Embedded Files
Creating my FMP
Creating my FMP
My initial ideas
My initial ideas
I formed my initial ideas using a mixture of previous units and interests. I also found it helpful to search apps like Pinterest for inspiration, I typed in some of my interests and 'project ideas' to do this.
I decided to make a mood board using the images I found, this meant that I could view the things that I liked and visualise my final idea. Actually being able to see the kind of things I liked and wanted to include, I was able to make connections. This helped me realise that my ideas should probably include something both visually aesthetic and able to provide some kind of insight or inspiration.
My list of ideas:
My list of ideas:
A magazine- This could be a remake of another magazine.
A fashion brand- Bringing back older vintage trends in a modern way and marketing them to a younger demographic.
Book illustrations- Young adult books, showing the process of creating graphics for a book that already exists.
Book Cover business- Remaking popular book covers but adding a new twist or element onto each one.
A poetry zine- Including a mixture of poetry, could also be a collection based on different concepts that all link.
Website making business- Making new websites or recreating old websites that already exist but for a different demographic.
Podcast- In the genre of motivational or relatable.
Video Essay- Discussing the importance of art and graphic design throughout history and how it remains relevant.
Miniature documentary- Exploring art, incorporating visuals and interviews.
A collection of hand-painted posters- A collection inspired by an existing brand or Known person or a creation of my brand.
Poetry and design book- Showcasing different poems alongside aesthetic visuals that present the ideas and feelings of the writings.
A photo book- A scrapbook-style showcase of life, including nature, people, art and quotes that represent what the image is conveying.
A Newspaper- Including an array of old headings and stories presented with more visuals. Each segment represents a different period and as it goes on the visuals become brighter and more modern.
Product packaging redesign- Improving the packaging of an existing product, creating new visuals and branding.
Concept for a new game or film- Creating characters, environments and promotional material.
Event branding and Promotion- Designing posters, social media graphics, and merchandise for a fictional or real event.
After creating a a list of ideas, I was able to narrow it down. My process when narrowing my initial ideas down was selecting ideas that was realistic in the time I had, doable in terms of my resources and relevant to both the course and my interests. I could also improve my justifications this way and take more time to reflect on what would be the best topic for my FMP.
My Final 5:
My Final 5:
newspaper
Book cover business
poetry zine
photo book
Poetry and design book
My Final 3:
My Final 3:
A newspaper.
The newspaper would explore different periods, showcasing how journalism, graphics, and printing have improved over time. I plan to do this by researching newspapers and articles from various periods and recreating similar elements. After this, I would recreate the different pages and place them together in chronological order. I think this would be interesting as it could present how the industry has changed and improved over time. It could also demonstrate the skills I have learned through previous units.
Poetry zine.
I would make a series of zines that include designs, an array of textures, and, of course, multiple short poems and quotes. This would not only showcase the design skills I have learned throughout my course but also inspire me. I would complete this by first having a concept or idea for each of my zines. After this, I would just need to create designs that could link to each of the short poems and the overall concept.
Poetry and design book.
My poetry book would contain lots of visuals as well as poems, for this I could include photographs, paintings, drawings or even physical art e.g. dried flowers or feathers. Of course, this would be alongside the actual poetry itself. I could incorporate different stylistic choices when it comes to both the content of the poetry and the layout of it with the designs. I would need to research different book covers, and artwork in poetry books and poets- this way I can gain the knowledge and inspiration needed to create my own. I think this could be entertaining and relatable for an audience.
After reviewing all of options and looking back at my initial mood board, I decided that I wanted to make a poetry book. I decided this would be a good idea because it involves something I enjoy as well as something I can learn from and apply knowledge gained from previous units.
My Proposals
My Proposals
Draft proposal one- dncolleges-my.sharepoint.com/:w:/r/personal/dc40084582_student_don_ac_uk/Documents/Proposal%20FMP%20Draft%20Newspaper.docx?d=w7ae7174c122c486f961b6b2fc0b5cdde&csf=1&web=1&e=N5fak3
Draft proposal two-
Draft proposal three-
After preparing my draft proposals, I focused on developing a presentation. My goal was to ensure that the audience had a clear understanding of my idea and the steps I would take to complete my final product. To create my presentation, I used a website called Gamma. I first signed up and set the number of slides to eight. I felt this was a good amount; it would keep the presentation concise enough to avoid boring the audience, while still providing enough detail for a thorough understanding of my project idea. Afterwards, I entered my ideas into the search bar, which generated a basic layout for my presentation. I referred to my draft proposal to outline the necessary steps, my project's outcome, and the reasons for its creation. I found the draft proposals helpful as they provided a basic outline of my process and ideas that I could expand on in my proposal presentation. I finally decided to add images to make the presentation visually appealing to the audience. Knowing that they would likely have questions after my presentation, I prepared by sharing it with friends and family first. This helped me anticipate the questions my peers and tutors might ask.
Project Action plan and timetable
Project Action plan and timetable
I created a project action plan and timetable to plan my time and use it effectively.
Research
When it came to my research, I knew it was essential to have a structured research plan along with a research log. I reviewed previous poetry books and scrapbooks to gauge what I needed to investigate. Additionally, I watched a few reviews of books similar to my concept to identify popular trends and take notes for my research plan. I primarily focused on secondary research, knowing I could gather primary research while exploring my secondary sources.
Based on this, I developed a research plan to guide me and ensure I stayed on track:
1. **Poetry, Art and historical movements**: Read and analyse poets' use of form and structure, and explore poetry books that incorporate visual elements.
2. **Graphic Design and Layout**: Examine the layouts of poetry books and research the differences between minimal and experimental designs.
3. **Mixed Media and Art Techniques**: Discover ways to visually enhance my book by studying artists who blend text and art, while also exploring colour theory and visual storytelling.
4. **Industry Research**: Investigate how poets utilise social media to market their work and consider strategies for presenting my own work online.
Although this research plan is vague, it is still direct and ensures I stay on task.
Formatting techniques.
Formatting techniques.
I realised it was important to understand how to format poetry, especially since I want my work to be visually appealing. I decided to watch a video on line breaks and spacing in poetry to learn how formatting can influence the way a poem is read, and I hope to apply this knowledge to my writing.
I realised it was important to understand how to format poetry, especially since I want my work to be visually appealing. I decided to watch a video on line breaks and spacing in poetry to learn how formatting can influence the way a poem is read, and I hope to apply this knowledge to my writing.
The layout of a poem can affect its pace, which in turn impacts how it is perceived and its overall impact. For instance, using shorter lines and less spacing can create more tension, although this might make the opening and closing lines less powerful. The desired reading experience often depends on the content and emotion conveyed in the poem. In my poetry book, I plan to include a mix of poems that cover a variety of emotions and themes. This means I will need to incorporate different types of pacing to enhance the impact of each piece.
I also learned that line breaks can establish a different tone and draw attention to specific words or phrases. Additionally, line spacing can create a visually appealing aspect, which would benefit my book. A poem without any line breaks or spacing tends to be read more quickly, which can diminish its emotional impact.
From my research, my main takeaways are that it would be helpful for me to use a variety of spacing and layouts. This approach will not only keep the audience interested but also help convey the intended tone and message.
