‘It’s impressive how the handmade works influence the digital work and the overall process of making decisions. There’s no CTRL+Z in real life.’

This quote from an interview with ones of my favourite artists Eduardo Recife perfectly represents how I feel about my work. I am currently focusing on

creating illustrative collages both handmade and digital, similar to Recife.

I start by carrying out lots of research to gather ideas and inspiration from many artists and designers. I then used a mix of found materials, illustrations and mixed media to start to put together a collage by hand. I prefer to do it by hand as I feel it gives me much more freedom in terms of layout and creativity and it usually generates a better outcome. ‘There’s no CTRL+Z in real life’ signifies that work made by hand cannot be undone if something goes wrong, unlike the use of Photoshop and Illustrator. This is why I prefer to scan in my collages in progress to finish them digitally, so that I can re-scale, re-colour and remove/

add anything if necessary.

Referring to how handmade work influences digital work, I believe that if I made work only using the computer, I would feel very restricted and probably get bored of it quite quickly, as staring at a screen for long periods of time does nothing for my creativity. My working approach is that I like to be hands on and physically cut, stick and draw the work by hand. Another quote from Recife ‘I want the computer to help me compose—not to slave me between the mouse and the chair.’ Describes exactly how I approach my work, by only using the computer to help finish a piece of work using tools that can’t be used in real life. I like to use Photoshop and Illustrator as an editing tool to complete

work rather than creating everything digitally.

The only restriction I feel to this approach is that work created digitally can be saved during each process to create several outcomes, whereas a handmade piece only creates one. To avoid this I tend to photograph and scan my work at each stage to show the development and processes that it has gone through. It can then be edited at an earlier stage if something goes wrong. Therefore this

partly resolves the ‘no CTRL+Z in real life’ scenario.

The piece of work I used in my pitch is a poster design I created to best represent how I work. It is a handmade piece listing the key words that define my practices: illustration, collage, mixed media, digital, handmade, typography, photography, vintage and modern. I am better at some than others, but I like to combine processes together to experiment and develop my work. I have started to focus on creating illustrative collages which are both handmade and digitally edited, which is what I have done to create this image to symbolise my style of work. I also added a small drawing of a patterned swallow that I drew in first

year as it is one of my favourite illustrations.

The creative practitioner I chose was Martin O’Neill, who was a visiting lecturer that really inspired me and I have been fascinated with his work ever since. I chose three pieces of his work that I like and regularly use as references to my work, as they combine the words shown in my image. I also listed the artists Heather Landis, Eduardo Recife and Carine Abraham who are my other main sources of inspiration; they create similar work using mixed media to create

illustrative collages.

The processes I intend to use are the ones listed in my image, and I would like to experiment with other processes including screen printing, digital printing, laser

cutting, photography and bookmaking to develop my work further.

The types of themes and subjects I think my work best suits are collage, magazines, vintage, advertising, fashion, book work and illustration. I would like to be able to use similar themes throughout my work; therefore I need to gather

more sources of inspiration and ideas to pursue this.

I think the audience of my work would depend on what the outcome is, which I’m unsure of yet, but I want people to be inspired by it, it could be personal to a particular person or intended for a larger audience. I want the impact of the work to be inspirational and admired by others, if it is an illustrative piece I want

the ideas behind it to be communicated to the audience.

As I have been creating collages on music records, I think the audience could either by interested in that particular genre of music, or interested in the cover artwork itself. For my time project I created a themed collage calendar, I would like the audience to want to use the calendar in their homes to look at every day and use. I want the themes of each month to be communicated clearly to the

audience, which I believe I have done so.

When starting this project, I began by researching into my favourite artists and designers which include Martin O’Neill, Eduardo Recife and Carine Abraham, this led me onto discovering many more artists I could use for inspiration. I knew that I wanted to progress my work mainly into illustrative collages, but needed a theme for my work. I came up with the idea to use existing album and record covers, rather than creating themes and ideas from scratch. I looked into artists who had done this already using minimalistic designs, and decided that I would choose several covers to re-design myself, whether they are iconic covers or

ones that I had not seen before.

My aims to carry out the project were to research into music genres and album covers, and choose several that I could redesign using collage, illustration and mixed media. The processes consisted of a lot of collecting and archiving found materials that I could use in my collages. I then went on to purchase several record vinyl covers that I could physically make the work on, and use these as starting points. The purpose of this is to interest and inspire others to look at the

album artwork, and be able to connect with it.

