Page 1








PROJECT BRIEF “We are looking for a fashion illustration that will represent Jeans for Genes Day 2018. Your design should take its inspiration from the genes inside our bodies. It needs to be unique and striking and appeal to women aged 25-45. Please consider colour trends SS18 and incorporate our logo, either as a sign-off or as part of the actual illustration.”

AIMS AND GOALS Research into the charity, to gain an understanding about what they represent as a charity organisation and how they want to be defined through a design created for their annual T-shirt competition, considering in colour and pattern trends for S/S 18.

HOW IT WORKED LAST YEAR Jeans for Gene’s day teamed up with Glasgow School of art in 2017. The winning design took its inspiration from both the genes inside our bodies and or fundraising mechanic jeans. The winning design was translated onto a woman’s T-shirt which was modelled and endorsed by a bank of high profile celebrities including Mollie King, Louisa Johnson, Maya Jama, Leomie Anderson and Rachel Riley to name a few.

TARGET AUDIENCE women aged 25-45


RESEARCH WHO ARE JEANS FOR GENES? Jeans for Genes is an organisation which set up an annual campaign for genetic disorders. The charity helps families with children and individuals that have these genetic disorders, through fundraising. This is a day that I have been familiar with since my school days. On Jeans for Genes day, we would donate a couple of pounds and wear jeans to school.

When the two ladies who came in from Jeans for Genes to give us a preview of what exactly the charity represents, I started to feel like I wanted to be involved and I set aside my judgements of making a design for a t-shirt. It was more about representing a hardworking charity to gain an interest for their organisation on a great design t-shirt.

There are “4,000 and 6,000 diagnosed genetic disorders. It is estimated that one in 25 children is affected by a genetic disorder and therefore 30,000 babies and children are newly diagnosed in the UK each year. Some genetic disorders are apparent at birth while others are diagnosed at different stages throughout childhood, and sometimes into adulthood.� - Jeans for Genes (1)

They spoke to us about families and people who suffer from these disorders and it did move me on an emotional level, especially when young, five-year-old children want to be children but have to face such challenges in their everyday lives. They showed us stories of families and how their lives have changed by the organisation that aids them with funding for any specialised equipment they may need to help them cope.

During our first session with the Masters students our tutors gave us a preparation and a brief pack of what kind of project we were doing. I was a bit reluctant doing this project, as I wanted to do another one, which I felt was best suited for me. However, what I need to understand is not everything I design will be my preference; it is up to the client who you are designing for.


After learning about what the organisation does they then spoke about their t-shirts. They explained that they collaborate every year with an art or design school, which I found very positive as it allows up and coming fresh talent to have an opportunity to design professionally.


WHAT ARE GENETIC DISORDERS? We were told to go and research into genetic disorders to gain an understanding behind the charity’s cause. I found this interesting because researching for me is a key skill I need to develop so that I can gain a true understanding behind a topic for a project. I started to look online and books I have at home on the meaning of ‘what are genetic disorders?’ “A genetic disorder is a condition that is caused by an abnormality in an individual’s DNA. Abnormalities can be as small as a single-base mutation in just one gene, or they can involve the addition or subtraction of entire chromosomes.” (4) I began focusing on specific words related to genetic disorders and they were chromosome abnormality, heredity and DNA, also known as the double helix. I started to research within these three key points to narrow down my search and began looking at imagery related to these parts of genetic disorders.




Chromosome Abnormality is a disorder which can be a mutation missing, overgrown and out of proportion in the DNA. It can create more chromosomes than the normal number. This can affect the structure and balance of more than one chromosome.




Heredity is the genetic makeup from a father and mother being passed onto their offspring. Humans have 46 individual chromosomes or 23 pairs, which are half from the mother and the other half from the father.




DNA is what our bodies are made up of; they are made from molecules and nucleotides. DNA is inherited from our parents, from our skin, hair and eye colour. It is made up from four groups of Nucleotides, Adenine (A), Thymine (T), Cytosine (C) and Guanine (G). You would see these letters around the Double helix, which is what it is made up from to create codes.

ONLINE MARKETING On the left is the designer of last year’s competition for designing a T-shirt, from Glasgow School of Art. The T-shirt costs twenty pounds on their website as you can see below Mollie King below modelling it on their website. Researching online, on how the T-shirt design had been published, a lot of celebrity endorsements, interviews in the press and social media bloggers have given they support for the charity whilst wearing their T-shirt design.









MARKETING RESEARCH Once we had has some insight into the background of Genetic Disorders and gained a better understanding, we had to reflect on the brief and the concepts of what they wanted.

however that is not the case. In society today, I feel having a gender-neutral T-shirt would go further. Only designing with women in mind automatically narrows the target market. QUESTIONAIRE

The next steps were to looking into the marketing side of the project; to re-visit what the charity has done in the past with their annual t-shirt. I investigated how the design could be modernised and the changes that can be made, for example the colours that are used in the design, looking at forthcoming trend forecasts for S/S18. I focused on the shape and colour of the t-shirt; do woman prefer black or white t-shirts? And how do they like it to be fitted? Styles and colours change over the years and that is something we have to consider. It is primarily about your target audience in making this T-shirt a success.

1. Would you personally purchase a t-shirt for a charity, which is worn for a designated day to raise funds for that specific charity?

I created a questionnaire asking specific questions about what thought process do you consider when purchasing a t-shirt. I asked ten questions to a group of woman ages between 25-35. These are the questions I had asked using survey monkey, to gain an understanding what a woman between those ages look for when purchasing a t-shirt.

6. What kind of designs stand out for you whilst purchasing a T-shirt?

I was conflicted with why they only have been designing for women and not also for men. Genetic disorders affect both genders. I could understand if the target audience was women if genetic disorders only related to women,

2. If so, do you think you would wear this t-shirt more than once? 3. What kind style of fit t-shirt do you prefer ? 4. Why do you wear T-shirts, for comfort or to make a statement? 5. Do you follow trends when purchasing a T-shirt?

7. If you see a celebrity or an influential blogger on social media wearing a specific t-shirt does that influence you to buy that particular t-shirt? 8. Does material influence your choice to buy? If so why? 9. Are there specific colours you choose when purchasing a T-shirt? Specifically which ones. 10. Do you think T-shirts should be gender

“several years ago when the desire for T-shirts was at its height a T-shirt company discovered that approximately half of its men’s T-shirts were being purchased and worn by women. Should it, therefore, promote seperatley to men and woman and possibly produce T-shirts for the female segment? Further research led the company to believe that it should continue as normal - producing for and promoting to men - as woman, consciously or subconsciously, were purchasing T-shirts because they were associated with men. Nevertheless, the exercise taught the company more about its market, and the findings probably proved invaluable when purchasing patterns and states did change.� (19)

These are the results for my survey. I would have liked to have it in a more condensed format but unfortunately that was accessible due to the mixture of answer times. Discussing my results of the ten people answering ten questions, there was common ground with the answers. Most people said yes, they would purchase a charity T-shirt, would wear it more than once, being that it’s comfortable and wearable. Colours favoured in the darker colours, black, grey and then lighter option as white. People do tend to follow trends and whether a celebrity is wearing the item helps, and wearing a statement was popular such as logos, slogans and statement images. All in all, by gaining this primary research I have now gained an understanding of how one should market a product; you need to get to know what you are designing and what people want because then it is wearable and appealing to the target market. The next step is now trying to come up with concept ideas from the research I have found to know decide how I will approach the design process.






Here are examples of T-shirt designs and T-shirt styles. I have looked online to what is out there regarding designs, given black is their most popular colour that sells for the charity I have narrowed my search to see what styles are out there being sold in todays market. The use of text seems to be very popular, giving a statement simply across the T-shirt itself. Above are examples of what is being sold online, popular retailers like Asos, Misguided and Top shop. I then tried to look at actual designs on T-shirts that is actually very limited in the market at the moment.


(28) It seems to be more slogan, sports affiliated and vintage photographs than an actual design. This could be an opportunity to consider a design than a slogan as there seems to be a saturation of that style already out there. Considering last year’s winner went with a slogan style design so it may be good to try something different and challenge the brief by considering genetic forms.







On the bottom row, I went onto H&M’s website because they are known for their basic T-shirts, I wanted to have a rough idea of how many styles there are for woman out there. Jeans for Genes usually choose a fitted style top; however, I feel that from my results that a looser style t-shirt for comfort which can be worn and flexibly styled may also be popular. I did not realise how many styles for women available. I personally usually get a looser fit just because its comfortable and you can wear it in so many different ways, casually and dressy.




COMBINING THE CHROMOSOMES TO CREATE A SIMPLISTIC GEORMETIC DESIGN USING THE COLOURS FROM THE PRIMARY COLOUR PALLETTE. REPLICATING THE SHAPES FROM THE SCIENTIFIC DIAGRAMS TO CREATE A CREATIVE DESIGN WHICH WILL NOTICABLY BE A CHROMOSME HOWEVER INSPIRED BY USING THE PRIMARY COLOURS AND ART WORKS. EG. MONDRIAN - OHNE TITEL (3 WORKS). 1. WIKIPEDIA, (2018), The two major two chromosome mutations; insertion (1) and Translocation (2).[ONLINE]. Available at: Mutations.png[Accessed 26 January 2018]. 2. Chromosomal Abnormalities, (2018), Chromosomal Abnormalities (Autosomal Recessive Inheritance)[ONLINE]. Available at: [Accessed 26 January 2018]. 3. Caroline Cecil Textiles, (2018), SS18 Emerging Trends 4 Top Print Themes [ONLINE]. Available at: https:// [Accessed 26 January 2018]. 4. Piet Mondrian, (2018), Ohne Titel (3 works) [ONLINE]. Available at: [Accessed 26 January 2018].





