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I plan to design a unique theme for each of the 12 calendar pages that makes the most interesting use of the grid. For one page, I experimented with a theme based on a coffee loyalty card. On this page, I drew a connection between the five-day workweek with two days off and the "buy five, get one free" coffee promotion. I also attempted to add texture and advertising slogans without covering the grid.

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Initially, I designed a visually appealing grid as the template for the calendar. From the perspective of product design and consumer psychology, I believe that to be marketable, a product needs a basic level of aesthetic appeal to attract a wider range of customers. After creating a grid that could function as a standard calendar ready for sale, I attempted to add illustrations on top of this foundation.

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Becky suggested creating patterns that align with the calendar grid but don’t completely match its shape, giving a sense of an overall mass-produced visual effect. Ocean proposed adding text within the calendar grids to enhance the recognizability of the content. This could take the form of writing with a ballpoint pen after completing the calendar design, simulating how users might jot down their daily schedules.

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By bringing this draft to Becky’s group tutorial and an academic support session for discussion, the tutors raised some questions:

1. Firstly, without my explanation, they found it difficult to understand the meaning behind my segmentation of the calendar, and it wasn’t clear how this idea was connected to consumerism.

2. The visual elements were too cluttered, which made it hard for the calendar to fulfill its functional purpose.

3. The grid structure of the calendar was not effectively used to create the visual impression of mass-produced goods.

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In the sketches for this calendar design, I experimented with ways to make the characters and objects interact with the calendar's grid. Sometimes, I treated the grid as a wall, while other times, I imagined it as a stick. I explored dividing the composition from different angles and creating interactions between the grid and the characters.

In this design, aside from the inherent grid structure of the calendar, I also segmented the overall calendar based on the number of the month. For example, in May, I divided the rectangular layout into five irregular sections and combined the illustrations with these dividing lines. On some pages, I incorporated themes from my previous work on vintage-style advertisements merged with human figures.

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Pinterest (n.d.) Vintage-inspired poster design ideas. Available at: https://pin.it/7kfnlVV2l (Accessed: 24 January 2025).

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Therefore, by combining the shared characteristics of consumerism and calendars, I decided to create a 12-page calendar design that is both practical and usable. My vision for this calendar design includes the following:

1. I aim to use the grid and column layout elements of graphic design to explore the composition of illustrations.

2. I hope to express a sense of continuity and narrative through a series of twelve interconnected illustrations.

3. This calendar will serve as a medium to explore the relationship between people and commodities, examining the balance between consumer fantasies and real life.

Given the nature of calendars, users will interact with it on a daily basis. Through this process of use, I hope to find an effective way to provoke the audience to reflect on the interplay between fantasy and reality and to inspire the pursuit of living in the present.

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This app uses the calendar as its framework and visualizes monthly moods and states through image-based journaling. Even without reading the text entries, users can recall the general state and impressions of the month when they open the page.

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I used this app for a few months, and I found its combination of colors and calendars very engaging. Users can select an emoji to represent their day, add a brief description, and even name the meaning of the emoji themselves. When browsing the calendar, the text entries for each day remain hidden unless the emoji is clicked, so users can only see an overview of their monthly color and mood distribution on the calendar interface.

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MOODA is an app focused on recording daily emotions as a mood diary. Users can document their feelings and life moments in a personalized calendar through journals, photos, and by selecting a mood color for each day. The app offers a variety of cute handwritten fonts and backgrounds, allowing users to customize their calendar and diary entries to their liking.

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With these three points in mind, I believe that a calendar serves as an excellent entry point. First, a calendar itself is a commodity; it is not a purely artistic creation that is personalized or devoid of functional purpose. Second, it carries symbolic meaning. For instance, when people think of a calendar, they associate it with time, dates, work, and planning—concepts that are deeply intertwined with the daily lives of individuals in the fast-paced modern world. Third, the structure of a calendar is quite distinctive—it consists of a grid of uniformly sized, densely packed squares. On one hand, this symbolizes the uniformity of people’s daily lives; on the other hand, it reflects the characteristics of mass-produced goods in an era of industrialization: "large quantities and sameness."

