Volume 31 Issue 4: Accepted Students Day

THE POWER OF PRINT

VISUAL OPINION

SPRING 2025

SVA’S Student-Led Magazine believes in the power of print media, publishing student artwork in six issues per academic year.

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How does Joel Rodriguez Otero embrace the role of the student?

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Learn more about Defne Ayaz’s polaroid experiments.

Who does Isabella Mendoza get all dressed up for?

VOLUME 31

Words by Brooks Orich In today’s digital age, where online platforms dominate much of the communication landscape, the importance and value of print media, particularly magazines, remains undeniable. Despite the rapid rise of social media, blogs, and e-books, print media still holds a unique place in society. Magazines, in particular, offer distinct advantages that online plat-

“MAGAZINES PROVIDE AN ENVIRONMENT WHERE CREATIVITY CAN FLOURISH” forms cannot replicate, making them an essential form of media in modern times. They continue to play a crucial role in providing in-depth content, fostering creativity, and offering a tangible experience that enhances the reader’s connection to the material.

LEO LI Chlorophyll Printing BFA Photography and Video 2027

@VISUALOPINION

AN “ACCEPTED STUDENTS DAY” EXCLUSIVE”

One of the primary strengths of print magazines is their ability to provide in-depth, curated content. Unlike the fleeting nature of online articles, which are often limited to short, clickbait-driven narratives, magazines offer detailed and thoughtful analysis.

The editorial process in magazines is more rigorous, with fact-checking, careful writing, and thoughtful layouts that contribute to the overall impact of the publication. This level of dedication to content is often absent in much of the online media where speed often takes precedence over substance.

This creative dimension of print media is especially important in fields like fashion, architecture, and design, where visual appeal is integral to the subject matter. A print magazine can take its time to showcase detailed images and layouts in a way that online platforms, with their limited screen space and resolution, cannot replicate. Magazines provide an environment where creativity can flourish,

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KEHAN SUN Coral Reef Ceramics BFA Illustration 2025

and readers can immerse themselves in a well-crafted visual experience. This artistic aspect adds value to print magazines that can’t be replaced by digital alternatives.

Another invaluable feature of print magazines is the tactile experience they offer. Holding a magazine,

“ENGAGINGNT E WI T H CON T CAL IN A PHYSIE A WAY FORG IOSN CONNEC T AL THAT DIGIT OT MEDIA CANN REPLICATE” turning its pages, and engaging with its content in a physical way provides a connection that digital media cannot recreate. This tactile experience fosters a deeper emotional connection to the material, as readers

often feel more engaged when interacting with physical media. The act of reading a magazine requires time and attention, encouraging readers to slow down and savor the content, rather than skimming through it in a rush, as is common with digital content.

Despite the rise of digital platforms, print media retains an important place in modern society. With its’ ability to provide in-depth, curated content, inspire creativity, offer a tangible and emotional connection, and support the broader media ecosystem, print media continues to hold tremendous value. As we continue to navigate a world increasingly dominated by technology, it is incredibly important to recognize and appreciate the unique qualities that print media brings to the table.

VO@SVA.EDU

VISUAL OPINION

SPRING 2025

CONTENTS COVER

“THE POWER OF PRINT” Words by Brooks Orich 1

“JOEL EMBRACES THE STUDENT ROLE”

EDITOR’S NOTE It is the power of print, the power of art, and the power of words that we hope resonate when you hold a copy of our magazine in your hands.

With such a unique campus in the heart of Manhattan, Visual Opinion serves as a place where majors, mediums, and ideas collide. It is where embroidery can end up next to ceramics or digital work, creating unexpected and exciting conversations between disciplines. We are proud to say that our magazine is a reflection of the cre-

Words by Joel Rodriguez Otero Interview by Nandinie Andlay

ativity and diversity that define SVA. For this new issue, we decided to experiment and play with the form of a newspaper. Within these pages, you will find insight into the art and words of student contributors, along with three exclusive interviews with past VO contributors.

We hope this issue sparks curiosity, and inspiration, just as it has for us in bringing it to life.

