by someone more professional / skilled than I am at configuring and coding websites.
Updated front of buisness card.
2nd prototype design for the enduring production portfolio / web-site:
The chosen selection side by side, header final tests to be separated into header icons ideally.
Although I have been able to place the new header example using Custom HTML5 (image transforming issues irrelevant and easily solvable) I’ve been unable at this stage to use this images to link to any sets.
This is a concept for the other-side of a business card, assuming the picture above this one (Infomercial Contact Redux) would be also applied in this format. The text overlayed on the retro pizza box here is aesthetically aimed without content focus, the text embodied otherwise would repeat. Cal Grant, Illustrator, Writer, Record Collector similar to my about page. The pizza box could also be blue, yellow, white three-toned like above. I have to keep in mind that this business card would represent my aims to work passionately independently supported by a full-time job, and so can lax on the dependency for marketing clientele.
The front facing alternative to the buisness card. Consistent with the retro theme, but more coherent if concerned with deciphering the other side.
Plus bonus alternative, crude implosion in Derris’ bedroom.
The images that follow announce the culmination of my experimentation within the major project. After negotiating with line weights and use of different pens and colours, I made the decision to move on to larger but still as high quality paper. Using A3 paper as opposed to A4 paper enabled me to work in detail and varying line weights with relative ease in comparison due to the suffocating nature of dense artwork supplied on A4. Although daunting, due to a fear of white space occasionally, the A3 format was substantially successful in my opinion as a place to re-evaluate the levels of narrative focus.
Initially beginning with a loose drawing, ‘XTXA’ (Below). Which uses a distinctly sharp black POSCA X- marker (rapidly, but still controlled).
The final refined colour tone version of ‘V-A/…’, the culmination of attempting to find a successful vantage point with well more developed pages.
The frsutration of a large part of this project has been trying to find a visual language that can be replicated cohesively into a zine / comic format. The image below is one of the larger timespan past plan drawing times which may halt the production of a larger volume. The image after the image below is one of the examples veering towards the other extreme of a relatively minimalist (in comparison) hypothetical panel page. Although I prefer the 1st picture over the 2nd, as mentioned, I re-appropriated some of the more cleaner elements into the final test which in my opinion is the ideal comics referencing balance, to have solved this allows me to put more effort into controlling my pre-drawing plans and will make my artwork producution levels more efficient and regular. That is not to say I will not indulge in detail where neccessary on a larger page will less responsiblilty to hold narrative.
On a trip to the ‘Red Barber Shop’ (and (later) to a much lesser extent, the ‘Lady in Satin’ album artwork for Billie Holiday (1958) in Bournemouth, I was inspired by interiors wonderful use of the spectrum of it’s ‘Red, White & Silver’, Three-tone (If you count black or greyscale) I applied and adjoned with sickeningly sludge-ridden combinations as applied below (for example as; ‘Green, Pink & Black’) to my artwork to free the detail, replacing as such on the colour coding.
‘Condensed Horror vacui with free jazz-equivilancy paint bucketeering’, as a visual language, with time constraints and light character design vs. active backgrounds and reverses/inverses.
Revisiting the original finish point with the three-tone inspired by the ’80s Storefront / “Punk””Blues”. Middle ground between two presented above.
Final cover design.
Cover research includes indulging in the trails of great comics and zines such as:
‘Forced Exposure’, ‘Zap Comix’, ‘Eightball’, ‘Chainsaw’, ‘Maximumrockandroll’, ‘Coochy Cooty’, ‘Bored Stiff’, ‘Sniffin’ Glue’. The background of this page is white, but I assure the front page ends at the top of the tagline and the bottom.
As shown in my sketchbook that follows this project, the typography for this zine project was initially focused on violent text evoking the Mall sign fonts with angular affections. However I later found that the hand-drawn element displayed the sardonic aggression without neccessarily adding stereotypical leads to the more angular ideas. The ‘Foodcourtlandia’ text is a combination of two of my favoured fonts of Mall insignia merged together horrifically, the top ‘tagline’ text is a reproduction of a late 70s Mall sign that I thought was appropriate and evocative enough. The text at the very end of the front cover ‘by Cal Grant’, has clear ‘racecar’ inclinations.
Conclusively, it is my desire to make sure this project clashes both of the utopian dream mall settings i.e. ‘Foodcourtlandia’ with the excessive natured pop culture referencial drains and violent racer iconography… in as much of a pure distillation of character as possible.. alongside making sure this series is the equivalent of a racecar for example, visually and mechanically speaking.
After seeing that it is common for a lot of ‘tonal and theme focused illustrators’ to create moodboards, I quickly soon found five images that would culminate in a representation of this ‘zine-comic’.