Typography in poetry
Typography in poetry
has allowed me to explore the impact of layout and typography on poetry could greatly enhance my work. I want my poetry book to be filled with interesting and inspiring visuals, and I also want my poems to evoke sensory experiences that align with their themes. Therefore, typography will be crucial in transforming the book from a traditional poetry collection into a combination of graphics and poetry. I found a video that explains the role of typography in poetry and its significance, which I believe will be a helpful first step in this process.
has allowed me to explore the impact of layout and typography on poetry could greatly enhance my work. I want my poetry book to be filled with interesting and inspiring visuals, and I also want my poems to evoke sensory experiences that align with their themes. Therefore, typography will be crucial in transforming the book from a traditional poetry collection into a combination of graphics and poetry. I found a video that explains the role of typography in poetry and its significance, which I believe will be a helpful first step in this process.
I found that typography in poetry enhances meaning through visual text arrangement. When typography is used to enhance the meaning of a poem, it is known as typographic or concrete poetry. In creating concrete poetry, the layout, fonts, and spacing all contribute to the reader's experience. While the words themselves can connect to the poem's meaning and purpose, they also function as separate visual art forms.
The arrangement in typographic poetry is just as important as the words themselves. One key aspect of a typographic poem is the use of blank spaces, which create specific effects, influence the pace of the poem, and lend significance to certain keywords. The arrangement should be intentional and reinforce the impact of the words. For instance, the word "hell" might be written upside down to symbolise disorder.
I realise that my book could benefit from this type of typography, especially after seeing some examples. It could be a straightforward method to visually enhance my work. Background choices, such as using old newspapers, could also enrich thematic elements and have similar effects. I plan to draw a lot of inspiration from Ian Hamilton Finlay's work and might use programs in the Adobe suite to develop my typography.
Ian Hamilton Finlay
Ultimately, poetry aims to create an impact on the reader, and concrete or typographic poetry serves as a new way to enhance that impact. Concrete poetry is a subset of typographic poetry that emerged in the 1950s and 1960s, featuring artists like Ian Hamilton Finlay. Other notable poets associated with this style include Mary Ellen Solt and Augusto De Campos. Ian Hamilton Finlay, born in Nassau, Bahamas, in 1925, grew up in Glasgow and the Orkney Islands. In the 1960s, he became one of the leaders of the concrete poetry movement and, over the next 40 years, established himself as one of Scotland's most distinguished artists.
For example, in Finlay's 1966 piece titled "Acrobats," he uses the letters in the word "acrobat" to mimic the dynamic movements of acrobats, giving the piece a playful and exciting tone. Another work, "Unda," installed at the University of California, San Diego, features the Latin word "unda," meaning "wave," carved into stone blocks. The arrangement and form of the letters create a ripple effect, embodying the concept of waves.
1966, Ian Hamilton Finlay, Acrobat
Unknown date, Ian Hamilton Finlay, Unda
Although some of Finlay's works may seem simple, he was a pivotal figure in the concrete poetry movement, transforming basic words into a multidimensional experience that provides both intellectual and sensory engagement. His work challenges traditional structures and invites readers to engage with poetry in new ways.
Surrealism, cubism and influential figures.
Surrealism, cubism and influential figures.
After learning more about typography, I realised it would be beneficial to explore the concept of combining image and text as a cohesive whole, focusing on individuals who excelled in this area. This led me to delve into surrealism, where one particular figure stood out to me.
Guillaume Apollinaire was a French poet, playwright, short story writer, novelist, and critic. He was born in August 1880 in Rome, Italy, and passed away in 1918 at the age of 38. Apollinaire is credited with coining the term "surrealism." He skillfully combined text and image in his poetry, which seemed to foreshadow the artistic revolution that would follow. Surrealism is a movement that seeks to express the unconscious mind, featuring themes of imagination and the romanticism of everyday life. Apollinaire explained the cubist and surrealist movements to the world while also defending young artists against an often narrow-minded and xenophobic public. As a poet, Apollinaire was passionate about all forms of art and medieval literature, particularly calligraphy and illuminated initials. As a visionary, Apollinaire recognised a gap between two artistic institutions: the popular artwork of his time and the emerging expressions found in surrealism, cubism, and new inventions such as cinema and the phonograph.
To bridge this gap, Apollinaire created his most significant contribution: the calligram. He developed the calligram as a poem that takes on a pictorial form, essentially a written portrait. Through this innovative approach, he sought to express his modernism and to push the boundaries of poetry beyond traditional text and verse.
Some of Apollinaire's work:
Some of Apollinaire's work:
This first piece features a vase of flowers. At first glance, it may be simply visually appealing, but there is much more to it. The colours are rich and layered, adding depth to the artwork. They bring the piece to life, transforming the image into its own story, like a poem that unfolds even before you read the written work. As Apollinaire was French, his work is written in French; however, I have found translations of the poem that I will later annotate. Focusing primarily on the visual aspects for now, it is clear that the stanzas outside of the vase are depicted as stems supporting each beautiful and vibrant petal, keeping them stable. The image does not strive for perfection or adhere to traditional boundaries like typical poetry or art. Instead, it reflects the content of the poem, highlighting themes of fragility and decay.
The handwritten typography reinforces the notion of fragility and defies traditional expectations in poetry, showcasing Apollinaire's views on the Surrealist movement. This handwritten style also conveys a sense of nostalgia and feels deeply human, allowing for a connection with viewers from various backgrounds. While flowers are traditionally seen as symbols of beauty, Apollinaire's representation does not strive for perfection; this effectively illustrates the theme of the fragility of beauty within the poem, even before it is read.
The colours blue, red, and green convey a meaningful message in the poem. The blue vase, located at the bottom of the image, often signifies calmness or melancholy. As we move up the painting, the green stems represent growth, and finally, the red petals symbolise passion and life. Even before reading the poem, these colours collectively tell a story and communicate a message. This quality is something I admire about Apollinaire's calligrammes, and I want to incorporate this style into my work. Analysing the poems makes Apollinaire's message even clearer.
After finding a translated version of the poem and the text, I copied it into Word to analyse each phrase and keyword. This approach allowed me to uncover the underlying message of the piece. Each image conveyed through the text not only reflected a visual representation but also imbued it with a complex character and backstory. The piece represents something much larger than flowers, but it uses this symbolism to make it easier for the readers to digest and imagine the message.
I wanted to explore some of Apollinaire's work because he played a significant role in the development of surrealism. Through my analysis, I not only gained a better understanding of his impact but also clarified the types of poems and graphics I want to incorporate into my final major project (FMP). I am particularly drawn to the idea of scattering words across images, which I plan to use in my own work. I can achieve this by creating my pictures using physical media to capture the nostalgic essence of Apollinaire's art, and then digitally converting them in the Adobe suite, where I can add typography.
Its not only the layout that I will be taking inspiration from, Apollinaire demonstrates emotive imagery that is heightened when paired with the painting. The themes and message become clearer with the poem- adding more depth to an asthetically pleasing piece.
The woman in the hat
I chose this second piece because it is visually distinct from the first calligram. It showcases the versatility in Apollinaire's work and gives me examples to better understand the various ways I could achieve a similar effect.
The image depicts a woman wearing a large hat, which may suggest that her identity is complex and shaped by words, memories, and perceptions. The exaggerated size of the hat dominates the image, representing how others perceive her. This emphasis on the hat indicates that she feels her perceived image is her identity, reflecting a declining sense of self. This is further shown as the woman's features appear to be made up of words, again showing that the woman's identity is a projection of how the world or society sees her.
