portfolio uca 2013

YEaR 3

LuCY RoSSELL EvANS 1109280 EGRD6001: Research, Development & Positioning 13/14

LRe

3

INDEX

week 1:

Contents: Over the first six weeks of the term, crits were held each week where we were asked to present work based on our interpretation of a new subject. The stimuli were designed to get us thinking, making and doing. These responses varied according to our skills, interests and attitudes.

Position Yourself

week 2: Failure

week 3: Nature

week 4: The Everyday

week 5: Colour

week 6: Chance

week 7: Interim Review

WEEKS 8 + 9: Creative Development

Week 10: Re-Positioning Yourself

Evaluation + FMp: Outlined Proposal

Bibliography

Brief 1:

position youRself

He had brought a large map representing the sea, Without the least vestige of land: And the crew were much pleased when they found it to be A map they could all understand.

‘What’s the good of Mercator’s North Poles and Equators, Tropics, Zones and Meridian Lines?’

So the Bellman would cry: and the crew would reply ‘They are merely conventional signs!

‘Other maps are such shapes, with their islands and capes!

But we’ve got our brave Captain to thank (So the crew would protest) ‘that he’s brought us the best - A perfect and absolute blank!

Lewis Caroll

When approaching this project I took it rather literally; when reading the stimulus I was excited by the thought of working within the limitation of a map with no land.

Firstly I wanted to explore different ways of viewing the land masses without actually drawing them out - using them as negative space and focusing on how I could visually portray what fills the map which is not land - currents, the types of waves, the tectonic plates, and the temperatures of the ocean.

Here is how I experimented with different ways of portraying current and the directional flow of water . The next step was to devise a way of showing the water without the land masses on a purely white map, with no inks on it.

The ways I could think to do this were: to use different textures of paper, paper manipulation to add body to different areas of the map, or to use natural light and shadow interplay with the design to show a range of tones and shapes.

Although when seen in normal circumstances you can’t see the relief from the papercut - when you view in on top of a light box the land masses become revealed, making a secret map.

#01 position youRself Evaluation

Despite only having a short time to work on this brief, I really enjoyed it - I liked having the limitation of working only with white on white, and coming up with imaginative ways of solving the ‘blank map’ problem.

Rob Ryan has brought paper-cutting back to mainstream culture, and has applied the craft to posters and print - I can see my paper-cuts on minimalist greeting cards - maybe a selection of postcards where only one country is cut out (which would be the country the card is mailed from).

Originally I was just going to have one sheet of paper where the land masses were cut out, but then I reassembled the pieces cut from this onto a new sheet of paper to create a separate map made from relief, which casts a different kind of shadow than a regular paper-cut - a happy accident.

Brief 2:

#01 faILuRe

What does it really mean to fail? Can failure be a creative force?

Does it matter? Can it liberate? How do you fail?

What does failure sound like? Look like? Smell like? ‘Amidst current global uncertainty failure has become a central subject of investigation in recent art. Artists have actively claimed the space of failure to propose a resistant view of the world. Here success is deemed overrated, doubt embraced, experimentation encouraged and risk considered a viable position. Between the poles of success and failure lies a productive space where paradox rules and dogma is refused. This anthology establishes failure as a core concern in contemporary cultural production.’

Reference: Failure, edited by Lisa le Feuvre

My first idea for this brief was the thought of how failure can lead to positive outcomes. Looking at web-comics and memes as influences, I drew out this very basic idea for a cartoon strip about a bruised banana who nobody wants to eat - he gets very upset until someone realises his dream of being eaten (not as a banana, but as banana bread).

atychiphobia

‘Atychiphobia (from the Greek phóbos, meaning “fear” or “morbid fear” and atyches meaning “unfortunate”) is the abnormal, unwarranted, and persistent fear of failure.’

Moving on from my first idea, I wanted to explore the feeling of failure, and how these feelings manifest: including the inability to speak and the feeling of being trapped within a very small space.