My intentions for the final outcomes are to either produce a book, zine or online pdf of a series of my collages, as this is an ongoing project I am unsure what the

final outcome will be as of yet.

For this brief, I gave myself a set amount of time to produce the work. I wanted to design a calendar in my style using themed collages for each month.

I planned to spend one week creating the work for a calendar, so that I would have a physical calendar and also a documentation of producing a set amount

of work in a given time limit.

I carried out research and collected materials to include in the collages, as well as illustrations, mixed media and photography. I gave myself a limit of creating 3 collages per day for 4 days so that I would have 12 for each calendar month. I left 2 extra days to put the calendar together and create a mock up, along with

the written work and sketchbook.

My intentions for the final outcome of this brief were to have a full calendar made up of themed collages, based around the seasons, holidays and celebrations

of each month.

The intentions for this brief were to design and produce a collaborative publication within 2 weeks. There were around 20 people in the group, and we

came up with the theme of ‘junk’ to base our publication on.

The aims for this brief were to research our themes, which were originally taboo, dirty and dingy and food waste, which we later narrowed down into junk. We then split ourselves into three different groups to work in – photography, editorial

and layout.

I worked within the photography group over the second week and we collected lots of junk material to photograph and experimented with different types of

photography.

Our intentions for the final outcome were to produce a 36 page printed publication, which was based on the theme of junk.

I started off by looking at artists that inspire my style of work - mainly illustrated collages, both hand and digitally made. I looked at many artists to give me ideas and themes for the brief. I decided to work on album and record covers, which led me to research artists that had re-designed existing album covers in a simplistic way. I wanted to re-design albums but using collages inspired by

the existing covers.

I then went on to research existing album covers that I could re-design using collage. I visited record shops to look at the physical vinyl records. I thought about using iconic covers, or ones that I haven’t seen before.

I went to a charity shop and bought several different vinyl records so that I could make the work physically on the sleeves. I bought covers that I had never heard of, so that I could start from scratch with my ideas. These are some

of the records I bought to work on.

These are some photos of the process of making the collages. I used lots of found materials from magazines, with different patterns and textures. I thought about how I could develop and improve the original covers

by using collage.

These are 4 of the collages I created on record sleeves, inspired by the original designs and the collage artists I have researched. I really like the outcomes being on the physical sleeve so that the work can be held and looked at closely. I plan to make several more before the

end of the semester.

Rough sketches and ideas I sketched out some layout ideas before I made the collages to give myself an idea of the theme for each month and how I could go

about putting it together.

I created a mind map of all my ideas of either documenting time or creating a calendar. I then came up with the idea to give myself a time limit to create a themed calendar made out of collages in the style I like to

work in.

This is some of the research I carried out at the start of the project. I looked at lots of different artists who have documented time and designed their own unique calendars. My favourite are the physical interactive calendars by Kerr Hsing and Ryan Claybough. I also like the idea of using a colour to represent the month according to the season, as

Jonathan Davies has done.

I printed out and stitched together a mock up to see what my final calendar will look like when professionally printed and bound. I used the skills I learnt from a book making workshop to stitch the calendar together. I am really happy with

the outcome and think the collages go well together as a set.

Final Designs These are my final 12 collages for each calendar month. Each collage is based on a theme for that month; either a season, holiday or celebration. There is a mixture of handmade, illustration, photography and

digitally edited work to create the collages.

For this collaborative brief, we met up and discussed initial ideas for our publication. We came up with the theme of junk to base it on. We individually carried out research and took photos which we stuck up on a wall to show our

progress. From here we discussed the content and layout of the publication.

Here is some of the research I did, including looking at ‘thong trees’ in Australia, junk art by various artists and the myths behind ‘shoefiti’ which is shoes thrown

over power lines.

As I walked around Leeds I noticed a lot of graffiti and abandoned furniture, which I started to photograph as part of my research of ‘junk’. I found the graffiti very interesting to look at, and it comes under the headline ‘taboo’ as it shouldn’t be there and no one knows who put it there, it just appears.

I learnt how to use a bin as a pin hole camera outside by exposing the light for several minutes. I liked this idea as the theme was junk and using a bin to take the actual photo is ironic. We lay out several of our collected items against a barrier and exposed the bin for 8 minutes. This is the outcome which I think turned out really well and didn’t need editing for the final

publication.

I was a part of the photography team for this collaborative project; these are some of the photos we took of our collected ‘junk’ materials. We placed some objects around Leeds to photograph for the section of ‘lost belongings’ so that stories could be written about them. We took some photos in the studio and some were

taken outside in several locations.

