DILLON BILTCLIFFE NEWELL by Dillon Newell

ISTD — VISUAL SYNOPSIS/DISSERTATION — RESEARCH/DOCUMENTATION — THE PAINTER AND DECORATOR — THE PAINTER AND DECORATOR — MANIFESTO VISUALISING MUSIC — SHOW BRANDING — EXAM PROJECT — WAX POSTER — PHOTOGRAPHY

GRAPHIC DESIGN GRADUATE FROM THE UNIVERSITY OF BRIGHTON. PROCESS BOOK / PORTFOLIO EMAIL — dillonnewell_@hotmail.com WEBSITE — www.dbnewell.uk

2015

DILLON BILTCLIFFE NEWELL

CONTENTS

ISTD —

VISUALISING MUSIC —

Introduction

3-4

Introduction

81-82

Layout & Design

5-10

Text messages

83-86

Website Design

87-90

Film

91-94

VISUAL SYNOPSIS / DISSERTATION — Introduction

11-12

SHOW BRANDING —

Dissertation

13-22

Introduction

95-96

Film

23-26

Poster Design

97-110

Experimental 3D scans

111-126

RESEARCH / DOCUMENTATION —

EXAM PROJECT —

Introduction

27-28

Introduction

127-128

Photography

29-34

Development

129-134

Scans

35-42

Poster Design

135-136

Drawing

43-46

3D scans of the poster

137-158

3D scans

47-50

Stop frame animation

159-162

Layout

51-54

Hologram

163-166

Final Outcome

55-56

SELF INITIATED WAX POSTER —

THE PAINTER AND DECORATOR —

Introduction

167-168

Introduction

57-58

Poster Design

169-176

Book Layout

59-66

Wax Development

177-182

Final Outcome

183-188

MANIFESTO — PHOTOGRAPHY —

Introduction

67-68

Typography

69-72

Introduction

191-192

Making of the flag

73-76

Photographs

193-218

Final Outcome

77-80

3 INTERNATIONAL SOCIETY OF TYPOGRAPHIC DESIGNERS

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ISTD PROJECT

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This project explores the essay ‘Fuck Content’ the content of which is hidden underneath a traditional type specimen. I wanted my design to reflect what Michael Rock, author of the essay, writes along with the idea of how design has been changing. My aim was to stray away from a traditional specimen and create a more modern, contemporary design. Initially the content of the essay is hidden beneath the simple and traditional type specimen but emerges when the pages are ripped open, revealing a whole new aspect of the design. These pages do not follow a system but instead embodies some of the ideas that Rock writes about in his essay, representing them typographically. The idea of tearing the pages open was to make it more interesting and to force you, the reader to become involved with my design in a very tangible way. I felt that hiding the content away was the best way to represent the ideas of ‘Fuck Content’. What better way to show a rebellion and subversion of content than to make it hard to access and hidden away by its design? I have been heavily influenced by old wooden block type specimens which use words which, at times, do not have any relation to the content. This mish mash of words was the main influence for the design on the white pages (traditional side). The copy of the classic side is taken directly from the essay but uses the words in no cohesive order, instead it shows a very subtle hint at what is hidden inside. All aspects of the design were set on the same document and baseline grid. This means that all of the type aligns on both sides. If you look through the pages on either side, you will see an example of this. This allows the book to flow better and gives the different pages some sense of cohesion, despite the huge difference in their style.

INTERNATIONAL SOCIETY OF TYPOGRAPHIC DESIGNERS

INTRODUCTION

INTERNATIONAL SOCIETY OF TYPOGRAPHIC DESIGNERS

VISUAL SYNOPSIS/ DISSERTATION

DISSERTATION ABSTRACT

INTRODUCTION TO VISUAL SYNOPSIS

I’ve created a visual exploration of the problems surrounding graphic design being exhibited. The film acted as a visual display for my argument/hypothesis for my dissertation. I have interviews with Ken Garland, Eike König and some screen recordings of essays and recent design exhibitions. The film is projected onto a poster I made saying “Is there a problem with exhibiting graphic design” to portray the feeling of a gallery space.

VISUAL SYNOPSIS / DISSERTATION

In an assessment of the problems with exhibiting graphic design, I first looked at the history of graphic design and how new changed in technology has affected it and how we see it today. I then looked at design authorship which is a new phenomenon that has come about because of this technology. The influx in designers being their own authors has meant more designers exhibit their work. The essay goes on to explore the varying opinions on how design is exhibited, with the general consensus being that in being exhibited, graphic design loses some of what makes it graphic design.

VISUAL SYNOPSIS / DISSERTATION

WHAT ARE THE PROBLEMS FACED WHEN EXHIBITING GRAPHIC DESIGN?

