Sergio Pina Creative Process Children’s Book Cover
Miss Peregrine’s Home For Peculiar Children - Design Brief -
APPENDIX A DESIGN BRIEF Client/s Name
Mancini Publishing
Client/s Email
rosa@mancinipublishing.com
Client/s Phone Number
04 1999 8877
Contact person/s & role/s
Rosa Mancini, Art director
(if required) Description of design project
The client is looking for an illustrative work for a children’s book they are re-publishing titled “Miss Peregrine’s Home for Peculiar Children”, they want two things, a cover and a double page inside spread.
Describe objectives of the project
Through illustration they are looking for a design that has my own style and is directed to the target audience the book is intended to in a way that will create interest in the reader to pick up the book and buy it, while being closely related to the content of the book.
(What does the client want the design to be used for and to achieve?)
The inside spread must relate to the text in it and be any part of my choosing. They are a book publisher that focus mainly in re-publishing children’s books.
Describe the business/organisation (Describes the client’s organisation/company/business and the products and/or services it provides) How does the client want the book to be reflected in the design? Include a key descriptive text excerpt from the first chapter then summarise this excerpt (Use 5
´ “I don’t understand,” I whispered. I repeated his name until his eyes seemed to focus on me, and then he drew a sharp breath and said, quietly but clearly, “Go to the island, Yakob.
words that describe the tone and
Here it’s not safe.”
feeling of the design eg
It was the old paranoia. I squeezed his hand and assured him we were fine, he was going to be fine. That was twice in one day that I’d lied to him.
sophisticated, streamlined, energetic, fun, dynamic etc . Consider also the genre of the book.)
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I asked him what happened, what animal had hurt him, but he wasn’t listening. “Go to the island,” he repeated. “You’ll be safe there. Promise me.”
CUAILL401 Develop and refine illustrative work Page 9 of 15
“I will. I promise.” What else could I say? “I thought I could protect you,” he said. “I should’ve told you a long time ago …” I could see the life going out of him. “Told me what?” I said, choking back tears. ` (Riggs 2011)
Jakob discovers his grandfather laying in the woods who tells him to go to the island to find the bird in the loop and Emerson’s letter. Jake thinks it’s just his grandfathers’ imagination. Jake´s grandfather dies and he feels there is something in the woods, and through the dark he sees an eerie figure.
Target audience (consider the genre and the age group the book has been promoted to (Include information about • • • • • • • • •
Age Gender Education Occupation Location Cultural background Hobbies Language What do you want your audience to think and feel when they see your images)
Existing materials – copy, logos,
•
Fantasy
•
Adventurous
•
Mysterious
•
Eerie
•
Different
The book is aimed at teenagers and young adults (ages 13 to 20) of any gender and varying educational and cultural backgrounds from all over the world, mainly students who like to read in their free time. It has an accessible language level so it can be read by English native speakers as well English as a foreign language speakers. I want the readers to easily imagine themselves as a character of the book, immersing themselves in the fantasy adventures within the story, thus accompanying the captivating style of the narrative. I also want the audience to immediately feel attracted and compelled to pick up the book and read it, unveiling a bit of its content but leaving a lot to the imagination.
N/A
reference images Intellectual Property requirements
As an illustrator I will automatically own the copyright of the illustration created and will be licensing it to them for use in the cover and inside spread.
Non-negotiable elements of
The design must include
design – what has to be included, what not to include, styles to avoid
Open Colleges
•
Illustration
•
Title
CUAILL401 Develop and refine illustrative work Page 10 of 15
•
Author
•
Illustrator name
•
Text from the book in inside spread
The design must be
Deliverables
Specifications of items - sizes, digital files, vector illustration
•
Illustration
•
Not too fussy
•
My own style
•
Book Cover
•
Inside Spread
Book Cover •
25cm x 20cm size
•
Created in Illustrator
•
CMYK
•
3mm bleed
•
Crop Marks
•
PDF file
Inside Spread •
25cm x 40cm size
•
Created in Illustrator
•
CMYK
•
3mm bleed
•
Crop Marks
•
PDF file
N/A
Production timetable and deadlines
N/A
Budget guidelines
Any other comments or questions
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CUAILL401 Develop and refine illustrative work Page 11 of 15
- Book Cover Thumbnails -
- Inside Spread Thumbnails -
- Comprehensive Sketches Cover Comp. from Thumbnail No
3
Material
Paper, graphite.
