Undermilk Wood

The final piece is a mixture of all techniques. Especially the technique with oil. I wanted the paper to become see-through so that I could see what there is behind. Its like there are some special effects and the words are bigger in the back, smaller in the front. Acetate paper really helped me.

Undermilk Wood
Typography

For the first brief I had to find more about the poem and the author inorder to create an image of the background of the story. This helped me in my work as I knew what wasgoing during the period he wrote the poem. As a result, I tried to show with mydrawings the mood of the author and the people he was talking about. Mydrawings had to be dark like the words he used (crow-black, bible-black,moonless); I tried to link the words he used with certain colours. The feeling thatis created has a link with the whole poem. A mysterious and dark atmosphere iscreated. To achieve this I used the technique of mono-pri,scanners, old printer machines and oil.

The excerpt I have chosen to work with was "It is Spring, moonless nightin the small town, starless and bible-black, the cobblestreets silent and thehunched, courter's-and-rabbits' wood limping invisible down to thesloeblack, slow, black, crowblack, fishingboat-bobbing sea..." by Dylan Thomas

Experimentation

Experimentation with ink, acetate, tracing paper and lighting.

Final outcome.

Materials used : newsprint paper, acetate, ink.

↑Back to Top