This dissertation will explore the problems faced when exhibiting graphic design focusing on the ever changing roles of a graphic designer. Adrian Shaughnessy and Paul Thompson have defined graphic design, and the form they think it takes. Exploring how graphic design has adapted and changed throughout itâ&#x20AC;&#x2122;s history, and how the prehistoric roots are still evident within modern graphic design. The opening chapter will focus on the definition of a graphic designer exploring the history of design to gain a better understanding of the practice. The opening chapter will also look at how modernizations with technology have influenced graphic design and how these technological advancements are a key component to the constant evolving practice of graphic design. Along side this I will be looking into what the display of graphic design is and how this technological era is impacting that. Followed by an investigation into design authorship, linking this in with that of exhibiting work. Chapter two will analyse the similarities and differences between fine art and graphic design to gain a better understanding of why more graphic designers donâ&#x20AC;&#x2122;t exhibit work. In this chapter I will focus on the problems associated with displaying graphic design, in the context of recent exhibits of graphic design. I will also evaluate notable exhibitions and if they have been welcomed or challenged, in an attempt to discover some problems faced when exhibiting graphic design. The responses gained through my investigations will highlight the positive and negative aspects of exhibiting graphic design. I will attempt to gain an understanding of the struggles faced when creating work for a gallery setting and why this is the case.

VISUAL SYNOPSIS / DISSERTATION

INTRODUCTION TO MY DISSERTATION

Margolin, Victor. ‘Rebellion, Reform, And Revolution: American Graphic Design For Social Change’.Design Issues 5.1 (1988): 59. Web.

VISUAL SYNOPSIS / DISSERTATION

Shaughnessy, Adrian. How To Be A Graphic Designer, Without Losing Your Soul. New York: Princeton Architectural Press, 2005. Print.

Chapter One – Authorship and Display The definition of Graphic Design. What constitutes graphic design is ever changing. Adrian Shaughnessy is a graphic designer and writer as well as a senior tutor in Visual Communication at the Royal College of Art and a founding partner in Unit Editions a publishing company producing books on design and visual culture. Due to the constant developments and broad nature, the definition of graphic design is forever evolving. Shaughnessy claims that “Graphic design is still fundamentally about form, shape, colour and the logical presentation of information” however, through the changes within graphic design, he claims that, “it is no longer exclusively about these things. Design in the modern era has to include ethical, social and technological dimensions.” (99) Reflecting upon Shaughnessy’s statement that graphic design has developed vastly within our surroundings is reiterated by Dr Paul Thompson, the Rector of the Royal College of Arts, who states “Graphic design surrounds every aspect of our daily lives – packaging, road signs, newspapers, album covers and websites”. Whilst Graphic Design may only have existed in the past 100 years and has evolved rapidly across this period, it is still essentially about ‘form, shape and colour’ as Shaughnessy claims. Victor Margolin agrees, by stating that: There is much today that is similar to the past. We still enjoy great posters, well-designed newspapers and magazines, wonderful books, excellent typography. The great accomplishments of designers from the past are very much alive and are extremely relevant to most work that is done today. (Margolin) Although Graphic Design has changed since its creation, it is still built on the same foundations that it was in its inception. With the mediums graphic design has made available, such as books, posters, and the development of the Internet. This historical development within design can be viewed, reflected upon and related to with ease. A brief History of Graphic Design Although it has such a rich and diverse background, graphic design is constantly changing and evolving. So how does this complex history effect and change graphic design and how graphic design is exhibited? How must designers adapt and change to meet the needs of an ever-changing society and an ever-changing field? Where is this profession heading and what is its future? In the book, Graphic Design History, Johanna Drucker argues that graphic design has been around since the Stone Age; this is where many of the underlying concepts of design originated. From the very beginning,

VISUAL SYNOPSIS / DISSERTATION

Drucker, Johanna, and Emily McVarish. Graphic Design History. Upper Saddle River, N.J.: Pearson Prentice Hall, 2009. Print. Shaughnessy, Adrian. How To Be A Graphic Designer, Without Losing Your Soul. New York: Princeton Architectural Press, 2005. Print. Cook, Jill. Ice Age art: arrival of the modern mind. The British museum press. 2013. Print.

graphic design has been a part of humanity. Many may feel that claiming this may be a huge statement to make, but Stone Age artists pioneered some of the fundamental conventions of graphic design as many as 35,000 years ago (Drucker 3). Large numbers of prehistoric artist don’t get recognised for these accomplishments, (Drucker 3) and although their developments within the field have played huge significance upon where design lies now, they often get overlooked and taken for granted. Drucker reflects upon these historical accomplishments by stating “the remarkable achievements of prehistoric artists deserve attention”(Drucker 3). Prehistoric art can be seen as the origin of graphic design, recognised for its ability to produce well thought out decisions about form. Drucker goes on to state “Prehistoric artists organized surfaces to support figure and ground distinctions, establishing the basis on which signs and images could be produced” (Drucker 3) The use of signs to represent the absent, has been evident since humans developed the basic ability to communicate and act in social situations. “As, communications, they enable social exchanges among people and across time and space.” (Drucker 3) As Thompson previously made us aware, “Graphic design surrounds every aspect of our daily lives”, it is evident that design, still strongly used for communicative purposes, has become heavily influenced by it’s aesthetic appeal to the viewer. The basic, purposeful marks and illustrations produced in the prehistoric times, although extremely beautiful, were used as a way to clearly communicate and share their messages. Writer and designer, Victor Papanek “believed that the area of aesthetics was only a small part of the designers responsibility”. (Shaughnessy 99) Therefore mark making and signs, although simple, have enabled designers with the ability and knowledge to communicate with function, rather than pure aesthetic appeal. The Chauvet-Pont-d’Arc Cave in the Ardèche region of Southern France is a cave, which contains the earliest known and best-preserved figurative cave paintings in the world, as well as other evidence of Upper Paleolithic life. A quote from a British museum catalogue of ice age art; on the paintings in the Chauvet caves: ‘’Like the painted caves, they reveal conscious human beings capable of imagining, thinking, reasoning and above all communicating in words, pictures, symbols and music.’’(Cook 12) This image (Fig.1) shows an example of the considered form that Drucker talks about. Fig 1, Figurative cave paintings, Chauvet-Pont-d’Arc Cave, France. ancient-wisdom. Web. 3 Jan 2014

