BUMF // Issue 06

BUMF

ISSUE 06

COLLABORATION ISSUE

APRIL 2017 1

EDITORS LETTER,

Alice & Rory have been at the helm of BUMF since Issue 02 and now they’re handing over the reigns to the new Editors Rachel Chorley & Hannah Morgan.

“Firstly we’d like to say thank you for the past two years, we’ve been able to push BUMF from a struggling magazine to one of the top 10 specialist publications within the UK (& the world,if we’re being picky.)

When starting this our main aim was to create a community and outlet in which AUB students could express themselves and be represented. We can only hope we achieved this.

Also, to our existing team, you keep doing you. BUMF wouldn’t have half the content and views without you & you guys are the absolute best.

We’re so excited to be sending off BUMF to it’s new editors and to see what it will achieve next.”

All the best, Alice & Rory x

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SO WHAT THE HELL IS IN THIS ISSUE? PG04 // SKATERS PGO7 WORKSHOP WEEK PG10 // R.A.W PG14 // WRITING SOC PG 18 // BESTIVAL PG 24 // RITE OF MAN PG 28 // INDUSTRY EXPERIENCE

PG06 // DANCE SPOTLIGHT PG08 // SINGAPORE BLOOMS PG 12 // YOSEMITE PG17 // DAISY LEIGH-PHIPPARD PG 22 // LINES PG 26 // GLITCH COMPOSITE PG 30 // MAKINOHARA

SO WHO’S RESPONSIBLE FOR ALL OF THIS? EDITORS IN CHIEF // Lauren Housego & Ismini Black

PHOTOGRAPHERS // Ewa Ferdynus, Alina Vilhjalmsdottir Rory James & Kate Wolstenhome

EDITORS // Alice Pomfret & Rory James

SUBJECT SCOUT // DEPUTY EDITOR // Sarah Gomes Munro Josh Moseley CONTENT MANAGER // DESIGN // Alice Pomfret Rachel Chorley WRITERS // Brittany Sutcliffe, Daisy LeighPhippard, Olivia Church & Katie Charleston

GALLERY TEAM // Ben Cooper & Kate Wolstenhome SOCIAL // Hannah Sherwen

find us on all social platforms as @BUMFMedia 3

SKATERS 4

I recently directed and animated the music video for SKATERS' new single, Criminal.

1376 drawings make up the 3 minute video,

Skaters own label 'Yonks' began sourcing their own artists and collaborators, through social media callouts and networking, to help with the promotion of the new album. It was at this point I began working with them.

Producing this video has already generated many more work opportunities for me, and I'm currently working on a further 3 videos for Trash and Ditz, as well as producing artwork for Mini Skirt, Fur and Clue Club Magazine.

which I began work on in late November.

After helping to create a promotional teaser video for the upcoming album , I was commissioned to go ahead and make a full video.

The idea behind the video was for each shot to flow seamlessly into the next; a visual journey that reflected the messages within the song.

The animation techniques were kept relatively traditional, each of the frames being drawn individually, sometimes rotoscoping over footage, other times completely improvised. I must've spent way over a hundred hours on it working through the night to try and keep to the deadline I had naively agreed to. I’d never done a project on this scale before, however I’ve always been a huge Skaters fan, and it's crazy that I was lucky enough to get this opportunity. I just knew that if I was gonna do this, I needed to do it right.

It's been great working with various people all over the globe. The whole project surrounding this album has a real friendly and communal vibe to it, and I feel so lucky to have been a part of it. I really enjoyed working closely with Montreal based designer Jean-Raphaël Béchard who was responsible for all the graphic content surrounding this album, he's a true an expert in titles, colour and consistency.

Following the approval of the video, I have also designed the poster for Skaters' comeback show in Brooklyn NY on the May 6th.

But the truth is, I don't really know much about animation. I'm sure professionals would cringe if I described to them my work process, but I've found a weird little way of working, through a combination of youtube tutorials and guessing, that works just fine for me! When I said to Skaters I could make a full length video, I was kinda exaggerating my ability, however when you throw yourself in at the deep end you have to learn to swim pretty quickly.

WORDS & ARTWORK

BY CAMERON WEST

After deciding to go independent following their contact with Warner Bros. Records,

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OVER AT BUMF HQ SARAH AND ALINA HAVE BEEN BUSY COLLATING INSIGHTS INTO THE MANY WONDERFUL COURSES AT AUB. WE ARE PROUD TO INTRODUCE OUR FIRST SPOTLIGHT, DELVING INTO THE LIFE OF DANCERS.

DANCE SPOTLIGHT Currently working through it’s terrible twos, the Dance course at AUB opened its doors to the Spotlight Team and let us shine some light on the 1st years that had just finished their Tuesday morning fitness training.

This degree that opened in 2015 is set on creating not only a dancer but the “artist of the future” explained Jane White the course leader. It focuses on much more than just the physical criteria by teaching its students about lighting, risk assessment, project leadership, dance theory and real industry experience.

Progressively it builds up to a dancer who can leave university and have all the skills required to start their own projects. That is not to say of course that the physicality is being overlooked, the students must not only get to know their own bodies but quickly also that of their fellow dancers, it’s an entirely deeper level of trust between them.

BE SURE TO KEEP AN EYE OUT FOR THE REST OF THE SERIES. “Nurtures everyone’s different styles and is ever changing to everyone individually” The style taught here is contemporary with a lower case “c”, this emphasis stems from the desire to cater to the student’s different visions. Some of the students have not had any dance training in school due to the changing education system which is placing ever less focus on this subject and to which the course must adapt. It is also one of the few spaces in the area offering this level of focus on the subject which attracts those who have so far not been able to explore dance as deeply as they would have liked.

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With a maximum of 25 students per year, this intimate degree is also highly collaborative. On top of their coursework students are often asked to participate in projects for other courses, costume and film especially have an interest in the dancing community.

“You get a lot of things thrown at you and you just go with it” Four scheduled days a week and spanning themselves over the four available dance spaces (two on campus and two in The Pavillion in town) students can explore their view and deepen their understanding of dance. Both lecturers are as involved as the students, accompanying them in the physicality of the course as well as delivering to the outside world a range of accomplished, well informed dancers, capable of pursuing their view.