I thought showing parts of the body as ‘crystallised’ would be a good example of showing these feelings visually because when you apply a lot of pressure to certain solutes they become crystals - turning this physical example of ‘applying pressure’ into a more metaphoric ‘the pressure felt not to fail’ for people who suffer from atychiphobia.

#03 FailuRe Evaluation

I had to leave this project and go back to it after a couple of weeks because I found it very hard to decide on how I wanted to visualise my idea - and even now I’m not too happy with it. I’d like to develop it further into a stop motion animation where the crystals start sprouting out of person’s mouth, and continue growing all over until they are completely crystallised - as this is happening a voiceover could talk about how it feels when you have atychiphobia and then tips on how to handle the phobia (and the crystals would regress until the person looks normal again).

I have been uploading the illustrations from this project onto my personal blog - as I have seen from sites like Tumblr, Behance and FFFFound that images relating to crystals have become quite trendy around the blog circuit, from only being tagged as ‘crystal’ and ‘illustration’ the illustrations have been getting up to 9 notes per day - which in my opinion is a great success and could lead to further internet exposure.

Brief 3:

#09 natuRe

...Or nurture, wild or tame, feral or domesticated, organic or synthetic? Supernatural Geometry.

Human nature - the nature of reality and unreality. Natural versus unnatural.

‘Nature, as both subject and object, has repeatedly been rejected and reclaimed by artists over the last half century. With the dislocation of disciplinary boundaries in visual culture, art that is engaged with nature has also forged connections with a new range of scientific, historical and philosophical ideas. Developing technologies make our interventions into natural systems both increasingly refined and profound. And advances in biological and telecommunication technology continually modify the way we ‘present’ ourselves. So too are artistic representations of nature (human and otherwise) being transformed.’

Reference: Nature, edited by Jeffrey Kastner Above: Colours of the skin when affected by Raynaud’s Disease

marfan syndrome

macrodoctaly

syndactyly

Polydactyly

Marfan syndrome (also called Marfan’s syndrome) is a genetic disorder of the connective tissue. People with Marfan tend to be unusually tall, with long limbs and long, thin fingers.

Macrodoctaly is a condition in which a certain part of the body acquires larger than normal size due to excessive growth of the anatomical structures or abnormal accumulation of substances.

Syndactyly (from Greek συν- meaning “together” and δακτυλος meaning “finger”) is a condition wherein two or more digits are fused together.

Polydactyly (from Greek πολύς (polys), meaning “many”, and δάκτυλος (daktylos), meaning “finger”), is a congenital physical anomaly in humans having supernumerary fingers or toes.

For this brief, I started by looking into malformations within nature. I found it very interesting to see how a minute cellular inconsistency could cause such a large physical deformity.

I chose to look primarily at hands as they are where many genetic malformations are visible, and chose simple line drawing to explore this visually - being inspired particularly by ‘Sick: A Compilation Zine on Physical Illness’ by Ben Holtzman.

The simplicity of these drawing shows the differences between all of the different hand mutations, but also highlights their similarity, showing that although individually these mutations are striking, but as part of a set they become normal again.

Above: Quercus petraea (Sessile Oak) - Royal Museum for Central Africa

When looking further into cellular structures I was hit by the similarity of cells under the microscope and the structure of fabric; this lead me to exploring different ways of sewing to mirror cell structure.

This is a photograph of an A3 line drawing , reproducing the look of the cellular structure of a cross section of a tree.

#09 natuRe Evaluation

During this project, I really enjoyed working with textiles, sadly I am not very good at it. If I had the time and the skill, I would have loved to create some kind of crochet weaving which could show the different kinds of shapes within a cell reflected in the shape of the crochet. However, due to my lumbering fingers I could only manage one small sewn design. I saw many BioArt designs like this at the V&A ‘Infective Textiles’ exhibit during London Design Week.

I would have also liked to have included more colour in my cell drawing - taking inspiration from collections from Brighton based illustrator Katie Scott, who has created brightly coloured cellular prints, in the style of old Japanese medical drawings; perhaps if I had the confidence to add more colour these prints could be sold as interior designstyle canvases for places such as private doctors’ surgery waiting rooms.

