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Portfolio K1646249

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grossalber theresa K1646249

PORTFOLIO Graduate diploma in creative practice 1


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target audience

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process

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Shape Troubles Subject illustration

infographic Core

remixing

landscapes subject illustration

observation

sketches Core


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exhebition

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iteration

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starting point

intimate/artificial Core

animation subject illustration

capstone project subject illustration

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ta r g e t au d i e n c e Âťshape troublesÂŤ children book subject i For whom is my work intended? What are my audience wishes and expectations of my work? The issue target audience was something I thought I had already understood in my previous studies. However, in the course of the project, I had to realize that there were still many things I yet had to learn. Ultimately it also thought me that there is a difference between knowing things in theory and applying them in practice.

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r e s e a r ch When being able to choose my target audience I tend to choose younger audiences. There are many reasons behind this. One of them being having a little sister, thirteen years younger than me, and growing up in a family that was very focused on books and stories. But just as much as that my time as an au pair plays a key factor as to why I enjoy and am fascinated by stories for younger children as much as I am. As a result of my youngest au pair kid being an incredible vocal 2-year-old I was able to experience first hand how young children learn through stories and to what extent they live and breathe them. Stories help children understand their world and to share with others. Children’s hunger for stories is constant. (Wright, 1995) 06


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chil d r e n and s t ory My intended target audience for this project ended up being a range from 2-3-year-olds. According to Wright (1995) it is almost impossible to pinpoint what kind of material will appeal to one specific child. An older child might still be drawn to stories originally made for younger children and of course, also the opposite may be true. I would attribute this on their current interest and developmental stage. I decided to use this specific age range since this is the time where children start to draw lines and circles and turn single pages in books (F ine Motor Skills - Toddler Developmental Milestones - Children‘s Therapy & Family Resource Centre, 2016). Skills that require practice which can lead to frustrations, issues that I wanted to address in my story. I could with my own eyes observe in my au pair kid how closely linked stories and pretend play are at this stage of age. Hearing a new story is not just about entertainment but also about development, about observing how others deal with a situation the child might one day encounter to find itself in and what the appropriate response to it would be. My au pair kid would often reenact certain tv series or books we had watched together in her everyday play. Gotschall (1995) observes that today the view on play is a positive one, recognizing it‘s function of young children to practice for adult life. Cajete, Eder and Holyan (2010) similarly observe that stories for younger children are a matter of empowerment in which they learn through the protagonist and are thus able to understand complex issues. A statement that is supported by what Friedberg and McClure (1995) write: „Children must be able to identify with the behaviors, cognitions, feelings, and motivations represented in the therapist’s story. Further, children should see the characters abilities as similar or potentially similar to their own capacities, skills and options. (p.148) I tried to incorporate this notion into two of my story ideas I came up - one about the fear and one about perfectionism. The latter one I ended up developing further. With my third story I tried to consciously break away from this format and just focusing on the „fun“ aspect. The story, focusing on an old lady that by mistake picks up a monster instead of a dog from her local pet shop, is a project I would like to go back to one day.

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unused character design

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STORY: A young crocodile is born into a world where every year a festival of shapes is being held at which all animals draw shapes on their bodies. Eager to take part he waits for his birthday on which he is presented with a set of colours andversions a brush.of Happy he gets to work but soon has early the character to realize that his hands are not capable of drawing the geometric shapes he has seen on other crocodiles bodies. Angry and upset he begins to cry and kicks away the brush. Rolled up in a corner he decides do not go to the festival but is aproached by a small bird which after a short converstation shows the crocodile that his „mistakes“ can easily be transformed int other drawings of animals, flowers etc. This is shown by a transparent foil that transforms the shapes on the crocodiles body if the reades flips the page. The conclusion of the book is the crocodile attending the festival and being praised by all the other crocodiles for his The character ofcreative my storyshapes. existed even before I came up with its content. I tend to work in a way where, if I do not immediately come up with an idea for the briefing, I sketch a lot. In this case I might have read or perhaps seen something that made me think about crocodiles, which ultimately lead to this character. In the course of PM600 I can now look back and see how often this tends to happen, most of my ideas come to me at random times instead of when I actually sit down with the concrete decision to produce an idea at this exact moment.

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Target audience

to pinpoint a target audience. Best suited for this book are of course children which already struggle with perfectionism For a highly develpoped two year old this book might be as interessting as for a 4 year old. For a 6 year old the story might be to simple to be still entertaining. To further engage younger readers the book includes an interactive feature.

e arly s k et c hes

While the character started out in my sketchbook as a full grown adult crocodile I deliberately decided to change his appearance to something that would more closely resemble the age of my target audience to support easier identification of the child with the protagonist. Furthermore, I used large eyes and mouth to be able to exaggerate his facial expressions and show his emotions.

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T he s t o r y The story itself is about a baby crocodile, living deep in a remote jungle. The crocodiles there aren’t such like the crocodiles we see in the Zoo, they are special for every year the celebrate a special festival. A festival of shapes. To celebrate this special occasion every crocodile paints geometric shapes onto their body. Our main protagonist, the baby crocodile has reached the age where he can join this festival and is gifted a box of paints by his parents. Eager to try them out it gets right to work. However - the baby crocodile is not used to handling a pen. His grip is not delicate enough to draw the precise geometric shapes, leaving him with squiggly lines all over his body. Full of anger and disappointment over his failure it begins to cry and hides in his favorite hiding spot. The festival of shapes would have to be celebrate without him this year. But out of nowhere a small bird appears, engaging in conversation with the crocodile. After hearing about its troubles the bird takes the brush and tells the baby crocodile to close it eyes. It fills out every squiggle line with lines, transforming them into animal characters. The baby crocodile is stunned, while the bird tells him that not every line needs to be »perfectly straight« and can always be turned into something new. Pro-

ud of his unusual body decoration he makes his way over to the festival. His special shaped don’t go unnoticed oh’s and ah’s can be heard all around the now happy little crocodile. The main idea of the story is to show that there are „no mistakes“ when learning to draw and that every shape can always be turned something new. Speaking for myself I was definitely a kid that would loose her mind over one single line or drawing not being the exact why I envisioned them to be. By turning the crocodiles lines into something new I hoped to convey that there is always a way to turn things into a positive directions. While coming up with the story I had problems on how direct I should be in my message. I believe in the subtleties and that the best stories are the ones that do not »scream« their message. However since this is aimed at younger children this is a fine line to walk. I am still unsure if I found the right mix. I also thought about extra feature of the book which could be implemented - the page in which every line has been filled out could be transparent allowing the child to flip between »squiggly lines« and animals.


