# data[].attributes.body
The VR hasn’t integrated well with the museum’s physical space.

# data[].attributes.body
This project has been a significant challenge for me. I had no prior experience with AR and had rarely worked with digital painting. However, through this project, I learned a new method of visual storytelling. VR enables audiences to engage with artwork in a more immersive and interactive way, offering a stronger visual impact and a richer experience compared to traditional paper-based illustration.

During this museum project, from finding inspiration in the museum to designing my own ceramic figures, I also learned how to extract elements that genuinely interest me from existing artworks and integrate them with my own ideas and experiences. This process not only allowed me to add more value and excitement to the original artwork but also made me more mindful of the audience’s experience and engagement.

# data[].attributes.body
I really like the combination of violence and cuteness in his ceramic works. Using this as inspiration, I want to add some “violent” elements to the wedding scene. Perhaps a “bloody wedding,” where the rose petals turn into blood from a boxing fight. This contrast would heighten the intensity of the scene while maintaining the playful, yet dark, tone.

# data[].attributes.body
I want to design ceramic figures with the texture of Staffordshire ceramics. I’ve closely observed the features of these figures and noticed that their facial features are quite rough and their movements are somewhat stiff. Therefore, I don’t need to spend too much time on modeling. Instead, I’ll focus more on coloring to express the characters’ expressions and the ceramic texture.

# data[].attributes.body
But due to time constraints, I ultimately decided to complete a set of ceramic figures. I focused my research on the “Who Wears the Breeches” series of ceramics. Through my research, I discovered that this series was inspired by Shakespeare’s The Taming of the Shrew. In the play, a man tames a shrewish woman, and even at their wedding, he shows disrespect by being late and wearing ragged clothes. Using this as inspiration, I want to design a new ceramic figure.

# data[].attributes.attachment_caption
Thomas Rowlandson and Auguste Charles Pugin, 'Pantheon masquerade', © National Portrait Gallery, NPG D14263, 1 March 1809.

# data[].attributes.body
William Shakespeare - Taming of the Shrew(Stratford Festival On Film)

# data[].attributes.body
I watched the play and examined various versions of its scenes, as well as researched 20th-century British weddings. From this, I designed a set of wedding attire. Reflecting on the boxing ceramic figures I had previously created, I came up with the idea for a “wedding sparring” scene. To make it more relatable and interesting for the audience, I incorporated modern elements, like smartphones. The story centers on a wedding where the wife discovers her husband flirting with another sexy woman. Furious, she decides to use boxing to tame him.

# data[].attributes.body
Another direction I found is that many of these ceramic figures revolve around the theme of love. So, I want to create a small world that illustrates the journey of a couple—from meeting each other to getting married.

# data[].attributes.body
I changed my theme but still focused on staffordshire ceramic figures. I noticed several groups of ceramic figures engaged in fights, which intrigued me. Why were they fighting in such a beautiful setting? And interestingly, all the fights were between men and women.

# data[].attributes.body
After tutorial, I realized that the theme of masquerade balls is quite sensitive and risky. If not handled carefully, it could easily come across as offensive.

# data[].attributes.body
I realized that the environment of a masquerade ball feels like another world, disconnected from the reality outside. This made me think of the inside of a crystal ball, which also contains a self-contained little world. So, I want to place these figures inside a crystal ball—inside, it’s brightly lit, while the outside is completely dark.

# data[].attributes.body
Criticize

1740s,London's publishing and religious circles criticized the entertainment for its extravagant surroundings and indulgent atmosphere.

"foreign origins": treatrical spirit of masking doesn't suit the British nature of being grounded women's "sexual liberation’. discipline and control over women in patriarchal society.

Adopt a new identity and role, a complete subversion of traditional gender types.

It deconstructs the traditional identity types and makes people rethink questions such as what is the essence of identity, whether the identity types are invariable, and whether there is any necessary connection between a person's identity and his/her external characteristics

"Balchtin's carnivalization theory"

Revelry means a temporary liberation from universally accepted truth and established order,a temporary

abolition of the dominance of all hierarchies, privileges , rules and prohibitions

# data[].attributes.body
In the 18th century, due to rising incomes and the grwth of the city's middle class. Londonors began to look for new ways to entertain and socialize.

Wealth and high culture collide with danger, alcoholism and debanchery;alitz and glamour,but behind the dirt

Allowed the rich,famous and infamous to disguise their identities with masks and flamboyant costumes, You

will see heres,goddesses and animals. Aristocrats dressed as chimney cleaners.Men dresed as women, Women dressed as men.

people of different genders could congregate freely, even mingle with celebrities, royalty and the rich. Drinking, dancing and dinning, enjoying the music of contemporary composers and actors.

