PM7000 Portfolio - Monica Arroyo B

PM 7000

C R E AT I V E PRACTICE P M 7 0 0 0

PORT FOLIO

MÓNICA ARROYO BEREZOWSKY K1823744 1

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INDEX ONE - CREATIVE FUTURES

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Critical Reflection

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TWO - CAPSTONE PROJECT

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Critical Reflection

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THREE - WHAT HAS THE GDCP DONE FOR ME?

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BIBLIOGRAPHY

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ONE. C R E AT I V E FUTURES [Brief.] For the practical project, we worked with the Masters students from the Design School’s Postgraduate Framework courses. The project I chose was the Penguin Adult Fiction Award. To create a new and fresh book cover proposal for Norwegian Wood that reflects the true essence of the book.

The brief described in the oficial Penguin page is as follows: Haruki Murakami’s books and stories have been bestsellers in Japan as well as internationally. His writing is vivid, dazzling, experimental and imaginative and your cover design should reflect this. Try to design a new cover for a new generation of readers, avoiding the obvious clichés. Originality is key.

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Image 1. Haruki Murakami by Markus Jans 6

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S TA R T I N G POINT “When he hears her favourite Beatles song, Toru Watanabe recalls his first love Naoko, the girlfriend of his best friend Kizuki. Immediately he is transported back almost twenty years to his student days in Tokyo, adrift in a world of uneasy friendships, casual sex, passion, loss and desire – to a time when an impetuous young woman called Midori marched into his life and he had to choose between the future and the past.” (Penguin Books Ltd, 1995 - 2019,).

‘Such is the exquisite, gossamer construction of Murakami’s writing that everything he chooses to describe trembles with symbolic possibility’ Guardian

PROJECT TIMELINE Briefing

Research

Concept Developement

Proposals

Hand-in

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AWARD JUDGES

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Suzanne Dean (Art Director, Vintage) Graphic Designer graduated from Kingston University.

She joined Random House as Art Director for Vintage Books, whose many imprints include Johnathan Cape, Chatto & Windus and Harvill Secker. Here she established the design for the Vintage Classics list. She has worked on a wide range of cover designs for authors such as Mark HAddon, Haruki Murakami and many others. (Penguin Books Ltd, 1995 - 2019,)

Image 2. Suzanne Dean (AOI, 2017)

Richard Ogle (Art Director, Transworld) Graphic Designer graduated from the University of Central Lancashire. In 2015, he became Art Director at Transworld Publishing, within Penguin Random House. Over the years he has worked on a range of cover designs for books including novels by John Grisham, Kate Atkinson, James Herbert and more. (Penguin Books Ltd, 1995 - 2019,)

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Image 3. Richard Ogle (Penguin Books Ltd, 2019)

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Jason Smith (Art Director, Cornerstone) Graphic Designer graduated from the University of Derby.

He secured a job at Random House as designer, quickly followers by a more senior role. As Art Director of Cornerstone, Jason works on a list of successful authors including Tony Parsons, Katie Price and James Patterson to name a few.

(Penguin Books Ltd, 1995 - 2019,)

Image 4. Jason Smith (Penguin Books Ltd, 2019)

Jamie Keenan (Guest Judge) Designer who has worked as freelance for a mixture of British, American and European publishers. (Penguin Books Ltd, 1995 - 2019,).

Image 5. Jamie Keenan (Penguin Books Ltd, 2019)

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Image 6. Noma Bar (Dutch Uncle Agency, 2019)

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Noma Bar (Guest judge) is an Israel-born Graphic Designer, Illustrator and Artist. His work has appeared in many media publications including: Time Out London, BBC, Random House etc. His work has become well known throughout the world, winning many industry awards. The cover used in the briefing notes was created in 2012 by Suzanne Dean, Creative Director at VINTAGE and illustrator and designer Noma Bar. (Penguin Books Ltd, 1995 - 2019,.)

Image 7. Murakami Book Cover Collection by Noma Bar

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RESEARCH BOOK COVER DESIGN The first part of the design process consisted in deep primary and secondary research of existing book cover designs in the market.

Visiting different bookshops around London, such as Waterstones, Hatchards and Maison Assouline, led me to understand how important it is to not only have a successful and well designed composition, but to have a differential element. When all the books are aligned in the same fiction section, it is usually the colour or distinctive visual textures that separate ones from the rest.

“A cover design, first and foremost, is a reader.� (Mendelsund, 2014)

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Image 8. Design by Peter Mendelsund

Image 9. Design: Emily Mahon & Ray Morimura

Image 10. Design by Peter Mendelsund

Image 11. Design by Peter Mendelsund

Image 12. Design by Peter Mendelsund

Image 13. Design by Peter Mendelsund

Image 14. Design by Carlo Giovani

Image 15. Design by Laura Barrett

Image 16. Coralie Bickford-Smith

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Image 17. Penguin Student Design Award Winner for the 2018 Adult Fiction First Place, by Raemarie Lee, Kingston University.

Image 18. Penguin Student Design Award Winner for the 2018 Adult Fiction Second Place, by Louis Hartley, Northumbria University

Image 19. Bookshelves at WH SMITH

During this study phase, it was interesting to see not only the variety of designs and colour schemes, but the importance in the continuity of a well thought design in the spine and back cover. By looking at the books on the shelves, you can have a better idea of what would make a book stand out: a typography that represents the personality of the story and type of writing, an outstanding colour and a different (out of the ordinary) graphic proposal.

We created boards to show our visual analysis and study. In the group session the general feedback received by the tutors was that we needed to engage more with our research, to fully understand and make connections to why the book covers are designed in a certain way.

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Moodboard 1: Japanese participation in World War II and its consequences.

Moodboard 3: Economic miracle in Japan; a rapid recovery and big western influence.

RESEARCH HISTORICAL CONTEXT 16

Moodboard 2: The Cold War and its impact on the baby boom generation.

Moodboard 4: The Zenkyoto movement as part of the 1968 global student revolution.

To better understand the essence of the book, it is imperative to have a good historical background. For this stage of the process we were asked to develop 5 mood boards that explained the historical and cultural context of the novel.

Given the previous feedback I decided to engage with the assignment in a different way, I started researching about Japan in the 1960s (which is the time set of the book), although it was very interesting, I realised that many things that happened in Japan during this era were consequences

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Moodboard 5: The 60s, cultural golden years vs identity crisis.

Moodboard 6: Marxism as a response to an imposed capitalism.

Moodboard 7: Cultural context, pop culture and the western influence.

Moodboard 8: The hippie influence and the origin of Norwegian Wood.

of previous historical events, such as the WWII. I then developed eight mood boards that trace the story from the rule of Douglas MacArthur, the Cold War, the post-war economic miracle, the student movement of 1968 to the Japanese golden age, Karl Marx’s influence and the hippie influence that originated the song “Norwegian Wood”.

I created collage-style mood boards, and something I did differently this time was to add post-it notes explaining the timeline and most valuable events. Most importantly I added a “Why is this relevant” section. This really

encouraged my learning process since it helped me engage with the history behind and truly understand the characters of the story.

I received positive feedback from the tutors during this session and they encouraged me to continue with this research process and see how it could improve my conceptualisation stage.

SE E F UL L MO O D BO ARD S H E RE

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IDENTIFYING CONCEPTS “The book is primarily a recollection, inspired by the main character, hearing The Beatles’ “Norwegian Wood” over the speakers of an airplane. Toru practically fans in nostalgic grief, and the rest of the book explains the song’s meaning. Music provides a glimmer of hope in a story that grows more serious moment by moment. Toru is haunted by death, loneliness, and wanderlust, and yet Murakami clearly does not despise his characters, nor inflict pointless suffering upon them. Toru and his friends are portrayed with respect and compassion, and nonetheless each endures emotional catastrophes. Like, Murakami knows, is hard and it’s not anyone’s fault.” (Edwards, 2015)

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Moodboard 9: First concept: silence (as death).

Moodboard 10: Second concept: nostalgia (as memory).

Moodboard 11: Third concept: life (as brief).

Moodboard 12: Fourth concept: Time (based on the past).

Murakami is a surrealistic author that plays with a sense of depression. His stories usually talk about loneliness and include music references (jazz, classic rock). They often contain a turntable and the music is a major part of the stories’ dynamic.

Main characters are almost always middle aged men, stuck in some sort of existential crisis, that live a monotonous life. He takes great part of his inspiration in introversion.