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f ir s t vers ion The paintings seen below are made with gouache, a medium I had never used before, and while, especially in the beginning, I did struggle a lot, in hindsight it was good that I challenged myself to try a new medium. It has now become a fix part of my sketchbooks and something I greatly enjoy. Nevertheless, I will need more practice to achieve an outcome with them that satisfies what I imagine.

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On a sunn day, deep in the jungle, a small crocodile baby was born . . .‌

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Finally for his birthday, it got its very own coloring set! ‌

Dissapointed the small crocodile hid in a far away corner of the jungle, when suddenly . . .

. . . a small bird appeared. 15


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With every line th the corocodile could see every s into som

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In retrospect, my biggest mistake in this project might have been not testing the »shapes« on the crocodile‘s body as my first step. As a consequence, I had finished six guache paintings, but only shortly before the final crit realized that my initial plan - adding the shapes in photoshop would not work. They looked too alien and sticker-like in contrast to the guache surface. To make the situation even worse, I had completely forgotten to think about typography when drawing my initial storyboard leaving me with no space to put actual good looking text.

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problems

"May I show you little crocodile, that your lovley shapes are no mistakes at all! “ it chirped.

he bird drew, shape turning mething else!

But oh no, the shapes looked nothing like the crocodile wanted them too, they were all wrong!

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»Grandad‘s island« by benji Davies


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One of the things I missed to do in the beginning is to research by actually looking at children‘s books and closely examined them.After my first attempt of drawing the story I felt like I was stuck. Purley by accident, I found a book in a store called »Grandad‘s Island.« It was perfect since it also dealt with a jungle theme and really opened my eyes to all the things that can be done. Most of these things I had seen before, but never really stopped and thought about how to incorporate in my work. Looking back now I should have looked at even more material I definitely learned a lesson from this and which i tried to avoid in the future projects.

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r e s e a r ch - take t wo

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While the feedback from the group at the final crit was mostly positive I was incredibly unhappy with my outcome. However, I had gotten good tips on how to improve it: such as breaking up the panel structure more (for example showing a close up of the crocodile‘s face ) and using scanned analog textures to blend the two mediums guache and digital.

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I decided I needed to go back to the start of this project, this time actually starting with what I considered to be the main focus of the story. Shapes and how they would transform into a figure. Going back to sketching definitely also helped me to feel excited about this project again. The decision to now work digital was actually mostly a time management decision. My just newly established guache skills did not go unused however. Using what I had learned and applying it with guache simulating brushes in Photoshop I grew more confident in not blending everything. Leaving paint marks visible and using the tip a colleague had given me (using scanned textures) I was able to produce pictures I feel like turned out to be a good mix between analog and digital media.

final version withshapes used on body 21


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first environment concept

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One of the main questions that I already had thought about when doing the first guache paintings were about the use of background in my images. While I went with a plain white background in my first try I wanted to at least see how the environment my character lived in could look like. An argument in favour of them was definitely that it would help to establish the atmosphere I wanted to convey. Additionally, as Greene (1995) points out children want the story to be told as illustrative as possible, a fact that draw them to details. I tried to accomplish this by adding several small animals in the picture. I know from first hand experience that reading a story to a small child is not just about reading the text out loud, but also discussing the pictures content. How the protagonist looks like, what their surroundings are and what else can be found in the picture. Reexamining it now I could have added a lot more of these details.This is one of the moments where I realize that I understood the theory but, did not fully accomplish to incorporate it in my work.

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en vir o ment s

Despite all these problems: drawing the environment backgrounds was a huge step for me. It was something I rarely had done before to this extent and I had been slightly afraid of. I experienced a big learning curve while doing them. Especially the painting of the crocodile hiding and sulking took me several attempts, teaching me again that sometimes I had to start from scratch again to get to where I want to be.

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w h it e s pac e While painting the backgrounds might have been of huge learning success for me after finishing several of them I had to go back and evaluate what would be best for my story. While I still think that it fits certain scenarios (such as the hachting and the hiding scene since both of them focus on an atmosphere of feeling) I feel like the actual pages about what is happening work better when left without a background. As seen in these images I tried several versions but, I ended up liking the one with a big white space the most. It draws the viewers focus straight to the corocdile‘s face and as a result of that on its emotion. Since this book is meant for children that have not reached reading age yet I felt like the text was allowed to blend into the drawing - giving the character the sole spotlight.

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Sim plify ing I pushed this idea even further with these two images. Only minimal background is shown, just enough to establish a „jungle“ feeling. My first version had the problem of having very similar image constructions. I would always show the exact same part of the crocodile This was pointed out to me by a colleague to me which I was very greateful for since I had completely missed that fact. I tried to change this by showing a close up of the protagonists face and showing full body adult crocodile strech across the whole page. Furthermore this time I from the beginning knew to leave enough space for the typography and changed it to a handrawn one to fit the image stile.

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pr o ce s s info graphics core What is my creative Process? In what ways does it reflect and impact my actual outcome in projects and should I change or improve it? Faced with those questions I not only had to realize that I might know less about my process than I thought before, but also that my creative outcome is influenced far more by the information I unconsciously absorb than I was aware of. Ultimately, it also taught me the importance of testing my ideas as for their practicality and to considere my time managment more than I did before.

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YES!

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NEVER!

OF COU RSE

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For the majority of the time for this project I worked on something I later had to admit would not work in the way I intended it to. My process should be shown by a little flyer, folded in a particular way, and decorated in a way that would resemble a sketchbook. The main piece - a typography work of „my process“ would be on the inside. Considering I had a very limited timeframe for this project and another project to work on there was no chance of me finishing this flyer in time for the final crit. Thinking about it now this was really the project during which I started to realize that I would have to think about how much time I had to complete a project and also choose my goal for an outcome in realtion to that.