HEREDITY IS A COMBINATION OF CELLS AND CHROMOSOMES; I WANT TO CREATE A PATTERN, WHICH CONNECTS TO CREATE ONE DESIGN. LOOKING AT PATTERN TRENDS OF ABSTRACT SHAPES AND BEING ABLE TO LAYER THEM AND BOLD COLOURS TO ENHANCE THAT. I WANT THE DESIGN TO LOOK ABSTRACT AND LOOK CONNECTED. 1. WIKIPEDIA, (2018), An example pedigree chart of an autosomal dominant disorder. [ONLINE]. Available at: [Accessed 26 January 2018]. 2. karel martens, (2018), karel martens [ONLINE]. Available at: [Accessed 26 January 2018]. 3. 2edeveloperteam, (2018), DNA_RedHiRes [ONLINE]. Available at: [Accessed 26 January 2018]. 4. PATTERNBANKBLOG, (2018), Spring/Summer 2018 Catwalk Print & Pattern Trend Report [ONLINE]. Available at:[Accessed 26 January 2018].






LOOKING AT THE SHAPES OF CHROMOSOMES, I IDENTIFIED A BUTTERFLY SHAPE OR FLORAL. S/S 18 CRAYOLA COLOUR TREND, WHICH GIVES THAT BRIGHT AND BLOCK COLOUR, GIVING A STRIKING, DESIGN. INSPIRED BY S/ S18 PRINT TRENDS, LOOKING AT FLOWER PRINT AND USEING THE CODES TO CREATE A COLOUR BY NUMBER DESIGN WHICH TIES INTO THE COLOUR TREND “CRAYOLA”. 1. Wikipedia, (2018), Chromosomal crossover [ONLINE]. Available at:[Accessed 26 January 2018]. 2. patternbank blog, (2018), Spring/Summer 2018 Catwalk Print & Pattern Trend Report [ONLINE]. Available at:[Accessed 26 January 2018]. 3. Domo-a, (2018), A Inspiration blog [ONLINE]. Available at: my-tumblrisbetterthanyours [Accessed 26 January 2018]. 4. Jess Wood, (2018), Summer fashion trends 2018: Crayola colours [ONLINE]. Available at: [Accessed 26 January 2018].





FLORAL HELIX - CONCEPT BOARD. USING THE HELIX AS THE MAIN FACTOR OF THE DESIGN, TO GIVE A FEMININE FEEL TO IT, I WANT TO INCORPORATE FLORAL INTO THE HELIX. S/S 18 TRENDS FEATURE PASTLE COLOURS AND FLORALS BEING ON TREND. USING FLOWERS TO MIMIC THE HELIX, CREATING A DESIGN WHICH SHOWS A LIVING AND BEAUTIFUL PART OF GENETICS. 1. FLOWEROUND, (2018), FloraHolland [ONLINE]. Available at:[Accessed 26 January 2018]. 2. WEDDING CHICKS, (2018), The Best of Spring Bouquet Recipe [ONLINE]. Available at: [Accessed 26 January 2018]. 3. PATTERNBANKBLOG, (2018), FLOWER SHOW [ONLINE]. Available at: [Accessed 26 January 2018]. 4.JESS WOOD, (2018), Summer fashion trends 2018: Pastel colours [ONLINE]. Available at: [Accessed 26 January 2018]. 5. THE RACE FOR DNA, (2018), HELIX [ONLINE]. Available at: [Accessed 26 January 2018].





FEED BACK When we showed our concept boards, the tutors selected a few that they felt were the strongest. Mine did not show how my idea could have progressed and how it would be represented on to a T-shirt format like some of the others did. For example how the pantone colours would look against a black background, as the T-shirts would be black. We needed to show a nearly finalised concept of how it could be presented and how it would compliment. Below are my concept boards, as you can see I’ve listened to the tutor to visually see it on a black background to give it more perspective.

It was a good experience working alongside the masters students because it does show how the standards are very high, and a lot of them had final concepts made so it was just that much advance compared to mine. I felt I could have showed more examples of how it would have developed and give more insight on how it would look as a finalised T-shirt. It would have benefited since we did not have long on this project so I did what I could, however to gain the feedback from a finalised outcome I could have developed it further and had known what to change.

These were my concept boards shown in our group tutorial.

Here is everyone’s work laid out for us to see. The tutors selected the best ones that contained quality points and then negative points. It needed to be more about the design and process of creating the design for the T-shirt, showing experimentations and how we could visually see it as a final product. It was challenging however the reality is it is a genuine client and we are not designing for ourselves and that we need to meet a high standard.

This is an MA student’s concept board and it was the strongest out of everyone’s, it had the development of how they were going to achieve this T-shirt design. Their research is evident, looking as genetics, people’s faces and connecting as a way of making it so different. It looked very confident with how it was laid out and how they had finalised their concepts. You can look at these boards and see what they are thinking and wanting to achieve. I think mine had some elements however I think I over thought it and that set me back when really it needed to be a visual mind map of influences, colours, drawings all on a black background to channel my vision.

‘Viewed as a mental process, a design process involves a set of highly organized procedures of problem solving where various types of information arecollected and synthesized into a consistent concept and finally transferred into a visual form. as every case of problem-solving process does, design process varies along with the feature and structure of design issues to be solved.” (32)


Here above are my original sketches, from the previous years the designs have been quite feminine so I thought that was something they would feel compelled to like. I chose a rose, which follows the floral trends for S/S18. I wanted to incorporate the Helix and using a connection with the rose and vines. I then developed the idea further to create a heart to symbolise unity and connection. These are sketches I did to reflect on these ideas and to develop further.

I transferred the design into illustrator to create a defined vector style image so that it is clear and to create a graphic image. Then I copied into Photoshop and mirrored the image to create a whole design. I wanted the whole design to link and I think it has with the leaves, vines and how the heart is inspired by the Helix.

The colours I chose were from a pastel palette, which would be on trend for S/S18 and would complement the floral element of the design. I wanted to keep it very feminine and soft so it can look harmonious together. I chose white because it contrasts well with black generally and I feel that works for the base of the heart image. Initially I had a more orange colour for the actual bud of the rose but decided to change it because it did not compliment with the other colours and design so I altered it to a pastel pink colour which I feel suits more. The green I felt complimented the pastel pink and white because roses are usually pink or red with green stems. The over lapping of the heart has an art nouveau style at the bottom as it is intertwined which creates a pattern. I have discovered this term my unintentional love for pattern, which is being shown in my work and I’ve started to notice it more. I feel that this is important because as you progress you notice your styles changing and becoming your own. I added a specked effect onto my design to give an element of texture like you would see on vintage style T-shirts. On the right is my final design and below is my final concept board, which was submitted. We were

given the logo from the charity, which had to be placed along with our design.






Starting on this project I was a bit reluctant dealing with this brief because I really wanted to design for a book cover which I identified was more for me. However I gave it a chance and collaborating with a charity is rewarding and I have grown up with Jeans For Genes day as a chid through school, and I appreciate how they interact with all ages to participate in raising money and notifying people for a good cause.

before have been harder to read and this one was quite straightforward. However that did have its draw backs because with my design I felt it looked efficient and safe but it was not different or unusual compared to the MA students, so I wish given the time I would have implemented more experimental features and played around with materials more.

I really got stuck in with the research, as research is my favourite part of projects because I enjoy learning about new things and it helps me to engage with the brief on a different level. It was quite daunting working alongside the MA course because I knew that they are more confident in their abilities of how they present and strength in designing so I did not feel I was at the same level however I appreciate and learnt a lot from working by them about their standards of work and how much effort and time that needs to be placed to implement a sufficient amount of work. Their process is very advanced compared to ours and that will be noted for when I step onto the Masters course.

I enjoyed the project overall as it was a project that was very different compared to our ones before and it gave us a real feel of working with a client and following a brief in a professional way and overall it was good experience to have been part of a charity organisation and have the privilege to design for them.

When I started to design my outcome after creating my concept boards I kept it very simple and feminine. I think I may have wanted to play it safe knowing I may not win the final design. However I enjoyed creating a design that was quite graphic based as apposed to loose drawings in an illustrative way. With this project it has been solely for a target market and it is interesting to be given this task of just designing to a specification. Projects

PROJECT BRIEF Create a narrative to inspire and to inform an audience who can engage and enjoy the art of story telling. We should be able to identify how telling a story can be seen, whether it is through word or imagery. Being an illustrator you have to be able to tell your audience what is being perceived. Exploring the use of type or an illustration can give a narrative to the viewer. Research into your chosen aim and explore the ways how it can become a narrative, you are the designer. Therefore creating an idea from a specific topic and then visualising that using different methods, using different mediums and ways of showcasing a story. Creating images can also tell someone a meaning, an emotion and information. How can this be portrayed? Many designers use word and imagery to send a message to people which is vital to communicate. Whether it is for a book illustration, an advertisement, and graphic design, an audience needs to understand and be to be informed. Just because you have an interest, you will need to make sure you consider your target audience, it could be trying to create a new one or targeting people like you who follow the same interest. Your final outcome should identify to your chosen aim and clearly inform a target audience who has yet to enjoy the tales of your story.

