Everything in one document

PROPOSAL &RESEARCH Lydia Czolacz/U1250424

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(Anna Colin and Lydia Yee, 2015)

(Wade, 2013)

Introduction Proposal & Research

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This document will guide you through my research and development for this module.

It will highlight all areas of research and even include some responses to the work I have been looking at. This will also include any scanned images from my sketchbook work I have been doing and will show a journey how each writer/theorist/artist/ designer has links to each other.

CONTENT

4 Main topics covered: Psychology in design/ Design and new contemporary forms/ The Unconscious Mind/ Surrealism/ Rick Poynor/ “Uncanny: Surrealism and Graphic Design” Exhibition/ Workshops/ A-Z Concepts

INITIAL IDEAS

6 SKETCHBOOK

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WORKSHOPS

A SMILE IN THE MIND

This page starts from the very beginning of the course. Looking at my very first ideas.

This section is scanned images of initial sketchbook work I have done.

This takes a look at some of the workshops we have been involved with this term.

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RICK POYNOR

An outlook on Rick Poynor and why his work is crucial to my research.

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SURREALISM

The importance of Surrealism and its representations.

KAREL TEISSIG

Beginning to look at artists that have inspired me around the concept of Surrealism.

This looks at a piece of text which shaped future direction in my project.

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The beginning to my A-Z research, development and final outcomes.

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This is where I started the course began to really look at what I was doing and what I wanted to explore.

First Sketchbook Work

PSYCHOLOGY & DESIGN

These sketchbook scans relate directly to the previous one. Taking the idea of the Unconscious vs. The Conscious drive this is where my research begins to unfold.

Again I started to look through at the Unconscious Mind in the views of education, mindset and through the consumer.

As you can see from my mind map this begins to develop through looking at the way in which psychology is used in design. This acted as a starting point to what I was going to be looking into in more depth and gave me a great insight into what I wanted to do.

I started to build a reading list which helped me locate the next section.

I began to look into the direction of Neuroaesthetics which is the way art and imagery are effected and howcolour can change the emotional reaction of the image. I also began to latch onto the idea of breaking boundaries and how German psychologists in 1920 began looking at Gestalt Theories.

Semiotics started to arise a lot from this work but I wanted to stay away from that as that was already something I looked at in previous years of design.

BEGINNING MY RESEARCH To get a really solid start on my research I wanted to be able to map out perfectly some starting points.

These would take the form of a written sketchbook which I would use for purposes of development and idea collating.

plore and as you can see I started to highlight things about the Unconscious Mind and the idea of it as a drive versus the Conscious drive.

All images are from my own sketchbook and are scanned in.

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Hester Reeve ‘Burning to Speak’ (2015) - Thought Positions in Sculpture, Huddersfield Art Gallery This takes a look at an exhibition which we visited that was in the Huddersfield Library curated by Rowan Bailey.

(University of Huddersfield, 2015)y

Jill Townsley ‘Stones’ - Thought Positions in Sculpture, Huddersfield Art Gallery

THOUGHT POSITIONS IN SCULPTURE

10 contemporary artists each engage with existing works of art under a theme of archives, each with links to sculptures, sculptors or their sketchbooks.

They each had to work out a way of interpreting these archives, developing their own pieces to develop new works without falling into the trap of copying.

I really liked the way archives were used in order

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to form a new piece and the correlation between this piece and the methodical process. Especially the ones above from Hester Reeve, who took a dialogue and hid a part in a drawer in the furniture, Jill Townsley, who archived stones at the bottom of a river and Liadin Cooke, who threw sticks up and drew what she could see, a project built around chance.

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Own photos.

(Leeds 2023, 2015)

BRITISH ART SHOW 8/LEEDS

British Art Show 8 was host to an exhibition full of many differentt artists. Work was presented in the form of textiles, movie, paintings and design.

Organised by Hayward Touring every five years, the exhibition will tour to Edinburgh, Norwich and Southampton in 2016/17.

This takes a look at an exhibition in Leeds and some of the featured work in there.

ic objects in a digital age. It is a generation since Leeds hosted an exhibition like this and it is interesting to see the way artists perceive contemporary designs.