Brief 4:

#04 the eveRyday

From Martin Parr to Mass Observation and De Certeau, what is extraordinary about the ordinary? ‘It shows a recognition of ordinary dignity or the accidentally miraculous; an engagement with a new kind of anthropology; an immersion in the pleasures of popular culture; or a meditation on what happens, when nothing happens. The celebration of the everyday has oppositional and dissident overtones, offering a voice to the silenced and proposing possibilities for change.’ Reference: The Everyday, edited by Stephan Johnstone.

This photo set includes photos taken through a sheet of glass with a masking tape frame.

This idea explores the notion of isolating the everyday, I became interested in the idea of framing an environment in real-life, whilst also capturing this framed image on camera.

I was inspired by photographer Myoung Ho Lee who puts canvases behind his subjects to isolate them, whilst taking a photo including the wider area so you can see the edges of the canvas.

The frames pictured were all made from strips of coloured paper glued together.

fRaming: isolating the eveRyday

Exploring isolating the everyday: ‘G1: New Dimensions in Graphic Design’ by Neville Brody Drawing on Xavier Barrade’s project on the censorship of books (where he blocked out the shapes with black, so that they all looked the same), I wanted to create something with the opposite effect.

Creating similar nets of shapes, I suspended them in everyday situations in order for us to look through them, simultaneously framing the everyday whilst also drawing our attention to it more than usual. Contrary to Barrade’s project, I wanted to encourage looking twice at the everyday in order to see things that we usually overlook.

Top + Right: Photographs of nets floating in space within everyday areas.

Right: Image taken from Xavier Barrade’s book censorship project.

Right: A map of the direction of sight through the suspended frame.

After creating a large number of shape, colour and size variation in the nets I suspended them in the middle of our classroom, rented a camera and asked people to take pictures of what they could see through the suspended frames.

#04 eveRyday Evaluation

Truthfully this is my least favourite project, I was very slow to get started and had a very simple idea (to frame the everyday), but because it was such a simple idea it needed to be executed well for it to become effective - which I don’t think it did. I should have tried a wider range of ideas before comitting to an outcome: sticking frames on windows to picture what’s outside, people live-posing with huge frames to create a frame within a photo.

The masking tape on glass idea was very frustrating as I had to hold the glass up but then also shoot photographs with my camera, this is the reason I chose to change the medium of the frame to paper as it is lightweight and could be suspended at different lengths so I wouldn’t have to hold it.

I think that the final installation itself was more interesting than the concept it branched from, a little like those weird colourful metal sculptures you can find near public buildings and in parks.

Brief 5:

#03 colouR

Political, Asthetic, Social, Frequency, Process, Spectral, Mystical, Illusory, Arbitrary.

Why is Christmas red, and why do American kids think blue tastes like raspberries?

This chronological anthology reflects on the aesthetic, cultural and philosophical meaning of colour to artists within the broader context of anthropology, film, philosophy and science. Those who loathe colour have had as much to say as those who love it.

Establishing colour as a central theme in the story of modern art, this is an indispensable handbook to the definitions and debates around its history, meaning and use.

Reference: Colour, edited by David Batchelor

colouR black & gold

Still Life: Emilie Preyer - Weintrauben, Eicheln, eine Aprikose und ein Pfirsich auf einem Gesims mit einer Fliege This project explores how changing an object’s natural colour can add value to it; why are certain colours more ‘valuable’ than others?

As humans, we have evolved to have a preconceived notion of what food is meant to look like: we innately know which colours mean ripe and which colours carry warning signs. We have evolved to steer clear of blue or grey, or black foods as this means that they could harbour some kind of infection or could be mouldy.

Gold has always carried a huge number of connotations: wealth, beauty, power, status. Traditionally, only the wealthy could afford gold - however now you can get an imitation product for a fraction of the price.

Can painting something cheap - such as leftover fruits and vegetables - increase their value? All that glitters is not gold.