AIMS AND GOALS Create a story, to inform a new audience or one who has an interest in ancient folklore and mythology.

TARGET AUDIENCE Teenagers and adults who enjoy and want to be informed in folklore and Mythology.




Why Isn’t Irish Mythology More Popular? — Irish Mythology Series

This was the first documentary I looked at on youtube about Irish mythology I had found. I think I was as confused as they were about the topic. It duscusses all the four cycles in Irish mythology and which main books there are, that tells all the stories of Irelands first settlers and invaders.


The documentary discusses how there are gaps in their stories ragrding dates and where figures went to across the world. They compared it to Greek Mythology where there is structure and academic books on it to valedate where as in Irish Mythology it is quite vague.

These are my mind maps I did on what is ‘Folklore’ and ‘Mythology’ and then looking deeper to the ancient wonders of Ireland, pagan Gods and Goddesses , ancient texts, tales and symbolism. I want to explore all these factors in my research to see what I want to progress on to.



Above are images of manuscripts from ancient books that have been written thousands of years ago. These are the focal point of where the stroies come from and the characters do overlapp in the different cycles. Before approaching this project I had no idea that all of this existed, I thought it was just ‘The Book

of Kells’ and ghost stores like the ‘Pooka’ and ‘Banchee’. I was very much wrong, there are manuscripts older than ‘The Book of Kells’ which was pre-Christianity in pagan Ireland. Gods and Goddesses involved in different parts of the country and have involvements to ancient sites across the whole of Ireland.

THE MYTHOLOGY CYCLE I started to investigate into Irish Mythology and the popular cycle seemed to be ‘The Mythology Cycle’. I wanted to gain a better understanding about it as it was somthing new to me to discover as I have not heard about these cyles or Ancient books before. The Mythological Cycle is about five invasions, which are written in ‘The Book of Invasions’, ‘Lebor Gabála Érenn’ . Where settlers from far and wide have conflict with the ‘Tuatha Dé Danann’, mythical Gods and Goddesses who reside in Ireland. The characters that feature in this cycle are all pre-Christain pagan Gods and Goddesses, or beings that roamed the land of Ireland. The ‘Tuatha Dé Danann’, translated “peoples tribe, of the Goddess Dana or Danu” who are featured heavily in this cycle prominatley.


They are supernatural beings , who represent the main Gods of pre-Christain Galic Ireland. They are connected to the other world but can also collide with the mortal world. Their enimies are the ‘Fomorians’, who come from underground and suppoedly the sea. They are thought as monsters who bare resemblence of animals as heads and a body of a man.

Known stories from this cycle are: ‘The Dream of Aengus’ ‘The Wooing Of Étain’ ‘Cath Maige Tuireadh’ ‘The (second) Battle of Magh Tuireadh’ ‘Oidheadh Clainne Lir’ ‘The Tragedy of the Children of Lir’


(38) This is the book called ‘The Book of the taking of Ireland’ which is a book featuring the mythology cycle along with poems and proses. It tells the stories and history of Ireland from the creation to the middle ages. It was created by an anonymous writer in the 11th century, it tells the stories of how Ireland has been invaded six times by Cessair’s, Partholon’s, Nemed’s, Fir Bolg’s, The Tuatha De Danann and the Milesians. The first four were banished away from Ireland and the fifth are the Gods and Goddesses. The successful group of people who represents the Irish people, the Gaels. I really like this style of manuscript; this is from the book of Leinster, Lebor Gabála Érenn can be found in many medieval manuscripts, it can be primarily found in this book. I want to investigate further into ancient Irish manuscripts because the style and layout is a design feature I many want to pursue towards my final outcome to illustrate a story. There are other cycles that feature in Irish mythology such as the Ulster cycle, The Fenian and The Historical cycle. I have not looked into these ones as much as the Mythological cycle because I wanted to narrow it down. In Irish mythology it can be deemed as quite confusing because the stories and characters do cross over and conflicts.

BOOKS I have looked at various books to get an insight of how mythology is written and folklore in Ireland. One of them was by W.B Yates, ‘Writings on Irish Folklore, Legend and myth” which are proses about the magical stories he has collected from local’s accounts about fairies, kidnappers, ancient communities, stones and the supernatural. It gives true sense of the folklore In Ireland and how it ties into the culture of what Ireland holds. I want to use aspects of this in my story telling to tell people what generations have been told growing up and how it has influenced their ways of life today. I can relate to Yeats as I have been visiting Co. Kerry since a very young age and my parents purchasing a house there in Sneem, a village south of Kerry. I have been around generations telling stories of local lore and areas that were forbidden to play around because of the fairies. Being half Irish my father would tell stories of him growing up as a child in rural Offaly of superstitions and sightings he has seen of the Banshee and bad omens. (39)

“The Co. Sligo of Yeat’s Childhood was a place full of legend, fairy lore, mythological or quasi-mythological tales. As a nursery for a mind that was to revolt against nineteenth-century materialism and scientific method, it could not have been more appropriate. During his earliest years his family stayed in Sligo for long periods of time.” (40)

Another book I have looked into is Lady Gregory’s “complete Irish mythology”. Gregory was a folklorist who also worked with W.B Yates who founded the Irish Literary Theatre along with Edward Martyn. She produced many books telling the stories of local folklore and Irish mythology; I wanted to look into her writings because she is notorious of telling the tales of all the Gods and Goddesses and super natural beings which relates to the cycles and explains the stories of all the counties in Ireland. Whereas W.B Yates talks more about the local lore’s with people from communities growing up being told stories of their areas. (41)

“Myth Legend and Romance: An Encyclopaedia of the Irish Folk Tradition” by Daithi O'Hogain has been another great source of information for me; it has everything you need to know from stories in each cycle to all the characters that feature in them. It is a tell all about all the traditions, customs and Gaelic ways of life.

(42) For Illustration styles I looked at another book called “Celtic Tales: Fairy Tales and Stories of Enchantment from Ireland, Scotland, Brittany, and Wales” which include short stories of stories about fairies, ghosts and other supernatural beings. What I liked about this book is the modern style illustrations that accompany it, a contemporary style and approach to Celtic design in a graphic style using tonal colours. This is a perfect example of how I would like to approach the illustrative style; however I would like to keep an open mind of how I will be designing as I will be looking into other techniques and approaches of how other practitioners have illustrated in storytelling.


From looking at these examples of books , it has educated me more about the history of Irish Mythology. From all the different stories told from different parts of ireland and adaptations written by different auuthors. I new I was interested in this subject before, however I have discovered so much more and and learnt about traditions and how storytelling is told in Ireland. What I will take away from this is that how the art of story telling can be told in book form, from style of writing, layout and illustrations. I will consider these aspects when I start to think about how I will story tell.

FILM (44)


(46) Cartoon saloon is an animation company based in Ireland which was founded by Paul Young, Tomm Moore and Nora Twomey. They have created beautifully illustrative animation films such as ‘The Secret of Kells” and “Song of the Sea”. The Secret of Kells is about the story of the book of Kells of how it was created, it is beautifully designed with illuminated imagery and texts inspired form the book of Kells itself. The attention to detail of the symbolism used just in the simple objects that is in the animation, using Celtic symbols and ogham lettering to enhance the imagery. This is a brilliant example of how Celtic design has been used in a modern context and informing a new generation about the Ancient texts from the Book of Kells.

“I loved The Secret of Kells….. It’s one of the most visually arresting animations I’ve seen; every frame is a work of art. That coupled with a perfect soundtrack and a backdrop of Irish folklore, it’s impossible not to love it.”(47)



(50) Another animation I adored was Song of the sea; the story is about a young boy names Ben that learns that his little sister is a Selkie, involving fairies and the Celtic Goddess Macha. In the same way as The Story of The Kells , it is heavily influenced by Celtic style design and incorporating symbolism from Irish mythology. Selkies in Irish folklore are mythological fairies that live in the sea and they appear in a seal form.

“Song of the Sea” is a wonder to behold. This visually stunning animation masterwork, steeped in Irish myth, folklore and legend, so adroitly mixes the magical and the everyday that to watch it is to be wholly immersed in an enchanted world.” (51) From watching these two films the way they layout their imagery is very inspiring to me as this can be a factor in how I will lay my designs. I want to make my work contemporary, yet have the significant symbolism that can give that element of a mystical aura through my illustrations. Simple drawing techniques that can be etched into scenery and the placement of colours using water colours and inks would flow quite nicely for this type of style. These are factors I will need to consider when I a start to design my own illustrations.

ARTISTS Aoibheann Greenan This artist did an exhibition a few years ago about a pseudo Celtic stylised society called the Draoithe Dun Muririgh (The Druids of Dunmurry). Greenan has created mythical folklore designs for the Dolorean car manufacturing plant in Dunmurry, Co.Antrim.

“Her diorama mimics Temple Bar’s often absurd attempts to perpetuate the myth of national identity by projecting a hyperreal and romanticised image of Ireland.”(52)



Here are examples of her work which is heavily influenced by Celtic design, using knots and weaves to embellish her work. She uses illuminated lettering which is inspired from The Book of Kells and manuscripts for her lettering and pattern making. This can be seen in her work along with folklore traditions of a fairy tree and pagan rituals.