(Anna Colin and Lydia Yee, 2015)

This exhibition focuses mainly on the idea of stat-

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THE WORKSHOPS In the concepts module we started to learn about practice and the way that different methods and practice styles can be used to influence our own work. This section displays one photo which I feel sums up the session and has more about them on the following page.

(Montag, 2012)

THE SESSIONS

this and it was the way in which the type so effortlessly moulded into another section of the piece. The very simplistic colour palette makes it easier to associate with different characters and makes the text easy to read.

Each session was different and was taught by a different tutor.

We then went around the room and each of us picked our own video to show and why we liked it, I picked the video above.

(Lydia Czolacz, 2011)

Sara Nesteruk

(Ania Lake, N.D)

Jay Payne

Rob Lycett 1

Rob Lycett 2

This session looked at sketchbooks and the importance of them in design and every day life. As I didn’t take any photos from the session I found this one I loved due to the messiness and obscurity of the pages.

This section looked at Psychogeographic library. Rob sent us to library and to write on cards random books and their number location in the library and a summary of what the book was about. We then regrouped in the studio and created a physical mindmap.

Rob split us up into groups and gave each group a set of rules. No questions were asked and it was down to us how we interpreted the rules in our practice. Using just four colours we had to extend a circle until we believed it was “perfect.”

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Sara is a graphic motion designer who loves to explore animation. This session was based around that and to find motion graphics, that even though it may not be our forte, is related to and inspires our own creative practice.

We looked at some iconic beginning opening scenes such as the “Catch Me If You Can” opening sequence and explored how that now stands alone as a piece of design.

I thought this video was ideal for my own practice as I want to begin by doing something I did and enjoyed a long time ago and that is interpreting photography in my own practice. However, this does that in a way which is contemporary and also gives the impression these are small video clips pieced together when in fact they are single images that are camera mapped. This is a technique that can be used in programmes such as Cinema 4D and takes a singular image and somehow pans it across and makes it look as if it is 3D. I loved this workshop and it also gave me the idea to extend my practice into something to do with motion.

We explored what made us drawn to

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“A Smile In The Mind” WITTY THINKING IN GRAPHIC DESIGN Foreword by Edward De Bono Designed by The Partners

This was a breaking point in my research as I realised I needed to start to be able to bring a barrier between psychology and design else it would become to much of a one sided based proposal. This is why this became such a short page in my sketchbook as Edward De Bono looks particularly more into psychology however I did manage to make a short note on the side about how humour became more accepted in design work.

(De Bono, 2015)

Onething I did pick up on was the way in which cultural and social beliefs effected the way the text was perceived in different areas of the world.

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Sigmund FREUD Study for proposal

Sigmund Freud became a large part of my research due to his theories on “The IceBerg Metaphor.” This was the theory that there were three levels of the structure ofthe mind,the Conscious level (our thoughts and processes), the Preconscious level (memories and stored knowledge) and finally the Unconscious mind (fears, motives and needs), This started to lead me into looking at again, constraints of society and how this idea relates to the ID drive.

The Ego is a passive drive that accepts what is socially and culturally tolerable, meanwhile, attains any animalistic impulses from the alternative drives, that slyly master any disguise, which can attempt to interrupt the “normal” being (Engler, 1979). This is also explored by Brunner (2002) who involves “the self” and the constant overlap of the “specific roles,” often leading the mind in a place of insecurity, that could possibly cause an overload, the root of mental illnesses (Otuss, 2013).

“The ego is not master in its own house.” - Sigmund Freud, A Difficulty in the Path of Psycho-Analysis (1917) 16 | PROPOSAL & RESEARCH

Lastly, the ID is the part of us that latches on to our survival necessities from birth (Dickerson, 2006), whether it be eating, sleeping, conversing and even pro-creating. The ID is believed to be the rogue drive and faces a constant battle between both our Ego and Super Ego to overrule and dominate. Sometimes our mind releases these urges but due to society and their constraints, human minds have become accustomed to boundaries and without question, we obey. The ID has direct correlation with the “pleasure principal” and Dickerson begins to make aware the concept of having no morals or values, “it pushes for instant gratification through impulsive and irrational means.” This plays a central part in my research as this is what I’m interested in most of all.

Part of my proposal.

