Brief

Buy a newspaper with a supplement and go through cutting out any article that contains an illustration. Notice the heading for each article and read the text that the illustration refers to. Make a mental note about the way the illustration relates to the text, how its ideas relate to the meaning of the piece, how it extends the content of the piece.
Analyse the type of illustration – is it decorative, conceptual, informational? Does it use metaphor to convey an idea or does it have a narrative base? Is it representational, abstract or diagrammatic?
Now imagine that you’ve have been commissioned by the paper to create an illustration. Your task is to provide a visual interpretation of one of the headings below:
How green is your food? The best restaurant in town. Loves me, loves me not! Throwing your money away
The object of my desire Finding your family history An interview with Melvin Bragg Paris, still the best place on earth
You may find it useful either to find some text that suits the heading or write a few sentences yourself. Your interpretation can be as personal or as open as you like. For example, you may decide to go and draw an object or place or situation – or your might decide to create your image in a more interpretive or conceptual way.
If you’re confronted with several hundred words of text to illustrate you may find it hard to identify key areas of focus. Approach the task in a series of stages. Start by reading the article all the way through to get a sense of its entire meaning. Try not to think about your visual interpretation at this point. You might find it useful to sum up the article in a short series of sentences.
Next, go through the article with a highlighter pen and identify sentences and words which you consider to be important aspects of the text. Be conscious of connections between these words and the way in which one aspect of the text relates to another. If you’ve been given a heading by an editor, that might point you in the direction of the aspects that you’ll need to respond to in your illustration. Finally, read the text again with a sheet of paper to hand and sketch down ideas as you read through the article. Don’t draw self-consciously. Enjoy the process of visual brainstorming and be open to whatever results from it.

Keywords:

• Buy a newspaper and cut out any article that contains an illustration
• Notice the heading for each article and read the text that the illustration refers to
• Analyse the type of illustration
• Provide a visual interpretation from the list of the article headlines
• Find some text that suits heading
• Your interpretation can be as personal or as open as your like
• Identify sentences and words which you consider important
• Sketch down ideas as you read through the article
• Don’t draw self consciously
• Make a list of words that describe the illustration you want to create
• Identify what the function of your image will be
• Be thorough within your processes of ideas generation
• Create a line visual
• Identify a palette and medium
• Explore several colour variations
• Translate your visual into artwork
• Note down the types of editorial illustration you related to most positively
• The early ideas you considered
• The process by which you decided what aspects of the text you wanted to focus on

Pinterest board – editorial illustration

Analysing the illustration

Visual interpretation

My chosen headline was Loves me, loves me not. I found an article about it:

Guest Column: Loves Me, Loves Me Not (Do the Math)

BY STEVEN STROGATZ MAY 26, 2009 10:00 PMMay 26, 2009 10:00 pm

BY STEVEN STROGATZ

“In the spring,” wrote Tennyson, “a young man’s fancy lightly turns to thoughts of love.” And so in keeping with the spirit of the season, this week’s column looks at love affairs — mathematically. The analysis is offered tongue in cheek, but it does touch on a serious point: that the laws of nature are written as differential equations. It also helps explain why, in the words of another poet, “the course of true love never did run smooth.”

To illustrate the approach, suppose Romeo is in love with Juliet, but in our version of the story, Juliet is a fickle lover. The more Romeo loves her, the more she wants to run away and hide. But when he takes the hint and backs off, she begins to find him strangely attractive. He, on the other hand, tends to echo her: he warms up when she loves him and cools down when she hates him.

What happens to our star-crossed lovers? How does their love ebb and flow over time? That’s where the math comes in. By writing equations that summarize how Romeo and Juliet respond to each other’s affections and then solving those equations with calculus, we can predict the course of their affair. The resulting forecast for this couple is, tragically, a never-ending cycle of love and hate. At least they manage to achieve simultaneous love a quarter of the time.

The model can be made more realistic in various ways. For instance, Romeo might react to his own feelings as well as to Juliet’s. He might be the type of guy who is so worried about throwing himself at her that he slows himself down as his love for her grows. Or he might be the other type, one who loves feeling in love so much that he loves her all the more for it.

Add to those possibilities the two ways Romeo could react to Juliet’s affections — either increasing or decreasing his own — and you see that there are four personality types, each corresponding to a different romantic style.