Additionally, these standardized squares, which represent order, also evoke a sense of "framework, rules, and constraints."

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Based on all the research and studies on consumerism in this project, I have summarized three key points:

1. Mass-produced industrial goods are defining a homogenized and standardized ideal lifestyle for the masses in modern society.

2. People's lives are constrained by the rigid frameworks dictated by the discourse of consumerism.

3. Consumerism, in conjunction with modern society, is subtly assigning price tags to aspects of life that should not be commodified.

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We continued narrowing down the gathered ideas and refined them into specific and practical points.

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To broaden our understanding of job types, we discussed what we can do and what we need from a job based on the structure of communication. We then created an image of our future jobs (like identifying a request) and added details to make our career plans clearer and more focused.

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The Progressing Workshop aims to provide a practical approach for us to reflect on our future careers. Initially, we started with how to communicate effectively with others. Jan introduced the "fact-need-request" strategy to facilitate effective negotiation and help us establish boundaries.

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In this workshop we need to make an A3 photocopied poster. Communicating something about your topic,loosely based on the format of a ‘research poster’.

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Gucci's advertising design and photography often utilize specific color tones and compositions to enhance brand recognition. The brand is known for its bold use of vibrant colors, rich textures, and artistic layering, which create a visually striking and luxurious aesthetic. Gucci frequently employs deep greens, reds, and golds, invoking a sense of opulence and classic Italian style.

Gucci's advertising design and photography often utilize specific color tones and compositions to enhance brand recognition. The brand is known for its bold use of vibrant colors, rich textures, and artistic layering, which create a visually striking and luxurious aesthetic. Gucci frequently employs deep greens, reds, and golds, invoking a sense of opulence and classic Italian style. Their compositions often feature strong contrasts, unique angles, and surreal elements, further emphasizing individuality and exclusivity.

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Gucci, 2024. Gucci Official Website. [online] Available at: https://www.gucci.com/uk/en_gb/ [Accessed 20 January 2025].

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Gucci: Using specific color tones to enhance brand recognition among luxury advertisements.

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Gucci: Using specific color tones to enhance brand recognition among luxury advertisements.

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Gucci's advertising design and photography often utilize specific color tones and compositions to enhance brand recognition. The brand is known for its bold use of vibrant colors, rich textures, and artistic layering, which create a visually striking and luxurious aesthetic. Gucci frequently employs deep greens, reds, and golds, invoking a sense of opulence and classic Italian style. Their compositions often feature strong contrasts, unique angles, and surreal elements, further emphasizing individuality and exclusivity.

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Although it may seem like a superficial change—still using the white upper-class lifestyle template but layered with different cultures—it’s clear that the idealized lifestyle model from developed countries is increasingly influencing the tastes and fashion aspirations of developing countries in the modern world.

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Chanel, 2024. Chanel Official Website. [online] Available at: https://www.chanel.com/ww/ [Accessed 20 January 2025].

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Chanel：The classic, idealized depiction of life through traditional advertising photography.

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Chanel：The classic, idealized depiction of life through traditional advertising photography.

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Chanel, as a pioneering French brand of luxury goods, still upholds the core concept of traditional vintage advertising. That is, by combining atmospheric imagery with its brand products, it creates the concept that a refined, composed, and elegant lifestyle can be attained through the consumption of its goods. This advertising approach has consistently worked for luxury goods and various products. Compared to Chanel’s emphasis on the luxurious lifestyle of upper-class white people in the 1980s and 1990s, the biggest shift is the inclusion of models from diverse cultural backgrounds. This change attempts to broaden the cultural representation of the idealized upper-class lifestyle.

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The personalization of product recommendations embodies the brand's interpretation of cultural differences.

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The personalization of product recommendations embodies the brand's interpretation of cultural differences.

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There are also differences in product recommendations between regions, and what stands out to me is the webpage for Japan. The recommended products there are very different from those in the United States, which is due to the cultural differences between the two regions. Both are major luxury consumption markets—middle and upper-class women—but their tastes and preferences vary significantly. In Japanese culture, women of all classes tend to have more stringent and homogeneous aesthetic demands. As a result, these differences are clearly reflected in the product recommendations. On the Japanese webpage, the recommended bags and other products are mostly in soft colors like white and pale pink, which visually convey a sense of subtlety, purity, sweetness, and youthfulness.

