Duffryn Gardens

As part of the research and development phase of the project, I went on a trip to Duffryn Gardens in the outskirts of Cardiff, Duffryn Gardens is filled with very large scale gardens and pieces of art, although time restrictions were very tight, I was still able to visit the large scale manor placed within the center of Duffryn Gardens and a small amount of the surrounding areas.

I found Duffryn House to be filled with well presented and high-quality interior design, I found the patterns used within various areas within the house to be very interesting and thought-provoking. Alongside this, the house was also filled with various art pieces and carvings carrying heavy messages and visual metaphors.

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Within the house, one art piece, in particular, stood out to me and therefore required further analysis and specific mention and annotation.

Bloom

While exploring the vast corridors of Duffryn House, I came across a small room with a single-window, the walls were covered in what looked like flowers with long stems, some reaching up into the ceiling. Upon closer inspection, I found that these flowers were carefully crafted from individual sheets of paper. I think this piece symbolizes the coming of new inventions from old material, The clear extreme effort and skill put into this work is reflected in the high quality and professional aesthetic, the work was very aesthetically pleasing to look at and explore the small, fragmented messages strewn about the room, sometimes only a few words or even a single name were visible, regardless, they still gave small insights into the stories that were written on the recycled paper stock from which these flowers were crafted. I think this is particularly what makes the work interesting, the small messages give the viewer something to explore, they aren’t simply just nice-looking flowers that can be looked at, the viewer can stand at the solitary window and read through the small amounts of information within view for hours and they explore around the space.

Something else I found particularly interesting about the trip to Duffryn Gardens was the level of interactivity present within particularly Duffryn House, for example, in one of the rooms there was a large grand piano, visitors were free to use it themselves and play what music they want. In the Billiards room there was a vast Billiards table with sticks available to use and the table was set up and ready to play, the full list of rules were in the room on large signs so anyone who visited the room could come in and play for as long as they pleased, surrounded by grand interior design and near royalty standard carvings that covered the walls.

Overall I found my trip to Duffryn Gardens extremely interesting, it gave me insight into how to create interesting and interactive pieces of work. The level of interactivity within the different areas of Duffryn proved particularly interesting. I would like to visit again soon where I have additional time to explore the vast number of different gardens available at the 60-acre site within Duffryn Gardens.

Pulling Inspiration From My Practice

For my Field project, I have been tasked with creating a public display art piece. One of the reasons that I decided to make this project one of my Field chooses was the fact that my previous Graphics project was creating the branding and navigation systems for an exhibition. I think much of this knowledge will be able to be transferred over from one practice to another. Within my exhibition based branding project, I created many concepts for large scale art pieces as well as formed a general visual language for the exhibition and the promotion itself.

Much of what I had learned within this project was about creating visually striking work that focussed on a strong visual metaphor that looked interesting as well as carrying emotional weights alongside with it. As the topic, I chose required mature and careful planning as it was a very serious topic (The Chernobyl Disaster of 1986). I was challenged to create serious-looking art that yielded a sobering feeling to it. One of the works that I planned to create was a large scale mural piece that would exist within the exhibition space. Many digital outcomes were made for this however due to the strict timeframe and extremely long creation time estimated, I was unable to push this outcome through into something physically crafted, this was met alongside the fact that my brief mentioned that we were not meant to actually make the art pieces contained within the space. I wonder if this project is an opportunity to take something that I have already planned and apply the different techniques and processes that I will learn over the next few weeks to change, adapt and improve, then finally I could potentially craft at least part of the mural itself. One of the improvements that I would make to it in order for the work to fit the brief more accurately would be to make the viewing a multi-sensory experience, contemplating the extra experiences that I could apply as well as where the art would take place in order to achieve maximum impact.

My digital mock-ups for the mural (Turned into a large scale bus stop advertisement) are posted below.

bus stop ad A2

Annotations & Visual Metaphors

Using the official Russian death count for Chernobyl made out of hundreds of fingerprints I have created an impactful piece that attracts audiences in from far away, I will include small parts of information around the edges. However, for this example I want the main focus to lie only on the number as I feel that would make the piece most effective.

Researching Public Spaces and Artworks

On Thursday of this week I will be attending a trip to gain primary research for exhibitions and public works of art, however I think that before that happens, it would be advantageous to me if I were to conduct a small amount of secondary research using the internet as a resource, this will give me a larger pool of knowledge to pull from ready for when I explore a designed public space for myself, allowing me to photograph the most interesting areas as well as research that example more effectively.