My students and those in Peter Christopher’s class at Worcester Polytechnic Institute have suggested such descriptive names as Hermit and Malevolent Misanthrope for the particular kind of Romeo who damps out his own love and also recoils from Juliet’s. Whereas the sort of Romeo who gets pumped by his own ardor but turned off by Juliet’s has been called a Narcissistic Nerd, Better Latent Than Never, and a Flirting Fink. (Feel free to post your own suggested names for these two types and the other two possibilities.)

Although these examples are whimsical, the equations that arise in them are of the far-reaching kind known as differential equations. They represent the most powerful tool humanity has ever created for making sense of the material world. Sir Isaac Newton used them to solve the ancient mystery of planetary motion. In so doing, he unified the heavens and the earth, showing that the same laws of motion applied to both.

In the 300 years since Newton, mankind has come to realize that the laws of physics are always expressed in the language of differential equations. This is true for the equations governing the flow of heat, air and water; for the laws of electricity and magnetism; even for the unfamiliar and often counterintuitive atomic realm where quantum mechanics reigns.

In all cases, the business of theoretical physics boils down to finding the right differential equations and solving them. When Newton discovered this key to the secrets of the universe, he felt it was so precious that he published it only as an anagram in Latin. Loosely translated, it reads: “It is useful to solve differential equations.”

The silly idea that love affairs might progress in a similar way occurred to me when I was in love for the first time, trying to understand my girlfriend’s baffling behavior. It was a summer romance at the end of my sophomore year in college. I was a lot like the first Romeo above, and she was even more like the first Juliet. The cycling of our relationship was driving me crazy until I realized that we were both acting mechanically, following simple rules of push and pull. But by the end of the summer my equations started to break down, and I was even more mystified than ever. As it turned out, the explanation was simple. There was an important variable that I’d left out of the equations — her old boyfriend wanted her back.

In mathematics we call this a three-body problem. It’s notoriously intractable, especially in the astronomical context where it first arose. After Newton solved the differential equations for the two-body problem (thus explaining why the planets move in elliptical orbits around the sun), he turned his attention to the three-body problem for the sun, earth and moon. He couldn’t solve it, and neither could anyone else. It later turned out that the three-body problem contains the seeds of chaos, rendering its behavior unpredictable in the long run.

Newton knew nothing about chaotic dynamics, but he did tell his friend Edmund Halley that the three-body problem had “made his head ache, and kept him awake so often, that he would think of it no more.”

I’m with you there, Sir Isaac.

Pinterest board – loves me loves me not

Thumbnails

Based on the concept which was love, I made couple of thumbnails. Some are more iconic related to the title “loves me, loves me not” and some are less iconic.

Line visual

Design process

Final design

Self – reflection

The analysis of the ‘Sunday times’ was very challenging, as for some examples, I couldn’t see the relation from the first instance. I had to read the whole article to be able to find the connection. The heavy use of illustration in the newspaper, shows the importance of the editorial illustrations.

For my title “loves me loves me not”, it was hard to think out of the box as there are some iconic images related to the concept. I wanted to make something that is still related but not exactly the same as the existence examples.

I used leaves and green colour for my design. I made my design in Procreate with watercolour brushes and texture. Added the hand written notes on the leaves.

Sources

The New York Times archive. Loves me loves me not. At: https://archive.nytimes.com/opinionator.blogs.nytimes.com/2009/05/26/guest-column-loves-me-loves-me-not-do-the-math/. (Accessed: 20/03/2024)

Brief

Most of the work you’ve created so far has been as a result of specific exercises with clear objectives defining the outcome. However, every drawing, every mark, every image you produce belongs to you and, as your property, has a potential value beyond the satisfying of a brief or exercise.
Go through the artwork you’ve created so far for this course. Review your sketchbooks, notebooks, working drawings and sketches as well as the more ‘resolved’ or finished pieces. Use post-it notes to identify the images which have elements that you enjoy. Try to distance yourself from each image’s original function, and its success as measured against your original intentions and goals, and make your selection purely on whether you enjoy the image aesthetically or conceptually. Photocopy or scan a selection from these images to make a ‘gallery’ of pictures, fragments of illustrations and drawings.
Choose from one of the areas of authorial practice and select an image from your gallery that would be appropriate for that area. Remember that you also need to identify an audience for your work within the area you’ve chosen.
If you can, implement the choices you’ve made and actually produce the artefact. There are many companies on the high street and on the internet offering services to help you transform your imagery into commercially viable or appealing objects. If you choose to implement your design be aware of the cost implications and investigate at least three alternative suppliers before committing yourself to a particular supplier.

