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To compare old work to new...

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Situating Your Practice Workshop  (18 June/Wk1)

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Situating Your Practice Workshop  (18 June/Wk1)

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Tasks:

wrote a letter to our past-self

updated MP proposal

discussed project direction with a peer

analysed up-to-date experiments

wrote a statement or intent for upcoming exhibition

Learning Outcomes:

I reviewed and weighed the current position of my research against relevant visual experiments that have the most potential to be exhibited. There's still plenty to work on until I arrive at an outcome. I need more texture and the mindset towards a non-linear approach. In other words, let the textures speak for themselves.

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Red - Dissemination Highlights

Purple - relevant information + 'TO COMPLETE'

Yellow - useful notes & references

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Start Date: 18 June 2024

Pitch and Book Fair: 6 Nov

Deadline: 12 November 2024 (10.30 AM)

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The order of these keywords of my theme also shows the timeline in which my idea and research progressed.

diaspora

foreign environment

cultural identity → cultural belonging

cultural concerns → the feeling of displacement

faraway home

established familiarity (domestic/vernacular)

living space (home)

traditionally practiced customs & rituals (performed with food)

sensory memory (taste, touch, smell, hearing)

organic ingredients → food(ingredients)

cultural bond

connecting with the past/culture/heritage

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June - briefing, tutorial with Priya, Exhibition preparation

July - exhibition, feedback conversation w/ Gareth, holiday

August - holiday, research, visiting some markets, experiments, na rrowing down what I want to say for the U3 Dissemination

September - Assessment Briefing, Choosing a Dissemination Group

______________________________________________

October - Dissemination (Publishing), group tutorials, 1 individual tutorial, group meetings, Jonathan Cape office visit

November - Deadline (the 12th)

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New Project Proposal (w highlighted keywords for further visual research)

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New Project Proposal (w highlighted keywords for further visual research)

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This project pays homage and celebrates old customs that never truly died within us. Focusing on extracting the essence of individuals' cultural heritage informs and reminds others of their own. The method takes a familiar shape and feeling through sensory experiences of smells, tastes, and textures of heart-warming dishes and consumable ingredients. Food is an effective tool to evoke the memories of a far-away home and culture. My working title is 'Lost present'. It simultaneously suggests the memory of old experiences and the fleeting sensation of something intangibly familiar in the present.

Wow does it correspond to your collection?

The project responds to the Museum of the Home - Home Galleries collection after I concluded that if someone is to leave the homeland behind is often faced with a lack of space, unfamiliarity, and the fear of uncertainty. I found that sensory memory and the evocation of nostalgic memories help to put feelings at ease.

What are the proposed outcomes of your project?

The current plan is to work towards a partially linear, partially non-linear zine or publication accompanied by prints on fabric.

How does the format reflect the outcome?

I feel the touch and look of a fabric reflect authenticity, and its handmade qualities can indicate a simpler carefree life (that is left in the past). Printing with ink appears bold and powerful so it has the potential to grab attention and show brush strokes-like textures.

Any relevant material that helps contextualising your project?

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Realisation of MP (dummy book)

Professional Portfolio (The Book Pitch)

AV Presentation (7 min)

Reflective Journal (500+ w)

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'Lost present' project description (UPDATED!)

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'Lost present' project description (UPDATED!)

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This Major Project investigates the link between the diaspora's sense of belonging and a distant home through sensory experiences including food and the memory of cherished customs. We use food ingredients in all sorts of surprising ways. Food is an effective and special way to connect to a place, evoke emotions, and strengthen attachment. Therefore, this project takes a familiar shape and feeling through the smells, tastes, and textures of heart-warming dishes and consumable ingredients.

I gave it the title 'Lost present' referring to a strong memory evoked in the present through sensory experience (sense, touch, smell, or hearing). It's a vivid yet fleeting moment of the past that comforts us in the present.

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- establishing familiarity

- faraway home

- food ingredients

- sensory memory

- connecting with the past

- lost present

(narrowed down version of the keywords above to be concrete)

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What are you communicating?

Alternative ways of using food ingredients according to different (European) cultures as a way of (subconsciously) preserving cultural identity.

What have you made so far and why?

