Welp! It’s finally here, the final 2D post of Sem. 1 :’D


I was initially inspired by Japanese Packaging/Brand Design from stores such as Kinokuniya and MUJI.

Their effective use of simple shapes and colours caught my interest and I delved into reading about Japanese Graphic Design.

In my research I was trying to look for distinct identifying features of the style, but I couldn’t figure just what exactly it was

Things that did stand out to me though, were their use of typography, simple shapes/designs, abstractions, and their ability to (seemingly) haphazardly toss things together and still make it work.

Not finding the “thing that makes it Japanese” so to speak, made me constantly worry if the designs I made were or were not going to be of the aesthetic. My fears were eased a little after Joy shared some links and a quote saying

“People ask me to define Japanese graphic design, and I can only respond, “Well, it’s kind of difficult, and here’s a long explanation as to why.” It’s hard to narrow it down to one definitive characteristic because it’s just so diverse. ”

And this open-endedness leads to the challenging aspect I was facing, but also, large room for interpretation.

I also have this want to have some degree of variety in the designs cause I’m afraid it’ll come off as “Hey look he doing the same thing over and over again”. Which is kinda funny, cause inevitably there’d usually be some recurring aspects to everyones work.

Another thing that I was afraid of, was as my reference material had so much Japanese typography, I was afraid of relying on them to tie the piece together, and so I made it a point to make sure the designs were solid enough before I added the typographical aspects in. With that, now onto –





I find myself constantly thinking constantly, analyzing especially OVERanalyzing. The different aspects of my thoughts are portrayed by the collage of different brains and it also signifies the messiness of my mind as well. The green rectangle is my pursuit to think outside the box. A quote “As above, so below” which means that things are a reflection of things elsewhere, inspired me to make an illusion to trick the brain with word MIND reflected at the bottom. However, this isn’t actually the case, and only seems like it at first glance, even if rotated, the words below is actually DNIM.


The first thing that came to my mind when thinking of creativity is a burst of ideas. I tried to capture that visual in my head with this very motion graphic inspired look, with a radial flare of shapes and colours. The blue squares in the middle represent the creative process going from a pale idea to something more solid and vibrant. Currently, I associate creativity with school, and the corner elements represent tape that people use to stick up their art work on walls.


These aspects come together in the form of a venn diagram, but these aspects alone do not make up ME as  a whole. As with a map’s compass in the corner, the ME’s around the square point outside the square to direct people to other aspects of me around in that squares reality/mindscape.




I wanted to parody Japanese coffee ads as they usually have a very macho undertone to them. I portrayed this with a buff arm, and a very strong red (with a subtle gradient). The price of 70 cents is how much I’d value my own ability, which I’m constantly satisfied with and hence, is like “cheap” coffee. I also debated for a long time where to put the price, I was told it was odd on the forearm and should be on the bicep or below the arm. After a while I realized I wanted it to be different and decided that I was just going to leave it where I initially placed it.


I often doubt my work, ideas and many other aspects in my life and for this square I wanted to create the illusion of a three dimensional space using simple shapes. Doubt makes me feel small and vulnerable and so, in this space, I put a reclusive, shy, red “embarrassed”, little man to portray how I feel. There’s also a small little notice on the wall, that has the Japanese word for doubt. The blueish-greyish combo helps contribute to the feeling of the cold, isolated and sad vibes in this image.


At first I wanted to parody newspaper ads that always tell people to eat this and do that to improve themseves and be a better person. But me, not wanting to repeat the idea of an ad, went with another representation, mutants! Mutants are like humans, only “BETTER”. Hence, I had a head shooting out lasers, like Cyclops of the X-men. I managed to reference the ads I mentioned at the start, by placing the head on a snow-caped mountain. The “snow” however, is made of newspaper. The head on top of the “ad” mountain represents me rising above the need/want of manufactured self-improvement. Behind the head is a radiant wobbly aura of coloured light, showing my advancement into a higher state.




The factory represents my idea of just PURE output of work, a factory. And I went with a muddy toxic-waste green with no depth to further push the idea of flat soul-less work. I was also inspired by manhole covers in Japan, and my mind relates them to industrial imagery. There’s a little reference to my inspiration in the symbol next to the factory as these manholes have the city’s logo on them. The symbol in this square, is of Kagoshima, My mothers hometown.