Keywords:

• Review your sketchbooks, notebooks, working drawings and sketches as well as the more resolved or finished pieces
• Distance yourself from each image’s original function
• Make your selection on purely whether you enjoy the image aesthetically or conceptually
• Make a gallery of pictures
• Chose one areas of authorial practice and select an image
• Identify and audience for your work
• Implement the choices you’ve made and produce the artefact

Review previous work

I had a look at my previous work, I chose couple of my work to review. The range of the target audiences vary.

Making a pattern

Using Procreate, I made a pattern based on one of my artwork.

Mock ups

Self– reflection

Pattern design is one of my favourite subjects, so it was very interesting to use it in this exercise.

Reviewing my sketchbooks from my previous work was a good chance to see the potentials in my work with different target audiences. It also helped to boost my confidence to see my progress.

Although I made mock ups with my artwork, it would be very exciting if I could see them on the real objects.

Brief

Collect as many examples as possible of different characters – newspapers and magazines are a particular good source. Catalogue these characters as types – babies, children, sportsmen, old women – create your own category headings.
Decide upon a character you would like to create. This might be one from a book or story, or based on an archetype such as a businessman or vicar’s wife.
Begin to brainstorm around your character – perhaps there are characters from the media or your own life you would like to focus on.
Draw your character from the front, from the side and from the back. It may help to draw lines from the neck, shoulder, waist and knees as an aid to scale and to ensure a sense of proportion. (This is known as 360o drawing.)
Draw your character over and over again. Get into role and adopt their mood, expression and personality. It often helps to work out what they are thinking or saying. Try moving the facial features around to extremes and using a few lines and dots to represent the face. Be conscious of the contribution clothing and costume makes in describing a character.
Then try another, different, character. Make sure you come up with someone completely different, not just the same person in different clothes.

Key words:

• Collect as many different examples of different characters as possible
• Catalogue these
• Decide upon a character
• Begin to brainstorm
• Draw your character from the front, from the side and from the back
• Get into role and adopt their mood, expression and personality
• Try moving the facial features around to extremes
• Be conscious of the contribution clothing and costume makes

Research: Female Character Design: A Guide to Designing Female Characters

The primary step in creating any artwork is determining what you want to communicate. This determination is popularly known as ethos, the spiritual brother of thesis. They both have the same purpose: to answer the question of what are you trying to say/show?

Whether you are working on an anime creation, an ad campaign, or a game-characters design, we cannot stress the importance of deciding from the onset which path you want to follow. It will keep you from you being indecisive, thus saving you time and the pain of redoing.

So, drawing women is not a forte for many people. Maybe as much as you want them to look beautiful and stunning, a handsome masculine face always seems to kill the vibe. And hey, it’s okay, it’s not your intention.

How to Design Female Characters

Here is our brief article to help you design awesome female characters and improve your work quality:

The Female Face

There are definite differences between a masculine and feminine face. Testosterone hormone is responsible for the angular, defined facial hair and thickened skin in males. On the flip side, estrogen is the prevalent hormone in women, thus causing them to have softer skin, smaller and rounded faces, and lack facial hair.

When it comes to drawing female faces, you will want to portray feminine characteristics in your work. Some important feminine facial features that you may want to take into consideration include:

• Big lips
• Big eyes
• A small nose
• A thin neck

Usually, female faces tend to be oval, but you can still use a round shape to highlight the character’s weight or if you want your female character to look younger. There are no definite rules, though, and you don’t have to limit yourself to feminine traits only.

Consider using traditional male elements such as fuller eyebrows, a more prominent nose, or a thicker neck to invoke your character’s unique personality.

The Feminine Body

Female bodies come in all shapes, but there are general body type categories that you can reference to make your drawing endeavors easier. All body type groups are determined by the relationship between the shoulders, the chest, waist, and hips.

As you design your female characters, make sure that the audience can quickly identify them as females. Whereas this does not mean that your character has to be cute and super sexy, there are few things to consider:

• The fat content of your female character- A thin female character should have a more conspicuous bone structure while the shape of the bones will possibly be more spectacular. On the other hand, a heavier character is likely to have more curves.
• Weight Composition- What is your female character’s shape? Round or pear? Evaluate the fat distribution on your female character’s body to help you create a perfect design. For instance, heavier characters have fat accumulation around the waist, the waistline will seem to disappear, but curves should still be notable for a feminine form.
• Bust size- In character designing and drawing, breasts are one of the female-specific anatomies, so make no mistake about it. Do not treat the breast tissue and pecs as a uniform mass. 

