Lesson video

Hello, everyone.

How are you today? I hope you're feeling really, really good.

My name is Ms. Afzal and I'll be your art teacher for this lesson.

Really very pleased about that.

And today we'll be looking at portraits and figures in graphic communication.

Hope that sounds interesting to you.

Our lesson comes from the unit of work, "Foundation workshops." So this is really something quite foundational that we're looking at today.

So if you are ready with some energy, focus, and enthusiasm, we'll begin our lesson.

The outcome for today's lesson is, I can explore and analyse how designers use portraits and figures, and begin creating my own design that communicates personal meaning through stylization.

We have some keywords in our lesson.

They are portraiture, identity, and stylization.

Portraiture is artwork that represents a person's likeness, often focusing on the face and expression.

Identity, the qualities, beliefs, personality, or expressions that make a person or group unique, often reflected in art.

And stylization, the deliberate simplification or exaggeration of visual elements in an artwork to create a distinctive or expressive effect.

Some more keywords in our lesson are visual language and deconstruction.

Visual language is the combination of design elements, line, shape, colour, et cetera, used to communicate ideas visually.

And deconstruction, the process of breaking down an artwork into its basic components for analysis.

So these are our keywords.

Let's look out and listen out for them.

They'll be coming up in our lesson today.

Our lesson is called "Portraits and figures in Graphic Communication," and it has three learning cycles.

Designer spotlight: portraits and figures.

Designer deconstruction: portraits and figures.

And personal connection: portraits and figures.

Let's begin with designer spotlight: portraits and figures.

How can portraits and figures be used in graphic design to communicate ideas and express identity? Pause here and share with someone.

Graphic designers may use portraits and figures to communicate ideas and express messages, emotions, or identity, and we can see a wonderful graphic design portrait on the screen.

The themes and techniques used vary depending on the intended audience and purpose of the design, such as if it is for a publication or personal expression.

Some themes and techniques that designers might use for portraits and figures are storytelling and narrative, visual communication, personal meaning and expression, identity, culture, and history, stylization, exaggeration, and abstraction.

Many designers focus on expressions of identity in varied ways.

Zanele Muholi uses photography with a strong graphic and symbolic style to document race and LGBTQ+ identity.

Martha von Maydell creates intricate papercut portraits and figures that visually represent aspects of identity through the choice of clothing, textures, and layered backgrounds.

Barbara Kruger combines portraits with bold texts to communicate critiques of power, gender, and consumerism.

Aliza Nisenbaum creates colourful figurative art of people who are often underrepresented due to their identity.

Kaya Joan considers how identity changes and evolves over time.

They create imaginative and futuristic compositions featuring figures and forms. Keith Haring discusses activism, identity, and community through graphic figures and a distinct visual language.

Do you know of any other artists, maybe even local to you, focusing on expressions of identity? Pause here and share with someone if you do.

Thanks for sharing.

Check for understanding.

What might a graphic designer want to communicate through a portrait or figure? Is it A, accurate measurements of the person, B, emotion, message, or identity, C, photographic quality, D, a timeline of history? Pause here while you decide.

Well done if you selected answer B.

Indeed, it's emotion, message, or identity.

Not all depictions of people in art and design are made to look realistic, as we can see in this graphic design portrait.

So intriguing.

Graphic designs might use abstraction and stylization to communicate more clearly and powerfully than realism.

An effective portrait might use certain design elements to enhance meaning, not simply replicate reality.

Stylization is the deliberate simplification or exaggeration of visual elements in an artwork to create a distinctive or expressive effect.

You can see a graphic design portrait there that's quite stylized.

How might a designer use stylization in portraiture to generate different effects? Pause here and share with someone what do you think.

Thanks for sharing.

Let's hear some responses.

Aisha says, "Designers could stylize mood and emotion through colour palette choices." Lucas thinks designers might use empty space and a dynamic composition to stylize a portrait.

And Laura.

"Contrast could be used through line, shape, and colour to convey expressive, stylized portraits by designers." Some really great responses.

Simplification and exaggeration may be used by designers to focus attention on specific aspects of a design.

Julian Opie simplifies graphic portraits through clean lines and flat colours to reflect the core essence of the person.

Malika Favre uses bold colours and minimalist forms to depict stylized, sensual figures in their designs.

David Downton is a fashion illustrator known for stylized, elegant figure work, which showcases minimalism and expression.

And we can see some collage portrait art on the screen.

Cultural factors can also influence how portraits and figures are depicted in graphic design.

Kara Walker uses silhouette portraiture to explore themes of race, identity, and history through minimal graphic forms. Larry Achiampong creates graphic works which explore race, class, identity, and colonial history.

Denzil Forrester creates expressive, figurative works which capture rhythm, movement, and emotion in stylized gestures.

Other themes and techniques artists might use some working with portraiture and a figure are: beauty ideals, power and status, distortion, text integration, social commentary or propaganda.

But having a clear sense of message, purpose, and audience, graphic designers can clarify their intention for a portrait and clearly communicate the ideas and messages behind it.