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Flyer‘s final form would be a poster


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several attempts of crossing paths of the two possible solutions


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E x p ermantat ion Finally realizing that my first idea would not work out the way I wanted it to I decided to ty a different approach - back to the beginning. It was obvious to me how much my first sketch resembled an infographic in the way of Action A leads to Action B. This however is a rather dry way of putting it. Which may have its charms, but I decided to take a humorous aproach. The idea of a flowchart was born. However the real challenged proofed to be the layout. With only two possible outcomes I had to find a layout which would make sure that both options crossed each other at least a few times to keep the illusion of a maze that could lead to any outcome.


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r e s e a rc h Nowhere have infographics been more embraced than in the visual representation of statistic and research. (Smiciklas, 2012) Newspapers use them to illustrate the outcome of elections, banks to show the increase of wealth, even our daily life is managed by infographics such as road signs, bathroom signs. Info graphics are all around us. As Miller and Casey (2011) state the transfer of knowdledge through the medium of illustrations is a basic essence of humanity, dating back to our Stone Age ancestors. It is no wonder the infographic seems to be a medium producers of graphic content are drawn to, one version of them being flowcharts symbols. In a scientific context, these are often used to get a better understanding of decision trees. A method used to solve a classification problem, in which a set of question is answered to, each building on the next one to receive an answer. (Tan, Steinbach and Kumar, 2005) While this in a scientific field is used to understand the data it can also be applied to less dry subjects. The flowchart soon evovled from simply showing the stes of a structured sequence to something to a hypothetical journey... The flowchart‘s appeal is that of an expedition, an exploration. This is was ultimately what had draw me to a flowchart and what I believe is its biggest strength. Instead of forcing the reader to simply go through a lengthy text we give him the option of choice. By having multiple outcomes a flowcharts is able to awaken a sense of curiosity and personalization in the form of: „What will your outcome be? - Find out!“ Reading a flowchart, in my opinion is almost similar to having a conversation, the reader interacts with the chart and it answers according to your input. Adding an aspect of humour further ensures that the reader stays enganged. Speaking for myself I tend to enjoy learning and reading new materials more if I am entertained by it. I found it also fitting to choose a modell which is scientifilicly usedto visualice process movements to illustrate how my personal creative process works. middle page left: Rivera (2015) 1 opposite Page left: MIT Technology Review (2014) Opposite Page right: Pulsepoint (2015) 3 Opposite page bottom: tutor2u (n.d) 4

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M Y C R EAT IVE P ROCESS

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O R HOW TO LO OSE A LOT O F S LE E P

DI D YOU READ THE B RI EFI NG?

YES!

DID YOU UN DE R STAN D IT?

NAH

KIND OF …

OF COU RSE!

UH M

AR E YOU LY ING ? R EAD I T (AGAI N)

NEV ER!

DID YOU DO E N OUG H R E SEARC H ?

I R EAD THE FI R ST PARAGRAP H ON WI KI P EDI A …

DI D YOU EX P ERI MEN T EN OU G H ?

IN EV ERY MEDIA I COULD THINK OF!

I D R EW A STICK FIGU R E ONCE

YES, MY RO OM IS A MESS NOW

DOES IT STILL FIT THE BRIEF?

THE B RI EF I S STUP I D

YES!

HOW FAR AWAY IS THE DEADLINE?

P ROCRASTIONATE ALL DAY! THER E‘S STILL ENOUGH TIME

YOU ARE LAZY AND YOU SHOULD FEEL BAD 038

SLEEP IS AN ILLUSION AND BLACK TEA IS YOU R ONLY FRIEND

PERFECT, GET TO WORK!

CONGRATS, YOU FINISHED YOU R P ROJECT!


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f inal out c om e The outcome - a decision tree with more or less serious answers. Presenting the viewer a way to make their way through my creative process (and maybe theirs) by giving them a choice and through that adding an interactive feature to it. Rockach and Maimon (2014) state users of decisions trees prefer a simple structured tree in order for it to be easier understandable. This however is the function of an actual decision tree used for data, information, while mine is aimed to entertain and to amuse. Which meant I had to create confusion. The reader should not be able to see at the first glance what the final outcome of his choices would be. Similar to an actual work process - before you finish a project you never know what you will end up with. Adding several loops to the connecting lines helped to underline this concept while still keeping the clean look of a info graphic. The first version included no arrows but after showing it to several people and them getting confused as to which way to continue reading I had to add them for the sake of clarity. The look and design of the piece itself is mainly inspired by todays „flat design“, which gained popularity in recent years. A design trend that is not completely new. The origins of flat design are dated to the 1940s and ’50s by most sources. It’s back then when something called the Swiss Style was born. (K, 2015) I did not initially set out to create work labeled as flat design but by now realize how much daily design that is around me influces me.With flat design, being as prominent as it is right now, it is no wonder I tended to lean into this direction. But flat design is not just about being a trend. According to Turner (2014) many Designers today not only use it to convey a feeling of modernity and crispness, but also to use one of its key aspects: its ability to let the viewer focus on what‘s important: content and message. Especially with a text heavy piece as my decision tree this was a key element I wanted to achieve. 39


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R e vis i o n While my final outcome had used a humorous approach to the subject I also wanted to think what that really said about my creative process. I had a fairly good idea of how I worked before but only after finishing the last project of PM600 I went back to work on Creative Process once more. Looking back now I think my creative process can be summed up by two words: distractions and obsessions. I tend to go overboard with research getting into complete different sub-

jects, not really that relevant to my original search term. However, I have come to accept that this is not always a bad thing. Many times I read or watched something completely removed from my actual topic just to suddenly go full circle and find dots connection everything. It also helps me immensely to get excited about what I am doing - which is always the best way to guarantee that I will work successfully on a project.

WHAT I WIS H IT WAS L I K E R EAD T HE B RIE F ING

B RIL L IAN T IDEA

AMAZI NG R ESEARC H THAT FI TS T HE TO PIC

PER FEC T SK ET C HES O N FI R ST T RY

I NSTANT OUT CO M E

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WHAT IT R EALLY IS L I KE

R ESEARCH TOPIC

R E SEARCH DISTANT TO BRIE F ING

READ THE BRIEFING

NO IDEA

OBSESSION WITH RANDOM TOPIC

SUDDEN CONNECTION WITH BRIEFING M AN Y PAGE S OF SKE TCHE S REALIZE MISTAKE OUTCOME _F INAL_V 2_REAL FIN.PDF

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remixing Taking two ideas and merging them into something new is something that I believe is a key part of being a practitioner of graphic work. Naturally, I was very excited about this project. The brief also asked us to think about where our inspirations and influences stem from and gave me the option to explore things I have always wanted to do and how these wishes stem from the media I surround mysef with.