Clothing

It’s important to note that media platforms (such as social media) are particularly keen against nudity. Once your creations start looking inappropriate, anyone can report your work, or sometimes algorithms may auto-flag your drawings and remove it. Therefore, it is crucial to clothe your characters decently so that all your hard work will not go down the drain.

In addition, clothing can speak volumes about your female character to resonate with the audience. It is somewhat a reflection of who the character is. For instance, you can use a head covering to reflect a character’s nature or religious background. Oh, and the shoes. They can make your female character look taller or offer insight to the audience about the personality of your female characters.

Conclusion 

Female character design is an exciting journey from designing their looks and imagining their personality. Remember that your character can be whoever you want her to be. Think outside the lines and build an awesome character.

Pinterest board

Character research

I decided to develop a character based on a business woman. I found some pictures of some business women.

Thumbnails

Then I draw some pictures based on my research. I wanted to make my character in three different postures to make a narrative based on that.

Sketches

Design process

I used Procreate to make my designs. I added some text to complete the narrative.

Final designs

Self – reflection

It was the first time that I was developing a character. I really enjoyed the whole process from the beginning to end. I think the three sequences are working well together.

To develop my character, I had some research about a female character design (face, body and clothing), then collected some visual references including real life references and some illustrations. After exploring through sketching, I finalised my character based on a narrative.

To improve my work, I would make more thumbnails and more sequences with different angles. In addition, I would add more textures to the final design.

References

Painterartist. Female Character Design: A Guide to Designing Female Characters. At: https://www.painterartist.com/en/tips/character-design/female/. (Accessed: 01/02/2024)

Brief

This exercise is designed to push you through a deliberate process of stylisation. Tackle it with an open mind and be prepared to adapt or adopt some of the approaches you discover.
Begin by drawing a cat or dog. Use reference from any source – life, photos or images from the internet. Draw the animal in a way that makes it ‘real’. Remember to describe some aspect of its appearance or personality.
Do a second drawing using no more than five lines. These lines can join up with each other and overlap or can be less connected; they can be straight or fluid.
Now make a collage from bits cut from a magazines and printouts. Let the texture of a tree be the fur for example. Have fun introducing surreal elements. Deliberately distort. How far can you bend reality?
Produce a drawn version (not a tracing) of your collage. When drawing, edit and select from the collage being aware of the properties you want to create a strong character. Review the distorted version and decide how you can refine the image.
This image can now be incorporated into a bigger image. Use your imagination and introduce at least one other element that introduces a narrative. Be creative but consistent in the development and rendering of this additional content.

Key words:

• Draw a cat or a dog
• Draw the animal in a way that makes it ‘real’
• Describe some aspect of its appearance or personality
• Do a second drawing using no more than five lines
• Make a collage
• Introduce surreal elements
• Deliberately distort – how far can you bend reality
• Produce a drawn version of your collage
• Create a strong character
• Incorporate into a bigger image
• Introduce an element of narrative

Photo reference

Realistic drawing

I made my sketch based on an image of a dog that I found online. I thought it’s cute and has got good characteristics to help me with my sketch and my finial character.

Minimal drawing

For the minimal drawing, I tried to use as less line as I can. It started with more lines and more details. For the last drawing, I used just one line without lifting my pen off.

Collage

The process of making collage wasn’t very easy. I tried not to be concerned about the end result and just have fun putting the cutting papers next to each other to make a dog out of it.

Drawing from the collage

Narrative

For making my narrative, I used Procreate. I made a landscape with the brushes I had in Procreate. Then put my realistic drawing on it. After that, I used my drawing from the collage and added some textures to make its character unique.

Self– reflection

Overall it was a fun exercise. I just tried not to be worried about the final artwork and just enjoy the process. I liked the process of making a new character out of a realistic image, it was my first experience. I would like to use this method in the future, probably for making a character for the children books or programs.

I personally don’t know how strong the narrative is? I probably could do more research before making my narrative and the final artwork.

Brief

A friend has asked you to design a tattoo for them based on the word Mum. He would also like you to make it into a greeting card that he can send his mother. (What a good idea for Mother’s Day).
Research the history and conventions of tattoos and body art – as well as the modern ranges look at the designs from the past and other cultures.
Decide on how complex your design will be and whether you will be using colour.
Draw up your design on a large scale, mindful that it will be smaller both on a body and the card.
Write up your decision making process in your learning log.