This one was a little tongue-in-cheek with the drug reference. My previous research of psychedelics, I read about peoples profound changes in perspectives and their life. I thought that this could be what combats the dull, emotionless factory-like nature of output. I used sharp, bright and electrifying colours to bring a feeling of excitement or liveliness. In trip reports of LSD, people see angular geometric shapes. They also sometimes get moments or sounds, playing repetitively in their perceptions, hence the background. Reports also tell of meeting higher beings that tell them about life and ego (hey hey hey!) and I represented this with these funky cat people. However, I am not advocating drug use of any sort, these are substances that require supervision, discernment and are not to be trifled with. It can exacerbate mental issues that people have, and speed up the development of these issues. Bad trips also happen where the person experiences hours of terrifying imagery and sounds and have to wait it all out till it’s over. Hence, I put this foreboding skull peeking out behind the head to signify these looming dangers of psychedelics.


Cold hard output, overcome by changes in outlook and mindset creates a me where ideas flow freely and coming from me with genuine thoughts and feelings. These concepts flowing out of my mind in vibrant colors, my eyes glazed over in visuals of food. The environment further pushing the vibes of calm, blissful tranquility. However, an ideal is not what I’d consider an end. In the Japanese dramas that i’ve seen my mother watch, at the end of an episode, there’s always a “to be continued” in the bottom right corner. Referencing that, I’ve place the words “ideal” (in japanese) in the same spot signifying that this is always going to have an aspect of progress.




When I thought of settled, the first thing that popped into my head was an image of a bowl and a red ball fitting snuggly inside. It exuded vibes of being settled and calmness, sort of like when you’re wrapped up warmly in bed. A bowl of rice is also rather settling in a End-of-the-day-sitting-down-and-eating-dinner-with-the-rest-of-the-day-behind-you type feeling. Other things that give me a sense of calmness is being high up in the sky. Peaceful, wide open space. So a bowl of rice, high up in the sky, encapsulates all these ideas and feelings into one. Most importantly though, is that in 5 years, I want to feel calm and settled in my work, not necessarily at an end goal, but with a clear and definite direction that it’s going to (ideally).


I was inspired by a play I saw, Kafka on the Shore, an adaptation of a Murakami book. In the play, the sets where in large transparent boxes on wheels. When the scene change or evolved, the stagehands could roll the set pieces around dynamically. Going with this as a portrayal of mobility, I used images of nature, to represent the aspect of calmness as well. Moving is often a rather stressful event, but I want to be mobile but not frazzled by it. The names the squares sometimes to do entirely encapsulate the vibes that often overlap in my mind. The dots represent my want to be able to assimilate into whatever location I’d be in, like the green dots, trying to blend into the green background.

2020 (ME IN 5 YEARS)

I’ve often thought about going elsewhere and setting up shop elsewhere in the work. Being settled in my work + the ability to be mobile would allow me to do so as with a clear path, I’d know where my boundaries lie. This square shows me going about the globe, and I’d hope to be doing something related to the arts when I do so. I didn’t just go with the visual of a map and a plane flying around as I also wanted to emphasize the aspect of soothing calmness, and I find that space gives me that same feeling. The stars sparkling in the sky always gives me that sense of calmness and awe that I’d also want to feel in that stage of life (+ every other stage. Wouldn’t we all hahaha?)

In closing, I’d like to say thanks to everyone for all the nice comments and support. The post-it notes really help and are always heartwarming and always encouraging :’D


MUCH THANKS TO JOY!! for being such a supportive and nurturing lecturer to our artistic sides (and our stomachs). I really appreciate the help you’ve given!


This week, I find myself mulling over my designs. Whether they fall under the category of ‘Japanese Aesthetics’ so to speak. Whilst making them, I do feel so, but when comparing against my reference materials, I start to get unsure. I’m not sure if this is due to actual faltering from the aesthetic, or unsatisfactory feelings when compared to the pros. (I’m guessing/hoping it’s the latter)

Internal struggles aside, It’s also been a bit of a bummer when certain ideas don’t seem to come to fruition and I scramble for an alternative. Like for example, for my ‘Psychedelics’ square, I couldn’t handle the messy psychedelic collage mediums, nor could I juggle my own variation of it. Fortunately though, whatever I’ve come up with subsequently, I’ve quite liked.

Been listening to a lot of music that I associate with with the look I’m going for, to get into the headspace as well.