David Shutt - LANDS OF GODDESS AND MYTH " In 2005, I bought a studio property in Greece in the eastern Argolid in the Peleponnese and have, before and since, been painting sacred sites there and in the UK for the last 20 years. These are landscape locations which have spiritual resonance and contexts in Trizinia, the birthplace of Theseus and home to Hippolytus and the tragic Phaedra and in West Cornwall, centred on St Just and the region of a number of Celtic Saints. They are locations which still have visual evidence of the journey from matriarchal religions to Greek Orthodoxy in Trizinia and from the ancient Celtic earth goddess (Maeve, Mab, Madge) to the early Celtic Church and modern Christianity…more recent paintings have been of what were originally sacred pagan sites celebrating the land of the Goddess and later adopted by the Celtic Church. For example, St Nectan’s Glen, now thought to be the fourth most visited revered site in the UK near Tintagel, or St Nonna’s Well in Pelynt, dedicated to the Celtic Saint who was raped and subsequently gave birth to St David, patron saint of Wales… The Celtic connections are embedded in my childhood memories (my A Pool of Light, 100 x 95 cm, oil on canvas) My mother grew up in Wales in the farm frequented by J D Innes and Augustus John) and paintings of the sacred wells and chapels of this Celtic world are very much part of my more recent work...Ultimately, however, it is the extraordinary quality of light, and the power of the landscapes which make me paint them. These are what originally took me to Greece and Cornwall and keep me going back. " (56) David Shutt 2017 I feel a connection with his work because he has the emotional tie of his mothers roots and seeing these magical places and feels the need to explore and tell people about the history behind them. I love the use of colour he uses and how bold and beautiful his style of painting. These paintings are from his past exhibition about the mystical places he loves and its connections with mythology. This is an aspect I want to do with my work having these connections. I just need to figure out how I can approach this to my work.



(59) All Images

Jillian Tamaki - Irish myths and legends

Tamaki is a beautiful illustrator who had redrawn the illustrations for Lady Gregory’s book “Irish myths and legends”. Her style of illustratio is very oldfashioned fairy tale book. It compliments Gregory’s writings on Irish myths and folklore stories and just how they flow so beautifully. I think the choices of colours are perfect, using muted colours I feel connects with Ireland because its natural earth and skies give that abundence of colours and its way of life. I feel her work is so natural and how she has used the colours it is definatley what I want to experiment with my work.

“Irish mythology is fascinating and very strange. From the FS site: Here is a world of fierce battles and hunts, high kings and druids, brave horses and famous hounds, told in language of great lyricism that retains all the richness and romance of the oral tradition. I tried to think beyond the typical sorts of imagery and “styling” we are used to associating with these sorts of stories… also, by a complete stroke of luck, Sam and I had visited Ireland just the year before, and I definitely drew upon that experience while creating these images.” (60)

(61) All Images

The Children of Lir: An Irish Legend by Alexandra Soranescu Alexandra Soranescu book is exactly the kind of style I would like to impliment if I choose to decide to create a book for my final outcome. I love the fluidity that she has created with water colour and all the colours used with in the drawnings. The style of drawings are very loose and she connect with a celtic weave style for her designs, like the hair and boarders. The background of her images are watery water colour style , and I really feel that is very effective and how it bleeds into the the paper. She used pen to stylise her image and to add depth to define the drawings it self. The Children of Lir is one of the most traditional stories to come from Irish mythology, it is from the Mythological cycle which I have looked into to gain an understanding about the history of mythology in Ireland.


Over the christmas period I went to Ireland in Co. Kerry, my house is in sneem and I had researched into ancient areas like stones that are located on the coast of south west kerry. We drove around the Ring of kerry which I have done before many times however I have never stopped off at these kind of ancient stoned monuments. I had looked them up online before we went and some we could no go to because they were out of reach and located up mountains and peoples land which is prohiited with out permission. The images I did get are the very well known ones and have been around for thousands of years, I did notknow what half of these monuments were because I have not come across stones liket hese before. We went to staigue fort first which is a stoned ring fort, then Loher Fort which could be seen from a far down a mountain, Baslicon Dolmen was what appeared to me as a grave of some sort like a tomb, Eightercua Alignment which also appears to be headstones but nothing waswritten on them to identify what they were. We went to otherforts called Cahergal and Leacanbuuaile Forts which were two massive ring forts located by each other and finally Ive always have been interested in the Ogham language so I wanted to see some Ogham stones and we went to Gap of Dunloe ogham stones.

Here is a map I drew roughly of the initial plan of the places I wanted to go to, but with the amount of time I had there I could only visit seven of the places mentioned above.


These are images I had taken of all the ancient stones that I vistited for my primary research. I have done some quick sketches and watercolour studies just to test and try ways of drawing and observing these stones. I wanted to keep the authenticity of the stones and use these images for inspiration for my project. I want to maintain the characterisitcs of these stones for intance the stones that are used, and earthy colours to show the real essence of Ancient Ireland.

THE VOICES FROM THE DAWN “From the Stone Age to the Iron Age the Irish made their mark on the land with great stone and earthen structures. Their descendants developed stories to explain them. Some of these tales were said by Celtic scholar Kuno Meyer in 1911 to represent the “earliest voice from the dawn of West European civilization.” (62) I have found this website called ‘The Voices from the Dawn’ who created a project about the ancient areas across of Ireland. Visiting these sites they were interested in looking at the local lore behind it, interviewing locals from all ages and professions they would give their insight of these places and their myths. I found the areas I went to on their wesite and it helped me understand a little bit more about these ancient sites I had visited. I watched the interviews that were videoed and recorded of people explaining what they about these sites and I thought what a great idea it would be to use these interviews as the written element for a book. I would illustrate the monuments and what is being told. I emailed the owner of the website asking whether I could use these interviews for my project and they kindly agreed. It would be a “The Voices from the collaborative project with them to relive these stories for a new Dawn would have never generation.

been heard without the generous help provided by the friends I made all around rural Ireland: the farmers,publicans, priests, and local folklorists who agree to be taped and photographed for this project, beginning in 1978.” (63)



(67) (65) Here is and example of how the website looks like. It has interactive imagery so that you can interact with the ancient sites on your computer. Supporting the specific pages of these places around Ireland, video interviews have been done of the locals telling their stories about these sacred monuments. I want to use these interviews in some way to tell their stories again for a new generation. (68)







PRINTING I want to incorporate and to consider this style of method into my experimentation, to create illustrations of the Ancient sites in Co. Kerry. Given the permission from Voices of the Dawn to use the stories they had recorded, interviewing locals, I feel thins kind of method could be considered in experimenting with different processes. I like the idea of using dull colours, because I would be illustrating stories that have been handed down for hundreds of years, which will give that nostalgia element to it. Adding limited bright colours can modernize the ideas of my drawings and help draw in a new audience who they have yet to enjoy the art of telling local stories.




Here are examples of Landscape collage artists, that have inspired me. I have done collage before in PM6000 and had really enjoyed it, so I thought may be this could be a method I could use in depicting my ancient sites. Like these examples, this would work really well with Irish landscape, it is definitley a method I would love to try and if not with this project then I will in the future. It is not an easy process, like painting you still need to consider depth of field and distnace like in painting. Collage to others can be deemed as an easy medum however its combining that correct balance.










Here are examples of books that are very illustrative based, whilst researching in books formy project, I had found such lovely illustrations. I had thought to myself why not create a book that can feature your own illustrations, which can illustrate the Ancient sites that I have visited, along with the interviews from ‘ The Voices from the Dawn’. This would be a great way of presenting my drawings and interviews. My designs would be able to flow through book and it would be a nice way of being able to show people one day a collection of stories and illustrations. Here are a few examples of books that I have collected through my research to show examples of illustrative books relivent to my project.



I was getting quite drawin into the research and it was getting to the point where I needed to start creating designs and studies. I needed to think about what mediums I should be using and how can I apply this. Here I created a watercolour study of Staigue Fort, I created seperate components and then layered on photoshop to create that collage style. When I had showed this to my tutor she said a few good points and bad, Good being that forground was accurate how ever there was not enough distance created between the for and mountains behind. I need to reconsider my approach and come up with a way to balance the illustration. Below is my original Image that I had taken of Staigue Fort, I want to use my images as the inspiration for my designs.

Here I had created a collage of Loher Fort which is resembled in my original photograph below. I wanted to create a design that was contemporary and fun. I created a water colour collage illustrationbut cutting each piece individually to create layers. I stuck each layer into my sketch book to give a authentic feel and giving the impression of texture. When I showed this image to my tutor she said the same as Staigue Fort, there is know definition of the sea and shore line. In able to make this work the tone of colours need to be examined in able it to work.

