My own interest in the mind and phycology stems from my fascination with nature vs nurture. I constantly question why I am the way I am. Do I draw because I was born with the capability of drawing or do I draw because I was given art supplies at a young age and watched my mum create art? Am I good at guitar because I am naturally musically inclined, or am I good at guitar because my parents encouraged me to play an instrument? 

Nature vs nurture doesn’t only involve our abilities that manifest themselves in physical ways, but also our character, the way we behave and the choices we make. I believe that my character is almost entirely to do with the environment I was placed in and the way I was raised. To further support this argument, I watched the documentary ‘Three Identical Strangers (2018) Netflix.'

The documentary tells the story of a set of triplets who were all separated at birth and adopted into different families. Once the set of triplets found each over, they questioned the intentions of the adoption service that separated them at birth. For a while, they thought that they were the test subjects to see the similarities and differences between triplets. They thought it was an experiment on nature vs nurture. At the end of the documentary, it's revealed that the triplets were separated to see the different effects of parenting. The experiment was still about nature vs nurture, but instead the adoption company was testing the parenting styles of the guardians. The results of the test have not been revealed, although it is safe to assume that the behaviour of each of the triplets was largely affected by the parenting style of their adopted parents which suggests that nurture places a larger role in what makes us who we are.

For this project, I want the focus to be on the mind and how it works in conjunction with art. Although nature vs nurture is an interesting topic that has sparked my interest in psychology, I want to look at how the mind visualises and interprets. Nature and nurture may play a part in this, but I don’t want it to be central to this project. I plan on looking at art’s relation to the mind and how the two intertwine. 

My next step is to do general research on what we know about the mind and explore visualisation as a whole. from there, I can condense my themes as I research and experiment.

As well as helping with creating practical solutions for long-term problems, art additionally serves as a solution for short-term problems. The repetitive hand motions can reduce stress and help distract the mind in the moment. Creating art in times of stress can also help gather thoughts and releases emotions. For some, words can do this, but the famous quote stated by Albert Einstein, 'Goodreads (2011) One picture is worth a thousand words,' suggests that visual art can offer a better form of summarising emotions. This isn’t only limited to those who suffer from mental illness, but also those who want to understand themselves better.

Creating art is therapeutic and calming for many, but viewing and being surrounded by art can be healthy for the mind. Colours, themes, composition and texture can all influence our mental state. Specific colours can be used to influence different feelings. For example, blue is used in hospitals as it lowers heart rate and calms the mind. Red is seen as an attractive colour as it conjures feelings of lust and attraction and increases the heart rate. Not only can colour have a physical impact on us but it can also influence our associations and opinions. For example, in China, organic food has green packaging as the colour is associated with health and nature and can influence a consumer’s willingness to buy a product. 

Art influencing our opinions isn’t just limited to colour. Everything from font to composition in design and marketing can influence our views on a product. Simple designs with a limited palette are associated with luxury which makes us subconsciously think that the product is efficient and high quality. Products packaged with bright colours, illegible fonts and loud patterns are associated with poor quality as they don’t have the same sleek design, therefore, no luxurious appeal. 

Texture in art can play an important role in connection to the mind. Touch, like all our senses, is sensitive which can mean that at times it can be unappealing. This is especially prevalent in the minds of those with autism or who suffer with sensory overload. On the opposite end of the spectrum, textures pleasing to those with sensory overload can calm the mind. Art exhibitions with the sole purpose of engaging with different textures are beneficial to those who are calmed by certain textures.

Art and the mind have always been connected. Art has been a method of healing for the mind, a way to generate ideas, a method to solving problems and a way we can answer questions. It is because of the close link that I am interested in researching further into the mind. I believe that art, especially art that engages in relevant mind-related process’ could help me create a well-rounded body of work and collection of research.

My plan now is to respond to this research to visually explore the mind. I also plan on researching more into visualisation as a whole and its benefit in my secondary research. To gain a wide variety of information, I plan on researching through books, videos, recorded talks, and general internet search. 

I’ve learnt a lot about how colour and thoughts are intertwined. This will be necessary when creating art about visualisation as colour plays a large role in how we see the world. Of course, there are also those who are colour blind or have a visual impairment which can affect the impact of colour in visualisation. There are also those who don’t visualise in colour at all, despite being able to see it in real life. These are things I would like to keep in mind with my upcoming research.

Researching colours has inspired me to do a photoshoot and record my own thoughts as a view colour. I plan on exploring London and taking photos that demonstrate examples of where colour might be used to influence our thoughts. This colour be in man-made places or objects, or in nature. By doing this, I can evidence colours affect our thoughts by putting it into practice.

I also plan on researching shapes and looking at shape psychology. The impact of shapes has just as big an impact as colour psychology which is why I believe it is relevant when discussing what visualisation looks like.

Circles are also a symbol of balance according to 'No author (no date) Circle.' They are entirely symmetrical. You could cut a perfect circle out of paper and fold in in half and whichever way you fold it, it will always spit the circle perfectly down the middle. This symmetry conveys an idea of balance as the two halves are always equal. This is why the symbol of yin and yang is a circle, because the two halves are balanced. Due to this balance, themes are peace and calmness are also suggested.

Additionally, circles symbolise eternity. Unlike a line, a circle has no end and no beginning. There is no shift in direction, it is one continuous loop. Because of the nature of a circle, its used in a lot of religious imagery. As an example, with my own religion, circles are frequently seen in paintings, engraved in temple architecture and used to explain the doctrine of my religion. It best symbolises eternity which is an overlying theme in many religions.

Another example of this is the symbolism behind a wedding ring. The reason why wedding rings are worn is because it is a continuous line. Without end or beginning, it is worn as a promise that marriage is for life. For some religions such as my own, it symbolises that marriage is for eternity and exists beyond mortal life.

Triangles are also a symbol of danger or warning according to  'Sahni, H (2023) Psychology of Shapes: How Shapes Affect Graphic Design.' Shapes with more lines are common in the natural world. Organic lines of varying texture and weight are easily found in the silhouette of mountains, trees and rivers, to names just a few examples. Fewer, straighter lines are less common, and therefore more noticeable. This is why triangles are used to convey warning or suggest danger and are often featured in road signs and warning labels. They are easily noticeable as the shape is often, man-made, and is rarely natural occurring. This further amplifies our association of triangles with the idea of danger.