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for Hong Kong, lv chose to make a red and gold color matching webpage. Cause in the Chinese culture red and gold means good fortune and happiness. It combines the traditional Chinese festival of the Spring Festival with the fact that 2025 is the Year of the Snake in the Chinese zodiac. Given the significance of the New Year to the Chinese, the design incorporates elements of the snake. This type of advertising design is highly culturally localized.

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Louis Vuitton, 2024. Louis Vuitton Official Website. [online] Available at: https://www.louisvuitton.com/dispatch?noDRP=true [Accessed 20 January 2025].

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LV: Combine the personalization of advertising with the aesthetic preferences of customers in different countries and regions.

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LV: Combine the personalization of advertising with the aesthetic preferences of customers in different countries and regions.

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The biggest difference between Louis Vuitton's website advertisement design and other luxury brands is that when you open the website, the first thing that appears is not a dazzling array of products, but a long list of countries for selection. These country and region options are not just about language differences. After researching each one, I found that every country's webpage has completely different layouts, image selections, and product recommendations. In terms of "using new media to interact with customers," Louis Vuitton has chosen to segment the global customer base by their needs and aesthetics, striving for precision and effectiveness in their advertising targeting.

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Chéret, J., 1890. Balsons Wine. [poster] Paris: Imprimerie Chéret.

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“Balsons Wine" Poster (1890) - Jules Chéret

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“Balsons Wine" Poster (1890) - Jules Chéret

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Chéret's use of vivid colors and exaggerated illustrations conveys a powerful visual impact, attracting attention while showcasing the brand’s personality and cultural essence. This design style marked the beginning of the fusion of art and advertising, highlighting advertising as both a commercial and artistic expression.

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Toulouse-Lautrec, H., 1906. Bal du Moulin Rouge. [poster] Paris: Imprimerie Chéret.

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This poster, created by the famous French artist Henri de Toulouse-Lautrec, features a streamlined illustration style, with simplified yet dynamic figures. The color palette is vibrant. Toulouse-Lautrec's design perfectly blends illustration with advertising. His use of fluid lines and bold colors not only catches the eye but also conveys the energy and allure of the Moulin Rouge ball. This poster reflects the entertainment culture in late 19th-century Paris, where luxury and hedonism became central to the social atmosphere.

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Interestingly, I found that although this photographer used highly sophisticated and impactful photographic techniques in 2016 to create a series of works focused on mass production and consumerism, I discovered that his works critiquing consumerism are more expensive than any piece of Gucci. If we define luxury goods as exclusive items that signify the owner's status, identity, and taste, then art is undoubtedly one of the most expensive luxuries. This photograph, both in content and price, perfectly echoes the theme of consumerism, prompting the question: when luxury items become increasingly expensive yet people are still willing to pay, what bridges the gap between the price and the cost? This gap is filled by the discourse of consumerism, driven by humanity’s inherent craving for intangible things—symbols, identity, and meaning.

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Gucci (2016, originally from 1996) is a work by Andreas Gursky that presents his unique perspective on luxury retail spaces. The photograph captures Gucci’s store, with handbags and shoes neatly arranged, highlighting the strong influence of brand culture and consumerism. The piece invites viewers to reflect on how our obsession with luxury goods and brands shapes our consumer behaviors and societal values.

Through this work, Gursky allows us to see the scale and details of consumer spaces, encouraging reflection on these typically exclusive and luxurious environments. The piece is part of his ongoing exploration of commercial and consumer culture, and alongside works like Amazon (2016), it addresses themes of modern consumerism and global capitalism. Through these works, Gursky offers deep insights into contemporary society.