The Jewish Museum

Within my initial blog post I stated that the Jewish Museum would be an effective point to start my research, while my lecturer has provided a large amount of existing public art to research and while I do plan to research those examples as well, it seems worth the time to find some of my own examples and evaluate those alongside the large pool of provided research.

How Does The Jewish Museum Create Public Art & Translate Emotion Effectively?

There are many examples of emotional triggering experiences within the Jewish Museum. Many of them are to envoke a grand sense of scale within a small room, after all, simply writing the number of deaths does not invoke emotion, as it simply just a blank number. However an effective way this is done within the museum is that to demonstrate the sheer number of belongings that have been taken from Jewish people, the museum does not ask the visitor to imagine this, but instead, it quite literally demonstrates it using multiple small rooms. Within one of these rooms, around 40,000 pairs of shoes are piled for meters high on top of each other, the next room contains 40,000 pairs of glasses, pulled from those who suffered. This concept, when put into a particularly small room, will give visitors a much greater sense of scale than if the number were simply written on a piece of paper. The fact that wherever you would look within this room, you would only see towers of shoes scaling the walls and perhaps reaching up to the ceiling serves to force the individual to appreciate the pure scale over the catastrophe.

majdanekshoes

Another way to try and envoke emotion is to do it subtly, so that the visitor will only notice once they have reached the end of the very gradual change, while this can be anything, the Jewish Museum does this within one of its rooms floors and walls being on a very slight angle, only two, or three degrees off from being perfectly straight. Not enough for the visitor to notice it immediately, but enough so that while visitors are exploring the space (Perhaps a long corridor) the walls and ceiling slowly close in around them, however, they still do not notice, only once they cannot stand up straight anymore will they begin to notice what has been unknowingly done to them. While this may not be to represent a sense of scale of any kind, it does perhaps try to symbolize the slow and degradation of quality of life for the Jewish people under Nazi rule, the Jewish people constantly saying that these things will not happen to them, only for them to realize too late whilst their families are being taken away by train and their freedom all but taken from them do they realize that it too can happen to them. This is reflected within the space by the visitors not realizing that the room slowly closes in around them, but they not realizing until they no longer can stand, perhaps at this point there are too many people behind them? but there is not enough room for the visitors to move around those that are walking behind them, effectively slowly trapping them into a space of which they cannot immediately get out of, I feel this effectively echoes the state of panic felt by many as they were perhaps bundled away from their homes and onto trains where they may not ever have seen their loved ones again.

I think both of these ways of invoking emotion are effective, while subtle changes may be more difficult, I think that this gives a more gradual build-up followed by a deeply emotional reveal. Whereas the first example is more effective if the artist is hoping to achieve a sense of awe and shock to the visitor. Walking into a room and seeing a colossal collect of objects, something that perhaps the mind would struggle to imagine when placed outside of the space is particularly effective. By having someone that someone would struggle to imagine, making them see it will envoke a strange feeling, something unique to that exhibition and will serve to interest the viewer into finding out more about what lies in front of them, making them crave a sense of context so that they understand what this artwork is.

https://thejewishmuseum.org/exhibitions#current

Sites, Spaces & Public Places, Introduction

Within the sites, space & public places field module I will be presented with work within the mediums of;

The public realm

Public art

Site based work

Making & effecting a change

Finding competitions and commissions

Reviewing briefs and requirements

Pros and cons

Lectures, talks, site-visits, externral consultant.

Immediate areas to explore

Insole Court Llandaff Cathedral, Taff Trail, National Museum, CSAD Campus.

Within my first week I have been tasked with considering the site where my work will be placed, important questions to ask myself while reviewing spaces include; What is around the space? Why would I choose this space in particular? as well as what I actually want to achieve. I think this last point is especially relevant given that I need to set myself an achievable goal, so this means that my chosen space would be somewhere in Cardiff where I can easily go and visit it under different lightings and moods, this will allow me to reach judge the space to its full potential, whereas choosing somewhere extremly far away that I would only be able to visit once or twice during the duration of the project.

I think that Graphic Communication will be particularly useful in the development stage of this project, Being able to quickly and effectively mock up layouts will allow me to explore a large amount of alternatives in terms of how the work will be positioned, partilcularly if I decide to create my work on paper. However I think for this project, It is important to explore work that is created physically rather than printed, as the very essence of Field is to push me beyond my practice, but also I need to constantly be thinking of how my expertise within my subject can be used to push my work further, as well as how others expertise can be used to push my work even further.