Art particularly is traditionally created in a format with ninety-degree angles as it follows the same format of the space that holds the art. As walls are often rectangular and level, art follows suit as it pleases the eye. 

The nature of rectangles and squares being level has less of a symbolic meaning and more practical benefits. As it is a flat shape, it is ideal for building which is why houses are usually in a cuboid shape and bricks, tiles, and slabs of wood are rectangles. Rather than having a deeper underlying meaning, I would argue that the nature of ninety-degree shapes is practicality and purpose because of its varied uses.

Curved shapes are also attributed to child-like characteristics. The soft lines are playful as they lack rigidity. Because of these characteristics, curved shapes are often used in places designed for children like schools and playgrounds. Children’s animation and toys are also designed with curved shapes to further allude to themes of fun and playfulness.

The describing words used by my peers support these ideas with childish, playful, and spontaneous all used to describe the shape I drew. The themes and emotions that I interpret from curved shapes are supported by others. This has successfully solidified my interpretation of curved shapes and reinforced the characteristics I associate it with

Geometric shapes are modern in comparison to curved shapes. As geomantic shapes are often used in the corporate world, our own interpretation of them being modern and forward thinking is strengthened. That is why in depictions of a futuristic world, geometric shapes are often used in architecture, technology and clothing.

The comments made by my peers support the idea that geometric shapes are organised, cohesive and mature. Additionally, My peers also interpreted the shape as being powerful and forceful which makes sense because of the symmetry and structure of the shape.

There is also a theme of danger with this shape, unpredictability as well as piercing spikes, are both by nature, dangerous. This is why shapes like these are often used as a warning. Sometimes the warnings are literal, like to visualise an explosion or a loud noise, both other times they can be used to highlight necessary information, acting as a warning to not forget certain information.

These ideas are further represented in the comments made by my peers. They characterised the shape as being sporadic, angry and unsafe. Additionally, it was also noted that the shape produced a feeling of fear because of this sense of danger. This reinforces the idea that shapes can have a strong impact on the way we feel.

Train stations are also a place of danger. There is a level of fear and apprehension surrounding trains because they are dangerous when not approached with caution. The rectangular detail in the train station creates and idea of safety rather than further alluding to fear by using triangles.

The word calm was repeated, as well as a general lexis of sadness and despair which seemed the most prevalent. Overall, the words used aline and further support my secondary research. The emotions and themes mentioned that I hadn’t thought about were ‘purpose’ and ‘wonder.’ This is evidence that colour interpretation is not only based on culture, religion, race or ethnicity but also individual to a person’s experiences.

It was interesting how despite asking many young people to write their associations, many of whom did not have a background in art, a few pointed out the relation to green and the emotion ‘envy.’ Green association with envy is subtle and is most noticeably identified through language. This is evidence that not only can objects influence the way we see colour, but also language.

Overall, I was surprised that the people I asked who were young or had little knowledge of colour phycology picked up on these themes. This is further evidence that colours influence our perceptions and emotions from a young age, therefor visualisation in terms of memory or imagination can be heavily influenced by colour.

I plan on reacting to this information so that I can better understand the practical benefits of visualisation. By drawing it out, I can visualise its benefits which may give me an insight to how visualisation in the brain could look like.

What I found interesting from watching this video is that the visualisation of a goal can inspire action. It can allow a person to problem-solve by thinking of possible outcomes to prepare for a real-life event. Overall, I think that it is a valuable tool, but I wonder what it must be like for those with no visualisation. Is visualisation just visual? My research in my previous project on Helen Keller allowed me to understand that thinking can look different for different people. Keller had no sight or hearing, therefore, no visualisation or clear inner monologue. However, she did think spacial and textually as her sense of touch was stronger than most. It would be interesting to research more into what visualisation can look like. What colour is it? Do colours play an important role? Does it have shape? If so, what does it mean? these are all questions I would like to start answering so I plan on begining my research on the imagery side of visualisation.

‘Life is not about what happens to you, it’s how you react to the different circumstances that emerge’

You can let the problem either

Visualising can help identify the wants and needs of an individual and can inspire one to make decisions that will help dreams become a reality 

‘Thought proceeds creation’

Creative visualisation

A scientist found that when you visualise yourself lifting your right hand, the same part of the brain that deals with the motion of your right hand is being activated.

Overall, I've learned that visualisation is an important part of the human experience. The quote, 'Thought proceeds creation' is evidence that visualisation leads to decision making which is not only vital for problem-solving real-world events, but also useful when thinking creatively.

Visualisation is also scientifically proven to help us learn. regions of the brain are activated simply by imagination. An example in my when I have activated this region of the brain is in my musical talent. I play piano entirely by ear. I can't read sheat music and although I can figure of the notes, I really don't know what I play half the time, theory-wise at least. But I can listen to pieces of music and then figure things out. I listen to a song I can imagine myself playing the piece. I know that my figures go left for a lower note and right for a higher note. I can recognise chords within a melody. I can judge where to add dynamics in how I play. It's not the usual way of playing the piano but it stems from imagination. When I listen to songs and imagine myself playing the songs, I know I could play it in real life. I'm not a musical genius, and I'm still learning, but through the power of visualisation, I can access that region of the brain which is then also used when I play. 

I know that visualisation has such a strong power. I would like to react to this information to further explore the science behind visualisation. I also think it would be beneficial to look at how visualisation can help inspire self improvement. I example I gave was a practical benefit that I use for my own enjoyment, but how can we use visualisation to improve ourselves?

I went through each colour that I looked at with my peers and picked one word that stood out from their observations. For the colour blue, it was ‘sadness.’

Sadness to me is a feeling of a pit in your stomach. The feeling is sometimes a helpless, weak kind of feeling, and sometimes an overwhelming darkness. With my personal experience with this emotion, I would describe it as being ever evolving in size rather than being consistent.

