Initial exploration of letter forms to inform creating my own typeface.
Developing a typeface representative of the word subliminal. Left to right, card cut-out on glass, biro calligram (A5), card collage (10 x 8cm), chalk on pavement, card collage (10 x 8cm).
I suspended card cut-out letters spelling out subliminal. The way the letters hover in and out of focus make them more elusive, a quality associated with the word subliminal. The presence of smoke emulates the intangibility and transience of the word subliminal, while linking to the subconscious.
Duration: 1 minute 17 seconds
A2 Ink & watercolour still life sketch digitally layered with ‘blind’ black charcoal still life. (Top left)
Pencil and watercolour primary research from different London markets. (19.5cm square sketchbook)
Digital development towards illustration for editorial on the gentrification of London markets.
These are experiments from my A5 sketchbook developing an image for a series of three children’s book covers. Media used includes lino-prints, paper-cutting, biro, watercolour and ink. I found it difficult to choose a medium that was appropriate for all three covers, as the content of each story was so different. I chose paper-cutting because it has an element of precision that is satisfying to the eye, and it successfully portrays the content of the individual stories as well as tying the three covers together as a collection.
Size: 25cm x 25cm front/back cover
Media: Papercut illustration, composed on InDesign
I wanted my designs to be minimal and classic, hence the use of Gill Sans, which is a legible, familiar typeface. This font was also used by Jan Tschichold for the Penguin Classics covers, and so has comforting, traditional connotations that I wanted to be present in my designs. I chose primary colours to appeal to young children, but the pared down tones are more subtle than pillar-box red or cobalt blue, and therefore appeal more to a parent’s eye.
The poster for 3-day art courses that a friend and I designed and led during school holidays. (A3)
The imagery in this poster reflects the outdoor setting, while the colour and handwritten-style of the header font conveys the warm, friendly atmosphere of the festival. (A3)
Both posters are digital collages of PNG files found online.
A5 Sketchbook Pages
I worked with the design agency Feast Creative on a mock brief, creating a poster for the play Pygmalion.
These are some of my initial sketches (pencil and ink) and research into early 20th century London. The typography choice and colour schemes were influenced by the Art Nouveau movement and Alphonse Mucha’s work.
This is is the digital development of my final image. I used Edwardian photographs found online, as well as imagery from the film My Fair Lady (1964), to make my own profile. The straw hat merging into the extravagant duchess hat is a symbol of the character’s transition from peasant girl to respectable lady, and the watercolour flowers reference the setting of the flower stall in Covent Garden market.
The final design is a digital collage of textures I created then scanned. The rough, brush-stroke texture of the background adds dimension, and the watercolour flowers are more abstract and subtle than the harsh, bright photos I initially tried using. I feel the poster has a balance of references to the historical setting of Pygmalion as well as an overall contemporary appearance; the modern Art Nouveau-inspired title treatment is a significant part of achieving this.