Assembling My Posters in InDesign
Once I felt satisfied I knew roughly how I wanted my posters to look, based on the mock up, I began shifting and fixing my composition to a grid in InDesign, making things come together for my final posters, playing with colours and composition, choosing typefaces and sizes.
Fleshing Out My Composition with Adobe Comp for iPad Pro
Having selected my idea, I scanned selected sketchbook spreads, picking pages that had a likeness in illustrations so that my posters would have some continuity and the narrative across the three would be evident. I then proceeded to mock up my ideas using Adobe Comp on my iPad Pro (see below), so that anything I design that I thought worked well in terms of composition, could be directly sent to InDesign, in order to be set properly with grids, layers, and kerning and tracking.
Drawing Out my Initial Poster Ideas
Before working with images directly from my sketchbook, I scribbled three possible composition ideas as a guide so I didn’t feel like I was just making it up as I was going along and that creating a more developed mock up in Adobe Composition would be less time consuming. The process of doing this was helpful in getting me to visualise how my idea would fit to the final poster format, which isn’t something I had really considered in great detail beforehand.
Working with Imagery from My Own Creative Process
Looking at the ways in which other sketchbooks are presented made me think about how best to present my own creative exploration/ process; in terms of the illustration of different materials in many of the publications I looked at, as well as the inclusion of rough sketchbook notes – which is appealing because they feel authentically created.
Riso Test Printing PRICK Poster proposal
Having come up with some designs for the greetings cards, I went about trying to develop the cards and see if there was a way I could prep paper and a format to create greetings cards from one sheet of paper – meaning folding down a sheet of A3 into A5 or A6 cards. Because Gynelle and I had discussed riso printing greetings cards I went on a hunt in Shepherds to try and find suitable paper for printing my cards onto. But since the thickest paper that can go through the riso is 250 gsm and my visit to Shepherds just meant I found paper that wasn’t thick enough or card stock that was too thick I thought to push the drawings into riso posters instead, as a proposal of the kinds of posters that could be sold in the shop.
Ideas for PRICK’s Greetings Cards
After getting to grips with the social media posting, promoting cacti and succulent illustration, I moved onto my next task which was designing greetings cards for PRICK. I had initially showed Gynelle some illustrations in my sketchbook so she had an idea as to what I had in mind for the greetings cards – which helped me communicate my thinking with her so that her ideas came from what I presented to her.
Social Media Posting for PRICK
Following my research on artists and illustrators, I felt confident enough to start posting once a week. I found that doing research prior to posting made it easier to post content that was in line with the brand and the other things shared on PRICK’s page – cacti and succulent news or images from the shop. I also felt as though writing a small summary was my opportunity to draw people into the work and draw attention to PRICK’s page but also to promote artists work and intrigue into cacti and succulents. It was important when posting work that belonged to other artists, to make sure credit was given thus I made sure to add a link to either social media where more work could be seen or a portfolio.
Researching for Social Media Posts
One of the main tasks I’ve been set interning at PRICK, has been the responsibility of posting about illustrators who depict plants. I asked Gynelle what she had in mind for the posts, in terms of their content and she just suggested I included 2-3 cacti specific artwork images and a small description about the artist or artwork.
Nobody Knows: Yoshimoto Nara drawings
Upon looking at presentation of sketchbooks by both Frida Kahlo and Sara Midda, I found myself drawn to the sketches within Nobody Knows: Yoshimoto Nara drawings. It was enjoyable to see that the paper stock used in the book was textured and quite thin, like sugar paper. Thus making the book feel as though it were a sketchbook because the illustrations, although printed, gave off the illusion that they were drawn directly into the book itself.
Sketchbook from Southern France by Sara Midda
After looking at The Diary of Frida Kahlo, I realised I enjoyed the fact the publication itself was made as a replica of her sketchbook so that the reader felt as though they were looking through the physical object itself. Asides from the illustrative use of different media, I really enjoyed the way her sketchbook’s front cover was pictured in the book, almost as if the physical object had been put face down on a scanner.