For this piece, I arranged the squares in the centre with larger squares in the middle and smaller squares dispersing out. I wanted it to look like a growing emotion. Although this was successfully done with the arrangement of the squares, I think I could have better presented the emotion if I exaggerated the shapes of the squares to further emphasise that sadness can grow and reduce in size. Overall, though, I believe that this experiment successfully conveys the emotion.

I arranged the squares without pattern or consideration of size. This was to suggest the sporadic nature of anger. The arrangement is almost explosive due to the lack of arrangement. I believe that because of this, the composition successfully reflects the emotion I was trying to convey. In turn, it reflects the colour red. I do think that I could have played around with the rotation of the squares a bit more for a greater variety, but other than that, I would consider this experiment successful.

Peacefulness was also hard to capture in a composition. By nature, the emotion of peacefulness is characterised by contentment. It is, therefore, not large or overwhelming. This was something I wanted to reflect.

I used only a few squares to convey peacefulness and arranged them with symmetry in mind. I placed the large square in the centre and the smaller squares on either side. 

I would consider this a successful interpretation of the emotion. Having the squares in a line reflects the contentment and steadiness that are natural side effects of the feeling of peace. I also think that symmetry works well as it’s easy to digest. It’s not abrasive or overwhelming. Due to this, I believe that this is one of the more successful interpretations in this series of experiments.

For this piece, I wanted to personify the shapes. By suggesting they were individuals, I could then use composition to offset one of the squares. The differentiation of the shapes alludes to the idea that one of them is suspicious. I executed this but turning the last square on its side, allowing it to contrast with the straightforward squares which I arranged in a line.

Overall, this piece was successful. By arranging the squares where all of them were level except one, I managed to loosely suggest the idea of suspicion. However, as it’s a difficult emotion to convey, this piece could also be interpreted in a range of ways. It could easily suggest other emotions and themes like difference, oddness or isolation. If I were to do this piece again, I think I would use more squares in a grid arrangement and only offset one slightly. After all, suspicion is a feeling where something seems a little off, rather than something being blatantly different.

For me, the way I visualise happiness in shape is like how I see sadness. I consider them both as growing emotions, rather than something that happens immediately like anxiety or anger. However, it was hard to think of a way to think of a way to differentiate happiness from sadness visually.

I decided on creating a symmetrical pattern that dispersed outwards in a similar way I depicted sadness. The symmetry makes it easier to digest and is overall more positive than the asymmetrical depiction of sadness.

Overall, I would consider this a successful composition. The positivity conveyed through symmetry reflects the feeling of happiness. If I were to do this piece again, I would take it one step further and use additional smaller squares to arrange around the main composition. This would add to the idea that happiness is a growing emotion.

The difficulty was separating enjoyment from happiness. Both are usually growing emotions rather than immediate ones. Both enjoyment and happiness are also positive emotions, however, I would differentiate enjoyment as a more sporadic, excited feeling. To imply this through composition, I arranged squares in a range of sizes leading from the bottom and rising upwards. This conveys a building feeling while the different sized squares in the sporadic arrangement convey excitement.

Overall, I would consider this a successful experiment. I believe that the asymmetrical arrangement works well to convey positive excitement, without coming across as negative. I would consider this one of the more successful pieces in this series of experiments because I was able to suggest the sporadic nature of enjoyment, without the negative undertones commonly associated with sporadic emotions.

For me, innocence is small. It was fun to play around with shape for this piece and I decided to use two squares, one large and one small, to convey innocence in a comparative way. There is also a certain level of shyness that I associate with innocence, so I arranged the smaller square to be slightly tilted.

Overall, I think this piece effectively conveys innocence as I successfully personified the shapes. One is large and dominant through its level arrangement, and the other is small and shy which are both characteristics of the emotion. I do think that there isn’t enough emphasis on the smaller square. Although it works well comparatively, the audience could look at this composition and think I am conveying dominance or confidence if they focus more on the large shape. Although with context, the piece is successful, it can’t stand on its own. If I were to do this composition again, I would just have the small square rather than use a comparison to imply the emotion.

To convey the feeling of misunderstanding, I used composition to subvert expectations. I lined them up in a checkerboard grid to convey understanding and arranged one of the squares to break the pattern to convey misunderstanding.

Overall, breaking the design with one of the squares works well in showing that not everything is fully understandable. However, this piece could be interpreted in many ways. The squares could be personified as people, with the adjacent square being interpreted as left out, different or isolated, rather than conveying the idea of misunderstanding. If I were to do this piece again, I would only tilt the square slightly, rather than rotate it ninety degrees. This would make the subversion of expectation less noticeable and convey the idea of misunderstanding better through subtlety.

For my composition, I decided to arrange squares around the outside in a grid to show unity and consistency. I then placed a single square in the centre, separated from the other squares by negative space. This personification of squares conveys the idea of loneliness through separation. I could have just had the square in the centre, without any around the outside to utilise negative space. However, I think that loneliness is often the separation from togetherness. A person usually feels lonely if they are aware that they are separate from people, ideas or places that convey the emotions of unity and togetherness.

Overall, I believe that this piece is one of my most successful experiments in this series as I have effectively evaluated the emotion and conveyed it in a way that is accurate to the feeling. The composition uses negative space and the contrast of symmetry and consistency to isolation in order to convey the feeling of loneliness. If I were to do this piece with a different medium, I would consider also using a range of textures to add to the contrast of togetherness and loneliness.

The feeling of being suffocated is overwhelming. It often feels like there are strong forces that are fighting against you and there’s nowhere to escape. I wanted to convey this in my composition, so I arranged the squares sporadically around the outside with a single square in the centre. I made the central square small to show that the overwhelming feeling of suffocation can influence a person’s perception of themselves. Along with the feeling of suffocation comes with the idea of a person feeling small or weak. This was something I wanted to convey.

Overall, I believe I interpreted the feeling into a composition well but there are things I could have done to further emphasise the strength and negativity that surround the emotion. If I were to do this piece again, I would have arranged the squares around the outside with less consideration by tilting some of the squares to further emphasise the asymmetry. The lack of level shapes would put the audience on edge and would create more fear for the square in the centre.