McCoy, Katherine. ‘American Graphic Design Expression’. Design Quarterly 148 (1990): 3. Web. Ausrine,. ‘The Impact Of Digital Technologies On The Graphic Design Practice.’.www.kayleighmahon.wordpress.com. N.p., 2008. Web. 3 Feb.

VISUAL SYNOPSIS / DISSERTATION

To Drucker these early pieces of art show consideration which has influenced art ever since. These artists/designers organized and prepared surfaces to support figure ground perception, which established the basis on which images and signs could be produced and read. They also prepared specialized materials for artworks, which shows it was a deliberate process, not simply one of impulse, but of expression and communication. On the other hand in her book, Graphic Design Expression: The Evolution of American Typography, Katherine McCoy makes a case that the influx of graphic design has occurred only in the last century and that it came about as a reaction to the communication needs of the industrial revolution (McCoy). The modern form of graphic design, or what we know and think of it today has become a phenomenon in only the last hundred years. Graphic Design was a spontaneous response to the needs of the industrial revolution (McCoy). “It was invented in the late nineteenth and early twentieth centuries to sell the fruits of mass production to the growing consumer societies in North American as well as Europe” (McCoy). Between the prehistoric age and the beginning of modern graphic design, many events and ideas changed and shaped how graphic design is now perceived. Most notably the invention of the printing press and more recently the creation of the Internet. It can be argued that the fundamental features and principles of art and design have been around for generations, influencing what we regard graphic design in its modern form to be today. Although it is a fairly modern concept it has evolved and come about because of the need to communicate to large amounts of people, with new technology providing the means to do so. How the modernisation of technology has influenced graphic design. Due to recent modernisations with technology, the fundamentals of graphic design have developed and adjusted to our society, Shaughnessy supports this by stating, “Graphic design was transformed by the seismic impact of digital technology, and by the rise of new specialized disciplines” (99) These developed disciplines such as, motion graphics, web design, and information design are just a few that have enabled the transformation of technology to play a larger role in the ever progressing world of graphic design. Austrine states “new technology has had a great impact on the field of graphic design because of printers and scanners, internet and designing programs” (Ausrine) Here Austrine is highlighting the fact that technology has had positive impacts on graphic design. It has enabled graphic designers to broaden their practice and begin

VISUAL SYNOPSIS / DISSERTATION

Bil’ak, Peter. ‘Typotheque: Graphic Design In The White Cube By Peter Biľak’. Typotheque.com. N.p., 2006. Web. 2 Nov. 2014. Orma, Stephanie. ‘How New Technology Has Transformed Graphic Design’. Salon.com. N.p., 2011. Web. 10 Jan. 2014.

to become more confident in ‘breaking the rules’. New technology has allowed designers to work with a larger, faster, and more affordable set of tools. French designers M/M Paris, an art and design partnership consisting of Mathias Augustyniak and Michael Amzalag, directly challenge the definition of ‘graphic design: “Graphic design could embody a lot of activities, and the definition is not fixed, but continually evolving. Because it is still a new profession, the best graphic designers are the ones who reinvent their field and surprise.” (Bil’ak) This evolution that M/M Paris talk about is directly influenced by ever changing technology. However the fundamentals that Shaughnessy claims make graphic design what it is are still the same, computers don’t replace talent and don’t replace the need for good typography. The continuous advancement of technology is a key component to the constant evolving practice of graphic design. Stephanie Orma, a cartoonist, illustrator, and writer based in San Francisco, believes that the “role of a graphic designer has dramatically shifted from designer to designer-as-maker, and in a relatively short timeframe”. We are seeing a new trend of businesses based around craft and creative blogs, to authoring and self-publishing books and magazines. There’s no denying that new technology and spreading social media have forever altered the designers practice. Whereas in the past, they would have relied on publishers or larger design studios to display their work, the Internet had given them a platform with which they can promote themselves quickly and cheaply, thus changing the landscape of graphic design. (Orma) With these technological advancements, graphic designers have been able to push the boundaries when creating, displaying and printing work. Neville Brody writes about the ever-changing roles of the designer, he indicates that “The subject is mostly identified through an emphasis on combining experimentation with critical and contextual thinking” encouraging his students to “explore and challenge the relationship of graphic design to the world it lives in, assessing its effect and influence.” This creates a shift away from formal thought and obsession and produces graphic design with less stylisation and more message, “a position reinforced and demanded by the provocations laid down by our current political and social landscape”. (RCA, 1) The influx in technology is creating a need for graphic design to have a social conscience. The role of design is no longer purely about selling goods. What Brody defines above isn’t a new concept; in 1964 Ken Garland wrote a manifesto titled ‘First Things First’ telling designers not to use their abilities to just sell products, but to work with a social conscience. He describes designers who have

Butler, Andy. ‘Tony Brook (Spin) Interview’. designboom. N.p., 2013. Web. 7 Jan. 2014. Stallabrass, Julian. Internet Art. London: Tate Pub., 2003. Print.