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“Andreas Gursky’s Amazon captures a rare moment of calm in a warehouse of the giant online retailer, devoid of the workers who typically occupy the space. The image is in crisp focus, filled with row after row of miscellaneous goods in no discernable order. In this timely work, Gursky adeptly illustrates a mass distribution system built from algorithms, its patterns so complicated as to appear odd or even random. The enormous operation inspires an archaeological approach. The artist uncovers a stratum of the contemporary cultural landscape through the documentation of an excessive amount of artifacts. What is exposed is the extreme individualization that results from consumerism, which, here, ominously approaches chaos. The company’s motto, “work hard, have fun, make history,” is seen on the columns in the background, reading more as a command than a suggestion. The viewer is left to ponder whether this mandate is directed at the workers, the consumers, or both.”

The Broad, 2016. Amazon by Andreas Gursky. C-print mounted on Plexiglas, 207.01 x 407.035 x 6.191 cm. Available at: https://www.thebroad.org/art/andreas-gursky/amazon?utm_source [Accessed 20 January 2025].

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From The Broad Collection: Andreas Gursky, Amazon, 2016, C-print, The Broad Art Foundation. Andreas Gursky’s Amazon captures a rare moment of calm in a warehouse of the giant online retailer, devoid of the workers who typically occupy the space. The image is in crisp focus, filled with row after row of miscellaneous goods in no discernable order. In this timely work, Gursky adeptly illustrates a mass distribution system built from algorithms, its patterns so complicated as to appear odd or even random. The enormous operation inspires an archaeological approach. The artist uncovers a stratum of the contemporary cultural landscape through the documentation of an excessive amount of artifacts. What is exposed is the extreme individualization that results from consumerism, which, here, ominously approaches chaos. The company’s motto, “work hard, have fun, make history,” is seen on the columns in the background, reading more as a command than a suggestion. The viewer is left to ponder whether this mandate is directed at the workers, the consumers, or both.

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Gursky, A., 2016. Amazon. C-print mounted on Plexiglas, 207.01 x 407.035 x 6.191 cm. The Broad, Los Angeles. Available at: https://www.thebroad.org/art/andreas-gursky/amazon [Accessed 20 January 2025].

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Amazon is part of Gursky's ongoing exploration of large-scale commercial and industrial spaces, continuing his examination of the intersection between human activity and the built environment. The work exemplifies his ability to transform ordinary scenes into compelling visual narratives that provoke thought and discussion.

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Gursky, A., 2006. May Day V. C-print face-mounted to Plexiglas, in artist's frame; image size 301.8 x 195.6 cm. Edition of six

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In May Day V, Andreas Gursky shifts the focus from the crowd to the architectural structure of a large event space, offering a unique perspective on the complex relationship between the collective and the individual in modern society. The image, while focusing on the geometric forms and spatial layout of the venue, indirectly reflects the way individuals exist within collective structures.

In modern society, the individual is often viewed as the basic unit of society. However, the collective environment and large-scale social events shape and define individual identities. Gursky's emphasis on the venue’s architectural design, with its symmetrical and orderly patterns, suggests that in a highly structured society, individuals tend to be homogenized. The building's columnar structure symbolizes the highly organized and institutional aspects of society, implying that it can be difficult for individuals to remain distinct in such an environment.

At the same time, Gursky’s work reveals the tension between the individual and the collective. While collective aspects are crucial to modern society, the needs and expressions of individuals still drive its development. Even though May Day V emphasizes the grand scale and order of the building, we can imagine that within this space, individuals still experience and express their existence in unique ways.

The core of this is that Gursky isn't simply critiquing collectivism or individualism, but rather prompting us to reflect on how these two concepts interact and influence each other in modern society. As the world becomes more globalized and information-driven, the role of the individual in the collective is constantly changing. Through his focus on space and form, Gursky isn’t just presenting an urban landscape; he’s exploring the deep relationship between the individual and the collective, showing how individuals navigate and shape society within structured environments.

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Andreas Gursky, 2021. Exhibition at Museum Küpper

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Andreas Gursky, n.d. Official Website of Andreas Gursky. [online] Available at: https://www.andreasgursky.com/en/[Accessed 17 Jan. 2025].

