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In this experiment, I tried the saddle stitching binding method, suitable for the 20-page thin publication I planned to print, as this method is cost-effective and relatively simple. I attempted to bind pages that were cut into irregular shapes:

I folded the pages in half and secured them with small clips, then marked three evenly spaced holes along the centre fold.

I threaded the needle with a length of thread twice that of the book＊s spine. Starting from the middle hole, I left a small thread tail, sewed back through the first hole, skipped the middle hole, came out from the top hole, and then went back through the middle hole.

I adjusted the ends of the thread and tied a knot, trimming off any excess.

Overall, this binding method is not complicated, but I found that I did not enjoy the process of threading the needle. If I had to sew many copies by hand, it could become quite overwhelming.

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I have learnt a few things through this workshop:

Firstly, successful character design is about more than just imagination. Research and reference materials are the backbone of the design process, providing inspiration, guiding practice, and helping to form good design habits. These sources are derived from real-world observations, which make the character design realistic and believable.

Secondly, character design is highly dependent on observation. Observing the behaviour, expressions, movements and emotions of real people makes it possible to capture the subtleties that can give life to a character.

Thirdly, lines help to define a character's posture, dynamics and emotional state. On the other hand, shapes are the basis for building characters, and simple combinations of shapes can portray complex characterisation. The choice of shapes can trigger associations and perceptions of the character's personality and emotions.

Fourth, the proportionality between the parts of a character affects the overall harmony and beauty. Appropriate proportions can enhance a character's expressiveness and appeal.

Fifth, certain shapes and proportions are naturally associated with specific character traits or emotions, e.g. rounded shapes usually give a feeling of safety and friendliness. In contrast, sharp shapes may give an impression of nervousness or aggressiveness.

The design should ensure that the character's appearance and behaviour are consistent. Characters' mannerisms and actions should align with their personalities and story backgrounds, avoiding behaviours contrary to their character settings.

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Punk is a trend-setting style born in the 1970s in England and is particularly popular among teenagers. The punk ethos is based on the spiritual principle: ※I＊m not angry with society, I＊m not trying to change it, I＊m trying to transcend it§. This punk spirit of rebellion, raw energy and unapologetic attitude continues to inspire and empower individuals to break the shackles of conformity and embrace their unique selves, which has some relevance to my project. People expressing their desire to become monkeys when they feel emotionally terminated or stressed can be seen as a form of rebellion against the constraints of modern life. It is an escape from material civilisation and a symbolic protest against the mental and emotional constraints of over-civilisation. This is where the conflictual nature comes to the fore. Although the phenomenon differs from the manifestation of ※hysterical literature§, there is a commonality in spirit and goal. In my subsequent works, I intend to add some punk elements.

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After further investigating the monoprint as a technique, I did some more experiments, which is the category of Trace Monotype) to be precise. Firstly I applied paint to a transparent plate (such as a glass or plastic plate), then covered it with a piece of paper and drew on it with a pencil or other tool. By applying pressure to the paper, the ink or pigment is transferred from the plate to the paper, reflecting the marks and patterns of the pressure applied. Later I found that the image thus rendered was mirrored, I tried another experiment, I applied ink to a film sheet and covered it with paper, the film sheet was thin enough so that the ink could be printed by the pressure, I was pleasantly surprised to find that the direction of the image thus printed was the same or even better than that of the drawing. The depth of the paint depends on the degree of pressure applied, so each one will be different. I also apply acrylic paint to the board and print it on paper by pressure. I also combine coloured pencils and markers with chalks for a mixed media effect, and I really like the way the fluorescent chalks and markers work together to create a fuzzy haze!

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One of my usual on-the-go stress relievers, I make mindless drawings that I cut out and collage together when I＊m stressed. The motifs range from cheeky caricatured characters to abstract and surreal images, each seeming to carry its own story and emotional expression. These unconscious paintings are somehow related to the theme I want to explore about people＊s unstable mental state. My decompression book serves as a kind of emotional catharsis. You can feel a creative impulse from the inside out, and each element in the work may represent your mental state at a specific moment. For example, characters execute actions such as jumping, dancing, making exaggerated gestures, or even having a conflict, which reflects and responds to daily stress and disputes. There is also no shortage of animal figures, such as dogs, cats and lively monkeys. There are also fantasy creatures, such as winged characters and multi-legged crawling bugs. Some of the graphics may show optimism and humour, while others may depict deeper or chaotic emotions that directly reflect my mental state. Firstly, the strange construction of these composite creatures with different object features could give me some inspiration for my subsequent character designs. Secondly, the presence of several animal figures in these drawings may be a subconscious yearning for a free and unconstrained life.

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I have explored characters and images in depth using oil stick materials. My work incorporates elements of paintings inspired by exhibitions, with a particular focus on the clash of warm and cool colours to create a strong visual impact. I prefer the thicker paint technique, which allows for more decadent layers of colour and creates a practical gradient effect. To add texture and detail, I use a squeegee to create a series of interesting textural effects on the canvas. I have also cleverly built up a multi-layered visual experience by layering shades of colour. I also use the stippling technique to add detail and texture, and it shows unique effects, especially when depicting small details. In addition, rubbing the oil stick directly on the canvas with my fingers results in softer, more natural colour transitions. This direct contact with the material simplifies the use of tools and gives me more intuitive control over details and rendering effects. Combined with these techniques, my artworks display lively and vibrant colours, making the overall visual effect both layered and full of impact. Oil sticks are a very suitable material for experimentation.