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id e a I decided to work to combine two things that might seem as if they have nothing in common at first glance - sea and mountains. In particular austrian mountains. Austria is widely known for it‘s romantic portrayal in movies and it‘s tourist locations. Lesser know is that a big part of Austria was once under water. For this project I wanted to produce an illustration that could be an accompanying editorial design for an article about the unknown landscape of Austria. I think I mentioned before how much I am influenced and inspired by material that I just happen to stumble upon. While drawing I mostly listen to podcasts, interviews or documentaries about whatever I am obsessed with at the moment. I have always just thought about being able to do this as this a positive side effect of drawing. However, with this project made me aware how much this actually influenced me in my work without me realizing it. While coming up with ideas for this project I had shown a friend a video of an augumented 3D sandbox - something I was fascinated with at this point. But only after finishing Remixing suddenly my friend asked me if my mountain idea had been inspired by the sandbox - I was stunned. Clearly there was a connection, but it was purely on a subconscious level.

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this page: Tec Video (2015)

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referenced from video (aqua-media.TV, 2016)


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Re f e r e n c in g I have started to develop the habit of sketching things from reference if I am drawing something I have never done before. My goal with this is not to have an exact dublicate of what I am referencing, but to gain knowledge of how the subject is built, what color schemes are best. And ultimately to filter out the key elements I need to include to convey the atmosphere I want to show. While I felt fairly competent with a mountain landscape since it is something that I‘ve been around a lot I had to do several sketches of an underwater setting. Lately I have started using video as references a lot more since they tend to show one subject from different angles or in different light settings. As a positive side effect I enjoy doing these type of sketches a lot for their relaxing nature, this state often helps me to find a different viewpoint on my project that I haven‘t considered before.

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referenced from photograph (Molcan, 2016) 47


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s ea l if e lond on Taking underwater pictures was a tip I got first shown by Laura Haines, who recommended me to take pictures with an underwater camera to gain a better understanding of the „line“ where air meets water. Being unable to purchase one of these I ended up visiting the sea life London so I could experience the underwater world first hand. It gave me the chance to observe how light affects shapes and forms underwater and how to create settings with it. While I decided my final outcome would be stripped of most of these subtleties it helped me to filter out the key necessities my piece would need to have and made the decision into a delibarte one instead of just a product of coincidence.

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The line where water meets air - this was a main key element in my idea which made it necessary to understand how it worked. In what ways would it behave differently if the water was still standing or in motion? Questions that were easily answered by several tanks. I ended up liking the ones in motion the most since they indicated a dynamic which I wanted to include in my final piece.


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r es earc h The goal I set myself for this project was to produce an illustration that could be featured alongside an article in a magazine. From reseraching I learned that these pieces called editorial illustrations are used to enrich a body of text in an engaging and explanatory way. (Things, 2016) In my secondary research I looked at several different artists and soon noticed that there was defintitely a trend to be seen. Of course with some exceptions, many of them were heavily stylizied and used bright colours. Very popular to me as well seemed to be the use of textures to enrich a digital illustration. A connection feature of all editorial pieces I encountered seemed to be that they were used to draw the viewer‘s attention to an article. Speaking for myself, I am definitely more willing to read a piece in a magazine or in a newspaper if it is visually and aesthetically pleasing to me. Furthermore, with many of these illustrations I had the feeling of curiosity, they worked as a form of teaser, showing me just enough to awaken my interest, but not enough for me to understand their underlying message without reading the article first.

opposite Page top: Jeannie-Phan (n.d) 6 opposite page bottom left: Katie So (n.d) opposite page left: Jeannie-Phan (n.d) 8

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brus hes My first attempts were made by using the standard pohtoshop brushes which did not match the type of illustration I wanted to produce after analyzing my research. The solution was a gouache simulating brush. As visible on the right side the outcome still looks fairly similar to my first attempt. Looking back now I can see how I almost tried to replicate the smoothness of the standard brushes.

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Standard photoshop brushes

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final p iec e I ended up stripping my final piece of elements like houses or trees. The idea behind this was the notion that the illustration should accompany a piece of writing, illustrating it in an interesting fashion that would draw the reader in but not distract too much. Futhermore I wanted this piece to be aimed at an adult audience and deemed little details such as animals or trees too much in the fashion of a children‘s books. Hardest of all might have been finding a mildeground between overexaggerating (for example the flag and the shape of the mountains) and still wanting to portray it in a natural way. I also grew more confident in using the gouache brushes, daring to leave bolder marks. Even though it took me several attempts of painting over the same areas again and again to achieve this. Looking back now, with the knowledge I now have, there are many areas I would do differently now. Nevertheless ,overall I am happy with how the piece turned out.

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outcome The goal which I set myself for this project was to produce an illustration which would fit well in a magazine layout and would draw the reader‘s interest to the article as well as support its message. Looking back, this was really the project where I began to understand how important it was to do research in form of looking at recent trends and

what the audience the audience wants to see. Being a big collector of magazines and any print objects I can get my hands on I had been doing that for graphic design a lot without noticing it but never really started practicing it for illustration. A reason for this might have been a false notion that if I look at other artits work too I might steal their ideas.


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ing with what type of mountain, it would need to convey a typical austrian landscape, but looking back, I think I could have pushed it even more by trying different layouts or even completely different styles. This realization definitely helped me when I went back to work on my Target audience piece again where I then started doing basic thumbnails before working on details.

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However, what I have now come to realize is that mixing it up and looking at a big range of different work is the key element to successfull research and drawing inspiration from it. Another big lesson I learned from this project is that, to achieve a piece that would really work in favour of a project I will have to do it several times I started the process with this piece by using different brushes and play-

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o b se rvat i o n sketches core As an illustrator I am deeply dependent on my ability to observe. Interestingly enough, however it was excatly this project I had the most troubles with. In retrospect, this might be because I at this point still had problems with my time management and how to focus on two projects at the same time. Or it might have been that I was not yet accustomed to how to understand the essence of the brief. If I could back with my knowdlege now I would probably go very differently about how to start this project. Neverthelss, I am not completely unhappy with my outcome since I can now see how much it really helped to understand how much I still needed and need to improv my observation skills.