Lino print, woodcut print, tile, gif animation, drawing placed into 3D space, and digital illustration with textures that resemble lino print. I liked the last one best because I liked the raw, simple, and imperfect qualities. The method is great for conveying a handmade and nostalgic appearance. It also has powerful visual appeal because of the blocked and limited - colour and bold shapes.

What else do you intend to make?

To create more lino prints, and ink/print textures. The combination of analog and digital print-like images would further support the authentic feeling of 'Lost present' (working title).

Alternatively, I would want to see how my illustrations would look on fabric. I was suggested to try lino printing on fabric.

What workshops do I need to access until the exhibition?

PrintsStudio, Print Club, Ceramics Workshop

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I chose the Publishing Dissemination Group because I wanted to learn accurate ways of researching an audience for any future book projects. Also, to gain an understanding of how the idea is being re-negotiated in the real world during the process of making.

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I'm more into printmaking now so I would likely select a Dissemination Group to help encourage that. Hence, I might choose Studio Craft. I feel that this can also support learning the crafts needed to create a small printing business.

UPDATE: That group didn't exist this year.

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watercolour pencil drawing (a great way to add striking darker tones and textures)

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I enjoyed messing about with vegetable printing. It never gave the same print so the excitement was in the anticipation after controlling how much/little ink was smeared onto the surface. The difficulty was that the fresh onion released its juice so I often had to wipe it off as it made the ink runny.

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Books:

Biondi, E. and Zommer, Y. (2020) The Big Book of Blooms. London: Thames & Hudson Ltd.

Blackall, S. (2022) Things to Look Forward To - 52 Large and Small Joys for Today and Every Day. San Francisco: Chronicle Books.

Dinhut, C. (2019) The Condiment Cookbook: A Brilliantly Flavourful Guide to Food’s Unsung Heroes. London: Bloomsbury Publishing.

Garrett, N. E. (2019) Eat Joy: Stories & Comfort Food from 31 Celebrated Writers. New York: Black Baloon Publishing.

Linford, J. (2018) The Missing Ingredient: The Curious Role of Time in Food and Flavour. London: Penguin Random House.

Pankhurst, K. (2016) Fantastically Great Women Who Changed the World. London: Bloomsbury Children’s Books.

Rejes, R. and Boccaccini, S. (2022) Grow: A First Guide to Plants and How to Grow Them. London: Magic Cat Publishing.

Newton, K. (2022) Jams with a Twist - Deliciously Different Recipes for Sweet Surprises. London: National Trust Books.

Oehr, A. (2022) Off the Market. Brunswick, Australia: Scribble Books.

Tenkertrup, B. (2019) Kindness Grows. London: Caterpillar Books.

Tenkertrup, B. (2023) The Swing. London: Prestel.

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A practical guide for creating visually compelling books. It covers essential steps, from choosing a theme to selecting high-quality images, designing layouts, and formatting for an aesthetically pleasing final product.

Key takeaways for book publishing and research include understanding the importance of cohesive design, such as consistent themes and color schemes, and selecting images that evoke the book's intended mood. I also learned that research plays a significant role in creating content that resonates with readers, especially for coffee table books where visual storytelling is key. Balancing layout aesthetics with engaging content is crucial for producing a polished, professional-looking book. Additionally, high-quality printing is crucial in coffee table books, as these elements contribute to the book's tactile appeal and longevity, making it a piece that readers will want to display and revisit.

- Although I decided to make children's books, I'm drawn to coffee table books because of their aesthetic appeal. I would like to create one in the future.

(Gittins, no date)

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How to Make a Coffee Table Book: 10-Step Guide | Blurb Blog

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This comprehensive guide is designed to demonstrate the process of how to make a coffee table book that stands out in quality and content. Read on to learn more.

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I loved the process, but it didn't print as dark as I had accepted. Next time, I want to use white eggs to achieve a bright red colour. The tights became untied so next time I have to cut the fabric a bit further away.

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Shapes against subtle colours and textures

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Shapes against subtle colours and textures

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(Haigh, 2019)

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1. Representing an ingredient (onion skin that is used for colouring eggs) with linocut illustrations, ink drawings, hand-dyed eggs and fabric with handmade and veg stamps, and a text that describe the meaning of the process.

2. Lino print images with large textured background (simple but effective)

3. Printed fabric of images (probably cannot be realised at this stage due to lack of time)

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Feedback Conversation w/ Gareth

- To be specific about what I am trying to say within the theme (?)