Lastly, using a calligram as a portrait encourages readers to spend more time understanding the subject, as the line between seeing and reading becomes blurred. This could be another way that Apollinaire suggests the complexity of the woman’s character and how deeply she is affected by society's perceptions of her.
Unlike the first piece, this one is solely in black and white, which conveys a sense of mystery. It leaves a haunting presence that lingers in the viewer's mind after they see it. The vibrancy of the other piece expresses emotion, while the lack of colour here suggests an absence of emotion, implying that the woman is emotionally distant and unsure of her identity. Once again, Apollinaire communicates a message through his work without needing to have it explicitly read. When I later go to annotate the poem, the message becomes clearer once more.
After analysing the translated poem, it is obvious that Apollinaire used his images to further support his messages in the poem.
After learning about Apollinaire's work and the movements he coined and celebrated, I realised it was essential for me to explore those movements and understand their significance. This exploration would inspire me in my own work. I began by looking into surrealism, which André Breton, the leader of the movement, defined as "psychic automatism in its pure state, by which one proposes to express verbally, using the written word, or in any other manner—the actual functioning of thought."
In practice, this means that accessing the unconscious mind allows for techniques like automatic writing, which Breton refers to as automatism. This approach helps artists embrace chance in their creative processes. I was surprised to discover that Sigmund Freud profoundly influenced the surrealists, especially through his book "The Interpretation of Dreams." Written in 1899, Freud legitimised the importance of dreams and the unconscious mind as valid expressions of emotion and desire, providing a theoretical foundation for much of surrealism.
Important Art in Surrealism.
Important Art in Surrealism.
I decided it was important to learn about key surrealist pieces by various artists, allowing me to make my own interpretations and identify elements for inspiration in my own work.
(Andre Brenton, The leader of the surrealist movement).
Persistence of Memory, Salvador Dali
This artwork is one of the most famous and significant pieces in surrealism, primarily because it embodies the movement's fascination with dreams, time, and the subconscious. Dali's painting explores his perception of time; the melting clocks hanging from tree branches and draped over a horse's back represent the natural decay of time and Dali’s interpretation of linear time. The piece has a dream-like quality, reflecting surrealism's interest in the subconscious. Similar to Apollinaire's work, the visuals are poetic, and Dali narrates a story that invites interpretation and contemplation of time.
Both Dali's and Apollinaire's works inspire me to combine visuals and words to enhance meaning rather than treating them as separate entities. I feel profoundly inspired by surrealism and intend to incorporate this influence by blending text with abstract forms and symbolic imagery, much like Dali and Apollinaire do. My goal is to use imagery to challenge reality and create space for introspection, allowing viewers to draw their own interpretations.
The Treachery of images, Renee Magritte
I chose this piece because it offers a different perspective compared to both Apollinaire's and Dalí's works; it showcases the more analytical and direct nature of surrealism. The image depicts what appears to be a pipe, but the message below it, "Ceci n'est pas une pipe," translates to "This is not a pipe" in English. While this statement seems straightforward, it challenges viewers to reconsider their ideas about identity, suggesting that things are not always as they appear. When we apply this logic to people rather than objects, it conveys the idea that individuals are complex and layered, shaped by our memories, perceptions, and societal expectations. This interpretation aligns closely with the surrealist movement's exploration of memories and identity.
Another way to interpret Magritte's message is to highlight that words do not always reflect the truth. This suggests that our perceptions, mental frameworks, or the words of others can easily mislead us. Much like my intention for my own work, this piece not only focuses on what can be seen but also on how it is interpreted. Similar to Apollinaire's work, it combines written words and visuals to tell a story; however, without the words, the meaning could be understood entirely differently.
In my own work, I plan to draw inspiration from Magritte's challenge to literal interpretation. I could achieve this by painting an image and using contradictory written text to create a sense of distortion. The handwritten typography in the painting also resonates with me; I could incorporate this element in my project to indicate that what something is doesn't always align with what it represents.
Cubism and impressionism in poetry and art.
Cubism and impressionism in poetry and art.
Before moving on to the next elements of my research, I thought it was important to explore a few more poetic methods. These movements are prevalent in various forms of art, including both written poetry and visual arts. Before conducting this research, my knowledge of cubism was limited to its depiction in Pablo Picasso's work. However, I learned that cubism is an art movement that debuted in 1907 and is characterised by fragmented subjects that are deconstructed in a way that allows them to be viewed from multiple angles simultaneously, much like Picasso's most famous pieces. Cubism was pioneered by both Pablo Picasso and Georges Braque, so I decided to examine some of their works to gain a better understanding of how cubism manifests in practice.
les demoiselles d'avignon, Pablo Picasso, 1907
I chose this piece because of its historical significance and relevance to cubism. "Les Demoiselles d'Avignon" is famously known as the birth of the Cubism movement. This painting was considered the first masterpiece of the 20th century, completely challenging traditional standards in art at the time. Picasso uses geometric shapes and figures instead of linear forms, making him stand out in an era when realism was most common. However, for Picasso, it wasn't just about challenging traditional art standards. He depicts the women in the image wearing African tribal masks, thereby challenging Western ideals of beauty.
The painting is effective due to its unconventional elements of beauty. The prominent shapes exemplify the subtle statements he presents in his art. Before I learned about cubism and Picasso's work, I could still recognise this as his piece, which is another reason why he and this painting are so admired. Picasso didn't conform to norms; he created his own style and movement that is recognisable even to those who are not deeply familiar with the theoretical aspects of cubism.
Picasso's use of fragmented bodies embodies the essence of cubism and also reflects the perception of women, especially those who did not conform to Western standards of beauty, at that time. The blunt lines and blending colours suggest that while these women are unique and stand out in their own ways, Western society tends to group them and tries to homogenise their identities.
What distinguishes this from surrealism is that it does not rely as heavily on the actual subject to convey a story; instead, it focuses on how the subjects are depicted. Nevertheless, similar to surrealism, it invites interpretation and uses form to convey a message. When creating my own visuals, I am inspired by how cubism tells its story through abstract shapes and bold outlines, and I definitely see the possibility of incorporating these elements into my own designs.
Violin and candlestick, Georges Braque, 1910
This piece was developed collaboratively by Picasso and Braque, and I chose to focus on it because it demonstrates the versatility of the Cubism movement. This artwork exemplifies analytical Cubism, which was the first phase of Cubism, spanning from 1908 to 1912. Analytical Cubism fractures the subject into multi-layered, angular surfaces, as evident in this work. Unlike other styles or pieces I've examined in my previous research, this artwork is less direct; it encourages the viewer to dissect the image. This characteristic challenges the notions of perception and interpretation. Braque's approach invites the audience to analyse the image, making a statement that art is meant to be perceived and examined rather than simply viewed.
The shapes remain bold, similar to those in Picasso's works; however, they are even more fragmented, requiring a deeper exploration to understand and appreciate the piece. This artwork also heavily relies on shadows and the shapes visible within the broken fragments. In my own work, I aim to draw inspiration not only from the physical aspects of this piece but also from the concepts it conveys. I could utilise the idea of fragmentation to reflect themes of emotion and identity in my artwork and poetry.
The last movement I was interested in exploring is Impressionism. I decided to watch a video that explained what Impressionism is and how it first developed. I learned that Impressionism was a movement founded in the 19th century, characterised by loose brush strokes and a lightened palette, often using pure and intense colours. Originally, Impressionists were seen as rebels by many art critics, who often described their work in a derogatory manner. This backlash stemmed from the fact that Impressionists abandoned traditional linear perspective and avoided clear forms, leading many critics to feel that the work appeared unfinished and unworthy of value at that time.