Key words:

• Design a tattoo for Mother’s Day
• Research the history of tattoos
• Decide on how complex your design will be
• Colour or B & W?
• Draw up the design on a large scale
• Write up the decision-making process

Research

The earliest evidence of tattoo art comes in the form of clay figurines that had their faces painted or engraved to represent tattoo marks. The oldest figures of this kind have been recovered from tombs in Japan dating to 5000 BCE or older.

In terms of actual tattoos, the oldest known human to have tattoos preserved upon his mummified skin is a Bronze-Age man from around 3300 BCE. Found in a glacier of the Otztal Alps, near the border between Austria and Italy, ‘Otzi the Iceman’ had 57 tattoos.

Many were located on or near acupuncture points coinciding with the modern points that would be used to treat symptoms of diseases that he seems to have suffered from, including arthritis. Some scientists believe that these tattoos indicate an early type of acupuncture. Although it is not known how Otzi’s tattoos were made, they seem to be made of soot.

Other early examples of tattoos can be traced back to the Middle Kingdom period of ancient Egypt. Several mummies exhibiting tattoos have been recovered that date to around that time (2160–1994 BCE).

In early Greek and Roman times (eighth to sixth century BCE) tattooing was associated with barbarians. The Greeks learned tattooing from the Persians, and used it to mark slaves and criminals so they could be identified if they tried to escape. The Romans in turn adopted this practice from the Greeks.

The original meanings of many tattoos are lost. However, body decorations such as scarification, tattoos and piercings have always been an obvious means of distinguishing individuals within a group, and groups within a society. On a personal level, a tattoo is part of one’s identity.

Historically and culturally, tattoos have been applied both as marks of distinction (awarded for an achievement or signifying the transition to adulthood) and sources of shame (when applied punitively). Pain is an unavoidable aspect of tattooing and to many peoples its endurance was intrinsic to initiation.

At a tribal level, tattoos can indicate age, marital status, power and class, and outside the group they may distinguish friend from foe. In many tribes, women’s tattoos were symbols of beauty that simultaneously ensured they were of no value to neighbouring tribes.

Indigenous tattooing has all but disappeared globally, but in recent years tattoos have experienced something of a renaissance in Europe and North America. The reasons for this are not clear-cut, but it is apparent that tattooing in the ancient world has many things in common with modern tattooing.

Pinterest board

Mind mapping

Thumbnails

Final designs

For my final artwork, I wanted to include a heart, red flowers, butterflies and the word “Mum”. I decided to use a square 8 in x 8 in format and use of colour.

I used ink brush on Procreate for the outlines also for the painting.

Resources

Welcome collection. A brief history of tattoos. At: https://wellcomecollection.org/articles/ (Accessed: 17/01/2024)

Brief

For this exercise you are asked to provide an illustration for use on the menu of a sophisticated, quality fish restaurant – one in a chain sited in major European cities. The menu uses fresh ingredients and the ambience of the restaurant is modern, bright and contemporary in design. Any food depicted needs to be visually appetising.
Although the image will be used at a small size on the actual menu, if it is successful the restaurant would be interested in also using the image as a logo on their stationery and vans. As such the image will need to
be reasonable simple and clear.
You will probably want to work on the artwork at a large scale but you need to provide an example reduced to 40mm x 40mm as it will initially be used.

Key words:

• Illustration for the menu uses fresh ingredients
• The restaurant is contemporary in design
• Any food depicted needs to be visually appetising
• The image will be used at a small size
• The image might be used as a logo, stationary and vans
• Simple and clear
• Provide an example at 40mm x 40mm

Mind mapping

Research

I gathered different images of some menus from fish restaurants as well as some fish foods. I personally like the orange colour of shrimps. I think it’s eye catching and vibrant.

Thumbnails

Based on the brief, the illustration should be simple and adaptable to different sizes.

Sketch

My choice for this illustration is shrimp. I made sketch and will work on Procreate to make my final design.

Design process

Final design

Mock up

Self – reflection

This exercise was a bit complicated, as the illustration needs to be adaptable on both small and large scales. I like my watercolour effect shrimp, however, I’m not quite sure about the large scale. I worked on a large canvas but I think it needs to be a vector image for a very large scale.

Brief

You are asked to produce a cover illustration for a natural history book for children (age 7–11) entitled Animals from Around the World. The image is to be used as a full colour front jacket to encourage children to choose this book from the library shelf.
There is a long history of covers for children’s reference books and styles have changed over the years; however people have become used to ‘reading’ the imagery used and have expectations of what such a
cover will look like. Think about a modern audience and how you can attract children to the contents.
Draw up at least three ideas as coloured client visuals. Include information on the final the size and format, and where the type will be positioned.
Note in your learning log the decisions you made through the design process.