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The core characteristics of ※hysterical literature§ can be summarised in three points: firstly, it produces a shocking effect through the sheer number of words; secondly, there is no need for logic and any nonsense is acceptable; and lastly, it is more questioning than stating, and the tone is strong and direct. As a result, this literary form displays its rebellious, carnivalesque and conflictual character.

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MALOU is a word used to refer to monkeys in the Cantonese and Guangxi dialects. The word has local roots, and over time, it has evolved into a form of humour and flirtation, as well as an expression of acceptance of self-identity and emotional expression under the pressure of a fast-paced life. Netizens have created a variety of phrases and emoticons for MALOU, which have been widely parodied on the Internet.

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Over the past two years, China has witnessed the emergence of a trend known as “hysterical literature”, which has gained popularity on the Internet. Often illogical and difficult to understand, the writing touches people’s emotions and provides a channel for the release of negative feelings. Subsequently, a variety of related memes have been created, widely circulated and integrated into daily life.

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Over the past two years, China has witnessed the emergence of a trend known as “hysterical literature”, which has gained popularity on the Internet. Often illogical and difficult to understand, the writing touches people’s emotions and provides a channel for the release of negative feelings. Subsequently, a variety of related memes have been created, widely circulated and integrated into daily life.

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Over the past two years, China has witnessed the emergence of a trend known as ※hysterical literature§, which has gained popularity on the Internet. Often illogical and difficult to understand, the writing touches people＊s emotions and provides a channel for the release of negative feelings. Subsequently, a variety of related memes have been created, widely circulated and integrated into daily life.

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VIVIENNE ROBERTS PROJECTS is a gallery that I stumbled into by chance, and I was attracted to a small painting by FION.G ROBERTS, which uses a rich palette of colours, predominantly warm orange-red and cooler greens, which created a strong sense of visual conflict for me, while the unrealistic distortion of the facial features may reflect the inner turmoil of the figure or psychological distress. The eyes of the figure seem to show a sense of melancholy or sadness, which may come from the way the eyes and corners of the mouth droop.

Fire! Fire!, (1963-4) in the Tate Modern, has a childlike purity to it, and the colours are very similar to those of Untitled 102, 2023, with the stark contrasts of warmth and coolness in the subject creating a powerful visual clash, and the character's expression is distorted, as if he is screaming. This kind of expression may symbolise extreme mood swings, such as fear, surprise or pain, an extreme state of mind, which reminds me of the Chinese Internet term "hysterical literature", which has become popular in the last two years. The stark contrast between the traditional floral motifs in the background and the surreal subject in the foreground may symbolise the sense of alienation between the individual and the social environment. This visual contrast emphasises the subject's discomfort in his or her environment, echoing the marginalised figures of society explored in madness literature and their sense of alienation from mainstream culture.

What attracted me most about the group "Charline von Heyl b.1960" is its powerful use of mixed materials, most of the works present a sense of chaos and unease, which may reflect inner conflicts or a state of social disarray. In subsequent experiments I wanted to try mixed media painting.

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I was deeply attracted by a book called ※The Erik Collection§ in the drawing room library. For example, the work with the text ※IT＊S FINE I＊M GETTING A MEAL DEAL§ may express some irony or humour, Conveying deeper emotions or social commentary through ordinary, everyday language. There is also repetitive text, ※I can＊t understand§, and some garbled language similar to program errors that deeply attracted me. Also, I like these images＊ abstract, free-flowing lines, which give them a lively and spontaneous feel.

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I made a questionnaire about hysterical literature, a total of 206 copies; this questionnaire also adopts a form of wild humour; this form of text also attracts a group of young people to fill in. The main population of the questionnaire is Chinese students, who are mainly between the ages of 15 and 25 and who generally have the habit of going wild in their daily lives. This group is usually anxious about school work, exams, time, relationships with family, and confusion. Interestingly, when investigating what people want to be, the highest statistic was monkeys. Firstly, it is mentioned that these students have the habit of ※going crazy§ in their daily lives, which may refer to the fact that they are often stressed in the high-pressure social background of China and need to release their pressure and emotions in some ways. In a high-pressure learning and living environment, ※going crazy§ may be a self-regulatory mechanism to help them cope with tension and stress. The students＊ responses in the survey expressing their desire to be ※monkeys§ may reflect their passion for freedom and a carefree life. Monkeys symbolise freedom, liveliness and resourcefulness in many cultures, qualities that students may aspire to but find difficult to achieve in real life. In addition, the survey revealed that this group is generally anxious about schoolwork, exams, time management and family relationships. These are common problems young students face, especially in a social environment where academic competition and family expectations are high. Harshness and confusion may be feelings they often experience in the modern society of rapid change and information overload. It also reflects contemporary Chinese young people＊s perception of the conflict between traditional culture and modern values. Through humour and unconventional ways, they express their views on the current state of society and their personal feelings and explore their self-identity and the pursuit of freedom.

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Over the past two years, China has witnessed the emergence of a trend known as ※hysterical literature§, which has gained popularity on the Internet. Often illogical and difficult to understand, the writing touches people＊s emotions and provides a channel for the release of negative feelings. Subsequently, a variety of related memes have been created, widely circulated and integrated into daily life

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纸的边框

纸的质量 off white paper

更狂野的画比较容易表达压力的心情同时也取决于受众群体