Previous Education: The Earls High School and King Edward VI College Destination: BA (Hons) Fine Art at Manchester Metropolitan University
“Narcissism” is a project exploring the way we criticise our observations of our reflections. Due to lockdown, communication has altered significantly. Video calling and sending messages through photographs and short videos has become more prominent. However, our images on screens are not authentic as there is a slight distortion of features. Whether it be the nose looking slightly wider, the forehead looking slightly bigger or the chin looking too wide, there is something you want to change or hide in the image. This could be by altering the image through editing or using filters. This self-judgement causes us to constantly act in a way that abides to social norms by putting on a mask, a way to conceal our true selves through a persona.
This inspired me to look at exaggerating and manipulating the face, firstly through photoshoots, influenced by Ana Mendieta and Wes Namen, by pushing and pulling the skin. I developed this theme into working with clay to form masks of the face. This led to creating a persona with an Instagram account for the mask, named “Clayton”, inspired by Grayson Perry’s “Claire”. On the Instagram page, I explored the use of filters to show how we try to look our best to fit in by hiding behind these “beautifying” filters. Laura Mulvey’s “Male Gaze” theory is applicable to my project as the idea of depicting a person in a way to satisfy others is prominent through the development of ideas.
By having regular one-to-ones with teachers, I received suggestions for more artists and theories to research and explore. This was useful for the development of my contextual research, which gave me more of an understanding on my topic. Group crits were extremely useful in ensuring my work conveyed what I wanted it to. This feedback informed me on how “Clayton’s” Instagram could be developed further by amplifying the filters to increase the distortion. Unfortunately, I have not been able to present the ceramics masks in a mock up exhibition setting, such as exhibiting the masks on sticks, or on a wall in front of a front facing camera encouraging viewers to take selfies with the ceramics exploring the filters, due to the lack of time, space, and resources.
This project has given me a greater understanding of the process of making ceramics of a face, including the initial casting procedure of my own face, creating a negative mould using rubber, using specialist clay tools to shape the clay, and learning the science behind glazing and oxides. Considering I have not worked with clay prior to this project, I am pleased with the results, and I continue to plan to improve and use these new skills at degree level. The Foundation Art and Design course had taught me how to independently manage a project by showing me how to be confident in my decisions and experiment with ideas and materials that I may not have thought of at first.
Ikhlars Bashir
Previous Education: Orminston Forge Academy and King Edward VI College Destination: BA (Hons) Architectural Engineering at Loughborough University
My project “Connections” focusses on the different ways public spaces can be enhanced to create a better environment for society and design in COVID safe behaviours. I have explored different areas of both psychology and sociology that are not considered in modern public design. It is about improving these spaces and areas of interaction so that it can be safer, controlled but also give the user a better experience.
Transport Hubs were the initial model I had in mind, places where there is a high and consistent flow of people. I envisaged my designs for these spaces would hopefully also change behaviour in other public realm spaces. Development began with seeing different designs and concepts where I initially focused on Industrial Design.
My contextual research started with research into prestigious companies such as Grimshaw Architects and Zaha Hadid and looking at their work made me think more practically at what my ideas could do. Further research introduced me to different technologies I could incorporate into my design to improve the user experience as well as making the current spaces more COVID safe. Research into Philippe Starck prompted a design for an interactive ‘totem’ information panel. This became my focus and further reflection and research pushed me to expand upon the idea.
The designers I researched helped not only with inspiration for my designs and concepts but also with the mindset I needed to adopt to solve problems. I needed to change my outlook towards my work, to focus on how best my design skills could help the public. The graphics needed to be intuitive and send messages with clarity and assertion. I used the NHS format so the messages presented were coherent and consistent with national information but my ideas could be adapted locally. With this in mind he User Interface design was modelled with the brand colours of the West Midlands Railway in mind.
My project quickly developed from a single idea to a design for a public environment, which took into more consideration into psychology of how the public interact in congested spaces. Input from my tutor and peers has informed me when I have gone too far down a path, using a second perspective to smooth out my design and I have benefitted from taking many perspectives on board.
Throughout my FMP I have learnt that multiple software and visualisation techniques can help communicate my ideas to a broader public. I feel that my overall design answers the questions I outlined in the beginning of this and poses more questions to answer that I have expanded upon in my final reflection. Timing and managing my work ethic have been an important skill the FMP has taught me and I feel more confident now as I enter Higher education to produce work of a consistent quality and meet deadlines more comfortably.
Daisy Dodson
Previous Education: Perryfields Academy Destination: Employment
“Ex Circo Ludios a Profundis Inferni” is a horror circus created within my refined horror theme. Initial ideas included experiments with ticket design, poster design and manipulating versions of traditional ideas of the circus.
Through simple illustration and drawing techniques, I was exploring the distortion of reality and incorporating horror into what is supposed to be friendly and fun. I was inspired by a simple circus ticket; and through manipulation was able to connect to what was ‘typical’, with dreams, sleep, nightmares and vulnerability.
What is it that makes fear friendly? What makes us go back watch horror movies again and again? Submerging ourselves in another world watching a movie or reading a book; feeling the apprehension before the climax, feeling the frustration during the dilemma; the relief when the credits roll, even if that feeling of apprehension stays with you. It is the familiarity, how we know what is coming, but are there, feeling it anyway. It is that familiarity I am fascinated by.
Through the project I developed a deeper understanding of how imagery can affect an audience. That within the expectancy, you can still surprise people.
It was group crits and tutorials that helped me with this understanding. Group crits were extremely useful for practical reflection and getting feedback about, “What could I do next? Where could I take this?”. Tutorials were helpful because I picked up the names of artists that would influence my work. The combination of both meant I was able to steadily work through my project and bring it together in an intelligent and coherent manner.
Martha Hipkiss
Previous Education: Redhill School and King Edward VI College Destination: BA Hons) Architecture at Nottingham Trent University
“Landfill Innovation” is a project to encourage upcycling solutions for discarded objects and showing how these mundane items could acquire innovative, new purposes. Deterring the use of landfill is paramount in preserving the fragile world, so finding sustainable solutions to everyday problems limits discarded waste. I have always been interested in eco-conscious ideas and have always incorporated these into my designs. Not only is this concept positive from an environmental stance, but it also forced me to create alternative designs based around the materials I had to expend. I chose to explore this idea through furniture design and how unwanted items could be manipulated to become a useful asset in the home.
After collecting various odd items, I started to experiment with how these could be combined to perform a function for the home. “Messgewand Maximalist Furniture” is a series of surreal furniture pieces made from collaged found objects. The form these objects create when united intrigued me, prompting me to consider shape and structure in my own design. As well as being visually appealing, functional seating is incorporated which interests me from a practical perspective. Advocating the importance of sustainability meant portraying this concept through the materials I had gathered by being recycled, given a new purpose and rebelling against consumerism. Artist Bill Woodrow follows a concept of creating sculptural pieces with metaphorical messages commenting on society, consumerism and subverting typical functions of the found objects used. This went with my final piece, the Car Door Side Table, of undermining the classic meanings of found objects and placing them in an opposing context.
Considering contrasting views from my peers and tutors, helped me refine my ideas to what practically and visually works in my design. Further suggestions to what artists, concepts, or artworks I could explore, helped me to develop my understanding of the topic by collating different views and interpretations of the design and environmental world. I feel I could have developed my practical experimentations further by including solutions that were not all seating pieces. This would explore the extent of what these items could become and allow their natural form to decide their best function. If I had had more space, time, and resources to let the process of this happen, I would have spent more time experimenting with this.