VISUAL SYNOPSIS / DISSERTATION

“flogged their skill and imagination to sell such things as cat food, stomach powders…slimming diets, fattening diets…cigarettes” he goes on to say that the skills of designers “are wasted on these trivial purposes” and that “there are other things more worth using our skills and experience on”. He concludes that designers should use their “greater awareness of the world” to work for “worthwhile purposes” very similar to Neville Brody and his idea of a designer who assesses their effect on the world. There are many positive views upon the development of graphic design and how it has changed with the influence of technology. However Tony Brook, the co-founder of British design studio Spin, which has received recognition for its work in print, television, digital design, poster design and typography. He explores the negative side of the advances in technology, with the development of online design resources and states, “the negative side is the proliferation of copycat designs” (Butler). However Brook goes on to say that “the positive side (of the new technology) is that young designers are much more aware and engaged the rich and wonderful history of design.” (Butler) The changing parameters within the field of graphic design enable graphic designers to have a broader mindset with regard to how they produce work. As Brook claims young designers are now able to see the vast history of design and interpret it for the modern age. The internet and the newly accessible history of design has created a new form of design, where a designer no longer feels restricted by the conventional design aesthetic. A new form of ‘critical’ design is formed which not only speaks out about the social and political landscape but also about graphic design as a practice. The display of graphic design. Graphic design has always been a process traditionally associated with the communication of a client’s idea through the design. Historically the designer worked to present someone else’s ideas. Posters, books and layout have always been associated with Graphic design but exhibiting design is rarely discussed. The advances and developments in technology have created a online platform for designers to show their work. “Net art challenge the concept of art making as a more or less solitary activity” (Stallabrass, 114). New platforms like Tumblr allow for art and design to be exhibited completely different to that of the conventional gallery setting. Because of the computer people can create graphic design with no formal training, just knowledge of the software. Shaughnessy states that “graphic design is no longer an invisible Masonic like craft. Everyone knows what it is, and anyone with a computer can practice

VISUAL SYNOPSIS / DISSERTATION

Shaughnessy, Adrian. How To Be A Graphic Designer, Without Losing Your Soul. New York: Princeton Architectural Press, 2005. Print. Blauvelt, Andrew, Ellen Lupton, and Rob Giampietro. Graphic Design. Minneapolis, MN: Walker Art Center, 2011. Print. Rock, Michael. Multiple Signatures. New York: Rizzoli, 2013. Print.

Design Authorship. Design authorship has caused an upheaval in recent design practice, emphasizing process, situation, and individual expression over a fixed, more traditional outcome. “The phrase “designer as author” has entertained debates about the future of graphic design since the 1990s” writes Ellen Lupton in an essay titled the Designer as Producer (13). Behind this phrase is the belief for designers to initiate content, to work in an individual way rather than simply reacting to problems placed before them by clients. The author is commonly defined as “the person who originated or gave existence to anything” and whose authorship determines responsibility for what was created. Design authorship has been a popular phrase in graphic design circles, especially those that rotate around the fringe of the core profession, for example designers in education, and the obscure territory that exists between design and art (Rock,46 ). In a section of the Forms of Inquiry book devoted to modes of production, Zak Kyes, designer and founder of Zak group and Mark Owens the curators of the exhibition the book is based around, ask, “what happens when the designer assumes the role of editor, publisher, and distributor outside the constraints of the client/designer relationship?” (Poynor) The topic of how designers can become authors is an interesting topic and in an essay by Michael Rock ‘the designer as author’ he states “who is the designer/author and what authored design

Poynor, Rick. ‘Observer: We Need More Galleries That Exhibit Graphic Design’. Print Magazine. N.p., 2010. Web. 3 Feb. 2015.

it” (Shaughnessy 98) with the skills made available by the computer, anyone can practice graphic design, and display work on a platform that allows it to been seen by thousands of people quickly and freely. This is the complete opposite of a traditional gallery, where the viewer has to be in the gallery to view the work. This has completely shifted the way in which design can be exhibited whereas before to be legitimised it would have to of been exhibited in the gallery. Now, no matter who they are, people are able to exhibit graphic design to a wider audience. To exhibit is to offer or expose to view, present for inspection or to manifest or display. It can be interesting to consider the role of the book/catalogue in conjunction with the exhibition and how it can be linked with exhibiting graphic design. An exhibition is mostly accompanied by a catalogue, can this been seen as graphic design being exhibited, not as the main attraction but an integral part of the exhibition. The catalogue is permanent; the exhibition is ephemeral. The exhibition is in the moment whereas the catalogue can be taken from the exhibition and becomes its own exhibition within the home.