- Olympe Gautier

TEAM

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SELECTED WORKS 4

“HOW DEFNE EXPERIMENTS WITH POLAROIDS” Words by Defne Ayaz Interview by Nandinie Andlay

HIEF R-IN- C E D I T O e G a uti e r Olymp DESIGN EDITOR Nicole Hsu

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“ISABELLA DRESSES TO IMPRESS HER WORK”

MANAGING EDITOR Angel Ye

Words by Isabella Mendoza Interview by Nandinie Andlay

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“NANDINIE’S EXPERIENCE AT VISUAL OPINION” Words by Nandinie Andlay Interview by Brooks Orich

EDITOR-IN-CHIEF INTERN Nandinie Andlay STAFF ADVISOR Kayla Vogel

MANAGING E DITOR INTERN Elisabed Dushu ashvili

DITOR DESIGN E N R INTE ich Brooks Or

CONTRIBUTORS “Coral Reef ”

by Kehan Sun

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“Are U There?”

“Chlorophyll Printing”

by Leo Li

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“Hands”

by Jessie Chen

by Natasha K. De Armas

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“Friulpesca”

“Slice of Life”

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by Liza Simonova

COVER

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“Gaze”

by Ximenland

by Olivia Hang

“soggycat”

by Max Fouke

CROSSWORD ANSWERS: ACROSS: 2) Byline. 5) Editor. 6) Zine. 7) Cover.

DOWN: 1) Headline. 2) Binding. 3) Issue. 4) Folio.

COVER

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VISUAL OPINION

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JOEL EMBRACES THE STUDENT ROLE

Photos by Olympe Gautier

Interview by Nandinie Andlay

guez Otero’s e of Volume 31, Joel Rodri Published in the first issu interviewed We m.

Visual Opinion tea technical ability struck the ent. tal e pur and n passio him to spotlight his drive,

Joel at the Visual Opinion Launch Party in November of 2024.

Thank you so much for joining us, Joel. To start, could you tell us a little bit about how you first got into your practice?

Well, I started drawing when I was very little. One of my earliest memories is drawing on a placemat when I was a baby. I doodled in school during every class and when I got older, I realized the thing I like the most in my life is probably drawing, so I

decided to go to SVA. That’s when I got more into painting and other mediums like watercolor and oil, all that sort of stuff. Before I was just doing pencil and pen on paper.

VOLUME 31

How would you describe your artistic style, and what influences have shaped it over time?

I would describe my art style as surrealist. When I was a kid, one of the things that impacted me the most was going to the Salvador Dali Museum in Florida. Before that, I always saw paintings as the typical biblical or historical types of paintings, and I never knew you could have fun with them.

It wasn’t until I saw that museum that I really got interested in surrealism, the exploration of painting and everything that you could do with it. I remember being in the Museum, looking at a painting and loving it, but being so excited for the next painting that I couldn’t stick to just one. I was just jumping from painting to painting wondering “Oh what’s the next thing going to be?”. So, that really influenced me when I was at a young age and I think it carried through to my work now.

What role does experimentation play in your process? Are there any materials or techniques you’re currently exploring that excite you?

Experimentation is a huge part of what I try to do. Right now I think I have the role of the student as much

as I have the role of the artist. I am constantly trying to find new techniques and new ways to use what I already know, and ways to use things that I haven’t used before. Right now, what I’m really interested in is collage.

I also just started doing watercolor, and pastels. It’s a lot of things that I learn individually, but I try to apply them to the same piece, no matter the medium that I’m working with. I use watercolor techniques and apply them to oils. I use things that I learned by making collages in how I do my composition for other paintings. I try to always ask and find out more about different materials and incorporate them into every work that I do.

How do you know when a piece is “finished”? Is there a moment in your process when you can step back and say, “That’s exactly what I want to say”?

Well, if it were up to me, I would work on a piece forever. I mean, the thing that dictates if a piece is finished for me is a lack of time.

I may sometimes get bored of the thing—of a piece. But even when I get bored, I think, “Oh, I’m bored of it because it needs more work.” So, I could honestly work on a single piece for the rest of my life, perfect it, and try to give it more and more time. I usually don’t have the time so I end up moving to other things.

Can I ask what that one painting, that you would work on for your entire life, would be about?

If I had to do one painting for the rest of my life, it would probably be about self-sacrifice. It is a topic that feels very close to my family. It is a recurring theme in a lot of stuff that I do, and I always fall back onto that topic whenever I’m looking for inspiration—so I’m guessing it would probably be about that.

“IF I HAD T O DO ONE PAINTIN F OR T HE RE G OF MY LIFES, T IT WOULD PROBABLY B ABOUT SELFE SACRIFICE”Every artist faces challenges. What has been the most difficult part of your artistic journey so far, and how have you overcome it?

The most difficult part of my

artistic journey so far has been learning to enjoy it. Right now, I constantly struggle with feeling that I have to learn things even when I don’t want to.