My FMP has allowed me to develop my practical skills in working with different materials in the workshop and performing different processes. I feel more confident in my abilities and feel I can now apply these learnt processes to my designs in the future with certainty. FAD has taught me to critically evaluate myself, taking time to reflect on my decisions to better my concept and design results. This will be a skill that can be applied to my undergraduate course, as scrutinizing my work allows me to progress as a designer by informing my decisions and problem solving any issues.
Abigail Jefferson
Previous Education: The Earls High School and King Edward VI College Destination: Education and Psychology BA (Hons) at University of Worcester
Within my project ‘Mundane Time’, my ideas came from lockdown and being at home. At the start of the project, I gathered quotes from friends and family members to get their thoughts on it. The idea of it being difficult and repetitive came to my attention. I gained inspiration from Richard Billingham’s photographs of everyday life at home and took my own photos which helped me to show how repetitive life had become, being in the same places. I created a lino print of a view out a window at home. I thought this felt like a barrier between us being inside and the outside world. I printed this several times to create a series, fading the colour each time to show lockdown gradually feeling duller.
As my work developed, it was mainly about time, as we seemed to notice the time more in lockdown, noticing clocks and realising how we can no longer spend our limited time how we want to in lockdown. The idea of memento mori became significant and Marclay’s twenty-four-hour film ‘The Clock’ inspired me to begin taking photos that include the time in them, from scenes at home and also whilst out in my local area.
Regular discussions with tutors during my project helped with my contextual and artist research as I was introduced to many artists such as Giorgio Morandi. His work made me think about my use of colour. Blended learning tasks we were set and discussions on these introduced me to concepts too such as memento mori and NFT’s which helped with my contextual research. Feedback on work from tutors and peers gave me ideas on what I could try out to improve and helped me to reflect on my choices. For example, the group crits gave me suggestions on how I could improve my final prints onto mail.
I think I could have developed my project further by trying to print with coloured ink, carving out my designs in layers, as I could have experimented with colour this way too. I achieved what I proposed to as my different studies explore the repetitiveness of lockdown and how we are more aware of time. I planned for most of my outcomes, however some ideas came to my attention after I’d produced my final outcome, such as how I could make my prints blend in more to the mail. I wanted to do this so it would take longer for the audience to see the print, taking more time and emphasising the time we felt that we wasted in lockdown.
Key things that my FMP has taught me include how it is important to regularly review my ideas and decisions so I know how to move forward. It has enabled me to improve on explaining my work and ideas more confidently to others. FAD has also taught me how to independently direct my work through my projects. I will take forward these skills which will help my learning to develop at university.
Lucy Blue Lloyd
Destination: BA (hons) Fine Art Liverpool John Moores University
“A Media’s Portrayal of HIV/AIDS” is a project about the discrimination and segregation of homosexual men during the 1980’s AIDS epidemic. In this project I wanted to explore the damaging effects that were created by the homophobic and prejudice media that were reporting on the virus. Therefore after briefly researching this, it became evident that we as a society have improved drastically in regards to being more accepting and understanding. When the AIDS/HIV virus started to infect more people the media blamed homosexuals for the disease, even going as far as naming it the ‘Gay Plague’. This was a major catalyst in regards to homophobic behaviour within our society, gay men were being removed and alienated from their communities and abandoned by friends and family. Initially, I was inspired to research the epidemic after observing how the media reported the Coronavirus, I was curious to compare how society has changed when reporting victims. The concept of this project was also inspired by channel 4’s ‘It’s a Sin’, a program in which explored the direct effects of the social injustice during the AIDS/HIV epidemic. The programme allowed us as the audience to witness just how much homosexual men at that time had to suffer through. Whilst watching the show I was able to see the effects from a more personal perspective, this helped me massively as I was then able to paint the emotions that I had seen through the characters giving my paintings a greater sense of authenticity.
Inspired by photographer Nan Goldin, I wanted to create a body of work which explores the intimate aspects of men within the LGBTQ+ community. I was also inspired by contemporary artist Marlene dumas after reading her book ‘One Hundred Models and Endless Rejects’, she is another artist who similar to me paints the people who have been rejected from society. I have also looked at Conor Harrington and Kathleen Ryan for aesthetic inspiration, Harrington’s use of contrasting colours definitely influenced me when creating my final portraits. Throughout my work I have consistently used red and blue hues to portray the varied emotions in which my subjects would’ve been experiencing, creating a vulnerability within each composition.
When sharing my work with other peers and teachers I have always been recommended new artists to look at or techniques to try. Group crits have allowed me to view my project through other people’s perspective, this has enabled me to see whether my work is still effective to a different audience. This itself has given me the confidence to present my ideas in a more coherent manner. The quotes that I had incorporated within each painting from news articles from the 1980’s, became increasing more important in allowing people to see just how much the words had impacted people’s lives. Unfortunately I have had limited sources due to Covid-19 restrictions, therefore if I had more time I would love to visit specific library’s in which archive more rare media coverage of the AIDS/HIV virus. This project has given me a greater understanding of how different painting techniques can alter the overall impact of a composition, I plan to develop this knowledge at degree level and beyond.
Ella May Miller
Previous Education: Ounsdale High School Destination: Apprenticeship
My Final Major Project is all about the negatives of living in England, particularly the issues associated with social housing. I have made a series of drawn and sculptural proposals that look at how old buildings can be sub-divided in to houses of multiple occupancy and how this can affect basic human rights to light, space and privacy.
I wanted to create a piece that inspired people to learn more, to lesser the ignorance that we have here and to maybe suggest ideas on how I would go about trying fixing problems of inequality, both an artist and an individual.
I was inspired by two previous projects in particular: First the fashion and textiles Final Major Project (FMP) on my previous course ‘The Genderless Collection’. This project highlighted to me the restrictions and pressures that are put on people over something as trivial as clothes. Dismantling these structures is something that personally interests me.
Talking to staff or peers often gave me further artists to look at or approaches to take in order for my project to develop further. It was interesting to listen to the different ways that people interpreted my project as it helped gain insight on whether my project was working in the way I had intended, as well as possible ways to improve it that I might have overlooked.
During this year we had to complete the previous assignment and start the FMP at home, both of these projects have improved my resourcefulness and ability to prioritise when working on practical work. I hope to further develop these skills as well as improve on my time management and working in a group in the future.
Emellia Neale
Previous Education: Stoke Damerel Community College Destination: Gap Year with part time employment to explore further education options
“Distortion” is a project about the manipulation and distortion of image and sound. Within this project I wanted to explore how the distortion of things can make them familiar yet unknown creating a sense of confusion for the viewer. I wanted my work to enforce a liminal space and communicate the uncanny, a term first used to describe work by the surrealists.
Through the development of ideas and context I decided to explore how different sounds and visuals from around my house have changed through being in lockdown for so long. Through research this idea developed into investigating how the house has become a guard or shield between the inside and outside world due to Covid-19. I have wanted to communicate my thoughts and feelings of how I have experienced lockdown and the way it has made me feel. Doing this has enabled me to present my own perspective to the audience and allowed them to experience the work through my eyes.
I was initially inspired by the work of Greg Sand and Anthony Gerace and how the way their work visually communicates the look of a glitched or pixelated image by sectioning an image into individual squares. I felt that exploring this technique would allow me to signify how lockdown and covid-19 has felt like a ‘glitch’ in reality.
Initially my project was developing into more of a photographic and sound piece that was going to become a static image, however through development and problem solving I decided to develop it by pushing it out of photography and into 3D I did this by transferring my images onto different textured materials such as wood and plaster. This allowed me to create a link between images of a house being printed onto materials a house is made out of.