To do this, I will have to think about the medium. Medium and the way a medium is applied can have an influence on how something is interpreted. That is why I would like to first explore the medium before I continue experimenting with colour, shape and composition. To do this, I will experiment with different mediums like pastels, acrylic and watercolour and see how I can create different effects with them. From these quick experiments, I will evaluate the emotions conveyed so that I can consider these experiments when I create my series of colour pieces.

With all this research, I plan on responding and experimenting along the way to develop this project further

The collection of images is a successful interpretation of what memories can look like; a recollection of the past simplified by imperfect human memory. I like how not all the images are clear as memories aren’t always clear, especially if they are old ones. Overall, the sketch is a successful exploration of visual memory. 

I would now like to further explore how visualisation can look. I plan on doing a mind map to help me gather and narrow down research and experimentation ideas.

From these goals, I decided to draw them all together to imagine how my life could look. By drawing rather than using words, my goals aren't linear, they are not read one by one, but as a whole. This better encapsulates what I visualise as it follows no structure. 

Overall, this sketch successfully conveys visualisations ability to inspire action and change. The overlapping sketchings roughly depict the many things I want to achieve in a lifetime in a single page. This proves that using images can be effective in expressive large narratives, even narratives that span a life time. I would consider this drawing a successful depiction of what I hope my future might look like.

I would like to look further into the benefits of thinking through images and how it can be used to create ideas and problem solve.

I would consider this drawing a successful interpretation of the dream. The imagery is simple, but the sensation is conveyed well. It is somewhere between a pleasing, tranquil sensation, and a nightmare as the character in the centre looks like she is in some kind of trance. I also think the line work to show the static is successful and makes the audience question whether the objects are rising, falling or stationary.

To expand on this piece, I could introduce relevant mediums and colours to further convey the sensation of the dream.

Overall, I would consider this comic an accurate representation of the dream as it conveys the sense of fear through the large imagery of the waves. The waves are large and exaggerated and they are further dramatized by the small drawing of the house. The way I have exaggerated the waves successfully depicts the sea as alive and dangerous, almost like its an enemy to the house. The negative space between the house and sea suggests the fear and anticipation of the house being surrounded by the water.

However, I only depicted the first half of the dream. I wanted to convey anticipation, but I think it would have also been interesting if I then drew the house submerged in the sea to complete the dream’s storyline. I also think the text is unnecessary as the audience can already interpret the fear from the visuals. I plan on expanding on this scene with an additional piece.

The comic successfully conveys the three stages of the dream; the cloudy day and Luke’s desire to go outside and play, the radio alert of an emergency, and the storm. Luke told me that the storm was blood rather than rain which was hard to convey with just a pen. I would need to add colour to better convey the nightmarish visuals of the dream. The red would also better convey the sense of fear and danger in the dream. 

I was tempted to use text for the emergency alert, but I think the transition between the calm atmosphere to the storm suggests the sense of sudden emergency better. Overall, I would consider this a successful comic.

It would be interesting to create art based on these dreams as I expect it will differ visually from regular dreams. I would like to consider how to visually represent a lucid dream whether that be through subject matter, colour or composition. I plan on experimenting by drawing some of my recent lucid dreams. 

An important life event happened to me recently. I had a friendship breakup. I don’t know what else to call it but as he was my best friend, it definitely came with those same intense and sad emotions of loss. It’s an important event because I’ve never had to let go of a friend before.

The first dream was just of us messing around like we used to. I felt the sensation in my dream of being picked up and carried around with my arms dragging across the grass. I laughed and ordered him to put me down. It’s a memory I miss and that’s why I chose to view it in my dream.

The drawing is energetic however, I would have liked to have drawn more motions to convey the sensation better.

The stillness and the use of negative space is effective. This sketch successfully conveys the sobriety of the dream and the negative space successfully suggests a lack of information or a longing for information. It would have been interesting to somehow make the drawing look visually uncomfortable as often my lucid dreams deal with the uncomfortable topics of reality.

We messed around like we used to do until we were tired. Although the story line of the dream is fictional, it reflects a lot of our past. 

Things seemed as it was. I got the sense that he missed our friendship but couldn’t find the words to say it. The dream was a reflection of my longings and fears

The use of text and images works well. Music is hard to draw but with the key information it comes across well. I particularly like the image of my friend. I shaded around him to show that he was the person I was focusing on even though there were more people there. The comic overall is a good reflection of the experiences and sensations felt in this dream.

Overall, with acrylic I successfully create movement and texture by varying my brush strokes and using a palette knife. I also effectively conveyed Peony’s dream through colour.

I also thought that the colour blue would work best to depict Peony’s dream as it also feeds into the calming appearance of the dream and juxtaposes its nightmarish nature.

To play on the words of sitting with these thoughts, I started a series of digital sketches depicting a singular chair to convey reflective thinking. This first piece is just a simple outline of the chair and set a good foundation for the rest of my drawings. I love how the chair has a thin frame, making it look unstable. This could represent the fragility of thoughts in my dreams as I touch on difficult subjects.

This piece is successful as it conveys the idea of sitting with uncomfortable thoughts visually. I think it would be interesting to further explore this as the nature of reflect lucid dreams is dreaming about an uncomfortable reality that one is too scared to address in real life.

To represent the hurt I felt when reflecting in my dream, I drew barbed wire wrapped around the chair. The thought of sitting on it is enough to make the audience question why they would want to sit in the chair. That’s the whole point of dealing with these uncomfortable thoughts in my dreams. I sit on this chair of reflective thinking even though it hurts, because I want to find answers.

Overall, this sketch successfully depicts the sensation present in my dream and effectively visualises a feeling and an experience with a simplified image.

To create more work, I think it is important to discuss context. As I mentioned before, I have recently had some issues with a friend. It was larger than two people having a disagreement, it was two people with a lot of rare similarities and rare differences. One of us doesn’t give love or receive love. They fear love so they push others away for their own safety. One of us gives love and receives love. They fear not being loved so they attach themselves to others for their own safety. Both of us are outgoing, intelligent, and deep thinkers. As well as our similar positive traits, we also share a lot of flaws. We are both impulsive, deeply insecure and lead by fear. I was treated horribly by someone who I thought was my friend. I was lied to, I was neglected at a time when I need support, and I was never respected. I feel used. I feel like I have been in a toxic friendship. I don’t know what is real and what is a lie. 