We printed out a final mock up of the publication on newsprint as it was sent off to professional printers. Some folds were added to some pages to create interactivity when reading the publication. I think the outcome turned out well, however if we had more time I would have liked to have been part of the editorial

and layout groups too.

The self initiated brief was a chance to develop my current processes and practice and go down the path that I want to as a graphic designer. I knew that the type of work I wanted to make would be in the form of collage but I lacked on ideas for a theme, so I started by researching my favourite artists including Martin

O’Neill, Eduardo Recife and Carine Abraham. This led me onto researching into many different artists that work within collage, illustration and mixed media, including Kurt Scwhitters and Peter Blake.

As my research developed I came up with the idea for my ‘re-design’ brief. I wanted to use existing album and record covers as a starting point, and re-create the designs using my own style; vintage collage illustrations. The idea behind this was to branch out the album covers to a new audience. Society tends to be split into groups of ‘genres’, and some people are named and dress accordingly to the type of music they listen too, for example ‘Goths’ listen to heavy rock music and tend to dress in black and studs. If I were to re-design an album cover from this genre in a completely different way, it would appeal to a different audience altogether. I planned to choose a select number of album

covers and break the ideas down to form collage artwork.

From this idea I researched further and found several artists who have re-designed album covers, film posters and book covers using their own style, most of the designs being a simplistic version of the originals. Ty Lettau and Duane Dalton’s work really stood out to me, as they created a series of re-designed covers of iconic album covers, yet they were unrecognisable from afar. On closer inspection and breaking down the elements you can see that they have taken inspiration and parts of the original covers, and completely changed the idea, to suit a different audience. I wanted to do something similar, using

collage illustration.

 

 

I think that my processes and practices can change the subject completely, for example making physical collages rather than digital covers adds more value to the work, it can be physically looked at and touched, and I think that making the collages by hand adds a sense of achievement knowing that it is handmade. Using collage helps to break up the fragments, I had to collect a lot of found material and imagery to use in the collages, and put it together in a whole new

way.The only potential problem I think could be for this idea is that the existing audience of a particular genre won’t like that the original work has been changed, and that it would be appealing to a new audience. I also don’t think that I won’t necessarily be ‘improving’ the existing artwork, as different people prefer different styles, however I am developing the ideas further and changing

them in my own style.

I looked into lots of different genres and styles of album covers, and after a tutorial discussion, I decided to go and buy physical vinyl record sleeves to make my work on. I visited a local charity shop and picked out several records that I had never seen or heard of, this way I feel that I had no preconception of what the artwork should look like. I simply chose the sleeves that stood out to me most visually, in terms of colour, type, layout and imagery.

I began to create collages onto the record sleeves, by using what was already on them as my starting point. I took inspiration from the artists I initially researched, and ideas from what the cover was to begin with. For the ‘DJ Mylo’ cover, it used basic colour and type, I wanted to further the use of the type, and develop it so that it would still relate to the cover. I cut out the letters d,j,m,y,l and o from lots of different magazines and publications, so that I had a range of colours, fonts and sizes. I arranged the letters to read out DJ Mylo across the cover in a repetitive pattern. This way the cover looks more interesting with the use of various typography, and when the audience looks closer at it they will see that it

reads out the name of the artist.

For the Lipps Inc cover, it originally had a duplicate image of a woman in bright purple with green hair and a light coming from the mouths. It also had a blue background and similar imagery on the back cover. For this piece I decided to keep the image of the woman as I felt it was a strong image, but I wanted to tone down the rest of the bright colours and make it more interesting and 3 dimensional. I gathered lots of magazines and flyers and began to rip strips of patterned paper for the background, which I layered up around the woman’s face. I then painted over the green hair and added black and white to the face to tone down the excessively bright colours which I felt were distracting. I cut out letters for the title and name of the album, similar to the Dj Mylo album, so that if they were put together they could relate. I also decided to work on the back of this sleeve, as I liked the imagery, and as the name of the artists is ‘Lipps Inc’ I went on to cut out lots of different lips in various sizes and colours, which I arranged between the mouths on the back, to

fill the gap and join the images together.