Speaking to my peers or my tutors has allowed me to get suggestions of different artists and designers that have given me inspiration or helped aid the development of ideas within my work. It has also been useful to get the opinions of others as this allows me to see if my work is communicating what I want it to.
On reflection, I believe my photographical distortions communicate my original message of the liminal space between familiar/ unknown however, I feel this message has been lost slightly though the development and transfer of my images onto different materials.
Throughout the FMP I have learnt and developed a range of skills such as; photoshop, image transfer and how to develop and expand on an idea through technique or context. The most important skill fad has taught me is how to manage my time most effectively. This has allowed me to work independently, be in charge of my own learning, and work to a timescale that ensures the work made best illustrates my intentions.
Rose Priest
Previous Education: Pedmore High School Destination: BA (Hons) Fine Art Leeds Arts University
‘There’s Infinite Versions of Me’ is a project that attempts to explore identity and the complexities of it.
The body of work I have presented is a series of photocollages that I have produced through cutting up, moulding and abstracting close-up portraiture photography. The work includes instinctive mark making and typography and uses traditional dark room processes as well as digital manipulation.
I have tried to talk about my identity from other perspectives than my own, how truth is subjective, and how the ‘true’ version of you in someone’s reality is their truth but not yours. An example of this is if someone hasn’t seen you for a long amount of time, they still have a ‘past’ image of you that could be very different to how you now are. Their image of you still however ‘exists’.
I have tried to explore how everyone has a different perception of their own identity and how we are different in everyone else’s reality. I have also been intrigued by how I feel about the different versions of myself that I present to others.
At the beginning of the project, I was asking broad ranging questions surrounding truth and whether there is a ‘true’ version of us. I wanted to home in on the fact that there may be a ‘true version’ of me and speculate how presenting this may alter the other versions people may have of me. As I researched further and developed practical aspects of the project, I searched for new techniques to visualise these quite abstract ideas.
The main artist’s inspiration for this project has been Frank Lebon, he is a mix media graphic designer who physically edits his images through meticulous processes.
This project has given me a greater understanding of film photography and dark room procedures, it developed my skills within my photographic and video background and prepared me well for higher level study.
Molly Thompson
Previous Education: St Michael’s Church of England School Destination: BA (Hons) Degree: Fine Art – Chelsea School of Art
I took on the idea of a skewed and personal perspective of my own mental health by abstracting the language and emotions I felt during lockdown and as lockdown restrictions were easing. I wanted to portray in my project the art and artist and the connection between them to create highly interpersonal piece. I’ve explored the links between abstract expressionism, abstract language and techniques used by the Surrealists and Dada artists. The investigation into these processes help me to explore the subconscious mind practically and theoretically. Artists like Mark Rothko made me see how colour could be explored and through sporadic mark making to allowing me to be spiritually connected to the piece.
Through simple and expressive drawing techniques, this helped explore how work might appear intense to the viewer but I wanted it to be a true reflection of me and my mental state at the time of creation. The audience perspective was heavily considered while making choices but through development I found that I wanted it to be a connection to the art, artist and the audience. The intention for the audience would be for people to comprehend and potentially connect to the meaning of the work. I wanted my audience to view my work with an open mind set to current mental health issues, emphasising on my own experiences, breaking through the barrier of public portrayal of mental health as a whole; opening the doors to my own perspective and vulnerability.
When making decisions based on feedback by tutors and students, I had been recommended to look and investigate a range of practical and research possibilities. Formal decisions were made by what I felt would be relevant to develop my project into the higher marking categories. The feedback around final presentations of my work helped me to visualise how intense/ what the journey did the audience go on whilst looking at my work and helped me to determine that sounds be played at the same time for it to be multisensory. I had gained knowledge of what clashed and how to let my final stage of the project to breathe while communicating my intentions. All this allowed me to visually see the process of my work.
The progress I found while testing a range of techniques were both successful and unsuccessful in some aspects but overall made me develop my project and experimentation. The digital submission was successful especially in presenting to a diverse audience the journey and my intentions as it was visually impactful. I overcame lots of barriers while creating these films as I had to be open minded and test my creative skills. FAD has taught me to be expressive and work with various materials and to push ambitions. FAD has taught me how to look at work; what could be the resolution to a creative block through different media and narrative. This could be further developed on my Undergraduate course through refining my skills and approaches, keeping an open mind to everything.
Imogen Whittle
Previous Education: The Kingswinford Academy Destination: University of Wolverhampton – BA (Hons) Fine Art Degree Year 1
My work is about spiritualty, paranormal energy and religion. The ideas for my work came from contextual research and sketchbook experimentation, of which I developed through use of different drawing and painting medias and styles.
Research on spirituality has informed my practical work as the course has porgressed. It has influenced what colours I use in my painting and how I apply them. For example, the glittery colours used in my work represents the Chakra colours, which is believed to be a person’s Aura in religions like Buddhism, as well as suggest the paranormal. This interest in glitter links back to my research into crystals, as it represents the shine you get from crystal.
The research in to religion has influenced my compositions, as the figures and hand gesture of my paintings hint at religious narrative such as the New Testament story of the ‘Pharisees and Tax Collector’.
From a contemporary art point of view I have been mostly inspired by the illustrator Matthew Tak. The message he portrays in his work is often about spirits and being calming, which was also what I wanted to portray in my final outcome. The artist Lydia McGrigor inspired the media and style of which I painted my ideas as I found her painting style unique and something I wanted to attempt to replicate in my own work to my own. Youqing Wang much like McGrigor also inspired my painting media, tone, and style. Andy Warhol inspired the bright combination of colours I used on the left figure.
Group discussion helped me gain other opinions and viewpoints, which further helped me adapt and develop my work. In my project I could have used a broader range of medias like, photography, projection, and printmaking.
I have achieved everything I had set myself to complete in my proposal. However, I could have developed how I planned my practical work, as I did not question possible outcomes.
For example, if the finished piece were to look different than my original idea.
My final outcome is pictured to the right, I have named it ‘Manifestation of a loved one’, as it depicts a friendly and related spirit that brings comfort after passing. Again, this links back to Matthew Taks work names ‘Calming Spirit’. This painting if the final developed piece, from a journey of experimentation and research. This encapsulates all of my research done through the project and also makes links to artists I have inspired from. As well as feedback from peers, which helped me when planning this piece beforehand.
The key things I felt I have learnt are; to link my work to research more, use a broader range of medias, keep experimenting and developing work, question what I would do if this piece’s outcome differed from intention. The most significant thing FAD has taught me is to keep trying different methods of practical work, and always experiment and develop work. As well as ask for peers’ input/opinions. I could develop this learning in my course at University by being more open minded to changed and development in my project.
Aaisha Yasir
Previous Education: Thorns Community and King Edwards VII Destination: BA (Hons) Product Design and Technology in Aston University
Are You Human’ is my take on how Artificial Intelligence (A.I.) is slowly advancing to the point where it is difficult to distinguish between real life, and man-made, I wanted to explore this theme by creating technological objects such as a computer mouse, telephone and a USB stick that were disguised as hyper-realistic body parts. This idea of A.I. stemmed from my fear and fascination with A.I. as well as the portrayal of technology in movies and games. I wanted to take a futuristic approach, but also create something unsettling for the audience.
My ideas began with sketches of body parts and matching them to different items I wanted to combine them with, soon after I began sculpting features using clay leading me on to molding using alginate and plaster, as I expanded my range of products, I started to develop a ‘quirky’ theme in my work influenced by Shishido Mazafaka and Gina D’Aloisio, both sculpturists who play with the human form by giving them new properties. I also began noticing surrealist themes in my work, taking inspiration from well-known works such as the ‘Lobster Telephone’ by Salvador Dali, which influenced the ‘Foot Telephone’. Prosthetist David Cronenberg also pushed me to break boundaries and explore different materials and techniques as well as looking at my work from a prosthetist’s perspective.