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Welcome to the personal website of the German artist Andreas Gursky. Check out his latest exhibitions, get news and explore the artwork of the Düsseldorf based photographer.

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JC: This book had the peculiarity that the illustrations were done very quickly because, I gave more priority to the writing and the script. However, I think that by doing the illustrations so quickly, it gave them a freshness and charm that suited very well with the personality of the book. I believe it was the right technique for this book.

In this case, I used acrylic which is a technique I almost never use because I liked the clumsy and charming strokes it produced, which matched Aldo’s personality.

I have many tools that I’m comfortable with; sometimes I use markers, other times I use crayons. It all depends on the artistic need of the story.

I usually use analog techniques for several reasons: one very simple reason is that spending a lot of time in front of a screen gives me a headache. But also, I like the mistakes that come with drawing by hand, the excitement of being able to draw on paper and see what happens. I have nothing against digital techniques, and I think they are fantastic, but the possibility of being able to change, shrink, cut, enlarge until everything is perfect overwhelms me a lot. I prefer to go directly to paper and see what happens.

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A surprised ending: evoke the curious of your audience 

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A surprised ending: evoke the curious of your audience 

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Also, the way the book is written is very interesting. The possibility we give the reader to have all the information, but at the same time, Aldo tells it as he sees fit, is very powerful on a narrative level.

Finally, the ending had to be carefully crafted. This is one of the most complex parts of the making of a book. You can have the best book in the world in your hands, but if the ending is not good, everything falls apart like a house of cards. I will be honest with you, I would love to tell you more about the ending and how it was made, but by contract, I am strictly prohibited from doing so, no joke. But if you want to find out the ending, you’ll have to read the book!

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"When the sheet concept appeared, my notebook filled with gags to play with the idea that Aldo believes he is a ghost (flying, stealing food in the park, etc). I had about thirty ideas. Imagining a book with thirty pages of all these situations would have been quite monotonous and boring; by page five, the reader would already be tired. It’s important for me to edit, to choose the four best and leave the rest out, what Billy Wilder called “kill your darlings.” This is a very difficult part of the process, but very necessary."

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What is the most important things to a illustration

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What is the most important things to a illustration

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Joaquín Camp：“As an experienced illustrator, I had only recently begun writing my own stories. I often compare it to tennis players, who have one arm much stronger than the other. Through writing, I wanted to create a solid narrative before adding illustrations. And, until that was resolved, I wasn’t going to draw anything; my illustrator hands were tied.

I noticed that as an illustrator, I often used illustrations to cover up my structural and narrative weaknesses. I would compare this to building a house; beautifully painted walls are useless if the structure isn’t strong.

Going back to the book and its process, I usually have a notebook where I write down random words (tree, house, cat, etc.) and then connect these unrelated words to see if they spark any ideas. In this exercise, I connected two words that resonated with me: ghost dog.”

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Let’s Talk Picture Books, 2024. Let’s Talk Illustrators #303: Joaquín Camp. [online] Available at: https://www.letstalkpicturebooks.com/2024/09/lets-talk-illustrators-303-joaquin-camp.html [Accessed 17 Jan. 2025].

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LTPB: Where did the idea for Aldo: Ghost Dog come from? As you got to know Aldo and developed his story, how did your illustrations evolve?

JC: The idea for Aldo started with my desire to win a picture book contest in Spain, organized by the publisher A Buen Paso and the Biblioteca Insular de Gran Canaria. I had about eight months to create a book for the contest, and I set a clear goal: not to draw anything until the story was almost complete.

As an experienced illustrator, I had only recently begun writing my own stories. I often compare it to tennis players, who have one arm much stronger than the other. Through writing, I wanted to create a solid narrative before adding illustrations. And, until that was resolved, I wasn't going to draw anything; my illustrator hands were tied.

I noticed that as an illustrator, I often used illustrations to cover up my structural and narrative weaknesses. I would compare this to building a house; beautifully painted walls are useless if the structure isn't strong.

Going back to the book and its process, I usually have a notebook where I write down random words (tree, house, cat, etc.) and then connect these unrelated words to see if they spark any ideas. In this exercise, I connected two words that resonated with me: ghost dog.

