July - exhibition, feedback conversation w/ Gareth, holiday

August - holiday, research, visiting some markets, experiments, narrowing 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)

Pitch and Book Fair: 6 Nov

Deadline: 12 November 2024 (10.30 AM)

UPDATE: That group didn't exist this year.

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. 

Purple - relevant information + 'TO COMPLETE'

Yellow - useful notes & references

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. 

• 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.

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?

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

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)

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

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.

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 ✓

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.

• 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

  
  

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.

- faraway home

- food ingredients

- sensory memory

- connecting with the past

- lost present

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

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

- 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.

- 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.

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.

• 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

- 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)

- 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)

- 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

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)

- 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)

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)

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).   

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)

During our book fair event, I had a chance to talk to writer Ken Wilson from Harper Collins Publishing who was happy to go through how to improve my pitch. One key suggestion was to narrow the target audience to children aged 5-7. It would allow for more focused content and simpler, age-appropriate language. This adjustment would also align better with current trends in children’s book publishing, where shorter, more engaging

stories are favored for this age group. However, because mine is educational nonfiction, the publisher also recommended increasing the page count, which would help create a more substantial and visually rich experience for the reader. By expanding the page numbers, the book could include additional content or illustrations, giving it more

depth and allowing for a smoother flow of narrative and visual elements. This feedback guided me toward refining the scope and age group target of the book, ensuring it was both engaging and better suited for publishing standards. In addition, the writer liked my project idea and visuals and asked me to send my pitch to him. I feel that was one of my greatest achievements during the course.

Extra observation: He particularly liked my Foreword page and the one with the poppy plant. I mentioned that those are my favourites too and was planning to take the book a lil further and add more images like that. I feel like continuing with the imagery after this unit to keep me busy.

The book fair was highly beneficial for my practice, providing valuable feedback from a publisher that helped refine my focus and audience. It offered insight into industry standards and trends, guiding me to adjust the age range and page count of my book. The experience also allowed me to assess how my work resonated with professionals and helped me figure out where to potentially take my project next.

I'm not sure if it's possible in the conventional publishing industry to use this kind of paper, but it might just help to sell the pitch to a publisher.