The Impressionists not only created their own movement but also defied the official Paris Salon by organising their own independent exhibitions. This initiative was eventually recognised as the first modern art movement. The movement officially began in April 1874 and continued to gain popularity. In its early stages, many Impressionist artists were primarily drawn to landscapes, seeking ways to capture light, weather, and the passage of time on canvas. However, by the 1880s, artists began to look beyond landscapes while still employing their unique techniques of brushwork, vibrant colours, and a sense of everlasting light. Ultimately, Impressionism aims to capture the essence of a fleeting moment.
Through completing my research, although different elements of different movements and styles had inspired me, the idea of capturing fleeting moments stood out to me and fits my ideas for my final project really well. Just like I have done previously, I wanted to take a deep dive into some impressionist art that stands out to me and fits my theme.
Impression, Sunrise by Claude Monet, 1872
This reflection on natural beauty was quite uncommon at the time. In my opinion, this depiction of nature is relatable, as many people have likely seen a similar view in their own lives. However, it romanticises the scene by using a soft, dreamy effect.
I feel a strong connection to this piece because of its soft qualities, which inspire me greatly. In my own work, it is important for me to evoke feelings and immerse the viewer in emotions. I aim to achieve this by using soft colours, similar to Monet, to create a dreamy and nostalgic atmosphere. Additionally, I want to romanticise everyday and common subjects by adapting my language to ensure it is soft and dream-like. I may also utilise blending techniques reminiscent of those found in Impressionism, reflecting the blending in my artwork.
I chose this piece for several reasons. This painting is where the term "Impressionism" originated. As mentioned previously, critics often mocked the work of Impressionists. When Monet first painted this work, a critic derisively referred to it as Impressionism, which ultimately became the name for an entire artistic movement. Because of this, the painting holds significant historical importance and admiration as the first Impressionist painting ever created.
The artwork depicts a beautiful scenic view of Le Havre, a port city in northern France. Monet masterfully captures the mist, reflections in the water, and the sun setting on the tide. This art style resonates with me because, unlike surrealism or cubism, it does not aim to convey a specific message but rather to evoke a sensory experience. As a viewer, this piece feels almost nostalgic, like a memory I didn’t know I had or as if I am being drawn into the painting. Monet uses oil paints, employing light brush strokes and a lighter palette, which are unique characteristics of Impressionism. I think all of the characteristics together add to the sensory depth of the piece.
Mini research reflection
Mini research reflection
Before moving on, I wanted to take a moment to reflect on my research so far and explain how my concept has developed through this knowledge. Initially, I had only a vague understanding of surrealism, cubism, and impressionism. However, I now feel that I have a strong grasp of these movements and their historical significance.
I have researched influential figures, such as Ian Hamilton Finlay, who has deepened my understanding of how typography can be utilised in art. In contrast, artists like Monet and Dali have demonstrated how images can convey powerful messages on their own. Additionally, Apollinaire has shown me the interplay between written poetry and visual art, illustrating how they can support each other.
Originally, I had a clear idea of my project but lacked the theoretical knowledge and terminology to articulate my thoughts or identify their origins. In my own work, I plan to incorporate surrealist techniques, portraying deep meanings through imagery. I am also inspired by the cubism movement and intend to use it to explore themes of fragmented identity and distortion. Most significantly, I feel a strong connection to impressionism, and I plan to use a light colour palette to create a dreamlike effect that immerses the viewer.
This knowledge will also apply to the rest of my research. Moving forward, I aim to focus on graphics and layout specifically. With my research, I now feel more confident in my ability to use theoretical language to identify and annotate modern poetry and graphic novel layouts.
Graphic design and Layout
Graphic design and Layout
After I researched historical movements and their impact on art and literature, I decided to explore examples of layout and graphics in modern poetry books. I wanted to examine a range of styles, focusing on both minimalist and more experimental approaches. This exploration will inspire other books with similar themes and target demographics. In my poetry book, I aim to delve into deeper ideas, drawing inspiration from the examples found in surrealist and impressionist art.
I wanted to choose layouts from books that aligned with my ideas, as I believed they would attract a similar demographic to my own book. To find these examples, I utilised various websites and blogs, aiming to complete annotations for both the book covers and the internal layouts.
Internal layouts
Internal layouts
Gris Muñoz's Coatlicue Girl. Design by Matthew Revert.
I chose this layout because it features a balanced two-page spread. The illustration is primarily focused on the right-hand side, while the poem is positioned on the left, leaving ample margins that enhance readability. Using both pages in this balanced manner gives the layout a structured, intentional, and symmetrical feel. This design appears minimalist, allowing the poem to carry significant physical and emotional weight.
The illustration evokes a strong sense of sadness, depicting tears slowly falling into an alcohol bottle. Its lack of color contributes to the minimalist aesthetic, which reinforces the somber and numb emotional tone of the page. The absence of color ensures that the viewer is not distracted from the image. The illustration seems to employ a pen and ink etching style, utilizing lines and cross-hatching to create depth. The bold lines and clear shape definitions in the image remind me of the way the Cubism movement uses geometric shapes and figures. This art style lends the illustration a raw and handcrafted quality that reflects the poem's tone.
The choice of a serif font adds a serious tone, reminiscent of classic literature and poetry. The short length of the lines creates a gentle, staggered rhythm that supports the intimate and raw feel of both the poem and the illustration. After translating the poem into English, I found that both the illustration and the poem convey a distilled sense of sorrow and sadness, mirroring each other and enhancing the emotional impact through deep symbolism.
The gaze of the woman in the illustration creates a narrative that draws the reader into the poem. Additionally, the label on the alcohol bottle and the depiction of the agave plant reference Mexican culture, giving both the piece and the woman an identity. This reminds me of how Picasso incorporated culturally significant images into his work to provide meaning and identity. The poem also effectively uses negative space, which I believe is a powerful element; it prevents the piece from becoming overly cluttered and maintains a calm atmosphere, reinforcing the ideas of numbness and distance. In the image below, I have highlighted the use of negative space.
In my layout, I aim to create meaning through negative space. I do like the idea of utilising both pages; however, to modernise my illustrations, I like the idea of using a scrapbook style, just like in my original mood board. The binding used in a scrapbook-style book may not allow me to create a two-page spread. I plan to make a scrapbook style to both keep it modern and create that same raw feeling that this layout and illustration convey.
Olga Tamkovich, In the wild forest, layout and illustrations
I recently explored a book that captivated me with its vibrant colours and beautiful layout. I highlighted several specific pages that inspired me, particularly enjoying the two-page spread with its illustrated page break. While the illustrations vary, their aesthetic and style remain consistent throughout the book.
In my poetry book, I aspire to incorporate a similar cohesive style, drawing inspiration from the artistic movements I've studied before. The illustration featured in the double-page spread appears to be influenced by surrealism, reminiscent of Salvador Dali's work, particularly due to its symbolic depiction of animals fleeing from fires and danger. This page break effectively provides a pause from the poetry while still telling a visual story that keeps the reader engaged.
The poems are set in a serif font, akin to the previous layout, which lends a classic and serious tone—something I've observed in many poetry books. This typography creates a sense of space, allowing the poems to stand apart and be appreciated fully. I believe this layout may have been initially created using paints, pens, and other physical media before being digitally scanned, as the poems are typed alongside the illustrations.