Comments
Use bright and soft colours for background, dark colours for mountain and trees. Colour will be added in the illustrative approach. The design reflects and relates to the brief and book.
IP Considerations
Not required
Some photos of the process
Spread Comp. from Thumbnail No Material Comments IP Considerations
5 Paper, graphite. Use dark colours. Colour will be added in the illustrative approach. The design reflects and relates to the brief and book. Not required
Note: In creating the comprehensive sketches I decided to pair the cover and spread so they can relate in an attempt to obtain a consistent style for the illustrations in the book.
Cover Comp. from Thumbnail No
9
Material
Paper, graphite.
Comments
Use bright and soft colours for background, dark colours for boy, bright for grass. Colour will be added in the illustrative approach. The design reflects and relates to the brief and book.
IP Considerations
Not required
Some photos of the process
Spread Comp. from Thumbnail No Material Comments IP Considerations
3 Paper, graphite. Use bright bold. Colour will be added in the illustrative approach. The design reflects and relates to the brief and book. Not required
Cover Comp. from Thumbnail No
12
Material
Paper, graphite, fine line markers.
Comments
The design reflects and relates to the brief and content of the book.
IP Considerations
Not required
Some photos of the process
Spread Comp. from Thumbnail No Material Comments IP Considerations
10 Paper, graphite, fine line markers. The design reflects and relates to the brief and content of the book. Not required
- Illustrative Approaches for Cover Cover based on comprehensive 3 The process Creating the base sketch with graphite sketching pencils.
Outlining sketch with fine line black markers. Trees filled with graphite, do not have outline. Centre for the tunnel filled with black permanent marker.
Filling in details and creating shadows using graphite pencils.
Adding colour with colour pencils and filling in the type with black marker.
The final render
Illustrative Approach from Comp. No
3
Material
Paper, graphite, fine line black markers, black permanent marker, colour pencils.
Comments and reflections
This illustration is more in a line art kind of style with bold outlines mixed the shadowy shape of the trees, the background has bright colours that blend. The illustration follows the principles an elements of design, emphasis is given to the tunnel (or loop as described in the book). I believe the design reflects and relates to the brief and content of the book, it gives a feeling of mysterious.
IP Considerations
Not required
Cover based on comprehensive 9 The process Creating the base sketch with graphite sketching pencils.
Hand drawing the type with graphite pencil.
Tracing the outlines with fine line markers in an interrupted kind of way, giving it an appearance of being a fast sketch or drawn by a child.
Filling in and applying colour using colour pencils leaving some white near the outlines, once again to make it look like a fast drawing.
The final render
Illustrative Approach from Comp. No
9
Material
Paper, graphite, fine line black markers, colour pencils.
Comments and reflections
This illustration is in a line art kind of style with outlines of varied width in a way that looks as if it was a fast drawing, with the lines not being completely closed, resembling scribbles. The colours for the nature are bright and for the invisible boy dark, making him the center piece, creating an eerie feel. The illustration follows the principles an elements of design, emphasis is given to the invisible boy. I believe the design reflects and relates to the brief and content of the book, it gives a feeling of mysterious, adventure and fantasy.
IP Considerations
Not required
Cover based on comprehensive 12 The process Created the base sketch with graphite and water colour pencils. Filled in colour using water colour pencils. This photo is before applying water to the pencil.
Using a sponge brush here I applied to the water colour pencil, blending in the colours giving it a more refined look.
Using the same process and technique, with a sponge brush and normal brush water was applied to the water colour pencil for the grass.
Before water
After water
The final render
Illustrative Approach from Comp. No
12
Material
Paper, graphite, water colour pencils, brushes, water.
Comments and reflections
This illustration is in a water colour style. The colours for the nature are bright (grass) and dark (the dead tree), the house has earthly dark tones giving it a eerie feel. The illustration follows the principles an elements of design, emphasis is given to the house. I believe the design reflects and relates to the brief and content of the book, it gives a feeling of mystery and adventure.
IP Considerations
Not required
- Illustrative Approaches for Inside Spread Spread based on comprehensive 3 The process Creating the base sketch with graphite sketching pencils.
Tracing the outlines with fine line markers in a sketchy kind of way, giving it an appearance of being a fast hand drawn sketch.
Filling in colour using colour pencils, adding some detail using colour fine line markers.
Adding some strokes with colour markers to give it more texture.
