• I'm glad I made the switch to PVA glue and a brush, because holy moly is this precision at its best! Brushing the dots with a fine coat of PVA and then using the brush to help place onto the black card has been a great life-hack and has prevented this task from being any more fiddly than it needs to be!
• Creating these hole punched pieces have truly been a labour of love, time and skill - which is something I wanted to achieve as identified in Louise Lockhart's illustrations. Many times I have wanted to pull my hair out over a hole punched dot going missing or breathing too hard and blowing dots everywhere! I've developed my own technique of arranging the hole punched dots and was going through gluing and placing them quite speedily by the end!
• I'm going through some personal problems at the moment, and this task has been a great difficulty during a hard time - but also a great distraction to take my mind off of the upcoming challenges ahead that I'll have to face. Because of what has happened, I have missed over a day and a half of work because of how anxious, nervous and down the personal situation has made me feel. I'm glad to be back into my project, more determined than ever, to show the person who has tried to belittle and undermine me that they won't stop me from doing what I love; it has taken me 5 years to get to where I am now and I won't be giving it up for anyone!
• The hole punched art allowed to create a much better cover to the one I had before. The rejigged version gives a better sense of symmetry, showcasing the fabulous craftsmanship of my hole punch hole arrangements(!!) and the sewers of the Pearly outfits themselves. I am much, much happier with my character design as well - using a more rounded aesthetic with more angled points. Keeping them as silhouettes works much better as well, instead of digitally painting on the faces. I didn't want to show their outfits here as I feel the cover is already quite busy and full of dots!
• Having my digital print induction this week has presented a lot of new possibilities to me - there was a certain Japanese paper that had pearlescent fibres pressed into one side. It is expensive at £8 a sheet and would need to be specially ordered in - but should I consider using it? Should I print my front and back cover onto acetate to overlay onto the pearly paper?
• I'm going through some personal problems at the moment, and this task has been a great difficulty during a hard time - but also a great distraction to take my mind off of the upcoming challenges ahead that I'll have to face. Because of what has happened, I have missed over a day and a half of work because of how anxious, nervous and down the personal situation has made me feel. I'm glad to be back into my project, more determined than ever, to show the person who has tried to belittle and undermine me that they won't stop me from doing what I love; it has taken me 5 years to get to where I am now and I won't be giving it up for anyone!
• The hole punched art allowed to create a much better cover to the one I had before. The rejigged version gives a better sense of symmetry, showcasing the fabulous craftsmanship of my hole punch hole arrangements(!!) and the sewers of the Pearly outfits themselves. I am much, much happier with my character design as well - using a more rounded aesthetic with more angled points. Keeping them as silhouettes works much better as well, instead of digitally painting on the faces. I didn't want to show their outfits here as I feel the cover is already quite busy and full of dots!
• Having my digital print induction this week has presented a lot of new possibilities to me - there was a certain Japanese paper that had pearlescent fibres pressed into one side. It is expensive at £8 a sheet and would need to be specially ordered in - but should I consider using it? Should I print my front and back cover onto acetate to overlay onto the pearly paper?
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