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! 

XV - Goldsmiths Design BA Show @ Free Range - Truman Brewery, Brick Lane

Through my time at Uni doing a Design & Crafts course, I have learnt a lot of things. Not only practical, but also what I enjoy, what inspires me and what I do best. So in an ironic sense, by going through uni I have come to realise I think I would be better suited at a course like the Design BA at Goldsmiths, for their conceptual and communicative take on Design. However in saying this, I think I would have longed to study colour theory, try screen printing and ultimately have the outlook of an artist, craftsperson and designer simultaneously. 

I was very excited to view this degree show for this reason, and I left full of ideas and inspiration for my own work. I feel like I have a strength on my degree course to have a conceptual edge, though I feel my lacking love of making is a hinderance. Though by acknowledging this I can now see ways through and past that, and I got many tips from the impressive work I saw today. Here are my key examples:

The Interconnected Web of Things - Alaine Burns

Mapping! - I loved this for it's relevance to my own projects and interests. The use of collage, drawing and comical 'map of lasagnes' were all interesting, exciting and efficient communication tools

De-Ikea-fy-Ikea - Liz Baldwin

I again enjoyed the visual presentation of this work. It became obvious to me as I toured that nearly everyone presents a video and bound books to communicate their concept. I particularly liked the use of words with/without images. There was also a 'demo desk' - and other pieces provided forms of interaction for the viewer. 

Astronauts and Beekeepers - Sophie Cook

I was attracted to this piece by the large attractive collage which was mounted on the wallspace. I spoke with Sophie about the visual communication they get encouraged to do - as I feel drawing, collage and poetry were a key part of many of the displays. She said that, in having conceptual projects, it is important to be able to communicate your ideas well. There is a graphic element to the course, which shows through by these presentation spaces. This has made me reflect a lot upon my own visual communication skills, and what I can bring to presentations to help people understand my process and my work. 

Language as a Construction - Danae Papazymouri 

This piece was centred upon the idea of 'designing a new language'. I thought this as a concept is very novel and interesting, but obviously a load of made up nonsense. Which makes you reflect upon what they're marking, and I think above all it's about innovation and ability to communicate. It is also clear that you need to have an interest and passion in design. I feel on my course there's more of an emphasis on having a passion for a material, or for a process etc (physical things). But I shouldn't be deterred and I should let myself think outside of the box

Suburban Delusion - Emma Filippides 

I liked the idea of 'Colour Poetry', and the book with examples amongst the cluttered interactive display. There isn't too much of a worry here of people interacting and pinching or damaging things. I feel this a connection I could make with my work.

I Ate Fernando - Vicki Wong

Channelling the idea of a journey/ a passage of time. An example of poetry and mapping an experience. 

(pub) Church - Fern Damrongwattanopkin

This piece investigated our associations with functions or spaces and places. This is a concept which interests me also, and I think it was well communicated with the use of floor plans and words. 

There were many other ideas that I thought were fun, such as this one;

So, to conclude, I feel an important notion I left with was the idea that a book is interactive. I can start there, make books, posters, 3D pieces etc which investigate my concept. It isn't about having an idea and making something to show it, it is about working with materials and using them to explore the concept. I basically need to work on my visual communication, but also use this to help me make work. 

For my course, I need to refine but also explore. I need simple beautifully made things, and a well communicated concept

My work revolves around the idea of narratives, linking to the concepts of books and maps and the properties they share. I like my work to be interactive, thinking how it can be similar to a book or map but not a book or a map. Maybe more spatial. 

I've been thinking of looking as desks for my research, and I realised that is typically where people have most ideas and make work. I very much enjoyed all the presentation I saw today, so I feel I need to get the balance right between my conceptual work and my eventual outcomes, because I feel I am approaching my third year at an angle no one has before. 

But if I work on my visual communication, and keep on researching, I'm sure it will all naturally evolve... Fingers crossed for my show time!