Seiji Takahashi – Gion

Just a couple of the designs W.I.Ps (the colours look WAY different here, in fact, pretty awful on this site, once uploaded, hopefully this is just the site compression + forced rgb?)

And for one complete line (some W.I.Ps)

Been thinking of the advice of keeping relative scale in check as well, the line seems to have worked! Still worried that the most photorealistic heavy designs might not fit in with the rest :/

Also mentioned rather early on, was the element of typography in Japanese Graphic Design, something I find to be missing from most of my squares.

But debating between whether use of Japanese text is a clutch in making the aesthetics count as “Japanese”. I guess it’s made me stray away from putting them in blatantly. (There’s actually some in 2 of the squares posted here). But I do want to make more use of it as well, but without relying on it for the design entirely. Making sure that the design is solid on it’s own before I add the typographic elements in.

(ノ´ヮ´)ノ*:・゚✧ ~ FINAL WEEK DESU ~ ✧・゚:*╰(✧∇✧╰)

For this EGO assignment, I have decided to go with a Japanese Aesthetic.

I’m really fascinated by the distinct look it has and my aim is to figure out how to convey the look in my own way.

The way they use typography, at first glance, looks so haphazard and doesn’t seem to follow any rules, and yet, it just seems to work.



I mean, look at this mess, but it does work. It ends up being the aesthetic. I figure, there must be a balance to be found, preventing it from plainly looking like JUST a mess. The same seems to extend into the more outlandish styles of Japanese Street Fashion.

Even their CD cases have the fat border on the left, pretty much a synonymous feature with Japanese Edition releases.

Their use of shapes and colour is also something I am currently delving into. I’ve noticed their usage of random shapes, which brings an almost child-like vibe to it, personally. Some of the illustrations are also what some would consider to actually be for children.


Still, I’m really intrigued by the mindset and process that ends up at these visuals.

One of my references will be the band Boredoms, one of my favourite bands, also referenced to in my Dadaism Post~

The closest thing they have to a frontman, is Yamantaka Eye (up in the air). He creates artwork for the band as well as for external projects and they range from psychedelic collages to (once again) simple shapes.

Some of it is pretty out there (as is their music), but I fully intend to utilize the visual style of his collages for one of the squares to convey a psychedelic vibe.

Other influences I will be drawing upon, Joy’s suggestion of researching into Japanese people has helped generate more ideas to source from. It’s been pretty fun, especially since stepping out of ideation limbo onto a definite visual track. Researching has also been enjoyable, particularly when ideas get sparked from unlikely sources!

Apologies as I can’t upload pictures of my work at the moment. I left my thumb drive that had my work at a printing shop and by the time I got there, they didn’t have it. :'(

Will do so as soon as I get back to my images in hall!



Colour Theory


There are two types of colour mixing, Additive and Subtractive

In both cases there are three primary colours, three secondary colours (colours made from 2 of the three primary colours in equal amounts), and one tertiary colour made from all three primary colours.



They both have different sets of primary colours.

(R)ed, (G)reen, (B)lue for Additive (C)yan, (M)agenta, (Y)ellow for Subtractive.

In Additive mixing, the combination of all the colours results in white. An example of mediums that use additive mixing would be lights and computer monitors

In Subtractive mixing, the combination results in Black, such as in paints or ink.

Colours come in various Hues and saturations. Hue is also known as “the colour of a colour”, in a pretty vague but comprehensible way.

Saturation, being the intensity of the colour.

I myself don’t fully understand how to use a colour wheel as of yet, but fortunately there are a variety of resources out there, such as the one below.

Colour theory

I also found this pretty cute tutorial on more practical use of colour theory!


Check out his other tutorials, they’re pretty nice and funny~

ALSO check out  – Adobe Kuler – as a starter for colour palettes








I think this activity really helps a lot.

It helped me look at a lot of aspects about myself that I either didn’t really notice, pay attention to, or things that weren’t at the forefront of my mind.

Really appreciate all the cool insights~  ( ̄▽ ̄)ノ

I am pretty happy with my lil’ hut in 2020 on the Singapore-Boat too, hahahaha.

Moving forward into the EGO Project

With the inclusion of colour, comes a balance I haven’t been able to figure out.

I’ve not been very good with colour schemes in the past, hopefully through this project I can improve quite a lot.


Since this project is an introspective one, an artist that sprang to mind was Kyle Thompson, a photographer, who’s work has a personal aspect.





While this isn’t a photography project, one thing that I really liked about his photos, was the tone of the colours and I’m looking to possibly incorporate those sorts of colours.

