For my personal investigation I chose the theme of botany as I knew this project would keep me interested and could lead me in several directions, in terms of my project. After taking many photos and gathering lots of research from artists and other secondary photos I was able to start experimenting with samples and techniques such as weaving, printing, dying, stitching, sewing that then developed into samples such as screen printed and tie-dyed fabric, cut and fray samples, and fabric manipulation. All of this came together to inspire and create my final piece. A cut and fray printed panel skirt piece.
I took inspiration for my personal investigation from predominantly the Black Lives Matter movement. I decided to choose this as I felt it is an important topic that needs to be brought to light and talked about more. I was mainly influenced by the protests I attended and the protest signs for my final piece, so decided to go with a patchwork hanging piece. For this I used a variety of techniques such cut and fray, machine embroidery, hand stitch and melting plastic. I also wanted my piece to have an imperfect feel to it as many of the protest signs were rushed and messy and I wanted that to translate through my work.
For my personal investigation, I was heavily inspired by the construct of landscapes, after having visited Wales in the summer of 2020. I realised its intricate textures such as the water, rocks and mountains allowed for much versatility regarding different forms of experimentation. While experimenting with several different techniques, my main focus shifted to fabric manipulation, as well as prints. I personally really enjoyed exploring different ways I could work with fabric to create a wide variety of textures that would relate to the concept of nature. Throughout the entirety of the project, I wanted to ensure that my final piece would capture the raw and natural essence of nature through the form of a fashion piece. It was pieced together by the different elements of landscapes that could easily be rearranged and I thought this was an effective way of presenting my ideas in different ways.
A level Textile Design encourages students to work with a wide variety of skills and processes across the fields of Textiles, Fashion and Interiors. This includes printed textiles, constructed textiles, embroidery, fashion construction, weaving and fabric manipulation. Students are introduced to different techniques which they are then able to develop into personal outcomes. This can be clearly seen within the variety of imaginative outcomes produced by the students this year.
Learners are encouraged to explore both historical and contemporary techniques and to support their work with research into a range of suitable artists, designers, and trends. They are prepared for industry or Higher Education and some of the students from this year are continuing their education by pursuing degrees in Fashion and Textiles after their A levels.
I hope that you find the work inspiring. I am very proud of what the learners have achieved this year.
My project explores the negative effects of forced gender roles in society, how we are expected to dress, speak and behave in a certain way. I love drawing the fabrics and textures of clothes so decided to focus on stereotypically gendered outfits. I combined this with the artist Jose Romussi to created layered embroidery artworks to represent he disconnect between how people want to express themselves, and what people choose to wear. I also created a series of life drawings to explore physical differences between people of different genders and body types to show how we are immediately perceived judged by others.
The theme for my project was ‘expression through abstraction’. I wanted to look at how techniques such as collaging, and abstraction of portraiture can give a piece an expressionist aesthetic. I started by looking at portraiture and the different ways in which I could abstract an image/portrait. I also wanted to incorporate the colour theory into my work as I believe that this helped me grasp the ideas behind giving my work more of an ‘emotional’ approach.
In this project, I explore the subject of manhood and masculinity. Specifically, from a biological stand point, what differentiates men from their sexual counterparts; what traits are innate to men from a biological and evolutionary standpoint, such as competitiveness or dominance; from an anatomical stand point – build, muscle tone, facial sexual dimorphism – and how these traits have been gradually restrained and altered over time and up to contemporary society.
Why do men have thicker bones, broader shoulders? Are these traits, stemming from a primitive age, useless in modern civilisation? Aside from these physical traits of typical masculinity. What are the mental features which distinguish men from women? I plan to explore through colour psychology and symbolism, a range of different colours and combinations that attribute male psychology, e.g., coolness of emotion via cool colours, but on the other end of the spectrum of male temperament, testosterone-induced passion via warm colours.
In my research, I have responded to the works of Da Vinci’s anatomical drawings. I have made drawings inspired by his scientific dissections of muscles and bones of men; furthermore, I have also to make use of his materials, such as quill pens and chalks. On top of that, I made art in response to STELARC’s biotic limbs and organs, which has helped to pose the question of how important the evolutionary traits of men are in the modern world when considering the integration of technology into our daily lives. This is a major concern in the work industry with labourers losing their jobs to machines – what’s the need for strength when a machine is several times more efficient?
My project was to design a brand-new train operator which will be replacing and running multiple new routes, the goal was to design the routes which it will operating, and to provide a map for people with intermediate stops listed on there as well as the brand identity for the operator; a key image for it which will be used across all the designs.
Aside from these things, I wanted to make a website where people can easily get answers to questions, the website needed to be a key point of support for people so making sure that it is easily understandable is key.
Main bits of the operator will also include a social media branding kit as to which I will needed to design a banner and a disruption map as this will allow people to obtain information quickly and easily.
A-Level Photography allows learners the opportunity to express themselves creatively while exploring ideas and concepts that are personal and meaningful. This is clearly demonstrated across the wonderful work created by this years A-Level cohort. I could not be prouder of the work and achievements made by each member of the Photography group.
Learners often choose issues within society as a means to connect their Photography to an audience. The course consistently challenges them to problem solve and improve both quality and concept as they progress. This ultimately prepares them for both industry and Higher Education.
Industry-standard software and equipment are embedded throughout the course to again support progression, exploring the Creative Cloud Adobe Suite with programs such as Photoshop and Lightroom for image editing, along with InDesign to create their stunning portfolios and project work. To allow for a deeper understanding of photography, learners are encouraged to work with both modern and traditional techniques such as darkroom and Cyanotypes. This 2-year programme builds theoretical and practical knowledge to allow our learners the creative means to express themselves through Photography.
I hope you enjoy exploring the work from this year’s Photography learners.
Simon Morris, A-Level Photography Tutor, Dudley Sixth
In this project, I explored the portrayal of monochromatic still life photography, examining the differing ways to adjust and manipulate a photograph through compositional techniques.
I had a diverse set of inspiration from the photographers I chose, allowing me to experiment broadly within the darkroom as well as at home, with various mediums and objects. I looked thoroughly at shadow, lighting, placement, texture and detail, identifying how to assemble an image appropriately with my given objects.
I then went on to produce two distinct final images, done in two different styles, all depicting the techniques accumulated within the entire investigation.
