Library Festival Brochure Wraparound Competition

As a winner of the library card competition last year, I found I interacted with the other winning designs more so than if I hadnโ€™t of won. This meant that when this yearโ€™s competition rolled around, the starting point was exactly the same as last year.

Last year my design had been influenced by one of the current library card designs that year. For this project, Miranda Smith's design for last year's brochure has definitely influenced my own work. I liked the way Mirandaโ€™s design had depth of landscape, but made use of the emptier space in the sky. I felt like this concept of flying in a way that she presented, in a way that would not exist in real life, freed the illustration from the static confines of the box it was in.

At the northern edge of Hereford there is park called Aylestone Hill Park. From here you can watch the sunrise over the countryside and the sunset over the city. My work for the Hereford city of culture bid has had me thinking a lot our regional identity and I feel that the juxtaposition of rural life in town life reflects this.

Another aspect of my design is the border to the top and the bottom of it. This reflects the stonework on Hereford library which will be reopening this January. Not only is this historically significant, but the reopening of the building is important culturally to the town of Hereford. I also wanted to draw attention to something that most of the general public wonโ€™t notice various most of the librarians do and appreciate.

Adobe Creative Brief / Life Lessons

I summed up the three meanings of these three illustrations as move forward / move apart / move on. However, these words come with a lot of implied depth to them, which it is my job to get across through visual communication. If you read the introductory blog post for this brief just for Christmas, then you know that I am experimenting with putting in personal emotions into my work at the site of production in the hope that this adds more energy at the site of audiencing.

It was always my intention to have these figures walking through a hilly landscape which I adds more depth of perspective. Does this translate over to more subjective ideas of depth? For me it does, but that's a personal projection I'm not sure carries over. When I'm surrounded by these types of landscapes in real life, I find that they have a spiritual effect on me, appearing in my dreams. I project a lot of stuff that's awkward to verbalise onto them.

Another choice I made which may not seem directly linked illustration was that I paid more attention when choosing the music I was listening to as I went about my work this project. I listened to music that was the audio equivalent of what I wanted to visually communicate.

In terms of the technical aspect these illustrations, I feel that Iโ€™ve reached a natural endpoint for now at least developing my confidence using gouache paint. Due to the expense of the paint in comparison with eg acrylics, I get anxious about using too much, which influences the way I use it. As I reached the end of the project and found that I was running out of white paint yet again, this had a massive impact on my attitude towards what I was doing, and obviously the painting itself. The third painting is just so much flatter and saturated than the first two!

There was a slight mixed media element to what I doing, which I struggled with. I used white pencil crayon to draw the figures onto a digital print of the painting. This was after several mis-starts using different types of paper and chalk pens. Although I found a combination that worked, it ultimately meant I had to compromise on things like the texture in the final print.

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Adobe Creative Brief / Life Lessons

"you can know where a particle is at a particular time, or how fast it is travelling between two points, but not both"

This was a metaphor for the problem I faced with the adobe brief: How do I show life lessons, that are so often about gaining knowledge or a shift of ideas, in a static image?

I honed in on this idea of movement pretty quickly, figuring that understanding how we portray it in illustration (not animation) would probably be key to solving the creative problem I had with this brief. Parallel to this problem, was deciding what 'life lessons' to portray - and seeing as I was already focusing on movement, I used this as my start point.

move forward โ€ข move apart โ€ข move on

As everyone who's had the misfortune of consistently spending extended amounts of time with me knows, nothing could be this simple. One aspect of my creative practice that I'm learning to accept is that I pull contradictory ideas together and make them work alongside each other.

Here, the contradiction lies between the meanings at the site of production and the meanings at the site of audiencing.  Obviously these life lessons are personal to me, and so I can put personal energy into these illustrations (I hope!), but they are relevant and non-specific enough for everyone to relate to them. I often shy away from making work about personal subject matter because people read way too much into things as it is, and I think that even as an artist, I have a right to boundaries and privacy. I'm enjoying re-exploring how these boundaries can work best for me in this project.