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lig h t s The area I decided to observe was the district of Soho. This decision was more by mistake than by intend but I found myself fascinated by the place. My experience of the area was enhanced by the fact that I was carrying two rather lager travel bags, making me stand out from the regular crowd that was there to spend the evening partying and meeting up with friends. I felt very out of place, but not necessarily in a bad way, rather it enhanced my role as a „observer“ instead of someone interacting and taking part. Most fascinating to me, besides the people inhabiting the place, was the use of light and in particular the use of neon light. Coming from a fairly small town in comparison to London I found myself in a completely different world. In my hometown the night is a dark space only illuminated by street lights. Of course I had been to bigger cities, but this amtosphere was something I had never experienced befor. With time, wandering around the area, I could distinguish how different shops used the lights in different ways. Pubs used a warm yellow light to evoke a feeling of home and coziness. In stark contrast to that were the clubs using harsh neon lights in every colour imaginable. Some restaurants and bars mimicked this in similar fashion, but often in a toned down way. Many of them used just one coloured neon lights to spell their name either in the front or on one of their walls. But what fascinated me the most between all of this: the convenient and corner stores with their bright white light.


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ske t chin g My first attempts of mapping out and understanding the area through sketches weer every rough black and white drawings. I tried to capature how the place felt to me and how much the neon light stood out. Interestingly enough, I only after finishing these I realized how I had left out any sign of life in these pictures, even though the district was overflowing with people coming there to party. A testament maybe to how distracted I was by my observation of light.


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lig ht co n t rast I already touched on how the convience stores are the one thing that fascinated me the most. I have to clarify: corner stores, are not something I experienced growing up. Opening hours in Austria are very restricted, forcing shops to close early and living in a small town meant that if my friends I wanted to party it was either a house party or driving half an hour to the next pub or club. In the context of this area, that with the setting of the sun I was able to observe transforming into a street of a rich mix of clubs, restaurant and pubs these the convenience store stood out from the rest. Being used to the red neon lights that drenched the street in half dim lights and shadows, entering one of these stores with bright white light illuminating every corner felt like stepping through a portal into another world. In them you could almost pretend it was day, or rather for me there was an abscence of time. Arriving back home I tried to capture this contrast of light into a painting.


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Looking back now I think I could have done a lot more for this project. While it was good practice in regards to drawing and painting atmospheres with lights, something I definitely want to do more since it fascinated me this much, this project definitley thaught me that I needed to spend equal time working on both my core and Subject 1 project. Before this I had mainly focused on projects for Subject 1. Another improvement could have also been to observe more in regards to the people interacting in this space and to test if other people experience the same drastic atmosphere change in regards to light.

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E xh e b i t i o n intimate/artificial core

One day - twelve galleries. And a lot of new impressions. Grouped together in teams of four we had to figure out how to work in unision, analyze our experiences and find a way to present them. Group Kelsey Lenochm, Chewon Kim, Kseniia Pantelidakis, Grossalber Theresa

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t he e x p e ri e n c e Group work tends to get a bad reputation - from stories of one person doing it all alone to someone not being able to do anything because someone else has already decided they would do it all by themselves. To be honest, I don’t share that feeling. Working in groups is one the things I sometimes miss in Illustration so this was a welcome diversion from what we have been doing before. I had great teammates, and I felt like we worked well as a team. One of the main aspects of working in groups which I enjoy immensely is that you are able to just throw an idea out there and then bounce it around in the group, everyone developing it further or showing its flaws. It’s not only a fun way to work, but also a method that has immediate feedback weaved into it. Everyone has their own way of approaching a subject and by combining these techniques the outcome is guaranteed to be something no one in the group would have been able to come up with alone. I feel like we were able achieve this in our group. I was inspired by the way they thought about the exhibition and hope I could also give some of that back to them. We were lucky to have very similar views on the exhibitions we visited, which allowed us to join together and work on our presentation in unison. We worked out the whole presentation while discussing it together only in the end splitting it up into 4 pieces at the very end. The experience of visiting art galleries and especially this many in one day was a completely new one to me. At our final crit and presentation day someone commented that they had never thought of being able to „just walk in one of these galleries“ . This statement was something that rang very true with me. I have been to several art mueseums but never to small galleries and this project definitely opened up a whole new world for me. Especially striking to me was the huge range of different art work presented - many of which I found very inspiring.

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t he pr e se n tat i o n For our presentation we had to decide if we wanted to focus on just one of the galleries and explore it in detail or cover all of them which would break our time limit. However, we were all very interested in how the experience of the room changed our view on the exhibtition - which lead us to sorting the galleries on a line graph with the most opposite galleries on each end. We came up with three main themes that we thought were worth exploring in detail. The intimate, represented by the Thomas Dane gallery. A place that feels homey, almost as if someone just moved out all of their furniture to present artwork but you can still feel their presence. And on the other hand The Artifical, for which we choose the White Cube. A building that trough its form and colour almost looks alien standing between old english houses. In the middle we placed The Converted and thought Bernarnd Jaccobson gallery the most fitting for this type. We definded converted a as a gallery similar to intimate that might once been used as something else but had been changed in order to enhance a gallery setting. For example old brick walls or metal poles painted white. We assigned each of us two galleries fitting these categories to present at our presentation.

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I N T I M AT E

D AV I D ZWIRNER

CONVE

MARLBOUROUGH FINE ART & GRAPHICS SPROVIERI

PIPPY HOLDSWORTH

THOMAS DANE

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STEPHAN FRIEDMANN

NARD OBSEN

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SIMON LEE

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int ima te My part in the presentation was to talk about the space we defined as intimate. Two galleries were chosen - Thomas Dane with a Marisa Merz exhibition and David Zwirner with Dzama and Pettibon. We all felt Thomas Dane with its wooden floor and the decorations typical for old flats on walls and especially how to work was presented was a perfect example of what we meant by labeling something an intimate space. Her big canvases were leaned against the wall, in its informality a stark contrast to how we Âť expectÂŤ a painting to be presented. And to contrast this even more one little painting on a big wall, for me it almost felt like someone was just about to move in and had not yet brought the rest of their furniture. This feeling was enhanced by which light was used - the lamps were yellow and warm and natural light came through big traditional looking glass windows. What amazed me the most about this exhibition was that during my research I found out about the fact that Marissa Merz is know for her the intimate nature of her work. Her installations feature the idea of the home as a place intimate, private and feminine. (Anthea Art Investments AG, 2016) It amazed me that this was exactly the feeling I had gotten from visiting this exhibition and made me appreciate it even more.