VISUAL SYNOPSIS / DISSERTATION

looks like depends entirely on how you end up defining the term and criterion you chose to determine entrance into the pantheon” he also writes that “An examination of the designer-as-author could help us to rethink process, expand design methods and elaborate our historical frame to incorporate all forms of graphic discourse.” As previously stated, traditionally the purpose of graphic design was to express the ideas of a client. Now, when graphic designers are becoming the authors of their own content, does this mean that graphic design has evolved past being just ‘commercial art’ and moves closer towards the realms of fine art. Does this evolution mean design moves closer to art and therefore displaying graphic design in a gallery setting becomes more relevant? The graphic design studio Hort, based in Berlin, “embrace the unconventional and creating work in an atmosphere that is neither structured nor severe; which is the way Eike König likes it.” writes James Cartwright in an article for itsnicethat. Another is the studio Experimental Jetset, a small, independent, Amsterdam-based graphic design studio who focus on printed matter and site-specific installations. They describe their methodology as “turning language into objects”. Experimental Jetset have worked on projects for a wide variety of institutes. Their work has been featured in group exhibitions such as ‘Graphic Design: Now in Production’ which took place at the Walker Art Center in 2011 and ‘Ecstatic Alphabets / Heaps of Language’ at MoMA in 2012. These are two examples of design studios that are working outside the conventions of traditional graphic design and further pushing the practice of graphic design due to the authorship of their work. French philosopher and social theorist, Michel Foucault used the rhetorical question ‘What is an Author?’ as the title of an essay published in 1969, which outlines the basic attributes and functions of the author and the problems associated with conventional ideas of authorship and origination: “I think that, as our society changes, at the very moment when it is in the process of changing, the author function will disappear, and in such a manner that fiction and its polysemous texts will once again function according to another mode, but still with a system of constraint – one that will no longer be the author but will have to be determined or, perhaps, experienced ” (Foucault) In this current economic and social state we see many designers being the authors of their work. Unit editions, a publishing company who produce high quality books on graphic design and visual culture. They are designers who publish the work of designers to sell to other

VISUAL SYNOPSIS / DISSERTATION

Bil’ak, Peter. ‘Typotheque: Graphic Design In The White Cube By Peter Biľak’. Typotheque.com. N.p., 2006. Web. 2 Nov. 2014.

designers. Many designers today integrate self-initiated work into their daily practice, no longer distinguishing between projects done in and outside of their working hours. Self-initiated work in graphic design is becoming increasingly more important for designers starting up projects, which would probably never see the light of day. Writes Peter Bil’ak Graphic Design in the White Cube. (Bil’ak)

VISUAL SYNOPSIS / DISSERTATION

RESEARCH / DOCUMENTATION PROJECT

INTRODUCTION

RESEARCH / DOCUMENTATION

Flotsam and jetsam are terms that describe two types of marine debris associated with vessels. Flotsam is defined as debris in the water that was not deliberately thrown overboard, often as a result from a shipwreck or accident. Jetsam describes debris that was deliberately thrown overboard by a crew of the ship in distress, most often to lighten the shipâ&#x20AC;&#x2122;s load. The word flotsam derives from the French word floter, to float. Jetsam is the shortened word for jettison. For this project I collected found beach objects and documented it all within a book titled Flotsam and Jetsam.

RESEARCH / DOCUMENTATION

1036

RESEARCH / DOCUMENTATION

Flotsam

RESEARCH / DOCUMENTATION

Jetsam

MEANING: SHIP GOODS WHICH ARE LOST AT SEA. ALSO USED FIGURATIVELY IN NONNAUTICAL CONTEXTS TO MEANS ODDS AND ENDS, BITS AND PIECES. PROJECT THREE

O T S A M

J E

Flotsam Jetsam

RESEARCH / DOCUMENTATION

T S A M

DOCUMENTATION

RESEARCH / DOCUMENTATION

S A M

T S A M

RESEARCH / DOCUMENTATION

E T

T S

S A

A M

RESEARCH / DOCUMENTATION

THE PAINTER AND DECORATOR

INTRODUCTION

THE PAINTER AND DECORATOR

This project documents the life of Simon Alexander Newell. Showcasing his profession as a painter and decorator and his true Passion cycling. A house painter and decorator is a tradesman responsible for the painting and decorating of buildings, and is also known as a decorator or house painter. The purpose of painting is to improve the aesthetic of a building and to protect it from damage by water, rust, corrosion, insects and mould. During this project I photographed Simon Newell both at work and also at home training on his bike. A short interview runs throughout the book.

THE PAINTER AND DECORATOR

6161

THE PAINTER AND DECORATOR

MANIFESTO PROJECT

INTRODUCTION

MANIFESTO

I have chosen “I am an art” by Claes Oldenburg. I found his random nature of writing and the continuous flow of the piece to be interesting. For the second part of the project I gave myself the rules of ‘Think By doing’. I had never made a flag before and as soon as I read ‘I am for an art that flaps like a flag’ I realised that’s what I wanted to do. Ken Garland also told me that I should and so I did. The flag goes deeper than just being a visual aesthetic piece of work, the expression ‘blowing in the wind can mean elusive and fickle, which is my general consensus of ‘Manifestos’. My final piece is a video of my flag blowing in the wind.

