*Please refer to my submitted ‘Mock 2’*
When creating page designs I also referred back to some previous research into display systems traditionally used to present Ink Wash Paintings. I began to apply indications of Kakejiku to my featured inky hand studies to show a stronger visual relationship to my inspiration.
Through my following group review, I was able to get feedback on this early mock-up. I found that the visual influence of East Asian aesthetics was visible and especially well reflected in the more minimal page spreads.
I had issues brought up with the textual elements, I had also realised that my abstraction of the calligraphic letterforms had made lots of the type hard to read. I questioned whether this was important. The aesthetic I wanted to achieve and visual abstraction was something I wanted to retain but I realised that, alongside the non-calligraphic set type, it needed to be more legible. I made the decision with the help of my peers and tutor through the review to apply a coherent lowercase to the text.
My choice of set font was also picked up on – I had chosen an uppercase system due to thinking it fit better as a graphic element and the more ‘square’ shape to each letter could relate more to Japanese typefaces. Through discussion in my review meeting however, I realised that it was unsuccessful and seemed ‘shouty’ and alien. I made plans to select a lowercase and different font…
Strengths were picked up on my imagery, especially the full-bleed and contrasting line and ink work. These were elements I hope to extend and retain through the publication to give a running aesthetic – minimal and full bleed variation.