Garden City - In Cold Blood Book Cover Design 4

The two grey cats that one of the two saw wandering around the square in Garden City from his cell gave him a metaphor for their lives, powerful enough that he shared it with Capote, and it lives on through In Cold Blood to this day.

I'd been confident in my use of and playing with perspective so far, but here it started to get a bit more complicated. I tried using the same method I used in the Holcomb cover, but with no simple vanishing point and a completely different composition, it didn't leave a very good look.  Luckily, it is winter, and it's dark for so long that I had no bother getting some real life observational photos to reference.

Holcomb - In Cold Blood Book Cover Design 3

The juxtaposition of a life of travel around the USA vs the settled down community of Holcomb found its way into my illustration as a solution to a design problem. The vast amount of miles covered by Dick and Perry, both in the immediate time around the murder and throughout their lives, somewhat structures the book.  That said, there are some clear key points: the Clutters' house, Holcomb and Garden City, that form the core of the plot. The Clutters' home, which is arguably most important, had already featured in two of my designs.

When researching Holcomb, an image that was quite prominent was the sign on entry to the village.  Often, a photograph of this sign would include the railroads, that featured in Capote's description of the place. These images struck a chord with me as they referenced both The Clutters' and Dick & Perry's lives - so different, and only in direct contact for a short period of time. 

For this cover, I tried to match the font with the one on the sign. I like the contemporising effect hand tracing from a computer font has, so that is my plans for this one. I plan on keeping the lettering separate to the design and digitally merging them, but I will complete the rest of the illustration onto the original.

The Clutters' House - In Cold Blood Book Cover Design 2

Aesthetically this book cover shares some key elements with the previous design, but the rationale is a lot different. Here, I didn't want to look at the idealistic isolation, but focus more on the book's 'chilling content' as the brief suggests.

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As much as I like the colours I used, I feel that I'm at odds using such warm tones for a book called In Cold Blood. This is because I plan on contrasting these warm colours with cooler ones in the same range. It's the narrative of contrast and collision which inspired this design choice. 

Learning from the previous book cover, I decided I wanted the title to be a lot bolder (another key word from the brief) without being too dull, clichรฉ or ill-fitting with the rest of the design.

The Clutters' House - In Cold Blood Book Cover Design 1

After my success using gouache paint for the Wye Valley Yoga brief, I felt confident jumping into it for my four In Cold Blood covers.

Book covers share a lot with establishing shots in film and TV. Particularly with a book with the implications In Cold Blood has, both in terms of the controversy around the time of publication and the effect it has on the reader, an illustrator (and the publisher) has a lot of responsibility when setting the tone.

On reading the book I was very taken with this idea of the perceived isolation of the Clutters' house - a detached house on farmland - and the ramifications for the detective Al Dewey in his private life, as his wife became too anxious to continue pursuing their dream of moving into a similar abode. I wanted to reflect the idealization of this aspect of the Clutters' lifestyle in one of my four design proposals.

I found source images of the house and did some research into the local environment. The area is classed as semi-arid, and the farmland was near a river, which suggests it was uphill to avoid flooding. Being an accurate illustrator (where applicable) is one of my core values.

As it was my first design, I do think it is quite weak. I liked the idea of the text sitting on the top of the hill, but I think it's too small for the job it needs to do, especially considering the norms of contemporary book cover designs.  I'm still grappling with balancing the value of an original work vs. ability to edit, and I got this wrong with this design. I hand lettered straight onto the painting, which made it difficult to edit, so I as I moved on I learnt to separate different elements out from each other. I'm still looking forward to finishing this design though!

Wye Valley Yoga / Final Outcomes

Once I had the source photos of Corri and Pete, I was keen to throw myself into the main project. That said, I made sure I set aside time to life draw at the advanced class (an opportunity I'd have struggled to turn down) and took part in the beginners class myself.

