Please find all Key Observations for each blog post in BOLD
Please find all Key Observations for each blog post in BOLD
My main aim in this unit project is to produce a set of self- initiated and self-made books/zines and printwork, influenced by my research into amateur publishing and printed matter (already completed with outcomes for both Ampersand and The Light They Obtain)
I have found, through both practical and critical research, a love of all things INK & PAPER including publications and printmaking methods, both traditional and contemporary.
I have found a real community and passion for PRINT MATTER in all its physical forms, enduring even when in competition with digital media and artwork.
‘There was always something very appealing about the gritty, raw, tactile graphics of real ink on real paper.”
Berger, J., Foreword. In: Williamson, C. (2013) Low–Tech Print. London: Laurence King. pp.4
“With digital print-production techniques dominating the design world, digital technology is now part of the DNA of printmaking evolution. The computer has becoming simply another tool in the printmaker’s proverbial tool belt…”
“For me, its the low-tech and textural nature of printmaking that has lead me to fall in love with these disciplines… not simply settling for what has become ‘the norm’ of a purely digitally printed product.”
Williamson, C., Introduction In: Williamson, C. (2013) Low–Tech Print. London: Laurence King. pp.5
Reflecting on the knowledge gained within the research for my report, I want to use my illustration and self-publication (of zines/similar) as a vessel for my message.
The INTO_VERDE Journal will have a focus on introversion and human association with nature. I want to send a message that INTROVERSION IS NOT A WEAKNESS…
I am hoping to create a physical publication that send a message, act as an escape, a temporary seclusion and a self-indulgent read. I want my work to communicate – with limited textual explanation and predominantly with my use of imagery and visuals – as quiet meditation and teach understanding.
The function of a zine through illustration enables/creates a
Purpose // Message // Public
Throughout the project, I hope to implement research through practical experimentation and observational studies and also develop upon existing concepts explored through the first sections of this unit in Ampersand and The Light They Obtain. I want my work to appeal to and affect as many people as possible while retaining my more subtle style. I intend on adding more colour and graphic elements to my work, also drawing upon modes of design for publishing. I hope to be ambitious and challenge myself to be the sole creator of a graphic, visual journal.
For the visual content of my publication, I want to be more ambitious in my scale and abstraction of drawing and digital manipulation, making clear reflection on my ever-growing interest and research into East Asian Art and Zen Calligraphy. I pictured a ‘collaged’ and layered interplay of text and image surrounding my theme – through each page, a new layer of meaning and narrative could unfold.
I’ve had various ideas for research and exploration in terms of my theme… How can I show the connection between Introversion and Nature?
I am hoping to create a physical publication (the INTO_VERDE Journal) that sends a message, acts as an escape, a temporary seclusion and a self-indulgent read. I want my work to communicate (through predominantly visual language/minimal text description) as quiet meditation and teach understanding of the pleasure in solitude.
INTO_VERDE is an independent journal
celebrating the introvert & pleasure in solitude.
encouraging our human desire to escape, the publication gives an opportunity to disconnect and – in turn – reconnect to nature
Following my Ampersand and The Light They Obtain projects, I had developed my concept of a more ‘spiritual’ introverted connection to nature and gained a new aesthetic inspiration – the visual Ink Wash art of Japan and Zen Calligraphy. I felt inspired by the concepts within Japanese aesthetics and calligraphy such as ‘Wabi-sabi‘, an acceptance of imperfection and Bokuseki, meaning ‘ink trace’ and and term referring to reflection and spontaneous action. Some unused drawings I had made throughout these projects felt like they could be applied into the development towards the creation of INTO_VERDE, especially those showing influences of ‘zen’ and a more sensitive visuals of nature.
I began to consider ideas of strengthening my concept’s connection to a mindfull, contemplative and deeper, inner relationship we have to solitude and connecting to our simpler, raw surroundings of the natural world. I began to read into the psychology and Buddhism through the work of Carl Jung, such as his book Psychology and the East. He is noted for concepts surrounding introversion/extroversion.
In reflection of my research, my anticipated composition of my visual page spreads would retain a minimal aesthetic with considered negative space – an aspect already appropriately shown in my practice.
In ordering my researched quotes on solitude and appreciating nature, I anticipated a narrative message to unfold. Starting with quotes on pleasure in solitude would introduce my concept of introversion and follow from my ‘Impressum’ and foreword I had constructed in my first version of INTO_VERDE at the end of BA3a (see below). Transitioning to quotes reflecting on solace in (and appreciating) nature would then make the connection to ‘green’.
My selected quotes I want to promote as ‘mantras’ for my INTO_VERDE concept, connecting to the spiritual commentary I am making on solitude.
Through my drawing and markmaking approach, I considered the concept of ‘Bokuseki’ and ‘Zen’ aesthetic.
As a reflection on making work in a contemporary market, I considered taking inspiration, not just from traditional and ancient Japanese culture, but also from a more modern visual – particularly those directed at printed matter and publishing. (posters, publication design etc)
Thinking about my intentions to be more ambitious to take risks and print with a Risograph, I took into consideration a more graphic and limited use of colour. It was interesting to note the RISO company originates from Japan… I realised my previously unappreciated connection to my inspiration further contextalised my themes within a relatable contemporary location.
“I’ve wondered in the past if the attraction of Japanese design isn’t largely down to the otherness of Japanese lettering – how can you resist a pretty, dancing script, of which you can’t understand a single word? – and much to my satisfaction, Ryan agrees. “I think what captures people’s attention… is the written language,” he says, and this is partly because of its variability. “Text can be arranged as we read it in English: horizontally, from left to right. It can also be oriented vertically, read top to bottom, and from right to left.”
On top of the different formats, Japanese and Roman characters are often mixed together. “Japanese words are usually written with ideographic characters, and can also be written with the Roman characters we’re familiar with, and English mixed with Japanese writing is also a common occurrence in Japanese design.” All in all, this variability allows for endless possibilities when it comes to experimenting with composition.”