We can see a beautiful silhouetted figure of someone kneeling in prayer surrounded by plants.

Check for understanding.

Why might a designer choose to abstract or exaggerate features in a portrait? A, to confuse the viewer.

B, to hide the identity of the person.

C, to avoid drawing carefully or accurately.

Or D, to express emotion or character more strongly.

Pause here while you decide.

Well done if you selected answer D.

It's to express emotion or character more strongly.

And now it's time For your first task.

I would like you to select two or three graphic designers, or specific artworks, and compare them.

Consider these questions.

In what ways are the artworks visually similar or different? Think about subjects, stylization, exaggeration, and abstraction.

What themes, narratives, messages, or forms of visual communication do the artworks explore? Are there any connections between them? Which techniques, processes, or creative choices in these artworks inspire you, and how might you use them in your own work? Pause here while you have a go at this task.

It's great to be back with you.

So how did you get on with that task? You may have said something like this.

Here's Lucas.

"Both Julian Opie and Keith Haring use stylization and simplification to create portraits with a distinct visual language.

Kara Walker also uses simplification through silhouettes, but they convey more of a narrative." And Aisha.

"Njideka Akunyili Crosby uses collaged patterns effectively, which I will try to apply, but Barbara Kruger also adds bold text to create powerful visual statements, which could create more meaning in my work if I do the same." Some great reflections there.

Or you may have compared your artists in this way.

Both Kara Walker and Barbara Kruger have clear visual language, focus on identity, and their figures build narrative.

Kara Walker works with silhouettes and focuses on creating narrative through multiple figures and scenes, and uses simplification.

Barbara Kruger has bold text, emphasis on individual figures, and stylization.

Now onto our next learning cycle, design deconstruction: portraits and figures.

Graphic designers use various techniques to develop a distinct visual language and communicate in their work.

The principles of design, balance, contrast, hierarchy, alignment, proximity, unity, and colour.

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

Text, imagery, and subject.

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

Visual languages are developed and established by designers through their design choices to include or exclude elements.

Breaking down the visual language of a design to better understand it is known as a process of deconstruction.

Try constructing the visual language of this image into specific design elements such as line, shape, colour, or composition.

What do you notice about each element and its role in communicating a certain message in the overall design.

Pause here while you do this.

Thanks for having a go at that.

So how is a visual language used in this work? A visual hierarchy is created by aligning elements together.

A combination of natural, industrial, and bright colours creates variety.

Balance of empty space around central design elements.

Contrast between organic and geometric shapes.

And different shapes, lines, and collage elements create a sense of unity.

Sofia is describing the visual language in this work.

"I notice the contrast between geometric and organic shapes.

Each element, including colours, are balanced to create a sense of unity in the design.

Proximity and space are used to create a visual hierarchy." I wonder if you notice these things about the visual language of this work.

Let's have a check for understanding.

What does deconstructing a design help to achieve? Is it A, to destroy a piece of art, B, to reproduce it exactly as it is, C, to understand how each visual element works, or D, to change the meaning of the original work? Pause here while you decide.

Well done if you selected answer C.

Indeed, it's to understand how each visual element works.

Figures such as silhouettes or stylized forms can be positioned in relationship with their surroundings to evoke the personal connection to a place or concept.

So we can see this silhouette is surrounded by lights.

Everything which surrounds a figure or portrait can add to the visual language and message being communicated.

What message is being communicated in this portrait? Pause here and share with someone.

Thanks for sharing.

Visual communication and photography can be developed by considering the clothing, objects, or environment in which a figure is placed.

Visual elements might also be combined digitally.

Texts can be used to clearly and powerfully convey your message.

Typographic choices of textile, such as using a block or script typeface can also change the tone of a message.

And here's a graphic design portrait with text, handwritten text, block capitals, and a range of colours used.

Really quite powerful.

Let's have a check for understanding.

Stylization in graphic design refers to, A, simplifying or exaggerating visual elements for effect, B, using only black and white colours, C, drawing something with perfect realism, or D, adding text to every image.

Pause here while you decide.

Well done if you selected answer A.

And now it's time for your next task.

I would like you to select one design and visually deconstruct it.

Describe what you can see in the design.

The principles of design, balance, contrast, hierarchy, alignment, proximity, unity, and colour.

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

Text, imagery, and subject.

How the graphic designer has used these techniques to communicate with the audience.

You might record this as an idea shower around an image of a design, write it as a paragraph, or create an audio or film recording of your ideas.

Pause here while you have a go at this task.

I'll see you when you're finished.

Let's create feedback with you.

So how did you get on with that task of selecting one design and visually deconstructing it? You may have said something like this.

There's a variety of textures and shapes.

High contrast colours and tones.

Stylized and simplified form.

Hierarchy through size to emphasise subject.

Colours and shapes are larger and clearer on the subject, creating balance with the background.

Figure aligned centrally.

You may have said something like this.

This graphic design text portrait uses contrast through the black-and-white portrait and the colourful background.

The portrait uses text in different proximities and sizes to create tone.

The alignment of the portrait to the background creates hierarchy and unity.