I identified four main concepts, both abstract and literal.

I searched for images that could represent such themes and started sketching initial ideas, simple and basic that resulted from the visual research.

It was interesting to see how other people responded to the same assignment. There were similarities and we found that most of us had chosen the same main themes.

Most importantly the learning process of each person was completely different as we understood the themes in a different way. I realised that symbols and iconography can change, and be interpreted, depending on the culture and individual backgrounds. This insight led me to decide that whichever solution I came up with (for the book cover) would have to be linked to the Japanese culture.

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CONCEPT DEVELOPMENT What do books look like? What do they feel like? Can you distill the essence of a novel? Its characters, narrative and theme into a visual form?

“It is important to not to just be sitting there searching the internet for something that will spark your idea, I always read the manuscript, I can’t not read the full manuscript, that’s so important… Then i will start to paint, collect, sketch, make, find photograph search for the right illustrator, the right photographer and commission them perhaps. Pulling all these bits togethers and you find you’re playing like a conductor or your playing the solo part…” - Suzanne Dean

In this BBC Radio interview, Suzanne Dean talks about the importance of looking for the essence of the books, what sums them up and transfers all what the author wants to tell the audiences with that cover. She emphasises the importance in researching and looking in-between the lines of the text, to discover the hidden image that has always been there and is asking to come out. To underline the images from the camouflage of narrative that they’re hidden in.

I understood from this interview, the group sessions, and from Edward Gorey’s book “Edward Gorey: His Book Cover art and Design”, how important it is to deeply understand the story in order to represent it. After all, the book cover design must portray the author’s statement and message. Just as important is to create a visual identity that is fresh and different, that will explore different techniques without fear.

I set my self to explore different solutions, trying different textures and media (dry and wet) and various approaches from geometrical to organic.

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IDENTIFYING COLOURS

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“Erin, Green Gem Of The Silver Sea.” Green for the Parnell.

Portrait is red. Red: the rising of youthful blood. (Maroon for Mitchel Davitt). But Ulysses should be the colour of Greek flag (The author descreeded it. Joice brings a cloth sample to the printer in order that they should match the hue precisely. Later, at a party, he brags to his friends: The perfect shade.)… (Mendelsund, 2014, pg 24)

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Proposal 1. Concept: Death (A raven flying away).

Proposal 2. Concept: Nostalgia, memories and secrets.

Proposal 2 Type Variation. Concept: Nostalgia, memories and secrets.

Proposal 4. Concept: Nostalia, memories.

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Proposal 5. Concept: Forest, woods.

Proposal 6. Concept: Looking forward and back (past, present, future).

Proposal 7. Concept: The line of life, love, change, growth and nostalgia.

Proposal 8. Concept: Death.

CREATING INTERESTING SPREADS I created various proposals based on the sketches I developed. I thought it would be interesting to explore different concepts (themes) from the book.

One of the things I found most difficult was coming up with the correct typography, I wanted to find one that fitted the look and feel of the whole spread as well as the book content. During the group sessions the tutors made an emphasis on how important it was to create a complete design and to make the spine and the back cover as interesting as the front.

Proposal 9. Concept: Trees as live vs roots as origin.

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PEERS & TUTORS FEEDBACK

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During the interim critique I received positive feedback.

Looking at the other students’ work I realised how important it was to create something that immediately drew attention. Talking to my peers I was able to learn more about synthesising and abstracting images, their work helped me understand the flaws and strengths of my own, such as colour choices and spine/back cover design (opportunities to improve) and use of typography (strength).

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Proposal 2: Version alteration 1

Proposal 2: Version alteration 2

Proposal 7: Version alteration 1

Proposal 7: Version alteration 2

CHOICES TO MAKE Given the feedback I received, I chose two proposals to fully develop. I continued making colour variations and typographical changes. I tried to improve the design in such way that it made every part of of the book unique and aesthetically interesting. As it was said in Suzanne Dean’s BBC interview, a book is a visual object, a book cover it is no longer just a text jacket, but a statement, an invitation and an argument.

Proposal 7: Version alteration 3

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STYLE & S I M P L I F I C AT I O N “It took me too long to realise that writers should not be allowed to interfere when it comes to the design of their book jackets.�

(Mendelsund, 2014, pg 90)

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TRIAL & ERROR Laura Haines gave us the last comments, concerning composition and careful considerations about the final submission. I presented two final proposals and received encouraging feedback, it was suggested that I could make certain changes to the typography on the second proposal and align the back cover text to the titles on the first proposal. I now had an important decision to make, to choose one of the final proposals to summit to the Penguin Random House Student Award.

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Proposal 2: Final version.

Proposal 7: Final version.

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CONCEPT:

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The lives that we’ve had and that we will experience live amongst the secrets and unspoken words of the forest. The air is our accomplice and the hard wooden tree trunks extort us with their wisdom and long years, as they’ve seen us happy and they’ve seen us sad. Amongst all, they’ve witnessed this bittersweet love, that was once real and now lives only in our heart.

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CONCEPT:

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Life is an unexpected thin line, it is straight and croquet, it twists with the tragedy of loss and bounds the appearance of love as golden locks.

It is cruel and nostalgic, visually burgeoning. But, as we look back it traps us in nostalgia for we see all the paths we’ve walked and the joys we’ve lost, it unfolds and forms what we most desire. It is a game of background and form, a dip into the mountains of melancholy.

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Haruki Murakami’s Norwegian Wood explores a cruel reality, a bitter sweet love story that makes you analyse your own life and the real power of nostalgia. It is a complex topic, Murakami’s narrative is definitely one of a kind, and simply trying to represent the essence of such story in a visual way is a scary challenge. I was able to understand how important it is to read between the lines of the story, how to approach the characters, their backgrounds and where they came from. More importantly, to comprehend what the author is trying to communicate with his words and why.

Maggie Grey and Clare Conway really challenged us during this project, pushing us further and further to achieve the best result we could come up with.

At first I felt overwhelmed with the amount of work

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This project was the perfect way to put into practice what we learn last term, it required understanding another’s point of view, to develop our sense of empathy. Moreover, it represented a turning point for me when it come to research and investigation. I had worked on the development of book jackets before, but I had never realised how weak my approaches had been until I experience the results that a full and successful background (historical, cultural, conceptual) research can propose.

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he objective of this project was to understand that we do judge a book by its cover. Behind every book, every novel, sits an extraordinary amount of work and creative intelligence. Working on the Penguin Adult Ruction Award with the Masters students from the Design School’s Postgraduate Framework courses was a valuable experience for me. I not only learnt the standard that is expected during this year of postgraduate studies, but I had the opportunity to meet people from different backgrounds and understand their creative processes and rationales.

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CRITICAL REFLECTION

they were asking of us, and the first week left me self conscious of the first mood boards I presented.

Listening to the feedback the tutors gave us and gave the students that had more successful results than me, led me to understand that we had to truly engage, to become more than just expectations in the research and creative process. I believe this first experience was necessary for me to step up, the following weeks I was determined to prove myself and to not take this opportunity for granted. Thankfully, my determination reflected great results. Maggie and Clare applauded my sense of responsibility towards the project.

I was able to develop different graphic proposals, in the end I continued perfecting only two. By the end of the sessions I was put in a difficult position, since I received positive feedback on both cover proposals and had trouble deciding which one I would summit to the Student Design Award. I was given good pointers on how to improve them and continued to work on colour changes and typography combinations for the following weeks. I reached out to Paul Postle and Laura Haines for opinions, they both gave me great insight into what the judges of the Award might be looking for.

It was a challenging decision for me to make, in the end I summited my proposal No. 7, not because I necessarily thought it was better than the other one, but because I understood it was more successful and answered the brief in a more original way. This experience was very useful since I was able to truly comprehend that the best design, or illustration, is not necessarily the most aesthetic but the most functional one. I am content with the results I achieved and with the final proposal, it is a strong concept and original visual interpretation. However, I still see opportunities for improvement, such as experimenting more with different media, diverse textures and back cover solutions.

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TWO. CAPSTONE PROJECT [Brief.] An opportunity to explore the world of visual identity, to work with tipics we are most passionate about and to understand the role we play as illustrators. To engage in the relationship between the target audience (viewer) and a piece of visual communication.

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We were asked to choose a project we felt passionate about. During the first session we participated in an activity where we connected different words in order to find fresh ideas we could talk about. I worked with Aneeka Rana during this session and we came up with interesting concepts.

