Watch the Video of This Exhibition Filmed by Student, Rhys Atkinson
It is fair to say that Extended Diploma Art & Design has its challenges. No one could have anticipated the impact Covid would have on the last two years. The students on the second year Extended Diploma art and design have embraced this challenge with creativity, imagination, determination and good spirits. Having experienced a significant part of their first year with limited access to studios and equipment, they tackled industry-level project briefs using whatever materials and resources they had at home. The second year began with the hope that they might explore their creative pathways accessing the full college’s facilities. Lo and behold they went back into lockdown at what is often the most crucial point in their creative journey. It was heartening to see them continue undeterred and produce their university portfolios and coursework with little change in pace. Much of the last few months has been conducted in preparing them for the first professional exhibitions. They ably demonstrated that they could produce and exhibit work commencing with the entirely digital Silent Gallery. Returning to the studio they then had a very short space of time to conceive, produce and exhibit their first physical show despite the fact there was every chance the public would never be able to see it in person. This did not dissuade them from producing imaginative and thought-provoking pieces, showcasing the creative resilience and professionalism they have developed in these atypical times. It is testament to the dedication that the following work can at least be enjoyed in the digital realm.
We are delighted once again this year to have had Hereford College of Art support our learners’ progression into HE via their ‘One To Watch’ initiative. Tutors from their Fine Art, Graphics, Photography and Fashion/Textiles areas have judged entries from our corresponding courses and awarded those learners whose work shows potential for excellence beyond FE. Look out for the banners next to the recipients’ work who will also receive a book for their efforts. This recognition undoubtedly motivates learners to aspire to greater things.
Martin Doyle, lecturer, visual arts
Mina Akhtar
Interior Design – Living Room
Interior design of a spacious living room, home space. Targeted at those who love a spacious and comfortable living space with cultural, modern/contemporary design. I am interested in marbling and repeat work.
Naomi Celine Kennedy Armstrong
Time Passing
The passing of time and events are constant and is not altered for anyone. No one gets more or less time.
Eden Charlotte Beaven
Calamity
You will never truly understand someone’s internal emotions
Adelina Briceva
Flow Of Life
We reflect ourselves on time which makes us regret afterwards that we dont have time to fulfil our small or big requests. As time passes we think about what we done in the past and how can we improve in the future but never do anything properly in the present.
Lisa Lorette Bullows
Self-Reflection
The way we see ourselves can be distorted, different to what others see and media can have a negative effect on this.
Hannah Louise Cole
How do you run from what’s inside your head?
This is my interpretation of Alice in Wonderland where the characters are on a tablecloth along with home-made scented candles that I feel remind me of these characters and the story in general.
Neve Dangerfield
Inverse
Researching into adverts and the reality behind them inspired this range of clothing graphics for ‘Inverse’ – a new brand that celebrates both new and old.
Shannon Davies
Daylight Hours
What do people use to escape reality? With stress being a main point, most people try to escape by using things such as Music, Art or books.
Lauren Jane Evans
Pistanthrophobia
The fear of trusting others.
Holly Isabella Fellows
Protect Blue
My work is about showing the beauty of the world that we continue to destroy everyday through simple things. It raises awareness for all ages to get involved and learn how we can make a change. Because as Sylvia Earle said “Start with someone. Some “one.” And no one can do everything but everyone can do something”.
Lucy Graham
Ever Changing
From a shamanistic practice within the roots of both love and war, to now modern times it’s always been a show of self-expression.
Rosa Amora Hans
Mr Doe
I want to create a piece of work about the idea that no matter how small or insignificant a controversial topic may seem to some people it can completely change your perception of a person. I want people who view my piece to have a moment ambiguity and to challenge their own thoughts and develop new ways of thinking.
Nicole Lane
Haunted Mansion
As an interior designer, I want to push the ‘scare maze / tour’ to a different level.
Emma Lee
Bright Side of the Moon
I’m learning to fall in love with the twilight, spent a lifetime trying to.
Alfie James Masters
Mahu Werk Room
For my project I looked at drag queens, taking into consideration the culture of Hawaii and how ‘mahu’ (the third gender) could be the future of drag.
Cody Nock
Clutter!
Similarly to Muppet style characters in media, I have created a mascot to teach young children the creative side of recycling and how it helps the environment. Clutter, the Gryphon!
Jill O’Callaghan
Detachment from Reality
What if you over-thought until you can’t distinguish assumptions from reality? The lines between the real world and a fictitious world conjured from your mind becomes blurred. When you lose touch with the reality around you, the atmosphere can become sinister; plaguing your thoughts and emotions.
Emily O’Rourke
Speed Limit 165
“Those kids with their spray paint, God love ’em” A physical demonstration of trashy teenage rebellion & the ageing process.
Aimee Louise Simpson
Hidden Ocean
What we do impacts the ocean
Leo Slaidina
(Delusional) MASK
Set in the near future of 20XX, Morgan escapes to a world which they consider their perfect world
Kian Nathan Smith
Sap
A short film exploring how a sense of uneasiness can be achieved through sound and visuals. The character explores a forest that has a strange aura, causing him to get increasingly more paranoid as the film continues.
