Final Major Project | Research

FINAL MAJOR PROJECT RESEARCH

THIS IS A COLLECTION OF ARTISTS AND IMAGES THAT I HAVE LOOKED AT WHILST DEVELOPING MY FINAL MAJOR PROJECT. MANY OF THE IMAGES ARE THINGS THAT I COLLECTED WHILST DEVELOPING THE STORY FOR MY ZINE THAT I THEN ADAPTED FOR THE FMP. THERE IS A MIX OF PINTEREST IMAGES, BOOK AND ARTIST RESEARCH AS WELL AS SOME MINOR PRIMARY PHOTOS THAT I WAS ABLE TO CAPTURE BEFORE THE QUARANTINE.

DISPLAY SIGNS DURING MY INITIAL SEARCH FOR CARNIVAL RELATED IMAGERY I CAME ACROSS THESE HAND PAINTED SIGNS. I IMMEDIATELY FELL IN LOVE WITH THE MIX OF MODERN AND VINTAGE STYLE IN BOTH THE ILLUSTRATIONS AND THE TYPOGRAPHY. ONE OF THE THINGS THAT I LOVE ABOUT THE AESTHETIC OF CARNIVALS AND FAIRS IS THE OLD VINTAGE POSTER SIGNS AND LETTERING. THAT IS SOMETHING THAT I HOPE TO LOOK INTO MORE AND USE IN MY ILLUSTRATIONS. I WOULD ALSO LOVE TO BE ABLE TO CREATE SOME OF THESE TO GO ALONG WITH THE EXHIBITION PIECE TO DISPLAY IT AS A WAY TO CATCH PEOPLES ATTENTION AND HOPEFULLY ALLOW THE AUDIENCE TO ENGAGE WITH THEM. THERE IS ALSO SOMETHING ABOUT THE HAND PAINTED FEEL OF THESE THAT JUST GIVES THEM THAT EXTRA PUNCH. THESE HAVE BEEN PAINTED BY LANCE LAURIE.

SIDESHOW POSTERS WHILST LOOKING INTO MORE CIRCUS AND CARNIVAL IMAGERY I CAME ACROSS THESE HAND PAINTED POSTERS FOR SIDESHOW ATTRACTIONS. THE VINTAGE AESTHETIC OF THESE REALLY LENDS THEMSELVES TO THE OLD FASHIONED NATURE OF THESE POSTERS. AS THEY WERE DESIGNED TO DRAW YOU IN AND DEPICT THINGS THAT ARE UNCOMMON AND UNNATURAL. SHOWING A PHOTOGRAPH OF THESE ACTS WOULD BE IMPOSSIBLE AND DEFEAT THE PURPOSE OF TRYING TO DRAW PEOPLE IN. I LOVE IMAGERY LIKE THIS. I LOVE THE USE OF TYPE AND THE BANNERS. IT IS SOMETHING I HAVE INCLUDED IN MY PREVIOUS WORK. THE CURTAINS THAT FRAME THE ILLUSTRATIONS IS ICONIC AND HAS BEEN INCLUDED IN MY PIECE AS IT