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i nt ima t e On our line graph we located Dzama‘s and Pettibons exhibition right after Marisa Merz. This might be a surprise since these two exhibitions are far from similar in their content and even in their way of presenting their work - however I think both of them share a very intimate atmosphere. While I would describe Marisa Merz‘s work as quiet and sensual Dzama‘s and Pettibons exhibition is almost screaming at you through their sketch like illustrations and bright colours. When entering the room the viewer is presented with a wide range of work painted or glued on to white walls. While I was fascinated with exhibitons like Lygia Pape‘s, which I almost did not want to leave looking back Dzama‘s and Pettibons „Let‘s compare Mythologies“ might have been the one I resonated the most with. Stepping into this room felt almost like walking into a giant sketch book or directly into the head of the two artists for me. Comic strips could be found in every corner, most bigger paintings had a smaller one waved into them. Later I learned that they for this exhibition both artists worked together in a extremely close collaborative way - one of them starts a piece and the other finishs it. (Rigg, 2016) For me, someone who had never seen their solo work before, it was almost impossible to distinguish between the two.

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Lyg ia pap e the work

The exhibition presents woodcuts and installations. Lygia Pape is considered as one of the founders of neo concrete art movement (Exhibitions — Lygia Pape — Hauser & Wirth, 2016). The viewer has to interact with the artwork to get a sensorial experience. One of the artworks presented is a „TtEia“ : a installations entirely made of delicate metall strings which through the use of light achieve a appereance of being heavy objects and weightless at the same time.

trends?

It could be compared to the exhibition of Requests and Antisongs at the ICA since both of these exhebitions work with sensorial experience. While Pape achieves that mostly through visual cues, Richardsen uses audio to enhance the experience. However, both work heavily with light.

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presentation

As stated above the exhibition heavily uses light as a way to influence the perception of the viewer. The work is presented in a dark space with only the TtEias illuminated by light beams. The only white light can be found in the area where Papes wood cuts are presented. The darkness forces the viewer to focus on the artwork itself and obstructs from determining how big the space actually is. It might also have a subconscious influence on human behaviour since we interpret it as being night time. Stepping into the exhibition space removes any feeling of daytime to the extend to which I personally got confused when stepping out into the bright again.

work exhebition space

The space is covered in darkness so it is almost impossible to say what it would


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look like in normal light settings. However the feeling it gives off is a very neutral one which aims to put the art work in the spotlight.

resentation of the gallery

The way the gallery presented itself made it perfect for contemporary art. The building is presented through a big glass front which was specifically covered in black material for this exhibitions. Several other minor details such as an automatically opening door give of the impression of stepping into a seperate space that is removed from everyday life.

audience

I imagine it would be people who are interested in contemporary art. However, since this gallery is one of the few ones we saw that also provides guided tours it might also be aimed at an audience which wants to learn ore about art, giving the gallery feeling of a museum.

behaviour of audience

The darkness of the place definitely influences how people interact with the space. Since going into the gallery feels like entering something removed it leads the observer to move more slowly through the space than someone might normally do. This might have to do with our perception of it being night time. The exhibition could also be compared with a church, especially for the main TtEia, not just from the weightless - heaviness contradiction that is similar to many churches bu also how people acted. There is a similar sense of wonder and I could observe several people going quiet as if they were not allowed to disturb an unspoken agreement to be quiet. The covered windows shield the gallery even more from any outside influence, similarly to how thick curch walls would drown out any outside noise. This page: obra50 (2016)

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it e rat i o n animation subject i Repetition, mock ups, thumbnails? What exactlydoes iteration mean? This project brought at least at first, a lot of headache for, I believe, our whole class. None of us were really sure what to expect. As it turns out this was one of my absolute favourite projects. While I did not really achieve an „outcome“ in how I normally expect iteration definitely taught me a lot about how I work and especially - how to improve!


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iteration I‘m a big fan of sketchbooks and a big fan of doodling. If I get excited about a topic, a subject an object or a character I want to draw them over and over again. I believe iteration is the basic tool I use to improve - and it‘s also the reason why I always like my sketchbooks better than anything I „finish“. I noticed that while I will do a lot of different sketches and versions of, for example, a character, I don‘t tend to do that with pieces I consider the need to be „polished“. Looking back I have only really started to enjoy working in my sketchbooks once I loosened up about my sketches being perfect at the first try. Nowadays I allow myself to have ugly sketches because I know that they are just a step in my way of improving. I realized that it will take me several attempts to get the result I want. However, I don‘t think I have yet reached this step with work I want to complete. I still suffer under the what I call „If it doesn‘t look like I want it to, I won‘t try again syndrome“, which eventually leads to me not finishing much. The work I did for Target Audience might have been a perfect example of this - I was unsatisfied with my first version which lead to me neglecting working on it for quite a while. In retrospect this might have also had its good aspects, I was able to gain some distance between myself and the work which allowed me to look at it with fresh eyes. However, I think I need to push myself even further and adapt my sketchbook approach of allowing myself „ugly“ outcomes. And then - do it again. Ultimately I think this is the only the only way I will improve. This project was, in my opinion, a start to that, I tried something new, I tried different versions and even though there is no definite outcome I am completely satisfied with it was a start in the right direction.

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For this project, I set myself the goal of doing an animation. I wanted to push myself into something I had not yet done before and an animation seemed fitting for iteration since it would force me to repeatedly draw an image over and over again. My idea was to take two opposites and show them transforming into each other. Looking back I might still have been inspired by our re86

mixing project since I found the technique of combining two complete opposites to be very visually interesting. My initial idea was to have a rabbit, looking stereotypically cute turning into a full blown fox and then morphing back again. Almost similar to the „wolf in sheep clothing“ analogy. - to be specific a circle morphing into a cube. However, my first attempts failed and I had to simplify


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my idea: I figured adding fixed geometric shapes could be a possibility for me as they would function as useful guidelines. I assigned the circle to the rabbit and the fox to the square and immediately began an iteration process by testing out different forms in which these two characters could fit into their spaces. The spaces in between should prove to be more challenging. 87


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st u di e s To get a better understanding of the two figures I had to animate I filled several pages of my sketchbook with different versions of them. Looking back at them now several of them strike me as more visually appealing than my actual outcome - a problem which I have already discussed the opening text about Iteration.