WORKSHOP WEEK Whoever said photography can’t be graphic design, or that woodwork can’t be illustration? They’d probably be the same sorts of people who told Duchamp a urinal couldn’t be a work of art. The point is that sometimes we need to think outside of the traditional tools of our disciplines to be innovative, and why should artists be restricted by perceptions of where one discipline begins and another ends? This is where Workshop Week came in.

AUB is crawling with talented, knowledgeable students who can use their skills as a kind of currency, teaching and learning from each other. Many of you might think you don’t have any skills worth sharing but I’d bet my bottom dollar that you’re wrong. Whether it’s sewing, acting, drawing, knowledge of a computer programme, bookbinding, dancing or meditation, everyone has a skill and we should share them with each other.

These days, a lot of students are asking what they get for £9,000 a year. One thing they get for sure is the opportunity to be surrounded by thousands of talented students, and the opportunity to swap skills should not be missed!

Workshop week took place in March 2017 and was a small initiative by AUBSU to celebrate our creative community and nurture a skill-swap culture.The programme ranged from student-led workshops to visiting artists and alumni and enabled students to pick up skills that weren’t necessarily related to their chosen degree.

The idea was to increase opportunities for cross-course interactions and for students to gain valuable experience for their CVs through running workshops.

The programme included workshops from bookbinding, canvas stretching, making pinhole cameras and life drawing in the CRAB to African drumming and blacksmithing in the Ancient Technology Centre (and more!). Around 100 students took part in all the different workshops, with many students missing out because of their popularity. Lots of students were asking when will these workshops happen again, or whether Workshop Week would happen again next year. This isn’t down to the SU, it’s down to the students!

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IF YOU’RE INTERESTED IN KEEPING THE BALL ROLLING FROM WORKSHOP WEEK, AND WANT TO RUN A WORKSHOP YOURSELF, THEN GET IN TOUCH WITH AUBSU (STUDENTUNION@ AUB.AC.UK) WHO CAN HELP YOU ORGANISE YOUR WORKSHOP, PROMOTE IT AND PROVIDE YOU WITH MATERIALS.

SINGAPORE

BLOOMS 8

This is my collection of unisex fabrics designed for Spring Summer 18, which aims to challenge what is female and male in fashion, blending the lines between the two. This is really important to me as I believe that there shouldn't be gender applied to design, as anyone should be able to wear whatever they want, without societal pressures .

specifically The Gardens by the Bay, which is a lush indoor structure covered in plant life. The man-made structure and nature come together to form a beautiful statement, representing how opposing things can come together and form a symbiotic relationship. Working together rather than against each other, the lines blur between the two and they become one.

From this I wanted to create fabrics that capture every aspect of the structure from the shapes of the foliage, to the layered textures. I used a mix of dense and lightweight fabrics to represent both the structure and the softness of the plant life and to give range throughout the collection. The fabrics are essential and they tend to be the starting point for my design process, knowing their properties I can work with them to create interesting surface textures and prints that flow with the movement of the fabrics. I wanted to create a collection that was fun and exciting to look at with each piece having an individuality.

It's inspired by Singapore and the nature that is intertwined with the city,

Once my collection was finished I collaborated with Commercial Photography student Ben Cooper to create these images. I styled the shoot using a male and female model, to display the unisex qualities of the fabrics.

Experimenting with the placement of the 9

materials, imaging how they would be worn on the body. The images are soft with bright colours capturing the textures of the fabrics and highlighting the details of embroidery and embellishments.

I am currently working on my Final Major Project and aim to create a project that continues to experiment with gender within textiles, creating both textural and colourful fabrics that are exciting and bold.

WORDS & DESIGN

BY HANNAH SMOCK

REAL ART WINS

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AUB STUDENTS BRING COLOUR AND CONTEMPORARY CONCEPTS TO BOURNEMOUTH TOWN CENTRE

Maurice Daw, Regional Director, Virgin Media, said: “We were delighted to work with these talented students to bring more colour to the heart of Bournemouth. We believe that great TV and ultrafast broadband make people’s lives more enjoyable, and we’re delighted that Third Wall Productions’ work on our cabinets will improve people’s experience of the town centre too.”

Third Wall Productions, a Bournemouthbased creative events group, today announced its plans to bring the R.A.W Project (Real Art Wins) to Bournemouth this spring.

Third year Creative Events Management students from the Arts University Bournemouth (AUB) have commissioned two public art pieces that feature on the side of Virgin Media street cabinets. The artworks can be found in the Square in Bournemouth town centre and opposite The Old Fire Station on Holdenhurst Road.

Davina Gilbert, a co-founder of Third Wall Productions, said:

“This project has arisen from a real need and desire for more opportunities for creative people and students in Bournemouth. With our R.A.W project we aim to serve the local community and give something back.”

The event will include a mix of work by local artists and students, interactive workshops courtesy of South West Arts and SULK studio, DJs and a series of installations. The focal point of the event is the newly commissioned mural.

The mural named, ‘Dreaming of the Sea’, will be delivered by Lucan Art who is a resident Bournemouth artist. His work is naturally influenced by the surrounding environment and takes inspiration from the local coastline and marine life.

Lucan Art, local artist, said:

Third Wall productions commissioned Kev Munday, who has previously created art works for brands including Walt Disney and Monster Energy, to produce the pieces. His works aim to create positive emotions with the use of vibrant colours and characters inspired by people watching and the everyday. Exaggerating and celebrating the ordinary, Kev aims for his art to appeal to all ages and make the viewer think and smile at the same time.

Kev Munday, artist and creator of the art pieces, said: “The R.A.W. Project was a great thing to be a part of. Both of my pieces were painted in a vibrant palette and aim to portray a positive vision that viewers of all ages can appreciate. I worked with a variety of mediums including aerosol paint, paint pens and acrylics.”

This forms part of a broader movement from the Third Wall Productions team to bring colour and contemporary concepts to neighbourhoods across Bournemouth as part of their R.A.W. Project. Work is currently being undertaken at 60 Million Postcards to replace the existing mural.

This will be unveiled to the public on the 22 April alongside an event to celebrate creativity in the local area. Together with the mural unveiling there will also be a multimedia art exhibition and silent auction, promoting local artists alongside past and present students from AUB as a core theme.