CINEMA PANOPTICUM - THOMAS OTT ONCE I HAD SPOKEN WITH IRO ABOUT MY INITIAL IDEA OF ADAPTING A ZINE I WAS WORKING ON OVER SUMMER FOR MY FINAL MAJOR PROJECT SHE CAME BACK AND SHOWED ME THIS BOOK. IT ENDED UP BEING A HUGE SOURCE OF INSPIRATION FOR THIS PROJECT. IT WAS A GREAT EXAMPLE OF A WORDLESS NARRATIVE AND REALLY MADE ME START TO THINK ABOUT THE POSSIBILITIES OF TELLING A STORY THROUGH VISUALS ONLY. THIS WAS ALSO THE CATALYST THAT LED TO MY DISSERTATION TOPIC BEING ABOUT WORDLESS NARRATIVE AND THE STRENGTH OF VISUAL LANGUAGE. IT IS ALSO A GREAT EXAMPLE AS THE MAIN SETTING IS IN A CARNIVAL. THE SKETCHY NATURE OF THE MARKS THAT THOMAS OTT MAKES REALLY WORKS WELL TO GIVE YOU THE FEELING OF BEING ON EDGE. NOTHING IS SOLID, WHICH MAKES FOR UNCOMFORTABLE VIEWING ESPECIALLY WHEN COMBINED WITH HIS TWISTED IMAGERY. IT IS ALSO A GREAT LOOK AT WHAT CAN BE ACHIEVED WITHIN THE FORMAT OF FRAMES AS HE CONSTANTLY WORKS WITHIN THE SAME SPACE BUT WITHIN EACH PAGE THAT SPACE IS DIVIDED INTO DIFFERENT FRAMES. WHILST THAT IS NOT SOMETHING I WANT TO DO AS MUCH OF IT IS STILL REALLY IMPORTANT TO VIEW THAT AND NOTE WHAT HE ACHIEVES BY DOING THIS.

HIS WORK ALSO SERVES AS A MASTERCLASS IN THE USE OF LIGHT AND SHADOW AND BLACK AND WHITE. WORKING ONLY WITH THE LIGHT SOURCE AND NOT JUST OUTLINING EVERYTHING. IT IS INCREDIBLY EFFECTIVE

CARNIVAL MOUTH ENTRANCE THE IMAGE OF A LARGE OPEN MOUTH ENTRANCE INTO CARNIVALS OR CERTAIN RIDES IS ONE THAT REALLY STANDS OUT AND I FELL IN LOVE WITH. IT IS SO SINISTER AND IMPOSING THAT IT SUITS ITSELF WELL TO THE THEME OF A SCARY CARNIVAL. I AM STILL TRYING TO FIGURE OUT A WAY TO USE IT WITHIN MY STORY. THE DESIGN OF THESE HAVE TAKEN MANY FORMS AND IS AN ICONIC PIECE TO INCLUDE IN A CARNIVAL. THIS IS SOMETHING THAT I STARTED TO DEVELOP AS AN IDEA FOR A DISPLAY FOR THE FINAL PIECE. I WOULD LOVE TO BE ABLE TO MAKE ONE AND HAVE THE FINAL BOOK STOOD INSIDE THE MOUTH.

THIS SPECIFIC OPEN MOUTH ENTRANCE WAS ONE OF MY FAVOURITES AND I REALLY LIKE THE 3D NATURE OF THIS SCULT. MANY OF THE OTHERS I HAVE COME ACROSS ARE OFTEN PAINTED DESIGNS ON WOOD BUT THE DETAIL AND SIZE OF THIS ONE GIVES A REAL SENSE OF IMPORTANCE SO THAT NO ONE COULD WALK PAST THIS WITHOUT LOOKING. I WANTED TO USE THIS AS AN ENTRANCE FOR MY CARNIVAL BUT IT DIDN’T FIT HAVING THAT AS THE ENTRANCE FOR THE TENT SO I HAVE ADAPTED IT AS THE ENTRANCE TO THE TENT WHERE MY CHARACTER FIRST FALLS VICTIM TO TEMPTATION.

THESE ARE SOME SKETCHBOOK SCANS OF SOME OF THE IDEA DEVELOPMENT THAT CAME FROM LOOKING AT THESE WHEN I WAS LOOKING AT WAYS I COULD POSSIBLY DISPLAY MY BOOK FOR THE EXHIBITION.

