SB1 Lecture - Collaborative Practice

WHY COLLABORATE?
-consider brief from multiple perspectives
-develop a positive/ strong working practice
-free flowing feedback
-access new resources and contacts
-push you to achieve more 
-shared pressure and responsibility

HOW TO APPROACH COLLABORATION
-arrive without preconceptions
-be open to collaborative practice
-explain your quirks to your colleagues
-know what you bring to the table
-make and individual effort with your team
-encourage each other
-MEET DEADLINES
-designate roles and boundaries from the start
-participants cannot be passive observers

SUCCESSFUL COLLABORATION
-motivation
-sharing
-communication
-problem solving
-diversity

DESIGN BY COLLABORATION NOT COMMITTEE

FEEDBACK IS A NEGOTIATION, NOT A MANDATE

SB2 Contact Report - Initial Thoughts

TASK - Contact an industry professional to base a report on

THINK - What is your unique selling point, who are you as a practitionner?
             - Use writing as a way to uphold your professional practice

UNIQUE INNOVATIVE RESPONSIVE

Potential rationale for questioning:
-Where do you identify the role of illustration to fit in the contemporary world of education and the wider cultural landscape?
-How have you used business to drive a purposeful and engaging illustration practice that works within communities and more open audiences?
-From the perspective of education, what is the role of visual heritage in your work?
-How do you believe practical tasks aid education of children understanding art practices and wider culture?
-How does a creative background inform your business practices?


Professionals to contact:
1. Holly Black - Freelance art journalist, illustration background
2. Cathy Olmedillas - Anorak editor, publishing and art distribution to children's audiences
3. Leonard Bartle/ Anna Bowman - YSP Arts Education Archive
4. Carys Fieldson - YSP Education
5. Mark Oliver - Education and critical thinking at House of Illustration
6. Sidonie Warren - Owner and founder of independent design led stationary shop 'Papersmiths'
7. Present & Correct - Independent design led stationary shop, focus on joy of objects

SB1 Study Task 4 - IP and Copyright

Copyright covers original works of art, literature, drama, broadcast, sound a typographical arrangements up to 70 years after the death of its creator. 

Within my own practice - How might I engage with copyright law?

Literary References - As a practicing illustrator I may work with copyright free texts or originate my own text to avoid infringement. Working with a publisher, existing texts may be licensed for my interpretation.

Educational Resources - Within my intent for a museum based education practice, I may rely on visual and textual resources and learning devices. Reproduction and distribution of content would risk infringement and so using an institutional license would be necessary, or fully crediting the source. 

Distributing my own work - As a freelance illustrator I will rely heavily on social media and so will need to be vigilant that my own copyright and intellectual property is respected. Using low resolution images and always uploading files with my name in the file title will avoid infringement.

Licensing my own work - Working for clients, I would need to license my artwork for specific purposes and time frames under which the work can be used only. Also in my wider intent for practice is writing and so I would need to fully reference and credit source materials, as well as publish myself as the author of work I have originated. 

SB1 Lecture - Markets and Marketing

RAISING OUR PROFILE

WHAT IS MARKETING?
-Identifying what our consumers want and how best to deliver it to them
-Social and managerial process
-Reaching out to people

FUNCTIONS OF MARKETING
-Identify customer needs and develop new products or services through market research
-Promote and introduce products to target market
-Product management: monitor and assess the performance of a product
-Develop an appropriate pricing strategy
-Identify distribution networks

WHAT CAN BE MARKETED? - GOODS AND SERVICES
-personalities
-properties
-places
-experience
-ideas and concepts
-events
-organisations

MARKETING MIX
Product/ Price/ Promotion/ Place

MARKETING RESEARCH
-Primary research: field research
-Secondary research: desk research
-Qualitative: views
-Quantitative: fact

WHAT IS IT AND WHAT IS IT'S USP?
WHO AND WHAT IS IT'S TARGET MARKET?

SB1 Study Task 3 - Swot Analysis

SUMMARY
I feel that my commitment to practice is demonstrated in my willingness to explore new approaches and invest a real sense of self in my work. My exploratory approach has meant that I have practiced digital approaches to analogue printing methods which could able me to play to the analogue revival in a more efficient way within my wider practice. I very much enjoy an academic side to my practice and am conscious of acquiring strong contextual and critical knowledge which enables me to take a mindful approach to the generation of responses and achieve a sense of quality. I have identified a lack of accessible visual media surrounding higher literature which is something I could address within my research practice, particularly within the celebration of play I channel within my work.