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“I am very excited to be able to make another creative contribution to this wonderful town. Even more so as I’ve had my eye on this specific wall for nearly 15 years now. Bournemouth has been a good home to me and it’s a privilege to be part of its future through projects such as R.A.W, encouraging more talent into the area.”

The mural design was selected by a panel that consisted of Third Wall Productions (the events management team), Tor Byrnes (Events Manager at 60 Million Postcards), Andrea Francis (Arts and Cultural Engagement Officer, Bournemouth Borough Council) and Catherine Miles (Senior Planning Officer, Bournemouth Borough Council).

YOSEMITE

I’m currently studying BA Illustration, nearing the end of my first year. The works that I have submitted are a part of a passion I have for character design. Most of my pieces are recreational and are usually done for fun and to create something with a subtle narrative. Some of these designs will be featured in my current project focusing around Yosemite National Park and be produced onto T-Shirts, highlighting conservation efforts.

Inspired by works from Walt Disney Animations and Pixar, I have always admired the gestural character artwork and visual development created for the feature films they have produced Brother Bear, The Jungle Book and Tarzan just to name a few.

Artist wise Nicholas Marlet and Glen Keane are up there for me.

My works are mostly animal related, due to the notion that I find drawing from the natural world has a more aesthetically pleasing quality, as they come in all shapes and sizes and have numerous other features such as horns and fur and can hold some good attention.

Bears seem to be my obsession and are usually my go to thing to draw if I’m in a rut.

Trying to get across some humanistic emotion using animal related subjects can sometimes be tricky. Finding the right expression for the subject matter is crucial for making it seem believable, for example if I’m drawing a bear, a lazy expression seems to make it work. I admire the challenge character design as and feel fulfilled if it pulls off.

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The process in which I create these pieces are mostly using a digital practice, involving an IPad Pro (which I can’t recommend enough) and an app called Procreate, then finishing them off in Photoshop. I’m trying to wrap my head around Illustrator at the minute but my skill set around it is borderline caveman.

Getting the crisp line work of using a digital process and the added effect of a catalogue of textures only enhances the experience of illustrating these characters and helps them come to life that much more.

If I were to take my work further, I would like to get my teeth stuck into animation and build a larger narrative and a world for my characters to live in.

WORDS & ARTWORK

BY GEORGE TONKS

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WRITING SOCIETY At Night

11.1.16

Dance

At night, the wood glistens with the warmth of the meal we just shared.

At night, your hands find me, and leave me bare of my farces in front of you.

At night, my fears come up out of the deep to meet me and hurt me and you don’t let them.

At night, the glow of the lantern on the prow fades into the inky sky as one of many stars, but the only star we have together.

At night, you rock me. Soothing all my aches with your cloak until I am still, a sleeping babe in your arms.

At night, when we let this peace fall upon us like soft feathers we leave together.

I Looked Out of the Window There was a pigeon in the tree until he went down to the road to join his friend, picking at the carcass of an animal unknown. I thought, ‘Why does this pigeon not bring it up to the tree?’ Why do they stay there, on the ground together?

Perhaps they enjoy the road.

My admiration increased for these pigeons; naïve, stupid birds. ‘They care for each other.’

Then a car hit them. leaving behind their carcasses on the road.

Another pigeon came down from his tree and feasted on the fresh flesh.

He had been watching the whole time.

Around her ankles, copper bells rang out with sounds that, they claimed, would please the Maker, and, from her eyes, a salt waterfall. But she was happy. That much I could tell. Surely, she must have therefore seen this life as hell.

I did not understand what there was to celebrate. More and more winged creatures descended, though they often faltered in the rain. But still, they threw at her offerings of flowers, of powdered wheat and grain. And the shepherds prodded at beasts large and small. Into the centre the wide-eyed animals poured. And she still danced, as though possessed, as she began the giving song. As drums of the devil began, I tasted blood on my lips.

“You mustn’t,” was spoken aloud, but only my damned soul heard it. She screamed.

Hands in the air, and eyes the colour of fire, she screamed, and for the first and only time, the whole village stood in tune to the vision that was my wife.

The voice of the crowd rang out, deep and low as a grave; “We give. You take. You give, we give again.”

As my darling dove into the mouth of Heaven, I bowed my head.

In the morning, we stir back to the day from unknown waters.

In the morning, the sun calls out to greet us; loud and glaring. We must rise to meet it, darling.

In the morning, we forgo bliss for one more day. We must go now darling.

In the morning I see your stillness is far too empty for slumber. Are you there my darling?

In the morning, as the sun still disturbs, my whole world rips and gravity thunders around me.

Where did you go my darling?

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A Venn Diagram of Putting On an Event

Plant

Story Starters

Remember those Venn diagrams from maths in school. You know, intersecting circles and ovals which collect data on which classmates have brown eyes and black hair and are left-handed with the point where the circles intersect becoming the focus for the teacher’s excitement. Well, if you do indeed remember these, then those maths lessons weren’t wasted because the Venn diagram is one good way of illustrating the factors that need to be got right in order to get ‘your work out there’ when putting on an event, gig or show.

The man dropped his shovel. He picked it up.

The soil was harder than he had expected. He dropped the shovel again.

He looked at the stalk. It seemed to have bent down a little more than that morning. He hurried over and tried to pick up the pitcher in which the stalk had grown. He couldn’t. So he tried to moved it with his foot towards the hole, or more exactly where the hole would be.

He tried to pick up the shovel once more. It kept evading him. His shower of sweat didn’t help.

He stomped. He groaned. He stepped back and he bumped into the woman. She staggered, and dropped the kettle. The little water inside poured out and quickly escaped into the cracks in the ground.

The woman lied down and started crying. The man, flustered, kneeled down next to her. He patted her head with his wrist but she pushed him away and turned on her side. He patted her back, and he received a kick.

That did it. The man stood up, and shouted incoherent sounds. He started stomping again, even harder than before, and soon it turned into jumping. He couldn’t keep it up long though. He lost balance, his arms flailing.

He reached for the fence but it was too weak, so he pulled it down with him.

The man burst into tears. He rolled on the ground, kicking. Next to him, the woman cried harder, wailed louder.

The competition went on until they both realised their throats had gone dry. They turned over, and crawled towards the kettle.

There was still some water left. The man turned it up right. The woman bit the handle and lifted it over the man’s head. She poured a few drops of water into his mouth, then they switched.