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One of the comments she gave me was to “try and find something I believed in and I hadn’t done before”. Even though we were encouraged to resume the projects (or topics) we worked on for the zine project last term, I wanted to try something new and different.

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S TA R T I N G P O I N T [Initial Ideas]

One of the things I concluded from the Zine project was that, as illustrators, we shouldn’t stay stuck in our comfort zone. I was content with the project result, I had time to experiment with various materials and study the way the paper choice worked with the the digital illustrations. I saw potential in the project and the most important thing I wanted to continue exploring was what other issues could looked like.

I revisited past sketchbooks where I had scribbled interesting ideas. The one I found most interesting was the concept of “unvalued heroes” or “real life heroes”.

My initial idea was to focus on people who do good things for others and are not considered as “heroes” such as mothers and fathers. After going through the idea over and over again, I remembered my nieces and nephews. I decided to take inspiration from them and the way they think, how their world is driven by imagination and innocence. I remembered a moment when my niece Alexa was obsessed with Frida Kahlo and wanted to know everything about her. I asked myself: Wouldn’t it be nice for children to take inspiration from real life heroes?

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B R I E F [Aim & purpose] What: Encourage children, ages 5-8, to exercise their imagination by learning about history and the path that all kinds of heroes followed to change the world. Invite them to become more open minded and inspire them to be, anything they want to be.

Why: History has a lot to teach us, whether it is great and exciting discoveries or important mistakes with inspiring lessons. There is humility in knowing and understanding where other people come from and what made them what they are today, leading to a more respectful, empathetic and open coexistence.

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T A R G E T [Audience & aproach] Who: Children ages 5 - 8. Childhood is an essential stage of our human lives. It is at this time when we learn how to understand and deal with the world ahead of us, therefor, the most important lessons about human behaviour are to be learnt at this stage.

How: By creating a series of books that explore and tel the story of inspire historical characters of different areas (arts, science, technology, philosophy, activist, environmentalists, etc‌). Making them interactive objects by including activities and space for reflection.

PROJECT TIMELINE Starting Point

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Brief

Research

Developement

Trial-Error

Reflection

Deadline

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RESEARCH IS KEY It is very important to research correctly. Whether it’s about the topic, the emotion or a specific feeling you want to explore within a book and/or illustration.

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T O P I C [Insights] RESEARCH

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44 PEOPLE

MEXICO · SWEDEN · SWITZERLAND

CHINA · ISRAEL · CANADA · FRANCE

CHILE · AUSTRALIA · ANDORRA · HONG KONG · UK · GERMANY · BERMUDA

WHY WAS THIS YOUR FAVOURITE MOVIE/BOOK?

- Values of Sportsmanship and family - Fantasy - The story - Soundtrack - Romance - Magic - Different perspectives - Believe in yourself - Hero - exciting - Interesting characters - Adventures - Friendship - Values and moral of the story - Big monsters / animals - Action - Dream world - Colourful - Discover - Fairytale

IS THERE SOMETHING YOU WOULD’VE

IS THERE A SPECIFIC TOPIC KIDS

FROM YOUR CHILDHOOD?

ABOUT?

LIKED TO HAVE PRESENT IN STORIES - Historical events - Science - Gender equality - More common people - Stronger female characters - Different cultures - Family values - General knowledge - School content - Values - Imagination . Empowered women . Friendship (instead of love story) - Appreciating the little things that surround us - Succesful ending for both (fem/male) - Independence

TODAY SHOULD LEARN MORE

- Social movements - Core values - History - Science - Culture (different cultures) - No violence - Climate change - Frustration (no rewards) - Self love - Equality - Good/Bad world leaders - Tolerance - Acceptance of others - Honour, Loyalty - Respect - Gender equality - Cultural tolerance - How things work - Empathy - Ecology / sustainability - Historic empires - Holocaust - Critical thinking

- Moral - Ethics - Nature - respect - Responsability (consequences) - Simpler life - Optimism - Hard work and patience - Self sufficiency - Caring for others - Their strengths as individuals - Being different is ok

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SOMETHING TO CONSIDER

I had different ways to start this project, but I was still unsure about what I wanted to talk about. I conducted a survey, instead of asking my potential target (young children), I asked adults about their childhood and was able to get very interesting answers.

The survey was answered by 44 people, from 15 different nationalities, ages 20 to 36+. I asked specific questions about their childhood, the movies/books they liked the most and why. Most importantly, I asked what they thought about the new generations, the visual content they’re exposed to and if they thought they should learn more about a specific topic.

The answers I got were incredible.

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Firstly, most people would’ve liked having more stories about science, historical events, gender equality, cultural diversity, friendship and “common people” during their childhood.

My original idea was to focus on historical characters and talk about them as “normal people”, for example portraying Winston Churchill not only as the incredible leader he was but as a man who also liked roast beef and mandarin orange slices. Although people did think we had important lessons to learn from History, they commented that children now a days lack important values.

I realised that persons crave more interesting topics in the stories available to children such as social movements, history, science, culture, core values, self love, equality, respect, responsibility, sustainability and cultural tolerance, amongst others. It seemed that most responders, specially the younger ones that answered the survey, have been having trouble coping with adulthood and the expectations they had when they were younger. I found this very interesting and surprising since it wasn’t the main answer I was looking for.

As a conclusion, I got inspired to focus my project on important lessons.

To create a series of books that talk about “common”, people who have done extraordinary things in their own way. Whether it is in the arts, sciences, sports, whether it is politicians or activists. This way I could encourage children to learn core values and take inspiration from real people while stimulating their imagination and inviting them to follow their dreams.

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F I E L D [Primary Research] RESEARCH Children this age still want picture books. The typography is round and clear, between 12-18pt.

There are various books that portray strong women, there are not so many books about both, men and women.

During the field research I payed attention to the different illustration styles, the use of typography, layout and story telling.

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Image 1: Illustration from I Am Too Absolutely Small For School (Charlie and Lola), Shirley Hughes, 2015

Image 2: Illustration from Cat in the Hat, Dr. Seuss, 1957

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Image 3: Illustration from Marie Curie, Frau Isa, 2017

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Image 4: Illustration from The Queen’s Hat, Steve Antony 2014

Image 5: Le Petit Prince Antoine de Saint-Exupéry 1943

Image 6: Illustration from The Tiger That Came To Tea, Judith Kerr, 1968

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CASE STUDY 1: PARIS, UP UP AND AWAY By: Hélène Druvert Hélène Druvert created a magnificent piece that explores a different concept of what a book can be. Creating a new experience for the reader through paper cuts, she tells the story of the city that never sleeps, playing with different textures and backgrounds. It is a difficult and well thought design, given that each page will affect the next one, and so on.

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Why is this relevant?

I believe original proposals like this open new opportunities for storytelling and what a book, as an object, can be. It is an interesting experience for children, given that today they are used to constant stimulation.

CASE STUDY 2: LITTLE PEOPLE, BIG DREAMS By: Isabel Sánchez Vegara

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Little People, Big dreams is a series of books about important women in history.

Given the uprising of women empowerment, there have been different book proposals with similar topics such as Great Women Who Made History & Great Women Who Changed the World by Kate Pankhurst, Ladybird Tales of Adventurous Girls by Ladybird, Goodnight Stories for Rebel Girls by Elena Favilli, amongst others.

Why is this relevant?

Firstly, even though I aplaude the existence of these series of books, the real essence of feminism is lost (gender equality). I believe boys and girls should have examples of both male and female “heroes”, inspiring people they can look up to. Secondly, the narrative is always in a biographical kind of way, therefor the kids are not able to create an empathetic bond with the characters. I see this as an opportunity to create a different series of books that tells the story of “real heroes”, people that everyone can relate to, in a fun, imaginative way.

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A SERIES OF BOOKS ABOUT REAL HEROES [Proposal]

“A hero is someone who has given his or her life to something bigger than oneself.” - Joseph Campbell A series of books that is different. After analyzing the existing material I came to the conclusion that there is space for a fresh concept, one that includes children from any gender, any culture and family. One that stimulates the audience’s imagination and tells stories in a fun, different and exciting way.

Given the feedback received from the survey, one of the most important points people focused on was role models; having relatable and approachable heroes, those who’s achievements and extraordinary attitudes have changed the world even in the simplest way.

With this in mind , the concept I propose is to explore different heroes (one per book) who have done incredible things and who are easy to relate to. I researched extraordinary people and came up with three interesting options: Lorena Ramírez, Bob Dylan and Dr. Sandeun “Lek” Chailert. Each from a different area of interest, each representing a different value.