Secondly I began to analyse the Super Ego, the Preconscious that relates to accessible knowledge and memories. As simplified as possible, explained by Saul McLeod on the “Simply Psychology” website in 2008, the Super Ego according to Freud revolves around beliefs and morals which stem from a learning process in a person’s younger years from influences around them, whether this be teachers or parents. The function of this drive is to control the survival processes presented by the ID, especially those which are deemed as unsocially acceptable.

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Rick POYNOR Study for proposal

One of the first writers to pursue the understanding of the evolved mind in graphic design, the ID and the uncanny is Rick Poynor. Poynor released a book named “Design without Boundaries” in 1998 that were a collection of articles from the 1980’s and 1990’s. These were key factors that influenced the change in design processes. The book analyses the works of Saville and Brody and finds theory within those pivotal designers at the time (Poynor, 1998). This became an essential moment which triggered Poynor’s exploration of breaking the design conventions involving aspects such as layout and theory which then awoke the sense of Surrealism and the uncanny within both past and present design.

After the release of “Design Without Boundaries” Poynor was invited to curate an exhibition in 2010 in Brno, Czech Republic at the Moravian Gallery called “Uncanny: Surrealism and Graphic Design.” Poynor wanted to celebrate the Surrealist movement which dated back to the 1920’s and 1930’s and even suggests elements of the uncanny emerging from that period deriving from Freudian roots (Poynor, 2009). This acted as a catalogue to accompany the exhibition which pictured artists I have mentioned previously as key influences. It is interesting to account for the way in which the Unconscious mind embeds each artist’s/designer’s practice through this concept of surrealism. “…Transformed dreamlike characters… grotesque apparitions… creatures from other worlds…” are the words Poynor use suggest relation to our inner imagination but then elaborates through the drive of procreation focusing on representations, inside the exhibition, of female anatomy an “avatar of desire.” This is all in relation to the idea of the ID drive releasing through a mode that is more socially acceptable culturally.

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(Barbican International Enterprises, 2010)

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(“Incantation” (2014) central panel of triptych with Jean Labourdette – Oil and gold leaf & “Shaman II” (2014) – Oil) «(Pussy 2.0, DimitriVorsini, 43х43. Тушь, акварель. 201014) Shark Drop 1, Caleb Brown, ,moil on canvas, 30” x 25”, 2009

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SURREALISM MOVEMENT Surrealism was a movement which was started in 1924 and ended around 1966 according to The Art Story (N.D) website. It was founded in Paris that wanted “to channel the unconscious as a means to unlock the power of the imagination.” They believed that the Conscious drive, as represented by Freud, repressed exploration of the mind which weighed it down with constraints. A key idea arose from Freud’s work and centred on dreams within our Unconscious drive shown in “The Interpretation of Dreams” (1899). This began the theoretical basis of Surrealism and they began to understand Freud’s importance of unconscious human desires. Surrealist imagery aims to make the reader feel uncomfortable.

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Left: Photomontage (Duff, 2004) Right: Bullitism and Collage (Animi, 2015) Exquisite Corpse (Smith, 2015)

The top left is Photomontage which requires an image being broken down and put back into place with pieces mixed up.

Then it is Collage and Bulletism. Collage is where material is layered and Bulletism is a process where random ink is splattered onto a page and the mind can see an image.

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SURREALIST TECHNIQUES

After studying the art of Surrealism I devided to look at techniques used in order to gain insight.

Exquisite Corpse is a method is based on a game, where one person begins to either write or draw something, folds the paper over then passes it onto the next person to contribute Finally, Outagraphy is the art of cutting out the main focal point within the photo which leaves an empty space.

Outagraphy (Wheeler, 2015)

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Stefan Sagmeister according to his website participated in the exhibition to be able to resonate with the influences of Surrealist art.

This specific piece “Everything I Do Always Comes Back to Me” (2002) focuses on “the liberated letterform” and the way in which the alphabet can begin to assume various shapes and begin to create surrealist pieces themselves through the medium used.

This piece is ever so slightly different to that of past Surrealism and with this work I began to see a change through time. Sagmeister took it upon himself to use contemporary typography design in a twisted and uncomfortable way which was a great example of how old Surrealistic principles are embedded within modern artists.