Idea generation can often feel daunting to me so I often delay starting projects. This is something that comes with the doubt I have in my own practice, drawing often scares  me which can sometimes mean I work within a restricted tone of voice, applying devices that I am comfortable with. Limiting my practice early on could restrict opportunities to work cross contexts and so it is important that I maintain a flexibility in order to survive within the big pond of graduates. The role and value of the creative arts is ever turbulent so I should use my values to support it, taking part in educational workshops and museum practices to encourage the value of art in the wider community and development of my professional practice.

SB1 Study Task 2 - The Creative Industries

SB1 Study Task 1 - Self Audit Summary

Who is Abbie as an Illustrator?

-I know how to deconstruct briefs, respond reflectively and intuitively, and how to translate ideas through my own visual language. 

-My knowledge should keep on growing by understanding online presence, networking, commercial practice and context. 

-Extensive engagement with briefs aids my investment and criticality in my work but I should embrace challenges practically and be more mindful about my practice within my wider world. 

-As an observer, I will continue to be informed by theory, play and social historical awareness, connecting more with the contexts that interest me such as heritage. 

NEW BOOK - Popular English Art

I found this wonderful Penguin classic in Oxfam and I am so thrilled, it is just the perfect display of English visual heritage and culture. It's a 1945 edition and has the most luxurious lithograph illustrations. The essay at the beginning will be very informative and hopefully of use in my developing COP studies in visual heritage but for now I am looking only at the illustrations.

Images of embroidered samplers, Staffordshire ceramics and trade cards create a visual history lesson in the culture of British objects but these spreads of toys and lifestyle cultures are the most engaging to me. The saturation of colour in these images seems so celebratory and seems to speak of the value of objects in more restricted periods of livings.

The vibrant colours seem so exciting, creating a narrative of pride in this visual culture. The spread below resonates with me most as I am so keen to explore British heritage in my emerging practice by developing a research practice around the objects that have informed certain eras and ways of living. I am keen to develop a knowledge of the psychological value of objects and this book provides a concise introduction to visual culture in everyday objects.

COMMISSION - Negotiations

ORIGINAL 3 PRINTS

I have had some prints on display at Bramble Bakehouse for a few months and have had a commission from a cafe customer. The original display was of a set of 3 prints I completed for the 'Tales Told' festival which is held in Aireborough and covers art, theatre and musical events within the community. I had produced these prints of 3 local clock towers as part of an exhibition last year. In the festival's second year, I was asked to exhibit my prints again but also display them in a cafe for several months.

I have had several sales from the cafe but have just received an enquiry for 2 new local illustrations to be commissioned. 

The client has asked for 2 new local landmarks to be added to the series of limited edition screen prints.

INITIAL CONSIDERATIONS

- great opportunity to respond to a client brief

- great practice for professional communication and negotiation skills

- people want my work!

- the original prints weren't a personal project and I don't like them

- the cost of originating and producing 2 new limited edition screen prints is high, both in time and financially

FORMULATING A PRICE

I was selling the original 3 prints at £8 each, reduced from the initial selling price of £10 as I simply wanted rid but I now need to cost 2 other screen prints from start to finish rather than just as finished prints. 

The client has already purchased the initial set of 3 prints so I have calculated my costings for origination and production of 2 new prints. Advice from print-making artist Brian Hindmarch has helped me to clarify the value of my time and work, as well as the knowledge of the time and process required to produce the original 3.

Costing for origination and printing of 2 limited edition prints:

• Originate and print artwork - up to 10 hours (production of image 3 hours, preparation of screens 2 hours, printing 5 hours)
• Materials (screens, 4 colour inks + black, paper stock) 
• Limited edition run of 10 prints of each illustration

Total cost of commission £100.

PROBLEMS ENCOUNTERED IN COSTINGS

As this is not a personal project, I would not be keeping the screens after print, and so I would be carrying out a limited edition run of 10 prints of each image. While this is appropriate in the sense that the client has requested two new images and I would like them to feel that the prints are unique and personal, this also increases costs due to the limited edition and the client has to cover the cost of producing more prints than they require. Running a limited edition for me however, means that I am not left with a mass of prints that I am not particularly invested in and also reduced printing time.

Origination of two new prints means that I have to cost the prints from the initial drawing through to the finished print, specifically for a client, whereas the original set was priced for the cost of the artwork and process at my own disgression. 