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LORENA RAMÍREZ

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Image 7: Lorena Ramírez, Quien Magazine, 2018

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The first indigenous Mexican woman to win ultramarathons and compete in an international level. Originally part of the Rarámuri community, she runs with her sandals and traditional dress, proving that persistence and courage are more valuable that any training brand. She shows us that it doesn’t matter what you have, or where you come from, but what you do with what you have.

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SOMETHING TO THINK A B O U T. . .

During the feedback session I was encouraged to choose only one hero to develop. Given the time frame I could either make a sample for each one(3 initial chosen heroes) or complete one book. The tutors told me It would be understood if I couldn’t finish the whole book, as long as the quality of the work was good.

I thought about my options but decided to go with the original idea, to work on one book, focused on one particular hero: Lorena Ramírez. The reason why I chose to follow my own path instead of settling to make samples was because I really wanted to explore the potential of the story and what it could evolve to in the future (a complete book series).

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I received very good feedback from my peers, they suggested I considered the profile of children that would be interested in this type of books and to find interesting ways to get young ones to engage. Given this comments I set out to research personalities and teaching philosophies, what children are like and why they don’t like history), in order to create relatable characters.

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A FRESH, INTERESTING, STORY...

Adventures for curious minds is the story of two friends, June and Alex, who find a magic book in the garden. They soon find out that the book can transport them anywhere in time and space to meet incredible people. Throughout these adventures they’ll learn important lessons and values that will inspire them to be better persons, as well as learning world history in a fun fantastical way.

THE FUN THEORY The Fun Theory is the easiest way to changing people’s behaviour for the better. It is an initiative fo Volkswagen in 2009-2010 that was meant to acknowledge the thoughts, ideas and inventions that “proved” fun is the easiest way of changing behaviour for the better. As designers, The Fun Theory can be a challenge to change behaviours that feel natural to humans. To make an ordinary action, fun.

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C R E AT I N G I L L U S T R AT E D CHILDREN’S B O O K S [Research] “Picture books invite children into imaginary worlds, introducing them to the idea of written language and its relationship to the real world. At their best, they engage and entertain, instilling children with a love of books and an inquisitive mode of reading that will last their whole lives.” (McCannon, 2008)

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A picture book contains several modes of expression and can contain multiple layers of meaning. What a picture book means to a child is more than just a story with illustrations.

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Image 8: “Crash Course”, original sketches by Shirley Hughes

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COMMUNICATING THE IDEA

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It is important to bear in mind that the book is a combination of words and pictures, and both are equally important in communicating the overall message and atmosphere.

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TARGET MARKET Relating to a target audience means learning to communicate using words and images that are recognizable and understandable to them.

It is imperative to consider, when creating children books, that they have a variety of attention spans, anxieties and interests.

FIRST THINGS FIRST

THEMES In children literature it is important not to be bound by a set of rules, only the basic three: beginning, middle and end. If the idea has heart and the story has an authentic emotional core, it will be more effective than formulaic rhetoric.

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Image 9: Illustration from All About Alfie, Shirley Hughes, 2011

OBSERVATION AND DOCUMENTATION Some of the best authors and illustrators have a strong affinity with their audience.

It is importante to observe their worries, needs and behaviour. Contact with young children can be inspirational and for some may be the most enjoyable part of the job.

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My niece Alexa, age seven

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Initial stage of character sketches 68

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Girl and dog, part of previous observation study, 2018

DEVELOPING A PERSONAL STYLE AND VOICE

Girl, part of previous observation study, 2018

It is important to look into and study other illustrator’s work, but it is imperative to develop a style that is original and instinctive.

Using other illustrators interpretation of the human body, objects and animals, and the way they interact in a common space helps develop an original and personal style.

STEPS TAKEN TO DEVELOP AN ORIGINAL S TYLE FOR THE BOOK Analyising previous studies and sketchbooks Not trying to hard. Avoiding preconceived ideas.

Te time, part of previous observation study, 2018

Spontaneous sketches

One of the challenges I encountered was drawing human bodies. I have always felt more comfortable creating animal characters. The feedback I received last term during the observation project was that I needed to apply more practice to perfect my drawing of the human figure skills and was encouraged to do more observation exercises. With this in mind I decided to go forward with human characters to become more comfortable with exploring different styles, to continue my learning process from last term and to go out of my comfort zone.

Drifting, part of previous character study, 2015

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DEVELOPING CHARACTERS “To draw a character in a variety of situations as it moves through a narrative demands skill if the character is to remain believable.” (McCannon, 2008)

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SUCCESSFUL CHILDREN’S CHARACTERS

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A good and successful character needs to engage the readers by charming and intriguing them. There is no “scientific formula” to create an excelent character, but there are certain aspects that can make it recognizable and unforgetable (Ursell, 2013): A strong personality Agency (active, not passive) Motivation (wants things) Fear (makes them more human) Connections to other characters Connection to the audience Strengths

Image 10: The Snowman, Raymond Briggs (1985) A character that both, children and adults, fall in love with

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Flaws A voice Consistency Small quirks History A catchy name Room to grow

Image 11: Mr. Men and Little Miss, Roger Hargreaves Easy, lovable characters that represent different emotions.

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Image 12: Corduroy, Don Freeman A character that children can easily relate to.

Image 13: The BFG, Roland Dahl A genuine friendship.

Image 14: Winnie the Pooh, E. H. Shepard Different personalities that get along in an imaginary world.

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GETTING THE RIGHT PROPORTIONS

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The age of a character is very difficult to get right. A story may contain a range of different ages, which must remain consistent and believable throughout the book. Correct proportion is key to portraying characters of particular ages.

“It is extremely important to store in your head the rules of proportions, in order to avoid your character from being always based on measures of ‘heads’. That way you avoid a mechanical design. There should always be space for playfulness and original interpretation ” (Gomes, 2014)

0 to 2 years (4 heads)

4 to 6 years (5.75 heads)

6 to 8 years (6.25 heads)

12 to 14 years (7.25 heads)

18 to 20 years (7.5 heads)

18 to 20 years (7.5 heads)

Image 15: Head Height from the book Creating Illustrated Children’s Books by Desdemona McCannon 74

SCALE How characters interact with others, objects and their own environment.

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Image 16: Children’s Series, Horrid Henry

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JUNE

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TRAITS

NAME

June Matilda Davies

POSITIVE

Honest, empathetic

NICKNAME

June

ETHNICITY

Mixed

AGE

6 years old

HAIR COLOUR Brown

BIRTHDAY

17th of march

EYE COLOUR

Black

NATIONALITY

British / South African

HEIGHT

120 cm

HOMETOWN

Kingston upon Thames

WEIGHT

20kg

MAIN GOAL

Find adventures

BODY TYPE

Strong, slender

DESIRES

To be an astronaut

FASHION

Pants, leggings, long shirts

SECRETS

Wants to be like her sisters

BIRTHDMARKS none

QUIRKS

Likes naming everything

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INTERPERSONAL FATHER

Matthew Davies

MOTHER

Lesedi Furaha

SIBLINGS

Ava Amahle Davies Anna Karabo Davies

FRIENDS

Oliver (Olie) Mckenzie

Imaginative, fun, creative, adventurous, brave, friendly, curious, aware, playful.

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ALEX

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TRAITS

NAME

Alexander Mckenzie

POSITIVE

Tolerant, respectful

NICKNAME

Alex

ETHNICITY

White

AGE

7 years old

HAIR COLOUR Red (ginger)

BIRTHDAY

17th of june

EYE COLOUR

Green

NATIONALI TY

British (scottish)

HEIGHT

125 cm

HOMETOWN

Kingston upon Thames

WEIGHT

23kg

MAIN GOAL

Find adventures

BODY TYPE

Strong

DESIRES

To be musician

FASHION

He loves hats

SECRETS

Is really afraid of spiders

BIRTHDMARKS Freckles

QUIRKS

Doesn’t like eating greens

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PERSONAL

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INTERPERSONAL FATHER

James Mckenzie

MOTHER

Claire Thomson

SIBLINGS Tobias Mckenzie FRIENDS

une Matilda Davies

Imaginative, fun, creative, adventurous, brave, friendly, curious, aware, playful.

My initial idea was to have one main character that traveled through the book.