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(Karel Teissig, The Last Butterfly, film poster, Czechoslovakia, 1990)

(Stefan Sagmeister, Everything I Do Always Comes Back To Me, 2002)

MY PROJECT INSPIRATION

Secondly, Karel Teissig, according to Poynor (2011), can “make even an innocuous porcelain doll appear to be lost in the depths of unshakable melancholy.” Through the depths of his Unconscious,

This has strong correlations with “Harlequin’s Carnival” by Joan Miró in 1924-25 as explored previously due to the kinetic feel produced from these pieces.

Teissig utilises imagery of dolls often which derives from the German artist Hans Bellmer. He then begins to collage them with obscure and mysterious objects transforming the dolls in a type of movement.

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(M/M Paris, Tout Poster, 2006) M/M Paris were first controversial in their design poster field but later became household names. According to Marshall (2013), it was founded in Paris 1993 showing a strict interdisciplinary approach that subverted every known convention, especially in editorial design. This “tout� poster did exactly that and combined realism with thoughts that originated from the depth of the unconscious, as seen previously in artists work when I was researching about Surrealist artists.

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I love this work by Kubicki (2008) as it really resonates with work I have looked at in the past such as Aylin Onel. I like the experimental side to this piece and looks as if it could fit under the research methods of Bulletism and Collage.

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(Jarek Kubicki, 60543, 2008)

MY PROJECT INSPIRATION

MEDIUM WILL BE AN ASPECT TO LOOK AT. HOWEVER, THESE ARE GREAT TO COLLAGE WITH. 28 | PROPOSAL & RESEARCH

SURREALIST TEXTURES MOOD BOARD This is a moodboard full of images and textures that I could use in my work to represent Surrealism.

All of these images are sourced from a website where textures are free and can be used in any work, the website is called http://www. textures.com//

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A-Z DEVELOPMENT

This section focuses on my A-Z development work, this includes scans of my notebook.

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Abstract

Bold

Japanese Design

Shape

Kinetic

Triangulation

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Combine

Layers

Urban

Different

Minimalism

Vector

Experiment

Negative Space

Whimsical

Fold

Outline

X-Ray

Geometric

Perspective

Hidden

Quarters

Yellow

Illustration

Japane

Retro

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FINAL POSTER TO THE RIGHT OF THIS PAGE IS MY FINAL POSTER THAT I CREATED FOR THIS BRIEF.

As you can see, this is my final poster I created. As each letter is individdual to an artist I wanted to represent this.

Originally, my idea was to have each word in the form of the letter I was going to create but I found this difficult as some of the words I chose were long and it would take me too much time to be able to do each word to a standard I would like it to be at.

Therefore, I thought of the idea of doing posters.

This enabled me the freedom to combine the letters in an interesting way and acts as a sort of display. I also really like the idea they are not in any particular order and takes a deeper look to realise this is the alphabet.

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Abstract Reality

Kendra Larson, “Fire Signals.”

INDESIGN BOOK SCREENSHOTS http://issuu.com/lydiakrystynaczolacz/docs/a-zbook

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Combine

Misterdoodle, “Attitudes.”

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Fold

Cargo Collective, “Folds.”

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Illustration

Richard Perez, “Bow.”

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Quarters

Pemorama, “This is the enemy!”

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Vector

Umang Jeshani, “VITA.”

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X-Ray

Her New Tribe, “Photography.”

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LONELY HEARTS

This was another workshop which was during the concepts brief. However, I chose to take this and use this idea in relation to my A-Z brief.

Lonely Hearts was a response to one of the workshops. We needed to be able to come up with ways that would sell ourselves as designers that were unique and individual toour practice.

Therefore, I chose four words which I thought were unusual and a great response to my own practice, these also follow the styles put forward in my full A-Z.

As I was absent for this session I decided to merge this in with my A-Z which also takes form of my original idea of makingfull words which derive from the inspirational artists.

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My REFERENCES

Transpersonal Journeys, (2014). Freud’s 1929 Iceberg Metaphor. [image] Available at: http://www.transpersonaljourneys.com/?p=1220 [Accessed 3 Dec. 2015].