Throughout my project, I had regular discussions with tutors and peers which helped me expand my ideas as well opening to new artists. This was especially useful for me in the contextual sector, as I was able to learn about issues outside the art world which I could also implement into my work. Regular group crits were particularly important in my project because it allowed me to present my work, which will benefit me professionally, as well as receiving feedback and ideas from many different people. Much of the feedback I received was to think about the presentation of my final pieces and the photographing sector of my work, which later I made a dedicated webpage for.
Planning the timescale for my project and creating deadlines, was probably one of the things I struggled the most with my FMP, especially because most of the work had to be done at the studio, however, I was able to resolve this by coming in extra days as well as sorting out priorities, of what work could be done in studio and what could be done at home, I also didn’t consider the drying time of the plaster.
This FMP has given me an insight into what a product designer does as well as an idea of what I’ll be doing in college, this project has also allowed me to work under difficult situations such as the pandemic as well as my laptop breaking, which I feel has challenged me. This Foundation Art and Design course has allowed me to gain responsibility for my work as well as independently generating my ideas, I feel that this course has also allowed me to develop my style and confidence which help me develop as an artist.
Legendary creatures have often been incorporated into heraldry and architectural decoration. This is particularly the case with those symbolizing great strength or other powers. In contemporary times, many legendary creatures appear prominently in fantasy fiction. These creatures are often claimed to have supernatural powers or knowledge or to guard some object of great value.
Mythical creatures have been part of human culture throughout the ages and across all parts of the world. They are not just the “talking” creatures, animals able to communicate using language and also rather clever, as in Aesop’s fables. Mythical creatures are in themselves beyond normal reality, often composites of existing animals or animals and humans.
Caitlyn Bowker
Part of my ‘journey’ to overcome dyslexia has been writing a story. This started as quick little descriptions and scenes and eventually developed into a full story.
I decided to use this as the basis of my FMP, imagining quite child-focused illustrations.
A full analysis of my text and deep, sustained research into the teen-fiction genre, however, led me on a different path.
My initial reaction to recognizing my narrative as teen fiction rather than children’s fiction was that I would have to adapt it into a graphic novel, if I wanted to create illustrations. The work of the Folio Society mad me realized that readers of books such as War Horse, Noughts& Crosses and Sophie’s World, enjoy full page illustrations accompanying the text.
I set myself the challenge of working in watercolour or inks, but had to admit after some tests that the experimental way I enjoy working and find most successful is digital.
Lockdown has meant I was not able to plan my work to include a printed book, but the work will continue and that will be the eventual outcome.
Lewis Edwards
As an artist, I work hard to develop illustrations that are presented exactly how I envision them during the creative process. Part of my process before I begin working is to take several photographs of myself and/or others to gather reference material for my ever-growing portfolio of expressions, posture and form which I can use to help me in areas I find difficult and later recycle and adapt to other projects. I rarely deviate too far from my original vision for a piece, but I like to try new techniques regularly and occasionally experiment with different medias though the latter is a recent development.
For my FMP I challenged myself to create my first short illustration-focused comic book in a professional quality using techniques and formats I’ve researched and taken from bestselling books. I chose to adapt a music video rather than create my own narrative, due to it being my first tactically-planned and executed attempt and wanting to focus my efforts and attention on the art, research and quality of the project rather than creating commentary. I believe this effectively worked out in my favour and the experience has provided me with a new lens to view my creative process through.
Lewis Forrest
The theme of my Project has been influenced by not being able to go out for months because of the virus.As being limited on where to go and things to do, having a garden made lockdown easier for me and it inspired me to make something to go into the garden that would last a number of years.I decided to design and create a high-quality bird table. I used this FMP to concentrate on my practical skills because it kept me focused during lockdown. With lockdown and only being able to work from home with no workshop made this project much harder but made me a much better problem solver and made me realise at what a high standard I can work. I visited various places to collect research in the form of taking photographs of different bird tables of all different designs and sizes. This then gave me different ideas on how to design my own and the different practical skills I could use. To draw out my design, I decided to use a 3D CAD software called sketchup, this was useful because I had a visual representation on what it was going to look like throughout and helped me plan each stage throughout the project.
Kami Hall
I have found the lockdown periods boring more than anything and as a person who naturally draws and creates, I have found those two aspects of my character have been hard at work.
But I have noticed that regarding the subject matter, following a brief has not been as important as usual – it’s the actual process that provides the satisfaction.
I seem to choose techniques that follow a repetitive process. This would be very obvious if I was sewing or knitting, but I would say that the creation of digital work, particularly if I am creating several versions of a decided theme, is a definite set of technique procedures, varying only slightly, that are repeated. The work is never gestural or expressive, but limited, focused and complementary.
This has been my theme in my illustrations – the people and the objects involved in making and marking as a mindful exercise.
Alexander Healy
For my FMP, I was inspired by The Rolling Stones and their album, Exile on Main Street. This inspired me, as this album cover shows a collage of so-called ‘circus freaks’ which then inspired me to create work inspired by them. I used appropriation in this project to create Illustrations inspired by these ‘circus freaks’, incorporated ‘found’ images of the Rolling Stones and utilised different physical and digital methods to distort and change them. I then presented the illustrations I had created in this project within a zine.
To do this, I had found already existing images which I then developed using paint, embroidery, collage, typography and distorted digitally. This was inspired by multiple artists such as Andy Warhol, Hannah Hoch and Rossana Taormina. I took inspiration from their work and used this to create a variety of designs using digital and hand-rendered techniques. I was able to successfully communicate my concept of body altering and distortion throughout my work due to the mediums and techniques I had used. This then led me to creating a successful 20-page zine.
My aim for this project was to communicate the idea of ‘circus freaks’ and to raise awareness of them while also raising awareness of people with deformities and how they are treated within society.
Simbi Junon Sulaiman
I have spent this academic year on an ambitious mission. I set myself the target of getting into Central St Martin’s college to study graphic design. I, like many young black British people, also had another matter on my mind. I had to ask myself where I stood and what I felt as a Nigerian British girl. How could I communicate this, when I was still finding out myself? That was the problem to solve and I feel I must have made a good attempt as I will be going off to CSM in September.
During the period of FMP, I developed my research while still finishing off my portfolio, so within the timescale I completed a range of work that explored what it feels to be a young black girl in Britain, the ambitions of young people of colour, our heroes and aspirations, the impact of the pandemic on mental health, a multi-cultural examination of typography and all this culminated in a project that takes a curious approach to Face Blindness.
Emma Swinbourne
My work explores Wales and its importance to everyone living there. Having been here for several years on holiday, I want to express why I like visiting this country so much. And, by doing this, I aim to show all the different places you can visit.
My ideal audience for this project is people who want to go somewhere different on holiday. In my opinion, Wales fits the bill perfectly, due to its many unique, fascinating and historic locations – all of which I was keen to incorporate into my work. This process was important in my project, because I wanted to show the creative process from beginning to end.
Killian Crossan Wale
This body of work explores a world within a world that blends magical, mythical creatures with familiarised human forms, seen in everyday settings.
I have chosen a style of artistic presentation that I am passionate about which is comic book/graphic novel/story board format. However, within the development of the project I have explored a range of styles and skills to further enhance my artistic range and ability.
When pondering on this theme a phrase that I find conjures inspiration and images in my head is the famous quote from author, Arthur C. Clarke, who states: “Two possibilities exist: either we are alone in the Universe or we are not. Both are equally terrifying.”