I remember that I was in a painting class once, and I was really frustrated with what I was painting.

I thought I had to paint just to learn, and my painting professor said—I’ll never forget it,—“You know this is supposed to be fun, right?”. That hit me a certain way because I started thinking that he was right, that I was not enjoying it. That kind of reframed everything that I was doing, and now I try to have fun. I try to enjoy the fact that I’m learning through it, instead of just being very frustrated with the fact that I’m not getting something right.

I think I overcame it thanks to my painting professor, Peter Fiore.

L “IF I HAD AL T HE THE TIME INOULD WORLD, I WK ON ONLY WOR ING” ONE PAINT What about something you would tell someone who is just joining SVA, like a freshman?

Oh, to that I would say that if somebody is looking to join SVA, the most important thing, in my opinion, is to not treat the classes like they are a pass or fail. Meaning it’s not about passing the class, it’s not about getting a good grade, it’s about learning and gaining good skills from it. In my opinion, you really have to learn on your own and try to make the most out of classes. The professors love to talk. They love what they do and they love talking about the things that they love with people that share the same passion. So, definitely, ask them questions. They have always been super responsive (to me at least), and have helped me grow so much. So yeah, I would say, don’t treat the classes like it’s for the grade. Treat it like it’s about what you get from it, and what you learn from the professors.

ISSUE 4

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SPRING 2025

OLIVIA HANG Slice of Life Digital BFA Illustration 2026

JESSIE CHEN Are U There?

Colored Pencil & Digital BFA Illustration 2028

NATASHA K. DE ARMAS Hands Found Venezuelan Hammock and Repurposed Polyfil, Cotton Thread MFA Art Practice 2025

LIZA SIMONOVA Friulpesca Pen, Ink & Watercolor on Paper BFA Illustration 2027

VISUAL OPINION

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XIMENLAND Gaze Embroidery BFA Illustration 2025

MAX FOUKE soggycat 6B Pencil BFA Comics 2027

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DEFNE’S POLAROID S T N E M I R E P EX Photos by Steve Silver

Interview by Nandinie Andlay

az al Opinion, Defne Ay 31, Volume 2 of Visu to ng ki loo s ay alw Published in Issue e, exploratory ey an th wi rk wo r he approaches d materials. try new methods an

id camera.

Defne using her Polaro

ch for joining us, Thank you so mu could you tell us Defne. To start, how you first got a little bit about into art? ild growing up. I I was an only ch bul, and I didn’t lived outside of Istan near me, so I have many friends th my dolls, I wi y pla would always es for them, and would make cloth e walls. It’s just I would draw on th l, like, how do ne an always been a ch mechanism or a you say—a coping up. I always play for me growing art. th wi felt so comfortable e your rib sc de u yo How would at inwh d an le, sty artistic different printing methods being used over it ed fluences have shap changed the outcome. Other than that, time? one Music has been a great influence on me. in rk wo my t pu I cannot s ay I really like ambient, experimental alw ’s specific style. There een music. I love Björk. She’s always been tw be ue log a growing dia and in d ste ere int what I’m . Especialhow I’m creating anbul to Ist ly coming from different d ha e I’v New York, from me ing ect aff es influenc ays alw s it’ both countries, so . ink th I s ing th been a blend of d in ste ere int I’m w, Right no Yoko Ono, Marcel Duchamp, , and that vić Marina Abramo tual art. ep nc co re kind of mo at the SVA I was just actually a lot of saw archives, and I advers, 80 e th m posters fro es at iti tiv ac nt de stu tising very s wa SVA. I thought it ist da Da e th w interesting ho ed est nif ma re we es influenc e th w ho on the posters, and

“I’M Y CURRENTLY B O I L I NG M S P O L A RO I D G AND CU T T IN T HEM” VOLUME 31

an inspiration for me. I like how expressionist and very experimental she is with her everything. I’m also very open to different mediums like experimental animations from the Soviet

Union. I think it’s so nice how everything is interconnected and how the artwork channels itself to reality. That’s how I feel about it.

What role does experimentation play in your process?

Are there any materials or techniques you’re currently exploring that excite you?

Yeah! In both photography and graphic design, I’m exploring a lot of stuff. I think that’s the biggest priority in all of my work—that all of my projects have to have a part where I’m experwith imenting materials or with my process. I also just got into Riso printing; I did a whole album cover based on just misprints of risographs. I’m also exploring special processes for maPolanipulating roid development.