The final render
Illustrative Approach from Comp. No
3
Material
Paper, graphite, colour pencils, colour fine line markers, colour markers.
Comments and reflections
This illustration is in a line art kind of style with outlines of varied width in a way that looks as if it was a fast sketch, with the lines not being completely closed, resembling scribbles. The colours for the nature are bright and bold. The illustration follows the principles and elements of design, emphasis is given to the flouting girl. I believe the design reflects and relates to the brief and content of the book, it gives a feeling of mysterious, adventure and fantasy.
IP Considerations
Not required
Cover based on comprehensive 5 The process Creating the base sketch with graphite sketching pencils.
Starting to add and a few strokes colour using water colour pencils and graphite.
Adding colour and details (creating texture and depth) using water colour pencils and graphite.
The final render
Illustrative Approach from Comp. No
5
Material
Paper, graphite, water colour pencils.
Comments and reflections
This illustration is the result of overlaying colours with shades as to convey a sense of shape and movement. The colours are dark and sinister. The illustration follows the principles and elements of design, emphasis is given to the flouting girl. I believe the design reflects and relates to the brief and content of the book, it gives a sense of mysterious, fantasy and an eerie feeling.
IP Considerations
Not required
Cover based on comprehensive 10 The process Creating the base sketch with graphite sketching pencils.
Filling in the lady with black permanent marker and graphite and adding strokes with fine line colour markers so it has a dark bold appearance and details.
Colouring the house and terrain with water colour pencils (water will be added), giving shades to the clouds with graphite.
Before water Adding water to the water colour pencils using sponge brushes and normal brushes.
After water
The final render
Illustrative Approach from Comp. No
10
Material
Paper, graphite, water colour pencils, brushes, water, permanent black marker, fine line colour markers.
Comments and reflections
This illustration is in a water colour style mixed with markers and graphite. The colours for the nature are bright (grass) and dark (the dead tree and the path), the house has earthly dark tones giving it a eerie feel. The illustration follows the principles an elements of design, emphasis is given to Miss Peregrine. I believe the design reflects and relates to the brief and content of the book, it gives a feeling of mystery and adventure and is eerie.
IP Considerations
Not required
- Digital Illustrative Approaches for Cover Going digital in Illustrator with a Wacom Tablet for all illustrations.
Cover based on illustrative approach 3 The process Drawing with the Brush tool, Pencil tool and Wacom Tablet.
Experimenting with different brush styles. Adding strokes with Brush tool to create some details with Wacom Tablet.
Drawing in some more details with Wacom Tablet using the Pencil tool. Adding the type.
The final render
Miss Peregrine's Home For
Peculiar Children Ransom Riggs
Illustrated by Sergio Pina
Digital Illustrative Approach 3 from Illustrative Approach No Material and tools
Adobe Illustrator, Wacom Tablet, pencil tool, brush tool.
Comments and reflections
This illustration is more in a line art kind of style with bold outlines mixed the shadowy shape of the trees and tunnel, the background has soft colours that blend. The illustration follows the principles and elements of design, line, shape, negative space,texture of trees and mountain, value, size and colour. You can find balance, rhythm, pattern, unity proportion and contrast between all elements, emphasis is given to the tunnel (or loop as described in the book). I believe the design reflects and relates to the brief and content of the book, it gives a feeling of mystery, adventure and is eerie.
IP Considerations
Not required
Cover based on illustrative approach 9 The process Experimenting with different stroke styles and weights. Drawing with the Pencil tool and Wacom Tablet.
Adding colour.
The final render
Ransom Riggs
Miss Peregrine's Home For
Peculiar Children
Illustrated by Sergio Pina
Digital Illustrative Approach 9 from Illustrative Approach No Material and tools
Adobe Illustrator, Wacom Tablet, pencil tool.
Comments and reflections
This illustration is in a line art kind of style with outlines of varied width in a way that looks as if it was a fast hand drawing, with the lines not being completely closed, resembling scribbles. The colours for the nature are bright and for the invisible boy dark, making him the center piece, creating an eerie feel. The illustration follows the principles and elements of design, line, shape, negative space, texture of the boy, bushes, clouds and type, value, size and colour. You can find balance, rhythm, pattern, unity proportion and contrast between all elements, emphasis is given to the invisible boy. I believe the design reflects and relates to the brief and content of the book, it gives a feeling of mysterious, adventure and fantasy.