Stefania Ioana Sterian
Domus de Libris
Translating to “House of books”, the design is a reminder of where society began and that knowledge and learning are part of our fundamental growth as humans.
Shanikqua Stewart
Insanity
My work is a visual representation of anxiety, and how it can feel isolating and take over your mind.
Kaiyan Swan
Concept Art
Developing my art skills to help me get better with my future in becoming a concept artist.
Alexandra Teed
Inciter
What you wear never justifies ‘asking for it’.
Zoe Yasmin Thatcher
A Simple Pegasus
In the style of Kirigami, I have created a piece that combines the spiritual meaning of the Pegasus with the peacefulness and creative freedom that making an Origami piece provides.
Ellie Jayne Turner
A Closer Look
I want spread awareness of what anger is like in a creative way. Anger issues can cause severe mood swings and you can go from really angry to really happy quickly, I want to use masks to show this.
Marcielle Dyami Wade
Life’s Certainties
Currency’s deplete. Memories made. Human nature undefined. Built on others.
Aleksandra Wierzbicka
Is Industrial The New Modern?
In this project I worked to achieve a proposal / 3D model design for a living studio space. The reason why I chose a studio space is because when searching for a studio apartment online the square footage size is very miniature with almost no room to move around.
Eve Wilmot
Panic
Panic attacks suck. Simple as. They are humiliating and painful. For me my breathing speeds up and my heartbeat becomes all I can hear.
Although ‘Covid’ has had an impact on much of the curriculum, our Graphic Design students have continued with their studies using Adobe Creative Suite at home during periods of lockdown. Dudley College has made sure that all art students have access to Adobe software for the duration of their course in order to support their studies both in college and at home. The work on show here is just a snapshot of some of the work produced over the past two years. While our students are taught digital skills, they also learn traditional art and design skills in order to develop a broad portfolio of art and design for their progression onto higher education. Some of our recent students have gone on to study at degree level in subject areas such as visual communication or graphic design, but also illustration, animation, fashion illustration, automotive design, architecture, interior architecture, jewellery design, digital media, and many other creative pathways.
Over the past few months all our students who made university applications were accepted (as usual), and generally on their first choice. Some have chosen to begin their studies at degree level, and others have decided to stay on at Dudley College for a Foundation Year. Well done all – it’s been great working with you. Good luck for the future.
Destination: BA (Hons) Photography Leeds Arts University
Perception acts as a lens on how we view reality and this can often become distorted. What we choose to focus on can alter everything around us, but what’s not in focus is still slightly visible –not quite there. As we transition between viewpoints, that space between focus that we don’t acknowledge still exists but only as noise in the background. We may think that reality as a whole is how we view it, but we are distracted by this when in actual fact reality isn’t perceived in a certain fixed way. I haddeveloped my concept from the idea that we as individuals can construct our own reality from our own thoughts, feelings and beliefs.
The solipsism theory and term ‘subjective construct’ both explain that there is no fixed reality beyond how we perceive it, that we all view everything differently. Photographer Paul Mpegi Sepuya had inspired the experimental approaches I explored towards my photography. Sepuya manipulated the perspective through reflection and in camera collage composition which fragmented the subject. This inspired me to alter the subject’s perspective whilst taking the photo by using different materials to hold in front of the lens. Video art ‘The space in between’ by Mirza and Butler explores object representation and surface abstraction through a multi-screen edit technique where the images fluctuate vigorously.
This inspired me to create a video assemblage using photographs of liminal like spaces which accompanied the subject and edit them to flicker vigorously emphasising a fast thought process whilst looking between different viewpoints. In my work, the viewpoint emphasises what the subject is perceiving as well as portraying the subject them self. The pieces suggest this thought process between different viewpoints. The photographs of spaces act as liminal transition spaces whilst the areas that are muted out or unfocused represent individual interpretation.The video assemblage stills fluctuate with the flashing on the screen, which emphasises the vigorous transition between different viewpoints in someone’s perspective.
The flashing is that space we don’t focus on, it appears in our vision for a split second but isn’t as acknowledged. The ambience suggests background noise that is still heard even when not focused on.From the FMP, I have learnt a range of skills and expanded my knowledge in the technical side of photography. I have worked in the dark room developing film and have learnt the technical basics of a film SLR camera and I can develop these new skills further when I progress on to Leedsundergraduate course. I’ve also explored new experimental approaches towards my work through techniques such as physically editing and taking the photograph, I have learnt I have a certain visual eye when I take my photographs which I can develop further in the undergraduate course.
Isaac Jones
I proposed to make concepts and designs for a game centered on mental health that would use an old-fashioned form of illustration called rubber-hose that dates back to the 1930’s. Mental Health has been something that has been a big thing within my life for the past 5 years in terms of my own well-being as well as family and friends; and it is clear that it is an overlooked issue. Seeing as I want to go into the games industry, I thought it would be good to use the idea of a game as a base to explore mental health (an issue I am passionate about).