Working on the ‘George Gershwin’ cover took me a while to get into and I struggled for ideas on how to develop the cover as it was already a very busy design. As the album name is ‘Girl Crazy’ I decided to focus on the image of the man surrounded by women. I drew a vintage style frame around the man

to put him as the ‘centre of attention’ and to fit with the vintage style imagery already used. I then painted over several parts of the cover and layered some patterned paper to cover parts that I thought were unnecessary and distracting. I then researched the lyrics for once of the songs on the album and wrote them out across one side of the cover. I then painted a large image of a girl in the opposite corner to keep with the ‘girl crazy theme’. I finished by using cut out letters for the title and album name, to relate to

my other collages.

Similar to the self initiated brief, I started off by researching for ideas for the time brief, focusing on calendar designs and ways of documenting time. I created mind maps of ideas I came up with, to produce my own calendar, considering who would be my audience, what my intentions are and what I want to it communicate. I wanted to focus on using collage work again, so I could relate

back to my research artists from the self initiated brief.

I decided to create a collage for each calendar month based on a theme, focusing on the seasons, holidays and celebrations from each month, this way the audience could relate to the month just by looking at the image. I gave myself a time limit for this project, so that it would be a way of documenting the time itself, as well as creating the physical work. I planned to spend 4 days making 3 collages a day to complete my calendar designs, and I spent 2 extra days putting it all together and creating a mock up. By giving myself a time limit I

found it a lot more motivating and a sense of achievement knowing that I had created a set amount of work in a given time, which in this case was 1 week. I think this was one of the main strengths for this project compared to the self

brief, as I was busy every day creating collages and progressing each day.

I am really pleased with the outcomes for this brief, and I think that some of the collages work a lot better than others, but overall as a set I am happy with the final calendar. I decided to get my calendar printed professionally so that I can present it as a physical object; similar to my self initiated project, I think having

the physical handmade work is important and adds value to it.

I was part of a collaboration for my external brief – a publication. We had a time limit of 2 weeks to produce the work from scratch, which I found motivating similar to my time brief. Being a part of a collaborative project meant I had to compromise, engage in new ways of working and be in constant communication with others; we achieved this by having regular meetings and posting messages

and research to each other via an online group.

We initially came up with three themes for our publication; taboo, food waste and dirty and dingy. From this I carried out my own research by taking photographs and researching existing publications. I noticed a lot of graffiti and abandoned furniture around Leeds, which I photographed as a starting point. I think graffiti is an interesting subject as it is a style of art, yet illegal and you never see who produced it or when, it usually just appears, this also relates to the taboo theme.

(IMAGES)

Overall I think that my strongest brief has been the Time calendar project, as I gave myself a time limit and stuck to it and managed to produce a large amount of work that I was happy with. Although I haven’t finished my self initiated brief yet, I feel that my ideas and current work have developed how I wanted, and if I plan my time effectively I will be able to produce the final outcomes that I am aiming for in the last week. I have mainly focused on my collage work and developed my skills; however I think that there are more processes such as

screen printing that I could experiment with in the future.

I have learnt that working to a time limit is very motivating, and that producing and printing physical work gives me more sense of achievement. I have also learnt a lot more about collage work, through visiting lectures and experimenting. I am continuously collecting materials that I can use, and looking at artists work for inspiration. The crucial moments throughout these briefs have been gathering lots of research, collecting materials to work with, communication with others and tutors on my progression, and constantly experimenting and developing

my collages.

We then met up again to discuss the content, and decided to narrow the theme down to ‘junk’ to be more specific. From this we split into 3 groups – photography, editorial and layout. I was part of the photography group and we spent a couple of days in the studio and on location photographing collected junk objects. I found it quite hard having to rely on others, and I couldn’t produce exactly what I wanted too. I went out with 2 other group members with a bin that has been made into a pin hole camera, we used this to capture some interesting images. I really liked this idea as it was ironic that the bin was taking the picture, rather than being the junk itself. It produced some lovely images which were much more interesting than the digital photos, as I have mentioned in my previous 2 briefs, I think that physical work has more value and interest. I also thought

about using this process in the future for my collages.

For the final outcome, this was in the hands of the other 2 groups, so I didn’t have an input into the content or layout, if we had more time this is something I would have liked to do. They selected bits of work that people had been working on and produced the final publication. It was printed on to news print for a mock up, using a recycled material meant it could relate back to the theme. Having the physical publication was also important, so that we could all physically look through it rather than on the screen; similar to my methods for my previous

briefs.