IP Considerations
Not required
Cover based on illustrative approach 12 The process Experimenting with different stroke styles and weights. Drawing with the Brush tool, Pencil tool, Pen tool and Wacom Tablet.
Experimenting with colour themes
The final render
Ransom Riggs
Miss Peregrine's Home For
Peculiar Children
Illustrated by Sergio Pina Digital Illustrative Approach 12 from Illustrative Approach No Material and tools
Adobe Illustrator, Wacom Tablet, pencil tool, brush tool, pen tool.
Comments and reflections
This illustration is in a hand drawn style. The colours for the nature are bright (grass and sunset background colour) and dark (the dead tree), the house has earthly dark tones giving it a eerie feel. The illustration follows the principles and elements of design, line, shape, negative space, texture of the house, value, size and colour. You can find balance, rhythm, pattern, unity proportion and contrast between all elements, emphasis is given to the house. I believe the design reflects and relates to the brief and content of the book, it gives a feeling of mystery and adventure.
IP Considerations
Not required
- Digital Illustrative Approaches for Inside Spread Spread based on illustrative approach 3 The process Experimenting with different stroke styles and weights. Drawing with the Brush tool, Pencil tool and Wacom Tablet.
Experimenting with colour.
Adding details. Using transparency tool, direct selection tool, anchor points.
Finalizing fine small details.
The final render
He slipped me another photo. Once I’d had a moment to look at it, he said, “So? What do you see?” “A little girl?” “And?” “She’s wearing a crown.” He tapped the bottom of the picture. “What about her feet?” I held the snapshot closer. The girl’s feet weren’t touching the ground. But she wasn’t jumping—she seemed to be floating in the air. My jaw fell open. “She’s flying!” “Close,” my grandfather said. “She’s levitating. Only she couldn’t control herself too well, so sometimes we had to tie a rope around her to keep her from floating away!” My eyes were glued to her haunting, doll-like face. “Is it real?” “Of course it is,” he said gruffy, taking the picture and replacing it with another, this one of a scrawny boy lifting a boulder. “Victor and his sister weren’t so smart,” he said, “but boy were they strong!” “He doesn’t look strong,” I said, studying the boy’s skinny arms. “Trust me, he was. I tried to arm-wrestle him once and he just about tore my hand off!” But the strangest photo was the last one. It was the back of somebody’s head, with a face painted on it.
Digital Illustrative Approach 3 from Illustrative Approach No Material and tools
Adobe Illustrator, Wacom Tablet, pencil tool, brush tool.
Comments and reflections
This illustration is in a line art kind of style with outlines of varied width in a way that looks as if it was a hand drawn sketch, with the lines not being completely closed, resembling scribbles. The colours for the nature are bright and bold yet eerie. The illustration follows the principles and elements of design, line, shape, negative space, texture of tree an the kids, value, size and colour. You can find balance, rhythm, pattern, unity proportion and contrast between all elements, emphasis is given to the flouting girl. I believe the design reflects and relates to the brief and content of the book, it gives a feeling of mysterious, adventure and fantasy.
IP Considerations
Not required
Spread based on illustrative approach 5 The process Experimenting with different stroke styles and weights. Drawing with the Brush tool, Pencil tool and Wacom Tablet.
Experimenting with colour.
The final render
“Leave us be!” Emma yelled, lashing out with her hand like a torch. The tongue twisted away from her flame, then inched back like a snake preparing to strike. “We’ve got to try for the door!” I yelled. “The hollow’s by the third trough from the left, so keep to the right!” “We’ll never make it!” Enoch cried. One of the tongues touched him on the cheek, and he screamed. “We’ll go on three!” Emma shouted. “One—” And then Bronwyn launched herself toward the creature, howling like a banshee. The creature shrieked and reared up, its bunched skin pulling tight. Just as it was about to lash its trident of tongues at her, she rammed Martin’s ice trough with the full weight of her body and levered her arms under it as it tipped and then heaved it and the whole huge thing, full of ice and fish and Martin’s body, careened through the air and fell upon the hollow with a terrific crash. Bronwyn spun and bounded back in our direction. “MOVE!” she cried, and I leapt away as she collided with the wall beside me, kicking a hole through the rotten planks. Enoch, the smallest of us, dove through first, followed by Emma, and before I could protest Bronwyn had grabbed me by the shoulders and tossed me out into the wet night. I landed chest-first in a puddle. The cold was shocking, but I was elated to feel anything other than the hollow’s tongue wrapping around my throat.