I have experimented and explored a familiar world that the audience will relate to, where mythical creatures take on personas the reader can identify with.
Within the theme, I have brought to life familiar mythical creatures such as The Loch Ness Monster, The Kracken, Bigfoot and a host of other diverse creatures from folklore, presenting them in an innovative, exciting manner.
Beth Williams
Throughout the course, I have developed a range of digital skills and techniques through my use of the Adobe suite. These are skills which I applied to my year two FMP, based around the theme of Juxtaposition- juxtaposing the narrative of The Queen’s Gambit with the concept of chess being a manifestation of human nature and social hierarchy. Throughout this project, I took inspiration from a range of artists such as Andy Warhol and Loui Jover to develop illustrative collages and graphic designs, which I presented in my own magazine and zine.
My aim for this project was to create digital illustrations and graphics, which communicated not only my concept but also the concept of familiarity to my audience, allowing them to see themselves or situations relevant to their lives within my work. Shown within my digital collages, created using Illustrator and Photoshop – combining my illustrations inspired by the incomplete portraiture style of Sam Green and the collage style of Loui Jover to create a series of collages based around the main characters of the show. Utilising my ability to address my concept, retaining control through chess and manifesting their demons of addiction or trauma into the game. This allowed me to address societal issues such as mental health and addiction alongside the powerful control of chess – the hierarchy of chess. Visually exploring the idea of ‘It’s an entire world of just 64 squares. I feel safe in it. I can control it.’ To inform and support the development of my collage series.
Alongside my illustrations, I also worked with photography and typography inspired by Andy Warhol’s Stills. This allowed me to juxtapose the modernity of my peers with the 50s and 60s time of the show to create simple yet visually interesting pages for my magazine.
Aiden Whitehouse
A comprehensive, environmentally-based project that has links to tradition and the aesthetics behind packaging design.
Initial ideas for this project came from the book ‘How to wrap five eggs’ which celebrates traditional, sustainable Japanese packaging, known to be innovative and aesthetically pleasing.
The message is one that cannot be ignored – the need for a modern society to be a sustainable society. The fact that 70% of pollution is plastic-based packaging spurs me on to not only consider aesthetic challenges in my work, but to be attentive to the materials on which my designs are printed. Graphic designers must learn and communicate the efficacy of packaging and product materials that are sustainable and eco-aware, such as non-carbon based plant ingredients, algae, seaweed and fungi – materials that have always been used in Japan.
My course has not only given me the opportunity to expand my design knowledge but develop a social and political point of view, which I have used as source material for my ideas throughout this year.
Previous Education: Wolverhampton College Destination: Employment
Duality
This project developed from a previous theme where I was creating illustrations for tarot cards. Here I have explored multiple dualities, looking at the most powerful approach to visualise two differences within one image. The image included here explores the idea of love and hate, where the voodoo doll makes you imagine someone else’s pain, maybe distracting you from your own. I work illustratively, always trying to produce detailed representations of the objects I’m drawing, and merging different images to create new ideas and to provoke new thoughts. I’m not afraid to challenge expectations and to highlight stereotypes.
Charlie Benton
Previous Education: Wolverhampton College Destination: Employment
Coraline
The digitally manipulated work presented here is part of a wider body of work taken from the popular animation titled ‘ Coraline.’ The work aims to reimagine characters from the animation, exploring new colours, shapes and forms. My response to this stop motion animation is entirely linked to the myriad of mental health conditions, that are clearly prevalent in the narrative. Research will focus largely on the descriptions of mental health conditions and how these relate to each character. Illustrators that I will explore include Cath Riley and Dave Mckean, as they directly relate to the story and could inspire both a conceptual approach and drawing/image making techniques. I started the project by analysing social media logos, with the intention of drawing issues affecting teenagers and young people and their mental health. I’m focusing on two characters, Coraline and The Other Mother, from which I will reimagine through drawing and digital manipulation and text. Primary photos have also informed aspects of the final response, such as flames and other symbolic objects.
Lauren Clinton
Previous Education: Pedmore High School Destination: Birmingham City University BA (hons) Fine Art
Chilling Adventures of Sabrina
My project is based on a reimagining of a popular NETFLIX series ‘Chilling Adventures of Sabrina.’ This ‘reimagining’ intends to provide a new visualization of the Eldritch Terrors. I chose to do a final piece on the eldritch terror ‘The Imp of the Perverse’ as I felt like it has the most detail in the drawings that I did, and I feel like it matches the theme the most out of all of the eldritch terror drawings. The artist that influenced my work is Joyce Pensato based on how she interprets popular and familiar images from cartoons and comics in large scale paintings and drawings through fine art.
Bartlomiej Dziadula
Previous Education: Birmingham, Quinton – Four Dwellings Academy Destination: Birmingham City University – Architecture
Architectural Utopia
The concept for this project was to produce a vision of architecture that resembles today’s ideas of Utopia. I was trying to achieve this impression of utopia by adding these elements to the buildings I was designing.
For example, nature, that some of us are missing living in some housings/apartments or improved energy consumption by creating bigger windows, to let more natural light in, and use less electricity. The two artists that I took the most inspiration from, were architects: Zaha Hadid and Tom Wiscomb. They allowed me to come up with the ideas for the shapes of the architecture I produced, which their work was the most beneficial to look at, since they presented Utopian architecture. Through my work I am presenting ideas of Utopia, which is the constant want and greed of humanity to achieve something better, but unreachable, in architectural form. From the audience, looking at my work, I would like them to recognize something that is missing in real life buildings, that could be found in my work. If this concept was to become reality it would be made out of concrete, steel, glass and wood for the interiors. Since it’s just a concept, there would be regulations applied, to make it as energy efficient as possible. The apartment building itself, I would imagine being surrounded with a car park and a green belt surrounding it.
Dylan Elms
Previous Education: PTC Destination: Foundation Art and Design
Uncanny Cryptids
For this project, I had decided that I would create a body of work based on folklore creatures which make people feel uneasy in the place they feel the safest, their own home. For the project, I had decided that I would create four of my very own folklore creatures from scratch, with their own backstories included, as well as a list of what they do, where they can be found. I then produced multiple drawings of each and smaller developmental model sculptures of each. I have designed the creatures based around domesticity, in places such as the bedroom, kitchen and then living room, which are by far the most commonly used places in a house hold. By doing this I will trigger an uneasy feeling from the audience. I had created my sculptures out of clay, as well as using a range of materials and objects which are typically found in the home to further cement my work into the uncanny valley.
I believe that the Chapman Brothers and Clive Barker were the two most influential artists to me and my work because of the specific artworks styles they produce and work in. The Chapman Brother produce heavily detailed models of gruesome and scary scenarios and creatures, it was these models which had inspired me to work in a 3D sculpture medium. Clive Barker has inspired me from the many drawings he had done, ranging from the nightmarish landscapes, to his demented creatures. The creatures specifically were what inspired the design for one my sculptures entirely, as well as attempting to achieve a similar style to his own with my drawings which i had produced of models.