CLIENT FEEDBACK

The client has responded to my costings and was not expecting the commission to be quite as expensive so has asked for costings for 1 new image. As I know that the client is not familiar with the screen print process, I have taken the time to explain this and they understand the appropriate costings. 

Economies of scale would mean that just 1 new image would not be particularly much cheaper than the price of commissioning 2 new images as there is large amount of processing in order to screen print that would apply across any number of prints. If I was printing two 3-colour images I would have 3 screens, one for each layer of both prints. However, if I print just one image, I would still need a screen per layer. I would estimate this to be around £75 for one image.

In order to meet the client's request of the 2 images, at a cost that is affordable to them, I have an alternative to screen print. Another option is for me to make the new images as digital prints. I would construct the images in layers as I would to create a screen print but would digitally colour and overlay these. This is a process I use regularly in my practice when I am wanting a screen-print aesthetic with the flexibility of a digital file. As this would not require any of the process of preparing and exposing silk screens, and the images could be easily re-produced, these would be much cheaper to make.

Costing for origination and printing of 2 digital prints:

Originate and print artwork - up to 6 hours (production of images 3 hours, construction of digital image and print around 3 hours)

Materials (paper stock and ink)

2 original digital prints

My total cost for this commission would be £35.

I am now waiting for the go ahead . . .

EXHIBITION - Yorkshire Sculpture Park - ALICE PATTULLO

CONTEXT

Alice Pattullo has had a show on at YSP recently, 'Of House and Home', a charming celebration of heritage and tradition through print and illustrative objects. The main concerns running through Pattullo's exhibition are superstition and folklore, using illustration to reveal narratives of the past in a historical education told through image.

IMAGE

The line quality in Pattullo's work creates a sensitivity to her subject matter, delicate marks describing the pattern detail on fragile objects. Consistent throughout the exhibition was the application of a muted colour palette. Soft tones seem to compliment the traditional imagery and aged feel of the illustrations. 

Text and typography is also pivotal as Pattullo relies on narrative to carry the meaning and tone of voice of her images, particularly within the kitchen folklore prints. Hand writing sustains the naivety captured in line quality whilst also achieving a traditional aesthetic. In other images, Pattullo employs more structured typography, reminiscent of circus or fairground signs, only enhancing the playful nature of her work and the charming nostalgia it evokes. 

Pattullo's dense images capture every inch of the message she chooses to portray, often through very display orientated scenes and through typologies. The density of visual clues drives the narrative strength of the illustrations, particularly in the folklore illustrations. It seems that this almost diagrammatic approach to composition, often considering symmetry, channels Pattullo's concerns with the learning of the audience. She seems very keen to celebrate tradition and bring value to everyday objects through teaching her audience new values.

IDEA

Something that resonates with me most is the nostalgic tone of voice that Pattullo employs. She has an unchallenged commitment to heritage and her practice always demonstrates an awareness of stories and history. Knowledge seems to underpin all her work and I think it is this solid research that makes her illustrations all the more evocative and engaging to her audience. 

EXHIBITION - Chester Visual Arts Centre - POP ART

I stumbled across a gem in Chester; there was a V&A curated exhibition of Pop Art on at a small arts centre. It hosted a wealth of conventional Pop Art such as Peter Blake, Roy Lichtenstein and Andy Warhol but in a cabinet were some sketches and illustrations that Warhol had done for a recipe book; 'Wild Raspberries'. These illustrations seem so far removed from his common graphic, block colour iconographies. In sensitive ink and water colour, they explore a line quality unseen in Warhol's pop-art work. For a recipe book, these drawings seem to operate within the most immediate definition of illustration, to visualise written words, and for this purpose, they are so simplistic and beautiful.

The illustration above was my favourite on display as I found the charm of the slightly wonky line quality and painterly shapes so sensitive and perfectly balanced. The interpretive qualities of drawing here allow Warhol to create an impression rather than representative image which seems so sophisticated in its level of visual information.

This simplistic approach to drawing is carried across the book in a vibrant, yet muted colour palette, only enhancing the sensitive aesthetic of the wet media. I was similarly inspired by Blake's diagrammatic collages but this secret side to Andy Warhol was so surprising and made a very rewarding visit.

DISPLAY - Cartwright Hall - DAVID HOCKNEY

THERE'S A NEW HOCKNEY GALLERY!

I have been so excited about this; more Hockney on my door step, yes! 