# data[].attributes.body
Then, I focused my research on ceramic figures from masquerade balls. I really liked their gestures, expressions, and unique clothing. As I delved deeper, I discovered that masquerade balls carry deeper metaphors and social significance.

# data[].attributes.body
When drawing in the museum, I’m afraid of being watched by others, so I always draw very quickly. But I’ve realized that I really like the result— the lines flow smoothly, and the crayon’s childlike texture gives the artwork a joyful feel.

# data[].attributes.body
After two research visits to the V&A Museum, I have chosen three themes: musical instruments, masquerade, and ceramic figures.

# data[].attributes.body
The inherent result behind these lectures was to prompt me to find an identity in my work. Connect with my own style and with my own work not just for the work, but as a way of expressing my inner self. It made me question why I do things the way I do them, and what end result am I hoping to achieve. Did I put my own interpretation and unique flavour in the work I put out. I was also prompted to explore the humanity and the self that goes along hand-in-hand with art. Understanding these concepts is important because they’re the underlying tools used for storytelling. By adding onto the story with the purpose of making it richer do we make the story truly whole and help it connect with the people it hopes to connect to. This further emphasises the responsibility an illustrator takes while collaborating for and by storytelling, understanding the constraints that come with illustration in a project that’s bigger than the illustration itself.

# data[].attributes.body
This lecture and discussion have further strengthened my ideas about collaboration. It allowed me to understand that although personal development in my career takes a great deal of importance, collaborating with other creators and artists makes way for exciting opportunities and takes the inherent solitude out of the work I’m pouring my soul into. It also helps shape a greater understanding of the potential of illustration all the while allowing for the much-needed support navigating the professional struggles of an illustrator. It broadened my mind about not only where illustration can and does coincide with other creative fields, but also what is possible when a union takes place between collectives and groups for the sole purpose of contributing to the project. Although individual additions are important and sometimes is the nature of the project, having the backing of individuals in the same path both emotionally and professionally allows one to accomplish much more than they could have.

# data[].attributes.body
This was a very experimental lecture. The underlying thought it prompted, however, was the importance of the illustrator’s capability to forego the chaos and connect with their surroundings to accept reality as absolutely fundamental and universal, bordering factual. It has shown me that art has the power to connect people through common experiences. And these experiences can be as primitive as the association between a visual, and the accompanying sound. It showed me illustration’s capability to exceed the limitations of the medium and provide what I would consider to be a completionist approach through the aforementioned commonalities by employing visuals that communicates more than themselves. It has shown me that albeit art thrives in uncertainty and curiosity, it does not need to limit itself to it. The idea of acting with absolute freedom includes incorporating concepts that would otherwise be considered restricted for the sake of unrestricting the accompaniment.

# data[].attributes.body
This lecture was especially striking in underlining the importance of illustration for the sake of storytelling. Through art, and the way we perform art, we are able to convey a story in a way words alone might not able to do justice. However, I also realized that illustration demands caution. As much as it allows to deepen a story which includes but not limited to helping with imagination through visual aid, it also has the power to limit it. Thus, the illustrator should be striving to elevate the story, not cripple it. It has also allowed me to create a baseline of my own expectations on what the duty and the limits of an illustrator may entail, where might collaboration be needed, when does illustration take central-stage and when does it undertake a supportive role along with where the reigns of creativity are free.

# data[].attributes.body
This lecture was thought-provoking in the sense that illustration has the tendency to be considered a solo-work. However, the reality is much further than the truth than we realize. It involves collaboration between people, or between the limited canvas provided and the illustrator, the medium and what it allows, process and procedure, or the public. It helped me understand the importance of staying in the middle of both extremes – solitude and hivemind. It helped me understand my own strengths, accept my own shortcomings, strive to become better yet reach the desired results not through struggle but with the help of what is available. This lecture helped me understand that involving others does not dilute the art but concentrates it.

# data[].attributes.body
I’ve long had the idea that language is essentially a tool created to convey ideas, opinions, and emotions. Thus, it does not need to take a certain form. Instead, it has a task to accomplish. This lecture has given me an overlook of the interconnectedness between illustration and writing; exploring the connection between text and image. It deepened my understanding of the concept of how illustrations can communicate as a form of language, while writing can also function visually. It further taught me that the boundaries between the two are more blurred than we as a society make it out to believe, proof of which can be found in a number of mediums such as graphic novels, memes, hand-drawn fonts, typography, calligraphy and more. It inspired me to explore more hybrid forms.

