Khan Academy - something I stumbled across

As I was just causally scrolling through the Tate website, I stumbled across a link leading to their 'free online courses'. It led me to this:

As a well versed online procrastinator, I love free online educational things to make my time-wasting seem more productive. The short and sweet format of these Khan Academy courses appeal to me greatly. Though I am not familiar with this site, they feature a range of courses in many different subjects such as Maths, Art, Science and Computing. 

The site also shows that it is partnered up with many Museums and galleries from across the world, and best yet it appears to be entirely free though asks for donations, and provides the option to log in and track progress. 

I was particulary taken by the MoMA printmaking section, though I am excited as there is still much more to explore!  

Find it at the www.khanacademy.org and start learning now!

Organic vs Manufactured - Geometric Patchwork Prints

Here is me just learning what I like and don't like through comparison. See these two examples of a similar 'collage-effect' geometric patchwork prints

Graphic Triangles 16 x 20 art print by shopampersand on Etsy

Kitty McCall Print

I much prefer the second one to the first, maybe it's partly to do with the colours, but I like the slightly disordered natural looseness of it more than the rigid precision of the top, The colours in both are still very full and bright. There are slight additions of white, and not much texture used other than of stripes, I suppose they would be too busy with more 

However; this throws a spanner into the works

Kitty McCall Print - Ankara

Again, I love the colours, however the lines and shapes are far more precise than the other McCall print I like. The shapes' refined nature now mimics the first print which I didn't like so much, and now I think this is my favourite! How confusing. However, it is easy to see that the McCall prints are completely a-symmetrical, presenting unexpected compositions. I believe this is what I connect with in a print design; these could be abstract drawings of real places or things, whether the first is clearly just a pattern. I should keep exploring A-symmetry in my print and construction work, as well as continuing to push colour balanced with white and carefully considering where to apply texture. 

I believe these prints are digitally designed, which would be easy for me to play with! Also collage would continue to work equally well. Painting would most likely give me a slightly more organic edge, but this would be nice in the medium. With print, patchwork, digital, drawing and painting to play with, I'm feeling very excited! 

Shapes and Lines (from drawing to 3D product)

I love the aesthetic of block shapes (2D) with linear ("1D") structures. See the book shelf below

As well as loving the curation of objects and space I, feel this aesthetic really relates to my drawing. Below features textures (dot patterns) to piece together 2D forms to have spatial prominence. 

Modularity is also integral to what I wish to achieve, the image below shows an example of a slotting system, to achiebe a similar function 

Extremely pleasing geometry there! And ordered space! 

Fusion Event - 'Enhance your opportunites'

Today I attended an afternoon event organised by my university's employability team. It consisted of a series of talks focused on careers and entrepreneurship within the creative industry, as the full timetable illustrates below. I wanted to attend as I enjoy looking at job adverts and thinking about I will do when I graduate. Though I do hope opportunities will come my way, I know I will need to present myself and my work in an effective way, and make sure I am in the right place at the right time!

Timetable for the day. 

The Keynote Speech

This pre-recorded interview with Wayne Hemingway, of Hemingway Design, was presented to us via youtube. Though a real presentation would have been good, in some ways a video that I can re-watch and was edited in an effective way. I feel I really benefited from learning about his interdisciplinary approach to design, which generated from a fashion label (Red or Dead) with a real purpose (to be the first affordable fashion label.) Rather than focusing on education, Hemingway highlighted that good designers should be interested and curious in everything they come across, with some real true passions (even obsessions) in key areas. This inspired me to get more involved in my blogging - even if short and sweet - because it is an effective medium to document and piece together all the random things that inspire me, I experience, or even that I unexpectedly notice from day to day! 

Furthermore, Hemingway really encourages the designer to have fun, and be playful, and let this come across. Sustaining healthy working relationships and building networks is key to success, especially once leaving university, where there will not be tutors or studio peers to turn to each week. In terms of discussing work, he suggests to be questioning of own work, and ask others to question it to push you, rather than letting it be 'fawned' over. This (and hearing Katie speak in the next segment) really makes me value the importance of being yourself (a.k.a. a nice genuine person hopefully!), being friendly to everyone and being happy by having fun with what you do! 

There were many other valid points raised in this segment, proving the benefit of having a potential future employer give a talk relating to what he would look for in up-and-coming designers, as well as talking about his own journey and sharing with us tips that he picked up along the way!