This permanent gallery serves such a brilliant role in the art education of people in Bradford. Hockney is such a treasured part of Bradford's heritage but only seems present in the legacy of his paintings at Salt's Mill. The national exhibitions of Hockney I have seen before have been mainly of his famous paintings but this exhibition in his home city really reveals Hockney's changing practice across his career. 

Family orientated, it does feel a little like a set, with props and things for children to engage with but it hosts some absolute gold. I'd never seen Hockney's etchings before, so these were stand out for me. Hockney's incredibly playful tone of voice carries through his work, but these etchings seem so experimental and speculative.

His iconic breadth of colour is minimised but bold reds and blues carry his concern with illustration, communicating ideas and imagery through a personal visual language.

These particular etchings don't necessarily seem concerned with scenery or linear narrative, but rather isolated objects and shape, seeming to compliment Hockney's ever sensitive tone of voice. Line quality demonstrates a fragility and delicacy appropriate to the minimalism of these drawings. Almost scientific in narrative, Hockney seems to have achieved a rather diagrammatic drawing approach, very different to his painterly landscapes. 

Translation seems central to Hockney's practice as he communicates his observations through rather selective components and applies his naive aesthetic to these with such effect that seemingly meaningless objects are just so beautiful.

I want to go back...

EXHIBITION - The Serpentine - GRAYSON PERRY 'The Most Popular Art Exhibition Ever'

My concern with Perry's social criticism and rather wholesome awareness of society was strengthened through my level 4 COP studies. Particularly concerned with aesthetic quality and taste. Perry's more recent works have operated in an even more political realm, displayed at The Serpentine Gallery. The title of the show 'The Most Popular Art Exhibition Ever' immediately ignites Perry's satirical approach to the culture of viewing art. This resonates with my intent for research as I am tampering with the fight between media and nature on taste values and awareness of art.

The new work in the show spanned 26 pieces, demonstrating Perry's unchallenged commitment to practice and research.

Perry's tapestry 'Red Carpet' employs some very evocative visual devices through the background imagery of tower blocks, and use of buzz phrases. The geographical deconstruction of society through a map speaks a harsh truth about the climate in which Perry's work operates. The seemingly wealthy object of a wall tapestry serves a poignant purpose against the rather critical narrative. As with most of Perry's work, it explores illustration through craft, creating a narrative tool that is evocative to a universal audience.

'Death of a Working Hero' is also particularly engaging to me as I am concerned with working class heritage. Symbolic of trade union banners, the piece celebrates mining heritage and the Durham brass band marches, whilst evoking a mournful narrative. As a product of Perry's television documentary 'All of Man', it documents a heritage held close to people's ideology of the working man but in a gallery context, it very much seemed more of a celebration of this heritage. In executing this piece within a gallery space, Perry has elevated the subject through craft and environment, using the gallery as a stage for integration and elevation. 

The whole show exhibited some powerful uses of illustration, through visual devices, omissions and symbolism. Perry seemed to have pioneered his macabre drawing style into something more sympathetic and sensitive, only enhancing the political narrative in his work.

VOLUNTEERING - Primary School Art & Culture Lessons

Reflecting my interested in a career in education, I have been volunteering at a Primary School with art lessons and trips. Luckily, a primary school local to me is really hands-on with their learning and use art in many lessons, including outdoor learning.

Although I am keen to teach older children, possibly at secondary level or foundation, this is the perfect opportunity to learn more about learning objectives and the considerations applied to formulating creative tasks for young people.  I am interested to learn more about the preliminary art education children receive and how this may effect their view of art and visual culture.

FIRST DAY OF VOLUNTEERING - British values workshop at Cartwright Hall

My first session was on a visit to Cartwright Hall with a year 5 class. The visit was to coincide with their work on British values, exploring displays of freedom, liberty and rights through art. This gallery visit seemed purposeful in its display to children that all kinds of issues are explored in art and that art provides freedom of expression. 

The task to identify images of slavery and freedom across the works in the gallery encouraged the children to think more about what they were viewing. This approach to learning seems particularly engaging and valuable as the children were able to learn social, historical and political issues through imagery and creativity. 

Translating their research into illustrative pieces of bunting using a wax-resist technique, the learning came full circle, linking historical research to cultural curiosity, through to political ideas and concluding with a practical creative task. This cyclic approach to learning seems imperative to a child's value of learning, demonstrating a purpose and link across all areas of curricula. Creating a personal response on a piece of bunting not only worked to encourage the children to realise their learning, it also demonstrated integration and team work; each child contributing towards a larger display of creativity.

