Lesson video

Hello, welcome to today's lesson.

My name is Ms. Holland and I'm really excited to get started today.

So let's have a look at what we're gonna be learning.

So our lesson today is called Inside and Outside in Graphic Communication.

And this is part of our unit Foundation Workshops.

By the end of today's lesson, you will have reviewed the range of ways designers have been inspired by both inside and outside.

And we're gonna be really interrogating our understanding of what inside and outside might mean.

Our keywords today are space, threshold, barrier and framing.

And of course, we'll be exploring these in far more detail as we progress through the lesson.

But we'll quickly look at the definitions there.

So space is the area around, between, and within objects.

And of course, it can be physical, like a room or a house, but it can also be visual.

Threshold is a point of change.

So it's a space between two different areas.

So in physical space, it might be a doorway between two rooms. And a barrier are things that block, separate, or divide spaces, people, or ideas.

And lastly, framing is how an artist chooses to surround or crop a subject in an artwork.

Today's lesson has three parts all about inside and outside.

So first of all, we've got a designer spotlight.

Then, we move on to design deconstruction before finishing with personal connection in design.

So let's get started.

Design a spotlight: inside and outside.

Have a look at this illustration.

Why do you think the theme inside and outside can be a powerful topic in design? Why do you think that? Well, there are many, many ways and reasons why inside and outside can generate idea and further themes in graphic design.

Designers explore inside and outside in very different ways and use different techniques and approaches.

But some of the ways they do this can include: inside and outside spaces.

So that physical or visual space.

The thresholds, the point of change between private and public spaces, so perhaps between a private house opening onto a public park.

It could be an internal feeling or anatomy and external bodies; or it could be physical and psychological boundaries and barriers.

And we can also have thresholds as physical and psychological too.

Some graphic designers examine inside and outside through recording interior and exterior spaces like this graphic designer has here.

And designers might include a view into or out of a space.

So here, we've included a view out of a window to an outside external space.

How does this make us think differently about the space we can't fully see? And I want you to really think about our keywords threshold and barrier here, hmm.

Well, the windows in this work can act as a threshold.

It's a point of change between the two spaces.

It is a way for designers to tell us about the change of spaces, so the change between this inside and outside.

And of course, it could also act as a barrier.

So which is the most likely way a window is used as a threshold in a design? Is it A, a barrier to separate time periods? A border between inside and outside areas? A tool for measuring perspective? Or a way to add more colour? Have a quick think.

Well done, it's a border between inside and outside areas.

But a window could also act as a barrier between inside and outside areas 'cause you may visually see through it as a visual threshold.

But of course if it's closed, it's a physical barrier to the outside.

Let's have some a look at some graphic designers that depict inside and outside spaces.

So the first graphic designer we're gonna look at is Hsin-Yi Yao who uses the idea of inside and outside by combining outdoor scenes with a focus on the inner experiences of children with varying needs, promoting empathy and inclusion.

Elaine Lustig Cohen was inspired by architecture, which can be seen in her abstracted graphic creations.

And Camille Walala uses bright, bold graphics on buildings and interiors, often blurring the traditional boundaries between art, architecture, and graphic communication.

For some designers, the theme of inside and outside opens up opportunities to really talk about this threshold between personal and public life and spaces.

And we can see an example here.

Here, the window has been thrown open.

What could be the threshold between these spaces in this design? What could be the threshold here? Well, a threshold means the point of entry like a doorway.

But in graphic communication, it can be any boundary or point of transition between two spaces.

Can you think of any other things that could work as a threshold? So, not just a window.

What else could work as a threshold? A quick check for understanding, what does a threshold refer to? Is it A, a specific type of material used in sculpture; B, a tool used to measure distances in a painting; C, any boundary or point of change between two areas; D, only the entrance to a building, like a front door.

Good, I think we've explored thresholds really, really well here.

So I'm hoping you will have all got, yes, of course, C.

It's any boundary.

It doesn't need to be a door, it doesn't need to be a window, or point of change between two areas.

Looking at these two images.

Which of these thresholds tells us more about public and private life? Which of these tells us more about the thresholds between public and private life? I wonder what you've been thinking.

Well, let's have a look at what Izzy has said.

So Izzy has said that "The first image shows abstract thresholds, but the spaces aren't clearly defined.

But in the second image, the phone acts as a threshold suggesting how private spaces can be shared." And that's true, isn't it? We can share our private spaces, the experiences we have more publicly.

We can also take a picture of a public space and make it private, cross that threshold by making it private because we're taking it and owning it on our phone.