INSPEKTOR GÃœRTEL - IGOR HOFBAUER THIS SCREEN PRINTED BOOK WAS MY FIRST INTRODUCTION TO IGOR HOFBAUER AND HE HAS SINCE BECOME ONE OF MY FAVOURITE NEW ILLUSTRATORS. AT SOME POINT DURING YEAR TWO OUR TUTOR ROBIN BROUGHT IN A FEW OF HIS ARTISTS BOOKS. THIS WAS ONE OF THEM AND IMMEDIATELY CAUGHT THE EYE OF A LOT OF PEOPLE IN THE STUDIO. ONCE I HAD THE CHANCE TO PHYSICALLY GET MY HANDS ON IT I WAS SOLD. BEING ABLE TO UNFOLD THE ACCORDION DESIGN AND SEE THE VIBRANT SCREEN PRINTED LAYERS I KNEW THAT THIS WAS SOMETHING THAT I WANTED TO DO FOR MY FINAL PROJECT. I LATER ENDED UP PURCHASING THIS AS I WANTED TO GET A CLOSER LOOK AT THE CONSTRUCTION OF IT AS AT THE TIME I WANTED TO MAKE A CONCERTINA TO TELL MY WORDLESS NARRATIVE. THERE IS SOMETHING ABOUT THE FEEL OF THE SCREEN PRINTED PAGES THAT MAKES IT FEEL REALLY PREMIUM AND ITS SOMETHING I WANTED TO ACHIEVE WITH MINE. I THEN WENT ON TO LOOK INTO MORE OF HIS WORK.

MISTER MORGEN - IGOR HOFBAUER THE IMAGE OF A LARGE OPEN MOUTH ENTRANCE INTO CARNIVALS OR CERTAIN RIDES IS ONE THAT REALLY STANDS OUT AND I FELL IN LOVE WITH. IT IS SO SINISTER AND IMPOSING THAT IT SUITS ITSELF WELL TO THE THEME OF A SCARY CARNIVAL. THE DESIGN OF THESE HAVE TAKEN MANY FORMS AND IS AN ICONIC PIECE TO INCLUDE IN A CARNIVAL. THIS IS SOMETHING THAT I STARTED TO DEVELOP AS AN IDEA FOR A DISPLAY FOR THE FINAL PIECE. I WOULD LOVE TO BE ABLE TO MAKE ONE AND HAVE THE FINAL BOOK STOOD INSIDE THE MOUTH. THIS WAS ALSO A HUGE INFLUENCE ON MY COLOUR PALETTE CHOICE. I LOVED THE IDEA OF USING RED AS A WAY TO ACCENT OR HIGHLIGHT CERTAIN OBJECTS OR CHARACTERS BUT I ENDED UP USING IT MORE THAN I HAD INITIALLY INTENDED BUT IT WAS A DECISION I MADE TO MAKE SURE IT WAS ALSO VISUALLY INTERESTING.

ATMOSPHERE ONE OF THE BIGGEST THINGS THAT I AM HOPING TO ACHIEVE WITH MY PROJECT IS GIVING A SENSE OF ATMOSPHERE. I DON’T WANT TO HAVE JUST A SERIES OF IMAGES, I WANT THEM TO GIVE A SENSE OF PLACE. DURING EARLY DEVELOPMENT OF MY STORY IDEA I LOVED THE IDEA OF A STRANGER STUMBLING ACROSS THE CREEPY CARNIVAL AS THEY ARE WANDERING IN THE MIDDLE OF NOWHERE. THE IDEA OF A MYSTERIOUS CIRCUS / CARNIVAL APPEARING IN TOWN IS ONE THAT MANY FORMS OF MEDIA HAS PLAYED WITH BUT IT WOULD SUIT THE STORY. I FEEL LIKE THAT IS THE ONE OF THE THINGS THAT WILL DEVELOP MY WORK TO THE NEXT LEVEL. I WANT TO BE ABLE TO HAVE MORE DEPTH IN MY WORK AND THINGS LIKE THAT IS WHAT I HOPE TO BUILD ON AND MAKE BETTER OVER TIME.