- How will I gather the material that might inform how I go about my visual representation and illustrations (like collage) (?)

- Experiment with collages, especially textures (keep 2nd point in mind)

- I should push other materials that are better at creating textures

- I should think about how I want to disseminate my work in U III (e.g.: workshops)

Summary:

what I wanna say

what methods and materials convey the message best - COLLAGE

the best way to disseminate my work

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Exhibition Planning with Priya (ind. tutorial) 25 June

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Exhibition Planning with Priya (ind. tutorial) 25 June

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Points of discussion:

- the essence of the project

- mood of the image: sensory, nostalgic

- at what stage I am at with realisation

- 3 exhibition ideas (above)

We both liked the 2nd and the 1st idea best, the second probably couldn't be realised because of the lack of time. I wouldn't know how much wall space I get before sending it to a printer. The 1st idea seems more interesting as it has multiple media.

Questions Raised:

what materials convey the message of the exhibited artwork best

how do you show the faraway-home and the 'lost present' feeling

I was again encouraged to use textures as a vehicle to convey nostalgia and the past that doesn't exist only in memory. I chose lino because it has 'aged' and uneven qualities and is bold and striking. I was also encouraged to try stitching into coloured and stamped textiles, which I like the idea of because it's a process that an average person nowadays doesn't often practice so it brings the memory of a faraway home closer. I feel the clumsiest the stitching is the better. It's worth trying during the realisation, at the least.

Priya also suggested that text might be to my advantage. I like writing poetic short texts so I thought a 1-2 sentence description printed on the already-dyed fabric might be useful.

Another suggestion was to display an apron or a kitchen cloth with vegetable prints.

Priya mentioned the idea of a small card that viewers can take away which explains the process of colouring eggs with onion skin. I feel it is an excellent way to help support the message.

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What are you saying?

The essence of the Project is to show an unusual way of using a type of food ingredient and preserving culture through the method. In this instance, colouring the egg with onion skin.
The extra thing: quote text, card to take away

Painted Eggs:
- buying eggs, onion, and parsley leaf ✓
- cutting cloths ✓
- researching the process ✓
- dying and imprinting the eggs and onions ✓

Gathering:
- onion skin ✓
- white cloth for next ✓
- extra fabric for printing ✓

Ink Drawings: - didn't work out, would be way too many different things on display

Text:
- 1 poetic sentence to explain the essence (printed on fabric) ✓

Cards:
- a sentence and a short description of the process ✓
- image ✓

Cloths:
- printing with stamps or onion ✓

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The card was a big success picked up by many during the exhibition. I feel that the back was a little too bold, should have been only a few things on it with maybe linework and only a little texture.

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played with simple texture and description (didn't get displayed)

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The exhibition offered an immersive, sensory experience that connected visitors to my cultural heritage. The lino print, fabric, and onion skin-dyed eggs provided

a tangible connection to the theme, while the slogan invited the audience to reflect on the dynamic of their own nature of tradition.

It could have been improved through more interactive elements like a small table where

the audience could print with vegetables, letters, and ink, creating a collective piece.

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A mini jug full of character. The texture is pretty rough and gritty, the shape is vernacular and a little out of the ordinary. The colours are almost on the boring side but somehow the project stands out on the shelf. That's why I like it much.

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Pepper and salt shaker that probably resembles an Italian style aesthetics.

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Visited a vintage store in Notting Hill full of eclectic objects and furniture. This layout is so homely and inviting. I'm not a big fan of crowded spaces nowadays but I remember, back home it was a common practice to fill every space and surface with things one owns as a display of a rich appreciation towards culture and belief (in any shape or form).

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Different spices

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Mathushaa Sagthidas's photography of family traditions, Tamali culture, and food

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Mathushaa Sagthidas's photography of family traditions, Tamali culture, and food

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I like her compositions especially because she draws inspiration from her conversations with her mum regarding cultural traditions and her precious items. These personal items quietly show the family's history.

Many of us may relate to her reasoning for presenting culture through photography when she explains that she is often labeled and categorised into a large group (South Asian) unable to break free from certain stereotypes or distinguish herself from many cultures falling into that category.

(Gorny, 2022)

I'm often categorised as Eastern European, which is not quite true as I am from central Europe and being compared to so many different cultures I do not relate to. It is quite tiring.