I chose to paint these fruits black and gold as they have connotations of the designer: black with leather shoes and bags, and gold with precious jewellery and fastenings.

colouR: black & gold

The gold paint of the apples means that it is inedible,

Harrods is an upmarket department store located in Brompton Road in Knightsbridge, in the Royal Borough of Kensington and Chelsea, London.

When contextualising my work, the first thing that sprung to mind was using my photographs as part of an ad campaign for upmarket goods. The gold and black colours have connotations of designer brands: Gucci, Louis Vuitton.

In my opinion, Harrods is the epitome of pointless luxury. The brand doesn’t necessarily charge money for the quality of the goods, it charges money because the goods carry the Harrods name; but money can’t always buy taste. People with the money to spend in Harrods won’t always buy goods because they like them, they will buy them because the brand is associated with having and spending huge amounts of money, and these people want to show off their wealth.

The point of an apple is to be eaten.

However, once an apple has been painted gold it loses it’s purpose and effectively has no use value. However, the golden colour adds value because of the colour’s powerful associations.

In Greek mythology, golden apples were said to give immortality to the eater. The golden apples were also known as ‘apples of conflict’.

Harrods Food Halls: blurring the lines between quality and needless expense

I spray painted household rubbish gold and photographed it in a professional context, using an infinity table and some great lighting in an effort to try and make it look like I was photographing upmarket goods.

#03 colouR Evaluation

I really enjoyed the research throughout this project - maybe because I come from more of a fine art background - but I liked looking at traditional Dutch Still Life and Vanitas paintings. I think looking at Vanitas was especially relevant because the painting itself is a warning - that ripeness and beauty won’t live forever. The work I have produced sits squarely opposite this, suggesting that in modern life, appearances can be immortalized although though they will never be truly real.

I enjoyed working in the photo studio but would never have been able to produce such great images if it weren’t for the technicians who gave me a brief tutorial with the lighting; I used a Canon60D but didn’t anticipate how heavy it was going to be so I found it quite difficult holding it still for a long time.

I found it tricky when editing the images in Photoshop, I assumed that since I used the infinity table all of the backgrounds would come out as clear white but they were all different shades of off white so it was hard to edit the light so that the images looked like they belonged in a set.

Brief 6:

#02 chance

The serendipitous incident, the chance encountered, the roll of the dice, the beautiful mistake.

Id quod est.

The spontaneous, unexpected or random event is a vital component in numerous works of Expressionism, Dada, Surrealism, Fluxus and conceptual photography. And the camera snapshot seems intrinsically implicated in the workings of chance. But why today does chance remain a key strategy in artists’ investigations into the contemporary world? This anthology analyses the meaning of these strategic spaces of uncertainty, poised between intention and outcome, and provides a new critical context for chance procedures in art since 1900.

Reference: Chance, edited by Margaret Iversen

Photographs which I came to by chance: two nude photographs sliced with a guillotine and then reassembled.

chance: found mateRials

When my Dad moved into his house in September, there were a lot of things left behind by the previous owner. Art supplies, books, and many family photos.

Amidst all of this, I found, hidden, some beautiful photographs of nude women. It saddened me to think that the previous owner had to hide these images, and I wanted to explore ways of introducing the theme of censorship into this project.

Using only the found materials, I began to weave different images together: nudes combined with images of landscapes, flowers; two things which would never traditionally be shown together. When combined, I found that they created a completely new image - one that perhaps the previous owner of the images wouldn’t be ashamed to have on view in their home - not hidden away.

By chance I also found an old guillotine which I used to cut the photographs I found.

If the photographs had the same colours and tones, it made the outcome come ambiguous - which I really liked.

Here, the censored area has been cut into equilateral triangles and re-assembled

“Women watch themselves being looked at.

This determines not only most relations between men and women but also the relation of women to themselves. The surveyor of woman in herself is male: the surveyed female. Thus she turns herself into an object -- and most particularly an object of vision: a sight.� John Berger My favourite kind of weaving is shown here. The fact that it is irregular and unpredictable almost looks like it is a glitch between two frames of a movie - you are torn between two images not knowing where to look and the eye darts frenziedly around the page.