I have chosen to review Martin O’Neill’s collage illustrations for my review, specifically a series of illustrations he created for the book ‘The man who mistook his wife for a hat’ by Oliver Sacks. He has been one of my main sources of inspiration for my work the past two semesters and I have also been to two of his visiting lectures, where I feel that I have gained a lot of knowledge about how he creates his work. As I have had the chance to hear him speak about his work, I feel it is appropriate that I can review his work over other artists that I

have only seen through secondary research.

The illustrations were created for a book that is based on people with neurobiological and neuropsychiatric conditions. It includes people that suffer from amnesia, austism, Parkinson’s disease and mental disabilities. The illustrations reflect these characters in the story, for example the collage with two children holding the number three is about two twins that are autistic and cannot do simple math, yet they can identify large prime numbers. This is reflected in the illustration which uses found imagery, to help the audience connect with the characters. The collage featuring a dog reflects a character that engages in drug use, who dreamt about a dog and was then able to view the world as a dog with a good sense of smell for a week after the dream occurred. The collage includes a dog and a city skyline, to represent that the characters eyes were opened to

the world with his new sense of smell.

The tone of the work is to help the readers connect and sympathise with the characters in the book and their disabilities. I think the bright colours and imagery used in the collages help to enlighten the issues in the book. I think that O’Neill is trying to communicate to the audience how the characters feel in the book; it is described as ‘a philosophical exploration of what it means to be a human’. The point he is expressing to the audience is connecting the images

with the words of the book, his illustrations have a meaning behind them.

He created 11 illustrations, which relate to the chapters of the book and are named accordingly. For example the ‘Matter of Identity’ chapter includes a man who suffers from Korsakov’s and cannot distinguish one person from another. The illustration reflects this by using many images of cut up faces surrounding the represented characters brain, within lots of geometric shapes to show the

confusion that he suffers from.

The illustrations were created for the audience of the book, and also potential readers. He has created a strong book cover to attract potential readers, and also those that would already be familiar with the author. I think that as the book cover is so interesting and unique it would also attract artists and designers, although that’s not the genre of the book, the cover will attract those similar to

myself who are looking at the book purely for the interesting artwork.

The work itself is created by hand, which is reflected in O’Neill’s personal website name cutitout.co.uk, as I learnt from his visiting lectures. He collects a lot of material from various places including a scrap dump in Germany, charity shops and car boot sales. He collects lots of imagery and materials which is cut out by hand and layered up using acetate and tissue paper. He then scans the collages in at a high resolution for any adjustments needed in Photoshop. He considers the issues raised in the book, and develops the work around this, to

help the audience connect.

Although the illustrations were intended for the book, I think they can be looked at beyond their original use. As I have been analysing the illustrations, I have learnt the meaning behind them, relating to the characters with their disabilities. However without knowing this information, the illustrations are still very eye catching and can be enjoyed as pieces of art without knowing the reasons and

ideas behind them.

I chose to make critical notes on an article from Creative Review, March 2013. The issue is based on the London Underground; I chose this article which reviews an exhibition at the London Transport Museum. 150 of the best posters

from the London Underground archive were chosen for the exhibition.

I chose this article as the vintage posters from the 20’s and 30’s can relate to my collage work, and it discusses the importance of communicating to the

audience which I found interesting.

SELF INITIATEDChambers, E & Orchard K (2013) Schwitters in Britain, London, Tate Publishing

D&AD (2010) D&AD 2010: The Best Advertising and Design In the World, London, Taschen

Keil, E (2001) From Abbey Road to Baby Road: Visual Cover Versions, Germany, Christoph Merian Verlag

Kohler,E (1999) In the Groove: Vintage Record Graphics 1940-1960, California, Chronicle Books

McKnight-Trontz, J (2005) This Ain’t No Disco: New Wave Album Covers, California, Chronicle Books

Ochs, M (2005) 1000 Record Covers, Germany, TaschenTrunk, J (2005) The Music Library: Graphic Art and Sound, Hong Kong, Fuel

http://www.cutitout.co.uk, Martin O’Neill website, Accessed 6/12/12http://www.deweysaunders.com/index.php/design/records/, Dewey Saunders

website, Accessed 9/3/13http://www.duanedalton.com/, Duane Dalton website, Accessed 4/3/13

http://www.whudat.de/classic-album-covers-redesigned-by-jeff-rochester-14-pictures/ artwork by Jeff Rochester, Accessed 26/2/13

PUBLICATIONhttp://www.claudiaowen.wordpress.com/2012/03/13/thong-tree/, thong tree,

Accessed 4/3/13http://www.colorsmagazine.com/magazine/40, colors magazine trash issue,