THE DEVIL IN MY EARLY DRAFT OF MY SUMMER ZINE I WAS GOING DOWN A MORE SURREAL PATH HAVING THE DEVIL AS A PHYSICAL CHARACTER THAT GUIDES THE VIEWER AROUND BUT ONCE I DECIDED TO ADAPT THE NARRATIVE FOR MY FMP I KNEW THAT I WANTED TO HAVE IT MORE GROUNDED IN REALITY TO GIVE SOME GRAVITY TO THE BRUTALITY OF WHAT IS BEING DONE. A SURREAL FANTASTICAL SETTING WOULD NOT HAVE BEEN AS EFFECTIVE. I SPENT A LONG TIME DRAWING THE FACE OF THE DEVIL TRYING TO FIND THE RIGHT VERSION FOR MY STORY, SO MUCH SO THAT I CAN DRAW IT IN MY SLEEP. IT IS GREAT TO SEE HOW MANY DIFFERENT ARTISTIC INTERPRETATIONS THERE ARE ONLINE, IT HAS TAKEN SO MANY FORMS SO IT IS A HUGE SOURCE OF INSPIRATION FOR ART STYLES. THE RED WHITE AND BLACK ALSO SERVED AS ANOTHER EXAMPLE FOR THE COLOUR PALETTE THAT WOULD WORK WELL FOR MY BOOK. THE DESIGN THAT I HAVE SETTLED ON IS A COMBINATION OF THE PIECES THAT I HAVE RESEARCHED BLENDING TOGETHER MY FAVOURITE ELEMENTS FROM THE EVIL LARGE GRIN TO THE POINTED HORNS.

VINTAGE CIRCUS / CARNIVAL RELATED OBJECTS I CANNOT BE THE ONLY ONE THAT FINDS VINTAGE TOYS AND OBJECTS SLIGHTLY SINISTER. THIS IS THE SAME FOR VINTAGE PROPS AND CURIOSITIES THAT WOULD BE FOUND IN THAT TIME PERIOD. I THINK THEY ARE VERY INTERESTING AND CAN BE VERY USEFUL IN UNDERSTANDING HOW ORDINARY OBJECTS CAN PROJECT A SENSE OF UNEASE AND MAKE A VIEWER UNCOMFORTABLE. THERE IS SOMETHING SO DISTINCT ABOUT THE VINTAGE CIRCUS STYLE DOWN TO THE COLOURS USED AND THE FONTS. IT ALL CREATES A STRONG VISUAL STYLE THAT I ABSOLUTELY LOVE AND WANT TO USE AS MUCH OF IT AS I CAN FOR MY PROJECT. UNFORTUNATELY I DON’T KNOW HOW MUCH OF THIS I WILL BE ABLE TO FIT INTO MY BOOK BUT IT IS ALL HELPFUL RESEARCH TO GET AN IDEA OF THE THEMES AND ATMOSPHERE I AM TRYING TO ACHIEVE.

TICKETS WHILST RESEARCHING FOR THIS PROJECT I KNEW THAT I HAD TO INCLUDE TICKETS AND I HAD PLANNED TO OBVIOUSLY USE IT DURING THE ENTRANCE OF THE DEVIL’S PLAYGROUND BUT AS I DEVELOPED THE NARRATIVE I CAME UP WITH A CONCEPT OF USING THE TICKETS AS A VISUAL REPRESENTATION OF THE CHARACTER TAKING PART IN THE TWISTED GAMES AND EARNING TICKETS. THAT WAY I COULD SHOW THE AMOUNT AND THE AUDIENCE WOULD EASILY UNDERSTAND THAT HE HAS BECOME OBSESSED WITH EARNING MORE AND COLLECTING AS MANY AS POSSIBLE NO MATTER THE COST. I WAS LOOKING INTO MAKING MY OWN BUT ACTUALLY FOUND SOMEONE THAT SOLD BLANK ARCADE STYLE TICKETS ON ETSY SO I ORDERED 200 AND HAND STAMPED THEM INDIVIDUALLY WITH THE STAMP THAT I HAD MADE OF MY DEVIL DESIGN. THIS WAS GOING TO PART OF MY DISPLAY BY HAVING SOMETHING PHYSICAL SURROUNDING THE BOOK SO THAT IT LOOKS LIKE THEY HAVE BEEN TAKEN DIRECTLY OUT OF THE PAGE.