Uncanny: Surrealism and Graphic Design - Sagmeister & Walsh - News. (2013, February 11). Retrieved December 3, 2015, from http://www.sagmeisterwalsh.com/news/story/uncanny-surrealism-and-graphic-design/

Animi, K. (2015). Bulletism and Camouflage. Retrieved from https://www.flickr.com/photos/130827046@ N05/15753880903

University of Huddersfield,. (2015). Image to the left: Glass plated slide of Germaine Richier’s L’Eau from the Leslie Cowan Collection by kind permission from the National Arts Education Archive@YSP. ©ADAGP, Paris and DACS, London, 2015.. Retrieved from https://www.hud.ac.uk/research/researchcentres/st/thoughtpositionsinsculpture/

Anna Colin and Lydia Yee,. (2015). British Art Show 8 Exhibition Catalogue. Retrieved from http://shop.southbankcentre.co.uk/british-art-show-8.html

Wade, J. (2013). Uncanny: Surrealism and Graphic Design Catalogue. Retrieved from http://www.sagmeisterwalsh. com/news/story/uncanny-surrealism-and-graphic-design/

Barbican International Enterprises,. (2010). Uncanny: Surrealism and Graphic Design. Retrieved from http:// www.barbican.org.uk/bie/tour_packs/uncanny_tour_pack.pdf

Wheeler, T. (2015). Outagraphy. Retrieved from https://www.flickr.com/photos/ukv1290/2848154238/

Book Design Blog,. Ania Lake Sketchbook. Retrieved from http://thebookdesignblog.com/everything-else/creative-fashion-sketchbook Brunner, J. (2002). Freud’s (De)construction of The Conflictual Mind Thesis Eleven (pp. 27-28). ResearchGate.

Czolacz, L. (2011). Colour 2. Retrieved from https://www.flickr.com/photos/lydiaaaa/6227201310/in/dateposted-public/ De Bono, E. (2015). Detail from A Smile In The Mind. Retrieved from http://uk.phaidon.com/agenda/design/articles/2013/july/29/how-a-phaidon-book-inspired-mad-mens-titles/ Dickerson, L. (2006). Freudian Concepts of Id, Ego and Superego Applied to Chemical and Other Addictions: Introducing Twelve-Step Programs as the Superego (p. 47). IUniverse.

Duff, K. (2004). Feline Montage. Retrieved from http://kevinduff.co.uk/kevinjamesduffgraphic.html Engler, B. (1979). The Structure of Personality. In Personality theories: An introduction (p. 45). Boston: Houghton Mifflin.

Leeds 2023,. (2015). Linder Sterling’s ‘Marriage of the Eyes’ at British Art Show 8. Retrieved from http://www. leeds-2023.co.uk/2015-a-leeds-bid/host-city-british-art-show-8/ M/M Paris,. (2006). http://www.mmparis.com/.

McLeod, S. (2008). Id Ego Superego | Simply Psychology. Retrieved December 3, 2015, from http://www.simplypsychology.org/psyche.html Montag, B. (2012). DESERTED - Camera Mapping With Cinema 4D. Retrieved from https://vimeo.com/50203339 Poynor, R. (1998). Design without boundaries: Visual communication in transition. London: Booth-Cleborn.

Poynor, R. (2010). Uncanny: Surrealism and graphic design = Cosi tísnivého : Surrealismus a grafický design.

Brnö: Moravian Gallery.

Putterpraat,. Karel Teissig (2011). Retrieved from http://www.putterpraat.nl/hallo-wereld/ Smith, W. (2015). Exquisite Corpse Technique. Retrieved from http://smithart7a.blogspot.co.uk/2015/03/india-inkexquisite-corpse-and-still.html Surrealism. (n.d.). Retrieved December 3, 2015, from http://www.theartstory.org/movement-surrealism.htm

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IDEA GENERATION: A-Z BOOK

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Introduction This book will guide you through my personal journey of exploration through this A-Z project. Each page represents a different concept influenced by a different artist or designer that is shown on the page consecutively to the letters.

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Abstract Reality

Kendra Larson, “Fire Signals.”

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Bold

Steven Harrington, “Noise Pop.”

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Combine

Misterdoodle, “Attitudes.”

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Different

Sam Larson, “Bison.”

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Experimental

Aylin Onel, “2924th KM.”

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Fold

Cargo Collective, “Folds.”

