Kate Gibb
Kate Gibb is a printmaking focused illustrator and self-branded silkscreen 'obsessive'. Her work is primarily photographic and utilises print methods to generate photographic manipulation via loss of quality, variation in colour and 'happy accidents'. I think the significant elements of her work that give an over-arching stylisation are a focus on 'pop' graphic style angular visual elements alongside bold saturated colour - colours that not only evoke themes of 'pop art' era styling but also have a visible grounding in the technique used - often resembling colours visible in either traditional or digital print methods (CMYK) etc.
Kate Gibb
Kate Gibb was keen to advocate studio culture and the inspirational qualities it encourages via the work process.
Kate Gibb's use of a studio environment enabled her use of screens - so the work-space could be seen as the core of her work and not just an influencing factor. She found herself in a restricted state without access to it - relying on digital mediums to account for her inability to utilise traditional photo-manipulation methods. This restriction, however, could be seen as an influencing factor itself: presenting Kate Gibb with alternative digital methods that come with their own stylising features.
Capcom
Kate Gibb
Sleeve Artwork for "Disastro", by "Sonny J"
Here the print method is clearly visible within the photographic print section of the image - this however is key in enforcing Kate Gibb's stylistic representation of the photo.
Ruth Ward
Kate Gibb's Studio
Ruth WardKate Gibb was keen to advocate studio culture and the inspirational qualities it encourages via the work process.
Kate Gibb's use of a studio environment enabled her use of screens - so the work-space could be seen as the core of her work and not just an influencing factor. She found herself in a restricted state without access to it - relying on digital mediums to account for her inability to utilise traditional photo-manipulation methods. This restriction, however, could be seen as an influencing factor itself: presenting Kate Gibb with alternative digital methods that come with their own stylising features.
Capcom
Resident Evil 7 Studio Reference Imagery
Studio style working is abundant throughout modern entertainment industries despite their vast reliance on digital formats to generate assets. Primitive image board referencing can be seen in Capcom's studios - used to generate themes, ideas and concepts throughout production but especially in pre-production stages like concept art and writing.
Kate Gibb also highlighted her delight in artistic collaboration - which allows her to be more assertive in the promotion of the work. She explained that solo work felt more personal and was emotionally harder to share than a collaborative project. Collaboration is key to my area of interest (entertainment industry) where working as a team with different people providing various expertise is the premise of the studio effort. This, from my experience, can be a great opportunity (such as how Kate Gibb describes it) but can also hinder the final product or person working within the team. This can be through a loss of personal creative identity or freedom as well as conflict or restrictions generated as a product of team work.
Such hindrances can inspire break-aways or solo projects in the entertainment industry: often labelled Indie studios based on their lack of reliance on external funding or publication allowing more creative freedom and a more intensely personal touch to final products.
Playdead
Inside - Video Game Scene
Inside is an extraordinary example of how creative freedoms and a long-form development cycle can inspire totally unique entertainment pieces that are drastically distinguished from the norm. The video game is narratively focused whilst being entirely devoid of text, the game is also a visual masterpiece whilst using an incredibly restrained colour palette and basic geometry - these such attributes highlight how a more independent approach to creative endeavours can be revolutionary through there ability to risk-take and input a deeply personal direction that can easily be lost via a large team and the executive / publication and funding that are required as a result.
Kate Gibb also highlighted her delight in artistic collaboration - which allows her to be more assertive in the promotion of the work. She explained that solo work felt more personal and was emotionally harder to share than a collaborative project. Collaboration is key to my area of interest (entertainment industry) where working as a team with different people providing various expertise is the premise of the studio effort. This, from my experience, can be a great opportunity (such as how Kate Gibb describes it) but can also hinder the final product or person working within the team. This can be through a loss of personal creative identity or freedom as well as conflict or restrictions generated as a product of team work.
Such hindrances can inspire break-aways or solo projects in the entertainment industry: often labelled Indie studios based on their lack of reliance on external funding or publication allowing more creative freedom and a more intensely personal touch to final products.
Playdead
Inside - Video Game Scene
Inside is an extraordinary example of how creative freedoms and a long-form development cycle can inspire totally unique entertainment pieces that are drastically distinguished from the norm. The video game is narratively focused whilst being entirely devoid of text, the game is also a visual masterpiece whilst using an incredibly restrained colour palette and basic geometry - these such attributes highlight how a more independent approach to creative endeavours can be revolutionary through there ability to risk-take and input a deeply personal direction that can easily be lost via a large team and the executive / publication and funding that are required as a result.
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