what are the potentials for graphic elements to effect new writing?
what can visual communications contribute to new writing?
Until now, I've been so focused on needing to explore a 'way of working' from a design perspective that I've overlooked where the design output ends up. What's most useful about this research is the potential for design to contribute to (some) writing, and vice-versa. At this stage, I need to return to the relationship between text and image, and also between writer and image maker/designer. I also return the problem that critique of illustrated literature seems to come almost entirely from the 'word', rather than 'image' camp (from my own research and discussions like Hammond & Heltzel 2004: http://www.poynter.org/column.asp?id=57&aid=70817)
So, by analysing writing with integrated graphic elements A) historically and B) currently I will present an analysis of image-text relationships in fiction, from a designer's perspective. Then, I will explore, through practice, the potentials using integrated graphic elements as a literary device in new writing.
WHAT will it be: A) an analysis of existing forms; B) a set of 'projects' created by me and executed by both myself and other writers and designers; C) reflections and projections of the process of B; D) presentation of A, B, C in as book.
WHO is it for: designers, writers, publishers (as a way to practice/produce books); critics and readers (as a guide to reading the visual); academics (as a way to research, reflect on practice, and present research).
- How/why do writers use graphic elements (by locating and analysing, by contacting authors/publishers)?
- Are writers collaborating with artists/designers or taking on the image generation themselves (writer becomes illustrator: Jim Davis, 'Illustrated Guides', Design Week 23 Feb 2006).
- Does the text exist before the image, or are they produced simultaneously?