I know these things are all rather deep. There is much I could say but I’ll choose to keep the rest for therapy. However, as this experience has affected my dreams, I would like to create a final piece based on these lucid dreams. This is out of my comfort zone, I have never created a piece that is personal to me before, let alone a piece that reflects on my own fears. However, I feel like creating work based on my own experience will give the audience a connection to what lucid dreams can feel like. 

I don’t intend on creating this piece and telling the audience it is my own experience. It is personal to me, so I would like to keep the specific narrative between me and whoever is marking my work. However, I would like the audience to understand what it might be like to experience a lucid dream. I would like to somehow convey these uncomfortable thoughts as I often reflect and reminisce in my lucid dreams. 

I now need to discuss how I want my piece to look. Will it be a comic, a painting, a three dimensional piece? I need to evaluate the appropriate form my final piece should take to best reflect the experience of a lucid dream.

Although the colours work well, it lacks the sense of anticipation as the text is all a similar size. I also think experimenting more with medium and shape could add further meaning to this piece. I plan on expanding on this digital piece by creating a hand-rendered experiments that incorporates shape and medium.

I took the phrase, ‘mind’s eye’ literally and did a graphite drawing of an eye surrounded by a brain. The drawing is a little on the nose in terms of subject matter, but I do like how it effectively communicates the idea of visual thinking. The blending of the eyes works well in contrast to the white space of the brain surrounding it and I like how the brain appears textural, despite being a two-dimensional piece. Overall, I would consider this a successful drawing as it’s a good visual representation of the mind’s eye.

I chose an object in my room, a ceramic mushroom, and created a study in pencil and water colour. I drew it from different angles to understand its form and texture.

I would now like to look at dreams as there are an example of observations creating imaginative narratives. I think it would be interesting to explore what dreams could look like as they further explore the mind’s eye.

From writing down ideas, I am starting to form my idea for my final piece. I like the image of the chair that I sketched after my series of comics. The chair is representative of sitting with and understanding reality through dreaming. This links well to my brief analysis of ‘The Thinking Man.’

To develop the idea from my original two-dimensional sketches, I would like to create an immersive final piece as it will allow the audience to experience what it's like to experience a lucid dream. Perhaps the chair is physically uncomfortable to represent the uncomfortable reflecting thoughts that are common in my lucid dream. Perhaps the chair visually asked the questions I was answering in my dreams.

I want the audience to be able to ponder how lucid dreams can feel and look like and I want my piece to be informative through the narrative of my own dream. I plan on now taking this idea and developing it further with mind maps and sketches.

While I wouldn’t say it’s accurate in detail, especially around the hands and feet, it is a successful observational drawing in terms of proportion. I also like the hatched line sketching, giving energy and a three-dimensional quality to its form. 

The idea of sitting with thoughts is an interesting idea to me and because of the lack of context around the piece, I would argue that ‘The Thinker’ is a piece depicting self-reflection as spoken about in my recent research.

I now plan on researching the link between memories and images to understand thinking in more of a visual way. 

For my first brush test, I used a large square-tipped brush. The size would make it difficult to paint on the chair due to the surface area. I’ve decided not to use this brush as its too large, but I’m still open to experimenting with square tipped brushes.

The square-tipped brush would be more level and constant, but it wouldn’t match organic energy of the conversation. The questions would come across as forced rather than from a place in sincerity. I also think there is a timidness with the inconsistency of the pointed brush which reflects the tone of the conversation well as I was asking questions I was scared to address. 

I now plan on experimenting with shape and text so see what works well together for my final piece.

I added more red to the grey for this experiment but not enough as the text is still yellow-toned. If I am going to use a warm-toned grey, I would want it to be more of a mauve in hue as this would reflect the timid voice present in my dream. 

The warmer-tone in the grey also works well, but the more I experiment with colours, the more I move further away of why I wanted to use grey in the first place. I wanted to use grey as it symbolises a lack of understanding, hence why I was asking questions in my dreams. It also symbolises the idea that reflective lucid dreams are about being less black and white, and more grey in open-minded thinking. I would like to make adjustments for my next experiments as I don’t want to lose this meaning in my piece.

Why did I do that? – you were just scared.

What do I fear? – you fear being alone, and you made choices to protect your safety.

Who am I? – you are someone who cares an awful lot.

Why do I care so much? – You care for others because you love them.

When will I stop caring? – never stop caring for others.

What should I do? – care for yourself. Learn to love yourself how you love others.

How can I learn to love myself? – You’ve always shown kindness to others, you’ve always cared for their needs, you have always spoken to them with kind words. Now its time to do the same thing for yourself.

Why is it so hard? – it’s hard because you’re not at peace.

Where do I find peace? – peace isn’t a destination, it's not a thing you discover, it doesn’t just appear. It’s a feeling you work on every day. It’s a mindset.

Who will help me? – you know who will help you. You know deep down.'

This monologue will be between the chair and the audio with the questions on the chair and the answers being in the audio. It's almost like the person on the chair is asking the questions and the inner monologue is answering them. This final piece is based on a personal experience which is why I want the text to be in my own handwriting and the audio to be my own voice because the questions and answers both come from my own lucid dreams.

I plan on now experimenting with a range of my handwriting styles and choosing the one which will work the best on the chair.

I drew a simplified drawing of ‘The Thinker’ with a black marker pen to capture the form. From the simplified form, I drew shapes coming from the man, symbolising thoughts as they are drawn to be exiting the central figure. Reflective thoughts, as well as any form of visualisation can be interesting and vibrant in ideas. To convey this, I used a vibrant green colour palette as green is a colour I associate with knowledge and its vibrancy reflects thought well.

Overall, I like how this illustration uses colour and line to convey what thinking can look like in an abstract way.

For this piece, I painted the patchwork quilt of the country landscape and drew myself in the centre. The view is birds-eye as that is how I was viewing my dream.