This was the initial idea that developed more visually during the initial research and project proposal stage where I looked at various artists and decided on a particular art style. The art-styles used feature many vintage aspects such as the 1930’s cartoon style of illustration for the characters and the sepia-toned photographs for the backgrounds; which I chose to use due to my appreciation of the style as well as the darker and grittier look that it brings, which relates very heavily to the more dark and depressing outlook on mental health issues. I think influence came from many places including peers and tutors who both gave new ideas on how I could explore and develop different aspects of my work as well as ideas on how it could be presented.
However, inspiration also came from my research and I think the game Cuphead has influenced my project and idea the most. The illustration style of Rubberhose is similar with the characters. I feel the idea of having these large monsters that have subtle details about them is something that I have learnt from looking and Cuphead. I think the pathway and exploratory stage was great for trying to representing the ideas that I already had so that others could see visually what I was thinking of. It also showed me new ideas in that area of art that I could bring into my own project. However, I wish I had initially explored other forms of media to get a wider appreciation of the topic I was focusing on.
I did make up for this later looking into TV shows, interviews with artist and exploring more of the mental health side with a variety of mediums but doing this at the start would have made this process easier. During this project, I think I have learnt the most about the importance of reflection and research and how it can positively affect the project. Reflections and research has allowed me develop new ideas that I didn’t have at the start and have been some of the most crucial aspects that have brought the project together, such as the ideas of using different techniques with the fine artist anxiety research as well as research into TV and Cinema with Wandavision and Pleasentville which led me to develop the idea of using monoprints as a shadow.
I think when I move on to my undergraduate course this will help greatly as research and reflection help a lot in terms of planning and keeping track of where the project is going. I will also gain a much wider range of ideas to draw from which will make my work much more interesting.
Elliot Luton
Graham Hancock is a pseudoscientist who researches theories about the early years of life. My fascination with aliens and the unnatural theories in life, lead me to Hancock’s theories of how the pyramids were built and that it would be physically impossible for any normal human to do so. His theories on the hidden sectors of history would evoke amotions in any type of person, from fear to excitement, just the fact that even the top scientists can’t explain everything we know about in history, even before touching on the parts we have yet to discover.
My work examines the way that these types of people are treated, the theories and ideas that can be proven but are outside of explanation, are hidden and defaced as they are not understood. Presenting this idea shows how narrow-minded scientists are and the only understanding we have of our history is the words written in black and white.
Chloe Pritchard
Destination: Illustration-BA(Hons) Birmingham City University (BCU)
Confusion, fear and entrapment. Instructed by the new laws and informed by the constant flow of misery after misery. Trapped within the confines of 4 walls where our only escape is to find clarity with the screens in front of us, further binding our eyes and ears to more dreaded news. The past year has been insufferable or a blessing, giving those more free time while also making us feel more alone. Connections have been lost where new ones have formed and our lives still continue while adapting to our new situation. This Sensory overload we have been bombarded with and the clarity in-between has affected the way we feel and talk, especially regarding Covid-19.
My work is a collective of emotion, conflict, imagery and information being kept within the confines of four corners. Detailing the bombardment of media and information with the breaks of clarity we have in-between. The sensory overload of colour, text and imagery conveys the emotions felt and informs us as a reminder to not forget but to converse and allow for an open dialogue of interpretation. It aims to be insightful while commemorating my own thoughts and feelings throughout this pandemic. It is an open collection to the youth and how we have faced parameters while being informed of consequences and risks. We have faced the unknown and continue to overcome with resilience within the confusion of it all.
Inspired by collage, illustration and different media, my work evolved into a topic of discussion surrounding Covid-19. This developed through exploring artists relating to colour, design principles and mark making such as Callen Schaub, inspiring me to use traditional media mixed with my graphic design developing my work from simple collage to a chaotic mixture of colour, imagery and text. Inspiration from Sigmar Polke, allowed the utilisation of illustration in a simple and contemporary way incorporated into a mixture of bombarding and simple imagery. Exploring a mixture of artists from all disciplines allowed me to express this sense of bombardment and overload.
Open dialogue with peers and tutors allowed the incorporation of different ideas and ways to further push my theme. Relying heavily on the opinions of others and my own judgement, determined development and pushed the boundaries of my work. My project within Covid-19. With this constant development, I prepared for all eventualities and displayed different outcomes. I achieved the outcome I desired from the start, communicating and opening dialogue for an audience.
Through completing this course and FMP, lockdown and restrictions have added a disadvantage but have also shown the resilience I have to overcome the parameters and restrictions. I have developed my own perspective towards using different media and explored within these fields. Obtaining a more critical mindset has allowed me to spot details in my work that need improving and this mind set is something I will proceed to use, progressing on to University.