Throughout my previous Graphic Communication projects, I have already looked into a large amount of extremly relevant information and research. My mind calls back to my reseach on “inbetween” places in level 4 for my editoral project, as well as my branding project more recently where I was tasked with creating the branding for a theoretical exhibition. One piece of this exhibition inparticular that calls to mind is my concept for a large scale mural piece.

A greater amount of reseach is required into the functional ways of a exhibition, exploring how a space can reflect the work within it as well as how a work can be interacted with. Since I have been given a brief outside of graphics, it seems a wasted opportunity to simply create a design on a piece of paper, the idea of interactivity interests me greatly, I think that if you can get those who view your art work feeling involved in the work, then it will not only hold a much greater impact, but it will also attract more visitors to interact with it physically.

An effective way to evalutate what works will be effective within a space is to research some already made examples, one example that comes to my mind that I plan to research heavily is “The Jewish Museum”. The museums way of translating a sense of scale is very interesting to me.

An already proven effective way of making an exhibition is to make it an experience, rather than simply a work. This can be done by making the exhibition a multi sensory experience, will the space smell differently once you enter it, for instance if someone were to make a public memorial of those who died during the Columbine massacare, once someone enters the space, would a vent release a fragence that reminds those within the space of the scent present within a Secondary school Classroom? So that while vistiors have their eyes being stimulated by an art piece, their noses are also being stimulated in the background, effectively making the piece a multi sensory experience.

Rather than multi sensory experiences, multi layered experiences can be used to involve those within more space more intimatly. Although this is usually very difficult to do with a public art piece due to the fact that multi layered experiences are usually unique to every person, for example, feeling a strange sense of familiarity when interacting with an artefact never seen before due to its shape reminding a viewer of something experienced in childhood etc. So becuase of that I imagine that trying to repliacte that to a wide range of people will be almost impossible, however if I can achieve it a powerful art piece that meets much of the criteria should be created.

It is important to consider when coming up with different concepts for my public art space, is how that change will affect future change, as well as ensuring to contemplate the ageing process of the art piece, ensuring a graceful ageing is important as it will spend much longer ageing that the time it would be considered new and fresh.

I am excited about the project that awaits ahead of me, I already have a basic knowledge of how to execute a piece of work within this format effectively, however I do lack the skills to make the works physically, I hope to work on this throughout the next five weeks in order to broaden my skill set and return to Graphics, a more versitile and skilled designer.

On Display, Reflective Evaluation.

Looking back at this project I found that I overall very much enjoyed creating a brand, the research particularly interested me, the freedom within the project allowed me to choose a topic that I was very interested in, allowing me to add my own specialist knowledge to a graphics related brief. I found the time constraints to be a major factor within this project, I think that I require much more time in order to complete everything to a standard that I was happy with, I think that I spent a very long time researching, however, I found this necessary, I think that if I rushed the research stage too much, then the quality of my outcomes would be hurt immensely, I think that I would benefit greatly from an additional week or two in order to allow me to experiment more with in the development stage of the project. I found my outcomes to be professional and reflective of the topic that I chose to explore, However I think that in particular my animation and digital presence could be developed much further and would benefit greatly from further development and could potentially become one of my strongest outcomes if the extra time is put into my final outcome. The exploration of my work was very interesting to me though, I found my Previous projects in level four really helped to prepare me for this project. Allowing me to successfully explore effective visual outcomes that created a well designed and intelligent visual style. I learned more about animation, more effective ways to research as well as a broadened my overall graphic design skills by using new ways of creation, such as use with an Ipad as a drawing tablet which allowed me to draft out ideas fast and effectively. I will use many of the skills that I have learned over the last five weeks in the future, as well as most likely continuing to evolve and develop this particular project further and further over the next couple of weeks, so that I can develop my portfolio as well as the fact that I feel I’m just not quite ready for this project to end yet. This was most certainly my favorite project of my Graphic Communication Degree so far, and I only hope that I feel similar about further projects to come. depending on how effective my outcomes are marked and what my grade is, this project makes me contemplate a potential future within the branding branch of the graphic communication industry.