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t r a ns f ormat i o n I decided to do the animation in an analog way, by loaning an animation light board. Right away I started with my transformation idea - normally I would have done several other attempts first to get used to the process - a way of working that for me would more closely resemble the idea of iteration. However never having done any kind of animation before I was not able to estimate how much time I would need and was afraid that I would not be able to before my final crit.

Despite the process being very repetitive and in the beginning very slow one I found it very enjoyable, almost meditative. Still, by not trying it out on a smaller animation first I was unsure on how many frames I would need - resulting in me doing a lot of guesswork. Something that I should have avoided.

animation link in discription for finished animation click here

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r e s e a rc h I realized only after finishing my first animation that I had forgotten to really do any major secondary research. Of course, I looked a bit into different animations but had not really analyzed any. I decided to take a close look at some of my favorite animations - most of them done by a french animation company called CRCR. Through some research and animations similar to what they were doing


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I learned of the term „liquid animation“, a distinct style of animation that I would describe as a waterlike flow. Several videos dealt with topics similar to what I had in mind - transformation and metamorphosis. 10 opposite page top: (CRCR, 2013) opposite page bottom:(Bernaus, 2013) 11 this page top: Orgesticulanismus - Mathieu Labaye, 2013) 12 13 this page bottom: (Good Books - Metamorphosis, 2011)

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melting While I was pleasantly surprised that my first try was not unsuccessful I felt the transformation looked very stiff. This might have been a result of me not daring to push the forms more, which would lead them to be more visually interesting or to the fixed shapes of circle and square. My second attempt was to break the strict forms by melting them. I still kept my original shapes as beginning and end point but became more confident with the frames in between. Interestingly enough many people told me they preferred the transformation to the melting approach - to be honest for me it‘s completely different. Of course, there are still many tings I want to improve - for example, I could have let the characters move more in their „final form“ to break their stillness. animation link in discription for finished animation click here

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m e lt ing At some part during completing the secound animation I started having fun with animating. I felt more comfortable and secure in what I was doing. As a result of that I wanted to try out more - I comlpeted a very small animation of a rabbit to test out how many frames I needed something to appear as moving fast and a walkcycle of a fox. Interestingly these two animations which I regarded as „just for fun“ got a lot more positive feedback at the final crit than the two transformation pieces I did before. A fact that confirms my view that my audience will be able to see if I had fun while doing something. It results in me to being more open and playful. In hindsight, I should probably have started the project by doing these type of smaller animations. for rabbit animation click here animation link in discription for fox walkcycle click here

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co n c l u si on As I mentioned in the beginning I think iteration is my main tool to improve. I feel as if this is one of the biggest lessons I had to learn while completing the projects for PM600 and something I will try to build on. I wasn‘t able to fully complete the animation as I wanted them to be. Normally I would have taken my first attempt at it and tried to change every little detail I did not like or was okay with and polish it over and over again. To avoid this I consciously used an analog medium rather than a digital one, which I found to encourage my obsessing over minor details. Instead of going over one piece again, and again I tried to approach this project differently by doing various versions. Furthermore, I also think this project has thought me to go back more often to my sketchbook to not get stuck at one idea.

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starting point Core Being allowed to work on a big self initiated project work sounds like a dream but with the excitement rises also pressure. The pressure to pick the right topic, do get it done in time - do get everything right. Even just coming up with an idea is sometimes harder than expected. I am very much looking forward to this project and I hope I will able to put every skill I learned while doing PM600 to good use.

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ho w t o b e c re at i v e To prepare us for coming up with an idea for our starting point brief Clare Conway showed us a new way to come up with ideas. By writing up several almost random words on post-its we had to come up with a business idea. This very playful approach was in my opinion perfect for freeing our mind and letting it run wild. I loved what our group came up with and how we got to present it, I think group exercises like these really do strengthen the bond we have as a class which I very much enjoyed. It even started some very interesting conversations about the type of work every group did.


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I tried to apply these techniques to my project but as mentioned in this portfolio before I tend to fail when I think of „I need to have an idea right now“. I wasn‘t really able to replicate the playful atmosphere which happened during the session. However, I had always been able to achieve good results by using a mind map.

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adventure

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history

THEM science friendship

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travelling

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road trips

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While doing my mind map I quickly realized that every word I had written down had some connection to another word. Overall it was clear to me that everything I had written down had in some way or the other something to do with how I grew up and how I view the world. My childhood had been very much influenced by two main factors: stories and exploring. It was not just my parents who instilled this love in me

but also the type of media I consumed. Many of them were shows which dealt with a science or history aspect, summed up and simplified in a way a child could understand. Others were more focused on the experience of a group experience. Of uncovering a mystery together. I decided I wanted these two aspects to be a main factor in for capstone project. Looking back at my projects and on my groupmates feedback my work


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THE WAY THINGS WORK

MUTLAND

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VESTIGATORS

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tended to get the best feedback when any kind of character or story was involved. In one session a classmate told me that she liked how many of characters were funny or amusing. This was a big revelation to me. I had always tried to do more ÂťseriousÂŤ work because I had some kind of belief in me that this is what I should be doing.

middle of page bottom: (actionjaxon.de, n.d.) this page top: (amazon.co.uk, n.d.) this page bottom left: (neogaf.com, 2013)

Seeing someone I admired for her amazing art saying she actually liked that aspect of my work really opened my eyes and I decided to try to embrace this side rather than trying to change it. I hope to be able to incorporate this into my capstone project 109


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AIM Convey historic, scientific or academic facts through an expressive story telling approach to inspire feelings of exploration and wonder

TARGET AUDIENCE Kids starting from 10+ Easy to understand but not “dumbed down“ Aspect of Humour

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Create an interesting and stimulating form of visual entertainment for children aged 10-14 about a historic, philosophic or scientific issue.