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Geometric

Craftman & Crate, “Shape.”

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Hidden

Kito.jp, “Hide,”

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Illustration

Richard Perez, “Bow.”

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Japanese Graphics

Nami Masuda, “Japanese Theatre Poster.”

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Kinetic

somuchpileup.blogspot.com.

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Layers

Design Work Life, “5-a-day.”

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Minimalistic

Studio Brave, “Calendar.”

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Negative Space

Rita Design Days.

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Outline

Motivated Type, “Architecture.”

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Perspective

Jose Berrio, “SVA Typography Class.”

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Quarters

Pemorama, “This is the enemy!”

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Retro

Condenced, “Amsterdam.”

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Shape

Alex Proba, “Pineapple.”

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Triangulation

A is a name.

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Urban

Javi Bueno, “Urban Zoo.”

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Vector

Umang Jeshani, “VITA.”

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Whimsical

Lamai McCartan.

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X-Ray

Her New Tribe, “Photography.”

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Yellow

Magpie Studio, “Lightning.”

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Zentangle

@hilda_r (Instagram)

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Abstract. Bold. Combine. Different. Experiment. Fold. Geometric. Hidden. Illustration. Japanese Graphics. Kinetic. Layers.

Minimalist.Negative space. Outline. Perspective. Quarters. Retro. Shape. Triangulation. Urban. Vector. Whimsical.

X-ray. Yellow. Zentangle.

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Abstract. Bold. Combine. Different. Experiment. Fold. Geometric. Hidden. Illustration. Japanese Graphics. Kinetic. Layers.

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My PECHA KUCHA

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CONCEPTS PRESENTATION Lydia Czolacz/U1250424

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(“Incantation” (2014) central panel of triptych with Jean Labourdette – Oil and gold leaf & “Shaman II” (2014) – Oil) Shark Drop 1, Caleb Brown, ,moil on canvas, 30” x 25”, 2009

«(Pussy 2.0, DimitriVorsini, 43х43. Тушь, акварель. 201014)

CONTEMPORARY SURREALISM

SURREALISM MOVEMENT Stefan Sagmeister according to his website participated in the exhibition to be able to resonate with the influences of Surrealist art.

Surrealism was a movement which was started in 1924 and ended around 1966 according to The Art Story (N.D) website. It was founded in Paris that wanted “to channel the unconscious as a means to unlock the power of the imagination.” They believed that the Conscious drive, as represented by Freud, repressed exploration of the mind which weighed it down with constraints. A key idea arose from Freud’s work and centred on dreams within our Unconscious drive shown in “The Interpretation of Dreams” (1899). This began the theoretical basis of Surrealism and they began to understand Freud’s importance of unconscious human desires. Surrealist imagery aims to make the reader feel uncomfortable.

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This specific piece “Everything I Do Always Comes Back to Me” (2002) focuses on “the liberated letterform” and the way in which the alphabet can begin to assume various shapes and begin to create surrealist pieces themselves through the medium used.

This piece is ever so slightly different to that of past Surrealism and with this work I began to see a change through time. Sagmeister took it upon himself to use contemporary typography design in a twisted and uncomfortable way which was a great example of how old Surrealistic principles are embedded within modern artists.

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(Karel Teissig, The Last Butterfly, film poster, Czechoslovakia, 1990) Secondly, Karel Teissig, according to Poynor (2011), can “make even an innocuous porcelain doll appear to be lost in the depths of unshakable melancholy.” Through the depths of his Unconscious, Teissig utilises imagery of dolls often which derives from the German artist Hans Bellmer. He then begins to collage them with obscure and mysterious objects transforming the dolls in a type of movement.

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This has strong correlations with “Harlequin’s Carnival” by Joan Miró in 1924-25 as explored previously due to the kinetic feel produced from these pieces.

I love this work by Kubicki (2008) as it really resonates with work I have looked at in the past such as Aylin Onel. I like the experimental side to this piece and looks as if it could fit under the research methods of Bulletism and Collage.

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Left: Photomontage (Duff, 2004) Right: Bullitism and Collage (Animi, 2015) Exquisite Corpse (Smith, 2015)

SURREALIST TECHNIQUES/RESEARCH METHODS After studying the art of Surrealism I devided to look at techniques used in order to gain insight.

