Designing my Cover

Once I had decided what I want my cover to include and after a lot of testing, I scanned in all the components I had produced. This included screen printed plant illustrations and layers of left over materials that I had used in my work over the course of the year that included my chosen colours. The outcome was effective, however very bright and almost garish. It felt a little too busy for a front cover. I did not want to loose any of the components that I had included therefor I began to think about how I could use layering to add an additional aesthetic aspect that still represented me as a practitioner. I removed the title from my first page in in design and copied it into a new blank document. I changed the colour of the title to a dark bottle green as I thought it contrasted well against the bold colours and I printed this on a thick plastic tracing paper. I then placed it over a print out of my front colourful front cover and I was really pleased with the outcome. My book instantly felt more interesting.

 

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Collection: Book making workshop

Today We had a bookmaking workshop with Michelle in which we explored a variety of ways in which you can make your own book. This included the generic perfect bound style and various other foldable and experimental methods.  We worked our way through a list of binding techniques. One of my favourites was the one cut book. We have explored this before when making foldable zines and is a really neat and effective way of making a publication. However, this is not the most practical way for us to create our collection book. We explored some 3d fun options and tramlines which I hadn’t thought to use before.

We were also shown a tutorial on creating perfect bound books with signatures. I have attempted this before and would love to continue working in this way in order to improve my skill. I am thinking of using this for my final collection book.

I would like my book to be bound myself as opposed to getting it printed elsewhere. This is because my whole ethos is about hands on craft and the enjoyment of producing work manually. I would like this to be reflected through my book that I want to represent me. I also think this would be more of a learning experience for me.

 

 

Fig Taylor

As the AOI’s resident Portfolio Consultant, Fig Taylor has been advising illustrators on how to make the best of their portfolio since the 1980’s. Author of How to Create a Portfolio and Get Hired: A Guide for Graphic Designers and Illustrators, Fig has run her own illustration agency, and subsequently worked for several others, giving her a wide overview of the industry and a wealth of valuable experience.

On meeting her she shared with us her best advice. She advised that university portfolios and professional portfolios are very different; a professional portfolio needs to be selective. The work you show needs to be relevant, therefor  , she encourages that people should do their research beforehand to make sure the employer is only seeing what they are interested in.  Fig Taylor was humorous and gave a very educational talk.

Kate Morross

 

Kate Morross is an illustrator, art director and designer. She can’t live without music, sugar, meat and a pen and paper.

She has always been creative and has freelanced since her first year at university. She comes from a creative family and says that this has influenced her as a practitioner. Morross focusing on good ideas behind her work over aesthetics. A lot of Morross’s work involves pattern and geometry and making something bigger out of lots of small components.

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If she wasn’t an artist she would like to be an electrician as problem solving is something she enjoys.

Ways of working

I need to develop my own ways of working. I know what practices I have enjoyed in the past and foolishly have failed to continue them and apply them to my woking process. Recently and in the past print is something that I have really enjoyed. I have also grown to love letterpress practices. If I was this to be something that becomes part of who I am as an illustrator I need to play around with these practices more often and relate them to different subject matter. The more I use these techniques the more I can learn to improve them.

Massimo Vignelli

 

Massimo Vignelli talks poetically about type. Not just type but also what type is made up of. He discusses that it is not made up of the letters but it is actually the white space that is important. He talks of how it is in fact the white space in and around the type that forms the shapes. I find this beautiful. I do not have much knowledge of typography myself, although I have recognised that this is true when working with type before. The way the letters distance themselves from one and other can make all the difference. Through practices such as letterpress I have learnt that the spacing and white space can but just as important as the words themselves.Screen Shot 2017-05-14 at 2.34.05 PM