I AM FORTHE ART HAT

MANIFESTO

I Am for an Art: Claes Oldenburg 1961 “Ode to Possibilities”

MANIFESTO

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MANIFESTO

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MANIFESTO

VISUALISING MUSIC

INTRODUCTION

VISUALISING MUSIC

This has been an investigation into the forms of communication used at present in 2014. Responding to “New York Social Life” by Laurie Anderson, a track which establishes the repetition and forced nature of conversation between artists, we used modern technology to establish our own social lives. By sending the same SMS text message ‘Hey, hi! How are you? What’s going on? How’s your work?’ to the entire contents of our phone books, we received responses which then generated the content for further conversation. For the final outcome we coded a website and we’ve made a video of this in use. WEBSITE - http://collaborationbrighton.tumblr.com

VISUALISING MUSIC

SHOW BRANDING

INTRODUCTION

SHOW BRANDING

This project showcases branding for my upcoming London show and also the graduation show in Brighton. Iâ&#x20AC;&#x2122;ve experimented with 3D scanning for more of an abstract, conceptual approach to portray the creativity and playfulness of the work created in Brighton University. CONCEPT: Our show is going to explore the idea of working together in the studio. NAME: We are going to focus on the use of Mad Libs for the show name. For example the sheets of paper around the studio that make up phrases from individuals selecting words. Take into consideration the length of the phrase, and also include any phrases that you feel might be suitable. Example - We ___ a ____ _____70_____ - We are a group of 70 students. Other show names and concepts may still be considered if you have a strong idea that is part of your proposal.

SHOW BRANDING

Our show is going to explore the idea of working together in our studio. On the 2nd of July 2015 We will effectively be taking our studio to Mil Co. Rose Lipman Building in London, setting up several different working environments, from personal desks

SHOW BRANDING

to group workshops. The studio will be the last time we are all working together in the same room. We want to adapt the space so that it reflects the studio atmosphere in 350. There will still be permanent work hung on the walls for visitors to see.

SHOW BRANDING

Our show is going to explore the idea of working together in the studio. On the 2nd of July 2015 We will effectively be taking our studio to Mil Co. Rose Lipman Building in London, setting up several different working environments, from personal desks to group workshops. The studio will be the last Graphic Design working together in the same room. We want to adapt the space so that it Illustration the atmosphere in 350. There will still be Permanent work hung on the walls for visitors to see. The studio will be the last time we are all Brighton together in the same room. We want to Graduate the space so Show it the studio.

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SHOW BRANDING

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UNTITLED UNTITLED

SHOW BRANDING

2015

July 2-5, 2015 Mil Co. Rose Lipmen Building. 43 De Beauvoir Rd Hag gerston N1 5SQ

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105

Untitled Graphic Design & Illustration / Brighton Graduate Show / London. 2 / 5 July 2015

SHOW BRANDING

UNTITLED

BRIGHTON

SHOW BRANDING

2015 JULY 2ND / 5TH

GRADUATE SHOW

106

SHOW BRANDING

BRIGHTON DEGREE SHOW

107

The University of Brighton College of Arts and Humanities Graduate Show 2015 6 - 14 June 3D Design and Materials Practice, Architecture, Fashion and Textiles, Fine Art, Graphic Design and Illustration, History of Art and Design, Interior Architecture and Urban Studies, Performance and Visual Art, Photography, Moving Image and Sound Free entry Opening times: Saturdays & Sundays 12 – 5pm Monday, Tuesday, Wednesday 10am – 6pm Thursday & Friday late opening 10am – 8pm. Some exhibition times may vary. arts.brighton.ac.uk/graduateshows graduateshows@brighton.ac.uk 01273 644099 University of Brighton, College of Arts and Humanities, 58 – 67 Grand Parade, Brighton BN2 0JY [Include the College of Arts and Humanities and University of Brighton logo (needs to be a minimum of 5cm in length on an A3 poster)] FULL LIST OF PUBLICITY MATERIALS A3 poster, A5 Flyers, e-tickets tickets, banners, web elements, image for press purposes, social media. Unit Aims, Assessment and Research information are located in the unit description. Graphic Design 2014

SHOW BRANDING

POSTER COPY:

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SHOW BRANDING

University of Brighton College of Arts and Humanities 58 - 67 Grand Parade Brighton BN2 0JY

College of Arts and Humanities Graduate Show 2015 6 - 14 June 3D Design and Materials Practice / Architecture / Fashion and Textiles / Fine Art / Graphic Design and Illustration / History of Art and Design / Interior Architecture and Urban Studies / Performance and Visual Art / Photography / Moving Image and Sound. Free entry Opening times: Saturdays & Sundays 12 – 5pm Monday, Tuesday, Wednesday 10am – 6pm Thursday & Friday late opening 10am – 8pm. Some exhibition times may vary. arts.brighton.ac.uk/graduateshows graduateshows@brighton.ac.uk 01273 644099