I have appropooraited my work in the modern context of album artwork, the collage representing a fusion of different styles of music.

#04 eveRyday Evaluation

I loved working with the raw materials throughout this brief. The fact that all of these images had a real history about them made me really excited. At times it was very frustrating following a design to weave from, so truthfully the more random designs began by accident. Originally I wanted to keep to a pattern, as there were so many woven designs in the 60s, which is associated with female sexual liberation - which I think juxtaposes itself nicely with the idea of censorship.

I found it hard to manually cut out exactly equal shapes in order for the pieces to fit together more accurately - this would definitely have been easier to do on the computer but I think digital collage loses the tactility and warmth of the original images used.

I think the series of images I’ve created would make good album covers for bands that fuse two different kinds of music - as the inter-weaving could represent collaboration, I think that editing them on the computer would make them look a lot more modern - possibly duotoning the image in Photoshop to make it look printed.

Interim review

The Interim Review was by far the biggest challenge for me this term. I find it very hard standing up in front of an audience and talking about anything - let alone the work I have produced. I think it’s the thought of someone rejecting something I have spent so much time over that scares me the most.

To prepare for the review I went though my blog and noted down thoughts and ideas I had as I went along during the process of the project - it was hard to know how much I could say within the time limit of five minutes, so I had to condense it down after practising the first time.

I wrote down everything that I had to say in note form on A7 revision cards so I wouldn’t get too nervous about remembering everything I had to say - I think this was the secret to how well it went as whenever I stammered I could just look at the cards and try again.

The feedback I got was mostly positive, the only thing that was mentioned as a negative point was to perhaps to some more reading around my subject areas, not just look at sources of the internet.

I got positive feedback about my drawing and photography skills, which makes me a lot more confident about entering the Penguin competition in 2014.

The biggest thing that I got out of the review wasn’t actually to do with my design practice, it was the confidence I gained from standing in front of an audience and being able to present my work. I know it wasn’t very professional, but just the fact that I didn’t stop half way through because I was so nervous means a great deal to me. It has really boosted my confidence within myself and my work.

bRief 4: fuRther development

For this brief, I chose to re-think the ‘Everyday’ brief. I really didn’t like my first outcome, and wanted to re-think the whole project concept - including changing the medium: instead of photography / installation I wanted to work with illustration as I think it is a much stronger skill that a possess.

After a lot of thought I decided to explore the theme of ‘Dreams’. I have a really strong interest in narrative, but only having two weeks to create and illustrate a whole story was a huge limitation.

To solve this problem, I kept a dream diary over the two week period of the project and illustrated the stories that unfolded in the dreams - an illustration for each.

This way I could let my subconscious do the storytelling, although dreams do have a habit of evaporating from my memory quite quickly, so I had to keep a pen and paper on my bedside table each night.

Originally I wanted to create a project exploring the story of White - a character from the manga ‘Tekkonkinkreet’. As an orphan in a future dystopian Japan, I thought it was really interesting to see his set of value systems being that of a child, and also a homeless orphan.

Although not following through with this idea, I definitely took inspiration from how the manga is illustrated especially the expression around the eyes.

Throughout this project I used a broad range of media, however I tried to limit myself to a restricted palette of colours. I did this so that all of the images would look like they belonged as part of a set (a characteristc I have seen in a couple of zines).

go to: To view full sketchbook ans/docs/book http://issuu.com/lrossellev

By looking at zine makers such as Jesse Tise, I am able to contextualise my work by seeing how he sells and distributes his zines: primarily by going to small publishers’ fairs, but also small online shops like bigcartel. com - having been to the London Illustration Fair recently has helped me in understanding that a big part of self-publishing is going out there and befriending other independent sellers and spreading the word about each others’ work in the community.