This image I created was made from a watercolour collage, I created this illustration from being inspired by the story of ‘The Fairy Footballers of Cahergal’. Which was written by Sigerson Clifford in 1972, in the story, the fairy football team from Cahergal had lost a player and had taken on a human boy called Coneen Dannihy to play for their team. The game was against the fairies of Staigue Fort. In the White Strand west of Cahergal the Good People used to play football matches in the bright moonlit nights of olden times…there was a man called Coneen Dannihy who heard the ree-raw and the roola-boola and the whistling one night when he was going home late from fishing, and off he marched to take a peep at them. It was a match between the Fairies of Cahergal and the Little People from Staigue Fort in Caherdonal, and Cahergal were two goals behind and it only wanting five minutes to full-time.” (84)

Here is a map of the Ring of Kerry I illustrated, I wanted to make it bright and vibrant so that it fitted into that magical style of pattern and colour. However when I showed this to my tutor she said that to much was going on and that If I wanted to use colour that I needed to be careful of how I would do that will collage and pattern. I could obviously see that it was too much and had to go back to the drawing board. I did feel quite lost after my feedback because I like different aspects of my illustrations, however you could see that they did not look connected. It looked as if it was done by different illustrators and not consistant. I needed to figure out my next move and was told to story board my ideas so that I could plan what I am illustrating and my lay out. I had to be realisitc because time was of the ecence and I needed to create illustrations that were consistant.

Here is my concept for my story boards. I have only focused on two chapters, the front cover, contents page, introduction and then two designs per chapter along with Celtic influenced borders and manuscript lettering. I hope this gives a much clearer and realistic goal for my final outcome. I have done my story boards quite roughly as I may make adjustments to the designs and layout. I wanted to have illustrations of the actual sites that I have photographed so that it can be identified with the ancient megaliths alongside the interviews that Voices from the Dawn have been so kind to let me use. I want to show the real essence of rural Ireland and keep the environments where these stones lay by using the Irish countryside I have photographed to enhance my drawings. I want to let my drawings flow onto the next page where the interviews are written so its looks connected which can be seen in modern illustration books.

TECHNIQUES I have started to look at drawing techniques, because I am focusing on the natural environment of the countryside. I want to try and use these techniques to enhance my drawings to add texture and movement. These are studies I did of simple markings that I could use in my illustrations which are quite natural and simple to do in order to create dimensions. I need to really consider how I will approach in the design aspect of my drawings because I don’t want it to look like a text book style of drawings and with adding colour that could give that affect. I want to capture the essence of Ireland and its mythology, using markings like Tom Moore does in his illustrations, in the animations ‘The Story of the Kells’ And ‘Song of the Sea.

BLACK AND WHITE LANDSCAPES After coming to the conclusion in my tutorial colour is not working for me, I decided that I was only going to work in black and white. I felt it could work with what I wanted to achieve and in the past I have worked heavily in black and white. Working with these colours is not necessarily a bad thing, because you can create more definition and markings which will stand out more. Looking back at old illustrations in books that support a historical theme, black and white drawings would be a common , yet effective way of illustrating the narritive. So being that I am illustrating old narritives I feel it would go hand in hand. I was told by my tutor a girl who did the masters previously has the same kind predicament with using colour in landscapes. Her name is Jessamy Hawke, she is too interested in landscape and markings. Hawke also illustrates around poetry and narritives to which again is another common trait we have. I really do like her work, she explores different areas of the uk and creates shapes from the natural earth and then adds markings to express the textures she sees.

(85) All Images

These images I have selected as examples of her work that influence me are from a series she did of the ‘ARAN ISLANDS’ which are a group of islands off the coast of West Ireland, Galway. I really like the way she has captured the beauty and how she has found her own style of creating shape and form. This is a factor I really need to consider because finding my finger print is so important, especially at this point going fourth into masters.

“The brief was to create ink paintings depicting the unique texture of the island’s rocks, hills, and coastline.”



For the front cover design, I wanted to create something authentic and give that ancient feel. I admire the work of a particular artist who uses printing as her key practise. Her name is Viktoria Astrom. Instead of lino she uses speedy ball, which is the same concept as lino, but it’s a softer texture and can cut fine details. Her work is primarily illustration and animation and is inspired by nature and landscapes. This is a method and style of printing I want to incorporate into my work by creating a mixed media feel to add dimension and texture. I used the same material, speedy ball, to create a stamp. I created a design of a circular image with the use of Ogham writing written around it of the title of my book, ‘The Legends and Folklore of Kerry’. I created the design in illustrator as a vector first and then printed it out too then transfer onto the speedy ball. Then I used the cutters to cut out the sections that I did not want to ink so the sections I wanted to ink would be covered. I used two different inks. One was a stamp ink palette that I felt covered evenly but would dry quite quickly. The second ink I used was normal black ink for writing. This was quite messy to use, however, with the combination of using this and the stamp ink it gave this uneven effect with the print and I quite liked it. I didn’t want it to look evenly perfect; I wanted it to look natural as if it was carved on a stone that could be found in Ireland. Here are examples of my tests that I did to show the details of my design, I will use this as my main image for my final outcome.

Here I started to design my front cover ,drawing it on Illustrator. Focusing on the Ogham text which spells “The Legends and Folklore of Kerry� To get the correct Ogham lettering I went online and found a Ogham generator, it spelt exactly how I wanted it. I thought it would give that traditional element of using an ancient Irish language on the Front page.

Here is my finalised drawing for the cover of my book, I wanted to use traditional Irish texts and designs. I have designed the ornate spirals which is inspired from the Celts and Ogham lettering which care found on Ogham stones. The connection isfound with one of the chapters being about the Gap of Dunloe Ogham stones and the spirals are found through out my book.


I found this book in the library at Kingston, as well as having many Celtic design books, this had everything in it. It inspired me a lot with the use of lettering; I wanted to do Celtic manuscript style letters. I found all different types of styles and I tried to take different aspects of ones I liked. I did not want to create a very Celtic stylised design, because in my opinion it can look dated, I wanted to make it contemporary and different so that it did not look clichĂŠ. Here are examples from the book below of the pages that had influenced me, from Celtic knots, weaves and different letterings.

(86) All Images

IRISH MANUSCRIPTS RESEARCH I wanted to look into Irish manuscripts for the idea of my book, to discover ideas for the letter heads and style of pattern and shape. I have many books on celtic design books based of alphabets and illuminated letterings but I wanted to discover where did these actually come from. The most famous of them all of Irish Manuscripts is of course “The Book of Kells”, which obviously inspire the animation ‘The Secret of Kells’. It has such rich design that I felt it would be unheard of if I did not incorporate aspects of this style in my book. I wanted my fonts and letter heads to maintain that traditional element and yet havea contemporary feel.

and people drawn in the Celtic way. The pages were made from calf skin, using inks made from different plants and elements found across the lands. I will create lettering and boarders inspired by The Book of Kells so it gives that Celtic Inspiration to it and maintains that Ancient irish culture in present day. Here are examples of the beautiful works from The Book of Kells.

The Book of Kells is a illuminated manuscript written in Latin by Monks, in monasteries across Ireland and Britain. However Ireland claim it to be their national treasure and have secured the book which is displayed in Trinity college in Dublin. The designs are of Christian icnonography with beautiful orante designs and motifs descorated all around it. It is inspired with some element from Celtic design because it has heavily painted Celtic knots and weaves, with animals





These are pictures I have in my house of examples how artists have been heavily influenced by the Celtic ornate manuscript style text and lettering with in writings. I have had these in my house for years and never really noticed and appreciated that I have grown up with this and onbviously has been influencing me along the way growing up with my craft. With these designs, I quite like how subtle they are and that can be an element I can do when I start creating illuminated style letters to support the writing in my book.

When I started looking at different manuscripts such as The Book of Kells and books that specialised in Celtic illuminated texts, I began to start designing my own, I did some rough sketched and then using the black and white style. I used water colour to paint in the letters, I wanted to keep it simple and modern so it was not over done. I took aspects from manuscripts with involving spirals and ornate shapes. I wanted to involve the dots around and inside the letters , which I will also incorporate into the actual illustrations itself. Here are my finalised letters, I am really pleased with these because not only and I using old methods of designing, I am maintaning and reviving this style in a new way. This is the purpose of this project and my book, is to revive and remind traditional methods and stories.

Here is my final design of the front cover. I wanted to create an atmospheric design, using my print design I layered it on Photoshop with a simple black and white water coloured back ground. I have used this water colour technique, using heavy amounts of water and ink to create a blotched effect. It is a simple effect but it gives nice texture and flow to a water colour painting. To write the title I used a type face I downloaded online called Irish Unci Alphabet font which is inspired by ancient Irish texts. I looked in some Celtic design books which helped identify a type of type face which i thought was appropriate as I wanted to keep a traditional element in my book.

Here is my painting of Staigue fort. I used similar techniques using water colour to give that fluid feel. I kept all my paintings a mono colour because after my tutorial with my tutor we came to a conclusion that I struggled to apply colour whilst painting landscape, dealing with compositions and depth of field. We chose and element that did work and that was the painting of the actual fort itself. The illustration of the bricks that I did worked and so I maintained that technique whilst painting my new design. Compared to my other two attempts using collage and a colour style painting, the black and white style was more suited to my style of drawing and I felt is complimented what I was trying to achieve especially with the foreground and background.

This is the second painting I did for Staigue fort. The story is that all these forts are connected via underground tunnels within the area. I found it challenging to design because illustrating this was going to be challenging, so I started to look at designs and concepts from ‘Song of the Sea’. I wanted to create a magical element to this design, using white dots and dashes which are inspired by Celtic design and motifs in manuscripts. Maintaining this traditional element of using the swirl symbolism, in the design and roots coming through the ground, I wanted to create that traditional element yet keep it in a modern taste.