And they poured the rest of the water on the stalk.

After that, they lied down on either side of the pitcher. They looked into each other’s eyes.

They laughed. They laughed uncontrollably, their faces drenched in tear and snot and sweat.

And they fell asleep.

In their sleep, they curled up around the pitcher.

AUB Writing Society members meet to write mostly creative pieces, as well as taking part in workshops gaining skills in poetry, scriptwriting, character building etc. As a group, we also help each other edit different pieces (like reviews, Fine Art briefs and poetry for exhibitions). Whether you’ve written before or not, come along to a session!

Try your hand at these story starters we’ve come up with;

Please allow RedSugarBlack to guide you through this.

Imagine you have three circles; red, sugar and black.

Red is labelled ‘logistics’.

Red is where you think about venue, tech equipment, dates, availability, ticketing systems, staffing and all those things that need to be in place before the creativity has a home. Red is where, when and how the event happens, red is the place at the end of the yellow brick road where the event will occur.

Sugar is labelled ‘content’ Sugar is the circle where you decide on your ideas for what goes in the show. What artists, DJs, name of event, timings, themes, displays, what is the show trying to say, what is it for?

This is what you will present to those you wish to come along.

Black is labelled ‘marketing and promotion’ Black is your social media, your website, your Instagram, Facebook and Twitter. Black is your design and distribution of flyers and posters, it’s your press releases your radio interviews, your features in the print press. Black is what you use to get to your target audience and to let them know what it is you will present to them and black is what you do to encourage them to come on in.

At RedSugarBlack we specialise in advising on and providing services to enable you to get all of the above right. Because when that happens the next stage is to focus on where those Red, Sugar & Black circles intersect.

This intersection contains the details which relate to your audience, your customers, your people. It is this detail which translate into good word-of-mouth, excellent reviews and feedback and better ticket sales and attendance. It is this intersection on the Venn diagram which dictates success for your

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Story Starters “The door opened and the two men, now clearly identifiable as such, walked in. With calm assurance, one turned to close the door, lock it and switch the sign round to closed.

The other … “ “She hadn’t expected the pasta to taste like strawberries …”

“The commune practically bowed as he strode by …”

“But now he was faltering. He regretted nothing …”

“Chips had fuelled her life through school, business studies and …”

“He lifts up his arm and bends down to touch his toes, then leans down into the downward dog …“

Join our Facebook group and share your own concoctions with us!

‘AUBSUWRITINGSOC’

COLLABORATION, CONNOTATION, CONSIDERATION COLLABORATION Noun 1 The action of working with someone to produce something.

2 Traitorous cooperation with an enemy.

‘Collaboration’ has been a word on everyone’s tongues recently. To me, it is something of a buzzword, essential to a designer’s toolkit (and is often a key player in every cv, regardless of professional field). It was also a common theme in the manifestos for this year’s student union elections. For me, it has connotations of alliance, partnership, and positive collective action, and I’m sure that is true for many people my age. However, it was a bit of an epiphany for me to realise that this one word has two almost antithetical meanings. I recently visited the National Film and Television School, and the director, Nik Powell, mentioned that he has as good as banned the word ‘collaboration’ from the university. This puzzled me as first, especially because film and TV could not exist without people working together, but he explained that for him, it has negative connotations of conspiracy, and fraternising with the enemy; to Nik, a collaborator meant an Ally betraying their cause to cooperate with the Nazis. While to me, the word speaks of interconnectivity and unity in our world, to him, it speaks of death, destruction, and division.

The word comes from the 19th Century Latin ‘collaborare’, meaning ‘to work together’. As long as there are people, there will be people with good in them, people with bad in them, and usually people with a mixture of the two. It is therefore inevitable that as long as people collaborate, the result will have good in it, bad in it, and usually a mixture of the two. But while we acknowledge that not everything people do is good, we can celebrate the fact that wonderful things that can be achieved when we put our minds together. Sure, there will always be people who collaborate for the wrong reasons, but it doesn’t mean that we have to.

It is human instinct to work as a group; we are social creatures, and as such, we have built our cities, our technologies, are entire societies on collaboration. We are always stronger together. In his TED talk, Howard Rheingold, author of Smart Mobs, describes biology as ‘war in which only the fiercest survive’, and describes success in business, international relations, and politics as ‘winning at all costs’ by ‘defeating, destroying and dominating’ anyone who stands in the

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way. But it doesn’t always have to be survival of the fittest. Collaboration allows us to use our skills for each other, not against each other, because in the end, it works out better for everyone. Where would Wallace be without Grommit?

Where would Sherlock be without Watson? Where would Frodo be without Samwise? (Let’s be honest, we all know he was the real hero here). Think of all those baddies who would have gotten away with it if it wasn’t for those meddling kids.

Hearing Nik’s disdain for the word ‘collaboration’, and comparing it to the way that the rest of the university celebrates the word when he’s not looking, reminded me that we must be mindful that the way we think is utterly unique, and while we celebrate combining skills from different disciplines, working together to achieve something amazing, someone else may be reminded of painful times, political conflicts, personal betrayals.

It’s all about context. We just need to be considerate, I guess.

It is easier than ever to collaborate, since we are all almost permanently connected to the internet, intertwined, and interdependent. But that said, I question whether it is harder than ever to truly connect, on a meaningful, emotional level. I think we need to get our heads out of the wifi sometimes. But now that we are a truly global society, maybe I’m wrong. Collaboration has always been enabled by the technology of the time, and the ability to write, the invention of the printing press, the integration of the internet into almost every aspect of our lives, have all facilitated higher levels of collaboration through the sharing of information. We can start small, working across courses and across specialisms, but idealistic as it may be, I believe that valuing collaboration can be the key to our generation achieving the most important things in the future.

WORDS BY KATIE CHARLESTON

ART WITHOUT THE AUDIENCE Art is the expression of the soul, according to some philosophers. Whether you believe in souls or not, it’s accepted that, in its many forms, art deals with the human experience, whether it be of events, emotions or something else altogether.

It goes without saying, then, that art is intrinsically linked to its artist. But just because a creator makes something with a certain idea in mind, doesn’t mean that that idea and intention will hold through when other people see it for themselves.