For example, I’m boiling my polaroids, cutting them, putting them in detergents and vinegar, and manipulating the photographs based on those kinds of chemical reactions. It goes beyond that too. I got into with animating Polaroids recently. The process of scanning the polaroids, and overlaying them on top of each other in Photoshop to make a flowing animation, which is really nice.

How do you know when a piece

work, whenever I can connect it to another concept or idea, even if it’s a personal relation, the meaning just comes to me, and that’s when I know I’m finished with it. There are also times where I think I have finished the piece, but then I’ll look at it a year later, and I’ll want to add something new to it, so I do that. For example, two summers ago, I was in Copenhagen, and I took pictures of the sculptures under the water. They have a canal and a bridge, so I was taking the picture from the bridge to the water. But, once I came back to New York, I decided to paint on it. I thought I was finished with the image, but then I added this extra layer of oil paint on it, and that’s when I knew it was done. So, it’s always a consistent dialogue.

Every artist faces challenges. What has been the most difficult part of your artistic journey so far, and how have you overcome it?

Coming from an Islamic country, it was hard for me to work with nude models or nude subjects. I was able to overcome that by creating a zine that forced me to face my discomfort. I created this zine with my friend Naz, who was in the Fine Arts Department at SVA. The zine was called Critoris. On the cover we were using explicit images of our friends and often collaborated with other people in our school. One cover in particular, had me printing out temporary Kurdish tattoos and placing them on my friend’s buttocks.

It was then that I realized that I could do this. In Turkey, when I was do this kind of stuff, it was very controversial, but here it’s not.

Finally, what advice would you give to aspiring artists who are just starting out? What should they keep in mind as they develop their own voices and styles?

Don’t be stuck on one idea, medium, or style. I never considered myself in is “finished”? Is there a moment any genre or style, it is just my own in your process when you can personal exploration. The freedom acstep back and say, “This is what I​ tually comes to your work when you’re not labeling your work or yourself want to say”?​ Whenever I can make sense out of my to anything.

ISSUE 4

Isabella in her studio.

Thank you so much for joining us, Isabella. To start, could you tell us a little bit about how you first got into art? What sparked your creative journey?

Since I was a kid, I’ve always been very creative. I’ve always drawn on anything and everything, but I was also really interested in dance, performing arts, and musical instruments. I was in the band program and a dance team in middle school. We used to have these uniforms—khaki pants—and when I would get bored in class, instead of drawing on paper, I would doodle on these pants. It was mainly eyeballs, like corny stuff like that, but at the time, I was just bored, and I didn’t want to be in the public school system. I just wanted to break free a bit. My mom saw the drawing on my pants and was like, “Do you like art like that? Are you interested in pursuing it, maybe as a career?” I was in seventh grade, so I was like, “I don’t know, maybe.” In eighth grade, she took me to this mentor, a man named

“I PRAY TO GUS EVERY NIGH T ” Gus. He guided me in creating a portfolio to audition for arts high schools in Miami. I pray to Gus every night because if it weren’t for that man teaching me the basics, and helping clear the path for me, I really wouldn’t be here.

I applied to different arts high schools in Miami, and got into all of them except for one. I chose to go to the school that had all the arts—we had photog-

VOLUME 31

raphy, visual arts, band, theater, dance, and chorus. Growing up in that environment was probably the best outlet and the best school choice because now I’m still interested in all those things.

And yeah, that’s kind of how I got started.

How would you describe your artistic style, and what influences have shaped it over time?

Well, I think the best way to answer that question is that I’ve always been really interested in makeup, specifically effects makeup for scary movies—blood, gore, all of that.

I’ve always been fascinated by really gross things— like toenails, toes.

I used to be really grossed out by them, and then I started asking myself, why? Why am I grossed out by these things? They’re natural, just like body hair. I realized it was because, in Hispanic culture, a lot of Hispanic people are really hairy, and you’re expected to tame it, to shave it so you look modest and “appropriate.” I’ve always rebelled against those ideas, even as a kid. It started happening in high school, and then coming into college, when I re-

“I’M K ND OF LIKE THIE UGLY DUCKLIN G” alized I didn’t need to live my life according to the rules of the people who raised me. I’ve always felt very different from them, and I am. I’m kind of like the ugly duckling—but in the best way possible. And yeah—can you repeat the question so I can make sure I answer it?

It was “How do you describe your artistic style and what influences have shaped it over time?”

My artistic style is always developing. I think last year, my work was a lot more colorful—I used a lot of bright fluorescents as a distraction tactic, almost, to pull the viewer away from the actual meaning of the piece. But now, I see color as a way to show the truth.