Ellie Walker
Previous Education: Dudley College Destination: Wolverhampton University Graphic Design
The initial idea for this project was to re-brand the well-known store Woolworth’s. I wanted to create the company in a new light. The idea was to go back to basics and start from scratch with a new company logo, company uniforms, advertisement posters, website, shop signs and shopping bag designs. I initially looked at artists including Saul Bass and Alice Isaac, I found that Isaac’s style wasn’t suited to this project as her work was too complex and abstract. I was hugely inspired by Bass as his work helped me dive deeper into art movement which led me to look at the Bauhaus which became my main inspiration for design. Through this I learnt that using simplistic patterns and shapes worked better as it made the logo design especially more memorable.
I initially didn’t set myself enough targets and for the ones I managed to set I unfortunately didn’t give myself enough time. Through this project I have learnt have to keep up with time scales and set myself aims which I believe will help me for future projects, that I something I will definitely take forward in the future. With help from tutors and peers I was able to get the e feedback I needed in order to make my designs the best they could be, I personally feel critical feedback is key when sharing pieces of work as it helps you see things from other peoples point of views which can also sometimes change your opinion on your own work, for the better.
Through feedback it allowed me to change my logo design completely in the initial design process, for a basic corporate logo, into a quirky retro design. It also allowed me to bring Woolworth’s into the 21st century, changing the name from Woolworth’s to Woollies and changing the idea of creating a website into creating an Instagram page. This was much easier to set up and allowed me to increase my target audience to the younger generation rather than just the older generation for the nostalgic value. Although I liked the idea of the nostalgic feel, I didn’t want that to take over from reality and I wanted the brand to be taken seriously, with the retro aspect I feel as though I captured this perfectly. I believe that despite a few hiccups the project came together well.
From this I will now analyse my work to a better quality making sure my reviews and evaluations of work are in more detail and of better quality and I will also learn how to manage time more efficiently. This year has allowed me to work on my specialist subject in a more mature way and has allowed me to find my own style. I have also learnt to be confident in my own work especially if I am pleased with something I have created and how to make other people believe my work is of a high standard. I hope from this past year I can now take on my skills to university and any future career I am able to achieve.
Joseph Woodcock
Previous Education: Joseph Woodcock Destination: BA Graphic Design with a Placement Year Loughborough University
The initial idea for his project was to create branding for a new and upcoming EDM festival that was trying to tackle the issue of coronavirus we face today. As I began to work with the project I found routes around the issue we face today. I wanted to create a box that would be shipped to your house that would contain a range of elements that would allow you to set up your own festival in your house. Through initially looking at artists Harrison Pollock and Jack Teagle, I found my theme of ‘hyper reality’, which developed into my own take on the theme through researching films and multiple other artists. I choose to delve into this as it strongly relates to simulation and have strong futuristic ideology. This worked well inside the genre of my music which pushes electronic noises and have links to both the past and the future, which when mixed together, creates for amazing visuals, and I think I achieved this with great success.
This project had a large influence from others around me and they all helped push my project further. Initially I set myself a rough timetable. However, through constantly reviewing work and talking with my three tutors, I managed to refine this and found a great pattern of work then review that helped keep me on track. I have managed to achieve my main goal in my project by doing this however, I did have a range of opponents that didn’t end up being formulated. These include: a website, virtual tickets, VR headset and a range of other promotional work. The time I spent focusing on the four elements of this project allowed me to create a far better quality of work that held strong references, and allowed me to explore a diverse range of techniques that helped develop my skills. I do however, feel as though I could have started stronger in terms of this and this may have allowed me to create a wider range of final piece. Overall, I am extremely pleased with my management of this project and if I was to do it again I would have put more time into configuring my initial timetable.
One of the main things I will take away from this project is an ability to integrate far more hand rendered work into my digital works. This year has allowed me to develop my specialist practice and my own unique style which has informed what I want to create as I move to the next stage of university. I have also learnt how to review and look back at my project. It’s taught me to not veer away from the project at hand and to keep focus on what I want. I think at the start of this year I was susceptible to this but my focus has changed and I have a far more knowledge on how to keep a structure to my time and how I can distribute my time around. This is a great skill to have developed at this stage and will only grow as I head towards my career.
The title of this project was ‘Expect the Unexpected’ and develops work produced for my Extended Diploma course. I wanted to create strange beings inspired by the work of Surrealist Max Ernst and contemporary illustrator Linder Sterling. Both make strange compositions collaging together animals, humans and objects to create bizarre and weird imagery. Another artist that I was inspired by was J Semp because his work is bizarre and futuristic looking.
If the national lockdown didn’t happen I could have developed the idea of using peers as models for me to photograph and use in my collages, this didn’t happen so I had to use only magazines.
Back in college I did manage to develop my ideas by transferring tracings of my collages into silk screens. I used a mixture of different brightly coloured fabrics, viylene, existing printed fabrics and PVC. I could have potentially applied more refined details and definition through the sewing techniques, hand and machine stitch and applique but there wasn’t enough time.