Which got me thinking; if someone can change the meaning of a piece of art just by the way they interpret it, how much of the art and its effect is actually put in place by the artist?

Is there a collaboration between a creator and their audience? Can art exist without an audience? I’m not sure how comfortable I am with the concept that once I create something and let it go, it’s not really mine anymore. I think a lot of us would agree that when we make something we become somewhat protective of it – it’s one of the reasons why so many of us have trouble actually showing our work to others. But maybe it’s exciting too. Because other people will be able to turn what we’ve made into something completely different, with more possibilities and developments that we could never have thought up. To be blatant, think of it like Harry Potter and the millions of fanfictions, fanart and everything else it’s conjured up (no pun intended). Rowling wrote Harry Potter, and the books will always be hers, but they’ve been made into a lot more with the interaction – or collaboration – of its audience. For better (a community of passionate people making magic out of what was originally just words on a page) or for worse (the biggest grossing movie franchise in all history, complete with infinite merchandising and moneymaking), it’s an example of how something can change once it’s let loose into the world.

We can’t control the way people perceive out work once it’s out there, just as we can’t control if people will actually like it or find any meaning in it whatsoever. But any sort of intellectual response is better

than none, right? I don’t really want to be turned into case studies for school kids to groan at when their teacher tells them the character is depressed because ‘look!

The curtains are blue in this scene.’ If it was me, I probably chose blue curtains because it was a good backdrop and blue is my favourite colour. But if the curtains being blue does reflect something in the scene to somebody, it still exists whether I or whoever the creator was put it in there deliberately. Meaning literally exists because we make it, so whether it was originally intended or not is irrelevant.

But while it can feel like we’re almost at odds with what our audience might choose to interpret our art as, we need them to have their own opinions and perspectives for them to fundamentally understand our work at all. We replicate and represent the human experience in art, which requires an in depth understanding of the human experience itself. If our audience didn’t know about loneliness or desire or passion to begin with, most of the art in the world would be void because no one would relate or get any meaning from it. We marvel at Van Gogh’s paintings because of the heights or madness and loneliness he conveys in the brushstrokes. We don’t have to have experienced it ourselves – in fact one of the triumphs of art is being able to cross a barrier of empathy that we can’t do verbally.

occurred to me that once the clothes are worn, the painting framed and the film played in a cinema screen that there’s still work to be done. There’s progress to be made and shaped by the audience that takes the art into their own hands.

Unconscious work, but by reading a book and saying you have opinions on it, you’ve carried it on. The story has been something to you, and by creating connections and meanings in your head from it, that piece of work isn’t quite what it was before. It’s not so much a conflict of original intentions to new interpretations, but a collaboration between artist and audience to create something that’s more than just shapes.

If you take away an audience, what is left? Well, it’s still a creation of the artist and the things they’ve learnt and enjoyed while making it. Most of us don’t create so we can be rich and famous (I say most, but there’ll always be a few), we do it because we love the experience. The journey matters more than the destination and all that. Whether it be as therapy or fun, we artists are artists because it’s the creating that’s important. Having it seen and appreciated is an extra bonus.

Putting pen to paper, paintbrush to canvas, performance to camera, or needle to fabric is the process that we learn and benefit from. We can’t say that art is meaningless without someone on the other side to see it, because what it means to the artist is just as valid.

So maybe it’s not about what parts of art belong to who, or what is one without the other, but instead what are the different stages that art goes through. It’s never

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WORDS BY DAISY LEIGH-PHIPPARD

PHOTOGRAPHS // RORY JAMES

INTERVIEW CONDUCTED BY BRITTANY SUTCLIFFE

ROB DA BANK

ON BESTIVAL

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What was your motivation for bestival? where did it start?

It sort of came around by accident really. I never sat there at the age of twenty or thirty and said: “time to do a festival!”. We’d just been doing a lot of parties that had gotten increasingly bigger and out of hand, just outgrown the confines of a nightclub. We were doing guest spots at other festivals like Glastonbury and then I and Josie and a couple of mates decided “let’s just give it a whirl”. We found a site on the Isle of Wight and the rest is history. I suppose it’s about having fun and good music and those are our touchstones, it isn't really rocket science, it’s just a very easy going philosophy. That’s my motivation.

Was there a positive by-product of the festival that you didn’t expect?

Well, I got to meet Amy Winehouse and Snoop Dogg. Elton John. Stevie Wonder. I don’t sort of hang around backstage kind of going “can I meet you?”, I tend to steer away from those situations because you often get let down but it’s turned out well. Standing in a room with Snoop Dogg puffing on a massive spliff standing by girls in bikinis, very surreal at our own festival. You get those moments that are just brilliant. More than that, changing people’s lives. We get emails and letters from people saying “I met my wife here, we’ve had three kids since” or “we conceived our child there”. Festivals like Burning Man, The Secret Garden and Glastonbury, I think people have life-changing moments at the festivals and that’s great for us. I also think people come and decide that they’re bored of their 9-5 job and think maybe there’s another angle to life, I think those things are really important.

Is there anyone on the team who’s been there from the start?

Me! Josie, all the five chiefs. We’ve got a lot of staff that have been with us for over a decade. The festival’s been going for fourteen years and we don’t tend to have a high turnover of staff. It’s not the most incredible company in the world to work for but I think we try and look after people. It’s gone alright so far.

How does a familyorientated festival and a general festival differ in the set-up?

There’s a simple formula to families needing different things to normal festivalgoers. There are so many different strata of festivals now. You’ve got the very easy day show where pewople just go for the little taste of a festival and they’re in bed by 11. You’ve got the hardcore festival goers who want to go for four days and camp out, live off a tin of beans for the weekend.

You’ve got the family shows like Camp Bestival where people expect a high level of service. They expect the toilets to be spotless, they expect food choices, nonalcoholic bars, vegan food. Everything has to be catered for. It’s radically different doing Bestival to Camp Bestival but that’s cool, that’s what people are paying their money for. I think we’ve learnt the hard way that we’ve got to look after the Camp Bestival Crowd after last year. We allotted a certain amount of space based on two man tents and everyone turned up with an average of two vehicles, and four to eight man tent each, an outdoor kitchen, pop up shower, cinema. People just went mental. In about half a day of opening the gates, we’d already outgrown the campsite we’d allocated. We like “ wow, this is how it is”, we’ve learnt they’re two very different beasts.