The imagery doesn’t always have to be an exact replica of what happened, especially since I work a lot with memories. I believe color can bring power to a piece. I am currently exploring a palette that evokes the emotions I felt in the past. In general, my style is very gory and grotesque. I’m also really fluid in the way I dress—not necessarily gender-fluid, but I don’t associate gender with anything at all, and I think that reflects in my work. I’m especially interested in the female anatomy and the bodies of people with breasts, big lumps, fat, and rolls. I’ve always thought those

Interview by Nandinie Andlay

Photos by Olympe Gautier

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ISABELLA DRESSES TO IMPRESS HER WORK Published in Issue 31, Volume 3 of Visu al Opinion, Isabella Mendoza de scribes her work as a “diary,” expressing how it he lps her to dress up to create work.

things were beautiful, so I paint them.

What role does experimentation play in your process? Are there any materials or techniques you’re currently exploring that excite you?

I’m mainly a painter, however I don’t consider myself just a painter. I’m definitely a performing mixed-media artist. I like to experiment a lot with music and GarageBand. I love to go on my laptop, put my headphones on, and create beats—not necessarily ones that make sense to everyone else, but as long as they make sense to me, that’s all that matters. I’ve always heard beats in my head because I grew up Hispanic—we are very loud, always going to parties, always listening to music. Those influences have made their way into my work. I hear beats everywhere I go, and I think there’s inspiration in that. I don’t experiment much with the physical application of paint, but I do think I’m moving into a phase where I’m becoming looser and freer in the way I apply it. I’ve also stopped being too serious about how I create. I’m serious about what goes on the canvas, but not necessarily about how it gets there. If the painting lasts, it lasts. If it doesn’t, well, at least I got a picture of it. It’s not that deep for me. That being said, my paintings do hold a lot of power and emotion for me. If someone took a knife to one, I’d obviously be upset.

But things aren’t forever, and that’s something I’ve learned through my work—you eventually learn to move on.

I experiment depending on the project.

I’m a planner, and sometimes that actually stops me from experimenting as much as I’d like.

How do you know when a piece is “finished”? Is there a moment in your process when you can step back and say, “That’s exactly what I want to say”?

Yeah, that’s the question everybody always wonders. For me, it’s more about how the painting looks physically. I’m learning to keep certain things more spacious—not necessarily in terms of color, but allowing room to breathe in the painting. Not everything has to have a detail. I take my time with my paintings. Right now, I’m working on a bunch of pieces all at once, and they’re all 6 x 4 feet. I sit with my paintings, take my time, and I know they’re done

“ A BRUSH IS PROBABLY T H E M O ST COMFORTING ” THING TO HOLD when I can step back, look at them, and feel proud. If I get this weird, warm feeling in the pit of my stomach that rises up to my throat, that’s when I know it’s finished. And whatever anyone else says doesn’t matter— because it’s not their piece.

Every artist faces challenges. What

has been the most difficult part of your artistic journey so far, and how have you overcome it?

Well, a lot of my art is very personal.

I wouldn’t say my pieces make me an open book, but they’re definitely like a diary—one that isn’t always legible.

We’re all always going through something, and I think having an outlet like art is so important. It allows you to express what you’re experiencing. You need something that can back you up and be there for you. It doesn’t have to say anything, it doesn’t have to vocalize comfort—it can just exist. For me, a brush is probably the most comforting thing to hold and have in my presence. These past four years have been challenging—mentally, emotionally, physically—but I’ve grown so much as an artist that, in the end, the good outweighs the bad. It’s all worth it. Truly.

Finally, what advice would you give to aspiring artists who are just starting out? What should they keep in mind as they develop their own voices and styles?

Yeah, I used to struggle a lot with trying to find a style, but I don’t think anybody has a style. So stop saying, “Oh, I have a style.” You don’t. In two years, you’ll be doing something completely different. And if you stick to a style, you’re just going to be a sheep, repeating the same thing over and over. If that’s your definition of an artist, fine—but to me, being an artist means letting yourself be free, without restrictions or limitations. There are endless possibilities, and sticking to one style is ridiculous to me. That’s number one. Number two: have fun. Art school is fun, and it goes by like that.