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The plan was to place the image above (nose) onto the page on cloudy tracing paper, but I decided to use textured paper instead. These images aren't finished yet.

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These 3 images above are a memory of mine where we ate charred corn in the garden. It is a nice memory because after the summer all the family burns the leftover grass dry twigs, and leaves in the garden. The kids gather to make it fun. We used to laugh a lot. The taste was like no other. Once I burnt the last pancake I made and the smell reminded me of this precious memory.

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In the publishing dissemination group, you will build on your project/narrative from your FMP and create a book pitch. You will identify the audience for your book, and a list of viable publishers to whom you might send your pitch. We will conclude with an industry-facing event in which you will present your pitch. You should be drawing on your existing work from Unit 2, not starting from scratch, so this group is only appropriate if you already have an idea you envision as a book.

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Identify the market and audience of your book.

- Cultivate an understanding of the landscape of the publishing industry and where your project fits within it.

- Consider next steps for your book and future projects

within the publishing industry.

- Create a fully finished book pitch and curate a list of

appropriate publishers to send it to.

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South London Gallery Bookshop ✓

Review Bookshop Peckham ✓

Turbine Hall Bookshop - Tate Modern ✓

Piccadilly Waterstones ✓

Task review: I found it a little difficult to locate adult picture books. However, some of the book's messages were so deep and meaningful, and the illustrations were so detailed and elegant that I wouldn't rule out being for adults, too. We keep on learning until the end.

The experience was refreshing as I didn't just march into the bookshop to buy a book. My intention was set on a specific theme. Yet, I was willing to bend it and see what else was 'out there'.

I also looked at displays in which books were showcased, like mini-exhibits within the shop. I also looked at the gift section to see what else could serve as a memento of a book:

- prints, cards, mini cards, postcards, and posters with text

- pop-up cards

- stamps, stickers, and pins

- embroidered pins

- printed cloths, clothing items, and tote bags

- prints on objects like a pencil or a notebook

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He tells narratives through thick and colourful brush strokes, plenty of textures, and bald cutout-like shapes. Although he claimed during his talk that he doesn't like drawing food, I like these best (image above). Due to his refined art style, he only has to draw the basic shapes to convey the authenticity and region of certain ingredients, and vegetables.

I think I can take inspiration from his work because I want my illustration for the book to be looser and playful, and definitely not too serious.

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Amazing Display in South London Gallery Bookshop

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Amazing Display in South London Gallery Bookshop

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Inspiration for book display. Natural ingredients are welcoming and add warmth and character to the showcase. Elements like dry herbs and plants make the display look authentically rustic. A ' Taste of Culture Basket' perhaps?

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Taking an element that is so iconic to the person (or book) which, in this case, is the bright pink hair, and displaying it merely as a simple paper silhouette. Works wonderfully.

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Simple bold texts, slogans, and colours pop and attract attention. The Guerilla Girls are good at it.

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Objects that convey the meaning and message of art play a powerful role in deepening engagement because they turn abstract concepts into tangible experiences and enhance emotional connections in kids and adults alike.

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Foamboard 3D image displays are an excellent way to attract customers because they combine visual appeal, dimension, and versatility, which make a display more engaging and memorable.

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Best frequently uses textures and mixed media, which give his work an organic, tactile quality. Incorporating similar textures in my future book could enhance the sensory experience, helping children connect emotionally to the material. Adding textures associated with food, textiles, or nature could evoke familiar cultural feelings and memories.

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Tasks for the day:

- chat with Isabel about the brief. I need to be more specific about my audience based on my book research. Young adults seem like a better option.

- start to formulate the Pitch.

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Options:

young adults of the diaspora in a big city experiencing culture shock because they aren't accustomed to new flavours, and food ingredients

NEEDS RECONSIDERING

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I'm torn between proposing a gift book or an education/informative kids' book. The Big Book of Blooms and Grow: A First Guide to Plants and How to Grow Them gives me a great layout and style inspiration. I don't want the book to be crowded with text, but I want it to include past memories. I feel the kids' book category is more suited because it would encourage acceptance of cultures in a foreign country.