Sophie Fenney
Previous Education: Year 1 Diploma BMET Destination: Employment
Mental Health
The concept of my final piece revolves around mental health and how it affects people. I wanted to capture how it may look from an inside point of view, seeing what other people may not notice. I used a range of different materials and media to come up with my final pieces. Both digital and physical to produce these portraits. The heavy, expressive brush strokes are designed to reveal the internal ‘mental health’ that we all have. Marlene Dumas and Urs Fischer were my two biggest inspirations. The use of Dumas style of portraits and the way Fischer collages his work together were incredibly significant in my work. I enjoyed the way Dumas created her work using ridiculously small amount of detail, focusing more on the emotion it conveys. Using this and the surreal collage techniques Fischer used in his work allowed me to create multiple different portraits in my own style trying to portray how someone may feel on the inside. I want to communicate how mental health can look so different for different people and it is not just one thing. I also wanted to display how it may look on the inside when someone seems “normal” using something everyone has (like a face) to show this but distorting it into something bizarre, and how mental health makes you feel like you are someone else. I want people viewing my work to think about how mental health affects people, and how many people are affected by it. I want people to think about the effects it has on other people and hopefully start a conversation and to show other people that its normal to feel like this.
Luke Harper
Previous Education: The Wordsley School Destination: Foundation Art and Design
Dystopian Video Game Concept
The concept for my FMP was inspired by the past events of lockdown and the global pandemic, inspired by games and films. I was playing and viewing Cyberpunk 2077 and and the seminal movie Blade Runner during lockdown and considered how I could visualise my own dystopian type video game through characters and environments. Throughout the project I experimented with a variety of techniques because of the limitations and time, I managed to experiment with pencil, fine liner and digital programs such as photoshop and aftereffects. The significant artists that informed the work included Syd Mead and Stanley Donwood as their art styles and work interested me the most and had a powerful influence when creating the artwork for the cityscapes. The fine liner drawing technique was inspired by Donwood’s Linocut work and how the images looked after the process was completed. Bold and wavy lines highlighting small details which paired well with Syd Meads futuristic cityscapes that helped inspire my own designs.
Niamh Holland
Previous Education: Year 1 Diploma Art & Design Destination: Employment
Gargoyles
I am fascinated by Gargoyles as their aesthetic intrigues, amuses and confuses me. The two paintings presented here form part of the development stage, where I was experimenting with how to create a contemporary gargoyle, linked to historical ideas yet new and dynamic. Gargoyles were created initially as creative water spouts on cathedrals and historical buildings and were popularised in the 13th century, they were also thought to ward off evil spirits. During this project I want to create my own gargoyles by exploring collage, drawing and sculpture. I want to create artworks that seem monstrous, disturbing or unsettling. I want to exaggerate, and combine disparate elements to form a new and sinister response, using the Gargoyle as a start point. I also want to experiment with using political figures like Boris Johnson, Nigel Farage, Margret Thatcher and many more. I’d like to poke fun of these people by turning them in to a gargoyle sculpture through the art of satire and mockery.
Maximos Kiosses
Previous Education: Art and Design Level 1 Diploma, Art and Design Level 2 Diploma Destination: Foundation Art and Design
The Helhiem Longboat
To acknowledge the hindsight of this piece the “Helhiem Longboat” is one that may, at a glance, appear distorted and disproportional creating an underlying sense of uneasiness. This imbalance is, however, intended due to the premise of the piece being a personal recreation of the Viking Underworld “Helhiem.” Therefore the key aspects of this play a part it summarising a feeling that presents a sense of caustic reality and existential questioning. The ‘Sea’ for which is the foundation for this Artwork, is almost metallic in appearance with streaks of dark blues and purple to contribute to the overall unfamiliarity of it all. The ghostly Sea dissipates into the infinite black void and instead of having our usual Sun shine brightly in the centre, the horizons only source of light is an off-centre Longboat, carrying the dead through the Abyss. The longboat is reminiscent of historical design based on the ones we have recovered in the modern era, with the Ghosts of the long dead being ever watchful as they stare into darkness for eternity. The giant burning effigy is actually one of the Viking “Runes” which each symbolise different specific aspects of life in a general sense, with this one being the rune of destruction, hence why its the sole shining light in the infinite dark of Hel, as destruction, chaos and death all unify under one conceptualization of this specific belief on the afterlife.
Other than the lonely boat with the burning rune, the misty Sea of Helheim shows us nothing, but the reflection of the damned in the murky waters. Surrounded with an expanding and contracting banner of Runes that encircle the fate of the lonely longboat. The Runes in their design are inspired by the rune stones that exist all over Scandinavia which have the same encircling banner that represent an esoteric story and meaning.
Also note how the Runes don’t encircle the entire piece, this is intentional and whilst it may not be entirely obviously at a glance, this is done for the metaphorical aspect. The Runes in Viking Lore dictate our fate, and the inclusion of leaving a gap at the bottom of the piece is to signify a change in fate. Weather that may be a way out of Helhiem for the lost souls, or just further into the darkness, it shows us things can change and our fate can always change, provided we go on the right course.
This piece was made by utilizing Blackboard paint and different colours of Chalk, the reasons for doing so can be incorporated into two different answers: Number one being the textures and blending that are beneficial with using Chalk provide strong colourful outlines whilst also being able to develop almost transparent effects, this was useful in the creation of the ghostly Sea and the encircling Runes. Secondly, I was inspired by an artist called Tacita Dean who specializes in Chalk pieces with an unparalleled attention to detail. I also think it’s worth mentioning that Tacita Dean has done several Chalk pieces with giant boats in the water clashing with waves and being blown around in the wind, completely different from my own work of course but was ultimately the inspiration for using Chalk in my final outcome. I’d also like to mention that each and every other artist I’ve researched for the project has been beneficially inspirational not necessarily in terms of context (Besides the ancient Rune masters, Föt and Asamund who inspired the encircling runes) but in terms of colours and proportional value, not to mention mythological value and how to translate the ancient mythological Norse poems into decipherable art like many have done before me and achieved it with such a high standard.
Thomas Rhooms
Previous Education: Year 1 Diploma BMET Destination: Employment
Character Design
For this project, my idea is to create drawings of characters which embody an exaggerated emotion with different designs for each one in an anime/ manga style. I also looked at different career roles which may have a good link to the emotion, for example a butcher could represent rage or anger, and a doctor could represent kindness or joy. I wanted to implement special weapons or half human hybrids which have links to certain job role. I also intended to make characters which embody aspects of a mental illnesses such as depression or anxiety. I started by researching emotions and what different types there are to help me develop with ideas. I will then research a range of artists such as Edward Munch and Manga artists such as Sui Ishida. I experimented with drawing to create characters and will also use photoshop and procreate to add colour and detail. I looked at backgrounds for these characters and used painting, collage and photography. The enduring connection between art and mental health and wellbeing is well documented, especially where artists and illustrators have attempted to document and communicate their own experiences of mental health struggles and or insights. Hollywood may well use caricatures and stereotypes of mental health to provide a character with an edge, or belonging to a subcategory or subgenre within society, which also happens in anime. I also felt it might be useful to provide a brief summary of the difference between anime and manga, as explained in the following quote, ‘Put simply, manga is the term given to Japanese comic books and graphic novels, whereas anime is the name given to Japanese animation. … Although both tend to be considered genres in the West, in reality they are a description of how the content is produced.’
Emily Southwick
Previous Education: Pedmore High School Destination: Birmingham City University
Timelessness
My project theme is ‘Timelessness’, and during this project, I have used various mediums to express my emotions. I choose timelessness as my theme because it associates with my sentiments towards the pandemic. My aim for this project was to create a visual representation of how I felt about the lockdown and covid-19. I wanted to express that we as people are just walking another path, and when it ends, we will only walk another. My concept is all about Covid-19 and the problems and issues it has brought to people’s mental health and stability. In my eyes, I see covid-19 almost like a curse, it’s like we as a society are getting punished for taking advantage of things, we would usually be able to do every day without cost; for example meeting up with friends or going shopping. Especially in the modern generation full of technology, we seem to detach ourselves from the nature around us; Ignoring the beauty and tranquillity behind the natural cycle of life as we stare at our digital screens. It’s only now that some people have noticed how much we miss the little things in life, and how our timeless development in advanced technology has almost, made us blind. We can only miss something until it’s gone and I believe this ‘curse’ can only be broke until we all notice our senselessness towards the little things and work together as one instead of multiple different groups.