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The University of Brighton

University of Brighton College of Arts and Humanities 58 - 67 Grand Parade Brighton BN2 0JY

SHOW BRANDING

The University of Brighton

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EXAM PROJECT

INTRODUCTION

For my exam project I wanted to find something hidden from within the quote so I started looking into the definitions of the words. The definition of fake is not genuine; imitation or counterfeit. At the start I was looking at an object visible yet invisible as you know it’s never going to change or develop into something more, the forgotten object, due to its obvious nature. I investigated this notion and looked at the philosophy of an object but it didn’t seem to lead anywhere. My idea then changed when exploring “fake” objects. Words which relate to this are false, fictional, imaginary, unnecessary, nothing or non-existent and non sequitur, which literally means out of sequence. When considering this idea of a “fake” object I ended up looking at holograms. The idea of making a hologram seemed to perfectly link with the quote as it’s not a real object. Therefore I pushed this concept and created my own hologram of a poster. Throughout this project I began to realise that experimentation is a key component in all of my work; using a variety of mediums produces a range of outcomes. My work looks at entwining traditional methods of art and design, taking the established approach of communication; typography to print publications, and merging them with modern technological processes. I focus on these relationships between the digital and physical because the combination of the two creates diverse and abstract outcomes. The uncertainty throughout this process often creates something somewhat strange but distinctive.

EXAM PROJECT

“My fake plants died because I did not pretend to water them”—Mitch Hedberg

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MY FAKE P L A N T S MY FA K BECAUSE DIED B E PL ANTS DIED E NOT P CAUSE I DI I DID NOT RETEN D D TO WATER P R E T E N D THEM. TO WATER T H E M .

MATHEMATICAL OBJECTS mathematics and geometry describe abstract objects that sometimes correspond to familiar shapes, and sometimes do not. Circles, triangles, rectangles, and so forth describe twodimensional shapes that are often found in the real world. however, mathematical formulas do not describe individual physical circles, triangles, or rectangles. they describe ideal shapes that are objects of the mind. the incredible precision of mathematical expression permits a vast applicability of mental abstractions to real life situations. Many more mathematical formulas describe shapes that are unfamiliar, or do not necessarily correspond to objects in the real world. For example, the Klein bottle is a one-sided, sealed surface with no inside or outside (in other words, it is the OCM@@ ?DH@INDJI<G @LPDQ<G@IO JA OC@ )=DPN NOMDK /P>C J=E@>ON can be represented by twisting and cutting or taping pieces of paper together, as well as by computer simulations. To hold them in the imagination, abstractions such as extra or fewer dimensions are necessary.

LOGICAL SEQUENCES If-then arguments posit logical sequences that sometimes include objects of the mind. For example, a counterfactual argument proposes a hypothetical or subjunctive possibility which could or would be true, but might not be false. Conditional sequences involving subjunctives use intensional language, which is studied by modal logic, whereas classical logic studies the extensional language of necessary and sufficient conditions.

In general, a logical antecedent is a necessary condition, and a GJBD><G >JIN@LP@IO DN < NPAAD>D@IO >JI?DODJI JM OC@ >JIODIB@I>T in a logical conditional. But logical conditionals accounting JIGT AJM I@>@NNDOT <I? NPAAD>D@I>T ?J IJO <GR<TN M@d@>O @Q@MT ?<T if-then reasoning, and for this reason they are sometimes known as material conditionals. In contrast, indicative conditionals, sometimes known as non-material conditionals, attempt to describe if-then reasoning involving hypotheticals, fictions, or counterfactuals. truth tables for if-then statements identify four unique combinations of premises and conclusions: true premises and true conclusions; false premises and true conclusions; true premises and false conclusions; false premises and false conclusions. Strict conditionals assign a positive truth-value to every case except the case of a true premise and a false conclusion. This is sometimes regarded as counterintuitive, but makes more sense when false conditions are understood as objects of the mind.

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EXAM PROJECT

P FAKE

A AN OBJECT THAT DOES NOT EXIST

Everything is an object, whether or not it is thinkable (if an object happens to be unthinkable then it is something having at G@<NO OC@ KMJK@MOT JA =@DIB PIOCDIF<=G@ and whether or not it exists or has any other kind of being. Every object has the characteristics it has whether or not it has any kind of being; in short, the Sosein >C<M<>O@M JA @Q@MT J=E@>O DN DI?@K@I?@IO JA DON /@DI =@DIB MJPI? NLP<M@ AJM example, has a Sosein, since it is both round and square; but it is an impossible object, since it has a contradictory Sosein that precludes its Sein.

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MY FAKE PLANTS DIED BECAUSE I DID NOT PRETEND TO WATER THEM.

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A AN OBJECT THAT DOES NOT EXIST

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SELF INITIATED WAX POSTER

INTRODUCTION

WAX POSTER

Bee Fever, a series of poems my mother wrote five years ago, about the life cycle of bee’s and the connection she grew with them whilst being a bee keeper. The poems are beautiful metaphors for the struggles she went through and the relationship between life and death, responding to the poems with my own struggles and emotions, I have created the piece capturing my mother’s words and my own feelings. My mother used to put photographs and ornaments in the bee hive’s to let the bees cover in wax, creating new forms, and encasing the objects. Using this idea and method I have concealed the poem within a solid piece of wax to express and visually respond to my own emotions.