From there, I started asking myself questions: Who are this ghost dog's friends? Does it have an owner? How did it become a ghost dog? These questions helped shape the story.

Initially, Aldo was going to be a literal ghost dog. The idea was to start the book with an accident that turned him into a ghost, and his friends in the park were also ghosts. The sheet idea appeared at the last moment and became essential to organize the whole book. It's interesting how an idea that appears at the last moment can change the entire atmosphere of a book. Although Aldo was no longer going to be a literal ghost, much of what was in that first draft remained in the final book; in some way, nothing is lost, everything is transformed.

When the sheet concept appeared, my notebook filled with gags to play with the idea that Aldo believes he is a ghost (flying, stealing food in the park, etc). I had about thirty ideas. Imagining a book with thirty pages of all these situations would have been quite monotonous and boring; by page five, the reader would already be tired. It's important for me to edit, to choose the four best and leave the rest out, what Billy Wilder called "kill your darlings." This is a very difficult part of the process, but very necessary.

Then came the hardest part, what I call the heart of the book or the breaking point. I often compare books to composing a song; you have an introduction but then need a chorus to break the monotony. In Aldo's case, the love story he remembers with his red ball serves as the chorus. This situation allows the reader to break away from the rhythm of the dog's gags and the sheet and be surprised by something different.

Aldo's story has something very powerful in the way it is told, because he sees the world around him in his own way. If we think about his dramatic situation, because he believes he is a ghost and therefore we might think he is dead, yet he handles this situation in a very cheerful and light-hearted way, which I find very moving and tender. It reminds me characters like Chaplin, where the same thing happens; he lives through famines or dictatorships but still goes against the grain of the scenarios and manages to bring a touch of light through humor. That contrast interests me a lot in my books.

Also, the way the book is written is very interesting. The possibility we give the reader to have all the information, but at the same time, Aldo tells it as he sees fit, is very powerful on a narrative level.

Finally, the ending had to be carefully crafted. This is one of the most complex parts of the making of a book. You can have the best book in the world in your hands, but if the ending is not good, everything falls apart like a house of cards. I will be honest with you, I would love to tell you more about the ending and how it was made, but by contract, I am strictly prohibited from doing so, no joke. But if you want to find out the ending, you'll have to read the book!

LTPB: What differences have you found between creating a book solo and illustrating someone else's text? Do you have a preference?

JC: It's a very interesting question. I think that when one writes their own stories, it's like making a custom suit, with the fit and fabric you like. On the other hand, when I illustrate someone else's text, it's like being offered a suit; sometimes those suits fit me well, and other times not so much.

Working alone is very interesting; it's like having a relationship between Joaquin the writer and Joaquin the illustrator. Both can critique each other freely.

I believe that the relationship between text and image must be very well balanced. Sometimes the text needs to stand out, and other times the illustration needs to shine, or many times both need to shout very loudly at the same time. Finding that balance on each page is crucial.

In this sense, I think it's important to work with writers who are open to changes and to be willing to make changes yourself. Because in the end, we must focus on the most important thing: creating a good story, that is clear and entertaining for the reader.

LTPB: What did you find most difficult in creating this book? What did you find most rewarding?

JC: The hardest part was not drawing for most of the process. But I think it was a very interesting path because it forced me to work on my weaknesses. It was a tough but very honest process.

The most rewarding part was seeing the finished book and knowing it was well-rounded. Aldo has the particularity of being a book with a very tight narrative structure. I remember the satisfaction I felt when I finished it and knew that it was a good book. Another great satisfaction was that Aldo won the Canarias contest, which allowed me to publish the book in Spain, and also rewarding to my bank account.

Regarding the contest, I had an interesting strategy. I submitted two books, but I knew Aldo had a better chance of winning, because it fit the publisher's criteria better. I tend to think that the book that was left behind gave Aldo a little push to win the contest.

LTPB: What did you use to create the illustrations in this book? Is this your preferred medium? How does your process change from book to book?