The different images, surfaces and colour palettes all helped me convey my idea of ‘Expect the Unexpected’, due to the unusual mix and clash of colour on various surfaces. I have developed my confidence in printing and machine embroidery and want to broaden my skill set at university.
Ellie Bloomfield
Cabin Fever’ was inspired by the uninspired. My FMP began during a Covid-19 lockdown and I was struggling to get motivated due the claustrophobic feeling of being trapped indoors. However, rather than allowing this to negatively affect my project, I decided to embrace these feelings and allow them to direct my work, pushing me to be creative whilst stuck in a small office. Self-reflection realised that to cope with the disorder and unknown of the circumstances, I relied on repetition, order, and control of the space around me.
The Outsider Art heavily influenced my project. I found comparisons between some of the artist’s dispositions and methods, and my own ideas and emotions during the lockdown period. Heinrich Reisenbauer’s organised grid paintings of identical subjects reminded me of my own coping methods, for example, eating the same foods during isolation. His work also emulates the feeling of endlessness, and the repetition of lockdown life, whilst the low-tech materials, remind me of the lack of resources I had at home. In contrast, August Walla’s explosive and expressive murals evokes the feeling of disorder and claustrophobia that I felt at that time, the crushing feeling of cabin fever. The vast distinction between the techniques used by these troubled artists became the basis for my ‘project of two halves’. The work I produced from home was inspired by Reisenbauer’s simple line drawings of subjects around me. However, once I returned to college, I decided to explode my small initial drawings into a large exhibition space, to challenge my creativity and to use my return to the studio space from home to the best of my ability.
My biggest challenge for this project was to trust the process and to allow myself to react as I go without a structured plan for an outcome. I was able to achieve this by having frequent tutor discussions which allowed me to create bite sized plans that provided the control I needed in order to cope and create order within disorder.
This project could have continued forever, and I feel as if the creativity and curiosity I learnt from it will. There are many ways it could have developed, from textiles print to embroidered samples, however I am pleased with where it did conclude as it remains ambiguous and my use of mostly paper-based materials links back to my original resources. In my proposal I had planned to create a ‘range of textiles’ and although my final space and samples do not resemble a traditional example of textiles it holds all of the key elements and explores the idea of a modern take on textiles.
This project not only enhanced my practical skills and creativity but taught me about myself. The purpose of the project was to explore the personal effects of Covid by emulating my emotions through large scale motifs and repetition in an installation environment, but that space itself trapped me and pushed me to work through my struggles and allow the lack of motivation at times to inspire new work
FAD has given me the opportunity to explore a large range of specialities and combine aspects of them all to create my own creative individuality. I have learnt to be more experimental and to not be to be caught up on the outcome and forget to explore the process. I will take these fundamentals on with me into my creative career.
Nathaniel Buffery
Previous Education: King Edward VI College Stourbridge Destination: BSc Psychology, University of Liverpool
“Space and Fashion” was an investigation both into the historical roots of Space Age but, also a look at more contemporary print techniques and technological innovation. My aim was to create a series of simple 1960s silhouettes with astronomy inspired printed fabrics for a Space-themed garment collection. The idea came from renewed international interest in space travel and personal interest in aesthetics of planetary surfaces and how they may be applied to fashion. I developed my initial ideas in lockdown through research and sketches and then moved onto printing techniques.
My main inspiration for this project were the fashion designers of Space Age such as Pierre Cardin, Paco Rabanne, Andre Courreges etc. Their use of unconventional materials and ‘looking to the future’ in a time scarred by the fear of a world-ending nuclear war was something I could relate to given the limited supplies I had in lockdown and being in a world event where the only outlook to have was to look to the future. Another source of inspiration was Mary Quant and the work of activists in the 1960s who pushed against modesty and prudish culture of the 1950s, allowing for more ‘scandalous’ silhouettes such as the mini skirt and more exposed skin.
Tutor and student comments did influence my ideas a lot. In the early stages, tutor discussions helped me pull all my research into one cohesive idea. Had time not been so tight that I could have developed further ideas such as expanding my collection to look at other 60s silhouettes (e.g., the A-Line or the cape/poncho) or looking at accessories outside of the hypothetical (e.g., shoes or cuffs).
There are many things I have learnt from my FMP project. The main one is improving my practical skills in both textile and fashion design, I specialized in fashion without any prior experience of this field. Although it has been a steep learning curve it has been incredibly useful, not only learning skills for personal use but also how the industry works and how the skills I was using translated onto an industrial scale.
I also learnt more skills in organization and recording my work, that the end-product is not just the finished garment but the journey to get to that work. The most significant thing the FAD has taught me is to go outside my comfort zone, to try new things because it’s better to be rewarded for doing something new rather than doing something mundane that you always do. I would like to apply that to my undergraduate as although it’s a different subject, there are many fields to explore, opportunities to try something new.
Evie Burgess
Destination: BA Hons Creative Direction for Fashion London College of Fashion UAL
The coronavirus pandemic and how it has affected the fashion industry influenced my initial ideas for this project. I wanted to consider how fashion will change in the future and create work communicating this.