Magazine crush of the moment - Cereal

Cereal magasine, by-line; Travel & Style. Two of my favourite things in one, so the content never failures to please. Communicated through fantastic photos, well written articles, and just a general overall style which epitomises chic cool. Here are some of my top sources of inspiration from this issue.

This is a visual essay focused on part of the Australian coast. So simple yet beautifully done. Good photographs of my work is a must from now on!

Loved the article on the Vitra Campus, a feature describing a creative space. My work is very much spatially informed, so I feel I could create similar pieces on the places and spaces which inspire me.

Clean simple shots of styled pieces. I would like do this with my own work.

Images of workspaces - one of my loves! 

Very much enjoyed with a cup of fresh mint Tea at Lee Rosy's Tea Room, Nottingham!

White Stuff Design Internship - Diary Day 1

Day 1: 

Note: as much as I'm calling this a 'diary', it is less so an informative account and far more a subjective one. A place to write down my thoughts and reflections upon what I have done each day and how I feel it relates to my practise

I really like the office atmosphere at White Stuff, the company ethics are not at all a pretence, they are very much reflected by the head office design and day to day runnings. I have three key examples

They have a row of pretend shop fronts in the office, decked out in brick and painted window frames and doors. They remind me very much like the upstairs dressing rooms in the Nottingham store (though those have far less window obviously). It's quirky, playful and unexpected, which I feel is captured by the visual merchandising of the stores.

There is free tea and coffee (with sugar and milk) for all employees. Admittedly this may be a thing in a lot of places, but I've noticed they have this in stores and it's a nice touch (probably a good thing there isn't free biscuits too.) 

The design team (although everyone seems nice) are all particularly nice. All seeming very busy with a million things on at once (story of my life as a creative student/ in my own brain), but very welcoming all the same. They had a mini birthday celebration this afternoon for one of the staff with nibbles and cake! (I did the obligatory intern tea run to do my part.) 

Note: They also have an in office bar where drinks are cheap! Unfortunately this is only open one evening a month, still it seems like a lot of fun

There is something about the vibe which seems to relate to my course, I think due to there being lots of females and also there not being a vicious sense of competition. Instead it is quite encouraging. I would be interested to know which other types of companies have these element, because I can imagine quite a lot of places don't. I very much get the impression that the team works as a well oiled machine; everyone knows their roles and everything gets done. I do like this, especially as everyone is super busy anyway, though I may well find myself landings job in the future somewhere I have to compete to put ideas onto the table. I'm not sure whether I would struggle or strive.

Having described the design team as a 'well-oiled machine', I reflected today a lot upon how it is interesting to have such a defined design strategy. My design process, as my drawings can be, is often completely random, experimenting with different methods and techniques. I would like to find one I could stick with enough to make a 3rd year collection. And I feel this is something my current BA course lacks; an education into what it is to have a design process (I think there is too much pressure on having a finished commercial thing.) My course is great, because it is an art, craft and design course. However it is also very easy to be indecisive, which I need to put to rest in third year. I've had my second year fun, now it's time to stick to one thing and get good at it.

But back to White Stuff, they clearly have a clear design strategy and process, so much so that different people are hired and working with specific job descriptions. It's a big contrast to my own process or that or batch & bespoke designer/makers whom I have worked for before, where it is all solo. I find this really interesting, and maybe a good exercise to examine my design process and identify different roles/ strategies I use, and the relationship between them (as if my head was an office of people - bit crazy I know...) 

To put this talk of design process into context, At White stuff for each collection (6 a year - currently working on S/S 16 drop 2) they create a look book - which they describe as their 'bible'. Something they can give to supplier and buyers to explain their trends and key looks. I looked through the one from S/S 16 drop 1, and was interested by the layout of secondary image, colour palette and text to describe each key look. I'm thinking I should start doing this for my 'narratives'. Like making a mood board by crossing senses; writing stories and making films as well as presenting image. This is a task I could do over Summer for my website and portfolio; using drawings to show my print design skills, and thinking of designs for products which engage the user. 

But back to now; clearly I am feeling really inspired, cannot wait for another day's interning!