Keeping it to a similar design here is a painting I did for the Baslicon Dolmen chapter. Like the Staigue fort painting I wanted to keep that natural element and same technique. Using the black and white water colour again to maintain that same style, whereas my previous collages all lacked consistency in style and did not look like they were created by one illustrator. This has been an element I have struggled with because I always want to try new styles and techniques and finding my own has been challenging. However, whilst doing this project and trying all the different styles of painting I feel this is my style now because I love the effects that you can do in watercolour.

Here is a design I did for the second illustration for Baslicon Dolmen. I’ve drawn Fial whose resting place is the Dolmen. I was inspired by this illustration I found in one of my Celtic designs which features a story, Celtic weaved design with the characters intertwined. I felt it would be nice an effective way to portray the traditional elements of Celtic design in this book and involve a character among the landscape illustrations.



This has been such a rewarding project, not only have I visualised a book that will be able to tell a new generation of old customs and traditions, I have found myself and my focus whilst doing this project. When I started this project I did not have a clue where it was going to go, I thought maybe a book or a series of images that tell a story. The whole point of this project is to tell a story using folklore, I am over in Ireland quite a lot as I have a house there. I appreciate its fine beauties and magical aura that luminates the country and people. I wanted to hone in on traditional stories from the ancient times and how stories are passed down from generations to generations. Co. Kerry is a second home to me , I have been visiting for years as a baby. Growing up there whilst on my holidays, listiening to the older ones in the public houses about when they were young and all these superstitions. Not to mention their accents were so strong to a six year old, understanding one word at a time. As Ive got older the accent is second nature to me and I feel that gives Ireland it’s authenticity, the people who live there. Coming across the project that Voices from the Dawn had accomplished , not only in Kerry but all of Irelands most ancient and scared places. I was so pleased and greatful that they allowed me to use their interviews as the narritive to my book. I wanted to have an element of authenticity and not just stories that had been written before.

For me that added that magical touch is that in the interviews I have written with the Kerry dialect, giving that authentic voice of the women and men of Kerry. With the Illustrations, It was a lot of ups and downs because I felt what every I did , did not feel right. I have had a lot of trial and errors , however it was the best thing that could of happened because I now know what suits me when it comes with the use of colours and style of pattern. It has been a process for me to dicover what my unique style is and I feel that I am starting to unravel that and this project has allowed me to do so. I have only done the first two chapters, not all five however due to time I wanted to do the first two chapters with my fullest attention. I will continue with this book and finish it, because it deserves to be finalised. I will eventually get it printed and gain feedback from The Voices from the Dawn and locals of Kerry.


COLLABORATIVE MANIFESTO The introduction of manifestoes, Designing design statements was definitely an eye opener for me. I have never of thought of creating my own manifesto before, I always thought of it as a political agenda to draw in people for a cause. To break it down in our first session we did a few exercises to introduce ourselves and give an insight on why we joined the course. Mine was: “I wanted to join this course to get into illustration; I graduated two years ago from a course called ‘Fashion, Promotion and Imagery’. This led me to love illustration, in the mean time I have been working to gain experience. However I knew I wanted to pursue illustration further as it is something I really enjoy and I never wanted to look back and regret not ever pursuing it.” Looking back on this statement in our first session, and progressing forward I feel like I have achieved these points. I am now doing what I want to do and will go on to progress it further. We then went back on to manifestos, what it represents and how it engages with people to follow a cause. We were told to get into groups; I was in a small group of just me and another person. We were on the same course and share similar interests. What we came up with to create a manifesto was quite easy as we both share the same beliefs when it comes to drawing techniques and our appreciations to illustration. I always like to work with groups because it is nice to see other perspectives and how they think and do things. We chose how analogue process is a necessity in illustration, if it should still be used and its benefits. We created our name which was “Digit” because it is associated with our fingers and how we use analogue techniques.

“In the digital age, don’t forget to use your digits! Your hands are the original digital devices” – Lynda Barry


We created a mind map on the key points we wanted to propose for our manifesto. Our motives were to promote hand rendered techniques, preserve traditional techniques, the art of making, reviving, process, quality (standard and achievement), educate, health and accessibility. Using these points, we then explored how this could be done. We would run workshops introducing methods and techniques with in drawing and creating introduction manuals on ways of creating different techniques. We created our manifesto poster proposing how we would promote, preserve, and revive hand rendered art and illustration techniques. To challenge digital processes and techniques, educate existing and emerging artists, and create works to inspire the next generation and to make accessible environments, materials for creativity at all levels. I really enjoyed doing this exercise because it made me think about other people’s perspectives and how we should inform others about what we want to achieve for a cause. After we had finished our posters we then showed to the rest of the class to explain our manifestos and gain feedback. We received positive feedback in general but we could have elaborated more on our poster giving specific details and how we will achieve these points. However, time was an issue and we did not have enough time to write it all down so we explained as we presented. It was a positive experience working in a group to create this manifesto because at the beginning when it was explained I was a bit unsure on how to approach it but after discussing with my partner it became more clear and easier to understand. This was useful, because communication is key if collaborating with other people. Dialogue is a vital part to engage and ask if you are uncertain and to share your ideas.

MANIFESTO After the exercises about what a manifesto represents, we were then given the task to write our own manifesto of our practise and beliefs. We were told to look at other practitioners manifestos and how their ideas are translated. I researched online and viewed general manifestos which have been iconic worldwide, such as “The Communist Manifesto” by Karl Marx and Friedrich Engels which was a pamphlet created in 1848 by two German men, which was commissioned by a communist political party called the Communist league. It was recognised globally as one of the most important documents in political history. It is about how the class system and capitalism can make life better. This was an example I had looked at just to get an idea of other manifestos and being interested in history was quite insightful to see how manifestos have been used for hundreds of years. Another manifesto which is very well known in the 20th century was Dr Martin Luther King’s, “I have a dream speech”. As a young girl I remember my dad playing this speech on the tape player and it has always struck a chord as I find it very powerful and solid. I never thought of it as a manifesto before because it was a speech which was read to thousands of people during the Civil Rights movement in 1963, Lincoln Memorial Washington DC. I looked at this one because he talks about what he will do and how things will change which is what a manifesto is about. ‘I’ is used consistently throughout the speech, citing King’s intentions and wishes. I then started to look into manifestos that were relevant to my practice, I looked at “An Illustrator’s Manifesto, in poetry and pictures” by Temujin Doran which was given to us as an example to look at. It is a video with illustrations explaining what it is to be an illustrator. I like that there are all different illustrations to explain their manifesto. Another Manifesto I have looked at is Red Alan Manifesto (Grayson Perry), which is a very visual manifesto; it is all hand rendered imagery which has been drawn to illustrate their views on being an illustrator. It is visually pleasing this manifesto with all the intricate designs and styles of pen marking. I feel that this manifesto is really insightful as it gives you the truth about being an artist. My favourite line is at the end where it says “My favourite artwork is the next one I make” which is what most artists want to think to move forward to produce adequate work.



PERSONAL MANIFESTO We were given the task to write our very own manifesto, we were told to consider these factors whilst writing it. Why, What and how. I wanted to consider points I would want to follow in life being an illustrator. I started to write down points; I followed the style of the 10 commandments, however I did more than ten points. I kept the original design very simple just so it was clear and easy to read. My feedback was quite mixed. From my tutor feedback was positive in regard to the message I wanted to get across however she wanted me to get a bit deeper with specific details of what I really want to follow. Another key point she gave me was that if I am an Illustrator why I have not done any drawings to support my manifesto. I knew this would be a factor because if illustration is my practice then I should show some examples presented with that. We were told to pin our manifestos on a board in our room and to leave feedback on everyone’s work on how they could improve and positive points about their manifestos. I received good points about mine, which were helpful for me. They said that maybe that it was too long and it could be condensed down to make it easier to read. Some felt it was a powerful message and that they thought was well written and some agreed with my tutor in that there could have been illustrations to support your message.