THESE ARE EXAMPLES OF THE HAND STAMPED TICKETS THAT I MADE TO GO ALONG WITH MY EXHIBITION PIECE. THE STAMP WAS CREATED WITH THE HELP OF MY VERY TALENTED PRINTMAKING FRIEND LAUREN RAKER FROM USA.

THIS IS AN EARLY PAGE FROM MY SKETCHBOOK LOOKING AT POSSIBILITIES OF USING THE TICKETS THIS IS THE TWO LAYER RISOGRAPH PRINT I CREATED THAT WOULD BE SOLD ALONG SIDE MY BOOK AT THE EXHIBITION SHOP. I AM CURRENTLY SELLING THE RISO PRINTS ON MY ETSY STORE.

PRIMARY RESEARCH A WEEK BEFORE THE CORONA VIRUS LOCK DOWNS I WAS OUT BOWLING WITH FAMILY AND PASSED THROUGH AN ARCADE. I STOPPED TO TAKE A FEW PHOTOS OF VARIOUS PARTS THAT I THOUGHT WOULD BE HELPFUL FOR MY PROJECT. BEFORE THE LOCK DOWNS I HAD PLANS TO VISIT THE REAL ZIPPOS CIRCUS SHOW IN LONDON AND VISIT VARIOUS PLACES FOR SOURCES OF INSPIRATION. UNFORTUNATELY ALL OF THESE PLANS BECAME IMPOSSIBLE AND I WAS LEFT TO DO THE MAJORITY OF MY RESEARCH ONLINE. ALTHOUGH THESE ARE MORE MODERN AND CHILDISH THAN WHAT I INTEND TO USE IT IS STILL REALLY HELPFUL TO SEE HOW THEY HAVE ADVANCED AND WHAT ELEMENTS HAVE STAYED THE SAME OVER TIME SINCE THE ORIGINAL BASIC VERSIONS.

TICKET BOOTH THESE VINTAGE ONE PERSON STYLE TICKET BOOTHS WERE SOMETHING THAT I KEPT COMING BACK TO OVER AND OVER. IT FITS THE AESTHETIC SO WELL AND I THINK IT IS INCREDIBLY ICONIC. AN EARLY IMAGE I CAME UP WITH WHEN I WAS DEVELOPING IT FOR MY SUMMER ZINE WAS STARTING WITH A TICKET BOOTH TO REPRESENT ENTERING THE PLACE AND A SKELETAL HAND PASSING A TICKET TO YOU. IT IS SOMETHING THAT I KEPT AND DEVELOPED TO SUIT THIS VERSION BUT I WAS DETERMINED TO KEEP IT AND THE IMAGE OF THE TICKET BOOTH BECAME MY FRONT COVER AS IT SUMS UP ENTERING A CARNIVAL / CIRCUS / FAIR AND NOT KNOWING WHAT LIES BEYOND. THE RED, WHITE AND BLACK COLOUR SCHEME ALSO FITS MY PALETTE AND THE TYPOGRAPHY USED FOR THE TICKET SIGN WITH THE LIGHTS AROUND ARE STUNNING.

THESE ARE A FEW SKETCHBOOK PAGES DEVELOPING THE IDEA OF A DISPLAY STAND THAT IS STYLED TO LOOK LIKE THE TRADITIONAL TICKET BOOTHS. ONE THE NEXT PAGE YOU CAN SEE THE 3D MODEL THAT I CREATED BY LAYERING PIECES OF FOAM BOARD ON TOP OF EACH OTHER TO HELP GET AN IDEA OF SCALE. I HAD PLANS TO MAKE THIS OUT OF WOOD WITH THE HELP OF MY UNCLES WOODWORK TOOLS BUT DUE TO THE LIMITATIONS AND STRUCTURE OF THE EXHIBITION THAT WAS PLANNED I COULDN’T DO IT.