Book cover designs
Book cover designs
I then wanted to look at different kind of book covers, i want my final project to feel raw and have a scrapbook style however, i still want to keep my final project looking professional and polished. I plan on digitally scanning my work and adding the poems to the illustrations in online software such as the adobe suite, this way i hope to keep the proffesionalism. My project is deeply inspired by historical movements that i have previously looked into, while keeping this modern and sleek- i still want the cover to reflect that.
The cover is an extremely important part of the process, its what initially entises the viewer and atrracts the correct demographic. This is why I really aim create a cover that reflects the style i want to create while still gathering its own audience and looks professional.
I picked these book covers based on my own ideas and looked for ideas that used the aesthetics i wanted to create, i also wanted to analyse different styles and elements that i hadnt seen before that could fit my idea.
I chose this first book cover because of its beautiful yet simple design. The layout is balanced, with the text and imagery working together without overcrowding. The flowers serve as a clear central focus, and the way they hang above the title draws attention to the title rather than distracting from it. The negative space around the flowers, title, and publisher's name is used effectively, leaving room for contemplation and allowing the viewer's attention to remain on the title and illustration.
I also love how the design employs a muted palette to evoke a sense of nostalgia, reminiscent of how Claude Monet and the Impressionist movement created a sombre and romantic tone in their works. The illustration feels handmade and personal, adding to the raw feeling I aim to make in my book cover. The flowers give insight into the book and its themes; their use represents growth, love, fragility, and identity. The muted palette and warm tones convey a sense of memory, adding warmth that I want my project to embody.
When looking for poetry book covers to inspire me, I felt particularly drawn to this design, likely because it evokes the warmth of a cherished memory. The book cover features a range of typography that connects directly with the illustrations. The combination of script and sans-serif fonts creates a sense of elegance, lending a modern feel to the cover. The title appears almost handwritten, which contributes to the raw and intimate atmosphere of the design. The font size effectively guides the reader's eye to the title immediately.
In my own project, I want to recreate this intimate yet elegant feel. I could achieve this by using a warm and muted palette in my illustrations, just as the designer does in this piece. I am also inspired by the handwritten look of the typography and am considering either incorporating a similar font into my work or even physically creating a handwritten font myself to capture the intimate feeling this book cover exudes.
I chose this cover and back design because it demonstrates how simplicity can be effective. It is very different from the previous book cover, featuring much more minimalistic visuals. I’ve noticed that modern book covers tend to be less colourful and more minimalistic. The cracks and petals are given ample space to shine against the white background. The main focus of this design is on the title and blurb. The petals tie in with the theme of love, creating a romantic atmosphere.
The book uses a serif font, reinforcing its academic and literary focus. This choice also indicates that the book is serious and centred on historical and classic literature. Much like the book itself, the design conveys a sense of elegance and timelessness. The simple graphics and design elements, such as the petals, reflect the book's contents.
The cover balances lightness and darkness; unlike the cover of “Sincerely Yours,” it uses cool-toned colours to convey a more serious and educational tone. The addition of a darker section showcasing the credits adds a layer of depth between the title and the overall atmosphere, which seems intentional and serves to preserve the magic of the lighter parts. This design choice ensures that the viewer's eyes are directly drawn to the title without overwhelming the cover or making it aesthetically boring.
Another subtle but intentional design choice I observed is the background, which appears to be crinkled white paper. This adds a simple stylistic element that enhances the aesthetic without dominating the design. Despite the minimalistic approach, the petals have a hand-drawn quality that lends a sense of rawness and intimacy, aligning with the book's content and title.
I appreciate that the word "love" in the title is highlighted in red. Red typically represents love, passion, and romance, so this choice fits perfectly with the overall layout and theme. I feel inspired by how the cover integrates subtle design choices to create a complex emotional tone. Even before reading the book's title, the graphics, colour usage, and typography convey the themes and purpose of the book—something I aspire to achieve in my own designs. I want to create a design that is minimalist, elegant, and reflective of historical inspirations, echoing the timeless and professional feel I see in this book cover.
Mini Research Reflection
Mini Research Reflection
Before analyzing and gathering inspiration from various book designs, I knew I wanted to create a scrapbook-style book influenced by Impressionism, Surrealism, and Cubism. However, I didn't fully consider how these styles could come together in the final piece. Exploring different designs made me rethink my initial scrapbook approach. While I still aim to evoke an intimate and raw feeling with my book and illustrations, I want the final product to be professional and easy to read.
Looking at designs like the "Sensirly Yours" book cover helped me realize that I can maintain an emotional tone by using warmer colors. The layout of "In the Wild Forest" inspired me to incorporate bold illustrations that align with my ideas and themes. I am particularly drawn to the concept of using warmer colors and incorporating typography that appears handwritten. Additionally, I feel inspired by artists like Monet and layouts like "Reverts."
I plan to integrate these elements into my designs by digitally scanning them and using software like Adobe Photoshop to create the layout and add typography.
Mixed media research and preproduction choices
Mixed media research and preproduction choices
After looking more into design and layout choices, I next needed to consider what kinds of media I was going to use. My project is inspired by movements like impressionism so it was important for me to keep that in mind. The people I researched prior, focused primarily on physical media as technology was not in an advanced position however in the book covers and internal layouts i analysed, all of the, utilised modern technology in some way.
I want to modernise my work by utilising digital tools; however, I also want to incorporate physical media to create a more raw and nostalgic tone. To achieve this, I decided to explore different types of media to understand their significance and determine which ones I would like to use in my work. I created mood boards for each type of media I have commonly seen in other works, listing the different tones they convey. I also researched how each medium functions to form my own opinions.
I first decided to explore acrylic paint. I created a mood board on Pinterest and then listed some of the prominent features of acrylic paint. After that, I wrote a summary of my findings, including how it could relate to my book illustrations.
The first thing that stands out to me is the bold and eccentric colours used in acrylic paint. The colours appear bright, summery, and vibrant, which would be perfect for a more cartoonish style of work.
I watched many videos of people using acrylic paint, as well as guides for beginners. This led me to discover that acrylic paint is well-known for its ability to add texture and is excellent for layering. I also learned from these videos that acrylic paint dries quickly, making it great for layering but potentially problematic for blending colours. In my illustrations, I want them to look almost dreamy, which would require a medium that is easier to blend.
Acrylic painting can feel bold and expressive due to its bright colours, though its limited blending capabilities can create a chaotic effect, especially when combined with differing emotional tones.
I couldn't find any artworks or evidence that artists like Monet, Apollinaire, or Picasso used acrylic paint, although I know that acrylic is a popular medium in both art and illustration.
Additionally, I think it's important to note how accessible this product is and how readily available tutorials are. Because of its popularity, I found that acrylic painting tutorials and advice are easy to access. After just one search for acrylic painting tutorials, I discovered thousands available for all skill levels, which is crucial for someone like me, a complete beginner.
After learning more about acrylic paint, I realised that while it has many benefits, such as its accessibility and bright, bold colours, it may not be the best medium for my project. I want my project to have a dreamy and nostalgic quality, and I believe other media would better suit my vision.
Next, I looked into oil painting. I had heard about oil painting previously and wanted to see if it would be more suited for me.