WHAT HAS THE GDCP DONE FOR ME? Before joining this course, I was set to do a Masters, whilst applying and submitting my portfolio I was told another course was available which, helps prepare your portfolio. I feel like this was the best decision I have made because I feel I would have been in over my head going into a Masters course with being out of education for two years. Being on this course for me has been so beneficial because if I had just gone straight into masters I would not of been prepared and this course has helped me and guided me to stage I am at today. Giving me new perspectives and new-found confidence in my work and up most motivation which I lacked before this course. What I have found interesting whilst on this course is that it is not just about the final outcome of your projects, it is about the process developed to get to that point. Personally I have always have had an interest in the process side of my work. I thoroughly enjoy the research side and exploring artists, books and films for references. I have a massive passion for history and I like to show how it can be influenced through art and design. This is an aspect I have always felt is important because history plays a massive part as we are influenced by the past. I would say that I have gained new perspectives on how I approach a brief; I now break apart the brief and see how I will approach it, mainly concentrating on the target audience and to consider approaches. This is a quality I have improved on during the course as I have never really concentrated on my target audience before this course started. My practice as an illustrator is specifically an analogue process; my tools I prefer to use are pens, pencil and paints such as watercolour and gouache. I used these mediums to enhance my work to show depth and textures. I prefer to use traditional methods with my work because I feel preserving analogue processes is important. In my work what I would like to develop is my drawing and painting skills. I feel that I need to practise and do more studies in my day to day life. I would like to always have a sketch book at hand to draw down things I see that inspire me, whether it is trees or a pattern on a floor and people. In my work I really enjoy using aspects of a historical element for example Celtic design. Being Irish I like to use influences of my heritage through my work. This is an aspect I want to continue doing through to the masters but develop it further to create contemporary designs. Having an influence through your work I feel is important because it shows through your designs and now that I have identified that during this course you can see other artist’s styles visibly through their work too. I feel like I’ve started to develop a trade mark for myself. Before doing the GDCP course I never really had thought about a target audience, I was always just focused on designing based on my interests. This course has taught me that cannot be the way, because when you are designing you have to consider other people’s interests and their interests into account. I would consider my target audience are a group of people who like a message, to be informed about cultural symbolism and motifs. I want to create designs to inform and to convey a message. I have a passion for historical designs from the Celts with their heavy symbolic art and ancient manuscripts. In the future applying what I have learnt on this course, I will apply all these factors now and in future whilst I am illustrating. I want to become an illustrator that hones in on my inspirations and personal influences to a contemporary audience and to relate to an audience that share similar ideas to mine as well as a new audience that want to learn and discover historical influential illustration. I want to be an illustrator that can design for myself as well as others. Keeping that balance will keep me motivated to be open to new prospects. I am still unsure what I specifically want to do whether it Illustrating freelance or working for a creative illustration agency designing for clients. I am very open but I will design from my own interest and hopefully try new methods to create my designs.

BIBLIOGRAPHY 1. jeansforgenesday. 2018. WHO WE HELP. [ONLINE] Available at: https://www. [Accessed 10 April 2018]. 2. JEANS FOR GENES, (2018), WATCH OUR FILMS [ONLINE]. Available at: [Accessed 10 April 2018]. 3. EANS FOR GENES, (2018), READ OUR STORIES [ONLINE]. Available at: [Accessed 10 April 2018]. 4. Learn. Genetics. 2018. WHAT ARE GENETIC DISORDERS? [ONLINE] Available at: [Accessed 10 April 2018]. 5. Chromosome abnormality. 2018. The three major single-chromosome mutations: deletion (1), duplication (2) and inversion (3).. [ONLINE] Available at: https:// Mutations.svg. [Accessed 10 April 2018]. 6. net health book. 2018. Chromosomal Abnormalities. [ONLINE] Available at: [Accessed 10 April 2018]. 7. wikipedia. 2018. Gametes of a hybridogenetic hybrid contain the genome of one parental species (C), instead of all possible combinations of both parental (red and green) chromosomes (B). A - somatic cell.. [ONLINE] Available at: https:// [Accessed 10 April 2018]. 8. wikipedia. 2018. Gametes of a hybridogenetic hybrid contain the genome of one parental species (C), instead of all possible combinations of both parental (red and green) chromosomes (B). A - somatic cell.. [ONLINE] Available at: https:// [Accessed 10 April 2018]. 9. wikipedia, (2018), DNA NoBB.png [ONLINE]. Available at: pn_NoBB.png [Accessed 10 April 2018]. 10. medicalnewstoday, (2018), What is DNA and how does it work? [ONLINE].

Available at: [Accessed 10 April 2018].

11. thejeansblog, (2017), Supporting Jeans For Genes 2017 [ONLINE]. Available at: [Accessed 10 April 2018]. 12. JEANS FOR GENES, (2017), 2017 LIMITED EDITION FASHION T-SHIRT [ONLINE]. Available at:[Accessed 10 April 2018]. 13. beautyfashionchitchat, (2017), JEANS FOR GENES APPEAL 2017 LIMITED EDITION FASHION T-SHIRT July 31, 2017 [ONLINE]. Available at: https://beautyfashionchitchat. [Accessed 10 April 2018]. 14. ntertalentgroup, (2017), LOUISA PRESS [ONLINE]. Available at: profiles/louisa-johnson/press [Accessed 10 April 2018]. 15. jeans_for_genes, (2017), jeans_for_genes [ONLINE]. Available at: https://www.instagram. com/p/BX7pPflhfO5/?taken-by=jeans_for_genes [Accessed 10 April 2018]. 16. jeans_for_genes, (2017), jeans_for_genes [ONLINE]. Available at: https://www.instagram. com/p/BY8mniaBvA2/?taken-by=jeans_for_genes [Accessed 10 April 2018]. 17. eans_for_genes, (2017), jeans_for_genes [ONLINE]. Available at: https://www.instagram. com/p/BYyCsNPhA_l/?taken-by=jeans_for_genes [Accessed 10 April 2018]. 18 jeans_for_genes, (2017), jeans_for_genes [ONLINE]. Available at: https://www.instagram. com/p/BXVlqykBrrW/?taken-by=jeans_for_genes [Accessed 10 April 2018]. 19. Leader, W., Kyritsis, N. and Roberts, F. (1994). Fundamentals of marketing. Cheltenham: Stanley Thornes (Publishers). 20. Asos, (2018), ASOS DESIGN t-shirt with fabulous rainbow print in black [ONLINE]. Available at: prd/9845198?clr=black&SearchQuery=&cid=19825&gridcolumn=4&gridrow=8&gridsize=4&pge=1&pgesize=72&totalstyles=502[Accessed 10 April 2018]. 21. gabinetedentario, (2018), Kappa Women Black Printed Regular Fit T-shirt - KAPAA17AWAWTE9T49209 - Women’s Tops IXFQTWO [ONLINE]. Available at: kappa-women-black-printed-regular-fit-t-shirt-kapaa17awawte9t49209-women-s-tops-ixfqtwo.html [Accessed 10 April 2018]. 22. Missguided, (2018), black classic slogan t-shirt [ONLINE]. Available at: [Accessed 10 April 2018]. 23. Missguided, (2018), black eternity washed crop t-shirt [ONLINE]. Available at: https://www. [Accessed 10 April 2018]. 24. prettylittlething, (2018), BLACK FEMME SLOGAN ROSE OVERSIZED T SHIRT [ONLINE]. Available at: [Accessed 10 April 2018]. 25. topshop, (2018), embellished t-Shirt [ONLINE]. Available at: sitedown.html [Accessed 10 April 2018]. 26. h&m, (2018), Black t-Shirt [ONLINE]. Available at:

26. h&m, (2018), Black t-Shirt [ONLINE]. Available at: [Accessed 10 April 2018]. 27. h&m, (2018), V-neck T-shirt [ONLINE]. Available at: [Accessed 10 April 2018]. 28. h&m, (2018), Slub Jersey T-shirt [ONLINE]. Available at: [Accessed 10 April 2018]. 29. h&m, (2018), Lyocell T-shirt [ONLINE]. Available at: [Accessed 10 April 2018]. 30. h&m, (2018), T-shirt [ONLINE]. Available at:[Accessed 10 April 2018]. 31. h&m, (2018), Long T-shirt [ONLINE]. Available at: [Accessed 10 April 2018]. 32. Cho, G. (2010). Smart clothing. Boca Raton, FL: CRC Press, p.39. 33. Tale Foundry. (2017). Why Isn't Irish Mythology More Popular? — Irish Mythology Series. [Online Video]. 22 March 2017. Available from: [Accessed: 10 April 2018]. 34. Tale Foundry. (2017). Why Isn't Irish Mythology More Popular? — Irish Mythology Series. [Online Video]. 22 March 2017. Available from: [Accessed: 10 April 2018]. 35. Tale Foundry. (2017). Why Isn't Irish Mythology More Popular? — Irish Mythology Series. [Online Video]. 22 March 2017. Available from: [Accessed: 10 April 2018]. 36. Tale Foundry. (2017). Why Isn't Irish Mythology More Popular? — Irish Mythology Series. [Online Video]. 22 March 2017. Available from: [Accessed: 10 April 2018]. 37. wikipedia, (2018), The Tuatha Dé Danann as depicted in John Duncan's "Riders of the Sidhe" (1911)[ONLINE]. Available at: File:Riders_of_the_Sidhe.jpg[Accessed 10 April 2018]. 38. wikipedia, (2018), Folio 53 from the Book of Leinster. Lebor Gabála Érenn is recorded in more than a dozen medieval manuscripts and the Book of Leinster is just one of the primary sources of text. Image: Dublin, TCD, MS 1339 (olim MS H 2.18) [ONLINE]. Available at: https://en.wikipedia. org/wiki/Lebor_Gab%C3%A1la_%C3%89renn#/media/File:Book_of_Leinster,_folio_53.jpg[Accessed 10 April 2018]. 39. goodreads, (2018), Writings on Irish Folklore, Legend and Myth by W.B. Yeats [ONLINE]. Available at: and_Myth[Accessed 10 April 2018]. 40. Yeats, W. and Welch, R. (2000). Writings on Irish folklore, legend and myth. London, England: Penguin Books, p.introduction.