The simple colours and abstract shapes work well on showing a capture of a scene that I would have seen briefly in my dream. I like how it looks whimsical through the colour palette which successful translates what it can mean to lucid dream. Sometimes lucid dreaming can be a fun and pleasant experience and this painting reflects that well. However, I'd like to expand on the abstraction of the piece and add more detail to the fields. This will better distinguish them from the central figure.

I love how Meireles has used sound to create a sense of confusion which relates to the theme of failed communication in the piece. I would like to do the opposite. I would like to incorporate sound in my piece to create clarity amongst the confusion. I would like the audio in my piece to answer the questions on the chair. If the audio is separate from the visual and immersive chair, then it wouldn’t work, but combined, it will show the experience of my own reflective dreams. 

I would like to create an audio with my own voice as my final piece is based on my own experience with lucid dreaming. I will use software on my phone and with some recording equipment to create an audio piece to go alongside the chair in my final piece. This audio will be on a QR code rather than playing out loud because the dreaming is a personal experience and I would like the audience to interact with it individually.

This contrasts to the red text. To improve upon the previous piece, I drew the text gradual increasing in size to portray growing anticipation. I also like the aggression conveyed in the way I drew the lines. The danger of the situation is better conveyed with the organic lines of the oil pastel rather than the neat lines of my previous digital piece. The use of acrylic and pencil crayon to well in contrasting to the aggressive lines through their playfulness, making the juxtaposed emotions, even more terrifying which successful conveys the emotions in my dream.

From my designs, I decided to make the chair uncomfortable rather to convey the uncomfortable reflection of my lucid dreams. From my final design (thumbnail nine), I decided to create a lumpy seat. There are many ways I could do this but it's important that I used materials and methods that are available as I'm working at home and cant use the facilities at uni.

I had the idea of using air-drying clay to create three-dimensional forms and glue them to the seat of the chair.

I experimented with the air-drying clay to see if it would work well and my experiment was successful. The clay would add texture to the chair, making it physically uncomfortable to sit on without being a safety hazard. The clay also drys fairly quickly and can easily be done at home. However, I would like to mold the clay to the seat to make the texture more seamless.

I plan on now starting the making process for my final piece.

The audio would be accessed through a QR code. As this piece is interactive and reflects the very personal experience of lucid dreaming, I would want the audience to listen to the audio individually which is why it will be in a QR code rather than playing out loud. Not everyone who sees my work will want to interact with it. The subject matter of the dream may be uncomfortable for some people. That is the point of my final piece, it's about dealing with uncomfortable thoughts through lucid dreaming. However, I respect that not everyone will want to get involved which is why the audio would be accessed through a QR code rather than being played through speakers. This would also make the experience of the chair more personal. 

Underneath the QR code will be some text encouraging the audience to use headphones, this will again mean that accessing the experience of my final piece is personal, just like the nature of lucid dreaming.

I’m aware that the circumstances for this project are a little unusual. I haven’t been able to access a lot of the resources at Uni and I haven’t been able to display my work. If I were under different circumstances, and I were able to display my work, the background would be white and from the bottom of the chair would be text following a similar shape to the black marks on the chair. The text would look as if it was exiting the chair. This is inspired by my response to ‘The Thinker,’ where I drew the ‘Thinking man’ with thoughts exiting his body, symbolic of reflective thinking. The nature of reflective thinking is that is viewing yourself from an outside perspective which allows one to ask and answer questions. It's about seeing things from a different perspective. When an audience member would sit on the chair, the text on the floor would look as if it was exiting the person on the chair, symbolic of reflecting and trying to understand situations through the format of lucid dreaming.

The text would be repeats of the text on the chair, written in the same handwriting

I pink and purple pony arrived. She said her name was Jasmine and she had come to rescue me. So, my dad and I got on her back, and she raced out of the church building and down the steep, narrow path of the mountain. She was galloping fast. I was worried I was going to fall, so I clung on tight.

Jasmine when too close to the edge. Her hoof slipped and she almost fell down the cliff face. She managed to steady herself, but my dad lost his grip. He fell off Jasmine and fell down the cliff into the river. It felt like he was falling forever. I screamed.'

Notes:

The waves came and surrounded the house. I saw the water rising. My brothers’ cries stopped. I woke up.'

Notes:

Not only will black, white and grey convey the contrasting thoughts in my dream, but the emotions of the shades will further add to the final piece. The white is symbolic on loneliness and will best convey the separation present in my life. The black is symbolic of negative emotions and will best reflect my doubts and fear. The grey is symbolic of misunderstanding as I was trying to understand my situation in my dream. These shades will best suggest the emotions present in my dream and allow the audience to grasp a better understanding of what reflective lucid dreaming can look like. 

I would now like to discuss the materials and mediums I will use for this final piece, making sure that I take into account my research so that I can best convey the emotions that were present in my dream.

I could work straight into the chair, but I would like to reflect the delicacy of the subject matters I was addressing in my dream. My emotions were timid and fragile and this need to be reflected in the materials I use. I have decided to use paper to convey this fragility. It will also add a white base which in important in conveying the black and white ideas that I was trying to find a middle ground between in my reflective dream.

I would now like to experiment with brushes and consider shape for my final piece. 

I covered the chair in cling film first to not damage the wood. Using the same method as my paper experimentation, I applied paper with a mixture of glue and water. This was a long process due to the size and shape of the chair, but after a few days It was complete.

I then painted the black shapes of the chair with a dry brush and used the paint pen to add the text.

Overall, my final piece is a successful representation of my project. The materials of paper and clay, while practical for coating the chair and creating texture, go hand in hand with she shape and colour to convey the emotions of my dream. The texture on the seat is both visually and physically uncomfortable which is a good representation of what it is like to have a reflect lucid dream. As healpful as they can be, they can also be very uncomfortable.

I also like the black shapes. As expected, the paint was harder to apply on the paper mache due to the texture, however, I like how the shapes are rough and sporadic. They are both purposeful and intentional in their free-flowing shape, but also suggest the growing negative emotions that I was trying to understand in my dream.