JOANNA GRODECKA WHILST THERE ISN’T MUCH I COULD RESEARCH ABOUT THIS ARTIST I FELL IN LOVE WITH THESE PIECES FROM A SERIES CALLED RED - CITYSCAPES THAT I CAME ACROSS ON HER BEHANCE PAGE. I CAME ACROSS THESE AFTER I HAD STARTED WORKING ON MY FINAL PIECE AND I LOVED HOW SHE HAD USED THE GRAINY BLOWS JUST LIKE I HAVE IN MINE. ALSO WITH A VERY BASIC COLOUR PALETTE SHE HAS CAPTURED A REALLY STRONG SENSE OF ATMOSPHERE WHICH I HOPE I HAVE ACHIEVED WITH MINE. ONE OF MY FAVOURITE THINGS ABOUT THEM IS HOW LEGIBLE THEY ARE FROM A DISTANCE DUE TO THE STRONG SILHOUETTES OF THE IMAGES. THEY WOULD WORK JUST AS WELL AS BLACK AND WHITE IMAGES AND THAT TO ME IS A SIGN OF STRONG ILLUSTRATION.

VORACE - BRULEX I AM NOT REALLY AN IMPULSE BUYER. BUT WITHIN 5 MINUTES OF SEEING THIS SCREEN PRINTED BOOK I HAD ORDERED IT. IT LOOKED ABSOLUTELY STUNNING AND ONCE I HAD IT IN MY HANDS I KNEW THEN I NEEDED TO DO A SCREEN PRINTED BOOK. THIS BECAME MY MAIN EXAMPLE OF WHAT I HAD PLANNED TO ACHIEVE AS MY FINAL PIECE. UNFORTUNATELY DUE TO THE QUARANTINE AND HAVING TO CLOSE THE CAMPUS I WAS UNABLE TO CREATE WHAT I HAD PLANNED. I AM STILL HOPING TO RETURN AT SOME POINT AND PRINT IT BUT I WILL NEED TO REWORK MY DESIGNS AS I MADE THEM SLIGHTLY MORE COMPLEX KNOWING THEY WOULD BE SUBMITTED DIGITALLY. THIS ALSO BECAME A TEMPLATE OF WHAT I AIMED FOR IN TERMS IN WORDLESS NARRATIVE ALTHOUGH THIS IS A LITTLE MORE SURREAL AND WACKY THAN WHAT I HAVE DONE.

CIRCUS TENTS THE CIRCUS TENT IS A WIDELY RECOGNISABLE IMAGE BUT ONE THAT TAKES VARIOUS FORMS AND EACH ONE CAN LOOK DIFFERENT AND UNIQUE. THIS IS THE SETTING OF MY STORY SO I NEEDED IT TO LOOK GRAND AND IMPOSING SO I SPENT A LOT OF TIME RESEARCHING AND DECIDING HOW I WANTED MINE TO LOOK. THE INTERIOR IS ALSO JUST AS IMPORTANT SO I MADE SURE TO HAVE REFERENCES FOR THAT TOO.

GRAPHIC NOVELS WHILST I AM TAKING A LOT OF THINGS FROM GRAPHIC NOVELS I WANTED TO AVOID RELYING ON THE FORMAT TOO MUCH AS I DIDN’T WANT TO CREATE JUST A GRAPHIC NOVEL, I WANTED TO CREATE SOMETHING A LITTLE MORE. I HAVE BEEN USING GRAPHIC NOVEL COVERS AND ILLUSTRATIONS AS INSPIRATION FOR COMPOSITION AND THESE EXAMPLES STOOD OUT TO ME. IT LENDS ITSELF WELL TO MY WORK WITH THE HIGH CONTRAST LIGHT AND DARK SECTIONS AND THE PLAY WITH LIMITED COLOUR. THEY ALSO CREATE VERY DRAMATIC ATMOSPHERIC SCENES WHICH IS A GREAT HELP FOR WHAT I AM TRYING TO ACHIEVE.