This visit proved so valuable to me as I learnt of the power of art and creativity in a child's wider education. Providing visual tools to realise more complex or unfamiliar ideas seems to really unlock learning and create an overall more engaging and fruitful practice. 

SECOND DAY OF VOLUNTEERING - Relief Printing

As an extension of some the learning the children have been doing on Brazil and the rainforests, the children have been translating their knowledge into artwork through relief printing. This translation of learning seemed to extend the children's values of what they had learnt, many of them commenting on the fun that art added to science and geography. Discernible here is that if a child can identify a continuation on their learning, they become more invested in developing the knowledge; only showing the absolute power of creativity in children.

While the process of relief printing, naturally, was simplified and scaled down for the classroom, this as a creative practice teaches the children  the value of resourcefulness and a DIY ethic. Using polystyrene and blunt pencils, the children were able to translate their drawings into printing plates. Mimicking lino print, this process taught the children of more sophisticated approaches to image making that they may encounter in secondary school. 

This as a task appeared successful in its conclusiveness; the children were able to extend their learning towards a visual realisation. Helping the children with the practical and visual considerations, I was able to learn how children think about drawing and art and I think for many of them, the relief printing was about creating a personal response to more general learning objective.



THIRD DAY OF VOLUNTEERING - Outdoor Learning Day

Furthering the learning focus of rainforests, the year group had a full day of outdoor learning, practising their knowledge about habitats and nature. For the most part, this worked to provide an engaging and exciting extension of classroom work, with hands-on activities, but it also gave the children the opportunity to apply their knowledge and creativity to their immediate environment. 

I worked across science and art-based activities covering pond dipping, habitat analysis and natural dye workshops. As there were many different activities, I ended up leading a group of about 12 children on my own which was daunting but definitely a learning curve. Starting the day leading a science based workshop, when I moved onto leading the natural dye workshop, I was able to tailor the workshop to the knowledge the children had demonstrated earlier in the day. Using natural dyes and also rubbing flowers and leaves into fabric, the children hand-dyed fabric flags to use in a larger piece of artwork. Although the dying was a little bit trial and error and some children struggled to identify the creativity of the task, it was a great exercise in applying science and nature to art, again bringing together different areas of curricula. 

This was definitely the most challenging day as I had not anticipated having to lead a group of children and I had underestimated how exciting the school grounds were, meaning that the children did want to run around quite a lot. It was a very inspiring day though. The school have some very extensive outdoor land, made up of all sorts of different plants and habitats and this proved very effective to the extension and maximisation of learning. Taking the learning outside of the classroom seemed to provide so many alternative approaches to visualising knowledge and definitely helped the children to be engaged with their learning.


CONCLUSIONS
My volunteering covered such a variety of activities and I think covering just three days, I was exposed to some very powerful teaching methods and approaches to learning, which really taught me the value of creativity in children. Seeing the children engage with different tasks enabled me to understand the importance of creativity in creating an inclusive and effective learning environment in which the children remained invested and engaged. 

Carrying this experience forward with my studies and career aspirations, I have certainly learnt more of the importance art in schools and feel more aware about the exposure of children to art in their early years. I would be interested to see how different schools approach art in learning as this school certainly took a very active and forward-thinking approach which I think for many children, is stunted in other schools by taught ideas of creativity.

COMPETITION - Church Picture-book

BRIEF

I spotted a competition brief to illustrate a picture book for Boston Parish Church. The brief asks for a single page illustration for the first verse of the story and then the chosen artists will be commissioned to illustrated the rest of the story.

There are no particular constraints other than the text that must be present on each page; media, scale and colour palette are unspecified so I am going to work within my common practice of cut-paper and digital layering that I have been practising recently to achieve a bright and playful illustration.

CONSIDERATIONS

As this is a children's book for a church, I feel it would be easy for this to be very traditional and I imagine many entrants will be linked to the church and know more about the story 'Bo the Boston Church Mouse' than I do, but I am just keen to complete a narrative brief.

Central to the brief is the character of 'Bo the Boston Church Mouse' and so I feel my biggest priority is to create a simple, yet immediate character that will be central to the aesthetic of the book and a visual device across the narrative. I don't want to over complicate the mouse as this is the one element that will remain the same across the stages of the narrative and so needs to work as an icon on each page. 

Scale is a consideration as naturally a mouse would be very small against other components of the image but it seems appropriate to apply an immediate and understandable visual language by scaling the mouse up so that environmental details are not lost.