Your Personal Brand

Katie Alderson is the founder of Ideology Workshop, and a graduate of my course; Decorative Arts at Nottingham Trent. I am interested in branding, and though I am not doing the business project I feel inspired to create a brand for this year. I would worry about doing this and my work losing it's 'personal touch', however Katie showed us how to balance a super precise and elegant brand with a human element by using a website and social media in slightly different ways. I know when I leave I would be interested in working for a brand, thus showing this awareness in my portfolio would be a benefit. She also reinforced the point that good photography is key in your final year, as a picture can speak a 1000 words, is more eye-catching and is easier for creative minds to process. 

Again, a lot more amazingly relevant and useful content was discussed, I love following Katie's process and recommend everyone checks her work out!

Linked In

This session, for someone who thinks they knew Linked In, was ridiculously useful. All the useful in-depth how to's, must do's, and must not do's, has given me oodles of confidence to use it as a networking tool. I am not sure how relevant it will be for future employers to check me out on (it would be nice if they did though!) However again the focus on networking and presenting an engaged, ambitious and positive outlook could help develop personal and professional relationships, as well as stay up-to-date with industry information, from knowing what companies I could work for to even just knowing what type of jobs are out there (always good for an interview - or even speculatively asking for one!)

The Opportunist

This section was similar to the compulsory employability sessions we've been doing during our degree, though I still feel like each one I learn something new (though maybe I'm simply relearning...) I felt a real focus on transferable skills, as well as how to actually apply to jobs. From my meeting with the team a few weeks ago, I felt inspired to update my CV, and focus more on skills gained. This session gave me even more ideas of what to include, examples of evidence to support my claims, and how I want to sell myself.

One exercise I feel I particularly benefited from was taking a minute to discuss our weaknesses. One example that came forward was someone admitting they talk to much (a bad habit of which I am guilty of!) They followed up by saying how they were trying to over-come it, by doing more active listening, and trying to take notes whilst people talk, and really thinking about what they are going to say. I definitely will take this on board (another thing that evaluative writing/ blogging might help me with!)

Overall conclusions

So, as well as being really useful to all the things pre-outlined on the timetable, I really enjoyed this session as I feel it satisfied in some way my procrastinate-ive habit of thinking about the future. Better things I could do with my time include updating my CV and my Linked In profile, blogging to show my many interests and research, and use this to build my personal brand. There is no point looking for premature opportunities if I have not got anything to show them to prove I know what I am talking about (which I should do less of to start with...)  

Communication inspiration - Collezioni Trends

I love reading magazines. I mean who doesn't!? But I feel the large glossy tactile medium is particularly suited for design. From the beautiful art direction, stunning photography, intriguing articles, to the effortlessly cool design and layout. I feel inspired to make my own sketchbook/ journal to help communicate my interests and concepts. I'd be interested in seeing how all the different interests that focus on fit together in the ever-boggling jigsaw puzzle which is my creative direction. Let's hope I can keep this ambition up, as I feel always much more proud over something physical I can show or tell than a blog link (sorry I still love you too!) 

I particularly liked this article featured in Collezioni trends (all rights reserved to them!) The first page introducted the titles of the rest of the segments in the form of a poem, and used little symbols to link them up. I love seeing the connection between images, words and a deeper concept, such as a factual meaning and further article for each line of the poem. 

Nothing beats a bit of creative Sunday morning inspiration! 

Miss CHU - Melbourne Restaurant Review

Single and ready to ming-... Eat my way through Melbourne. I'm living the counter life for a few days, and where better to start than misschu, where I can watch the fire rise from the kitchen in front of me

I do love a tick sheet ordering system (there's not enough of them in the UK for the novelty to have warn off yet. I ordered the tiger prawn green mango rolls, a bbq pork bun and the special sesame tuna tartare. Then a lychee and cucumber frozen young coconut crush to wash it all down. 

Only problem with watching the kitchen is that you can see them make good things that you haven't ordered... Like the sauted shitake enoki and shimeji mushrooms, I might need to start rethinking my opinion on fried mushrooms.

The Vietnamese rolls were good, standardly delish and fresh, plus super generous size! The Bun was super fluffy and the filling moorish. Steamed buns are one of my favourite things ever! 