I love the type on the chair. I think too much would have been overwhelming, especially with the black shapes, which is why I am satisfied with the amount. The text is, however, sometimes hard to read on the chair because of the black shapes in the background. While this is not ideal to view from a distance as it would be illegible, my piece by design is interactive and should be experienced on a personal level. The illegibility of the text would encourage the audience to view the piece from a closer perspective to better understand the text. This by nature is what lucid dreaming is like, often viewing things on a personal level to better understand them. That is why I don’t see the sightly illegible text as a drawback, but as element that better connects the audience to the experience of lucid dreaming.

Again, with more time, it would have been interesting to create my own chair from scratch, adding additional texture through woodwork. With the materials and time I had, I am pleased with the result and I believe it would successfully immerse the audience in the experience of reflective lucid dreaming. It’s also an interesting take on illustration. Not only does it effectively convey my project’s theme, but it is also a good example of visual communication and pushes what illustration and visual communication mean due to its three-dimensional form and immersive elements.

I then applied these components to a series of experiments that introduced narrative. These started out as comics inspired by the artist, Aiden Koch. I then developed these simple comics by applying what I had learned about colour, medium and shape. I experimented and developed images by making improvements based on my critical reflection. Some of my experiments were unsuccessful, so I continued to develop through experimentation. I worked in a variety of ways in my experimentation, working digitally, drawing, painting, doing photoshoots and creating an animation. These experiments helped me develop the condensed theme for my project as I was interested in one of my own lucid dreams.

From my experiments, I was able to develop ideas for my final piece. I experimented with painting tools, type, texture, and shape to create a considered final piece. 

Overall, I have successfully applied what I learned in my primary and secondary research to my experimentation which has helped me develop my project. I have successfully explored elements of visualisation and applied what I learned to experiments with narrative, using dreams as my narrative format as a form of subconscious visualisation. 

With more time and resources, I would have liked to explore more methods. There was only so much I could do in my circumstances, but if I had access to uni resources, I think it would have been beneficial for me to have participated in more workshops to explore different methods.

I turned to my peers for their interpretations of colour so I could compare my secondary research to the thoughts and opinions of others. This gave me a wide range of emotions which I then evaluated and took forward into a series of experiments on colour. I did the same with shape, asking my peers to write their interpretations of what emotions they associate with different shapes. This helped me with my compositional experiments as I considered the emotions that shape could convey. 

To better understand my research, I went into central London and analysed the shapes and colours I observed. The analysis, along with observational drawings, allowed me to better understand colour psychology.

Observational drawings helped me analyse things in relation to my project. For example, my observational drawings in Glastonbury allowed me to capture the dream-like essence of the scenery and architecture. This in turn created a body a body of work that successfully explored my theme.

To gain narratives for my experimentation with dreams, I collected dreams from my family members and peers. This led to a successful series of experiments that were pivotal in developing the direction for my project. Looking at examples of dreams also helped me understand the nature of subconscious visualisation.

Overall, my primary research has been instrumental in the development and discussion of visualisation. It successfully allowed me to compare research, as well as give me ideas which I then expanded upon on my responses and experimentation. 

To prepare for experimentation, I wanted to explore what visualisation looks like. I did this through sketches and through my online research on colour and it’s phycology. I then went onto look at shape and how shape links with emotion. Emotion was the main link between the visual elements of thinking and the mind. As well as shape and colour, I researched composition through the artist, Kandinsky. This research informed my experiments as I was inspired by his interested in how shape, composition and colour are intertwined. 

In one of my mind maps, I wrote down the different avenues I could pursue, and I noted my interest in subconscious visualisation. Visualisation through emotion is subconscious and I wanted to explore this further. One of my interests was dreams, so I started to research dreams through videos, books, online research, and drawings. I liked the idea that dreams incorporated both narrative and emotion and this led to research into the comic artist, Aiden Koch who inspired a successful series of experiments where I created comics inspired by dreams and developed them through experimentation.

From discussions on my own experiences with dreams, I researched lucid dreaming. Lucid dreaming became the avenue I pursued as I discussed ideas for my final piece. My aim for my final piece was the immerse the audience in what a lucid dreaming experience might look like, using my own reflective lucid dream for the narrative. To do this, I had the idea of creating an immersive piece and looked at immersive artist, Olafur Eliasson. I also went in an interactive gallery to gain more ideas on how I could immerse the audience.

I looked back on my research on ‘The Thinker’ and developed my idea of creating an uncomfortable chair to reflect my experience with lucid dreaming being an experience where I sit with the uncomfortable thoughts I can’t address in real life.

I was drawn to the idea of using sound to further enhance the experience which led to research on Warren Craghead and the piece, ‘Tower of Incomprehension,’ by Cildo Meireles. I liked the idea of using text and audio to ask and answer questions to create a narrative reminiscent of my lucid dream experience.

I also did a series of observational drawings of chairs in preparation for my final piece which helped me successfully design and refine my ideas.

Overall, secondary research has successfully inspired the direction for this project. I looked at a variety of sources and researched in a range of ways to gain a thorough understanding of my subject matter. This informed my experimentation which was considered and thought through because of my successful research. 

If were to do this project again, I would look at more archives to deepen my variety of research sources.

I started off with general ideas I could explore with visualisation and wanted to explore how visualisation could look. This led to a series of research and experiments that explored colour, shape and medium, and linking them together with emotion. Emotion played a large part in developing my project as I found links between visualisation and the things we feel and understand in the mind. 

Due to my interest in emotion and visualisation, my project developed as I moved on to subconscious visualisation. The specific avenue of interest was dreams which I explored through my research. Through mind maps, notes, and exploration of my own context with dreams, I was successfully able to develop my project through idea generation which led to a successful series of experiments on the subject. This informed my ideas for my final piece which I was able to discuss through my notes. I considered colour, materials, method, and message for my final piece through notes, mind maps and drawings. The thumbnails were pivotal in helping me successfully evaluate how to best convey my message and led to a final piece that successfully reflected my research, development, and experimentation.