Would you ever consider setting up a free of ticket charge festival?

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Would you ever consider setting up a free of ticket charge festival?

I’d love to. I love that idea. Forgetting the boring thing that you’ve gotta pay the site and the bills and the artists. To do a free show would be great. Doing Sunday Best, which is where Bestival came from, the club, I started that up as 99p and that went up to £1.99 at its peak. That was obviously a club night but I always believed in value. Unfortunately, you can’t put on a show the size of Bestival, without the absolute minimum of £150£200 a ticket. Even so, you really should be charging more than that for everything that’s in there. I really think people get their money’s worth but I’d love to do it for free.

If a sponsor came along and said “here’s ten million quid plus” then we can do a free festival. Hint hint, if there are any insane sponsors out there.

What made you want to kick off two more - Oxford and Southampton, Common People?

I think we saw that the day festival market was really emerging in the UK and over the last three or four years, people have moved to that way of festivalling. It’s easy, I don’t think it’s the lightweight way of festivalling but I think it’s for people who don’t want to do the full adventure for three or fours days. We felt like we needed to be in that market, I think the three-four day shows are dying but I think it’s going to get harder and harder because people just see the one day fix as the easy fix. I’m glad we’ve got the one day shows already set up. It’s easy for us too. We can roll up at a show and by 11 am we can have a drink and enjoy what’s happening during the day whereas, with the three or four-day show, we’re just in it. It happens and two weeks later you might have surfaced and gone “it’s all over for another year”. If I could start again then maybe we could just do a load of day shows.

What advice would you give to somebody studying a creative subject who isn’t sure how to realise a career?

I’d speculate that 50% of people that leave end up doing something completely different but they’ve had a great leg up in life. Unleashing a load of 18-year-old people into the world and not letting them do that is a dangerous thing because you don’t know what you’re doing at 18.

Like I said, unless you’re doing something science-based, you could probably get away a lot.

Are there any big risks that you’ve taken that haven’t worked out?

I think putting on the festival every year is a risk. Some years it works out, other years it doesn’t. It’s still incredibly risky fourteen years in because no one’s got our back, we’re just 100% out on our own.

Every year we go “hey! Here’s our lineup” and if 30,000-40,000 don’t buy those tickets then we’re screwed. Every year feels a bit knife-edged and the older I get, the scarier it gets. When I was in my thirties it was a bit like “yeah whatever it doesn’t really matter” but now, I feel very aware of the risks. We’ve done festivals abroad, we’ve done other projects but nothing’s ever sort of failed as such. It’s been risky but we’ve carried on.

Keep your options open. If you’re doing something like molecular sciences, you’re going to be pretty sure that that’s what you’re going into. You’re unlikely to be training to be a DJ at the same time. Josie did Fine Art with textiles and I did French with History of Art, I’ve got friends who’ve started off doing one thing and ended up in the arts so remain flexible and be aware that you may not go down the career path you originally chose at the beginning. I know a lot of people who sign up for uni and after a year they change course anyway because they realise it’s not exactly what they wanted.

Don’t panic that you’ve just spent three years on something that you’re not sure about either, few employers at the end of the day say “oh, you did such and such at uni, it’s got nothing to do with this”.

Is there anything in your free time that you do that we don’t know about?

I like paddle boarding, my newest hobby.

I’m planning to go paddleboarding across the channel over the next year. Mid-life crisis type thing. I guess I’m also more of a stay at home dad that people might not think. I know there are some Dad’s that on Monday, at 8 am, say “ get me out of the house” but I’m the opposite. I love that lifestyle. My life’s probably a lot more pedestrian than people might think.

Paddle-boarding isn’t that rock and roll.

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I was reading one of your previous interviews about your upbringing being quite strict, was following a path into music and events sparked out of sheer rebellion at a young age?

It always keeps coming round to bite me on the arse, that one. It wasn’t that strict, I wasn’t locked up in a cupboard by the age of 8. It was a normal-ish upbringing. We weren’t allowed fizzy drinks, we didn’t go to festivals. I look at our kids and they’re totally the opposite compared to that. I’m actually really glad I had, not strict, but simple rules. No one had the internet, we had a colour tv that switched off at 8 pm because there was no programming at night. This sounds so fuddy-duddy but it was easier when we didn’t have those things. Without the internet, we probably wouldn’t have a festival so it has it’s good and it’s bad points. My brother and sister have grown up with line towed a bit more but I don’t see running a festival as massively rebellious. I’ve just really loved music. I think there’s a strong hedonism in seeing people partying. When I was about fifteen or sixteen, I used to set up beach parties where we lived. I was always making little flyers and I’d take my little boom box down to the beach and I’d be the person who invited everyone and made sure everyone was there. Some people wanted to be the class clown or the sportsman but I suppose my thing was “Right. I can make friends by throwing parties”.

“STANDING IN A ROOM WITH SNOOP DOGG PUFFING ON A MASSIVE SPLIFF STANDING BY GIRLS IN BIKINIS, VERY SURREAL AT OUR OWN FESTIVAL.” 21

LINES

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What are borders? Lines.

What has lines? A playground.

The lines on a playground inspire interaction as opposed to segregating as borders do.

universal language. School children in the United Kingdom spend 40-60 minutes playing per day*, how can this be used for social good?

In a time of Brexit and Donald Trump, positive inter-cultural interaction is more important than ever. We need to focus on the potential of what different cultures can create together instead of individually.

I chose to use playgrounds as a tool to achieve this as they already function as a microcosm of society, where social hierarchy begins to develop and children are exposed to other cultures, play is a

Lines is an activity for primary school age children which encourages inter-cultural interaction through play. With the help of the Lines kit, children create half a playground based on the line markings they know from games they have grown up playing and the games they want to create. These half playgrounds can be spliced together to form new and better playgrounds. They are the right size to be projected and explored, or painted down.

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I created this project with the help of Talbot Primary School and Talbot Heath School, I visited a public and private school for help with development and testing, to gain insight into the entire education system. The children taught me that they are much more concerned with playing and their favorite foods than whether or not someone is British.

WORDS & DESIGN

BY IZZI HAYS

RITE OF MAN

important it was to bring on the people that I did as they have each brought their own talents and flair to the project to really create something special.