All food super fresh and simple, the kind of place which wouldn't overkill, under flavour or make greasy spring rolls (which I avoided to order in case.)  

The Tuna tartare was a bit of a random choice - I dont eat raw fish all that often, I love raw red meat (as much as you can 'love' something so rich that a small plateful is often enough.) The fresh lime squeeze added a nice touch. It has an odd texture, a bit like a ripe tomato flesh; quite light and springy with a gelatinous shine. 

The light fishy taste went surprisingly nicely with my coconut smoothie which finally arrived. Like a wacky asian answer to a big mac and vanilla milkshake. Beautifully sweet and refreshing, it was the perfect thing to calm my shirachi overkill spiced mouth! Could easily wake up to one of these everyday, though I dread to think of the sugar content 

With my food mountain nearly conquered,  I looked around to weigh up my choices. The rice/noodle salad bowls did look really good, I had avoided ordering as I meant to order small because I wanted a big brekkie! I think one of those would have been a more sensible spend of money than the tuna tartare. But then it would have filled me up so much I wouldnt have a chance to sample. Good to know I could have gotten dinner for about $20. I may have to come back nearer the end of my time here when I'm not feeling so flush

The kitchen closed at 9, boo melbourne is such an early city. It probably didn't help that I landed on a Monday I preorderd a custard bun for dessert. I think I'll make breakfast more like brunch tomorrow... Plus an early start! 

 

Another thing which dawned me too late is that there is probably a good reason why tuna tartare is a share dish, it is super rich! Still, rather that than the pho. 

The custard bun is not a particularly attractive thing to photograph. And as I bit in, I realised that it was very similar to a doughnut, a baked good that I was trying to avoid now after Brisbane. (Cronuts, cruffins,... Now I see what all the fuss is about!) 

I'm not sure about the texture of the shiny bun. Relived to find the custard centre on my second bite. Oh gawd, so good! Super vanillary and eggy. Goody! 

Note on eating by yourself in restaurants; I can't tell if it's better or worse to be alone when you drop food on yourself. I'm feeling the latter, like I'm too inadequate a human to get food into my mouth let alone go on a date. At least I can blame it this time on the chopsticks. 

I'm not risking it on the custard bun; handled and eaten like a donut.

Price: $32, so £16. final words: 

Well, that will keep me going till brunch! 

  

Bank Holidate

Nature documentaries are wonderful things - particularly those exploring the deep sea. There is nothing more incredible than seeing high definition footage of underwater worlds, therefore these programs make regular week-night-time viewing for me and the bf. I think he is in love with Monty Hall, but then again I have serious lust for Attenborough's voice, so I'd call ourselves even. 

So with an entire day to ourselves and each other exclusively(!) this August bank holiday (mostly because we're both too broke to have gone away with friends), we decided to further indulge this mutual interest. And to the Natural History Museum we went! (Along with half of London's parent-infant population...)

Standing in the queue to get in was actually particularly enjoyable (despite all my boyfriends' jokes involving the Britishness, summer days, rain and queuing.) It allowed us to appreciate the amazing architecture of the building, an activity that continued inside. I also liked seeing all the umbrellas in the landscape, I wanted to draw them (and shall in due course.) 

Coral Reefs: Secret Cities of the Sea.

I really liked the design of this exhibition - with complex 3D structures made of slotted plywood hexagons, used to guide visitors around the displays, representing the structure of coral itself. This method of construction is one I am pushing in my own personal work, and it was interesting to see it on this scale.

As a scientific exhibition (rather than of art), I wouldn't say my review could be in any way critical or analytical. I thought it was really good fun, really informative and had lots of nifty highlights. The 4D interactive viewing chambers were genius (a installation pioneered by the sponsors Caitlin Industries). I liked that the museum had provided some coral you could touch, as most of the specimens were behind glass cages. 

The grouper made a fantastic selfie opportunity! 

The use of video, text and visual displays together  explained things very well I felt. Lastly the tank with live coral and fish donated by the Horniman Museum, and video explaining their studies into breeding in captivity were a perfect end to the show. 

Coral interests me as it really does form underwater architecture. I'm not often drawn to nature as inspiration due to it's wildness and rounded edges, however coral really does have a clear pattern like structure to it, so a nice juxtaposition of nature with architectural-like structure. The colours are so vivid and fantastic, and patterns are formed everywhere you look. 