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“The hard working bees of summer, who never sleep, die at about six weeks old, of frayed wings”.

WAX POSTER

Winnie Beach Wading waist high through the waves I’m in with it in with the birds sky larking the rabbits in love. It is the hottest day of this sweet summer and I am the sun. In this ocean this spit of water a honey bee drowns. I watch her colours bleed to be my grandma’s embroidery for her boy Tom, a life lived on the wing. Honeybee screams “I am afraid!” I reach in lift her finished body to my lips and blow her away. I am alive I am alive I am still alive Written by Angie Biltcliffe

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“The hard working bees of summer, who never sleep, die at about six weeks old, of frayed wings”.

Wading waist high through the waves I’m in with it in with the birds sky larking the rabbits in love. It is the hottest day of this sweet summer and I am the sun. In this ocean this spit of water a honey bee drowns. I watch her colours bleed to be my grandma’s embroidery for her boy Tom, a life lived on the wing. Honeybee screams “I am afraid!” I reach in lift her finished body to my lips and blow her away.

WAX POSTER

Winnie Beach

I am alive I am alive I am still alive.

Written by Angie Biltcliffe

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“The hardworking bees of summer, who never sleep,

WAX POSTER

die at about six weeks old, of frayed wings”.

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Winnie Beach

I am alive I am alive I am still alive

Written by Angie Biltcliffe

Winnie Beach.

“The hardworking bees of summer, who never sleep, die at about six weeks old, of frayed wings”.

WADING WAIST HIGH THROUGH THE WAVES I’M IN WITH IT IN WITH THE BIRDS SKY LARKING THE RABBITS IN LOVE. IT IS THE HOTTEST DAY OF THIS SWEET SUMMER AND I AM THE SUN. IN THIS OCEAN THIS SPIT OF WATER A HONEY BEE DROWNS. I WATCH HER COLOURS BLEED TO BE MY GRANDMA’S EMBROIDERY FOR HER BOY TOM, A LIFE LIVED ON THE WING. HONEYBEE SCREAMS “I AM AFRAID!” I REACH IN LIFT HER FINISHED BODY TO MY LIPS AND BLOW HER AWAY.

WAX POSTER

BEE FEVER

I AM ALIVE I AM ALIVE I AM STILL ALIVE Written by Angie Biltcliffe

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WAX POSTER

BEE FEVER

“The hardworking bees of summer, who never sleep, die at about six weeks old, of frayed wings”.

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Winnie Beach.

I AM ALIVE I AM ALIVE I AM STILL ALIVE

Written by Angie Biltcliffe

Winnie Beach

“The hardworking bees of summer, who never sleep, die at about six weeks old, of frayed wings”.

I AM ALIVE I AM ALIVE I AM STILL ALIVE

WAX POSTER

BEE FEVER

Written by Angie Biltcliffe

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“The hardworking bees of summer, who never sleep, die at about six weeks old, of frayed wings”.

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WAX POSTER

I AM ALIVE I AM ALIVE I AM STILL ALIVE

Written by Angie Biltcliffe

I WATCH HER COLOURS BLEED TO BE MY GRANDMA’S EMBROIDERY FOR HER BOY TOM, A LIFE LIVED ON THE WING. HONEYBEE SCREAMS “I AM AFRAID!” I REACH IN LIFT HER FINISHED BODY TO MY LIPS AND BLOW HER AWAY.

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PHOTOGRAPHY

INTRODUCTION

WAX POSTER

A selection of some of my favourite photographs I have taken over the last year. I predominately use film as I believe it gives the photograph a lot more depth and depending on what film I use the colour is usually far more vibrant. Throughout my photographs I try to explore the natural compositions and anything that seems slightly out of place or interesting.

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MINOLTA DYNAX 5 35MM SLR CAMERA - BEAT AROUND THE BUSH

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MINOLTA DYNAX 5 35MM SLR CAMERA - UNTITLED

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MINOLTA DYNAX 5 35MM SLR CAMERA - PARKHAUS

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MINOLTA DYNAX 5 35MM SLR CAMERA - THE PROMISE OF MORE...

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MINOLTA DYNAX 5 35MM SLR CAMERA - THAT WAY

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MINOLTA DYNAX 5 35MM SLR CAMERA - SUPER B

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MINOLTA DYNAX 5 35MM SLR CAMERA - UNTITLED

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MINOLTA DYNAX 5 35MM SLR CAMERA - HITTING THE WOODWORK

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MINOLTA DYNAX 5 35MM SLR CAMERA - UNTITLED

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MINOLTA DYNAX 5 35MM SLR CAMERA - UNTITLED

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ZENIT TTL 35MM SLR FILM CAMERA - OVER THE TOP

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ZENIT TTL 35MM SLR FILM CAMERA - PORTRAIT OF SIMON NEWELL

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FURTHER READING ON ITS NICE THAT. WWW.ITSNICETHAT. COM/ARTICLES/ DILLON-BILTCLIFFE-NEWELL

2015