So how can mobile phones bring the outside world into your home? So Aisha says, "We've always got our phones on us.

It's like our way of staying connected to everything, even when we're just at home." And Alex says, "Yes, most people post the best bits of their lives, so it can make me feel like I have to compare my real life to their best bits." And that's very true, isn't it? Often people just put on the best bits of their lives.

And then Jun says, "My phone sometimes stresses me out because I never really get a proper break from it." What do you think? Do you agree with Aisha, Alex, or Jun? Do you think something different? Designers depicting the threshold between private and public spaces include Es Devlin.

So Es Devlin is a stage designer who creates a really immersive environments that use multimedia techniques, so including typography, structure and light, which really transforms interior and exterior spaces.

Ravi Deepres works with photography, video and design, so again, multidisciplinary, to explore spatial environments at the intersection of still and moving images for public performances.

And Mike Perry created a playful animation that shows characters inside and outside of a building.

Inside and outside can be about ourselves and our bodies too.

So this could be physical appearance, an internal anatomy part of our internal body, internal emotions and external expressions of these.

So how we externally express an emotion at a certain time.

Can you think of any other interpretations? Designers reviewing inside and outside using the body and sense of self include these three designers: So Alma Thomas creates abstract, colourful compositions and they draw inspiration from both nature and the environment, but they explore how that internal emotional landscape interacts with external natural landscapes.

Trevor Paglen explores hidden surveillance.

So he creates thought-provoking works, asking how unseen exterior systems shape our interior life.

And Chiharu Shiota uses thread to explore the body as a central concept in her installations, performances and designs.

Designers can examine barriers and boundaries that they experience in the world.

So they could be physical barriers or political barriers.

What barriers do you think designers could examine? What physical or political barriers do you think they could be examined? Let's have a look at what our pupil said.

So Jacob says, "They might explore how people with living disabilities face barriers in everyday life." Alex says, "Social pressures could create invisible barriers to people being themselves." So psychological, emotional barriers.

And Sofia says, "Physically, borders between countries can stop people from moving freely." Did you think of any different ideas? Which of the following best explains what designers might explore when examining physical and political barriers? So a quick check for understanding.

Is it that A, challenges like disability access or restrictive freedom; B, how art can be used to decorate public buildings; C, the difference between painting and sculpture; or D, the use of bright and dark colours to show emotion.

A, B, C, or D? Well done, yes, of course it's challenges like disability access or restricted freedom.

Designers exploring barriers and boundaries in the work include Emory Douglas.

Douglas created graphic posters and layouts that challenged public and private power structures in society.

Rashaad Newsome uses column collage, video, and performance in bold compositions that layer space, text, and identity.

Newsome's work challenges traditional design formats and spatial norms. And Thomas Saraceno creates installations and designs which challenge the thresholds, so that that point that we move across, thresholds of interior and exterior environments considering space, structure, and sustainability.

Designers may also use inside and outside as a subject in graphic design to explore these things: So reality versus social media, yeah? Like our Oak pupil said earlier, we often just post the best bits of our life.

Friendships and relationships, what are the barriers? What are the thresholds that you have between your friendships and relationships? Travel and exploration, and that might include psychological thresholds that we have to pass through to be brave enough to explore.

Internal workings of outside machinery.

So how do machines work on the inside? And the five senses help us understand the world outside of our bodies.

So how could we represent our five senses? Moving on to our first task, I'd like you to select two or three graphic designers or specific designs and compare them.

I'd like you to consider these questions.

So in what ways are the designs visually similar or different? So the subject, colour, tone, shapes, shape, style, composition and materials.

What themes, symbols or ideas do the artworks explore? And are there any connections between them? So you are looking at both this exterior, so what does it visually appear like? And then digging a little bit deeper into the themes, symbols or ideas behind the artworks.

Pause the video.

Well done, let's see what our Oak pupils said.

So Laura, oh, Andeep sorry, has said, "Alma Thomas explores the theme of inside-outside through her emotional responses to external spaces.

However, Mike Perry considers the same theme through digital technology, animating characters between thresholds." Laura says, "Lubaina Himid uses interior and exterior domestic spaces to explore identity in relation to colonial history.

She considers the social and psychological aspects," so both the so-called social and psychological aspects, "of inside and outside by who is included and excluded." And that's a really interesting way, isn't it? To look at inside and outside, through inclusion and exclusion.

And you could have compared two artworks, for example, or two artists using a Venn diagram.

So we can look at both the differences and similarities.