Now we're onto our final learning cycle, personal connection: portraits and figures.

How might the works of another artist or designer inspire influence our own creations? Pause here and share with someone.

Thanks for sharing.

Here's Jacob.

"I like the stylization of portraits used by some artists and designers.

Using flattened shapes and clean, bold outlines, and selective colour palettes create impactful designs that I could reproduce digitally or through painting and drawing." And Andeep.

"Looking at how artists use lines, shape, colours, and compositions can influence my own work.

It's about finding something inspiring and makes me want to try making work in a similar way, or let it influence my own ideas." Visual languages are varied, and you can develop your own based on your personal identity, influences, and inspirations.

Your personal identity is the unique traits and qualities that represent aspects of you.

Who are you? It's what personal identity is about.

How might your personal identity inform your portrait design? Pause here and share with someone.

Thanks for sharing here.

Here's Sofia.

"I could feature my favourite places in my composition." Nice idea.

Sam.

"I could surround my portraits with the things and objects I love." And Lucas.

"I could design my portrait in the style of my favourite artist." All great ideas.

A check for understanding.

What does identity mean in the context of graphic portraiture? Is it A, a person's job title, B, the unique traits and qualities that represents aspects of someone, C, the exact likeness of someone's face, or D, a label for a style of art? Pause here while you decide.

Well done if you selected answer B.

Be aware of what interests you, as other designs can help to inform your own design choices and creative thinking.

By analysing and deconstructing designs, you can identify key features of the visual language being used and use these insights to inform your own work.

There are many ways you can use portraits and graphic design as a form of visual communication.

Think about: stylization through simplification or exaggeration, layout and composition, the visual language used, e.

g.

, colour, line, shape, text and typography, silhouettes and the elements surrounding the figure.

What visual languages do you notice in this work? Pause here and share with someone.

Thanks for sharing.

Perhaps you notice the simplification creates lots of negative space in the composition.

The minimal linework is a form of stylization and simplification.

Using colour for the lenses of glasses contrasts with the linework, creating contrast and balance.

And using curves creates a sense of flow and movement.

Have you noticed the effect of these visual language choices? Pause here and share with someone.

Thanks for sharing.

Graphic designers apply visual languages in varied ways, which leads to audiences and viewers discovering different personal connections from the same work.

How could this visual language link to your own? Pause here and share with someone.

Thanks for sharing.

Here's Andeep.

"This work could inspire my own design through stylization and simplification of linework." Jun.

"I like how balance can be created through empty space and bringing elements together to create proximity and hierarchy." And Izzy.

"I want to create portraits of people I know well, so I'll focus on their key features through stylization." Can you think of other ways you might respond to the design? Pause here while you do this.

Thanks for reflecting on that.

You might create designs that have a personal connection by creating a portrait of someone important to you using your chosen style.

Experiment with styles and visual languages, then annotate your work to understand what works well and how future designs could be improved.

Let's have a check for understanding.

Which of the following is an example of a personal connection in design? A, copying a celebrity photo.

B, drawing a random figure from the internet.

C, creating a portrait of someone important to you using your chosen style.

D, tracing a comic character you like.

Pause here while you decide.

Well done if you chose answer C.

And now it's time for your final task.

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

What theme, symbols, or ideas does this work explore? Are there any symbols, imagery, or connections between them that help create a narrative or show meaning? Which techniques, processes, or creative decisions in this design inspire you and how might you use them in your own work? You might record this as an idea shower around an image of a design, write it as a paragraph, or create an audio or film recording of your ideas.

Pause here while you have a go at this task.

It's great to be back with you.

So how did you get on with that? You may have said something like this.

Theme: Identity and History.

I like how unity is created through the colours, balance is achieved by using space in the design, and how contrast is achieved through the portrait and background geometry.

It communicates a sense of identity through focusing on the portrait, with symbols that are connected to their history.

I will use a visual language which is inspired by this design, emphasising the person, and using the stylized background to reinforce a connection to their identity.

You may have said something like this.

Contrasting circles and rectangles to create variety of shapes and lines.

Use of symmetry to create balance.

Bright orange, teal, and purple colours to evoke calmness and energy.

Positioning shapes in the foreground and background unite the figure in a portrait with surroundings.

I can select shapes and mark-making for the background of my own portrait to complement the subject's character.

I could select a limited colour palette, but will choose colours that reflect the subject's emotions.

I can also create unity between the background and the figure in the foreground by using layering and playing with space.

In our lesson, portraits and figures in graphic communication, we've covered the following.

Portraits and figures can be powerful tools in graphic design to express messages, emotion, or identity.

Graphic designers often stylize figures to enhance meaning and create a signature visual style.

Deconstructing design helps us understand how elements come together into a distinct visual language.

Personal identity can inform meaningful visual design choices.

Well done everyone for joining in with this lesson.

It was great to explore this subject, looking at portraits and figures, and graphic communication together.

I love getting your personal take and seeing how personal identity comes into this.

I really enjoyed this lesson and I look forward to seeing you at another art lesson soon.

Until then, stay creative.