I immediately started pencil drawings (my pencil of choice being 4B), and then drew with a 0.4 nib pen. I thought neither style was developed enough, and so I stuck with pencil as it's easier to edit, as it were. I knew my first few drawings were off, but at this point of the project I had to leave my sketchbook for a day or so in order to be able to see what the problems were.

Very quickly this became an almost immediate process. You can see in my sketchbook that the first few poses had several sketches of development, whereas the later ones would have one sketch/painting.  The painting also developed in stages. As far as I can remember, this is my first time using gouache for anything serious.

I painted block colours of light grey and dark grey - light grey for the skin, dark grey on the clothes. I then painted over this to add depth in other shades. This provided the right balance of consistency vs. variation. I'm really happy with the way they came out.

Wye Valley Yoga / Print Workshops

This semester I'm assisting on the print making short course at Folly Lane. My role includes a range of things - preparing inks, offering advice, finding equipment, making sure things are being used safely and correctly. In the gaps between all this I join in with the printing, and on two of the evenings I focused on yoga poses.

On my first evening, we were making collographs. This was before we'd had the yoga brief formally introduced on the illustration course, but I picked out a couple of key words from the information we already had, and experimented with them. At this point, I felt like monochrome was important, so all of my collographs  were black.

I wasn't very happy with my prints from the evening as although a lot of the plates had looked interesting, the final outcomes were a lot different. I felt that they were too abstract and aggressive, and because I'd been so experimental and out of my comfort zone throughout the process, the final results were too unpredictable.

A couple weeks later on in the brief, once I had source photos and was a lot clearer with myself regarding what I wanted to produce, I used the monoprinting evening to do some more illustrations. I really liked how they came out - although they weren't instructional, I felt that they were a lot more subtle than the colographs and more in line with the aesthetic of Iyengar yoga.

Wye Valley Yoga / Iyengar Sketches

Corri and Pete of Wye Valley Yoga came in to introduce the yoga illustrations brief. I've been very lucky in the clients I've had so far and the people I've worked with in the industry, and it makes a world of difference to be surrounded by supportive people.

In the space between finding out about the brief and getting source photos of them both, I did research into yoga illustrations and sketched Iyengar himself. I'm glad I used the time to do that because it meant I could throw myself into the main brief once we had the photos. I found that a lot of yoga illustrations are used as diagrams, but some of these don't have enough details (often because they're accompanied by written instructions) or too much detail, which detracts from the narrative. I slowly refined my drawings of Iyengar based on the conclusions I drew from my research.

In Cold Blood

This semester, we have a module called Confirmation of Practice. For this, we'll be doing three live briefs. The first brief I picked was the 2017 Penguin Student Design Award brief for nonfiction: In Cold Blood, by Truman Capote.

In Cold Blood was published in 1966, one of the first to be published in the nonfiction novel genre. I had a look at what book covers looked like in 1966, and noted the orange/yellow/lime green colour theme as being particularly prevalent. I think my favourite out of all the ones below is Sabertooth, for the colours and the clean illustration style, although it does date the book. Moonraker also caught my eye, but I don't think it does the job of a book cover very well, and probably relied on the fame of the author to place the book in a genre.

My next stop was 2016 crime books. I think the distinction between fiction and non fiction is important, even though I ignored it in this sample, so I'll definitely be looking at it more in-depth as the weeks go on. A lot of these were very effective on their own, but placed within a larger group, come across as looking tacky and clichรฉ. House of The Rising Sun potentially caught my attention due to the similarity between it and one of the In Cold Blood covers I saw. I like the kaleidoscope/mandala concept of Jane Steele and the fractal pattern on All The Followed. The image on The Second Girl is very powerful, but I personally feel the typography detracts from it. 

As the deadline for the award is in 2017, I also had a general look at 2017 releases. I was interested in ones that had covers that could be similar to one on In Cold Blood, books that would catch attention in comparison to 2016 releases, and ones with nice illustration. I don't know where to start with these because I love so many of them.