Rite of Man came to me when I looked back at my body of work that had been produced during my time on the foundation course at AUB and I concluded that I really hadn’t pushed myself creatively. Granted, they were very short projects designed to get us to work fast and learn new skills, but I still felt that I still hadn’t produced a standout piece that could really shout about what I am interested in as a filmmaker.

Here is where Rite of Man came into the picture. I had a concept for a film involving a menacing elder figure, a teenage boy and a strange ritual. From there the idea developed, especially as early on I enlisted some friends to help me make this concept a reality. It also became obvious that for this film to work I needed a costume designer to really sell the premise of the film. With Lyris working on costumes and masks we spent hours talking over scripts, mood boards and sketches of how the costumes should look and how they should fit into the tone of the work.

Without this collaboration, I think the film would have fallen flat. Looking at the rushes as I edit, it is clear to me that this work is the culmination of many very talented individuals. I really cannot overstate how 24

I feel that from this shoot I have learned to be confident in my vision for a film. I dedicated the few days before to creating a detailed schedule which I feel really paid off. For example, on day 2 I prepared splinter groups for the crew so I could get all the pickup shots I needed in the field with the camera team but also keep the actors busy recording with the sound team. Through editing, I really want to test my own skills as I have never done something with these psychedelic visuals. I will have to experiment to achieve this as it requires myself to really think about which clips I smash together to create a bizarre collage that can provide a visual experience for the viewer.

Stan White-Starke

On the shoot, these were attached to branches all facing the same direction, confronting the audience. This was my favourite element of designing Rite of Man as together, in the location the masks created a strong image.

TOMMY GILLARD - DIRECTOR OF PHOTOGRAPHY

This project has been an amazing collaborative experience alongside my course. I have learnt more about working on a film as well as exploring the designing, sourcing and making processes of costume.

Being a part of this team led by Stan allowed this project to be a success. Rite of Man highlights the strengths of so many creative people being brought together and I look forward to seeing the final film!

BORIS HALVIG - CAMERA OPERATOR

Lyris Richards

HARRY WILLMOTT - 1ST AD AND ASSISTANT SOUND

The concept of Rite of Man immediately interested me as there was so much visual potential. The contrast between the rituals and psychedelic journey was intriguing, having scope for an abstract style. I began to curate mood boards early on, to communicate ideas with the director.

From these conversations, I could produce designs which gradually evolved into the final costumes.

I understood Stan’s vision for the project and he allowed me creative freedom to explore different ideas. This relationship and in turn the collaboration between all cast and crew was so important to creating a cohesive visual film. I wanted to combine the gathering and draping often seen in tribal clothing with natural materials such as feathers. The concept revolved around a post-apocalyptic setting following a solar flare which I wanted to resonate in the costumes and masks. For example, the bark effect on the masks was inspired by scorched and petrified wood and I used symbols of the sun throughout. However, my main aim was to portray an authoritative and mysterious character in the Elder.

I purposely made an oversized mask without eyeholes, despite the challenges this incurred we agreed the dramatic effect would help to create an intimidating figure.

JOEL WOODMAN CAMERA ASSIST

LUCIE WALMSLEY SOUND RECORDIST Stan White-Starke – Director and Producer Lyris Richards - Costume and Masks Finn Morley Weltch - The Boy Steve Walsh - The Elder

SAFFRON WILLMOTT MAKEUP SIMEON COSTELLO CASTING RYAN WHITTAKER ADDITIONAL CONCEPT ART MATT BELL – TITLE ARTIST THE FINAL FILM WILL BE AVAILABLE VIA VIMEO NEXT MONTH: HTTPS://VIMEO.COM/ STANWHITESTARKE.

Masks were a large part of the design concept as they would be used during the hallucination to represent those who had previously failed the rite of passage.

Therefore, I gave each mask an individual identity through variations in the eyeholes.

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GLITCH

CONCRÈTE 26

My project began by thinking of the internet as an alternate space which was an incomplete and insecure representation of our own physical world and began with an idea of how to represent this photographically.

structured, then this is taken into photoshop where I separated the colour channels to reveal the structure of the digital image.

Finally my images are then dragged through a scanner such that the technology reads and creates the image creating a somewhat unique and unreproducable image.

The title 'Glitch concrète is derived from the idea of 'musique concrète' which is a form of experimental music using sounds from the real world, this suited my work well in its exploration of the physical world as a starting point to my subject which is then digitally warped and pushed to abstraction much like the sounds produced in Musique Concrète.

The idea of the digital image excisting only behind the screen and being a false representation emerged through this.

In searching for a connection between the digital world and the real world the idea of the 'real world' glitch manifested while looking at an old billboard sign that has many layers torn and revaled in one frame. The real world glitch idea was then applied to natural textures such as marble and stone with the glitch being considered as 'an interuption or damage to the material or objects intended appearance'.

The 'glitch' of marble was particularly strong in my comparrison of the digital to the real world in the way the glitch of the marble is very oganically shaped and formed whereas a digital glitch is very stuctured and consists of straight lines within a grid.

These works are intended to be viewed as large (sheer) fabric hangings to further emphasise the idea of the digital space being non-solid and insecure.

My images have three layers of digital manipulation and coruption, I tried to allow the technology to create the imigery for me to give the idea of the digital space complete control over its representation.

The first layer of manipulation is a corruption of the images code which was a representation of my thoughts of the digital space being insecure and weakly

WORDS & ARTWORK

BY ELISE WOOTTEN 27

HOW TO GET INDUSTRY EXPERIENCE FOR THE INEXPERIENCED

Working collaboratively can enrich a student’s work in ways that they couldn’t possibly have achieved had they carried out a project by themselves. Everyone has the chance to showcase their skills and pick up new ones along the way. But at some point, we will all come to realise that working collaboratively is as important as working individually.

Getting yourself some first-time industry experience is a wobbly tight rope to walk.

Suddenly your thoughts on becoming a hitman to pay off your student debt doesn’t sound like the craziest last resort.

Today, however, employers are expecting more from arts graduates and value industry experience more than ever. It doesn’t mean that the worth of an arts degree has decreased: according to the official statistics on the GOV website, more than half (59.9 per cent) of jobs in the Creative Industry in 2015 were filled by people with at least a degree or equivalent, compared to 32.7 per cent of all jobs in the UK. Some would argue that it’s difficult to get noticed and reflects negatively on a candidate if they haven’t managed to get some form of experience.