Final Outcomes

Poster

Moving my posters into their final outcome form. I have sketched out the tower for reactor building number four, I found that if you were to ever search for Chernobyl on the internet, you would be overwhelmed with photos of this tower, making it an extremely interesting and relevant part of the overall image of Chernobyl. The tower helps to guide the viewer’s eyes down the height of the tower, Looking at the information down the page as they approach closer. I have also included a subtle map of the affected area within the background. I wanted to include some kind of radius based circle showing the size of the affected area, while this would have been interesting, I think my small colour scheme makes it so the radius would have to be a deep red colour, because of the multi-coloured logo marque and tower this would then create immense legibility problems, so I have decided to just have a grey background allowing for more focus within the tower and typography. I think this works effectively as a poster, while not being my strongest outcome, I do think that the geometric angles present within the cooling tower matches the typography, the slight angle of the tower matches in with my follow the rules, yet break them slightly approach to work, There are multiple sizes of text in order to entice viewers to come closer. I think this poster would work more effective when printed on a slightly smaller scale than my other outcomes, as the subheadings and info text is still very large, making a large scale print less enticing. I think this poster could be improved by changing my colour scheme in order to accommodate a greater number of colours and shades in order to make both the map and the tower more interesting and detailed.

My second outcome takes an element of my Bus Stop Ad (Mural). And then converting it into a poster, Exporting one of my fingerprints and then extending some of the linework to match the tendril effect present within the logo, I then made this the only main focal point for the work and slowly erased a small amount of fingerprint lines from the image and then used Adobe Illustrators Type on a path tool to create single, flowing lines of text that detailed small parts of the exhibition and also named certain vital individuals involved in the cleanup, these consisted of mainly hidden heroes that perhaps had the most influence throughout the entire booklet. I then took one of my concepts from very early on in the project that saw a large number of positive reviews and created the unstable and disorganized English text, with a solid and organized Cyrillic alphabet positioned behind it. I think this is my less effective poster, however, I do like what I have done with the art of the fingerprint, this could couple very well with the logo as well as form the basis for my animated, moving identity. I think this poster may need some further work, due to the large image and very small body copy in the corner stating small amounts of information of where and when to find the exhibition I think this outcome would work more effectively printed very large scale in comparison to the first outcome. I like elements of this poster, however, I think as a poster overall, it does need certain areas of development.

Leaflet

leaflet final

Reflecting on my previous leaflet layout, I decided to move the text around the space a lot more, making the pace much more dynamic and while minimal amounts change with each spread, the pace remains ever-changing and different for each spread.

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Originally, I did want to cut out the different sections with a scalpel, After seeing that this would take a very long amount of time as well as it potentially lacking large parts of details within the fingerprints. I then wanted to laser cut the paper, giving small burns seemed to work well as it would age and slightly degrade the paper stock, however after being informed that the heat from the laser cutter would simply cremate the paper, this was no longer an option for me. I finally decided to print the covers on acetate, allowing the fingerprints to become transparent, not taking a long time or losing the detail that manual cutting would. The issue that I found with printing on acetate was that while the fingerprints were transparent, the areas that I wanted to become opaque were merely translucent, this does slightly dilute the impact of the effect, however, it seemed the best and only real way for me to achieve the outcome that I desired. The ways for this to be solved in the future could be for me to potentially simplify the fingerprint however that would cause the work to achieve a different aesthetic and potentially lose the stylised look that I have achieved within this leaflet.

I find the body copy to be dynamic and effective, the information within the body copy is interesting, using pull out quotes to give the viewer something impactful to focus on for each page, increasing interest so that the reader will continue on through the body copy to learn more about my exhibition.

I think that overall, this leaflet is one of my strongest outcomes, Clearly containing a strong visual language and identity, being interesting to look out, allowing it to stand out among other leaflets while still containing a large amount of interesting information that is presented intelligently and creatively, all while managing to avoid cliches. I think that in future I would change the way that the covers are made as well as experiment more with paper stock colours, perhaps some pages will be red, some will be black and some will remain a light grey colour.

Digital presence

Instagram ad 2nd page i

Instagram ad 3rd page

Instagram ad front cover

Animation & Logo Marque

Logo Marque

animation layer 2

Hidden Heroes App

hidden heroes

Bus Stop Advertisements

bus stop ad A2

Creating A Developed Logo & Logo Marque

After a tutor review of the work I have created so far, it was pointed out that the logo looked far too neat for what is essentially the undoing of a nation and the citizens located within it, the unraveling concept that I have mentioned previously within the blog can be explored to a much greater extent, potentially existing across all areas of my promotional material. As it is my logo and therefore, the first thing many people will see about my brand, I found it important to improve that first and this time, focus on the “unraveling” concept.