I very much look forward to drawing (from memory) the coral I see. Though it would be fantastic to have an underwater camera, I think I will make interesting illustrations this way. I can always top them up with visits to aquariums. I particularly liked this print that I saw in the gift shop.

After leaving the exhibition (which was nicely peaceful), it didn't take much spent in the overrun permanent collections for us to have had enough of screaming children. Still I got some nice shots of the building, which would be a joy to go back and draw on a more quiet day. The marble floors and warm glow of the stonework reminded me slightly of grand central station in New York (one of my favourite buildings ever.) 

The rest of the day saw us enjoy a delicious Dim Sum dinner at New World Chinese in China town, and wonder through the back streets of Soho, where we each picked up some gifts in little purple Liberty bags! Though I shopped in the stationary department (HAY), I spent a good while fawning over the prints in the scarf hall. All the more motivation to get some of my own textiles made up! (Though unlikely on such fine silks..) 

Our last stop was the Chesham Arms pub, a jolly little local near Sutton House in Hackney Central. I particularly love the fact that it's at the end of 'Isabella Road'. I literally could buy a house with my name on it! And what a great local to have. A game of monopoly and a few pints later, we were ready to roll home to bed. 

With one last thing to do of course...; decide what nature documentary we'd be watching tonight... 

Taking a Fancy to Book Illustration

I have been really getting into podcasts lately (a whole post of that is yet to come). One of my favourites, and regular audio accompaniment to the Lea river canal path, is Design Matters hosted by Debbie Milman. I like them for this purpose because they are a good length, well recorded (a shamefully important factor as I struggle to hear most things through my ancient earphones), and Milman is an excellent host. Each episode sees a particular person or group from a field of design interviewed about their career and achievements, in a way which encourages digression into more theoretical discussions. 

Though this series presents a large range of designers from different fields, I do feel that I have heard about many graphic designers, and most notably illustrators. Listening to these episodes, such as the one with Oliver Jeffers, has really made me think about illustration as a career path for me. Obviously it relies heavily on drawing (my life long love affair), along with CAD programs I am already highly confident with. I know I have never really connected with making 2D things, and I never felt destined for graphic design, probably because I never really knew what it was, and it seems to be an element of any other art course anyway. But someone once described to me books as being '4th dimensional'. 2D images and words which exist in a 3D object have the power to capture the imagination and take the person into another world entirely. It is a connection between narratives, images and words which excites me, so I felt compelled to get some illustration focused exhibitions into my calendar, as well as some much important creative work! 

Ladybird by Design - House of Illustration

I was really inspired by this exhibition, as it explained the technically simple and practical approach of the ladybird books, and juxtaposed that with the cultural and social significance the series had upon multiple generations of readers. 

This exhibition particularly focused on those published between the 1950's and 70's, and how the books 'depicted a soft and simple world'.

The books themselves were formed from one sheet of paper (suitably sized for the method of mass printing they used.) This was to work around paper restrictions, so every book had 56 pages and were of an identical size and shape. The illustrations were multi coloured, and vocabulary kept easy for children to read and understand. 

I greatly enjoyed being able to see the original illustrations up close; the vivid colours pop out off the thick card onto which they are painted. I assume gouache is used, perhaps with some oil. The illustrations range from depicting everyday life, to historical scenes, through to fictional tales, all perfect to inspire a young reader. 

I was particularly drawn to the image of a deep sea diving team, as I can imagine the bold colours and stunning composition as making a 5-year-old think; 'That's what I want to do when I grow up.' I also particularly enjoyed the 'Shopping with Mother' series for their illustrations, as they reminded me of Richardson and Ravillious's 'High Street'. 

What I think is most impressive about these books, having viewed this exhibition, reading a few chapters of Ladybirds they had in the final room, is their effectiveness. Working with the 56 page and size set rule, the ladybird's combination of image and word never fails to inspire and excite children, (nor 21-years-and-a-6th-old such as myself.) 

Animal Tales - The British Library

This exhibition gave a specific overview to how animals are used through physical illustrations as well as plot-lines for storytelling. With examples such as Orwell's Animal Farm for 'Animal Allegories', and the Beatrix Potter series demonstrating how 'after Darwin and Freud, neat distinctions between humans and animals blurred', this show provided an interesting socially and culturally aware view on a common theme within book illustration. 