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The Big Book of Blooms & Grow book review

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The Big Book of Blooms & Grow book review

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Fantastically Great Women Who Changed The World  book review

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Fantastically Great Women Who Changed The World  book review

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The concept cover design: the dark objects symbolise absent memories and the vibrant food objects represent the present, effectively highlighting the fleeting nature of memory and the grounding influence of sensory experiences, like food. The dark objects might evoke nostalgia or the emotional weight of memories that, although no longer physically present, continue to shape identity. On the other hand, the colorful food items bring a sense of vitality, connection, and sensory immediacy, emphasizing the grounding role that cultural heritage and culinary traditions can have in the present moment.

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Stamp work visually carries symbolic weight in representing cultural exchange, historical moments, and identity. Incorporating stamps into my project highlights the idea of sending messages across borders - longing and belonging.

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- Talked about current book references. - We both liked the idea and purpose of The Big Book series because it is captivating and full of useful info.

- Do we need (multiple) characters representing a country? -

possibility of creating a chapter book

- Shared a newly identified audience (5-10y) and genre (kids' books)

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What we discussed:

- all covers should be displayed on the wall (A3 or A2)

- printed pitch slides should be A4 displayed on tables

- dummies could be displayed on a shelf or hanging from the ceiling

- display tables should be individually placed next to the wall or in the middle of the room so people can walk around

- the gallery space needs measuring and planning (curation team)

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What was decided on:

- A2 covers on the wall (printed individually) - Covers should be finished by Friday

- dummy books won't be hanging

- layout was decided (tables in the middle of the room and around the pillar)

- some of us might have to share a table or will have a big table for everyone

- magnets for hanging

- shelves will be kept in the room for us for displaying the dummies

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3 book reviews:  The Condiment Cookbook: A Brilliantly Flavourful Guide To Food’s Unsung Heroes, Eat Joy: Stories & Comfort Food from 31 Celebrated Writers, The Missing Ingredient: The Curious Role of Time in Food and Flavour

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3 book reviews:  The Condiment Cookbook: A Brilliantly Flavourful Guide To Food’s Unsung Heroes, Eat Joy: Stories & Comfort Food from 31 Celebrated Writers, The Missing Ingredient: The Curious Role of Time in Food and Flavour

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My favourite page is simple yet effective. I particularly love the textures, I secretly wish I had taken the time to make the rest of the pages a bit like this one.

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Main takeaways:

- graphic novels and also books take around 2 years to publish

- the contact between the artist and the publishing house is the editor and a person from production

- the book counts successful if the sale is between 1000-8000 with yearly increase

- once the publishing house publishes the book, it will be always on the shelf (guaranteed visibility)

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My children’s book concept and my installation are united by a shared philosophy: both invite people to explore and connect with cultural heritage through sensory, tangible experiences. In the exhibition, the process of dyeing fabric with onion skin wasn’t just a creative choice—it symbolised how everyday materials can carry cultural significance and history, evoking familiar textures and smells tied to personal and collective memory. Similarly, the book uses food as a comforting, universal entry point to culture, showing children how elements of their heritage are present in their surroundings, even if they’re far from home.

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Fresh produce from the market resonates deeply because of its fleeting nature, capturing the beauty and impermanence of the present moment. Just as a ripe fruit or fresh vegetable has a short window of perfection, so too does a memory, a feeling, or a shared experience.

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To effectively find a book's target audience, one should focus on several steps.

1. Look at your book's theme and genre—understanding these elements helps identify the type of readers who would most likely connect with the content.

2. Investigate who is already engaged in similar topics or who seeks out similar books. It’s beneficial to study potential audience's preferences, feedback, and behavior, which can guide us to specific demographics or groups.

By understanding the audience's desires, challenges, and preferences, we can craft a story that speaks directly to them and market it in a way that appeals to their interests.

(Jones, 2021)

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Other:

Durant, A. (no date) ‘How to write a picture book’, Penguin, no date. Available at: https://www.penguin.co.uk/articles/2017/07/how-to-write-childrens-picture-book (Accessed: 10 October 2023).

Gittins, E. (no date) ‘How to make a coffee table book: A 10-step guide to getting started’, BlurbBlog, no date. Available at: https://www.blurb.com/blog/how-to-make-coffee-table-book/ (Accessed: 19 October 2023).