After revisiting my logo design went back and also experimented with the logo texture itself in order to try and see what alternatives will look like in order to ensure that my design is optimal. However I ended up going back to my original layout, applying a small amount of colour to it and then beginning to add these tendril type effects to the work, This was made using Adobe Draw on an Ipad and then added to the logo later on within illustrator so that the drawing remains vector. I like the way that this looks, the tendril makes it so whenever the design is added to a column-based editorial, while the letters will remain within the boundaries, the tendrils will stretch out and break the margins. I think this fits the unorganized but not necessarily badly designed outcome that I want throughout my work, I find it also symbolizes both the unraveling of the facts after the events of the Chernobyl disaster, as well as the physical unraveling of the human DNA system when affected by ionizing radiation. Proving to be a strong logo to head my exhibition with. However, I do think that the tendrils are beginning to dilute the fingerprint aesthetic, to fix this I will need to develop my logo slightly further into the final outcome that will then be placed all throughout my work.

Final Logo Outcome

My final logo gives off a sinister atmosphere, perfect for my exhibition. Effectively setting the mood for the work that will follow once people visit the space. The tendril effects have been developed massively to look slightly chaotic but still echo the looks of fingerprints as they slowly decay and sprawl outwards and dissipate into nothing, I think this fits the atmosphere that I have desired throughout the brief perfectly and sets the tone of the exhibition very well, doing exactly what a logo is meant to do. It remains bilingual and colorful but still extremely serious, legibility is almost lost on the translation part of the logo however the overall word is still legible, echoing the now hardly accepted and lesser-known lies and extended truths put forward by the Soviet government at the time of the accident. With the much larger and more formed translated alternative positively glaring the viewer in the face, the tendrils serve to make the logo look less geometrically perfect, showing the ugly and unsettling truth to the facts of the Chernobyl disaster while the fingerprint texture still allows you to easily read the words from both a far distance, as well as up close. This logo will work to break apart the page when placed into things such as my leaflet and posters, attracting focus but not becoming the overall focal point of the piece, overall being an extremely effective and visually interesting logo.

Developing Murals

Moving past the conceptual stage I have made some digital mock ups of my mural concept.

bus ad plans

To create this piece I began by using an ink pad and pressing both mine and others fingers onto the pad, while the ink was still wet on my fingerprints I then pressed onto the page to inprint my fingerprint permanently onto the page, doing this multiple times per ink dip in order to achieve different opactities and textures within the fingerprints. This improved the look of the fingerprints when pressing on towards the next stage of creation.

Following on from creating and pressing the fingerprints, I then scanned the fingerprints in and digitsed them by removing the background from the photos, allowing me to then begin positioning them into the pattern that I desired

After further research I discovered that the official Soviet death count for Chernobyl is not infact 3, but is actually a much higher 31. Although this number is much higher it does not reach anywhere near the international expected death toll and the figure 31 most likely looks better than a single three when placed within the page boundaries.

fingerprint bus ad 1.jpg

This piece took only one or two hours to create, the majority of the time was taken up by the conceptual and thinking stage within the piece. The fingerprints were made with two different techniques involved. the “one” figure was created using individually selected fingerprints that were moved across documents, and placed within a stencil type layout until the number figure was formed I then removed some fingerprints so that it did not look too exact. The “Three” figure was made faster and differently. by clumping together fungeprints in a different document, I then duplicated and moved the clump over and over again until i had a large square filled with fingerprints, I then simply erased all of the areas that were not contained within the three figure.

I think that the one figure does look much higher quality, it fits the overall style of the piece much more than the pattern based outcome. However making a pattern was much quicker and so for development pieces I think the pattern effect would work more time effectively. However for final outcomes I think the only option is to make the figures out of individual fingerprints over a pattern.

I think this is by far my strongest outcome of the project so far, the striking appearance works to draw all passer bys attention straight to the piece, however the fact that it is crafted with hundreds of fingerprints gives the work a deep and impactful reveal factor, it confuses viewers enough to lure them in further and learn about why the number is 31 and why it is made of fingerprints. The plain colours match my style perfectly and mirror the aesthetics of my overall visual identity, being choatic, yet strangely organised. given the strength of this outcome I think I would like to take this “Chaotic, yet organised” style much further. Perhaps moving it into my leaflet body copy as well as the content within my posters.