So Trevor Paglen, for example, he shows how external systems shape interior life.

He uses data collection and mass surveillance and he uses photography and digital design.

Whereas Emory Douglas looks at external power structures, uses imagery of people, revolution and protest, and uses graphic illustrative and typographic posters.

But what do they both have in common in this middle section? Well, both of their works explore the relationship between inside and outside.

So that's what they have in common.

Well done, let's move on to our second part of the lesson about Design deconstruction: inside and outside.

So first of all, I want you to quickly look at this image and tell me exactly the first thing you notice about this design.

Really quickly, what's the first thing that strikes you? I've actually got two things.

The first thing that really strikes me is that the person's face is blank.

I think that's really interesting, sort of anonymous.

And then, actually the colour difference between outside and inside.

I wonder what you noticed first of all? Graphic designers use various techniques to develop a distinct visual language and communicate in their work.

So the principles of design they'll use, that's balance, contrast, hierarchy, alignment, proximity, unity, and colour.

The elements of art, that's line tone, colour, pattern, texture, shape and form.

Text, imagery and subject.

We can deconstruct these techniques to understand the work more deeply.

So we can take these elements apart to really understand the work.

True or false? Check for understanding.

Designers only use patterns, shapes and composition to communicate meaning in their work.

True or false? Well done, of course, that is false, but why? Yes, well done.

if you said something similar to this, well done.

So while patterns, shapes and composition are important, designers also use other elements like colour, texture, materials, symbolism and context to communicate meaning.

So now thinking about those, how are the principles of design used in this work? We had our immediate reaction to it.

Now let's dig deeper.

Let's deconstruct it.

So high contrast is used between the black and back and foreground.

That's something that I noticed.

Orange is contrasted with muted colours and midnight blue.

There's a real contrast there.

Hierarchy defines the inside and outside spaces.

And framing is used through straight lines, windows and curtains, creating alignment and balance.

And that's really true, isn't it? If you narrow your eyes and look, you can really see those straight lines are creating a sense of balance.

And the shapes and forms are geometric inside the room, with organic curved clouds in the background.

That's a really interesting contrast.

Lucas and Izzy are thinking about the meaning of framing in design.

"Initially, we thought about the frames around an artwork," such as this.

"Yes! But then we thought about the visual devices artists can use to create a framing effect," says Lucas, "like the curtain in this picture." So thinking about that, how has framing been used in this work? Well, geometric shapes create vertical and horizontal frames, separating the inside and outside spaces.

And the warm orange hue is used as a tonal framing device, drawing our eye to the centre and through it.

So not only has a line and shape been used to frame, but also colour and tone.

Which is the most accurate statement about framing in graphic design? So with the graphic design lens.

So is it A, choosing the best colour palette for the background; B, drawing outlines around the subject to make it look neater; C, using elements within a design to guide the viewer's focus; or D, using only a picture frame to display the artwork.

Which one do you think is the most accurate statement about framing in graphic design? Well done, yes, of course, it's C.

It's using elements within a design to guide the viewer's focus like we saw in the previous image.

So your second task today will be about selecting one design and describing it.

So I'd like you to describe, what can you see in the design? So thinking about the principles of design, balance, contrast, hierarchy, alignment, proximity, unity, and colour like we've just done with the other image.

And the elements of art, so line tone, colour, pattern, shape, form and texture.

And text, imagery and subject.

And then, I'd also like you to describe how the graphic designer has used these techniques to communicate with the audience.

Think about thresholds, think about barriers, think about the space.

And you might record this as an idea Shower around an image of a design like we've just seen.

Or you might write a paragraph or you may create an audio or film recording your ideas.

Pause the video.

Let's have a look at some examples that you may have done.

So this is an image here and you may have said that the imagery is of an imagined landscape, with a mirror reflecting a sun at sunset.

Can you look carefully and see that? So there's high contrast between the soft, darker background and the brighter colours in the mirror.

And then, this pupil has actually placed the different colours in there.

And the tones are balanced, yeah? And they're creating this unity, this sense of balance.

The dark land tone creates a partial frame to the sky, draws the viewer's eye up.

And the mirror actually acts a framing device, doesn't it? Because it draws us into the centre of the design to that sun.

And here, again, is the first image we looked at of the window.

So the window framing divides the image into individual panels creating a hierarchy.

And the interior window tone contrasts with the outside colours.

So the interior window tone is quite dark and it contrasts really quite significantly with the outside of the brighter colours.

There's a mix of textures describing the scene and adding detail and interest.