The top left is Photomontage which requires an image being broken down and put back into place with pieces mixed up.

Outagraphy (Wheeler, 2015)

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Bold

Combine

Different

Experiment

Then it is Collage and Bulletism. Collage is where material is layered and Bulletism is a process where random ink is splattered onto a page and the mind can see an image.

Fold

Geometric

Exquisite Corpse is a method is based on a game, where one person begins to either write or draw something, folds the paper over then passes it onto the next person to contribute Finally, Outagraphy is the art of cutting out the main focal point within the photo which leaves an empty space.

Hidden

Illustration

Japanese De

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MEDIUM WILL BE AN ASPECT TO LOOK AT. HOWEVER, THESE ARE GREAT TO COLLAGE WITH. 136 | PROPOSAL & RESEARCH

SURREALIST TEXTURES MOOD BOARD This is a moodboard full of images and textures that I could use in my work to represent Surrealism.

All of these images are sourced from a website where textures are free and can be used in any work, the website is called http://www. textures.com//

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Abstract

Japanese Design

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Bold

Kinetic

Combine

Layers

Different

Minimalism

Experiment

Negative Space

Fold

Outline

Geometric

Perspective

Hidden

Quarters

Illustration

Japane

Retro

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Abstract Reality

Kendra Larson, “Fire Signals.”

Fold

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My REFERENCES Animi, K. (2015). Bulletism and Camouflage. Retrieved from https://www.flickr.com/photos/130827046@ N05/15753880903 Barbican International Enterprises,. (2010). Uncanny: Surrealism and Graphic Design. Retrieved from http:// www.barbican.org.uk/bie/tour_packs/uncanny_tour_pack.pdf Brunner, J. (2002). Freud’s (De)construction of The Conflictual Mind Thesis Eleven (pp. 27-28). ResearchGate.

Dickerson, L. (2006). Freudian Concepts of Id, Ego and Superego Applied to Chemical and Other Addictions: Introducing Twelve-Step Programs as the Superego (p. 47). IUniverse.

Duff, K. (2004). Feline Montage. Retrieved from http://kevinduff.co.uk/kevinjamesduffgraphic.htm Engler, B. (1979). The Structure of Personality. In Personality theories: An introduction (p. 45). Boston: Houghton Mifflin.

M/M Paris,. (2006). http://www.mmparis.com/.

McLeod, S. (2008). Id Ego Superego | Simply Psychology. Retrieved December 3, 2015, from http://www.simplypsychology.org/psyche.html Montag, B. (2012). DESERTED - Camera Mapping With Cinema 4D. Retrieved from https://vimeo.com/50203339 Poynor, R. (1998). Design without boundaries: Visual communication in transition. London: Booth-Cleborn.

Poynor, R. (2010). Uncanny: Surrealism and graphic design = Cosi tísnivého : Surrealismus a grafický design.

Brnö: Moravian Gallery.

Putterpraat,. Karel Teissig (2011). Retrieved from http://www.putterpraat.nl/hallo-wereld/ (Montag, 2012)

Smith, W. (2015). Exquisite Corpse Technique. Retrieved from http://smithart7a.blogspot.co.uk/2015/03/india-inkexquisite-corpse-and-still.html Surrealism. (n.d.). Retrieved December 3, 2015, from http://www.theartstory.org/movement-surrealism.htm Transpersonal Journeys, (2014). Freud’s 1929 Iceberg Metaphor. [image] Available at: http://www.transpersonaljourneys.com/?p=1220 [Accessed 3 Dec. 2015].

Uncanny: Surrealism and Graphic Design - Sagmeister & Walsh - News. (2013, February 11). Retrieved December 3, 2015, from http://www.sagmeisterwalsh.com/news/story/uncanny-surrealism-and-graphic-design/ Wade, J. (2013). Uncanny: Surrealism and Graphic Design Catalogue. Retrieved from http://www.sagmeisterwalsh. com/news/story/uncanny-surrealism-and-graphic-design/ Wheeler, T. (2015). Outagraphy. Retrieved from https://www.flickr.com/photos/ukv1290/2848154238/

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WORK PRODUCED BY LYDIA CZOLACZ U1250424 UNIVERSITY OF HUDDERSFIELD