Fashion must become more sustainable, and this is something I wanted to explore in my work. I found an article on Forbes outlining how the fashion industry will be data-driven, sustainable, digital, and simplified in the future. It discusses how new technology and changing customer demands will begin to transform the industry.
My approach in previous projects has always involved photography, an area in which I feel confident, but lockdown meant that opportunities for this were limited. I was able to experiment with hand-rendered techniques such as collage in the initial stages of my project. My experimentation informed the type of practical work I wanted to produce, directing me towards new ideas.
After extensive research into the brand Jacquemus, I created a publication, working in a hypothetical style as if I was producing this for them. Its purpose is to inform potential customers about sustainable practices and methods used in production. I wrote about the brand’s decision to slow down the company through co-ed shows. Doing this allows a reduction of wastage fabrics, being able to take control of energy expenditure. I was able to educate myself on sustainability, which I found was the most rewarding part of my project.
Being on FAD, I have learned that experimentation is a significant process. I feel it allows me to devise ideas that I may not have had if I jumped straight into practical work. I also found I could allow more time to consider the presentation of my outcomes. I wanted to grow my InDesign skills and investigate new techniques that combine text with images. My approach has worked well for this project, and I have the confidence to develop this finesse when I progress to university.
Molly Cartwright
Previous Education: UAL Foundation Diploma in Art & Design, UAL London College of Fashion Destination: BA (Hons) Fashion Design Technology: Womenswear
My Final Major Project was a reaction to the pandemic I am living in, specifically the effects of the lockdown being anxious, distressed, alienated and frustrated feelings. When stimulating ideas for what my project could be, aware that fashion designers collections are normally a reaction to what is happening in the world around them I decided to look to my own experiences of the current world I’m living in. My initial idea was mainly developed from researching Outsider Art. This work is made by the untrained, and includes work by the mentally ill, child art, work mad by prisoners and those who live in isolation. I wanted to see how being isolated effected their art to inspire how I present my isolated, lockdown feelings through art. Here I discovered motifs of outsider artwork including overlapping, communicating through repetitive words and numbers, and illegibility, which I applied to my initial drawings which then went on to inform garment design.
Outsider artists including Emma Hauck who inspired me to explore my feeling by writing them down in manners that explored the outsider motifs. My drawings reminded me of Gosia Wlodarczak’s work who went on to inspire a significant amount of my practical work, I applied the same fluidity to explore the lack of control felt in lockdown, applied my drawings directly onto silhouettes to see how they would distort the drawing, distortion being something I wanted to achieve to further convey anxiety and alienation and finally experimenting similarly in a performative manner and filming this experimentation to explore another lockdown feeling of mine in a more abstract way, the desire for human touch and connection.
Discussion with tutors and peers was vital for the development of my work, as they suggested interesting artist research and ideas. For example, I had all these ideas of feelings in lockdown and how art has been used as a coping mechanism, thinking about the psychological effects of being confined and even OCD in the pandemic. My tutor’s suggestion of looking into outsider art bound all of my ideas together and led to how I would explore my own time in isolation.
In my proposal my aim was to design a minimum of one garment, however, as ideas developed I realised I did not want my work to result to one garment I wanted my final outcome to be a collection of all my experimentation and fashion films to demonstrate what I was able to achieve in these difficult times.
One of the most significant things I have learnt on FAD is problem solving. Having a lack of resources to work with but, still stimulating alternative ideas, and design development are very valuable skills for both university and industry. FAD has also taught me how to collect my own relevant research from different sources and a range of artists. I think the most successful aspect of my project has been my ability to then stimulate lots of ideas from my research, using my research to inform my practical work and the continuation of this throughout my project.
At university, I want to be able to take my approach to mind mapping, lateral thinking and research and ideas from beyond my specialism and use my planning, resilience and problem-solving skills to work independently and negotiate support from my peers and tutors.
Chloesue Hartill
Destination: Kingston University BA (Hons) Fashion Design
“Fade to Grey” is a project inspired by fascination with the New Romantic Era and how open and how all gender stereotypes were forgotten about. I wanted to look back into the 80s and explore what inspired their flamboyant fashion choices.
Through research I discovered many influences on the New Romantics such as; 19th English Romantic Era, Glam Rock and Sci-Fi. The New Romantic took all of these influences and through clashing and contrasting different styles together created bold, over the top garments.
I created fashion collages to inspire draping and fabric manipulation on the mannequin. I produced a collection of that mismatched and clashed menswear with womenswear and pattern, colour and texture. This project has given me a greater understanding of Fashion throughout the 80s and how it was influenced by many different things which shows fashion is constantly evolving and how the younger generation is constantly looking up to the older generation to inspire their fashion choices.
The foundation course has increased my confidence which can be seen throughout my work as it shows a growing confidence in experimentation and a more varied style than I had at the beginning of the course. I will continue to push my boundaries and to go out of my comfort zone.