Accessed 4/3/13http://www.environmentalgraffiti.com/bizarre/news-myths-and-mysteries-surrounding-shoefiti, shoefiti myths and mysteries, Accessed 4/3/13http://www.reportageonline.com/2010/07/ballast-point-padlocks/, ballast point padlocks,

Accessed 4/3/13TIME

http://www.apartmenttherapy.com/at-europe-calendar-wallpaper-f-50462, calendar wallpaper, Accessed 18/3/13

http://www.behance.net/Gallery/2008-Calendar/53834, jonathan davies calendar, Accessed 18/3/13

http://www.graphicthoughtfacility.com/tate-perpetual-postcard-calendar-product/, perpetual postcard calendar, Accessed

CRITICAL STUDIESBurgoyne, P. (2013) A logo for London, Underground Art. Creative Review, Iss.

‘London Underground 150 special issue’ p.32-34, 36-42.‘It’s impressive how the handmade works influence the digital work and the overall process of making decisions. There’s no CTRL+Z in real life.’ (Recife, E http://www.

illustrationmundo.com/wp/6870) ‘I want the computer to help me compose—not to slave me between the mouse and the chair.’ (Recife, E, http://scene360.com/articles/941/an-interview-with-collage-

and-typography-maker-eduardo-recife/#.UW3K3KMqSSo)(see full Bibliography in folder)

1. What research do you carry out in order to gain ideas for a brief?I like to go to bookstores like Waterstones and WH Smith and look through the illustration and graphic design books there. I find them much more up-to-date then the library books and it’s a good way to find inspirational artists to further research into. I also love using the website pinterest. It’s an easy way to browse for inspiration and collect it all into an online folder and also share your work

with others.

2. What is your main source of inspiration? Does it relate to your life/hobbies or just your work?

I have a range of influences such as illustrators Kirstie Edmunds and Oscar Lloren. They are contemporary artists that use traditional and digital methods similar to my way of working. I also take a lot of inspiration from animations and film, in terms of camera angles and character movement and expression. My

favourite animator is Don Bluth.

3. What type of work do you like to make and what methods do you use to make it?

Most of my work is illustration, book covers and posters. I draw the outline then work on it digitally using my graphics tablet. I also like to incorporate watercolour

and print textures to give the digital work a traditional feel.

4. What are the 5 most important things that help you to create your work? Research, developing ideas, sketching, adding colour and texture and

experimenting with text.

5. If you could give yourself a piece of advice 1 year ago (in your 2nd year) knowing what you know now, what would it be?

Go in to university more and speak to your tutors often. They have given me so much guidance this year that I missed out on the last two years.

6. Who is your favourite artist/designer and why? (could you send a photo/link of your favourite piece of work by them?)

http://pencilpocket.blogspot.co.uk/My favourite artist is Kirstie Edmunds. She has a fantastic knowledge of texture and shading which gives the illustration definition. Her characters are also simplistic and angular in design but she often uses textures to bring them to life.

7. What do you aim to do after you graduate, where would you like to be?I am starting as a freelance illustrator and designer but I will be looking for jobs

in graphic design companies.

8. Have you done any work experience for any graphics companies during university?

I don’t at the moment but it’s something I wish I had done.

9. How do you get your work to be seen by others, e.g. do you have a blog, website etc?

I have a website but it hasn’t been updated in awhile. I’ve been really focused on working for submission but in the next couple of weeks it will all be online and

I’ll be creating a group on Facebook to help get my work out.

10. What has been your favourite brief to work on during your 3 years at university? (could you send me a picture/link to your favourite piece of

work?)An illustration brief for a Save the Frogs campaign. I really enjoyed developing my own personal illustration style and experimenting with text for the first time.

Interview with Third Year StudentJessica Hubbard

In the near future I am hoping to gain work experience at a graphic design company near home, and am waiting to hear back from several companies that I have applied for, I would like to gain an insight into the creative world and how they operate. I would also like to produce some freelance work during my spare time, to help build up my portfolio for next year. I would also like to create a website to show my work that I have produced over the years, so that it can

promote my work to future employers.

After I graduate I hope to have a strong portfolio of work and gain a job at a graphic design company, possibly in advertising or book illustration. I would also like to be able to do freelance work for companies and personal requests.

During the summer months, I would like to continue archiving found materials for next year so that I have plenty of material to work with when making collages. I would like to continue with my self initiated project re designing music covers

using collage, so that I can produce a book.