I am using Twitter as a valuable tool to contact and kep in contact with other young designers and illustrators I meet at places like Handmade & Bound and the Illustration Fair so we can keep each other updated with our creativity.

brief 3: Evaluation

The work that I produced for Brief 3 was by far the most enjoyable of all the briefs. When I am drawing I never get bored, contrary to working with computer programs like Illustrator where I feel restricted, as I am very aware that I don’t know all the ins and outs of the program - whereas when I create something from hand I can complete manipulation. I also love mixed media work - so collaging with different shapes and textures of paper was really exciting. I have tried drawing with a tablet to make more work digitized but I think it is just so tedious, and the end result is never as good and something created by hand.

I spent some time going around London to shops like Gosh and Magma, where hand rendered design is prized over modern digital media. However, the turning point for this brief was when I visited the London Illustration fair in Shoreditch. After meeting and speaking to designers, illustrators and print makers who are specialists within their field, it was evident that this was the right direction to take my outcome to the brief. This allowed me to situate my work within a professional context, that evolved from the research and development I performed: ranging from collage, to watercolour, to line drawing.

BRIEF 4: Re position yourself

During the past two weeks I chose to revisit the ‘Everyday’ brief, which was one of my weaker projects. Instead of developing my previous project, I consciously chose to veer away from it.

I chose to explore the notion of the everyday unconscious, keeping a dream diary and trying to illustrate whatever I could remember – my aim was to fill an entire sketchbook with images by the time the two weeks had ended; using nothing but analogue media: drawing, painting, collage.

During this project I have been looking into illustrators who produce surreal imagery, such as Andrew Khosravani’s series of lucid dreaming drawings – I like to incorporate pattern and shape into my drawings so I have been researching different drawing styles by reading ‘FREEHAND’ by Helen Birch which has been infinitely helpful whenever I have had a bit of a creative block; I subscribe to a couple of creative magazines but mostly blogs online which is where I draw most of my influences from – I keep a log of all the images I find interesting (with links to their sources, too).

What has struck me most upon reflection is how much my image making skills have improved by just drawing everyday during this period; I didn’t realise it at the time, but as I look back at what I have produced it becomes very apparent.

Instead of this making me happy, it has made me feel incredibly confused and quite scared. I enjoy drawing tremendously, and have an ever expanding interest in illustration, animation and storytelling – but just because I enjoy these things does not mean that I possess the skillset to create a successful FMP around this group of interests.

Aside from this project which has been heavily hand rendered images, none of my other projects I have produced this term say I am an illustrator; an eclectic mix of photography, collage and installation have not created a strong idea of what kind of creative person I am. Drawing is a valuable skill to have, but I feel like if I pursue it I will be neglecting time which could be spent on polishing other skills a designer needs: all I want is for someone to give me a job. But there are so many amazingly skilled image makers out there that I feel like developing my drawing skills now would be too late in the game, so my efforts

would be better spent developing skills in different areas of design: who is more employable, someone with a greater range of skills at a lower level, or someone who is very skilled at only a couple of things?

Ideally I want to combine illustration with type and layout, and experiment with interactive story design (like Emily Carroll, who utilises directional scrolling in web comics to produce different outcomes to stories). I’m keen to collaborate with people who have an interest in animation and storytelling – sometimes it can be quite frustrating working alone, and I feel like I can get all tangled up in my own thoughts, I think collaborating with someone would ground me a little more. Having to draw out and communicate someone else’s ideas is something I enjoy doing, and know that this will help me as I look for a job in the creative industry later on.

semester 1: evaluation

Throughout this term, the I have grappled with the stomach churning fear of being in third year. This time in six months, I will be out on my own - and in the mean time, the work that I produce has to be of such great standing that it can get me a job.

This thought has two effects: it paralyses me with fear, but at the same time I feel a huge desperation to soak up as much of the university experience has to offer. It has certainly kicked me into gear by forcing me to go out of my way to exhibitions and museums in the past two months. This has definitely pushed me to frantically search for where I can ‘place’ myself in the creative world.