Alister Kidger
Previous Education: UAL Foundation Diploma in Art & Design Destination: Further Education
I think that there is a pressure on people to be perfect and beyond cool from film, TV and social media, especially with celebrities and Instagram models where they are pictured as living the dream and being the centre of everything 24/7, which can make people feel like they need to be more than they already are in a negative way.
For my Final Major Project intend to create a menswear collection titled ‘Unseen’, which is based on the feeling of anxiety in social situations that introverts like myself can feel. The pressure of desperately trying to stand out and be seen as the life of the party, and hiding who you really are for fear that people won’t accept you for as you actually are is a problem for many young people.
I was interested in extremes of constructed personality; the introvert and extrovert and wanted to try and convey those feelings through the fashion design. I was drawn to extroverts like Prince, who was very experimental and wild with his choice of fashion as well as fashion collections like Balmain Fall 2016.
Hiding the body through layering and a dark colour palette informed my early designs. I was also drawn to the idea of censoring the face without it looking like it was done intentionally, and so I was drawn to the idea of covering the face with black cloth which was inspired by the work of Juha Arvid Helminen called The invisible empire.
Due to lockdown, I was unable to construct any garments but feel that this FMP has given me more confidence in fashion illustration and a greater understanding of fabrication.
Sarah Lewis
‘Covid-19’ is a project that portrays the horrific pandemic that hit the world in 2020. Lockdown has had a huge impact affecting everybody’s day to day lives. The experience of being trapped inside and repeating the same routine is what inspired me.
My initial ideas were developed through researching Artists and Designers that were inspired by the pandemic. The influence of Coronavirus can be seen in Fine Art, Fashion. My research extended to investigating how the pandemic was spreading and what the virus looked like. It was a shock to see how beautiful these deadly virus were under a microscope! As a textile designer I was drawn to the patterns and colours in these microscopic images as well as wanting to reference medical equipment.
I am a very hands on designer and enjoy the challenges of developing work practically, so not having access to the textile print resource I instead had time to really experiment and explore drawing in much more depth than I would have done had college been open. This is something significant that I have learnt.
My confidence has grown through being able to communicate my ideas through drawing and in discussing my work with others. Working on my communication skills have certainly prepared me to talk about my work more broadly in future projects at university.
I believe that I managed to achieve all I set out to do. This is through the variety of hangings that could be featured for interiors. Pattern and colour have also been explored massively to create vibrant elements in my designs.
Commitment and resilience to producing my very best work is shown throughout the project and I was dedicated to work hard and focus on developing my ideas, even though at times I found it hard to stay motivated.
Although lockdown has been difficult to cope with, I am so grateful for how it has improved the way I work. I believe that I have pushed myself through working outside of my comfort zone, and I will continue to test my experimentation on my undergraduate course. Overall, it has been a challenging but exciting experience, and it will be the project that I shall always refer to if I am ever struggling in future projects.
Isabella Loveridge
Previous Education: Kinver High school Destination: Employment
My work is based on Danish Architecture, I thought the contrast between the old and the new was very stark and different to my own surroundings. I have never visited Denmark but if I ever did, like any tourist, I would want a souvenir to remind me of time spent in a different country. I decided that my textile work would take the form of holiday keepsakes, fabric postcards!
My work has been inspired by a range of textile artists and designers, I particularly drawn to the work of Harriet Popham and Ruth Chalk – these are textile artists who explored architecture using textile techniques and processes. Harriet Popham is an illustrative print designer whose work is complex and very detailed using print and embroidery. Artist working in recycled textile and waste plastic. Chalk is inspired by the urban landscape and works with knit, machine embroidery and collage. I had hope to use some of these techniques but due to the lockdowns and having limited access to textile resources I decided to focus on small scale pieces in techniques I could work on from home. Also working on a small scale meant my work would be more suitable as keepsakes if they were small and easily packed in holiday luggage!
When working from home it was important that I kept in contact with tutor and my peers to help keep me on track and motivated. Whenever I had a one to one or a student gave me advice or feedback on my project, I made notes and reflected on what was discussed. Sometimes I was given ideas or other techniques to try. On one occasion, I had a meeting on Microsoft Teams and a group of us showed a PowerPoint of our work in progress, we talked through our project, and got feedback from each other, ideas of what we could do next, what they liked, what they didn’t like. I found this very supportive and useful.
I have learnt new skills as the work I produced had to be presented digitally. I was initially a bit nervous about using computer but now I use it a lot more. The most useful thing I learnt in my Final Major Project was to be more inventive in using whatever I had around to make work and not worry about having to use traditional materials and techniques. I think this pushed me to think of new ways to work this helped my project develop a lot more than it usually does, as I was forced to try new ways of making work that I would not normally think about. I did a lot more drawing at the beginning so I had lots of work to use to insure my textiles pieces. I planned much better in this project, so I was able make the most of the time when I was in college.