I had a couple others in mind as well, but I can’t seem to recall them at the moment, so what I did was to look through my Tumblr account that I haven’t really touched in awhile, but I was pretty sure there’d be stuff in there that’d be relevant.

Found a couple of things that are stirring some vague ideas out, about colour, designs and concepts.

Might update once I find more!




As mentioned previously I’ve decided to go with Jack and Jill for my rhyme due to it’s dark undertones.

It’s dark themes stem from an interpretation of Jack and Jill, which says that it was a portrayal of King Louis XIV and his wife Marie Antoinette. They were overthrown by the people, unhappy with their rule, stormed the castle and beheaded both of them. Hence, “Jack fell down and broke his crown, and Jill Came Tumbling after”

I set myself a rule of not using any wingdings out of what was already created for the Google Drive. Things still worked fine, even though there wasn’t a bucket, there was a grail/goblet, which fit in great with the Royal themes in my designs.

As you can see, I went with a very symmetrical look. I was afraid that people might, at first glance think the designs look too alike and skim over the details that I had included. Another issue I had, was adding elements often cluttered up the image. Finding a balance between interesting and clean was however, a fun challenge and I quite enjoyed making these from start to finish.


I used clouds to represent the height at the top of a hill and the trees for the element of nature. The hands reaching out for the cup, as the end goal and patterns of the foot to represent the journey up the hill.


The downward oriented crown represents the fall of the crown – the fall of King Louis. Onto a sword, it’s hilt the scales of justice, the judgement of the people, their arms reaching out. The arms have wrists, to show that even though the king was doing things for personal gain secretly, the peasants could still see what they were up to. The negative space made from the arms form the disgruntled peasants. The tombstones foreshadowing the impending death.


The tree bursting out of the kings head, to signify both, breaking his crown (head) and the beheading of the king, the roses and ring are a reminder of Marie Antoinette being an ever present participant of the events that transpired. Hence they were also in Sq. 2.


Signifying the death of Marie Antoinette, a recurring visual of death all around. Skulls, wilted trees. The royal goblet, spilt over, emptying out, the end of an era. The ears represent the head of King Louis, split open. At the bottom, hellfire with the hands of the peasants reaching out to pull her to her judgement. The negative space at the bottom, forming a goats head, similar to those seen in pentagrams, another reference to the impending fires of hell.

P.S Apologies for the late post, didn’t realize I didn’t have this posted on OSS already.

Previously I was deciding between ‘Jack and Jill’ and “It’s raining, it’s pouring…’

I’ve chosen to go with ‘Jack and Jill’ cause I feel like theres were more elements to the story, especially in subtext. The subtext being of the demise of King Louis XVI, and his Queen, Marie Antoinette.

Also, as mentioned in a previous blog post, I chose poems that had a darker aspect to them. Both for my initial poem, as well as this subsequent English Poem.

My choice of wingdings were to show visual aspects mentioned in the poem, and showcase certain aspects.

For Jack and Jill, I tried to work within the constraints of the wingdings my classmates had created as much as possible. Thus far, I have been able to do so, which though a little tough at times, has proven to be a fun challenge.

I gravitated unconsciously to symmetrical layouts. I was concerned that if all the squares were symmetrical, that people would have a tendency to gloss over after seeing the first few. A suggestion from my Lecturer, Joy, was to add a certain element that joins over to other squares when placed next to each other. I’ve also been wondering about other methods to gain/keep the viewers interest in checking out all the details. I’m also trying to vary up the shapes that appear in the symmetry.

I’m also not a fan of too dull/bare a background. Hence, i’ve resorted to using a dingbat as a texture in the background or experimenting with a black background.

I had feedback that certain elements felt like they were there for the sake of being there. I figured that it was because the elements didn’t appear to interact with other elements visually. This was another challenge for this project, being aware of the viewers perceptions, as to me, I’d understand my purpose for an element, but not necessarily the viewer.

Something that I kept finding myself having to be aware of too, is to play with scale. In previous design projects I’ve had the issue where I lose focus of varying up sizes. This project I’ve come to see first hand, how much more flavor messing with the scale helps. In helping my other classmates, I’ve seen this help immensely.

I’ve quite enjoyed this project thus far, though I sometimes feel like having a theme feels restrictive a times, it does help to add flow throughout the separate squares.

