Freedom of speech

This week's Indy illo is about freedom of speech, and more specifically about the recent Jan Moir Daily Mail article and the upcoming appearance of Nick Griffin (the BNP leader) on Question Time.

The rationale presented to me was that Jan Moir has been labelled homophobic and taken to task by the blogging, commenting and twittering community for her article about Stephen Gately. Yet in contrast the BNP get away with much more openly offensive comments and actions with a lot less furore.

Interestingly and unusually I considered my personal response to this statement before I began my ideas, just because the argument had piqued my interest. I wasn't sure how I felt as I think the BNP do get a lot of negative media coverage and I also thought Jan Moir's comments were nasty and snide and I agreed (in principle) with the shocked response (if not the faux outrage that accompanies these things once the mainstream media report it) but of course I could see the point of the argument. As much as the Daily Mail article is hurtful to friends and family of Stephen Gately and offensive to a wider audience by its very nature as an opinion piece it has limited influence and is much less dangerous then the BNP, who as a political party have the potential to affect and influence Government and the wider European community. Thus the response to the two things should technically be proportional to their power. But that's not how things work, emotionally charged arguments always win out and the entertainment industry will always trump the political arena when it comes to popularity.

So these were the thoughts swimming around my head as I worked out my roughs. It took me almost double the time this week as I tried to create a composition that would effectively convey the argument and be visually interesting and not repeat any of the elements I featured in my recent illustration about free speech.

Finally I settled on an image set in Trafalgar Square, imagining a scenario with a large outdoor BBC screen I set about creating a world where Nick Griffin on Question Time was ignored in favour of protesting against Jan Moir. This image gave me a chance to reference the two points made in the brief and hopefully sits well when given the context of the article.

I'm writing this blog post without the final article for reference, so I am not sure how pointedly Jan Moir or Nick Griffin will be referred to, or if the article will be more generalised. Hopefully the article will do enough to ensure my image makes sense. I'd also like to point out that I am not attempting to link Jan Moir and the BNP or commenting on the death of Stephen Gately. As I've discussed on this blog previously my visual responses are just that, visual responses to the brief I am set, this one may have caused me to consider whether I agree or not, but that has no real bearing on the images I produce.



On another note after completing the illustration above I settled in for a night of XFactor and noted this beautiful advert for American Express during the commercials. I think it's gorgeous and wanted to share so click the screengrab to see the full advert over at the 'Add A Dog' website, credits can be found there.



Finally the website update is underway, should be live by Tuesday.
Updated: the article is here now.

Prints

I don't make a big issue about selling prints of my work, but I do actually do it, so I thought it might be worth mentioning on the blog.

Not to make this a hard sell but I currently have giclee prints available of a large range of my images in limited edition series of 10 or 20 (depending on the print).

To make this post a little more visually interesting here are a few pictures sent to me by Dan Upham, whom I recently sold (and hand delivered) a print to in New York. It was pure coincidence that his enquiry came just before my trip, so international personal delivery isn't the norm! Alongside having impeccable taste Dan happens to be a comedian and you can check him out here



If you would like to buy one of my prints please contact me via email to discuss the images on offer.

Is Twitter Down?

Having resisted much of the social networking trends of the past few years (I don't myspace, never Bebo'd and rarely venture onto Facebook) I occasionally looked down at those people who checked their facebook pages like I check my email. I enjoyed the technology and appreciated its significance, but never felt the need to broadcast every moment of my life to people I'd once known. As anyone with an ounce of self awareness will recognise, everyday life is not that interesting, trying to document your every movement in the manner of Heat magazine is tiresome, inane and often boring. It's hard enough sometimes writing this blog (case in point?) a few times a week and that's even with the open brief of not having to always write about myself.

So imagine my horror when I realised that I was bothered by the fact that TWITTER IS DOWN. How has it come to this? How have I become a lover of the act of tweeting? Have I given in to the media drip feed of how awesome Twitter is and started to believe the hype? Or is it that it actually has a benefit beyond finding out that Paula Abdul has quit American Idol?

Well I would say (in my defence) it has quickly become important to my working day. Although I would consider maybe half of the people I follow on there friends, a great deal are people I respect professionally or whose tweets give me food for thought throughout the day. So I follow the posts of No.10 Downing Street and Barack Obama, Creative Review and The Independent. Services like this keep me informed of developments worldwide which I may have to illustrate, or of creative output that might inspire or interest me. I follow a Guardian blogger whose articles made me laugh and a musician whose music I enjoy but who also has a fantastically original approach to engaging with her fans. I follow other illustrators and I also used twitter to make connections with people before my trip to New York, which was invaluable in giving me a chance to network and in some cases make friends.

All in all I would now call myself a fully paid up member of the Twitter fan club. I don't think Twitter can save the world (Sorry Guardian Online), and I recognise that for most it may just be a simple distraction, but if you utilise it properly the system can be a really useful tool for a freelancer and definitely one worth exploring. So earlier when I felt the need to google "Is Twitter Down?" and landed on the fantastically simple site Is Twitter Down, where the answer was Yes, I found myself rushing to my blog to bemoan the situation and share a more lengthy version of what I will post when it returns;

Jemillo: @twitter "You don't know what you've got til it's (temporarily) gone"

Disclaimer (with tongue firmly in cheek) I'd like to point out that I am not an addict and I'd also like to say that this post was in no way paid for by Twitter (I wish) or endorsed by them or anyone associated with the website.

Now if only Twitter was working I could let people know I'd written this....

They say a picture is worth a thousand words..

but who is this 'they'?

Well in this case it is Mercedes Benz, and more specifically BBDO Düsseldorf (full credits below)




I haven't seen this advert in 'real life' but was lucky enough to happen across a link to it last week and have since spent many minutes of my life passing the link on. I happen to think it's a lovely execution of a simple visualisation of what the new brake system does. I would love it if the car did indeed see the road in a kind-of Knight Rider fashion, but I think that is probably unlikely. Then again I can't say I know that much about cars or the technology housed within them so maybe it's not that far from the truth!

Watch out for the slightly haunting end as the logo flashes!

Client: Mercedes-Benz Nederland B.V.:
Agency: BBDO Düsseldorf
Production Company: SEHSUCHT GmbH
Director: SEHSUCHT | Mate Steinforth
Animation: SEHSUCHT | Tom Abel, Lasse Claussen, Hannes Geiger, Christian
Heyde, Mate Steinforth
Producer: SEHSUCHT | Felix Martens, Karsten Müller
Music Composition: Thomas Kisser