Challenge
Design an editorial illustration for The Guardian on the rise of facial recognition in surveillance
Insight & Solution
The accessibility to facial recognition technology leads to the accessibility of your own facial data. Whilst these transactions are digital, the illustration creates a physical, Orwellian scenario of identity being auctioned to the highest bidder.
Research & Initial Development
The research for this project started with the key text within the article regarding facial recognition and surveillance being highlighted and analysed in order to generate a variety of starting points.
The themes were further explored through mindmaps with preliminary sketches. In addition, a wide array of imagery relating to surveillance was collated for further inspiration towards the concept. Amongst these were images related to an Orwellian dystopia and abstract portrayals of facial recognition.
Further Development
Further visual research was undertaken to find artists who would complement the sense of unease surrounding the issue of surveillance. This led to the discovery of three influential artists for the final piece: Tom Haugomat, Sébastien Thibault, Claire Merchlinsky.
Haugomat’s use of lighting within his composition is the most influential aspect of his work as it effectively frames the main subject within the composition and establishes a clear visual hierarchy.
Merchlinsky’s compositions were largely influential due to the tension created through her use of colour palette. Her use of red is the main motif that establishes this quality as it conveys a sense of danger to the audience.
Research into Thibault’s work helped refine the concept of the final editorial illustration as a result of the striking use of double imagery.
The initial development for the editorial illustration involved the production of a wide array of thumbnail sketches that explored the theme of voyeurism, loss of identity, dystopia, and personal data being sold. The majority of sketches incorporate the use of double imagery, which was influenced by Thibault in order to convey an effective message.
The main point from the article that was the most influential was the idea that anybody could now have access to your own facial data because of how accessible the technology had become. The sketches related to this concept were the most visually engaging so the direction of the project was focused on that theme.
Merchlinsky’s colour palette was incorporated across four initial concepts exploring the accessibility of facial recognition. The illustration set within the auction house felt the most impactful because the silhouetted faces created a harrowing tone. This tension is further accentuated by the contrast between the vibrant red and darker surroundings.
Final Illustration
The final editorial illustration promotes the theme of voyeurism and accessibility to a viewer's identity in a harrowing context. This concept is achieved by using an auction house as the illustration's setting, allowing for double imagery to be incorporated through the paddles. This creates a sense of paranoia and unease towards the audience, reinforcing that anybody can now affordably access their personal data.