LPAP: Where I'm At

The last couple of weeks have been really hectic. My planned hiatus from the LPAP summer school has been pushed back thanks the antics of the Passport Office. While things have been on hold, it occurred to me that I've said a lot about what other artists are up to but I've been near silent about my own work. I'm keeping some projects quiet on purpose, but it's a good time to touch base on what I want to do in Longbridge.

I was really intrigued by Sarah Silverwood's work, Longbridge Mass Observation, and after looking at a project proposal I submitted to somewhere else for September (one of them things that I'm not going to tell you about for now) I decided LMO was relevant to my work in the medium term after I finish the summer school. By linking the summer school with this later project, which in itself will link into my research dissertation, I will be able to strengthen all of them.

After my success with sign writing in the space, and with the above taken into consideration, I have decided to pursue a typography project, using quotes from the LMO archive.

There's important ethical considerations to think about while I develop the specifics of my project brief. A lot of the contributors were teenagers and school children, and I know that personally, I would not have been comfortable as a child had I contributed to the archive and an artist had put a spotlight on specifically my contribution, depending on the context of what I'd submitted. I wouldn't have liked the attention and I would have felt like I'd been stolen from. I have been developing my core values as part my long term business planning recently, and causing people to mis-trust artists directly goes against them.

I think I'd prefer to take stuff out the archive than to do original research myself, not because I don't enjoy research, but because I have to priortise and make effective use of my time at LPAP. I'm not one for covering old ground unnecessarily, and I'd prefer to use my illustration to promote the whole archive, which provides a more accurate overview of Longbridge than I could on my own.

I'm hoping to be back in Longbridge by the 10th/11th August, and plan on having a defined brief by then. It's 4:29am on Saturday morning, and I'm finally ready to head to the airport and go visit my family. See you soon guys!

Sarah Silverwood on Mass Observation: Artist Talk @ LPAP

Until last week, Sarah Silverwood's Mass Observation was the backdrop to everything we did at Longbridge Public Arts Project. On the walls in the unit were a series of questions for the general public to come in and answer with markers. However, this was merely the tip of the iceburg.

The original Mass Observation was founded in the 1930s, to uncover social habits of 'ordinary people' that usually go unrecorded. Currently, the archives are available at the University of Sussex. The type of things were unrecorded (or underecorded, I assume) back in the 30s vary from the things that will be forgotten about 2016. That said, the underlying principle of leaving a record of things usually forgotten remains the same.

Sarah told us that a big part of Longbridge Mass Observation was that it was a quiet artistic intervention. I think it's a really good model for researching and developing socially sensitive illustration, especially for someone like me, who's quite shy and has enjoyed reportage projects in the past.

After having a think about what kind of things may be difficult to find recordings of in 30 years time, we had half an hour to do our own small mass observation of Longbridge. Some of our contributions are live on the LMO website. I'm definitely hoping to get something in Sarah's archive, once I make my notes decipherable!

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Juneau Projects: Workshop @ LPAP

Juneau Projects (Ben and Phil) created an illustrated/animated sculpture for the last Longbridge Light festival, and are in the process of producing something for the next one, The Shadow Factory, this Autumn. Their workshops at LPAP, focusing on using the laser cutter to create badges, feed into their larger project for the festival.

Our brief, as attendees of the workshop last Thursday, was to create a badge on the theme of Longbridge and The Shadow Factory.  The practicalities of this essentially boiled down to three steps:

  • Paper collage using two colours to create a design
  • Converting the collage into a digital design using vector software
  • Using the laser cutter to turn the design into a wooden badge

I'd taken my paper, scissors and glue outside and focused on the nature of Longbridge - something I'm hoping to explore further during the summer. I think it was really clever to use collage as a way to create the design, because the type of shape created when using scissors as a tool is similar to the kind of shapes you can make when using the digital point to point line drawing tool.