Beautiful binding - from House of Illustration giftshop

I thought it was particularly interesting how animal themes and characters are juxtaposed with words, as they are unable to understand our language. Places such as 'the wild', and even the thoughts, intellect and feelings of animals still remain oddly unknown and unattainable to us. I feel if I should write then I could consider writing with animals in mind, as books such as 'The Bees' exist to be purely adult literature.

In terms of illustrations I liked, I particularly enjoyed William Stobb's for 'Kashtanka - Chekhov for Children'. I would also be interested in reading Garnett's 'A Man in the Zoo' for content. 

Funnily enough, a trip to the gift shop presented to me further illustrations that I adore. These are in the form of the National Railway Museum's 'Travel England' posters, which had been used on the covers of a range of BL books. The illustrations shared vivid and colour qualities with those that I saw at the Ladybird exhibition, but carry a concept relating to place and location, (albeit advertising). I will start researching these images, and definitely refer to them in my next project.

So, two highly inspiring exhibitions down, and two exceedingly brilliant gift shops visited. That isn't bad for a few hours work out in London! I'm taking away ideas to further my work exploring the relationship between image and text, as well as having learnt more about book illustration as a whole. What's next for me? To just keep drawing and keep writing! 

One's from the Archive...

There's an awlful thing that can happen to a young aspiring designer, whose creative flair, skills and evidence of the above relies on the technology of today. 

And, that it have one's laptop harddrive go kaput, as mine has done recently.

Luckily for me, as well as most (I hope) other young aspiring designers, is that the internet forms a beautiful web for trapping up information and holding memories that may otherwise be lost. For example; my portfolio exists online, my iphone photos are stored in the cloud, my dropbox is brimming with usefully random documents, and my junk hotmail account is spammed with subjectless emails with as many attatchments as they can hold. 

So, in focusing on the positives (the negatives being that I foolishly hadn't backed up since February, meaning I have lost 6 months of digital camera photos, uni work and the enterity of my sunmer personal project...), I am always aware that data is simply matter, and holding onto memories is the most important thing. However I am so aware that I love publicly musing upon my memories, capturing them through curated images and words, of which a blog is perfect. 

I was a lot better last Summer at blogging, however I struggle to keep it up as a routine. I become concerned if the memory isn't recent, as I cannot recall interesting details. All this said though, I do not see myself as an aspiring journalistic or reviewing writer (though I do like to dabble when abroad.) I see my self as a creative writer - playing upon the boundaries between fact, fiction, poetry and prose. Which is just simply a fancy way to say I have no idea what I'm writing (I do try to make it funny though in parts...) I have been trying to learn some tips by listening to lectures upon the subject, and one makes the point that writing a whole load of unedited gobbledy gook is a good way to begin. 

Writing is like a muscle, so like any muscle simply using it will make it stronger and better. Hence, I feel I should push myself back into the habit, and due to my recent experience there is no better place to do it than online. Using my own photos of places, experiences, and things I find inspiring and motivate my creative practise, it will help me form ideas for further writing and video work. All the content will be 'From the Archive', and not focusing on the details of each memory (of which I cannot recall), but instead carve out new ideas and highlight running themes, in attempt to learn more about myself as welll as remind myself how special every moment and memory is. Well, that is the plan anyway...

The RA Summer Exhibition 2015 - Review and inspiration notes

The Summer Exhibition is hands down my favourite art event of the year. So much so, that for the last couple of shows I have made it a celebratory thing to go on my birthday (a tradition I hope to upkeep for as long as possible...). As a result there is a lot of fun to be had in comparing shows year on year, from recognising favoured artist's work to seeing the contrast in curatorial styles. 

The emphasis on curation is one element of the show that I am really fond of. It still seems amazing to me to have a show in such a grand setting which any member of the public can enter (as I have tried, but alas, failed). However what can be seen as maybe more amazing is that it's a select few individuals who take on the challenge of turning this vast mixed bag of the weird and the wonderful into a beautiful seamless patchwork to inspire and enthuse the viewer. 

Michael Craig-Martin is the head curator for this year, and his influence is best highlighted by the bright colours on the walls, an alteration I highly commend. A simple change, but incredible in such a context. Overall I thoroughly enjoyed the whole show, more than some previous. I think this is down to the curation, well explained by the boards on the walls. Though in saying this I think it is important to try to see every piece with fresh eyes. I see the curators role similar to a conductor's in front of a 100 piece orchestra; the final result is one piece of music but every musician has it's own sound and melody, which must be considered independently. (This can make it particularly exhausting, though all the more reason to reward yourself with coffee and cake after!)