The concept I went with for Assignment 1 – Lines, was Preconceptions

Though some form I wanted to either challenge the viewer’s and/or my own preconceptions.

I set them into two groups, with one side with more experimental methods, and the other with a more conventional line based approach.

Final Lines

Final Lines




  • Anxiety
    • I wanted to show the disruptive nature of anxiety in the lives of people who have anxiety disorders. I also wanted to show the constant battle between the two sides with a bit of ambiguity as to which side was considered the positive/negative space.
  • Ambiguous
    • I was hit by sudden inspiration to replicate (to some degree) the look of a Rorschach/Ink Blot test. Tried to keep a balance between the black lines and white lines and not make one obviously dominant over the other
  • Distracted
    • I have a tendency to jump between ideas and tasks easily and I wanted to convey this by stitching together snippets of the various ideas I had through this assignment
  • Psychotic
    • Wanted a very jagged aggressive look and wrote the word PSYCHO in a very angular manner, I also had a light spatter of paint on it. I also used the light splatter of paint in other lines as a recurring motif of frustration.
  • Systematic
    • My first thoughts were that systematic had to be rigid and very line-based, contrary to that, I’ve managed to get an organic yet systematic look from a surprising source, a cotton bud dipped in Chinese ink.
  • Aggressive
    • To get an aggressive look, I frayed the end of a chopstick and dipped it in ink, pretty much stabbed the paper a bunch of times after that. Slashed about (wanted to cut the paper up too, but didn’t) then I finished it off with a bit of the splatter motif.
  • Exhausted
    • There’s a very faint line that drops down at the start and lingers about the lower edge of the page with the occasional attempt to get back up again. With exhaustion comes dulled senses and feeling slightly broken. I tried to convey that with a hazy look as well as some fragments of crushed charcoal. There is also a little of the splatter motif, from the frustration of wanting to have energy again.
  • Embarrassed
    • When embarrassed, I’d want to hide away somewhere and so these are faint circles with a slightly darker central point to show the source of the embarrassment radiating out. They’re also spaced out wanting to isolate themselves and fade away.
  • Indecisive
    • Going with a little of the technique of automatism, I sort of let my hand “walk” and wander about unable to simply walk to the other end. I also twisted the medium to change it’s width and look to further incorporate the indecisive mood.


  • Sloven
    • I decided to show sloven though the perspective of a messy person’s house, from the top-down view. The ends of the lines fading into unkept, crusty darkness and only a tiny bit of clear space right in the middle, for new trash to accumulate and get shoved aside.
  • Bizarre
    • Ran though a couple of concepts for bizarre, but nothing seemed to feel “bizarre” enough. Had a sudden idea of the eyes of the snake in The Jungle Book. His eyes would take on a repeating pattern of circles expanding in order to hypnotize anyone or anything. I thought that it seemed pretty bizarre, tried out a pattern for it, and quite liked it.
  • Turbulent
    • I was inspired by stylized “flat” explosions and representations of wind from a couple of games (Dustforce, Gigantic, Battleborn). Quite quickly found a nice mix of gusts of wind + leaves fluttering about.
  • Spontaneous
    • I tried to stylize fireworks, but I felt like the downward strokes felt a bit “off”. So I tried to keep them very upward with a light and bouncy feel to them. Didn’t want to crowd it up either, and so kept them quite spaced out. The squiggly links also helped convey a lively feel.
  • Fragile
    • I’m quite constantly aware of my mortality and how delicate life can be. This made me decide to convey fragile with the last moments of a beating heart.
  • Lyrical
    • I really like the shifting tones of the lead singer of Purity Ring. My approach for this line, was to listen to the song “Lofticries” and draw the line along as the song progressed. I also used various little quips to depict the layers and dynamics of the song.
  • Sensual
    • To be honest, sensual was rather difficult for me to do, as I didn’t want to show anything overtly body-like nor did I want to go to a slightly more sexual visual. First things that came to my mind were, lips, and other contours of the body and for the final piece I did a mash of the parts in an ambiguous manner, and it was up to the viewer to decide of the aspects.
  • Nonsensical
    • Went with squiggly lines on this one, except I gave myself a nonsensical rule (contrary to nonsense being thought of as without rules). Each line much loop at least once, but never intersect with another line.
  • Awkward
    • This was a quite a tough one. It felt like such a difficult aspect to convey, nothing seemed to fit the mood, which was rather ironic to some degree. I figured awkward has some element of being disruptive. I took that idea and used it to intersect a flowing pattern, thus cutting it at an ‘awkward’ point and disrupting the flow.