Just like acrylic paint, oil paint tends to use vibrant and rich colors, which can be great for conveying emotional tones and expressing strong feelings. However, this intensity can sometimes become overwhelming and distract from the written art.
Based on my research and the videos I've watched, I found that, unlike acrylic paint, oil paint blends beautifully but often takes a long time to dry. This was something I had to consider due to my time constraints and deadlines.
The blending capabilities of oil paint are likely what allowed artists like Monet to achieve that nostalgic and dreamlike quality in their work. Personally, I find oil paintings beautiful and effective for creating this tone, but I also recognise that I could encounter practical challenges.
I discovered that artists such as Picasso, Braque, and Monet all used oil paint, which demonstrates its versatility.
Additionally, I watched many beginner tutorials on oil painting and learned that it requires a lot of preparation. Some of the preparation and the oil paints themselves were not completely accessible to me, even though I could find numerous beginner tutorials.
I really enjoyed learning about oil painting and discovered how much it has been used by artists who have inspired my project. However, as someone who has never painted before, I find it challenging to access resources. Oil painting seems quite difficult, and I understand that it takes a long time to dry and requires significant practice to master.
After concluding that acrylic and oil paint were not the best mediums for my project, I decided to explore ink drawings, which artists like Apollinaire, whom I previously researched, used.
The first thing I noticed about this medium was its high contrast; it works by using crisp lines. It seems quite flexible—some of the designs I included in my mood board have a lot of detail, while others only require simple lines. This versatility makes it potentially easier for someone like me, a beginner.
This medium also appears to be effective for fine detail and dramatic effects. It can be blendable; however, it seems to excel at defining outlines and shapes.
Apollinaire often used ink drawings in his art to convey emotion through simplicity. These drawings didn’t take long to create, but still offered the opportunity for a meaningful impact on the viewer.
Drawings can often feel raw and intimate, which are definitely the feelings I want to evoke in my work as well.
The best part about drawing is its accessibility and the minimal preparation it requires. There are also many tutorials available that I could use to improve my skills.
This is one of the only media I have experimented with before. This project is very important to me, so I felt it was necessary to reflect on my own skills and inexperience. Personally, I don’t consider this medium one of my strengths, and while I could improve, I believe it is important to challenge myself with something new. My project deserves a more expressive form of representation.
Overall, while I really enjoy learning about pen drawings and their significance, I don't think I will rely solely on this technique in my own work. However, I may use it for creating outlines, drawing attention to certain points, and making sketches during the pre-development phase.
I wanted to explore using digital graphics in my project. The book covers I examined earlier often incorporated digital graphics, which modernised the illustrations.
Digital media often presents a very clean aesthetic, which can lead to striking visuals. However, I find that my work aims to feel raw and full of emotion. Sometimes, the digital medium creates too stark a contrast with the intimate and deep words that a poetry book should contain.
Digital graphics are often reliable, as you can undo a mistake with just one click. This capability allows for a polished and professional-looking product, especially since it is editable.
While digital graphics can feel disconnected from traditional textures, this detachment can be beneficial. It often results in a modern feel that may resonate more with a younger, technologically advanced generation.
Moreover, digital graphics excel in merging and layering different forms of media to convey various emotional tones. The wide range of colors and shapes available also enhances creative possibilities.
Digital graphics are accessible to me because I have a laptop and the necessary software to create. However, some software applications can be quite challenging to navigate. Although I feel confident using tools like Adobe Illustrator and Photoshop, I still occasionally struggle with different functions. While there are tutorials available online, they are often difficult to locate.
Overall, I really like digital graphics; however, I feel that they might create a disconnect from the viewer in this project. I want my project to feel raw and intimate, and I believe that using more physical media would be more appropriate for my illustrations. That said, I still plan to use digital software and typography to enhance the professionalism of my work and create a more modern tone that may be relatable.
After enjoying the appearance of oil paint, I wanted to explore watercolour. I felt that watercolour also conveys a similar emotional tone, making it important to consider this medium.
When I first looked at watercolour paintings, they reminded me of some of Monet's work—not necessarily because the context was the same, but because of the dreamlike and emotional atmosphere they create.
Watercolour looks quite delicate and soft, which feels very appropriate for a poetry book that primarily focuses on emotion, symbolism, and moments in time.
Just like oil paint, watercolour can be excellent for blending, as it bleeds naturally. This can create organic and abstract textures that are effective in conveying a raw emotional tone.
This style can suggest subtlety and introspection, encouraging the viewer to think about what they are observing on a subconscious level. This reminds me of Braque's message, which invites the viewer to experience the art rather than simply be a silent observer.
Watercolour painting primarily requires watercolour paint, water, brushes, and watercolour paper, all of which were easily accessible to me. I also discovered that there are many tutorials and videos available that share tips and techniques for beginners. This was especially helpful as I had never tried painting before.
Based on my research about watercolours, I felt that it was an appropriate choice for my project. It seemed to incorporate all the advantages I had observed in other art forms. I decided to primarily focus on this medium for my illustrations. However, as a complete beginner, I knew I had a lot to learn. I began looking into various techniques that I could incorporate into my work. I listed these techniques as bullet points, creating a checklist to refer to throughout my process. Additionally, I thought it was important to gather some basic knowledge on colour theory.
Watercolour techniques and colour theory
Watercolour techniques and colour theory
Wet on Wet: This technique involves applying a wet paintbrush to wet paper, which creates soft, blended edges.
Wet on Dry: In this method, a wet paintbrush is used on a dry page, resulting in sharper textures.
Dry Brush: This approach uses a dry brush with no water, which produces sharpness and intensity in the illustration.
Gradient Washes: This technique entails layering different gradients and tones, then using water to blend them seamlessly. It creates smooth transitions and a dreamlike effect.
In my research on colour theory, I focused on symbolism and complementary colours. I also used the image on the right as a visual guide and representation.
Production
Production
I had never painted before, but after looking at all of my inspirations, I noticed some common themes, particularly nature. For my first painting, I wanted to create something inspired by the natural world. I also felt influenced by Apollinaire's work, which tells a compelling story using simple imagery. This led me to the decision to paint a lemon. Although lemons may seem simple, I believe they possess a certain complexity and can convey a story on their own. It's almost contradictory, given their flavour, and their vibrant colours resonate with the style of Monet's work. I wanted to film this process.
IMG_2756.MOVIn this first painting, I aimed to incorporate some of the techniques I had previously listed. I began by wetting the paper to achieve a wet-on-wet effect, which allowed me to spread the paint easily. This technique created a solid foundation for layering and reminded me of Monet's work, as I could see in real time how the page was filled with a nostalgic tone from the blending.
For this painting, I chose to use the original colours. Since it was my first painting, I didn’t experiment too much and focused instead on learning different techniques. This initial work really helped me understand how watercolour behaves.
After I finished, the piece still looked unfinished and almost seemed to pop off the page. I wanted it to appear more subtle and soft. I realised that the main issue was the white background contrasting with the yellow of the lemon. This contrast detracted from the dream-like effect I was aiming to create. Therefore, I decided to use the wet-on-wet technique again to achieve a cloudy-looking background. I much preferred the final product. wanted the piece to look more subtle and soft.
IMG_2758.MOVI decided to let the paint dry, which allowed me to start layering colours and determining which areas I wanted to emphasise. Considering the lighting, I drew inspiration from Impressionism and focused on how light reflects off a lemon in real life and how I could capture that effect. I achieved this by leaving white space where the paint ran partially. After it dried, I added darker colours and used a dry brush technique to highlight certain areas.