After careful consideration and feedback, I decided to create two characters, a boy and a girl from different ethnic groups. The importance lies in encouraging friendship and gender equality.

One of the biggest challenges was to make the character’s personality obvious throughout the books. I believed hard to do that when there are so many restrictions, such as number of pages and other strong characters. I am developing what would be the first book of a series ( the introductory book). I think the characters’ personality could become more obvious as they go on more adventures and face situations that would make them react in a particular way.

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MEDIA AND DRAWING STYLES The range of techniques available to an illustrator are infinite. Experimentation is key to finding a confortable and original method of working.

WHAT THE TYPE? ypography isn’t the most glamorous part of children’s books, at the same time it is one of the most important parts. Unlike adults, the readers are learning how to recognise letters and words. Young readers need clear, inviting fonts that are typset for easy reading.

They must include simple shapes, avoid extremes, be big and clear. (Story, 2017) The font I chose is called Tuffy, which is a fun, simple and easy to read family that will make the storytelling smoother and quick to understand.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890

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Charcoal and watercolour

Pastel

Brush, pen and coloured ink

Dip pen (and watercolour)

Acrylic

Coloured pencil crayon

Image 17 from Creating Illustrated Children’s Books, McCannon, 2008

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EXPRESSION The slightest change of expression on the face tells the reader a lot about the way a character Is feeling.

Using the characters features to show emotions will enhance and strengthen the narrative.

[Initial reflection]: could dot eyes limit the amount of expression one can generate?

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In order to define the illustration style, I experimented with different media.

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Technique: Colour pencils

Technique: Watercolours

Giving a real and believable personality to a drawing is a very important, and difficult, challenge.

Technique: Digital Illustraiton

Technique: Acrylic Paint

[Initial reflection]: The digital technique would be easier to control given the time frame for the project.

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STORYBOARDING “Storyboarding is an essential part of planning a picture book. Since imagery and text are symbiotic, storyboarding helps you work out the relationship between the two in rough forme.” (McCannon, 2008)

Storyboard recap ((Blazer, 2016) Varying shots responsibly, framing and the rule of thirds.

Staging: block elements to create visual and conceptual hierarchy.

Spatial Continuity. Make sure frames are consistent with the physical world.

Temporal continuity: make sure frames are consistent with the story.

Directional continuity: make sure things are moving in a consistent direction.

Timing: break out a stopwatch and make sure that your story works.

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Licensed Stock Image

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FEEDBACK FROM TUTORS AND PEERS [Thinking over]

“Creativity is contagious, pass it on.”

-Albert Einstein

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C R E AT I N G THE (A) G R E AT B O O K [Implementation] “Picture books invite children into imaginary worlds, introducing them to the idea of written language and its relationship to the real world. At their best, they engage and entertain, instilling children with a love of books and an inquisitive mode of reading that will last their whole lives.” (McCannon, 2008)

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COLOUR PA L E T T E

One of the most important feedbacks I received from the tutors was to make sure every spread was a creative and a new experience to the reader.

Therefor, I tried playing with the frames and points of views, to make the story flow and more interesting.

Creating a colour script, sequential visual outline of how you intend to use colour is very useful.

Limiting the colour palette is an important feature.

“In still artwork, the eye has time to explore colour and investigate composition… A story should read quickly and consistently from scene to scene.

Distracting the viewer’s eye with unimportant objects that are colourful is the first way to use the attention of an audience. (Blazer, 2016, pg 63)

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BLACK & WHITE VS SEPIA Within the story, Mario RamĂ­rez tells the story of Lorena. He explains the trajectory that led her to be who she is now a days. This represented a big challenge for me, to represent a story within a story.

I researched examples of movies that have solved this in an interesting way such as Harry Potter and the Deathly Hallows, Inside Out, Coco and independent movies such as The Overcoat and The song of the Sea. The zero degree I found in all of them was that they change the reality of the illustration some way. For example, in harry potter they change to from live action to sepia animation.

The solution I found most interesting was by Sean Mullen and Meelis Arulepp in The Overcoat; in this short film, the story is divided in two, present and past, and each time has a different type of illustration.

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My initial thought was to apply the same formula and change the style of illustration, plus applying a black and white scheme. Although, the feedback I received from Maggie Gray and my peers during the small group tutorials was that children in that age range (5-8 years old) would find it hard to understand the rhetoric reference and suggested I tried a less serious solution such as sepia with a colour accent. I chose to accentuate Lorena’s dress since its one of her most distinctive features.

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PA P E R CUT One of the most important phases of the initial research was to find books in the market that were “different” in any kind of way. Books that represented more that visual aids but proposed a complete experience. The first case study I presented was “Paris, Up, Up and Away” by Hélène Druvert. As I mentioned before, the experience she created, through a papercut technique, opened new opportunities for storytelling and what a book, as an object, can be. I wanted to explore how I could apply this technique to the project and make it more exciting for the audience.

Children ages 5-8 are naturally curious and want to know more about everything, what surrounds them; it is something that has to be fed so that they can keep developing a good critical thinking in the futures. They have a lot of imagination and can easily make up stories. They enjoy their talents and they are conscious of their emotions and others’. They like sharing and understand the importance of it. They like having friends but also enjoy independent play time. The creative arts are essential at this stage. (McLeod, 2018)

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C R E AT I V E PROCESS After exploring different media and illustration techniques I decided to go with digital illustration. The process I developed consisted in initial layout and pencil sketches, followed by careful vectorisation. To standardise all illustrations, besides the restricted colour scheme, I added a brush texture and shading on Adobe Photoshop.

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Step 1: Pencil sketching

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Step 2: Vector Illustration

Step 3: Editing

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DUMMIES & CHALLENGES I received good feedback during both stages. In the black and white book I was told to consider the size of the illustrations and overall composition. In the coloured dummy I made some of the illustrations smaller to leave a wider space for the text, evaluated the colour saturation and reexamined how the paper cut pages worked.

One of the challenges I found at this stage was the Hardcover Binding of the book. After talking to Maggie Gray and realising that this project was quite extensive, I concluded that I preferred having a finished and good final product even if presented un-binded.

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I M P O R TA N T LESSONS

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The main objective of the book is to talk about core values, there for all the heroes chosen for the stories must represent an important lesson.

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ne of the existing issues in the current picture book market is gender role. As stated by Jannie Yabroff in her very compelling piece for the Washington Post, almost all of the main characters in the children books are male. The rabbit in Goodnight Moon, the mouse in If You Give A Mouse a Cookie, the son in Love You Forever. “No more than 33% of children’s books in any given year featured an adult woman or female animal, but adult men and male animals appeared in 100% of the books” Yabroff explained. On the other hand, the rise of feminism and women empowerment have resulted in the publishing of books that focus on strong women and biographical accomplishments.

Gender inequality is an important issue that I’ve always wanted to explore. If we set ourselves to find a proper solution I believe it is necessary to apply a systemic analysis, one that explores the problem as a whole and all the possible roots. The obvious thing to do, which is what we can see now a days, was to create books focused on female characters, to open an unexisting market. The way I see it, it is only a “bandaid” sort of temporary solution.

The project I propose, and its aim, is centred in the idea of feminism, which indicates that both men and women are equal and posses the same rights. Now, how can this be applied to picture books? How can we make children in that age range understand?

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After careful study of the educational system in Finland, I understood that approaching important topics with the individual in a collective environment of equality is the right way to go. This is why I chose to have two equal characters from both genders that visit heroes from different backgrounds, ethnic groups, genders and social groups.

There is a space in the market for these kind of books. Melissa Schutt, in her study “Addressing Sensitive Issues Through Picture Books” concludes that the use of illustrated material can help children to better understand and cope important issues; also to learn and set the standards of what a good person is and should be. In the actuality we can find different series of books that revolve around sensitive issues such as Little Parachutes, and others focused on important achievements such as Little People Big Dreams.

Given the result of the survey I applied and the bibliography available, I understood that adults are concerned that children could be losing attention to core values and important lessons that lead to being a good moral and ethical person. With this in mind, I moulded this book series around a specific audience; even though the direct clients would be parents, or adults that interact with children, it is a fresh idea and proposal that fills a specific gap in the picture book market.