JC: This book had the peculiarity that the illustrations were done very quickly because, I gave more priority to the writing and the script. However, I think that by doing the illustrations so quickly, it gave them a freshness and charm that suited very well with the personality of the book. I believe it was the right technique for this book.

In this case, I used acrylic which is a technique I almost never use because I liked the clumsy and charming strokes it produced, which matched Aldo's personality.

I have many tools that I'm comfortable with; sometimes I use markers, other times I use crayons. It all depends on the artistic need of the story.

I usually use analog techniques for several reasons: one very simple reason is that spending a lot of time in front of a screen gives me a headache. But also, I like the mistakes that come with drawing by hand, the excitement of being able to draw on paper and see what happens. I have nothing against digital techniques, and I think they are fantastic, but the possibility of being able to change, shrink, cut, enlarge until everything is perfect overwhelms me a lot. I prefer to go directly to paper and see what happens.

LTPB: What are you working on now? Anything you can show us?

JC: Yes, I'm currently working on a book titled My Great-Great-Great-Grandmother, which will be released in a few months. The story follows a boy whose family tells him that there is a treasure buried in their garden. When he digs it up, he discovers that the "treasure" is his great-great-great-grandmother's skeleton. Together, they embark on countless adventures. While it might sound a bit eerie, the relationship between the boy and his great-great-great-grandmother is the most tender thing I have written.

LTPB: If you got the chance to write your own picture book autobiography, who (dead or alive!) would you want to illustrate it, and why?

JC: Without a doubt, my first choice would be Tomi Ungerer. His ability to handle dark moments with humor is masterful, making him perfect for capturing both the beautiful and difficult moments of my life. He has a great ability to talk about complex topics, but by using humor as a Trojan horse he can talk about everything with total honesty. If he were unavailable, I would reach out to the Provensens. If they were also busy (because all these people should have a lot of work), I would call André François. Lastly, I would try Maurice Sendak, though he would probably be the busiest of all.

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Let's Talk Illustrators #303: Joaquín Camp

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Children's picture book and comic reviews, illustrator interviews, book exchanges, and more from a design and illustration perspective.

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Camp, J., 2024. Aldo: Ghost Dog. Translated by K. Maude. New York: Tapioca Stories.

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Aldo: Ghost Dog by Joaquín Camp (Tapioca Stories)

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Aldo: Ghost Dog by Joaquín Camp (Tapioca Stories)

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I found the animal drawings in this picture book really appealing, with their vivid expressions and a style that feels both casual and refined. I also came across an insightful interview with the author.

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However, with the increasing intervention of consumerism in modern society, this issue has undergone a fundamental inversion—the product no longer solely serves the individual, adapting to their needs. Instead, it continuously manipulates individuals to align with the symbolic meaning of the product, demanding that people create needs based on the product itself.

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During this process, I also incorporated techniques and elements commonly used in vintage posters, such as symmetry, the use of speech bubbles, and overall flat design. Additionally, decorative elements like ribbons, which can convey the aesthetic of a luxurious lifestyle, were also included.

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Based on this concept, I created a series of sketches, aiming to shape the outer contours of the human figure from different angles, clothing, and poses, integrating them with the product to become part of the poster.

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After conducting a series of advertising research, I believe that the core theme of advertising design across all eras has always been the interaction between people and products. The focus has always been on how products can influence people's lifestyles, social identities, and life experiences.

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What’s even more intriguing is that Warhol’s own artwork has itself been commodified. His artistic symbols have long become part of the market, reinforcing the interplay between religion and consumerism while pushing art further into popular culture. Warhol reminds us that, in this era, the boundaries between art, religion, and commerce have become blurred, if not entirely dissolved.

The Last Supper series is not just a visual feast but also a profound exploration of faith and values in modern society. In a world where consumerism pervades every corner, Warhol uniquely demonstrates that religion and consumerism are not opposites but exist in a complex symbiotic relationship. This is the essence of Warhol’s art: it challenges traditional perspectives while encouraging us to reconsider the core of modern life.