For my final piece, I used soft pastel, graphite, newspaper, and acrylic paint. My backdrop was a collage of newspaper pages about covid and lockdown. I decided to do this to reference what my concept is about but also create an intricate background. I used a stamp I made out of cardboard to create an alinement of hand sanitiser prints across the painting to refer to repetition and the rise in PPE (Personal Protection Equipment). My final piece was crowded and manic because I wanted to communicate how stressful and confusing everything has been.
Benjamin murphy was someone I found on the Saatchi gallery website. He was hosting a new exhibition during lockdown called antisocial isolation, which was intriguing. My acknowledgement of the upcoming exhibition ‘antisocial isolation’ lead to my discovery of his work. I was interested in his plant charcoal drawings, and I used them as inspiration throughout the project. My concept for my project was to create dark and lifeless drawings of plants and nature to communicate how time and life has almost stopped because of lockdown; this ultimately leaves everything to become dull. Benjamin Murphy’s charcoal drawings was a great start point for my project, and soon enough, I was creating/developing this idea into prints and even paintings. Franz Kline was another painter that got recommend to me, his work was bold and defined, and that factor inspired me to create black acrylic paint paintings and prints. I didn’t work with abstract but instead aimed to achieve the dark, bold and thick line-work he possessed in his abstract paintings.
Progression: UAL Foundation Diploma in art & Design Inspired
The idea of what the future might look like and how each preceding decade predicted and imagined it, is central to my FMP. Retro-futurism is a movement in the creative arts that blends old fashioned retro styles with futuristic technology. “Retro futurism is the pasts version of the future” it is, what previous generations, thought their future might look like. The 1960s, for example, had an optimistic view of the future sparked by ‘the golden space age’ originating in 1957 and advancements in technology and science. The 1970’s was more pessimistic, the promises of the liberating 1960s didn’t happen.
I will draw on key events and features of the 1960s and 1970s, challenges to masculinity and femininity, as well as the visual identities of range of youth subcultures.
The collections of contemporary fashion designers such as Iris van Herpen, Gareth Pugh and Alexander McQueen often seem to reference the future and inspired my initial ideas. My final collection is a celebration of many different things, the overall look is eclectic borrowing from the past and the future!
Due to Lockdown, this project has been developed from home as well as college, I had to be more selective in the techniques I chose to work with do due to the lack of resources and subject specific equipment. Where possible I found I could substitute other, more attainable materials and methods such as hand rendered work, sketchbook work, small scale draping work and digital processes in the place of more sophisticated techniques only available at college. One specific challenge I set myself was to develop my fashion illustration, I wanted the theme to be conveyed in my drawing. The final pieces have a slightly surreal wonky quality that I think is in keeping with the concept and are very Indidualistic. I’m looking forward to developing my skills in fashion on the UAL Foundation Diploma in Brierley hill.
Abbie Brettle
Progression: UAL Foundation Diploma in art & Design Inspired
The aim of my project was to produce a range of textile samples based on an investigation into the theme ‘Urban Decay’. I was drawn to this because, across the world there are cities, or parts of cities, that are spiralling into decay and buildings that were being abandoned. In these areas there are high rates of unemployment, low living standards and crime rates, as well as pollution and sprawling graffiti. Many of these factors lead to the depopulation in places like Detroit, USA. In contract to these issues, I saw that you could beauty in what you were faced with; Derelict buildings incorporated worn and distressed surfaces that I thought would be interesting to use as inspiration for textile prints. Artist Susan Hotchkiss inspired my initial ideas as she also looks at the process of ageing and decaying. I started to look into the different physical surfaces and textures of decaying places and played with recreating the patterns into my work experimenting with destructive marks spills, splashes, rips, burns and tears.
My time on the course has been a valuable experience and staff have encouraged me to keep motivated but more importantly keep on top of things. This has helped me to generate a lot of work and helped me to improve my practical skills.
Charlotte Bytheway
Progression: Birmingham City University
The theme I have chosen for my FMP is ‘Forms- Biological’, a broad enough theme that encouraged an exploration of a number of exciting starting points and utilised lots of different materials and processes. I have used a variety of subject matter throughout this project such as the human body, its systems and functions, plants, animals, cells. I produced a range of furniture designs, small scale prototypes in a range of every day accessible materials. My work has a target audience of those who appreciates working environments with a more abstract and contemporary design aesthetic such as an abstract office space.
I gathered information and inspiration from product designers and sculptural fine artists such as: Ron Arad, Alessandra Baldereschi, Constance Guisset and Tord Boontje. I found focusing of those designers allowed my strengths of this project to be, increasing quantity and quality of relevant artist and designer research, and exploring different pathways within my project ideas. I feel I demonstrated resilience within my problem solving and the development of my skill with digital work processes. If I was to complete it again, I would manage my time differently and explore colour in more depth, push my material experimentation and manufacturing methods to give a more interesting range of techniques used.
Going forward from this project my plans for next year are to go to University studying BA (hons) Product and Furniture design at Birmingham City University.
Keeley Dean
Progression: Employment
The theme for my Final Major Project was looking at flowers, especially those that were blooming and at their best. I thought of this theme while we were in lockdown, I noticed little flowers starting to bloom everywhere, It made me think the whole world had to stop and slow down but the flowers were still growing through this challenging time.
The main artist who inspired me was Ambrosius Bosschaert and his still-life paintings. His flowers were displayed against a dark background to show their colours, shapes and textures to the fullest. I wanted to create a range of drawings using different media including ink, colored pencils, oil pastels and crayons. The idea was to create a range of patterns and print designs based on my stylising flower drawings that could be used for interiortextiles.
This second-year experience has been challenging but very exciting. I have developed my skills on the heat press and the screen printing and also learned to manage my time more affectively through setting aims and reflecting on what I made – this helped me to independently manage my work and come up with ideas without relying on staff too much.
Charlie Garbett
Progression: Employment
I wanted to explore the idea of emotions and struggles within each one of us, not just through the obvious facial expression. I felt the topic was relevant to the times we are in now as all of us are in quite a stressful and potentially damaging situation right now due to the worldwide pandemic caused by a virus.
We have had to adapt to lockdowns and social distancing with many people having to go through this alone. This has resulted in changes to mental behavior or challenges to ones emotions. I wanted to see how I could explore this experience using fashion and textiles techniques.
I took inspiration from a range or artists and designers such as Henrik Vibskov who created sculptural garments, draping and fabric distortions to create body sized faces as part of the garment, and Karina Thompson’s who communicated moods and emotions in a less literal way by using surface manipulation and colours which I found exciting. Emotions are not just black and white, most of the time they intermingle with one another. During the practical stages I explored a wide range of ideas to determine the most successful ones to go forward with, these included the use of text and typography..
The second year has allowed me to be much more creative than the first year because I have been able to produce more experimental work. This has allowed me to be much more expressive with my practice and given me an easier time with the work in the sense that I am not always trying to perfect it. I have also been able to research more broadly to find new ideas to explore.
Grace-Moya Godwin
Progression: Beauty course Halesowen College
My FMP is titled ‘Floral Clash’. I wanted to explore botanical illustrations of exotic plants and flowers and juxtapose these with those native to this country. I chose this as I felt it would give me endless scope in terms of specialist techniques and processes to work with and enable me to experiment with drawing, colour and composition. I wanted to keep an open mind about my approach to drawing and experiment with different materials, and techniques and how they can be used in my textiles work.