Digital Illustrative Approach 5 from Illustrative Approach No Material and tools
Adobe Illustrator, Wacom Tablet, pencil tool, brush tool.
Comments and reflections
This illustration has a sense of movement in a hand drawn style. The colours are dark and sinister. The illustration follows the principles and elements of design, line, shape, negative space, texture of the clothes, value, size and colour. You can find balance, rhythm, pattern, unity proportion and contrast between all elements, emphasis is given to the Hollow (monster) and mainly his tentacles. I believe the design reflects and relates to the brief and content of the book, it gives a sense of mysterious, fantasy and an eerie feeling.
IP Considerations
Not required
Spread based on illustrative approach 10 The process Experimenting with different stroke styles and weights. Drawing with the Brush tool, Pencil tool and Wacom Tablet.
Experimenting with colour and adding details with the Brush tool, Pencil tool, Pen tool and Wacom Tablet.
The final render We walked through the house, past more curious eyes peeping through door cracks and from behind sofas, and into a sunny sitting room, where on an elaborate Persian rug, in a high-backed chair, a distinguished-looking lady sat knitting. She was dressed head to toe in black, her hair pinned in a perfectly round knot atop her head, with lace gloves and a high-colared blouse fastened tightly at her throat—as fastidiously neat as the house itself. I could’ve guessed who she was even if I hadn’t remembered her picture from those I’d found in the smashed trunk. This was Miss Peregrine. Emma guided me onto the rug and cleared her throat, and the steady rhythm of Miss Peregrine’s needles came to a halt. “Good afternoon,” the lady said, looking up. “You must be Jacob.” Emma gaped at her. “How do you know his—” “My name is Headmistress Peregrine,” she said, holding up a finnger to silence Emma, “or if you prefer, since you are not currently under my care, Miss Peregrine. Pleased to finally meet you.” Miss Peregrine dangled a gloved hand in my direction and, when I failed to take it, noticed the rope that bound my wrists. “Miss Bloom!” she cried. “What is the meaning of this? Is that any way to treat a guest? Free him at once!” “But Headmistress! He’s a snoop and a liar and I don’t know what else!” Casting a mistrustful glance at me, Emma whispered something in Miss Peregrine’s ear. “Why, Miss Bloom,” said Miss Peregrine, letting out a booming laugh. “What undiluted balderdash! If this boy were a wight you’d already be steing in his soup kettle. Of course he’s Abraham Portman’s grandson. Just look at him!”
Digital Illustrative Approach 10 from Illustrative Approach No Material and tools
Adobe Illustrator, Wacom Tablet, pencil tool, brush tool, pen tool.
Comments and reflections
This illustration is in hand drawn style. The colours for the nature are bright (grass) and dark (the dead tree and the path), the house has earthly dark tones giving it a eerie feel. The illustration follows the principles and elements of design, line, shape, negative space, texture of the umbrella, value, size and colour. You can find balance, rhythm, pattern, unity proportion and contrast between all elements, emphasis is given to Miss Peregrine. I believe the design reflects and relates to the brief and content of the book, it gives a feeling of mystery and adventure and is eerie.
IP Considerations
Not required
- Chosen Cover & Inside Spread Based on the brief I have chosen the cover and inside spread that better reflects what is asked, they are mysterious and eerie, giving a sense of adventure and fantasy without being to fussy, in my opinion. Cover is No 12 and Spread is No 5.
Ransom Riggs
Miss Peregrine's Home For
Peculiar Children “Leave us be!” Emma yelled, lashing out with her hand like a torch. The tongue twisted away from her flame, then inched back like a snake preparing to strike. “We’ve got to try for the door!” I yelled. “The hollow’s by the third trough from the left, so keep to the right!” “We’ll never make it!” Enoch cried. One of the tongues touched him on the cheek, and he screamed. “We’ll go on three!” Emma shouted. “One—” And then Bronwyn launched herself toward the creature, howling like a banshee. The creature shrieked and reared up, its bunched skin pulling tight. Just as it was about to lash its trident of tongues at her, she rammed Martin’s ice trough with the full weight of her body and levered her arms under it as it tipped and then heaved it and the whole huge thing, full of ice and fish and Martin’s body, careened through the air and fell upon the hollow with a terrific crash. Bronwyn spun and bounded back in our direction. “MOVE!” she cried, and I leapt away as she collided with the wall beside me, kicking a hole through the rotten planks. Enoch, the smallest of us, dove through first, followed by Emma, and before I could protest Bronwyn had grabbed me by the shoulders and Illustrated by Sergio Pina
tossed me out into the wet night. I landed chest-first in a puddle. The cold was shocking, but I was elated to feel anything other than the hollow’s tongue wrapping around my throat.