We used a red line to indicate a cut and a green line to indicate where the laser cutter would draw onto the badge. Although it could etch a filled shape, this takes too long in the context of what Juneau Projects want to do, so it was line only. I've had a laser cutter induction at Hereford College of Arts this year but this is the first time I've followed the whole process through from start to finish to create something for myself.

While invigilating the space today, I moved all the wood, plastic and cardboard Juneau have been using so we could change how we use different parts of the room. Hopefully I've not disrupted them too much!

Industry of the Ordinary: Artist talk @ LPAP

This summer, I am part of the Longbridge Public Art Project summer school. On Thursday evenings we have artists talks and workshops, and we independently work on our personal projects the rest of the time. Our first artist talk was from Industry of The Ordinary.

Industry of the Ordinary are two Chicago based artists, Adam and Matthew. The art they showed us tended to be performative, and often there was sculptural elements to it. I think my favourite was Match of the Day. They had happened across two outfits in a fancy dress shop - Young God, and Old God, and invited people to watch them play table football. The game resulted in this amazing photo, which is often assumed to be photoshopped, when it was actually the result of no one checking the weather before setting up for the game.

Moving further into a discussion about process, we looked at a couple of performative pieces involving ice sculptures. One concept I think was relevant to us in Longbridge was the idea of art, and festivals, as a way of 'activating' new public spaces. Another idea we picked apart a bit more as a group was what makes art successful. For Industry of The Ordinary, the success lies in getting people to engage with the art, and not in the strength of the intended meaning.

It's interesting to hear from the artists who have visited Longbridge this summer, and after this talk I took away some really interesting ideas about working across different mediums out of the comfort zone of categorised practices.

Crystals

The one thing about this project which was both a positive and a negative was how much better I got at painting as the project went on. Positive, because I was improving my skills so quickly but negative because as I improved I became more aware of my issues with the previous paintings.

I chose this crystal to paint first as I felt it'd be one of the easier ones. Its texture gave me lots of useful reference points during the sketching/painting stage. However, I was unhappy with the painting I'd done, so I played about with it on Photoshop a lot to fix the problems I saw in it. Although this produced a nice digital outcome, upon speaking to critical audiences, I felt that the value of the illustration had decreased as the original painting had lost its 'aura'.

I disliked the second painting more than the first, and this time I fixed it digitally in a different way. I used Photoshop to have a more precise idea about what colours I was looking at in the crystal. It was a lot more brown than expected. I used this information and added an extra layer to the original painting. Although I still dislike the painting because it's hard to tell what it is, I feel that the trade off between the strength of the meaning and its value was something I had to do.

I felt that picking out the colours in this way was really beneficial to my illustrations, so I did it again on the next painting. As we can see here, I used a lot of blue when there was nearly none in the original crystal. Even on personal reflection, I have no idea why I did this and how I hadn't noticed it before.

For the next painting, I picked out the colours before I started. That said, these ones were a bit more obvious, but I suspect that was only because at this point I was paying closer attention to detail. After 'fixing' the other paintings, I had also noticed that having at least two layers in the illustration added a depth to it that was useful when trying to portray this kind of object.

Seeing the impact that using software to understand my object before painting was having to the quality of my artwork, I moved a step further. I remembered using the posterise function for the 400 Years of Shakespeare project to get a more precise understanding of the shapes of the figures I was illustrating, and I wanted to see how that would transfer into this project. Based on this painting alone, I think it helped a lot, even if just because it gave me more confidence in my actions as I was running out of time.

Although I feel that my painting improved a lot during this project, I feel that there's a long way for me to go. The reason I've been using acrylic paint rather than oils is due to the eczema on my hands, and I became increasingly aware of the disadvantages of acrylic paint as I progressed through this project. Moving forward I want to try using acrylic retarder so I can mirror some of the more useful properties of oil paint. One of my tutors also suggested painting onto a grey or brown background rather than white, and I'm interested in seeing what impact that has one my work in the future.