I kept notes on individual pieces, simple details which made each stand out to me. By doing this, highlights and key themes became apparent. That's possibly the greatest thing about the show; you will always see something you like, and dislike, and by doing so learn a bit more about yourself. I challenge anyone to visit it and not love it. I am challenging myself to get selected one day. That would be an excellent birthday present. Fingers crossed!  

Wohl Central Hall

The octagonal Wohl, Central hall has always been a fantastic entrance for the summer exhibition, and this year had been painted the most brilliant shade of turquoise. Vistas looking onto further brightly coloured walls, as seen through the grand arches, only ignited my already great sense of excitement. The room was brilliant framed from the ceiling by Liam Gillick's 'Applied Projection Rig', featuring large transparent squares of plexiglass colour. The room information board aptly described Craig-Martin's approach to curating it as 'immersive', he had considered the relationship between the viewer and the space. The audience is encouraged to 'circumnavigate' Matthe Darbyshire's grand figure 'Captcha No.11 (Doryphorous),made from similar materials as Gillick's hanging piece. This introduction was colourful, lively, bright, moving and fun; a hint of what was to come.

Nice Frame, painted a similar pattern to the image. A good way to frame work on the cheap - 'Jasmine Flowers Provence, Turkish Bowl V&A' - Leonard McComb

Room III

Now a vivid magenta, the wall colour played a serious and evident role background to all the works hanging in this room. The large monochrome work 'Mississippi River Blues' by Richard Long RA was hung on the back wall so it could be observed by the entrance arch at the opposite end of the room. A simple and perhaps obvious decision, yet it is a key point of curation to ensure there is something eye catching; a focus point which puts the rest of room into context.

A set of four fun canvases with 3D pieces set back into them - 'The Four Elements A-D', John Tilson RA. 

I particularly liked the colour in this one, especially on the pink background, his work reoccurred later in the exhibition - 'Stealing Things: Bag Snatcher', Stephen Chambers RA

Room II

I particularly noted the style of hanging in this room curated by Jock McFadyen, as spacing was used (and not used) in such a way that it really added to the viewing experience. Perhaps by making the constraint obvious between being engrossed in an artwork, and taking a step back to viewing the wall and room as a whole. The theme 'radical landscape' was taken on by McFayden, and was a good balance of rural and urban landscapes I felt. Here were my highlights

'Manoeuvres II', Rae Hicks. - I like the composition and emphasis on geometric shapes, I would like to play with this in my own style with my own colours. It could also be a good way to design forms out of drawings and photographs using tracing paper over the top. 

'Dungeness', Jock McFadyenRA. - I like the contrast between the vivid colour and sweeping stokes of the background and strong architectural shapes in the foreground. This technique works well with oil, and would be a good process to use for large paintings of my own.

'Launderette', Dominic Mallin and Laura McEwen. - This '2 and a half D' mixed media collage is framed and an edition of 100 at £190 each. This is an approach I could start to take if I create 3D drawings (and could paint the frame). It also highlights the manufacturability of collages, if I was to submit one I could recreate I could make some money of it. 

'Calton Hill', Jock McFadyen. - I personally liked this piece, even if definitely very dreamlike and easy on eye. With it's large moon and night sky scene, it seemed to hold memories, of the artist and of every viewer who had beheld it. A cliché down well.

'Time off (Diptych)', Trevor Sutton, and 'Second', Jane Bustin. - Both of these artworks were simple geometry, so lacking in concept or narrative, however they appealed to me as a striking piece of design would. I suppose it is their purpose, to hang on the wall and be viewed,  which puts them in the art category than those of craft and design. Interesting materials used; with former being 'oil and pencil on board' and the latter being 'acrylic, oil and copper on wood'. Simple yet striking and aesthetically pleasing.

Room I

The curatorial shake up became obvious in this room, as this was the new 'smaller works gallery'. This is usually one of my favourite rooms (I think I found it's cramped clogged up aesthetic rather  charming, the location where I hope a work of mine will end up someday.) However this year there wasn't all that many which jumped out at me, though I suppose it was a far more pleasant viewing experience not being squished on like sardines!