And geometric lines and shapes contrast with the soft colour washes and gradients.

And the window is aligned slightly off centre.

Can you see that on a tilt? At an angle making a dynamic composition, which plays slightly with balance, but it also imagines that we are really there.

We are the viewer looking at it.

Well, well done.

I wonder what you described.

Moving on to our third part, and this is all about personal connection in design.

How can looking at a designer's work help us develop our own work? Hmm, well, we have some Oak pupils here that are about to do just that and to consider that.

So they're looking at the artworks.

And Aisha says, "Designs with similar themes can develop my ideas more than similar techniques or imagery." Sam says, "I'll look at techniques and compositions, and I'll try to apply them to my own theme." And Jun says, "Work that has similar imagery can inspire even if the idea is different." What do you think? Check for understanding, fill in the gap.

So I will say it.

And I'll say it the second time, and then I'd either like you to shout it out or write it out.

So we can look at other designers' work to gain inspiration through techniques, imagery, and? Helping to develop and enrich our own creative ideas.

Right, this time around, I want you to shout it out or write it down.

We can look at other designers work to gain inspiration through techniques, imagery and? Helping to develop and enrich our own creative ideas.

What did you say? Well done, techniques, imagery and themes.

So what deeper meanings around the theme of inside and outside are being communicated in this work? We've returned to this beautiful work with the mirror.

Do you think everyone would come up with the same meaning? Do you think there's one universal meaning? Or do you think all of us would come up with slightly different? Let's have a look.

So Sam says, "This work inspires my theme of inside and outside as I will create two images using objects and natural forms." Lucas says, "I'm inspired by the mirror which looks like a window to another world.

I want to create windows into the places my family live." And that's really interesting, isn't it? It looks like a window that actually it's a reflection of us.

So it's almost an interior reflecting an interior.

And Izzy is looking at faiths and will create an image of her baptism, and she wants to frame it using the aisle and arches of the church.

Can you think of any other theme interpretations? True or false? Check for understanding.

We all interpret and understand images differently.

So how designs inspires us is unique to each person.

True or false? Well done, it's true.

Images don't have one single meaning.

Our experiences, our emotions, our backgrounds, our prior knowledge all shape how we see and connect with graphic design.

So what inspires one person might feel completely different to someone else.

Our final task, I'd like you to select one design and use the questions below to consider your personal connection.

Remember, this is unique to everyone.

There is no right, there is no wrong.

It's your personal connection, your reflection on it.

So what themes, symbols or ideas does this work explore? So are there any symbols, imagery, or connections between them that help create a narrative or show meaning to you? Which techniques, processes, or creative decisions in this design inspire you? And how might you use them in your own work? And that's really important.

So again, you might record this as an idea shower around an image or a design.

You might write a paragraph or you might create an audio or film recording of your ideas.

Pause the video.

Well done, let's have a look at a couple of examples.

So this pupil has chosen this design and the theme is mind and body.

And they've said that: This colourful reimagining of a fingerprint connects well to my theme of Mind and Body, as fingerprints can represent the link between our inside and outside experiences.

So true isn't it? We touch and feel with our fingertips.

I like the use of vibrant colours and flowing linework.

And for my design, I want to create detailed, close-up drawings of fingerprints made by friends and family, and then use a visual language of colour palettes and line types to symbolise aspects of their personality and identity.

This is another one, the theme of belonging.

And this work shows a barrier between the inside and outside.

So the window is now not necessarily just seen as a threshold, it's a barrier, using the window and the tone.

And the faint silhouettes of the buildings in the distance and the dark room make it feel like there's a sense of separation, a sense of distance.

It feels like this piece is all about understanding spaces of belonging.

And in my own work, these pupil is saying, I'm going to use windows as a framing device to look at thresholds between inside and outside spaces.

And by exploring spaces in this way, I hope to create designs that explore different ideas of belonging.

I wonder what you said and I wonder how the designs you looked have inspired what you will be doing moving forwards? Well, thank you so much for coming to this lesson today, Inside and Outside in Graphic Communication.

We've covered a lot, but I think it's been really, really valuable, especially in our self-reflection and thinking about those personal connections.

So we've learned that graphic designs can represent physical and psychological boundaries and barriers through interior and exterior spaces.

We've learned that designs might use framing, perspective and scale to connect or separate inside and outside spaces.

That designs can explore the relationship between personal, private spaces, as well as wider public or natural settings.

And some designers explore the threshold between external appearance and internal experience.

Thank you again and I hope to see you very, very soon.