Delayed: Exhibition Planning & Set-up

Delayed was my next move after The Collective Noun, so I could exhibit my entire final outcome for the collections project. This was something I wasn't sure I had it in me to do so late in the academic year, but I'm glad Tasha and Catherine supported me in the decision to go ahead. 

Hereford College of Arts Library had their exhibition space available, but I knew I couldn't fill the whole place on my own. I had a think about who else in my class I'd like to exhibit with. I thought about whose work I liked, who I hadn't worked with much yet and who would get on well together. I'm really glad I pushed myself on the second one, as I'm now two thirds of the way through my degree and I want to make sure I properly get to know everyone in my class before we leave.

I didn't want myself or Tasha to design the poster as we'd done the one for The Collective Noun, so Leah designed this one. The name Delayed was suggested by a student on a different course when I mentioned that I was planning a small exhibition to mark the end of my extended deadline, and Leah linked it with Rowan's train ticket collection on the poster.

Gaz and Leah couldn't make set-up on the Friday but Brendan was really helpful getting their work up. Rowan set hers up further down the stairwell from mine, and it was interesting to see just how much work she had to put in to get it all up. I'm glad I got to witness that because it wasn't something I'd thought about before.

I get asked why I chose the stairwell for my work quite a lot. I like the peaceful atmosphere and the lighting, and I feel that goes really well with my brief. I'd also been told no one's used that space yet, and I thought if I did it might encourage other people to, in the same way that I was encouraged to approach the library staff about exhibiting after I'd seen the exhibitions in there.

Set-up for 400 years of Shakespeare at Hay Festival

After everyone had handed in their work for their deadline, we all car-pooled down to Hay to put our work up for the festival.

It was really exciting watching everyone's work get unrolled and revealed once we were on site. Mine was one of the last, and I'm not going to lie I started getting anxious after seeing how great everyone else's was, but it was there and it was nice to finally see it at the correct size.

Our next task was to walk around the site and place everyone's work. A few people had illustrations that were quite big or specific to certain environments, and some people had illustrations that complimented each other really well. The rest of us could be flexible around them. I chose a space for mine, and then on reflection moved it to somewhere it would look less lost.

After that we begun preparing them to be stuck up. We had to stick them on the tarpaulin with tape to imitate how they were going to be properly stuck down, so we could get them eye level etc before we did anything too permanent. I then watched the man from the printing company demonstrate how to stick the vinyl on. Still feeling a bit unconfident about doing this myself, I decided the best course of action was to help out someone else stick theirs up, and slowly work my way up to leading a small group to put mine up over the course of the afternoon.

To put it up, we had to put masking tape down the middle of it, slightly peel away the vinyl from its backing paper and stick it down. After this, we took the masking tape off and slowly peeled away the rest of it, while sticking it down. One person stuck it down, one person held the rest of the vinyl and one person held the backing paper, and between the both of them slowly peeled it off as the first person stuck it down. The person holding the back of the paper also had to lean on the tarpaulin to keep it taught in the wind.

Air bubbles were pretty standard after this, as there's only so much you can do to reduce them when it's being stuck down. We used a craft knife to pop the bubbles and then squeezed out the air. As the tarpaulin wasn't completely taught or sparkling clean, it wasn't too obvious. Sticking up my name tag was a bit easier because the blank space was transparent rather than white.

It was really exciting to see my work up in this context and I felt really proud of the rest of the class too. I think it was nice to see that we all treated each other's work with the same respect and everyone was pulling their weight helping each other out on the day. I learnt a lot of practical skills from this commission and I also gained confidence and have increased respect for my classmates.

400 Years Of Shakespeare - What's Past Is Prologue

Our first project in competition and commission was to produce an illustration to display on the tarpaulin at Hay Festival 2016. Although I've worked on a largish scale before, for my exhibition at Bournville College, that had been on canvases and this was going to be completely different.