Key words:

• Book cover
• For children aged 7-11
• Full colour front jacket
• Three ideas as coloured client visuals
• Include information about size, format and where type will be positioned
• Note the design decisions you made

Pinterest boards

Mind mapping

For my three ideas, I wanted to have a design contain one animal, two animals and a group of animals.

I decided to use Procreate to make a digital designs with watercolour, acrylic and pastel effects.

I collected some images of animals from the internet for my references. I wanted my illustrations to be quite realistic as this is a fact book.

Thumbnails

Design process

Final designs

Self-reflection

I used digital art as my medium to create my design, as this is one of my favourite media.

I wanted to choose a dynamic layout, quirky image and playful typography to attract the target audience’s (children) attention.

I personally think that the designs with more than one animal are more successful. I especially like my second design; zoomed in rhinoceros and a small rodent. Three different designs give the client more ranges to choose from.

Resources

• Google images. At: https://images.google.com. (Accessed: 12/01/2024)
• Pinterest app. (Accessed: 12/01/2024)

Brief

Find a range of illustrators who use a particular medium. You may focus on the traditional such as pencil, watercolour, paint, gouache, coloured pencils, oil or acrylic paint, coloured pencils, collage, prints or on the more obviously digital processes – including digital collage, photography, digital drawing and painting.
Catalogue the illustrators according to similarities in the way that they use tools and materials. How do they distort or exaggerate the representation of elements in their work? How do they communicate through use of metaphor or symbols?
Choose one image which you most appreciate visually. In your learning log write about the way that the illustrator works. It often helps to begin by describing a picture. Ask yourself questions as you write such as: How is the image composed? How are colour, tone, and texture used to evoke mood or convey an idea? Has the illustrator distorted the content within the imagery and how does this work for the purpose the image fulfils?
Go back to a visual you created for an earlier exercise and now render it using the same tools and materials as your chosen artist.
Now choose a very different artwork and repeat the process.

Key words:

• Find a range of illustrators who use a particular medium
• Catalogue the illustrators according to similarities
• Choose one image
• Write about the way the illustrator works
• Go back to a visual you created for an earlier exercise and now render it using the same tools and materials as your chosen artist

I decided to make my research based on the Illustrators, who use collage as a medium.

What is collage?

Collage is an art form and technique in which individual pieces or materials—think of pieces of paper or photographs—are assembled into a new and autonomous artwork with a predominantly two-dimensional character.

We stress the two-dimensional character of Collage Art, hence its three-dimensional sibling: Assemblage Art. In this case, the artist creates

Traditional collage artists

• Pablo Picasso
• Robert Rauschenberg
• John Baldessari
• David Hockney
• Man Ray
• Henri Matisse
• Martha Rosler
• Max Ernst
• Kara Walker
• Richard Hamilton

Contemporary collage artists

• Laura Romero
• Marvin Owczarek
• Ilaria
• Yvonne Coleman Burney
• Claire Gill
• Murat Akyol
• Resin Acir
• Theo Caloyer
• Alex Contreras
• Gary Hoang

Analysing an image

After looking at the collage artist, I got interested in Gary Hoang’s work. So decided to do more research about him.

Gary Hoang was born in London, England in 1991. He works in the medium of digital collage art, and focuses predominantly on contemporary and vintage surrealism. He enjoys incorporating the notion of fantasy and dreams in his work, particularly through images of space and vintage photographs. Gary completed his BA in English Literature at Westminster University in 2013. After graduation, he immediately left London to go to Seoul, South Korea, to become a teacher. During his time in Seoul, he discovered collage art and experimented with it. He has been making collage art daily ever since, and has been creating his fantasy world.

Original design

Digital collage

Self – reflection

After this exercise, I’m more interested in digital collage. I would like to explore this technique further and use it in my artworks.

I think my final artwork is more interesting that the original. Using texture and images made it more effective.

Resources

• ArtUpon. Art Collage. At: https://www.artupon.com/art/collage/ (Accessed: 28/12/23)
• ArtUpon. Gary Hoang. At: https://www.artupon.com/gary-hoang (Accessed: 28/12/23)
• Contemporaryartissue. Collage artists. At: https://www.contemporaryartissue.com/top-25-collage-artists-in-the-world-a-complete-survey/ (Accessed: 28/12/23)