NELE Notes Digital Portfolio.2013 drawings*of*streetsaround*Brighton*completed*during*spring*2012.*A*…
Post on 12-Jun-2018
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Navigation Notes Digital Portfolio
Rationale. The images chosen for the PDF portfolio reflect the project development throughout the course chronologically. I have included examples of my research methods during Stage One and images of all four project outcomes during Stage One and Two. These show the different formats explored and the insights gained and applied. I have included two images from a series of peer workshops (page 3) undertaken during year 2, as these were a formative part of the course for me.
Page 1. Observational drawings of streets around Brighton completed during spring 2012. A consistent sketchbook practice during year one helped to narrow down the project focus and established observational drawing as a vital tool for research and reflection on my environment.
Page 2. A5 sketchbook spreads from the side project One Drawing a Day produced during year two. The aim was to record what attracts my attention on a daily basis and to encourage a more intuitive and less precious approach towards drawing.
Page 3. Two photos from a peer workshop on low-tech printmaking that took place in January 2013. We formed The Drawing Group a few months prior to this and recorded our following seminars and workshops on www.thedrawinggroup.blogspot.com.
The workshops were aimed at loosening our mark making and providing a group for constructive feedback.
Page 4. Drawing for The Royal Spa of Brighton. The drawing shows the first lie I allowed myself to add to the story to make it more interesting: King William holding his Vichy, his favourite bottled water, which used to be produced at the Royal Spa in the early 1830s.
Page 5. Finished A4 staple-bound book of The Royal Spa of Brighton. It is a conventional book format with one fold-out spread showing a view of Queens Park where the Spa was situated.
Page 6. Introduction to The Royal Spa, which reveals that the story is not entirely true. This particular introduction was written and added during year two, when it became apparent that the books produced on the course would form a series. The introductions all differ according to the stories contents and level of lies. The Royal Spa represents the story closest to the truth.
Page 7. First illustration complete with handwritten type for the second book project The Kings Pepper Pot that was produced during year two. It was intended to be a visually catchy first page for the story and a portrayal of the main character.
Page 8. A5 booklet complete with added cover for navigational purposes. The cover was added during year two after realising that the format could be confusing. The story is told in 5 images, printed onto an A2 sheet that folds into a concertina.
Page 9. Concertina displaying the back of the booklet: a panoramic view of the sea complete with ships, which reveals the surprise aspect and the untrue part of the story.
Page 10. Illustration for the third project, Number 53. The story is based on historical facts of Brightons tram system but ends in an almost entirely invented incident.
Page 11. Screen-printed A2 poster that folds together into an A5 booklet. The poster is designed with text on one side and an image on the other. The image on the inside poster reveals the untrue conclusion of the story, showing the victims of an accident allegedly caused by tram number 53.
Page 12. Back of the Number 53 booklet when folded together. In this case the introduction/subtitle to the story is found on the back of the booklet.
Page 13. Collage for the fourth and final project, The Blind Mans Stall. This working method was developed during an experimental stage in year two, using cut-outs of drawings and coloured paper. This will be shown in poster form at the MA exhibition and is a representation of the multiples-aspect of the project.
Page 14. Spread from The Blind Mans Stall, showing some of the ideas and the purpose of the booklet. The book is to be completed by the reader, through the use of gaps to finish sentences and space for drawings.
Page 15. Finished A5 staple-bound booklet of The Blind Mans Stall. On this particular spread the reader gets asked to fill the table with drawings of what the blind man could have sold at his stall. In the left corner of the table is the draw here instruction, which is reoccurring throughout the book as a device to clarify where the reader has to interact.