    

I have constructed my illustration from cut-paper shapes, detailed with gestural pencil marks, over-layed on Photoshop. I feel that the bold colour palette I have employed is appropriate to a child audience as it is engaging and carries the playful tone of voice I am concerned with. 

FINAL ILLUSTRATION ENTRY

MAKING & SELLING - Leeds Teenage Market

PREPARATION & PRODUCTION 

I am in the process of preparing work to sell at Leeds Teenage Market. I took part in the market last year, and had a stall to myself but this year I have teamed up with Lucy Scott to run a stall that is entirely illustration based products. I have prints, cards and postcards from previous projects that I have printed and packaged up, but am also working on some new designs to make a new set of cards and notebooks. 

I have been sketchbooking new characters and shape designs, with children's birthday cards in mind, working within a restricted colour palette and simplistic shapes to achieve immediate, yet playful illustrations. Working to scale, I have drafted 4 new A6 card designs and also 2 different notebook cover designs to produce for the market. 

Alongside my new work, I have been manipulating some existing illustrations and preparing existing prints to be sold too. I have used the characters from my Morris dancing book to create a set of character postcards, alongside trimming and selecting prints from my fan art response. 

CONSIDERATIONS
Costing and packaging has been central to this project as I have had to cost my time, materials and artwork in order to create prices that are appropriate to the items, yet reflective of my work. Awareness of common practice from visiting print fairs regularly has been really helpful and working collaboratively with Lucy has helped to keep costs down by sharing bulk purchases of paper stock, envelopes and cellophane. There is no charge for the table and so we only have printing costs to cover in our sales which has given us more flexibility in the type of products and number of items we can have available in light of the number of sales we might have. 

The market is being hosted in the events space of Leeds Kirkgate Market so I do not anticipate the flow of traffic to be too big, or the audience to that typical of a print fair but this is a great opportunity for us to practice applied illustration, commercial considerations and explore fairs as a potential outlet for our emerging practice. 

ON THE DAY

Unfortunately the market was much quieter than the one I had taken part in the year before and so we didn't make any major sales but we covered all of out costs and have a wealth of items that we could carry forward to more appropriate outlets.

COMPETITION - Leeds Light Night Illustration

Advertised in the student opportunities bulletin was a competition brief for Leeds Light Night and so I have been working on a response in order to propel my commercial practice and professionalism.

REQUIREMENTS OF BRIEF/ CONTEXT

• theme - people and the city
• wide audience
• an event that brings together light and arts in the city
• celebration of culture
• low-res image to be judged
• 3 colours only
• concept statement

The brief demands a 3 colour merchandise design to promote the 2017 event. Working closely within my wider intent for practice, the brief asks for an image that illustrates, or rather celebrates the diversity and heritage of the city. Considering the wider audience, it is imperative that my design operates universally, and as such, demands simplicity and an inclusive visual language.

The brief also notes that the design should be engaging to children whilst working within a restricted colour palette.

DESIGN SUGGESTIONS

My initial design suggestions revolve around an integration between the contemporary event and the heritage of the city, using symbols and shapes to communicate architectural information and humorous characters. Echoing some of the concerns of my Illustrated Self poster, I am hoping to carry over some of the motifs and visual devices.

I am applying my usual method of a digital mimic of screen print, layering textural positives in Photoshop. Due to the commercial nature of the brief, I have had to consider the flexibility of my design for a multitude of outlets. Working with vignettes on a white background seems to work effectively to allow elements to work in isolation. Applying my common practice of a digitally layered image from positives, the image could easily work in digital print or manual screen print depending on the changing needs of the client.

Responding to the brief for a celebratory image of heritage and culture, I have composed an illustration of visual devices that provide a nod to Leeds' industrial heritage whilst capturing the dynamics of Light Night through gestural marks and active characters. Employment of such characters has achieved a playful aesthetic appropriate to the tone of the event and child audiences. 

I feel that the composition has achieved a linear flow through which the text is direct and informative against a clear visual narrative.

CONCEPT STATEMENT FOR ENTRY

Responding to the theme 'People and the City', my response aims to capture an interplay between the people, performers and their city. Using abstract characters, the design aims to be playful and engaging for children whilst achieving a universality appropriate to the wider audience of Light Night. Architectural motifs provide a nod to Leeds' industrial heritage, supported by comical characters which celebrate the energy of Light Night and the city.

I wait to hear . . .