From our initial lecture/meeting/Q&A with staff from the festival, I learnt that they were keen on having lots of high-saturation colours, and so I immediately started to reflect this in my research and sketchbook. I made a Pinterest board on colour, and I visited the Shakespeare Memorial Room at the top of Central Library in Birmingham. This room was very traditional and in keeping with the usual connotations of Shakespeare, and it was useful to see what's been done before so I could make sure I did something unique enough.

After a workshop on Illustrator, the software I wanted to use to send of my image to the printers at the end pof the project, I realised that textures would be difficult to pick up, but I didn't want large areas of block colour in my illustration. I made a second Pinterest board, looking at shape and pattern, and decided to use this as large part of my work.

I picked the quote "what's past is prologue" from The Tempest because I projected a lot of personal feelings onto it and I knew that would give me an extra push of motivation. I think a lot of people in my class chose quotes (or didn't choose quotes) based on their personal feelings and what was going on in their life, and I suspect we make creative decisions professionally like these based on our personal lives quite often.

While I was doing background research on The Tempest, two things stuck out to me. The first was the painting of Miranda by John Waterhouse from 1916, the second was the film from 2011. In the film, Prospero, male in the original script, was female. It was interesting to see the gender dynamics of the entire film change with this, even if I was still disappointed in the racist undertones. I thought the change between Shakespearean times, when male actors portrayed female characters, to this, where not only was it acted by a woman but the character was female, was quite interesting.

I considered the implications of this and decided it fitted with my quote.  Therefore, it was worth persuing the concept within my illustration. Although my developmental work involved Ariel, into quite a late stage of the project, I decided that the intended meaning of the illustration was stronger without the character.

Over the Easter holidays, I did line drawings of the characters with the geometric style I wanted to use. Thousands and thousands of tiny triangles later, I returned to Hereford and scanned it all into Illustrator, where I used saturated colours to fill in the pattern. Although I used skin colour, hair colour and the shape of the figure to signify who they were, within their dresses I used colour symbolically to acknowledge the witchcraft and sorcery theme within the play. Prospero was in purple, a colour used to encourage magic and power. Miranda was in blue, a colour used for healing (as she 'healed' the problems the cast faced through her love).

I found the quote really difficult to do, and upon submitting my work it was requested that I changed it. I wasn't very happy with it in the end and I felt like it let the entire illustration down a bit. Typography is something I consistently find difficult and it's also something that is consistently requested within or along with an illustration, so hopefully this is something I can improve on. I was also asked to do some small things like add a shoe and tilt Prospero a bit, which can be seen in my final outcome.

The Collective Noun: Manning The Exhibition

My shift was the penultimate in the exhibition.  I had a morning shift so I had the task of making sure all the lights were turned on. This took me a good ten minutes fiddling about with a switch and a dial in the main room. Lucie had told the group where the light switch for outside was, but it still took the joint effort of myself and a member of staff at De Koffie pot to pool together our information about the light switch and find it. I'm not a morning person.

I settled down with a mocha, and contemplated my next move. I was still half asleep.

It took a good half an hour for me to realise someone's work had fallen down. It's not a massive room, I'd seen the empty space on the wall and the illustration that had slid to the floor every time I looked up. I'm the female art student version of that bloke in Hitchhikers Guide To The Galaxy when the demolition trucks were outside his house.  

I let the student know that it had fallen down and I'd put it back up, sent them a photo and checked another student's work was still sound on their request. We spoke on the phone and they came up to fix it themselves. I also took the last lot of paper out of Sarah's desk. I'm pretty impressed with how precise she was estimating the amount she needed!

As a kid, I always felt awkward when I was in a small shop on my own and the shop-keepers would ask if I needed help and watch my every move. I didn't want to make any visitors feel like that. So I'd brought a book along.

Some of the first year crafts students came to visit the space. They are having an exhibition at De Koffie Pot soon, so I talked them through how we'd hung our work and how I'd seen other, more 3D groups of artists, use the space effectively. I also spoke to the woman leading the yoga class next door and she sent people in our direction. I tried to make sure everyone left with a summer show flyer, and I got through to 1pm with a lot less angst than I thought I would have.