After receiving feedback on my first image in week two, I began to experiment with how I could effectively incorporate colourisation into my design, while still leaving some of the original image visible. As mentioned previously, it had been suggested to me that the work would be more thought-provoking, if I only colourised some of the features within the photograph, as to leave some distinction between the original and my own. Moving forward, I decided to produce two different styles of colourisation to consider, one focusing on a single feature within the image (see top right), and the other revealing a larger area in colour (see middle right). For both options, I decided to use neutral tones within my colour palette, as to keep with the nature of the original journal and to encourage some realism within the image, while still offering something new to the narrative.
After developing the process of my colourisation, I decided to look at the different ways I could lay out my images for the final submission. Within the brief, it had specified that we needed to produce at least three A3 prints or an artefact for our final piece, and at this stage I was more interested in presenting prints over a physical object. With this in mind, I looked back through my research and determined that I wanted to present the work as a collection of torn-out pages, as if I were creating a collection of found documentation. For this, I took inspiration from the work of Ellen Nolan, Peter Beard and Joan Fontcuberta and created a mock-up page in Photoshop (see bottom right). From here, it was my aim to bring together photographs, text and illustrations from the original journal, and to colourise the images to give them new life.