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S E E FU L L D I GI TA L VERSION H E RE

This was the opportunity to understand our own potential. The objective was to explore, in a deeper and more professional level, a topic we felt passionate about. We had twelve weeks to develop a complete project that represented our creative practice and our take as illustrators. We were asked to construct our own brief and guidelines; this might seem as a great chance for freedom, but it turned out to be more complex than that. Setting rules and aims for one’s self is quite hard, I believe most people are tempted to go easy on themselves and take the easy route; on the other hand some of us are even harder on ourselves than we would with a given brief. It is not a sense of masochism, it is an attitude of overachievement that could (or not) work in our favour.

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I encountered different challenges throughout the project journey. For instance, the time limit was always a big variable when it came to the final product I could create. Since the beginning, my tutors suggested I had a realistic approach to the project, I could either make three small examples of what different books of the series would look like or fully develop one. They kept clear it wouldn’t be expected of me to complete a whole book in 12 weeks. Although I openly considered their feedback, I decided to go on with my initial aim, which was to create one whole illustrated book in order to fully analyse the potential this concept had.

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There are infinite topics to talk about, what worried me the most was when learnt that adults, and young adults are really concerned about the content that younger generations are exposed to and that this doesn’t reflect core values. When I dug deeper I found a big gap in the actual market that is the result of years of gender inequality and newer overcompensation. My proposal was to create a series of picture books that talks about real life heroes in a fun way that encourages children, ages 5-8, to exercise their imagination by learning about history and the path that all kinds of people followed to change the world.

Invite them to become more open minded and inspire them to be, anything they want to be.

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I’ve always been interested in social design and illustration.

To think that the work I create can change lives and make a positive impact in the world. For my Bachelor Degree I had do develop a thesis; I set this project around Global Warming and principles of sustainability. Overall, what I leant the most, was firstly, that we need to change our mindset from an anthropomorphic one into a systemic one; secondly, that the real change comes from education.

In other words, change (evolution) will come when we understand that humans are just one more being living on planet earth, and we owe the future generations to leave the same positive conditions as we had, if not better.

Although I wanted to revisit this topic, I felt I could explore other possibilities keeping in mind these conclusions.

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CRITICAL REFLECTION

I am proud of what I was able to achieve, the research method I followed resulted in interesting and positive outcomes. One of the most important issues I attended came from my peers’ feedback, they suggested I analysed the essence of each story and each character and to sum it up in one word. This I did, and in the end, it became the most important feature of the books, because each piece talks about a specific message, such as courage, responsibility or loyalty.

I still believe there is space to explore this concept even further. The first book is only the introduction of a story and an adventure. Even though I learnt a great deal about children’s picture books, I would like to keep working on this project and to go through other topics and what they have to teach us. To see how the storyline can evolve and how the characters’ personalities can come to life. A hard decision I had to make for the final outcome was the binding of the book, I chose to focus my attention on the quality of illustrations, content and composition rather than working on the object itself.

I have no experience doing hardcover bindings and I believe this would require a certain amount of learning time, which I did not have. I set this as a feature I will keep working on.

The original idea was to make these books a full and engaging experience for the children. As I said in the beginning, overachievement could (or not) work in our favour. I believe the project I had in mind was bigger than I expected and could not be fully accomplished in the twelve weeks we had. I do not see this as a failure but as an opportunity to continue working and exploring this project in the future, and hopefully it will become a strong proposal that could one day be found in the shelves of every bookshop.

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THREE. W H AT H A S THE GDCP DONE FOR M E ? [Reflection] I

llustration is, first and foremost, a form of visual communication. It is a type of language that involves everything and everyone, in a certain way. If we take a formal definition, language is a system composed by oral, written and gestural signs that, through their meaning and relation, allows individuals to communicate with each other (Marián, 1988). But, could there be more to the constructed formula of what communication is about?

A single unit of meaning is the result of a signifier (form) and a signified (meaning), which could conclude that we can create any type of signifier as long as it succeeds with its essential purpose. Take, for example, iconography, it is a complex solution to represent “something” in an abstract way. Whether it is cave paintings, over 40,000 years ago, or icon-like logotypes in a smartphone, images are a universal language.

Now, it is well known that every visual object is charged with contextual codes that determine the way people may interpret it. For example, the image of a skull can represent a sign of danger and fear in many European countries, but it represents sugar, tradition and family in Mexico. It is then our responsibility, as visual communicators, to create functional material that will allow the message to be transmitted.

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Original Drawing, Mexico, 2008

It was in 2008 that I realised art mattered.

Coming from a science driven family I never really questioned my future. It wasn’t until my 9th grade art teacher asked me why I thought art was relevant in our society. That question haunted my thoughts. I learnt about art movements and manifestos, researching artists like Diego Rivera, José Clemente Orozco y David Alfaro Siqueiros, who weren’t just painters but strong human beings with strong socio-political points of views.

Why was this relevant? Because I understood that so much change could come from those who do. It doesn’t matter from what angle, or profession, everyone has the power of doing.

I, for instance, have always been a visually driven strategist and imaginator, and that is what I do.

During High-school I started experimenting with different media and art techniques, I received great feedback and comments from my teacher Sonia Padilla, who encouraged me to start creating a portfolio of my work and taught me to conceptualise complex topics.

In 2009, she invited me to exhibit one of my artworks titled “Poverty” with her in a local Mexican artists exhibition. I realised this was something I wanted to do, to express myself and be able to share my ideas and concerns with others.

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“The Impact of Music in our Society” - Acrylic Stencil Over Canvas, part of my collection for the IB Art Exhibition, Mexico, 2012

I curated my first exhibition for my IB Art Exam in 2012, the theme I chose was “The influence of music in society”. It was an ironic opposition to portray the impact of sound and melody in a visual way, although the examiner from the IB programme suggested my work was lacking research and could use more background conceptualisation before jumping into the creative part. This made me feel unsure of what my future as an artist could be like, instead of taking it in a negative way I decided to use her feedback as a learning opportunity, to stop and question myself: Is this really what I want? Why do I want to do this? Is there anything else out there?

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WHO A M I? WHY DO I DO IT? WHO DO I DO IT FOR? WHAT D O I WANT TO SAY? H OW CA N I SAY THAT? A R E T HERE CONSEQUENCES? My first lessons of Graphic Design involved adapting to a new point of view. From the first semester I was on the top of the class, not because I wanted to get the best grades, but because I was determined to prove how far I could go and to make the most of such learning opportunity. The thing I enjoyed most about my time in university was learning from others; realising that a problem had more than one solution, more than one approach and that didn’t mean one was wrong or right, simply that we were all different. By comparing myself to my peers I was able to experience what my strengths and weaknesses were. I was more focused and theoretical than others and was acclaimed for my sense of responsibility.

On the other hand, I was noted to be closed minded when it came to feedback about my work. This was something I was determined to work on.

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In 2013 I attended my first Design Festival, OFFF Mexico. It was at this moment that I realised the wide approach Design could actually have, it wasn’t just about “expressing ourselves”, quite the contrary, it was about solving problems. I fell in love with the wide possibilities, learning about worldly known designers such as: Jessica Walsh, Julien Vallée, Stephan Sagmeister, Lance Wayman, Timothy Goodman and many others.

Two years later I had the opportunity to study a semester in Melbourne, Australia.

Little did I know it would be the opportunity of a lifetime. I learnt three main things in those six months: artist in history had manifestos, design thinking is different in every country and that the world is big(ger).

This was a real turning point for me as a creative student.

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A complete thesis has to be presented in order to receive a bachelor degree. Our tutors encouraged us to find a topic we felt passionate about, to explore deeply. At this point I realised I cared about many things in the world. Less and less did I care about just “expressing myself” which was my initial motivation to study graphic design. I felt I could say something and produce work in which I highly believed. The title of my thesis was: “What Is Happening to Our World?”, it was an illustrated book that explained causes and consequences of global warming and promoted a prevention culture; oriented to teenagers and with a design based on sustainability principles. This project was a true challenge, it involved deep understanding of the target audience and the search for functional solutions to make a “boring” topic interesting and exciting.

The feedback I received from my tutors after my final presentation was highly positive, Dr. Gerardo García Luna, the current director of the FAD in Mexico (Faculty of Arts and Design - UNAM) applauded my approach to social design and suggested I continued my education to further my research abilities.

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IS THERE A FUTURE IN I L L U S T R AT I O N ? [“Art is not a mirror to hold up to society, but a hammer with which to shape it”] - Leon Trotsky

I worked in MBA Design Studio in Mexico City for two years before I realised it wasn’t what I wanted to do. Drowning in branding, editorial and packaging projects, a lack of leadership and a hostile environment, I realised I wasn’t content with the situation I found myself in.