Gorny, L. (2022) 'Through carefully composed photography, Mathushaa Sagthidas depicts Tamil culture, traditions and food', It's Nice That, 10 January. Available at: https://www.itsnicethat.com/articles/mathushaa-sagthidas-photography-100122 (Accessed: 15 October 2023)

Haigh, M. (2019) 'Review: ‘Cutting Edge: Modernist British Printmaking’ at Dulwich', Morgan Haigh, 15 July. Available at: https://perspective.art.blog/2019/07/15/review-cutting-edge-modernist-british-printmaking/ (Accessed: 11 October 2023).

Johes, A. (2021) ‘Identifying Your Book's Target Audience’, Writer’s Digest, July 28. Available at: https://www.writersdigest.com/writing-advice/identifying-your-books-target-audience (Accessed: 25 October 2023).

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The Penguin's website article offers key infos for writing a children's picture book. It suggests starting with inspiration from children's thoughts or personal memories (in theme for me). A picture book should have a universal theme with unique treatment. Characters, if applicable, must be relatable and engaging. Writing should be simple, with rhythm and repetition, ensuring it's enjoyable to read aloud. Finally, authors should consider how illustrations will complement the text, leaving space for creative visuals. A successful picture book balances text and pictures harmoniously.

The article outlines key points for writing a children's picture book:

1. Start with a simple, universal theme.

2. Create relatable characters.

3. Focus on rhythm and repetition for engaging, read-aloud text.

4. Consider the visual aspect—illustrations should complement the story.

5. Ensure the book appeals to both children and adults, with emotional depth.

6. Keep the text concise and allow room for illustrations to enhance the storytelling.

(Durant, no date)

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I've written many stories for children of all ages - from picture books to young adult fiction. You might think that picture books must be easier because they are so short. But you'd be wrong! A really good picture book, as you'll know if you've ever read and shared one with a child, may seem satisfyingly simple but will probably have taken years and many drafts to create. No, writing a picture book isn't easy, but it's very rewarding.

So, how do you go about it?

Here are five steps to consider:

1. Listen, observe, scribble

The first thing you need to write a story is an idea. If you have young children (or grandchildren), keep a notebook handy and jot down things they say and do and are interested in. Ideas often spring up this way. Or perhaps it's something that you recall from your own childhood. You might well find you reject a number of ideas before you come across one that really works for you.

2. What's the point?

A story told to a specific child has its own value, but if you want to take it further it needs to have a wider resonance. So why would any child who doesn't know you want to listen to your story? The theme doesn't have to be original - the same ones come up time and time again (a favourite toy, fear of the dark, love between child and parent, common childhood experiences) - but the way you treat it does. Make it uniquely yours.

3. Human, alien or animal?

You've got an idea and a theme, now you need a character (or two). Who is your young reader going to identify with? You might decide it should be a girl or a boy (never an adult!) - but maybe it could be an animal instead: a bear, a cat, a monkey... Animal characters often are used anthropomorphically (acting as a child would), but sometimes are chosen for some particular natural trait they have - chameleons change colour, skunks make a stink. They also have more universality - for example, in a picture book story an elephant is just an elephant, we don't think about its ethnic background. You might go even further and make your main character an alien - or set the story on an alien planet. Characters are the most important element of any story so it's vital to get them right. They need to have "appeal", even if they behave badly!

4. Keep it simple, make it sing!

Picture books are for young children. Keep sentences short and easy to follow. There's nothing wrong with throwing in the odd unfamiliar word but too many and you'll lose your reader. The type is large and pictures need space so you don't have unlimited words (a max of 600-700, but preferably fewer). Like a poem, a picture book is written to be read aloud, so make the language sing. Only use rhyme if you are sure your story needs it and every word is moving the story on. More important are rhythm and repetition - how the story sounds. Remember you are writing for an older reader (a parent or sibling perhaps) and a child listener. It's not easy, but you need to entertain them both. Keep the humour broad - irony's a waste of time!

5. Don't forget the pictures

A picture book is a collaboration between an author and an illustrator (unless you're one of the few who have the skills to be both). So think of the pictures as you write. Is there enough in your words for an illustrator to picture - changes of place, time? Is there too much detail? You don't need to describe clothing, scenery, etc, in any detail because it will be in the pictures. Think pictorially and cut out what you don't need (even if it's your favourite piece of writing; if it's not serving the story, then it has to go!).

Some picture book inspiration

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Daddy, I Can't Sleep author Alan Durant gives his top tips on creating a picture book that kids will want to read again and again.