I wish I had thought more about where I want to place myself before diving into the briefs: having used a mix of hand illustration, photography and paper manipulation I don’t fit into the traditional stereotype of a ‘graphic designer’. However, whenever I have been to see illustration exhibitions I simply can’t picture myself as one of the people featured there either! I feel like the quality of their skillset is so much more refined than mine - but all I can do is try my best.

Throughout the last two weeks I watched my skill with line grow a little with each day, and I intend to use my illustrative skills in my FMP.

notes on the poRtfolio

I designed this portfolio in order to showcase the detailed images I have produced throughout this semester. I have designed the layout to have a lot of white space around the images - with small, minimal text. This reduces the amount of time the eye would spend searching around the page to find one specific point to focus on - giving more time for the eye to rest on one image and take in the detail. Similarly, I have sized the text in such a way that you have to zoom in the page to see it with clarity - the action of zooming also allows images to be viewed with more detail which the viewer might now have intended to do first off.

As the portfolio is meant for web browsing, I have also centered the text and images to the middle of the spread - this doesn’t allow a consistent page border throughout the portfolio - but the centeredness of the content allows for an easier viewing experience on mobile devices.

FMp pRoposal the hazards of love

The Hazards of Love is an album written

by Meloy Ellis, performed by The Decemberists (Capitol records). I propose to create a series of zines or small books (and a hardback, more serious typeset publication of the poems) along with a series of screen prints to illustrate the story that unfolds during the album; there are 3 different stories consisting of four main characters which all come together towards the end.

The intended audience for this collection is primarily for the modern bohemian, who has a respect for poetry and a keen eye for illustration (think of a slightly overpriced, middle class, alternative record shop).

The reason I have chosen this subject for my FMP is because it will help me polish my illustration skills and showcase them in different areas of design practice: print, layout, and book design. I have a keen interest in narratives, and the album I intend to explore - in my opinion - is one of the most well written albums (in terms of story) that I have ever heard.

During the last two weeks of term I really enjoyed doing some illustration work, and researching around this subject area has really inspired me to continue along this path.

“Initially conceived as a musical... but I decided about halfway through my time in France that it wasn’t going to work as a stage piece. But it would still work as a rock record, so that’s where it ended up.” - Meloy Ellis

Further information on the story can be found here: http://www.firsttube.com/read/thedecemberists-the-hazards-of-love/

If possible I would also perhaps like to explore avenues into pre-cinematic animation, with topics such as ‘ombre cinema’ and flicker books.

WEB bibliogRaphy

Africa Museum - Natural Sciences http://www.africamuseum.be/collections/browsecollections/naturalsciences/ earth/xylarium/species/SN10622

Jesse Tise http://www.ofgodsandmonsters.net/dream-to-me/

books

Virgilio Villoresi http://vimeo.com/68238929

Katie Scott http://katie-scott.tumblr.com/

Xavier Barrade http://www.xavierbarrade.com/

Black and White - Manga http://www.mangareader.net/black-white

Personal (Inspirations) Blog http://lucynobs.tumblr.com/

Kelley, J (2009). I Kill Giants. New York: Image Comics Holtzman, B (2009). Sick: A Compilation Zine on Physical Illness . USA: Microcosm Publishing Birch, H (2013). FREEHAND. London: Hardie Grant Books.

Brody, N, (1997) Exploring isolating the everyday: ‘G1: New Dimensions in Graphic Design’ . London: Rizzoli Intl Pubns.

Berger, J. (1972) Ways of Seeing. London: Penguin

exhibits

films Infective Textiles: V&A http://lablife.wikispaces.com/Infective+Textiles

London Illustration Fair

Samurai Champloo

http://www.thelondonillustrationfair.co.uk/

Shinichirō Watanabe

Hunterian Museum

Tekkonkinkreet

http://www.rcseng.ac.uk/museums

Michael Arias

Pick Me Up: Somerset House

Steven Universe

http://www.somersethouse.org.uk/visual-arts/pick-me-up-2013

Rebecca Sugar