Developing My Leaflet Further

Creating Spreads

I decided to keep with my front cover idea and use that inbetween each spread, as the project brief states that it should contain eight pages of information it made sense for me to split the leaflet into four different sections. The research and sections are found prevously on my blog, I simply have to apply the text and information onto the spreads in an interesting and relevant way.

leaflet spread 1 blog.jpg

Using the first spread as a way to present all of the headings and use it as a sort of contents page helped to make my leaflet look more professional and organised as well as make it much easier to navigate, this may be nessecary if I am to use cut out covers inbetween each double page spread. I used the diagonal split technqiue in order to save space as well as free up a large section in the centre for body copy, quotes, sub headings etc. I think this makes the page full but not too busy with the help of a very light coloured background in order to assist in opening up the available space. Using a black background may have made the page look smaller as well as force me to use different colours within the headings. Origionally the page number was placed on top of a much larger, black fingerprint however if I did this is seemed to become the focal point of the page, this disruped the heirarchy as well as made the page seem too chaotic and full. dilluting the organised and clean cut finish of the diagonal lines present throughout the spreads.

Spread 2

spread 2 blog

I feel in this spread I have not used the whole space of the page effectively, the body copy present within the left Hand page is very organised and regimented, which I do not feel reflect what I have done with the English headings, with chaotic headings and lacking uniform kerning. This type of body copy will be suitable for if the body copy was translated to a Cyrillic alphabet. I do think the headings are effectively drawing your eye to the top of the page, with the diagonal line forcing the hierarchy down towards the bottom of the page. I think to improve this design I should take up more of the space with the body copy, as well as making it slightly less organised, however this will take much care to do as I want it to fill the space appearing unorganised without it looking poorly designed on the page. I think that including something else that draws a large amount of focus is important as well, giving the eye something else to focus on other than just the headings. Perhaps placing my logo marque within the bottom corner will help fix many of the issues that this spread is being affected by.

Making Large Scale Adverts & Location Plans

Now that I have a basic high-quality plan for what the majority of my exhibition will look like, I’m deciding to move forward onto developing the posters and advertisements further. Looking at making advertisements that would exist within the exhibition.

While I already have plans to create a hidden heroes booklet, I think that something large scale is required, a mural type piece to look at while exploring the space within the exhibition. My plan is to make the exhibition along a very long corridor and have the mural based piece present at the end of the corridor, thinking of places where long corridors like this exist that will remain relevant to my topic, bunkers seem a fitting location and after a short amount of research I have found out that there is a disused nuclear bunker placed under Dover castle. While the geographical location is unrelated except they do already hold exhibits there currently and the actual type of building seems very appropriate for an exhibit for this kind. This would allow my mural concept to have maximum impact.

Drafting out some initial sketches of what my exhibition might look like I think that the mural piece will be effective and the educational base for what my exhibition will about seem to fit a narrative past, present and future based layout, the sketches for the layout of the exhibition are as follows.

mural concept sketch

Creating The Mural

In terms of what the mural is actually going to be My initial concepts are to place a manually constructed collection of small, life-sized fingerprints over a very large wall. These fingerprints will slowly clump together in order to form a large number three. My initial research suggests that three is the official Soviet death count for the disaster that occurred at Chernobyl, this has been unchanged since 1987 and they refuse to change it despite the facts emerging that place the actual death toll somewhere around 90,000 and that number will likely continue to rise as generations of birth defected children are born due to irradiated parents giving birth inside a still heavy radioactive area around Chernobyl. I think having the number three made entirely out of hundreds or perhaps thousands of individual fingerprints displayed over a large wall will be extremely impactful and if created to high quality, it will likely become the advertisement piece that introduces my exhibition in other areas as well. Another layer of detail I plan to include within my mural piece is that once the viewer gets extremely close they will see that some of the lines that make up the fingerprints of some of the fingers will instead be strings of extremely small body copy that displays names of those who have died, or perhaps facts about the deaths that occurred. This will not only keep viewers interested as they walk around the exhibition but it will also play more into the individuality aspect of the hidden heroes booklet, as well as the fingerprint texture logo marque that is being developed alongside everything else.

My concerns for this are simply the time that it will take to draw and create all of the fingerprints, however, if I do run out of time the piece could simply be mocked up digitally and then plans can be made to show how it would be created physically.