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t he b r ie f Research about your chosen topic in depth to be able to simplify it to an easily understandable level. In which ways can you use traditional forms of story telling, for examples in adventure books and apply it to a scientific topic? Inform yourself about the interest of your target audience and which kind of media they consume. In which ways can a media form primarily functioning as entertainment but also convey informative content? Research about how books, comics and video entertainment for children can encourage critical thinking. Also, think about different media forms this could be applied: comic, animation, magazine? The final outcome should not only be engaging but informative and be able to clearly communicate the scientific background to your target audience.

r e a d ing l i st Sophies World - Jostein Gaarder Horrible histories - Terry Deary and Martin Brown Cartoon History of the Universe I, Vol. 1-7 – Larry Gonick Thinking girls treasury series - Shirin Yim Bridges Fantastically Great Women Who Changed the World – Kate Pankhurst What Happend When in the World – DK You Wouldn’t Want To … – John Malam Narrative Structure in Comics – Barbara Postemea The Visual Language of Comics: Introduction to the Structure and Cognition of Sequential Images – Neil Cohn

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i ma g e r e f e rn e n c e s 1

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Rivera, J. (2015) Should I Quit?. Available at: http://designtaxi.com/news/377352/Should-You-Quit-Your-Job-ThisFlowchart-Will-Help-You-Decide/ (Accessed: 9 December 2016). MIT Technology Review, (2014) MIT Shopping Tree. Available at: http://marketingland.com/putting-r-e-tail-77053 (Accessed: 9 December 2016). Pulsepoint, (2015) decision-tree-2.png. Available at: http://digiday.com/sponsored/pulsepointbcs-99-programmatic-problems-chartaintone/ (Accessed: 9 December 2016). TEC Video, (2016) The East Carolinian presents the Augmented Reality Sandbox. Available at: https://www. youtube.com/watch?v=EETkn5_qrhM&t=1074s (Accessed: 12 December 2016). Phan,J.(n.d.)Jeannie-Phan-Illustration-United-Church-Observer-Divorce-PH1.jpg. Available at: http://www.jeanniephan.com/book_editorial/UCO-Divorce. php (Accessed: 11 December 2016). Capilano Courier Cover about the impending extinction of bees. Available at: http://katie.so/bees (Accessed: 11 December 2016). Phan, J. (n.d.) Jeannie-Phan-Illustration-National-Post-Ski-Resort-PH1.jpg. Available at: http://www. jeanniephan.com/book_editorial/National-Post-Ski-Resorts.php (Accessed: 11 December 2016). obra50 (2016). Available at: http://www.lygiapape.org.br/ en/obra50.php?i=7 (Accessed: 13 December 2016).


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CRCR, (2013) DEEZER - Music Unleashed. Available at: https://vimeo.com/57866189 (Accessed: 12 December 2016). Bernaus, J. (2013) 704 frames. Available at: https://vimeo. com/75017476 (Accessed: 12 December 2016). Orgesticulanismus - Mathieu Labaye (2013). Available at: https://vimeo.com/76129556 (Accessed: 12 December 2016). Good Books - Metamorphosis (2011). Available at: https://vimeo.com/35720685 (Accessed: 12 December 2016). action press, (2016) peter-lustig-tot-loewenzahn.jpg. Available at: https://i0.gmx.at/image/188/31373188,pd=4,f=lead-xxl/peter-lustig-tot-loewenzahn.jpg (Accessed: 11 December 2016). videobuster.de, (2016) mammutland-1. Available at: https://www.videobuster.de/dvd-bluray-verleih/75553/ mammutland-1#bilder-offen (Accessed: 12 December 2016). amazon.co.uk, (n.d.) 91QL8sqUzhL.jpg. Available at: https://images-na.ssl-images-amazon.com/images/I/ 91QL8sqUzhL.jpg (Accessed: 13 December 2016). film-rezensionen.de, (2015) Es-war-einmal-das-LebenSzene-3.jpg. Available at: https://www.film-rezensionen. de/wp-content/uploads/2015/06/Es-war-einmal-dasLeben-Szene-3.jpg (Accessed: 11 December 2016). actionjaxon.de, (n.d.) Cover Front (002).jpg. Available at: http://www.actionjaxon.de/Die%20drei%20 %3F%3F%3F%20Erstauflagen/Cover/Cover%20Front%20 (002).jpg (Accessed: 11 December 2016). neogaf.com, (2013) bJkwH7y.jpg. Available at: http://i. imgur.com/bJkwH7y.jpg (Accessed: 13 December 2016).

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bi b lio g r ap h y target audience

process

Wright, A. (1995) Storytelling with children. 1st ed. Oxford: Oxford University Press, p. 3.

Smiciklas, M. (2012) The power of infographics. 1st ed. Indianapolis, Ind.: Que Pub., p. 21.

Wright, A. (1995) Storytelling with children. 1st ed. Oxford: Oxford University Press, p. 38

Miller, J. and Casey, P. (2011) The world reduced to infographics. 1st ed. Berkeley, CA: Ulysses Press, p. 11

Fine Motor Skills - Toddler Develomental Milestones - Children‘s Therapy & Family Resource Centre (2016) Kamloopschildrenstherapy.org. Available at: http://www.kamloopschildrenstherapy. org/fine-motor-skills-toddler-milestones (Accessed: 10 December 2016).

Tan, P., Steinbach, M. and Kumar, V. (2005) Classification: Basic Concepts, Decision Trees, and Model Evaluation. 1st ed. Pearson, p. 6. Available at: http:// www-users.cs.umn.edu/~kumar/dmbook/index.php (Accessed: 10 December 2016).

Wright, J. (2012) The Storytelling Animal: How Stories Make Us Human. Houghton Mifflin Harcourt, p. 41

Miller, J. and Casey, P. (2011) The world reduced to infographics. 1st ed. Berkeley, CA: Ulysses Press, p. 11. Rokach, L. and Maimon, O. (2014) Data Mining with Decision Trees: Theory and Applications. 2nd ed. Singapore: World Scientific, p. 14.

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Anthea Art Investments AG (2016) Anthea-art.com. Available at: http:// www.anthea-art.com/schedaartist. asp?idp=3&ida=14&artist=MarisaMerz (Accessed: 13 December 2016).

Portfolio K1646249

exhibition

Rigg, N. (2016) First Look: Marcel Dzama and Raymond Pettibon‘s New Zine, AnOther. Available at: http://www. anothermag.com/art-photography/9036/ first-look-marcel-dzama-and-raymondpettibons-new-zine (Accessed: 14 December 2016).

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ovierview

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