'Beneath the Horizon', Daisy Cook. - I liked the aesthetic of the materials used - oil and pencil on board. It allows the gentle graded colour of the oil to be defined by the soft fine lines of graphite. It also appeared to be layered; oil, pencil, oil, pencil etc. I feel like a I should pick up my oil paints and give it a shot! 

'A view from the bridge' and 'Cornered' by Mandy Payne, spray paint and oil on concrete. Observing these, you really got a sense of contrast between the weight of he paint and of the concrete. I found this really interesting, as materials are a large part of my work. Think of paper and stone. Also maybe I should start painting more 3D objects, even if just experiementally. Spray paint would be best. 

'Seafood Medley', Dame Elizabeth Blackadder RA. - This print, and another one of Blackadder's later in the show, caught my attention through the use of space and a white background. The artist clearly has a very strong sense of composition, and her bold use of white is something to be envious of. 

Large Weston Room

As well as being in a new location, I felt the architecture room had a slightly more surreal feel. Maybe because it followed on from 'radical landscapes', I felt that the concept of architecture had been challenged. Artworks in the form of models reflected sculpture (and in one case a design products MA graduation piece*.) 

I enjoyed looking at the models, for the spatial composition and material features, and Norman Ackroyd's Galápagos series was a joy to see. One piece which really got my creative mind whirring was actually a combination of two works; 'The tale of the washer' by Tim Robinson and 'An iconographical map charting the creation of Helsinki' by Jaime Lilley. The placement of an illustrative map next to text got me inspired as my personal work involves drawing, mapping and writing. I would have loved to have seen this as one work, though the juxtaposition in theme did cause me to reflect a little. 

Upon a similar theme the juxtaposition of a small pastel watercolour near to a pastel Perspex 3D model made me think about moving writing, drawing and mapping into 3D and materials. All things I need to play with.

All works mentioned and unnamed

All together now - plywood model - Alma-Nac Collaborative Agency

The museum of Danish resistance, Copenhagen - 3D print, laser-cut card and oak - James Lilley

Old Church Banyuls - Watercolour - Sir Phillip Downson PRA

A library of libraries - Perspex - Penoyre and Prasad 

*Urban Flora Propagation Field Box - Pinn, Kirk and Diggle

Room IV

'Mimic (Black)', Paul Hoskin. - This mirrored acrylic on aluminium work was extremely impressive. Laser cut acrylic marquetry is nothing new, it is the basis of some of my favourite jewellery, though when intricately done and well-polished I simply drool over the stuff. This piece completely pushed scale to the limit, it would make a fantastic (albeit dark) mirror! 

'The cone of vision', Andrew Taylor . - I personally like this piece, bold yet understated and calm. Great use of colour.

'Really free labour', Emma Biggs and Matthew Collins. - This was probably my favourite painting within the whole exhibition. It really spoke to me; the colour, the geometry, the patchwork pattern effect.... It makes me want to paint again. Their other piece 'Building the City' was pleasing, though someone about the controlled spontaneity of the first really captured my heart.

Room V

Norman Ackroyd had curated this room as it was considered the print room. Unfortunately I wasn't as impressed with the prints this year as times before, many were nice but I felt few grabbed my attention. (Though saying that they were prominent at a later stage of the show, as my attention span is flailing). Still I could tell there was a great emphasis on painting, I suppose it is natural for one medium to take the forefront. As more of a printer than a painter, I very much appreciated being able to see them in different lights.

'Stolen Thunder III', Cornelia Parker. - I still find it funny, though you have got to wonder how long the joke will go on for...

'Wild Flower', Dame Elizabth Blackadder RA. - As with her work before, I am surprised how much it grabs me as I'm not usually a fan of flora or fauna. However it is a beautiful print, seemingly naive but obviously very tastefully done.

'London map of days', Mychael Barratt. - I'm drawn to any work that revolves around maps due to my hazy dissertation topic focusing on Cartography (in some yet unknown manner.) This map focused on dates, locations, images and words. My mum was completely absorbed in it, trying to make sense of the information. 'Inside Lloyds of London' by Adam Dant was another map like image, with components of the image being featured and described in the border, as though some kind of key or legend.