I also placed these lines in a particular order, I felt that there’s either a rhythm to the visual order or a story to tell. For example, from Aggressive to Embarrassed, I depicted my emotions when I get angry and it usually is in that order. As for the rhythms, it’s more of a subjective thing. I felt like each line had a certain ‘weight’ to them, and I wanted to have the viewer feel these shifts that range from slightly abrupt, to a smooth comedown. Sort of like how a well planned meal or song, have notes and moments that lift, and then sets you down to a nice finish.

The following images are some of the W.I.P pictures I took along the way




Making a visual journal was a very new experience for me. I wasn’t sure to approach it from a “academic” point of view or more towards the concept of what I thought a visual journal would be (though, they could totally be one and the same, personal and presented academically). I tried to do both, but having a tendency to think more in vibes/feelings, phrasing some of my thoughts out comes in the form of sparse/sporadic words. Looking at my classmates rather systematic and seemingly analytical journals made me wonder and worry that I was on the wrong side of the fence. However, in seeing my self-critique, my lecturer, Joy, suggested “letting go” (more on this later).

223-franz-kline-011Prior to the assignment, we were asked to research on some artists. I chose Franz Kline as his artwork was the sort of Abstract art I grew up disliking cause I didn’t understand why it was so highly prized. For me, understanding the mindset and thoughts of the artist, helps me understand their artwork, and this was the perfect opportunity to do so.

Delving into his work, has really opened my eyes. I used to think that majority of abstract art (*koff koff* Jackson Pollock) was just a lot of faffing about but in learning about Franz Kline’s approach to his art, I’ve gained a whole new perspective of abstract art. He put a great deal of conceptualization into a piece before he put brush to canvas. I also learnt that the white sections were painted as well, helping shift the white spaces in to having as much importance as the black portions.

Similarly, I’ve felt the need for conceptualization before starting on my own abstract representations in this assignment. As to “letting go”, being overly picky of what I’ve drafted had the tendency to limit what comes out. In trying different methods, for example, the mind-map, suggested by Joy, helped me further conceptualize ideas by letting my mind roam about linked phrases or concepts.

“Letting go” was a way to stop being so heavy on the self-critique. It also helped me get into more free-form exploration in ways that I hadn’t tried before. I enjoyed the way ideas sprang from this approach. I did struggle at first though, with the technique feeling ‘out of my control’ at times, I sometimes felt like I hadn’t put enough effort into the final product and sometimes felt disconnected from the artwork. Thankfully, I think I managed to find a balance that felt natural to me and it carried on quite well from that point.

I felt that preface was necessary before looking into my visual journal as I’d hope it’ll help the viewer understand a bit of my mindset whilst doing this (like what I needed to understand abstract art), especially since my words are rather few and far between in there.

I’m considering to use Jack and Jill for my poem,

Jack and Jill went up the hill,
To fetch a pail of water.
Jack fell down,
And broke his crown;
And Jill came tumbling after.

The poem apparently refers to King Louis XVI, and his Queen, Marie Antoinette.

He, “Jack” was beheaded (broke his crown) first, then she, “Jill”  came tumbling after.

I’m sorta still trying to go for the sinister undertones vibe, but in looking for an olde english poem, I’ve found that a lot of them do have this element.


It’s raining, it’s pouring
The old man is snoring
He went to bed and he bumped his head
And couldn’t get up in the morning

(Contemplating using this one too)

Trials/Testing for the squares.

The first one is a more literal attempt at visually representing the poem whereas the second one is aiming to be more abstract.

Trial 1Trial 2 - Abstract

I’m not a fan of the white background. So in the second one, i tried using one of the wingdings with 6% opacity to add some texture to the background.

I think it helps quite a bit.

The “literal” representation has some bits here and there to signify some real-life aspects of the poem. eg. the king, the eyes on the hill

I’m trying to mash the parts I like about both together at the moment.


Tried something new, with a black background. I seem to end up leaning towards symmetrical designs, it makes me I feel like I should try more asymmetrical layouts subsequently.

Black background brings something interesting, but a much gloomier vibe. I quite like the look though. Also tried playing with negative space to create some forms.

Perhaps for a resonant point, I’d switch to a different background to make a stark contrast to the other lines?

Trial 3 - Abstract BLACK