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).
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.
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.
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.