IMG_2781.MOVI decided to create another nature-themed design. After exploring works like Apollinaire's calligrams, I realised what flowers can represent and symbolise. For this piece, I needed more structured lines for elements like the jar and the stems, so I used a wet paintbrush on a dry page. When it came to the petals, I switched to a wet-on-wet technique to convey their softness.
This was my result using both techniques. I didn't like this one, so I decided to change up my paintings by trying a Monet-style landscape painting.
I felt like my proportions may not have been properly thought out and measured. As I continued the process, I began creating measured sketches first.
IMG_2770.movFor this piece, I wanted to incorporate background and texture while achieving a surreal look, so I used a muted palette. This was my first time experimenting with layering, and through the process, I learned more about how to do it effectively. In this piece, I focused too much on the colors. I tried to layer them by creating darker shades each time I painted a new row of trees. However, I found this approach to be ineffective. Instead, I think it made my piece look a bit dull and lifeless.
This was my final result. I mainly used a dry-on-dry technique for this one, and I liked how it turned out. However, if I could change one thing, it would be to blend the trees better, as I still feel like it looks slightly unfinished due to the white areas showing through.
The layering was something I definitely needed to improve on; however, my favorite part about this piece was the water. I tried to use light and quick brushstrokes for the water, similar to what Impressionists did in their work, and I think it paid off. It created a nostalgic feel, and in my opinion, the water felt alive. For my next illustration, I want to use this skill again, so I plan to create a piece that involves a lot of water in order to continue improving.
For this piece, I wanted to create a scenic and peaceful artwork inspired by impressionism. My goal was for the artwork to feel dreamy while also making the viewer feel present in the scene. I used watercolours for this piece to depict the splashes of the waves and to add definition to certain areas.
I believe that water carries a lot of symbolism, which is why I have incorporated it into several of my artworks. Additionally, I think that water can be an excellent way to tell a story because it is timeless and reflects nature, making it relatable to many people.
This was the final result: I used a hair dryer to create layering in my painting. This technique helped me add more texture, enhancing the overall emotion of the illustrations. For instance, the sand initially appeared too blended and lacked definition until I dried the piece and added a darker colour for the sand. I liked this artwork; it reminded me of Monet's work and evoked a sense of peace, which was the aim of the painting.
However, if I could change one thing, I would leave more white in the sky to enhance its dreamlike quality. I aimed to make the piece feel more alive by utilising the skills I had learned previously, so I tried to use quick brush strokes. I believe I improved from my last painting. Additionally, I sought to incorporate bolder and more vibrant colours because I wanted the piece to convey a sense of tranquillity. Since the painting involves a lot of water, I didn't want the emotional tone of the blue to overshadow the peacefulness I aimed to create.
At this point, I realised that the best results came from using layering techniques. I began creating a mental step-by-step process: first, I would complete a rough sketch. Next, I used the wet-on-wet effect. After allowing that to dry, I applied a dry-on-dry approach to add more detail and texture. This way, I could also create a layered effect and a nostalgic effect.
For my next painting, I wanted to experiment with layering techniques, so I decided to create a bird. Birds have a lot of feathers, which would allow me to explore this idea further. I aimed for a style that didn't focus on realism but instead conveyed the impression of a fluffy bird. This choice aligns with my ongoing theme of nature.
This was my result, I attempted to create the idea of the bird being fluffy by using a wet paintbrush with no paint on, around the outside of the bird while the paint was still wet. I did this so the paint would naturally run a little and create little lines that could look like feathers and bring the textures to life.
When it came to layering, I completed the first part by using the wet on wet technique before waiting until it had dried to add more orange and brown to create depth, texture, and a brighter finish.
I liked this painting, especially the techniques I used to create depth. However, I realised I still had a long way to go and wanted to incorporate more shadows in my future work.
This next piece was heavily inspired by the surrealist works I had previously studied. It originated from a dream, much like how the surrealist movement focused on the unconscious mind. I believe this piece effectively reflects different moods and tells a story.
I employed the same techniques as before, but I found this piece more challenging due to its intricate details. For instance, creating the creases in the jeans taught me a lot about how to control different shades to achieve a more realistic effect. I also struggled with the hair and underestimated how difficult it would be to create the texture of the strands.
While I liked the painting overall, I felt that I had created much stronger pieces in terms of skill. Nonetheless, I felt that I could convey a story through this idea.
I wanted to shift my focus toward simpler designs. Reflecting on my earlier research, I realised that I had become somewhat too fixated on perfecting each piece. This led me to revisit my studies on Apollinaire, reminding myself of the complexity that can emerge from more straightforward designs. I also thought about the message behind Braque's work, which inspired me to create this piece.
As I contemplated simplicity, I began to think about the simple things that bring me joy and encouragement. I realised this could also be a great way to explore shadows and different angles. I had never created a painting from this perspective before, so I spent a lot of time considering the shadows and the direction of the light.
I also experimented with the bubbles on top by waiting until the paint had dried and then splashing water on the paper where I thought the bubbles would naturally appear. I don't think this idea was as successful as I had hoped; however, I still enjoyed the effect it created. I believe it almost looks like the light is making the coffee appear sparkling, which adds a dream-like quality.
Next, I wanted to create something more realistic while still resembling an emotional tone. I decided to focus on creating a tired eye, as I felt this could convey a story in itself. I started by sketching with pencil, outlining the basic shapes of the eye. Then, I lightly used an eraser to remove any harsh lines so that they wouldn’t be visible.
I spent a lot of time thinking about colours and how to create complex shades with my palette. This was definitely the most challenging painting I had ever attempted, but I also believe it was the one from which I learned the most. I created a variety of colours; some were successful, while others I decided not to use. I mainly used blue, yellow, brown, and red to depict the skin tones.
This was my final piece, and I quite like this painting now. However, after I created it, I really did not like it. I felt that the eyelashes were too droopy and not realistic enough. However, after further consideration, I realised that this element aligned with my theme even more. It created a sense of emotion and a tired feeling.
To complete the inside of the eye, I used darker colours for the ring of the iris and then applied a white watercolour pastel to add highlights. I also realised that, unlike some of the other paintings I had created, this one required many more colours and attention to finer details.
After the challenge of finding the right colours, I decided to look back at the colour theory work I had gathered previously and figure out how I could improve on that next time, considering how I could lay different colours to create depth.
This was my final painting, which I created to serve as my book cover. I appreciate how it is simple yet effectively reflects the themes of nature and fragility that are central to the book's content. It feels like a direct link to these themes, and I find it quite attractive due to its vibrant colours.
I started by completing a pencil sketch, focusing on the basic shapes while referring to colour theory. I aimed to utilise contrasting colours to add depth to the painting. Since green and yellow are opposite to orange on the colour wheel, I decided to incorporate green into the areas I wanted to appear darker. This thinking led me to consider shadowing and lighting early in the creative process.
I left the lighter areas dry and white until I completed the piece. Then, I applied water with no paint to create a more blended effect, inspired by Monet's work. This final painting took a while to complete due to the heavy layering, but I believe it paid off in the end. I truly think this is one of my strongest pieces artistically.