Inspiring my initial ideas were artists Henri Rousseau, Elizabeth Blackadder and Matisse. Rousseau created work based around landscapes in the jungle which were vibrant, although he never went to a jungle, he was able to use existing exotic plants and flowers to recreate his vision. Blackadder used watercolours with a loose and painterly approach which I thought was interesting and a contrast to the bolder blocky cutouts that Matisse produced. I liked the idea of combining these different techniques used by the artists and to recreate a visual language that appealed to me. I mixed drawing, painting and collage together with further exploration into line, colour, texture and scale as the work developed.
This year I have had to become much more independent and have worked with tutors to keep up to date with work. I was introduced to new techniques that influenced my work for the better and allowed me to develop my confidence. I have learnt that the more research and practical work I carry out, then the more ideas I am able to play around with, enabling me to extend my work in ways that I was not expecting.
Brandon Hibberd
Progression: UAL Foundation Diploma in Art and Design Inspired
My focus for my FMP was to focus on design details in menswear and construct a range of samples.
I took inspiration form a number of contemporary fashion designers, some mainstream including Maison Margiela and others, with a more niche market, such as Carol Poell. Many of these designers explored deconstruction techniques in their collections and, the idea of defects as a positive, became my main focus. I also researched defects within the human brain, learning disabilities, birth defects and bone structures.
My main strengths in my project were my documentation of work in progress. I was meticulous in this as I wanted to record every experiment as I was never sure on the outcome and I was tried to explore the unusual and unpredictable in the samples I produced.
This project has broadened my understanding of contemporary menswear design but also how designers use social media and nontraditional advertising to promote their work while keeping it exclusive.
Next year I want to continue to study fashion design and plan to join the UAL Foundation course at the Inspired campus.
Georgia Lewis
Progression: UAL Foundation Diploma in Art and Design Inspired
My work revloves around discovering the beauty in Decay, focusing on the colours and patterns that happen naturally. Environment issues are important at the moment with a lot of waste and rubbish being piled up. Although it can be grotesque and unsightly there is an also a beauty in the patterns and colours that have formed within these discarded things. I thought it would be interesting to develop work around these. Artists such as Ruth Lee, Carlie Trosclair and Cas Holmes inspired me to look at pattern and texture as well as surface distortions. With my own practical work I was able to develop a range of drawings and ideas that informed my knit and embroidery samples. The aim was to create a 3D sculptural piece but the process of knotting was quite labour intensive and restricted how fast I could work. Nevertheless, I felt I was pushed out of my comfort zone and develop creative samples that work well as individual pieces on their own.
The projects that I have taken part in this year have been very different and experimental. I have been allowed to explore a wide range of techniques and processes that I had not been exposed to before. This has helped me to think differently and to challenge myself on what I am able to produce. I have enjoyed the second year as it has been experimental and broad in terms of research and hope to develop on these newfound skills further.
Imogen Hunter-Prouse
Progression: Employment
The concept behind this project was to challenge the value of mass production furniture. My aim was to show appreciatation for the value and beauty of everyday, discarded items and to explore their potential usefulness by repurposing them, an idea which was inspired by a quote from artist William Morris who stated, ‘have nothing in your house that you know to be useful or believe to be beautiful.” By repurposing items I wanted to elevate them beyond their original design. I researched a variety of designers work such as Charles Rennie Mackintosh, Phillipe Starck and Pauline Darley in order to draw inspiration from some of their designs . Through investigating drawings and the process of etching I was able to generate designs and patterns that could be applied to existing furniture. I also experimented with lazer etching to apply my design to an exisitng piece of furniture.
This second year experience has taught me that valuable skills such as drawing and experimenting is important so that you do not rely on the frst ideas that you have. Through staff encouragement I have been able to take myself out of my comfort zone and try out ideas that have added interest and variety to my work.
Jess Ray
Progression: UAL Foundation Diploma in Art and Design Inspired
I have been very interested in the Regency period, 1795 to 1837, especially the interiors at the time. The show “Bridgerton” was based around this era and my idea was to exaggerate the trends and movements of the time by juxtaposing historical elements with contemporary ones. I was drawn to the glamour and opulence of the interiors in the TV programme; they were over the top, full of gold accents and ornamentation form all over the world. The show itself also mixed in modern day elements in its use of music and makeup. With this in mind, I wanted to mix the past with present. I researched into the scenes of the show to find the own inspiration that went into the costumes, music and interior décor to see how I could interpret the Regency style in my own way. I looked into stately homes and trends popular in the 18th century period. I used collage to combine visual elements form the past with recognisable objects of today as a starting point for my design ideas. Although Bridgerton was my initial source of inspiration I wanted to expand on this to give myself a wider range of ideas.
Through experimental drawing, collage and surface manipulations, I was able to generate a large body of practical investigations that I combined using hand rendered and digital processes. I also considered embroidery, applique and print so that there was depth and interest to the work. Through creative play I was able to generate surface designs that could be used in different ways such as wallpapers and fabrics for furnishings.
This second year I have been I have been encouraged to improve on existing skills and elevate them to a more inventive level. This was done through testing and trying out ideas so that they were not predictable,
I have also learnt how to develop from my mistakes and not become too precious when things go wrong, this has helped me to understand myself and my work better.
Angeli Sunder
Progression: De Montfort University, BA (Hons) Fashion Design
My FMP was inspired by the 2018 Met gala theme of Heavenly Bodies. The designer that influenced me the most was Oscar de la Renta who made a dress for Nicki Minaj that stood out the most because she came to the event in a design that was dark and devilish whereas everyone else that attended came in angel-like creations. I decided to adopt a darker approach to the design one off evening wear designs for a similar event. I was inspired by various fashion designers including the Chinese Haute Couture designer Guo Pei, and her exaggerated eveningwear and Mani K Jassal who specialises in Asian bridal wear.
My eveningwear collection is teamed with accessories I designs, in keeping with the idea of specialist occasion wear I designed crowns too.
The strengths I have in this project would be the range of designs I produced, ad my use of digital processes to make the process of illustrating my ideas quicker and more efficient.
If I was to do this project again, I would make more textile samples and construct one of my designs.
My plans for next year is to attend university and study fashion as I want to start my own business and be a fashion designer in the future.
Matt Webb
Progression: Angela Ruskin University Cambridge. BA (Hons) Gaming arts.
I am a gamer and wanted to incorporate my interest in fashion and illustration to produce Concept Art for an existing game. Apex Legends is a fantasy and Sci-fi first-person shooter game, developed by Respawn Entertainment. The game has 16 characters, all having different backgrounds, aesthetics and abilities.
For my project, I created a character for this game. She is female and from a planet in the same universe as the other characters in this game. My character is a shape shifting Burlesque dancer. I designed costumes for her, and the assets she would use in the game. Using this work I produced promotional material in the form of posters, images for loading screens and a gif. I have used this year of the course to improve on my illustration and confidence in using digital software
I look forward to developing my illustration at university.
The 1950s and 1960s are my favourite decades for simplicity of lifestyle, the hope people had after the war and also for the great art and music. In addition, by following the vintage photography from this period, I could feel the nostalgia. I wish I could live in the 1950s decade. For my project, I had the aim of creating dramatic and cinematic photographs in a Fim-Noir theme. I was trying to express the moody and more significantly dramatic feelings and moments which I created by hard lighting in black and white and low-key. My portraitures are more classical and every image can tell a story about its character. Shadows and highlights play an important role in this genre.
I paid attention to the clothing style, background, and face direction/expressions for my close-up portraits.