VI

'First and Last', Keith Milow. - I was very interested in the method used to paint this, it has involved peeled back making tape to create a top and bottom layer. It would be interesting to apply this in layers or paint the whole bottom and whole top covered in masking tape, then choose what to peel away.

'Screen', Gerard Hemsworth. - Simple use of lines and markings, communicates like language. However considering the scale I would like to see more down to composition or colour palette. 

'Baby Shimmy', Alison Wilding RA. - the construction of this sculpture made form mirrored stainless steel interests me. I could use this technique, working in solid materials such as Perspex and/ or metal.  

VII

'Claros', Gillian Ayres RA. Materials: woodcut on unryushi Japanese paper - I love the colour of this piece, and I find the process interesting as it looks a lot like a collage. It reminds me slightly of  Matisse's later work, with a poetic composition and bright bold shapes.

'Wall of sound II', Humphrey Ocean RA. - I am a big fan of Ocean's work, and he had quite a few pieces in the exhibition. But I particularly liked this one for the colour and composition (and originality - NOT a boat!). This would make a gorgeous print, I should have more confidence I n keeping my work simple, as Ocean does this wonderfully. 

'Badger, Baby rabbit and squirrel, Bird and fox, Rabbit', Tracey Emin. - Though being beautiful things in their own right, the price of these prints is what really caught my attention. Costing £525 or £875 for a limited edition print (of 50 each),I can only start to dream that my work would be worth something like that one day. Designer art it may be, but I still want one...

Le loi, Christine Baumgartner. Materials: woodcut on Japanese misumi paper. - This piece is a woodcut also, to compare to the Gillian Ayres piece. It has a very different aesthetic, but I feel works well by translating the texture of carved wood into print. 

Land of my father, Chris Orr RA. Materials: engraving and watercolour. 

Redoubt, inspired by Richmond Yorkshire - Chris Orr RA. Materials: lithograph and screen print. - I have always loved Orr's work, my fascination started with the high contrast black and white cutout piece I saw in my first ever time visiting the Summer exhibition. Landscapes and scenes of London often feature in his work, these pieces were softer and more sketchy than some I've seen before, but I still really like is aesthetic. 

IX

'London, the streets', Kim Rugg. Material: ink. This piece worked brilliantly as a map, solely formed by hand written street names and locations. A great way to highlight the relationship between words and space. Exquisitely executed, peacefully simple and utterly eye catching.

'French shrimpers 3', Joel Redman. Material: photography. - I loved the composition of this photograph. I often find it hard to warm to photography, but the celebrated simplicity of this shot and random flecks of colour were perfectly suited to it. 

'A painting of three stories', Stephen Chambers RA. Materials: - oil on wood. Three words sum up my warming to this pieces; narrative, technique and colour. I have been wanting to create a series of works, inspired by ones such as those of Sonia Delaunay, reflecting the pages of a book. This piece is interesting as each image would work by itself but come together to tell a bigger story.

Lecture Room

I hate to be critical, but I did not like is room at all. Being the sculpture room, it was far too crowded, and all the little works clumped together made them look like nick- nacks you'd find on a cluttered mantelpiece rather than being deservedly homed in a gallery. It's a miracle nothing has been knocked over by someone, it seemed like a total afterthought considering all the marvellous space the paintings in the previous few rooms had been given. Well, with that rant over, I look forward to seeing what they do next year. 

'Ombro', Loukas Angelou and Vasso Asfi. Materials: powder coated steel. - I liked this piece because it looked like a well designed piece of furniture. As a 3D form, I was very inspired by the different angles it can be viewed by and the way this changes the form you can see. This relates to the space around the work, as in the context of the work. These are all points I find inspiring and need to bear in mind in the 3D model making part of my design process. 

X 

Tom Phillips RA - A Humument 1966-2015  - This example of book arts was particularly striking, due to the regularity of the pages individually framed, all made unique by the artist. It played with words and imagery, and also was presented a series (all themes that interested my throughout the show.) The manipulation reminded me of Nigel Peake in some places, with sketchy delicate lines. It seemed as though Phillips had decided a set of rules to follow, and also was interested by what little stories or ditties he could communicate by editing the text visible. A very interesting and eye catching piece, it definitely made me reflect on my relationship with book arts (a little bit love/ hate... As in I hate to love it.) 

Exeunt 

To conclude, I'll keep it short; bring on #SummerExhibition 2016!