This was the final design. I chose to add brown to emphasise the darker areas and create shadowed outlines. Additionally, I incorporated a background colour to give the piece a more polished appearance. I definitely underestimated how long each piece would take; initially, I had planned to create more designs, but I ran out of time due to this underestimation. If I could change anything, I would have started my paintings earlier. This could have improved both the overall quality and quantity of the works. I would also modify the leaves, perhaps by adding more definition using the dry-on-dry technique.
After creating the final pieces, I digitally scanned them and began writing short poems to accompany the illustrations. Initially, I planned to use the Adobe Suite, particularly Adobe Illustrator, to edit and format the final pieces based on the research I had conducted on layouts and designs. However, as I started to run out of time, I opted to use Canva, which I found easier to navigate given my time constraints.
When formatting the internal layout, I reflected on the layouts I had annotated during my research phase. I aimed to include plenty of negative space to allow the illustrations and poems to breathe and stand out. I varied the layout by placing some poems on top of the illustrations, while on other pages, I dedicated one page to the paintings and another page to the poems to avoid overwhelming the viewer.
I also considered the digital effects I could add. I decided some of my illustrations should appear as if they were bleeding onto the page while still leaving room for margins. I achieved this effect by using the transparency option in Canva. Canva also provided a margin line guide, which made it easier for me to see where to place each image and text; this was another reason why Canva ended up being more beneficial for my formatting.
Additionally, I decided to include a title page and a contents page to make the book look more professional. For both these pages, I wanted a minimalistic approach so that the title could be the main focus. I chose to use the image of the eye I had previously created and flipped it horizontally using the flip tool. This gave the illusion that the pages were connected, almost forming a face. I also used the line tool to draw a straight line down the centre of the book, creating two separate pages.
When designing the cover, I aimed for a minimalistic style since I had decided to use the image of the oranges, which was quite colourful, and I didn’t want to overwhelm the page. From my earlier research and annotations, I had noted that minimalistic designs can be more appropriate and effective for a poetry book. Therefore, I added a square shape to the bottom to create an elegant border, similar to the cover of "How Love Works."
For the typography, I wanted something elegant that wouldn’t detract from the rawness I wanted the book to convey. On the cover, it felt essential to use a classic font that represented poetry and art. After considering several handwritten-style fonts, I ultimately chose the font "Alice." I rejected the handwritten idea, as it, while intimate, was quite hard to read. I wanted the book to be as accessible as possible. Inside, I used the font "Bodoni FLF," which I liked because the letters dip but still look formal, enhancing the overall aesthetic of my illustrations.
My Final product
My Final product
Evaluation
Evaluation
In my project, I aimed to create something that blurs the lines between written words and illustrations. I wanted to represent art, demonstrating how historical movements remain relevant today and can be seen in modern art. My concept was based on historical art movements such as Impressionism, Surrealism, and Cubism. I aimed to create an engaging book that people can relate to, enjoy, and possibly inspire them to create their own art.
I intended to dedicate a significant amount of time to research, specifically focusing on different art movements and the original integration of written art and illustration. Although I had previously encountered Impressionist art, I knew very little about the movement itself or how other art movements came into existence, along with their historical significance. As a complete beginner in painting, I recognised that learning about these art forms would be incredibly beneficial, especially in understanding how they have influenced modern art.
In addition, I planned to spend a few weeks creating illustrations, primarily inspired by the new art movements I studied. During the research phase, I divided my time between finding online resources for secondary research and annotating and observing existing pieces for my primary research.
I felt most influenced by Apollinaire and the Impressionist movement. When I first viewed works by Impressionists like Monet, I experienced a deep sense of nostalgia that truly inspired me. This was the same feeling I hoped to convey through my own work.
Feeling inspired, I researched how Impressionists created their paintings using techniques such as rapid brush strokes. This helped me realise that I could employ similar methods to achieve that effect. Learning about the Impressionist movement as a form of rebellion also resonated with me; it showed that art can be created by anyone and felt by many.
Apollinaire's work particularly stood out to me because of his ability to reflect tone by merging two different art forms. I was inspired by how he intertwined these styles without being overwhelming. Knowing that he was one of the first to do this taught me a lot during my research and helped me reflect on the impact that artists like Apollinaire had on art. It enabled me to draw connections and see how their works contrast with one another.
Throughout my creative process, I utilised the connections and techniques I had learned from my research to influence my own artistic decisions. I realised that the medium can significantly affect the overall emotional tone of a piece. This insight led me to explore media that conveyed a nostalgic and intimate atmosphere. I chose watercolour because the way it spreads on the page beautifully represents the idea of fleeting moments in a poetic manner.
I aimed to create something relatable and timeless, which guided my decision to focus primarily on nature-themed illustrations. Although the research I conducted on different watercolour techniques was valuable, the act of creating my own watercolour art helped me develop my personal painting process. I mentally outlined a list of steps to follow, which taught me a great deal.
Exploring various techniques allowed me to identify which ones resonated best with my concept. Regarding layout choices, my research on internal and external layouts revealed the power of minimalism and negative space, demonstrating how effective they can be. Surrealism, particularly in the works of Apollinaire, illustrated that art and layout don’t have to be extreme to be relatable or significant.
Initially, I planned to adopt a scrapbook style that would involve layering and various textures. However, as my research progressed and my understanding of my creative process deepened, I recognised that this approach was not entirely practical. While I desired to create an intimate tone, the scrapbook style appeared unprofessional, which could distract viewers and undermine the subtle message about the importance of historical movements.
I also decided to produce a smaller book than I had originally intended. I underestimated the time required to create each painting and pair it with a poem.
My final outcome is a fourteen-page poetry and illustration book, complete with a cover and back, inspired by historical movements. I believe I successfully achieved my initial goals, as the combination of poems and watercolour illustrations conveys the emotional tone I intended. I am quite pleased with how my painting techniques evolved through my exploration of other artists and my own creative process. Additionally, I feel that the illustrations are well-connected to the poems.
While my final product reflects my vision to some extent, there were challenges along the way. Initially, I had a strong vision, but I lacked the practical knowledge to bring it to life. As a result, my original ideas were somewhat chaotic and only worked well as concepts. I didn’t have the experience to know if they would actually be effective. The project ultimately turned out differently from how I initially imagined it, but I believe the changes I made throughout the process better reflect the essence of my vision.
Throughout this project, I have learned a great deal—not just about illustration and graphic design, but also about my own challenges and strengths. As I conclude this project, I feel more confident in my ability to create effective layouts. I now have a much better understanding of various art forms and their appropriate contexts, which will be valuable for my future projects.
One of my main challenges was time management. I had initially planned to include a section on how to market my work using social media; however, due to time constraints, I was unable to explore this topic in depth. Although my research was important, I spent a significant amount of time on it at the beginning. If I had scheduled my time more effectively throughout my process, I could have allocated more time to the production phase.
In the future, I plan to create a more realistic timetable that allows for careful consideration and includes buffer time for any personal challenges that may impact my work pace. If I had more time, I would have definitely delved deeper into colour theory, my poetry, and strategies for marketing the final product.
Overall, I believe this project has significantly contributed to my growth as a creator. I have developed my skills in analysing and drawing connections between modern and historical media. Additionally, I have cultivated my own creative process and gained insight into what I need to do to produce my best work, which will be beneficial for future projects.
Bibliography
Bibliography
Ingleby Gallery. (n.d.). Ian Hamilton Finlay - Overview. Retrieved May 7, 2025, from https://www.inglebygallery.com/artists/37-ian-hamilton-finlay/overview/
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