And once it’s gone— I’m literally graduating in less than three months—it’s scary. But knowing everything you’ve learned over the years is also comforting. You grow so much, not just from studying art and living in the city, but from the community you create at a school like this. It’s not a big school, which I actually like. Bigger institutions have so many people that you can’t meet everyone, but here, I’ve had the chance to meet amazing, wonderful people who have helped me get to where I am—and vice versa. That’s the other thing: build a community, create a community, join a community. And yeah, just have fun. Don’t overthink it. Do your best, work hard, but at the end of the day, you’re not taking care of someone’s taxes. You’re not in finance or business—other people’s lives don’t depend on what you do. But you do have the power to change someone’s life with what you create. Not that you have to dress up to create work, but if you do, it definitely helps. If you’re in sweats or pajamas—not to say that’s bummy—but in my experience, the creative juices don’t flow as well. They actually flow worse. Sometimes, you have to dress to impress—but not to impress other people. Impress your own work. That’s the final thing I have to say. Yeah. That’s it.

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Interview by Brooks Orich

SPRING 2025

Photos by Olympe Gautier

NANDINIE’S E C N E I R E P X E AT VISUAL OPINION n’s 29th Volume, viously in the Visual Opino pre ed lish pub n bee g vin Ha intern. rs as the Editor-in-Chief Nandinie has spent two yea

Nandinie

What are some things you have learned after being a part of the team for two years now?

Being a part of Visual Opinion has taught me many things. Whether it’s learning the steps that go into curating, proofing, and sending the magazine off for printing and distribution, or collaborating with the team to develop new ideas and themes—which is probably my favorite part—I’ve learned a lot.

But the biggest growth I’ve seen in myself is my interest in design. Even though I’m on the Editor-in-Chief team, and an illustration major, I’ve learned so much about design. I’ve always liked looking at magazines, but now I feel like I do it almost obses-

Volume 31. at the Launch Party of

sively! I’m constantly noticing things around me that I like and thinking about how we could use them in VO, or even in my own paintings. I’ve become more aware of the smaller details and elements and figuring out what works and what doesn’t.

What encouraged you to be a part of the Visual Opinion team?

I had been published in Visual Opinion before I applied—that’s how I found out about the magazine. I saw a hiring poster in the library and decided to give it a shot. I was part of the magazine team in my high school and really loved making my own zines, so VO grabbed my attention. I was super impressed by the quality of the books produced

CROSS WORD

by VO and knew I wanted to be a part of that. The idea of working on something, seeing it printed—professionally—and then having people actually keep it, was thrilling. I wanted the chance to have something I helped work on be seen by so many people and (hopefully) liked by so many people!

There’s something about the physicality of print media that really excites me because people take it and keep it in their homes— and there’s something incredibly special about that.

What’s your favorite issue of Visual Opinion and why?

My favorite issue of VO is probably Vol. 30 Issue 5 Nowness. I love this issue because it’s about sustainability and we used recycled paper and made sure every artwork is on a perforated page so

“THERE’S S O M E T H I NG ABOUT THE PHYSICALIT Y OF PRIN T M EDIA THAT REALL EXCITES ME Y ” it can be torn and used as a poster. But, my favorite part about this issue, and what makes all our issues so incredible, is the contributions. The artwork in this issue is so great and innovative. I didn’t know that students at SVA were working on such cool and environmentally conscious projects and I’m really glad we were able to highlight them.

I also really like some of the older issues of VO, like from the 2000s. The

older issues of the VO look very different, they have advertisements and a lot more writing in general. The print quality is not as high as what we have now but that leads to a grittier feel which I think is cool. I find it really interesting how our magazine has changed so much since Volume 1. I love the relaxed and more experimental vibe.

What’s your dream theme for a Visual Opinion issue?

Honestly, I’m very excited about what we’re working on now. We’ve tried a lot of different book formats and that’s been really fun. So it’s hard to say because I like what we’re already doing and the direction we’ve taken this year.

Lately, I’ve been interested in the topic of the soul-body relation, and I’ve been working on a lot of projects related to it so maybe I would suggest a theme related to the psyche. But I’m not sure if I would call that my dream theme, it’s just my current obsession!

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Answers on Contents pag

ACROSS 2. The name of the writer or author, typically placed at the beginning of an article.

5. The person responsible for overseeing the content and editorial direction of a magazine 6. A small, self-published, often handmade publication that focuses on a particular niche, interest, or community.

7. The front page or outermost part of a magazine, often designed to attract attention DOWN 1. A bolded or larger text used to grab the reader’s attention, usually summarizing an article.

2. A strong covering holding the pages of a book together.

3. A particular edition or release of a magazine, often published periodically.

4. The page number or other information located at the top or bottom of a magazine page

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