CONEY ISLAND FACE WHILST THINKING ABOUT CARNIVALS AND FAIRS I REMEMBERED THE ICONIC FACE OF CONEY ISLAND. WHILST I HAVE DONE SOME DIGGING INTO THIS FACE THERE IS SO MUCH HISTORY BEHIND IT AND IT IS HONESTLY CONFUSING. SOME PEOPLE REFER TO IT AS THE TILLIE FACE BUT OTHERS SAY THAT IT IS THE STEEPLECHASE FACE. FOR SOMETHING SO SMALL THERE SEEMS TO BE QUITE A LOT OF INCONSISTENT INFORMATION ONLINE. REGARDLESS I DECIDED THAT I WANTED TO CREATE A DEVIL’S FACE AS A MASCOT FOR MY CARNIVAL AND USED THE LARGE EXAGGERATED SMILE OF THIS ONE AS THE BASIS FOR MY GRINNING DEVIL. I CONTINUED TO DEVELOP IT AND SLOWLY MORPHED IT INTO THE DEVIL FACE THAT I HAVE TODAY.

EARLY SKETCHBOOK TESTS SLOWLY TURNING IT INTO THE DEVIL CHARACTER

GREETINGS FROM POSTCARDS THROUGH DEVELOPING MY STORY I WANTED TO CREATE THE DEVIL’S PLAYGROUND ALMOST AS A TWISTED HOLIDAY DESTINATION. THE IDEA OF THESE POSTCARDS CAME TO MIND AND THE THOUGHT OF SENDING A POSTCARD TO FAMILY AND FRIENDS FROM A PLACE THAT IS DESIGNED TO MANIPULATE AND DRAW PEOPLE IN SEEMED APPROPRIATE. I HAVE ALWAYS LOVED THESE POSTCARDS SO IT WAS A FUN CHALLENGE TRYING TO CREATE MY OWN. AT THE TIME I DIDN’T HAVE MY FINAL ILLUSTRATIONS SO I DIDN’T HAVE ENOUGH WORK TO PUT ILLUSTRATIONS WITHIN THE LETTERS I INSTEAD PLAYED WITH THE BACKGROUND AND THE SHAPE AND FLOW OF THE TEXT.

THIS IS MY DESIGN FOR THE POSTCARD. I STUCK WITH MY COLOUR PALETTE FOR THE BOOK SO THAT IT GOES ALONGSIDE IT NICELY. I HAD INTENDED TO USE THESE TO SEND OUT TO PUBLISHERS AND FAMILY AND FRIENDS AS A WAY TO INVITE THEM TO THE FINAL EXHIBITION AND GIVE THEM A LITTLE BIT OF INFORMATION ABOUT MY BOOK. I AM STILL PLANNING TO PRINT THEM TO SELL ALONG SIDE MY BOOK WHEN I HAVE THE CHANCE AFTER GRADUATION.

BUDDHISM EXHIBITION - THE BRITISH LIBRARY AS PART OF OUR LONDON TRIP WE WENT ALONG TO THE BRITISH LIBRARY TO VIEW A BUDDHISM EXHIBITION. IT CONTAINED MANY ANCIENT HAND PAINTED SCRIPTS. MANY OF THEM LOOKED LIKE ENORMOUS ELABORATE CONCERTINA BOOKS WHICH LINKED IN PERFECTLY WITH WHAT I WAS PLANNING TO DO AT THE TIME. BEING ABLE TO LOOK AT THESE DOCUMENTS UP CLOSE AND SEE THE DETAIL IN THE INK AND THE CARE AND ATTENTION THAT WENT INTO THESE WAS A GREAT EXPERIENCE AND MADE ME THINK ABOUT HOW LONG HUMANS HAVE BEEN TELLING STORIES AND USING ILLUSTRATION TECHNIQUES EVEN BACK THEN.