It is definitely easier said than done.

I don’t feel it’s all doom and gloom: simply because opportunities can be hard to come by should not deter you from seeking and securing a form of work placement/shadowing/experience. The fact that you’ve made the effort to get experience before you even have a job shows employers you have a genuine interest in the fields that your discipline presents. It also demonstrates your ability to take business into your own hands and learn first-hand how it all really works. The experiences you look for will vary depending on the demands of your industry, but here I’ve come up with a few pointers that I think the majority of your creative selves have in common when it comes to looking for the right experience:

Ask Early competition is tough so it would be best to think about who you want to approach far in advance. Whether you are applying as an individual or someone who wants to be part of a company’s scheme, you should begin to get in touch with them months ahead so you aren’t shouldering your way to the front.

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Availabilityyou’re at university, that can’t be helped.

If you have other commitments, I’d advise that you give them a time frame to say when you are available, so if they do have an opportunity for you, there will be little chance of plans clashing. Be prepared to be flexible though as this does reflect well on you and your preparation for future employability.

It’s not what you know it’s who you know – it’s an old saying but couldn’t be more true for arts students. Asking someone you know who has a job in a similar subject area to you is a great way to get your toe in the door, regardless of whether it is or is not the area you see yourself in after you graduate. Even if it’s your cousin’s brother’s mum’s sister’s friend, ask anyway or ask if they know anyone who could put you in contact with someone who would be a better provider for industry experience.

Start Small – companies and businesses in your home town may seem like a boring place to start. But that community hall that hosts the youth drama club, the architect that’s just finished a major build in your area, or even that local newsletter that’s always on the look out for new talent - they are worth approaching and will contribute towards your experiences further down the line.

…but don’t be afraid to go the extra mile, quite literally – if you feel that you want to push yourself and think you would stand a better chance of applying for experience somewhere other than where you live, then there is no harm in trying. If commuting is not too much of a hassle, places like London and Brighton and offer

a wide range of work opportunities for young people. Your experience provider may even cover your travel costs!

The correspondence – how you come across in your written or verbal correspondence is key, so aim to be professional but approachable as well. For example, mass media company Condé Nast (think Vogue, GQ, The New Yorker, Vanity Fair and of course, Golf World) ask that you provide the Managing Editor with a cover letter and a copy of an upto-date CV to their offices, so check what requirements are needed.

You could pick up the ‘phone or send a message to someone through social media but an email is likely to be one of the most popular ways to get the ball rolling. Similarly, to a cover letter, you may want to structure your email by explaining who you are and your year of study, what work of theirs you admire and why this has prompted you to approach them (The National Careers Service has some good pointers online). You can have a light-hearted approach towards someone or a company if it is appropriate but you should always maintain a professional attitude. Explain that you would be very interested in having the chance to get experience with them, even if it is for a couple days. They may need to see some of your current work whether it is shown on an online portfolio, on your own professional website or through another platform.

If you are contacting someone through an agency, indicate that you are approaching someone by including the line ‘For the Attention of…’ or ‘FAO’ and the name of the person whom you are contacting. If a conversation does begin, show your appreciation to them for taking the time to get back to you because let’s face it, they must be pretty busy.

Questions, Questions, Questions – let’s say you are lucky enough to have secured yourself industry experience but you are nodding your head in agreement to the guy or girl showing you round without really understand what’s going on.

This may sound like an obvious point but it would be beneficial to research the person or company beforehand, and come up with a few questions and points to keep the conversation flowing.

Putting you to work – from participating in a group discussion to running a simple errand, how you carry out these tasks will show others how you adapt to new situations, and how you cope with being in a new environment.

Some opportunities may not be as creative as you’d hoped but it’s all part of how you learn. It’s not a test, think of it as a way of seeing how the world works and how people contribute towards reaching a goal. If you are not sure of something, then ask. It doesn’t make you look silly, it shows that you would rather do something right than do it wrong by not asking.

Be prepared if it’s not all roses – if it turns out that the experience you had didn’t live up to expectations or you choose to head down a different path, this is still worth mentioning to employers in the future. Employers value someone who has tried a variety of working environments and may put you higher up their leader board when it comes to interviews. For all you know, your experience could be the thing that sets you apart from other applicants and is worth talking about.

Excuses for not getting industry experience include ‘it’s too difficult’, ‘people don’t care’ and ‘you are just one more person to worry about if the fire alarm goes off’. They shouldn’t become words that deter you from demonstrating to others how self-sufficient you are, as well as your ability to work in a team.

Persevering (and even pestering at times) proves, how much you want to work for someone, whether you get the place or not. There may be another person out there who is prepared to listen and realise how valuable their help might be in your development as a creative individual, and give you positive glimpses into life beyond campus.

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WORDS BY OLIVIA CHURCH

MAKINOHARA

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This was a collaborative project with Tegan Price and Harry Kitchin. The brief was to redesign Green Tea packaging for the Japanese brand, Makinohara. It was for a competition brief set by the British Design Council.

scoop the powder from the packaging and this makes it easier when on the way to work or even at work.

This complimented the finishing technique and also breaks the expectations of Green Tea powder packaging.

The pattern was then applied with a foil.

As this was created as university project, we didn't have the opportunity to use the official foiling technique. We found an alternative. By using small sheets of coloured foil and a laminator, we could visualise how the pattern would look if it were to be foiled using the official technique. We then tested different colours but felt as there were three flavours, the foils used should be gold, silver and bronze.

WORDS & DESIGN

BY LUKE BROWN TEGAN PRICE & HARRY KITCHIN

They wanted to change the perception of Green Tea powder for people living in Mito, Ibaraki in Japan. Coffee has taken over and has become the 'trendy' choice of beverage. Makinohara wanted a new packaging design that would challenge this. The main target audience were female office workers living and working in Mito City, Japan.

After seeing a picture of the plantations where the tea was grown, Harry spotted an opportunity to create a beautiful pattern from a combination of these plantations. This was then developed to create the artwork for the packaging. We went with the insight of making a piece of packaging that had a secondary use. We created a scoop for the user to use when preparing a cup of Green Tea. They can

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