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Through repetition and replication, Warhol highlights the process of religious imagery becoming commodified in a consumer-driven world. Coca-Cola, for instance, symbolizes globalization and cultural unity, while motorcycle logos suggest the pursuit of freedom. These commercial symbols engage in a subtle dialogue with Christ’s spiritual salvation. Warhol seems to ask: as consumption becomes central to our lives, can religion maintain its sanctity? Or has consumerism, in some ways, replaced the role of traditional religion?

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Chéret, J., 1889. Bal au Moulin Rouge: Place Blanche. [Poster] Paris: Imprimerie Chaix.

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Chéret, J. (1891) 'Saxoleine, Pétrole de Sûreté', Poster. Available at: [URL] (Accessed: [Date]).

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Red Cross Shoes. (1944) 'Advertisement for Red Cross Shoes', Magazine Advertisement. Available at: [URL] (Accessed: [Date]).

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Campbell's Soup. (1969) 'The Can Bag', Magazine Advertisement. Available at: [URL] (Accessed: [Date]).

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Using Hydra, I experimented with translating the characteristics of sound into dynamic imagery—such as using low frequencies to create slow, evolving shapes and high frequencies for fast, flickering effects—ultimately crafting a dialogue between the senses through this creative interplay.

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I find this form of interaction especially fascinating because it offers an intuitive way to explore and express the relationships between different senses. By letting sound influence visuals and having visuals respond to sound in return, the process becomes not just a form of artistic expression but also a gateway to deeper exploration of visual programming itself.

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I find this form of interaction especially fascinating because it offers an intuitive way to explore and express the relationships between different senses. By letting sound influence visuals and having visuals respond to sound in return, the process becomes not just a form of artistic expression but also a gateway to deeper exploration of visual programming itself.

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Hydra is a real-time visual programming tool based on code, and its standout feature lies in its ability to seamlessly integrate visuals with sound for interactive creations. With simple lines of code, you can directly drive visual changes using sound rhythms, frequencies, or external input data, generating dynamic and flowing effects in real-time. This approach opened my eyes to the possibilities of blending sensory mediums, particularly in the interaction between sight and sound, allowing for the creation of abstract yet expressive works.

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live coding networked visuals in the browser

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For the illustration portion, considering the young target audience and the goal of sparking curiosity and interest in natural science knowledge at this age, I decided not to replicate the detailed realism of scientific illustrations in depicting the forms of plants and animals. Instead, I chose to reference more stylized and playful illustrated picture books that emphasize creative shapes and vibrant colors. The focus is placed on the overall visual appeal of the images, softening the seriousness and dullness often associated with scientific knowledge.

4o

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For the text portion, since this is an illustration without a main character, I decided to use simple, easy-to-understand, and lively language that children can grasp to describe the ecological conditions of animals in different ecosystems. Additionally, I incorporated other illustrative elements in the background to provide extra educational information about the types of plants that grow within these ecosystems.

4o

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Taking into account the target audience of young children, as well as the need for the book to allow casual, on-the-go reading without a continuous storyline, I decided to change the theme to something more objective, educational, and general knowledge-oriented. Ultimately, I chose the food chain as the main theme, with the ocean food chain and rainforest food chain as subthemes. Each subtheme is allocated one spread.

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n my initial concept, I envisioned ideas such as reinterpreting classic fairy tales in different artistic styles or constructing small, fantastical stories using objects like mirrors and everyday items. However, after sketching out some drafts, I realized that creating highly narrative content might not be suitable for a picture book limited to just two pages.

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What the different with the scientific illustration?

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What the different with the scientific illustration?

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The biggest difference between a science-themed picture book and scientific illustrations lies in their purpose and approach. A science-themed picture book is more like storytelling—it uses fun and engaging illustrations and simple language to “package” scientific knowledge in an interesting way, aiming to spark curiosity and attract children’s attention. The illustrations can be exaggerated, anthropomorphized, or even not entirely realistic, as long as they convey the concept. Scientific illustrations, on the other hand, are all about accuracy. They focus on precise depictions of knowledge, like the structure of an organism or the details of a natural phenomenon, and are designed more for professional learning or research. Simply put, a science-themed picture book is meant to make people “fall in love with science,” while scientific illustrations are there to help people “understand science.”