Inspiration comes from the most unexpected places.

I discovered the humility within illustration during the start of my creative trajectory. The understanding and construction of my final project helped me understand that our role as communicators is far greater than I had ever imagined.

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Licensed Stock Image 123

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AWARE. TO COMBINE INTELLECT AND IMAGINATION. TO MEET EACH OTHER... KNOW EACH OTHER. TO CREATE EMOTIONAL BONDS BETWEEN PEOPLE AND MOMENTS. TO UNDERSTAND AND SOLVE PROBLEMS. TO TAKE A STEP BACKWARDS AND LEAN

OFTEN AND WONDER MORE. TO BUILD A STRONG, INFORMED, POINT OF VIEW. TO HAVE A RECOGNIZABLE VISUAL IDENTITY. TO EXPLAIN AND IMPULSE. TO WORK WITH AND FOR OTHERS. TO PROMOTE A CHANGE, A BETTER FUTURE... AND TO FEEL.

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FORWARD. TO BE CONSCIOUS AND SMART. TO EXPLORE DIFFERENT MEDIA. NOT TO BE LIMITED BY OTHER PEOPLE’S DEFINITION OF WHAT SHOULD BE. TO LIVE BETTER, HELP

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TO SEE THE WORLD, MAKE SENSE OF IT. TO QUESTION EVERYTHING, DESCRIBE IT, EXPLORE IT. TO GO BEYOND OUR PREDETERMINED CONTEXT. BE SOCIALLY AND CULTURALLY

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JUST AN I L L U S T R AT O R ’ S PERSONAL MANIFESTO [By. Mónica Arroyo Berezowsky]

To see the world, make sense of it.

To question everything, describe it, explore it.

To go beyond our predetermined context.

Be socially and culturally aware.

To combine intellect and imagination.

To meet each other…know each other.

To create emotional bonds between people and moments To understand and solve problems To take a step backwards and lean forward To be conscious and smart To explore different media Not to be limited by other people’s definition of what should be To live better, help often and wonder more To build a strong, informed, point of view To have a recognizable visual identity To explain and impulse To work with and for others To promote a change, a better future And to feel…

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THINGS I’VE LEARNT FROM THE GDCP

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y practice is a creative one. Not because I think methodical approaches are uninteresting but because I like to think outside the box. In a sea of different people I am a visual imaginative one.

Although it may sound crazy and nonsensical, I am driven by that beauty that surrounds us, what we see and how we understand it. I don’t think of myself as just a designer or illustrator, but a visual strategist and imaginator. To think of the impossible and find a way to visually communicate it to others, to move them and make them react. I find inspiration in the “how” of things, the way they work and why.

This year I’ve come to understand that illustration is more than a visual aide, it is a powerful tool that can capture complex concepts and ideas and make them more accessible. Having a background in graphic design helped me understand that visual communication is not just proposing an aesthetically pleasing solution, but to propose functional equations and complete experiences moulded for specific audiences. The GDCP has been my first experience completely centred around illustration.

I was able to re-explore basic concepts such as the creative method, observation and target audience.

I found it interesting to learn that the path most people follow in this country is a straight line, I have always thought that if I pursued a Masters degree in illustration it wouldn’t be to switch fields but to further enrich my creative practice.

Adapting a new creative method is always difficult, but as my tutors suggested when I graduated university, I could improve my researching abilities.

This was one of the reasons I chose to take this programme, to learn. I’ve come to realise the real impact that a good and strong background can have on the final creative solution. I had the pleasure of working with the MAs for the Creative Futures Project, Maggie Grey and Clare Conway, were a true inspiration to me. The process we followed made me understand how important and difficult our work as designers and illustrators really is… and has to be. It is not about finding immediate solutions but exploring complex conceptual proposals that work. It was the first time I saw the real results that successful research could propose.

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On the other hand, I’ve had the pleasure of working with incredible peers, that have different backgrounds and cultures. It has been an intriguing experience to learn to see things from their point of view and to receive useful comments on how to improve my own practice. This programme has allowed me to become more receptive to other people’s feedback and understand that this can only improve my creative practice. Just like the alterego project we worked on during the first term, having the ability to understand and share the feelings of others is an essential feature to have as a designer/ illustrator, but mostly as a person. I had the joy of representing the Graduate Diploma; being the course representative allowed me to perceive that everybody sees things in a different way, their reality and concerns are just as important as any other’s.

This is definitely something I would like to apply in my creative and professional career.

The best way to generate concepts and ideas is to have the correct balance between reason and imagination. I find inspiration in many things. I am more interested in social design, there for the problems and situations that surround me, move me to create solutions. I like diversity and culture, I find the way other people think is fascinating, it encourages me to become more empathetic.

The project I found most interesting was the Capstone Project. This exercise gave us the freedom of setting our own rules. Even though this might seem easy, it extremely complex; at the same time it is the perfect opportunity to see how far you can get.

I, for instance, am always driven to challenge myself, therefor I chose a topic I felt passionate about and a target audience (children) that has always intrigued me. Having this opportunity helped me realise how much my working method had changed this year, being carefully moulded into a researched-based approach and feedback driven solution.

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W H AT D O I WANT TO DO? I want to change the world... For real.

Give a voice to those who need one, share stories worth learning from, promote good values and habits. To inspire young generations to care for what is important.

To work for a better future... for everyone.

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WW HH OOI SI SMM YY AA UU DD I EI E NN CC EE Children, Children, dreamers, dreamers, peoplepeople who who care.care.

Anyone Anyone who who wantswants to learn, to learn, or make or make a change... a change... and to andfeel. to feel.

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Image 1: Mural by Timothy Goodman, Orchard & Broome,

2018

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I L L U S T R AT I O N IS MORE THAN A VISUAL AID There are many things I’ve learnt from the GDCP, it has given me the opportunity to improve my work, moreover it has helped me have a clear vision of what I want to do in the future. My peers this year have given me the courage to believe in my own work and have inspired me to ask for help when needed. I often sabotaged many possibilities for myself, out of fear of asking for help and uncertainty of what the future might bring. For this, I am extremely thankfyl that the programme has given me the chance to keep a more open mind, after all I am, and have always been, my biggest critic.

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N O W W H AT ?

I see a bright future ahead of me, even though I’ve grown considerably this year, I still have many things to learn, and will probably continue to for the rest of my creative career. I would like to continue my postgraduate education in the Communication Design: Illustration MA at Kingston University. I had always considered working as a freelance creative, specialising in children led projects (books), but after talking to Laura Haines about her own professional practice and considering how much I enjoyed working on the Penguin Student Award Book Cover Design, I’ve decided I would like to experience working in a publishing house first, to get a better hold of the business and network.

Above all, I would like to stay loyal to my values and principles and to do what I think illustration really is about, as stated in my personal manifesto, to celebrate being alive.

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BIBLIOGRAPHY

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I. CREATIVE FUTURES 1. Murakami: T. (2015, April 15). Haruki Murakami by Yoko Ono: TIME 100. Retrieved February, 2019, from http:// time.com/3823189/haruki-murakami-2015-time-100/ 2. Suzanne Dean: A. (2017). Suzanne Dean. Retrieved February, 2019, from https://theaoi.com/wia/suzanne-deanjudge/ 3. Suzanne Dean’s work: Exclusive Interview with Suzanne Dean, Creative Director for Random House. (2014, September 27). Retrieved from https://literary007.com/2014/10/01/exclusive-interview-with-suzanne-deancreative-director-for-random-house/ 4. Noma Bar: T. (2013). Writing for Designers. Retrieved 2019, from http://www.writingfordesigners. com/?p=10845 5. D. (2019). Noma Bar. Retrieved 2019, from https://www.dutchuncle.co.uk/noma-bar 6. Murray, T. (2017, March 11). 22 incredible candid photos show life in Tokyo’s ‘golden 60s’ and 70s. Retrieved February, 2019, from https://www.businessinsider.com/what-tokyo-japan-looked-like-60s-70s-retro-2017-3?r=UK 6. Tran, J. L. (2017, July). 1968: The year Japan truly raised its voice. Retrieved February, 2019, from https://www. japantimes.co.jp/culture/2017/11/19/arts/1968-year-japan-truly-raised-voice/#.XEHKXC2cZ24 7. Journal, T. A. (2019). Japan’s 1968: A Collective Reaction to Rapid Economic Growth in an Age of Turmoil | The Asia-Pacific Journal: Japan Focus. Retrieved February, 2019, from https://apjjf.org/2015/13/11/Oguma-Eiji/4300. html 8. Chambre, H., & McLellan, D. T. (2018, October 03). Marxism. Retrieved February, 2019, from https://www. britannica.com/topic/Marxism 9. Ollman, B. (2014-2019). Marxism. Retrieved February, 2019, from https://www.nyu.edu/projects/ollman/docs/ what_is_marxism.php 10. Hurburt, A. (1981). The Design Concept (Vol. First). New York, USA: Watson-Guptill.