# data[].attributes.body
Throughout this lecture, I was forced to abandon my own set of skeletonized opinions. It made me understand that what’s viewed as objective is often subjective. Research render us more informed, however it is inherently limited in and of itself. And the research that gives birth to what we accept as information is also subjective in its core. We must, then, accept our inability and thus our own limitations within the very core of our understanding and work, and embrace the chaos that is the world we live in with a sense of wonder and not sheer acceptance. It is only then, that we can go beyond our own limitations for the sake of expression and seeking what is beyond the horizon.

# data[].attributes.body
This lecture has given me different perspectives on how different communication mediums can be, yet achieve to reach others; inspiring me to further my understanding of how the human mind works and how we express our desires, and internal complications. It also showed me the fundamental need to express ourselves, and managing to do so regardless of the era, geographical location, choice of canvas, style or material – finding muse in the present and the past, from ourselves and others, while managing to make it our own through a mixture of unique experiences and personalities under the intended context in which we create art.

# data[].attributes.body
For the cover, I added a red transparent sheet, it looks like a camera filter. This idea came from the podcast, which mentioned that some photographers used filters to make Black people more visible in photos, but the results were not ideal.The real essence of Black people lies beneath the filters. And blue and red together create black, which ties back to the theme.

# data[].attributes.body
I especially love Matisse’s later portraits, which are more daring, raw, and vibrant. The lines are simple, the emotions unspoken but pure. It’s his intuitive sensibility, natural instinct, and free spirit—a return to the primal essence of painting.

# data[].attributes.body
I focused on translating the podcast’s key text into visual effects.

The first page is a class photo from the 1950s. During this time,more and more Black and white people were taking photos together. and parents noticed that Black students didn’t appear properly in these photos.

# data[].attributes.body
Matthew,A, Cécile,D and Claudine,G(2022).Matisse in the 1930s,America,Yale University Press

# data[].attributes.body
I still retain the use of color blocks, symbolizing the pixels in the photo. I plan to incorporate this element throughout the entire book, using it as a unifying symbol.

# data[].attributes.body
I realized that the pages of the book shouldn’t be too crowded; it’s important to leave some blank space, or else it might give the viewer an uncomfortable feeling.

# data[].attributes.body
I designed the book cover to look like an envelope, which matchs the group photo of the students be placed inside the envelope from the podcast

# data[].attributes.body
I’ve started creating some book models, setting up the cover, and arranging the content and layout for each page. I don’t want to complete the book with only black, so I plan to alternate between black and color, with one black page followed by a colored page.

# data[].attributes.body
To be honest, this project was a challenge for me because I’m not very interested in social themes,they feel a bit heavy for me. Moreover, the theme is related to Black people,so I used a lot of black in my work. I’ve never used so much black in my creations before, so this project was quite different for me. However, I really like the final outcome.

This is also my first time trying to visualize text, and it’s been a really interesting experience. It’s challenging to maintain the objectivity of the podcast while adding my subjective interpretation, but I think it will help the audience better understand the content of the podcast. However, I feel there are some shortcomings. The handwritten fonts in the book are a bit too casual, and the layout could be improved. Some of the fonts and patterns don’t blend as well as they could.

# data[].attributes.body
On the final page, I drew Lena in black and white and included the words: “I am Lena. I retired from modeling a long time ago. It’s time I retired from tech too.” This is what the older Lena said in an interview.”

# data[].attributes.body
However, it was later discovered that algorithms differ for people with varying skin tones. Additionally, Lena’s image was criticized for sexism, as the computer imaging field was dominated by men at the time, and they chose a nude photo of a young woman. This discouraged women in tech, so Lena’s photo was retired, just like Shirley Cards eventually became obsolete.

# data[].attributes.body
Over time, Kodak realized that accurately representing Black skin tones was related to the camera’s dynamic range. The larger the dynamic range, the better the depiction of dark skin tones. This some dynamic range data.

# data[].attributes.body
The next page is a photo of Lena from Playboy. Lena is considered the ‘Shirley’ of the computer imaging world because a research institute used her image to test a new image compression algorithm. They used the portion of the photo above her shoulders, which eventually led to the JPEG format.

# data[].attributes.body
Photographers like Gordon Parks began focusing on capturing images of Black people, producing stunning black lives photographs.

# data[].attributes.body
Next is a family photo,The podcast mentioned that Black people were often invisible in Memorable photos,which is deeply upsetting.

# data[].attributes.body
Next, Kodak introduced Shirley Cards to calibrate photo colors and standardize skin tones. I used color block elements throughout the book because I found them similar to pixels. These also appear on the first page.

# data[].attributes.body
I found an artist whose style is similar to Matisse’s, and I’ve been learning from their sketchbook to capture that relaxed and free feeling in my own drawings.

# data[].attributes.body
I’m often drawn to the graffiti on the streets of London. When I used spray paint for the first time, I found that it allowed me to quickly cover the background with color and create an even finish.