41. googleadservices, (2018), Lady Gregory's Complete Irish Mythology [ONLINE]. Available at:[Accessed 10 April 2018]. 42. Amazon, (2018), Myth Legend and Romance: An Encyclopaedia of the Irish Folk Tradition Hardcover – 1 Feb 1991 [ONLINE]. Available at: [Accessed 10 April 2018]. 43. Amazon, (2018), Celtic Tales: Fairy Tales and Stories of Enchantment from Ireland, Scotland, Brittany, and Wales Hardcover – 1 Sep 2016 [ONLINE]. Available at: Celtic-Tales-Enchantment-Scotland-Brittany/dp/145215175X [Accessed 10 April 2018]. 44. The Secret of Kells, (2018), Movie review by Sandie Angulo Chen, Common Sense Media [ONLINE]. Available at: [Accessed 10 April 2018]. 45. The Secret of Kells, (2018), Movie review by Sandie Angulo Chen, Common Sense Media [ONLINE]. Available at: [Accessed 10 April 2018]. 46. The Secret of Kells, (2018), Movie review by Sandie Angulo Chen, Common Sense Media [ONLINE]. Available at: [Accessed 10 April 2018]. 47. The Secret of Kells, (2018), The Secret of Kells Named Best Irish Film by the Dublin Film Critics Circle[ONLINE]. Available at:[Accessed 10 April 2018]. 48. Song of the Sea (2014), (2018), 11 of 82 Song of the Sea (2014) Titles: Song of the Sea [ONLINE]. Available at: [Accessed 10 April 2018]. 49. Song of the Sea (2014), (2018), 19 of 82 Song of the Sea (2014) Titles: Song of the Sea [ONLINE]. Available at: [Accessed 10 April 2018]. 50. Song of the Sea (2014), (2018), 24 of 82 Song of the Sea (2014) Titles: Song of the Sea [ONLINE]. Available at: [Accessed 10 April 2018]. 51. LA Times, (2015), 'Song of the Sea' is a masterwork by director Tomm Moore [ONLINE]. Available at:[Accessed 10 April 2018]. 52. temple bar gallery. 2015. DMC- Dunmurry May-Day Conspiracy Aoibheann Greenan. [ONLINE] Available at: [Accessed 10 April 2018].

54. Aoibheann Greenan, (2018), DMC; DUNMURRY MAY-DAY CONSPIRACY [ONLINE]. Available at: [Accessed 10 April 2018]. 55. Aoibheann Greenan, (2018), DMC; DUNMURRY MAY-DAY CONSPIRACY [ONLINE]. Available at: [Accessed 10 April 2018]. 56. FELIX & SPEAR Modern British and Contemporary Art. 2018. DAVID SHUTT: LANDS OF GODDESS AND MYTH. [ONLINE] Available at: e32d86_8912a63bb23b46979f1fcf531c4feb95.pdf. [Accessed 10 April 2018]. 57. artrabbit. 2018. 'A Pool of Light' 100 x 95 cm oil on canvas. [ONLINE] Available at: https://www. [Accessed 10 April 2018]. 58. David Shutt, (2018), Chun Quoit Against the Atlantic [ONLINE]. Available at: [Accessed 10 April 2018]. 59. Jillian Tamaki, (2018), Irish Myths and Legends [ONLINE]. Available at: illustration/irish-myths-and-legends/ [Accessed 10 April 2018]. 60. jilliantamaki. 2018. Irish Myths and Legends: Folio Society. [ONLINE] Available at: http://blog. [Accessed 10 April 2018]. 61. Alexandra Soranescu, (2018), The Children of Lir Illustrated Story Book [ONLINE]. Available at: [Accessed 10 April 2018]. 62. 1Meyer, Kuno. Ancient Irish Poetry. London: Constable, 1911, repr. 1994. vii. 63. voicesfromthedawn. 2018. ABOUT THE VOICES. [ONLINE] Available at: [Accessed 10 April 2018]. 64., (2018), - homepage [ONLINE]. Available at: [Accessed 10 April 2018]. 65., (2015), Staiguefort [ONLINE]. Available at: [Accessed 10 April 2018]. 66. voice from the dawn. (2014). Living close to Staigue Fort, Jackie O’Farrell tells the story of what happened when a man took stones from a fort. (1979).. [Online Video]. 15 April 2014. Available from: [Accessed: 10 April 2018]. 67. voice from the dawn. (2014). The preservation of the Baslicon Slab, explains Michael Moriarty, was in part due to the folk beliefs of the area.. [Online Video]. 15 April 2014. Available from: https:// [Accessed: 10 April 2018]. 68. voice from the dawn. (2014). It is likely that a locally important chieftain built the fort in the Early Christian period, perhaps around the ninth century CE.4 While there is no history or tradition connecting this homestead to a particular individual, either historic or legendary, it is evident that he had brilliant sense for its strategic location. The fort, protected on three sides by mountains, has fine agricultural land to its west. Perhaps just as importantly, its high vantage point overlooking the narrow entrance of the bay would make it difficult for any ship to enter without being noticed. A visitor today. [Online Video]. 15 April 2014. Available from: [Accessed: 10 April 2018].

69.¬ miniprint, (2018), «Landscape – III» Collagraph – Chine collée Patricia Niemira France [ONLINE]. Available at: [Accessed 10 April 2018]. 70. chrisneale, (2018), 114. GARN BACH* [ONLINE]. Available at: print-detail.php?suffix=l&base=110&pindex=3 [Accessed 10 April 2018]. 71. thayercarter, (2018), Church of San Jose de Garcia 1974 woodcut print 9" x 8.75" [ONLINE]. Available at: [Accessed 10 April 2018]. 72. mikeglanville, (2018), HALLSANDS etching and aquatint [ONLINE]. Available at: [Accessed 10 April 2018]. 73. Hebridean Crofts Gill Thompson, (2018), Hebridean Crofts Gill Thompson [ONLINE]. Available at: [Accessed 10 April 2018]. 74. John Piper, (2018), Angle Bay, 1938 [ONLINE]. Available at: [Accessed 10 April 2018]. 75. John Piper, (2018), John Piper, Seaford Head (1933). Mascalls Gallery [ONLINE]. Available at: [Accessed 10 April 2018] 76. MONIQUE JANSSEN-BELITZ, (2018), Echoes from the Past [ONLINE]. Available at: http:// [Accessed 10 April 2018]. 77. john piper, (2018), Beach at Donegal, c1937 [ONLINE]. Available at: https://www.waterman. [Accessed 10 April 2018]. 78. joseph jacobs, (2018), Celtic fairy tales [ONLINE]. Available at: UF00081188/00001[Accessed 10 April 2018]. 79. jillian tamaki, (2017), Stunning Illustrations for Irish Myths and Legends [ONLINE]. Available at: [Accessed 10 April 2018]. 80. bmagic, (2018), Illustrated Manuscript - The Story of the Dwellers at Eyr [ONLINE]. Available at: [Accessed 10 April 2018]. 81. by M H Clark (Author), (2018), You Belong Here Hardcover [ONLINE]. Available at: https:// [Accessed 10 April 2018]. 82. Donal O’Cahill, published by author, (n.d. 8th ed.). Cover design: Fergus O’Ryan, , Legends of Killarney [ONLINE]. Available at: [Accessed 10 April 2018]. 83. duffy design, (2018), Title page fiction font from 1924 (Macmillan & Co) #FontSunday @DesignMuseum[ONLINE]. Available at: [Accessed 10 April 2018].v

84. Croker, Thomas Crofton, and Sigerson Clifford. Legends of Kerry. Tralee, Ireland: Geraldine, 1972. 21-22. 85. jessamyhawke, (2018), ARAN ISLANDS [ONLINE]. Available at: https://www.jessamyhawke. [Accessed 10 April 2018]. 86. George Bain:, (2013), "Celtic Art, The Methods of Construction" [ONLINE]. Available at: http:// [Accessed 10 April 2018]. 87. wikipedia, (1977), Folio 34r contains the Chi Rho monogram.[47] Chi and rho are the first two letters of the word Christ in Greek [ONLINE]. Available at: Kells#/media/File:KellsFol034rChiRhoMonogram.jpg [Accessed 10 April 2018]. 88. wikipedia, (1977), Book of Kells, Folio 32v, Christ Enthroned. [ONLINE]. Available at: https:// [Accessed 10 April 2018]. 89. wikipedia, (1977), Folio 27r from the Lindisfarne Gospels contains the incipit Liber generationis of the Gospel of Matthew. Compare this page with the corresponding page from the Book of Kells (see here), especially the form of the Lib monogram. [ONLINE]. Available at: https://en.wikipedia. org/wiki/Book_of_Kells#/media/File:LindisfarneFol27rIncipitMatt.jpg [Accessed 10 April 2018]. 90. wikipedia, (1977), Folio 309r contains text from the Gospel of John written in Insular majuscule by the scribe known as Hand B. [ONLINE]. Available at: Kells#/media/File:KellsFol309r.jpg [Accessed 10 April 2018]. 91. Adobe Illustrator (Computer file). 2012. Mastering Illustrator By Smashing Magazine, p53. [ONLINE] Available at: [Accessed 10 April 2018]. 92. Temujin Doran. (2012). An Illustrator's Manifesto, in Poetry and Pictures. [Online Video]. 18 October 2012. Available from: [Accessed: 10 April 2018]. 93. Red Alan, (2014), A new artwork by Grayson Perry RA presents a special manifesto for the Royal Academy. [ONLINE]. Available at:[Accessed 10 April 2018].


PM7000 - Diana Lindsay_lehane


PM7000 - Diana Lindsay_lehane