11. Mendelsund, P. (2014). Cover. Brooklyn, NY: PowerHouse Books 12. Heller, S. (2015). Edward Gorey: His book cover art & design. Portland, OR: Pomegranate.

13. Images from Historical Moodboards: Anorak. (2018, April 27). Tokyo, Japan 1917-1950: Rare Images Of Love, Loathing And Life. Retrieved June, 2019, from https://flashbak.com/tokyo-japan-1917-1950-rare-images-of-loveloathing-and-life-24983/ 14. Baines, P. (2006). Penguin by design: A cover story 1935-2005. London: Penguin Books.

15. Murakami, H. (2013). Norwegian Wood. Random House UK. 16. Walter, D. G. (2011, December 06). Winter reads: Norwegian Wood by Haruki Murakami. Retrieved January 11, 2019, from https://www.theguardian.com/books/2011/dec/06/winter-reads-norwegian-wood-haruki-murakami 17. Edwards, R. J. (2015, September 01). A Matter of Life and Death: ‘Norwegian Wood’ by Haruki Murakami.

Retrieved January 11, 2019, from https://medium.com/@rossjedwards/a-matter-of-life-and-death-norwegianwood-by-hayuki-murakami-9d8004ae895d Image 2, 3, 4, 5: Penguin Random House. (2019). Student Design Award, Retrieved February 2019 from: https:// www.penguin.co.uk/company/work-with-us/student-design-award/student-design-award-2019.html Image 6: Dutch Uncle Agency. (2019). Noma Bar. Retrieved February, 2019, from https://www.dutchuncle.co.uk/ noma-bar Image 7: Behance, N. (2016). HARUKI MURAKAMI BOOK COVER / NOMA BAR. Retrieved 2019, from https:// www.behance.net/gallery/32919399/HARUKI-MURAKAMI-BOOK-COVER-NOMA-BAR Image 9-14, . https://www.canva.com/learn/book-cover-design-50-amazing-covers-you-will-want-to-pick-up/

II. CAPSTONE PROJECT 1. Finland Promotion Board. (2017, January 24). The truth about Finnish schools. Retrieved February, 2019, from https://finland.fi/life-society/the-truth-about-finnish-schools/ 2. Storie, M. (2014, January). The Best Fonts for Children’s Books – Marie Story. Retrieved March, 2019, from http://marie-story.com/the-best-fonts-for-childrens-books/ 3. Brusie, C., & Brusie, C. (2016, April 19). The Major Problem with Children’s Literature. Retrieved March, 2019, from https://www.babble.com/parenting/the-major-problem-with-your-kids-book-you-never-even-noticed/ 4. Mcleod, S. (2018, June 06). Jean Piaget’s Theory of Cognitive Development. Retrieved February, 2019, from https://www.simplypsychology.org/piaget.html

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5. Smith, S. (2011, September 01). Why Are Finland’s Schools Successful? Retrieved February, 2019, from https:// www.smithsonianmag.com/innovation/why-are-finlands-schools-successful-49859555/ 6. Colagrossi, M. (2019, February 07). 10 reasons why Finland’s education system is the best. Retrieved February, 2019, from https://bigthink.com/mike-colagrossi/no-standardized-tests-no-private-schools-no-stress-10-reasonswhy-finlands-education-system-in-the-best-in-the-world 7. Esteban, E. (2018, August). Qué aprenden los niños por edades. Retrieved February, 2019, from https://www. guiainfantil.com/articulos/educacion/aprendizaje/que-aprenden-los-ninos-por-edades/ 8. Hughes, S. (2019). Shirley Hughes - Yard Gallery. Retrieved February 22, 2019, from https://www.yardgallery. com/shirley-hughes 9. Coppel, E. (2017, June). Nacida para ganar: Así es la vida de la campeona de ultramaratones que corre en sandalias. El País. Retrieved February, 2019, from https://verne.elpais.com/verne/2017/06/07/ mexico/1496801089_230696.html 10 Mendelsund, P. (2014). COVER (First Edition ed.). China: Power House Books.

11. Blazer, L. (2016). Animated Storytelling (First ed.). USA: Peachpit Press.

5. McCannon, D., Etal. (2008). The Bloomsbury Guide to Creating Illustrated Children’s Books. London: A&C 12. Scutt, M. (2007). Addressing Sensitive Issues through Picture Books (Master’s thesis, Eastern Kentucky University, 2007). Kentucky.

13. Smith, L. (2010). It’s a Book (Hardcover ed.). New York: Roaring Book Press.

14. Lalisburry, M. (2015). 100 Great Children’s Picture Books. Laurence King Publishing.

15. Ursell, M. (2013). Illustrating Children’s Books (First Edition ed.). Ramsburry, Wiltshire: The Crowood Press.

16. Druvert, H. (2015). Paris up, up and away. London: Thames & Hudson.

17. Doyle, S., Grove, J., & Sherman, W. (2019). History of illustration. New York: Fairchild Books, an imprint of Bloomsbury Publishing.

18. Wigan, M. (2018). Thinking visually for illustrators. London: Bloomsbury Visual Arts.

19. Hana, H. (2014). Children’s Book Illustrations: Visual Language of Picture Books. DE GRUYTER. 20. Isabel, S. V., Isa, F., & Martinez, E. (2018). Marie. Minneapolis, MN: Lincoln Childrens Books.

Image 1: BBC. (2019). Hurry Up - CBeebies - BBC. Retrieved 2019, from https://www.bbc.co.uk/cbeebies/stories/ charlie-and-lola-hurry-up Image 2: Kaufman, L. (2013, February). The Author Himself Was a Cat in the Hat. The New York Times. Retrieved February, 2019, from https://www.nytimes.com/2013/02/04/books/dr-seuss-himself-was-a-cat-in-the-hat.html Image 3: Isabel, S. V., Isa, F., & Martinez, E. (2018). Marie. Minneapolis, MN: Lincoln Childrens Books.

Image 4: Anthony, S. (2014). The Queen’s Hat (First ed.). Hachette Children’s Group.

Image 5: Sfar, J., Saint-Exupéry, A. D., & Findakly, B. (2008). Le Petit prince. Paris: Gallimard.

Image 6: Kerr, J. (2018). The tiger who came to tea. London: HarperCollins Childrens Book.

Image 7: Nieves, V. (2018, June). Lorena Ramírez, la rarámuri que conquistó Europa. Quién. doi:https://www. quien.com/actualidad/2018/06/13/lorena-ramirez-la-raramuri-que-conquisto-europa Image 8, 9, 15, 17: Ursell, M. (2013). Illustrating Children’s Books (First Edition ed.). Ramsburry, Wiltshire: The Crowood Press.

Image 10: Briggs, R. (2018). The Snowman. London: Puffin.

Image 11: Hargreaves, R. (1997). Little Miss Busy. New York: Price Stern Sloan.

Image 12: Bell, A. (2012). Corduroy. Slightly Foxed.

Image 13: Dahl, R. (2016). BFG. Penguin Books, Limited.

Image 14: Knox, R. (1985). E.H. Shepard.

Image 16: Moore, N. (Director), Preston, R., & Whiteley, L. (Producers), & Whiteley, L. (Writer). (n.d.). Horrid Henry, the movie [Video file].

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III. WHAT HAS THE GDCP DONE FOR ME? 1. Benaroya, A. (2016). Illustration next: Contemporary creative collaboration. London: Thames & Hudson.

2. Zeegen, L. (2009). What is illustration? Switzerland: RotoVision.

3. Hellige, H. (2013). A life in illustration: The most famous illustrators and their work. Berlin: Die Gestalten Verlag.

4. Kiosoglou, B., & Philippin, F. (2013). I used to be a design student: 50 graphic designers then and now.

London: Laurence King.

Image 1. Goodman, T. (2019, January). Timothy Goodman Illustrator. Retrieved March, 2019, from https://www. tgoodman.com/

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