Overall, developing my project through drawings, notes, written discussions, and mind maps has successfully allowed me to condense my theme and develop my final project. It has provided context as to why I made certain decisions through my personal notes, as well as discussions on how best to develop my project.

The development of my comics is another good example of how I have applied the necessary improvements to develop my project. After reflecting on the comic, I applied colour, medium, and shape to better convey the emotion of the dreams. Not all my pieces were initially successful, like my experimentation with Peony’s dream, but through critical thinking, I was able to find ways to better convey the movement the piece was lacking. Overall, this led me to create a body of work that thoroughly explored visualisation.

The analysis and reflections I made in my research also helped me develop my project. My visit to the Twist Museum gave me the space to reflect on how I could convey my project through interactive art. My artist research also gave me ideas for my final piece as I evaluated how I could apply what I had learned to my own work. Reflecting in this way gave me ideas for experimentation and pushed my project forward. Without reflection, I wouldn't have successfully condensed my theme and developed a project I was passionate about. 

Reflection also allowed me to see things from new angles, as I questioned visualation. I consistently questioned the knowledge I was gaining to consider other interpretations. For example, my primary and secondary research on colour led to many interpretations on what emotions colour suggests which I noted in my reflections. There is not always a black-and-white answer and questioning successfully fuelled my curiosity for this project.

Overall, this curiosity created a considered body of work, and my successful reflections gave me new ideas, which I applied to my responses and experimentation. I critically analysed my own work and the work of others to develop my project. I would have liked to get more reviews for this project. Although I wasn’t at uni, if I were to do this project again, I would get peer reviews through social media so give me more ideas for this project.

My piece will be informative, not because it directly conveys information but because it conveys and experience. Therefore, my final piece’s target audience will be people who are interested in learning about or experiencing a lucid dream.

As well as though who are interested in subject matter, they may be some who already experience lucid dreaming. My final piece may appeal to those who are familiar with the ability as they may connect with my experience. Some may have the complete opposite experience which might attract people to my work.

My research for this project was originally the mind and visualisation. I also believe that those with a wider interest in the mind and how it works may connect to this piece as it demonstrates reflective thinking with text and audio.

There are some who may gravitate to the narrative of the dream I am conveying. Although the narrative explains my reflective lucid dreams, it is a story that many can relate to; the story of questioning everything and trying to find answers. My final piece is not about mental health, but the narrative of my lucid dream suggests mental strife which will be conveyed though the text and audio of the piece. Whist it’s not what my project is based on, I do think the relatability of reflective thoughts and questioning who you are, relate to many and I think there will be people who will gravitate towards my work because of this.

On the whole, those who are interested in interactive forms of visual communication also may be interested in my final piece as it will push the preconceived conceptions of what illustration is through its immersive nature.

Overall, my final piece will be made to entice those who are interested in learning about and experiencing lucid dreams, the mind, as well as the narrative of the piece. Those who are interested in immersive art and abstract illustration will also be interested in my final piece.

Using found objects in illustration communicates the message no less than a made object. While it would be interesting to experiment with woodwork and create my own chair, I must be practical given my circumstances which is why I have decided to use a found chair. However, I would like to make it my own by adding to its surface.

I had the idea of using paper to coat the chair. The paper would be symbolic of the fragility of reflective lucid dreaming and how I felt in my lucid dreaming experience. Experimenting with texture and materials is something that I want to explore which is why I decided to experiment first with paper to see if it would work for my outcome.

Instead of using a found object for this experiment, I made an object out of cardboard. I was thinking more about the concept of my final piece and how the chair is symbolic of sitting with uncomfortable thoughts, I thought a phone would be an interesting item to experiment with as it relates to the asking and answering of questions on my project.

After creating the phone out of cardboard, I coated it with a layer of paper mache. The result worked as I could dampen the paper which made it easy to apply around curved edges. This method would work for my final piece although I would have to factor in time as a chair is much larger than a phone. I also plan on wrapping the chair first in cling film to protect the wood from mould.

The result is successful as not only does it show up better against the black, but it’s also easier to use as I can be more precise with the pen. This will be useful when drawing onto the chair as the texture of the paper mache will be hard to work on and will require more precision.

I also like the timidness on the lines. While the handwriting is my own, the variation in line weight is inconsistence and reflects the timidness and unsureness in which I asked the question.

I plan on using the paint pen for my final outcome because of its practical and aesthetic benefits that better reflect the emotions I want to convey in my piece.

I can still feel the passport in my hand.'

notes:

 

So far this is really good project progress, and it’ll exciting to see where it progresses! You're on track to do very well in this project. 

 

Going forwards as you finish the project, it would be beneficial to see the inclusion of more artists and illustrators in your secondary research. You don’t need to include a lot of critical reflection with those, just highlighting specific projects/pieces and noting why they are relevant will be really useful.

 

Time to start exploring your theme of dreams more, and developing some ideas about what you might want to make for your final outcome.

 

Do you want to tell a story about your own dreams? Do you want to make something theoretical or educational? Could you look into different realms of thinking regarding dreams, and could you look at how people have changed what they think about the importance of dreams over time? Could you look into dream dictionaries, and the importance of dreams in spirituality?

 

Do you still want to make a piece of visual poetry? A book? A animation, etc? Sketch out a few ideas, and collect some relevant references that relate to your idea in either theme or format.

 

Are there any illustrators that already make work about dreams? What other artists or filmmakers make work relating to dreams?

 

Poetry comic references (which I know I’ve already told you but I’ll write them down again!): Warren Craghead, Aidan Koch, Aleesha Nahndra, Keja Mayer, Disa Wallander, Simon Moreton

That's fine to use your own format of planning for the project - it does not need to be the one provided by the university. 

It is also not a problem that you've gone over the word count by 300 words, you will not be penalised for this. 

The presentation looks great - well done! The only thing missing is referencing for the images that are not your own in the presentation. At the end of your presentation you could do an image reference list slide, where you write the information about these images in Harvard Referencing Style

You could instead add a tagline under each image that is of work not your own, which contains the information regarding the title of artwork, artist, date.

This is good practice for presentations and is something a marker would comment on, but it also won't lose you marks for this submission as it is a Year 1 Unit.