I managed to produce a range of fabric postcards, some figurative, others with text and some that were more abstract to appeal to a wider market. I also made some badges that could be sewn onto clothing.
I think FAD has made me more confident in my work and more confident in myself. I now have a set of skills that I will develop after leaving college, hopefully selling through craft fairs maybe even online!
Ailish McCay
“Anatomy – (between sizes)” is an exploration of the unjust sizing systems in retail clothing stores. I also wanted to challenge what people would consider beautiful by aiming to make something beautiful out of something gruesome. The initial ideas stemmed from personal difficulties of being between two sizes in retail sizing myself and rather than this being strange is actually how most women actual are. I decided that the best way to show this would be to explore the inner working of the body which everyone shares, eluding to the fact that we are all the same no matter the size we wear.
From this research I found certain fashion designers to share the same aesthetic as me, for example Comme des Garçons, Iris Van Herpen etc. Van Herpen’s 2021 London Fashion week display had looks that, to me, looked similar to vein structures, which linked to my idea of using internal organs as a surface decoration. I began to create detailed linear of internal organs and skin structures. I then explored how these organs would look if they were to be used to inform the silhouette of the garment as well as its surface. I explored print and embroidery. I printed heart onto calico and projected a heart shape onto the stretched calico as my pattern for the oversized silhouette.
The idea of the garment being oversized is to hide the natural figure of those who decide to wear it, regardless of what size they are.
As a result of lockdown, starting this project was really difficult for me, my mental health had plummeted and I had absolutely no motivation. It became really important for me to have regular contact with my tutor so I could continue to take small steps to get this project off the ground and not be overwhelmed by what I had to do to complete the project. These talks with my tutor helped me to really grasp where I wanted to go with this project, and what work I could produce until we were able to create something spectacular once reintroduced to the college facilities.
In an ideal world I would have loved to have explored multiple outcomes of this project and create multiple garments, however with the current global status and aforementioned personal problems, this was just not possible. Once reflecting on my initial proposal I feel that I have created a project that has exceeded what I set out for myself. I have proved myself wrong and have proved to myself that I am more than capable in any situation.
Naomi Reynolds
“Beyond the surface” is an exploration of digitally and physically manipulating photographs of natural surfaces such as textured fruit skin, leaves and flowers. From my own photographs I wanted to create abstract patterns and repeat prints, inspired by predicted 2020 and 2021 spring/summer pattern trends. I was interested in the juxtaposition of natural and geometric forms featuring in patterns. There was also a trend that looked at surreal patterns found in nature that were contrasted with a vibrant colour palette creating a new abstract surface. The choice to explore this as my theme was inspired by lockdown partly as I could turn photographs of natural things I could find around the house into patterns moreover, this paired well with working digitally and from home which I think enhanced the work as I could create photographic prints using vibrant and vivid colours which would be hard to achieve in the studio.
I experimented with hand rendered and digitally produced collages, enhancing the colours which juxtaposed the initial image with vibrant and unnatural colours. I was inspired by Sonia Delaunay’s use of geometric shapes and solid primary and secondary colours. I also looked at various photographers of microscopic natural surfaces such as Wojtek Plonka to help me develop my colour palette and designers Margaret Howell and Snow Xue Gao to see the practical applications of the vibrant patterns on garments. The design of the Hermès scarf to help develop my patterns into designs. If I had the opportunity to develop this project further, I think it could be interesting to turn some of my more graphic style patterns into screen prints and experiment with scale, layering, printing and then manipulating, positioning and photographing the printed fabric to see how the patterns distort.
I believe I have achieved all I set out to do in my proposal as I ended up creating a wide range of patterns incorporating the predicted pattern trends and developed those into face mask and silk scarf designs. However, I did not experiment as much with geometric shapes and hand-rendered elements within my work since, working digitally was more successful.
The key things I learnt on Foundation is the importance of time management as well as reviewing your work. Some of my favourite patterns in this project came from revisiting unsuccessful collages or heat transfers, photographing them and digitally manipulating the image. Developing this in my undergraduate course I want to work digitally more and I think this has proved successful.
Sophie Smart
For my FMP project I wanted to design fashion prints exploring the theme of ‘Maps and Journeys’. I want to incorporate telescopes, compasses and their internal mechanical workings. In my last project the range of what I drew inspiration from was narrow and this had an impact on the variety of drawings I produced, this had to be avoided on my FMP.
I have been inspired by textile artist Valerie Goodwin use of intricate lines and shapes which create complex fibre art maps. Closer inspection of her work shows that these patterns are city blocks and landscapes inspired by aerial views of real and imaginary places.
I also referred to The London tube map, ordinance survey maps A-Z as part of my initial research and experimentation.
I also looked into other printed textile designers who have created a simple garments including Susan Stockwell and I have produced a range of printed samples informed by extensive drawing. I explored screen print but also using cogs and wheels to print directly onto my samples. The colour palette I chose was inspired by contemporary trend forecasts. I feel I have developed my subject specific skills in readiness for university.
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.