APPENDIX C
- Evaluation -
Evaluation Form (expand the boxes as required) Personal Critique a
Are your experimentations clear in what they represent, in terms of both individual elements and of the overall design? I believe the experimentations show a clear progression towards a final design, testing myself with different tools and techniques. The individual elements relate to each other and follow the principles of design, balance, rhythm, pattern, unity, proportion, emphasis and contrast are all present within the design. Elements of design have also been used, line, texture, shape, space, value, scale and colour. The design respects and pays tribute to both elements and principles of design, everything ties in to create, in my opinion, a balanced overall design.
b
Is there clarity of the connection between the content of the experimentations and the original problem outlined in the brief? It is possible to see the connection between the brief and the experimentations, they all relate to what is asked and tie in with the book, effectively referencing visually content present in the book, creating both a cover and a inside spread in illustrative form. There was an attempt to create an impact while maintaining a close relation with the books essence, I believe that was achieved to the best of my abilities.
c
How has experimentation assisted the development of your illustrations? The experimentations gave me more understanding in the approaches that are useful and more resemble my own style, I was able to try tools and techniques that I usually wouldn’t use. The experimentations gave me the ability to incorporate my vision for the illustration more efficiently than just start the drawings in the PC using a Wacom tablet, it allowed for experimenting with different strokes and apply the manual to the digital. I also tried to use different styles for different covers which gave me insight of what works best for me relating to my illustrative abilities and limitations I still have in using Adobe Illustrator for pure illustration.
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CUAILL401 Develop and refine illustrative work Page 13 of 15
d
Is there any technique that you have found to be particularly difficult for you, and how can you continue to practice with this technique going forward? I found most difficulty using the pen tool directly with a Wacom Tablet without resorting later to the direct selection tool and selecting anchor points and changing them, although I had difficulties it wasn’t impeditive, for me, it is easier using the pencil or brush tool. A way to counter this difficulty is simply practice and using this tool more.
e
Has the technical execution of your illustrations been successful or are their specific areas that need attention? Overall, I believe it has been successful, yet there are small things that are still unknown to me but will be learnt in the future.
f
Are there any techniques you know of that you could not access, but you feel would have been of advantage to you? I would have liked to try experimenting with acrylic paint to see what result would be obtained, seemed interesting from the research I undertook, maybe in future experiments there will be an opportunity.
g
What could you do better? What worked? How can you build on this? There is a lot I can improve upon, my illustrative skills have their fair of limitations, but I believe that with practice my own personal goals can be achieved. I feel that the house for the cover ended up well, the colours and lines approach what I had initially envisioned. As for the inside spread I ended up choosing the one I had most difficulty to bring in to fruition, as a reminder of what I have to improve upon, I feel there is something missing but am not quiet able to pinpoint, the face is not what I personally expected as well as the tentacles, the way to see what those less elegant points are is to step back and look at the spread and keep on practicing.
Bibliography Patricia Tauzer n.d., Miss Peregrine’s Home for Peculiar Children. Retrieved 19 February 2018, from https:// www.commonsensemedia.org/book-reviews/miss-peregrines-home-for-peculiar-children# Bilyana 2017, Types of Illustration – Styles and Techniques. Retrieved 19 February 2018, from https:// graphicmama.com/blog/types-of-illustration/ Wikipedia 2018, Miss Peregrine’s Home for Peculiar Children. Retrieved 19 February 2018, from https:// en.wikipedia.org/wiki/Miss_Peregrine%27s_Home_for_Peculiar_Children TerryOpen Hemphill 2017, Looking Back to Look Forward: Illustration of the Colleges CUAILL401 Develop and refine illustrativeStyles work Page 14 Past of 15 30 Years. Retrieved 19 February 2018, from https://create.adobe.com/2017/3/10/illustration_styles_of_the_past_30_years.html Riggs, R 2011, Miss Peregrine’s Home for Peculiar Children, Quirk Books, Philadelphia. Retrieved 12 February 2018, from https://archive.org/details/miss-peregrines-home-for-peculiar-children-pdf