School of the Arts Degree Catalogue 2018 by Loughborough University

future creatives

arts degree show 2018

Welcome from the Dean Alison Yarrington FSA, FRSE, FRSA Professor of Art History Dean of the School of the Arts, English and Drama

rt and Design at Loughborough has been recognised nationally and globally, placing in the UK top five (Complete University Guide 2016-19) and in the world top 40 for the past four years (QS World Rankings 2015-18). The work on display evidences the excellence on which these rankings are based. Our graduates have a strong tradition of building careers in a range of occupations around their creative practice. Challenging convention and understanding the benefits of taking risks, many of these enterprising new artists and designers will go on from here to contribute to the UK’s leading role in the creative industries globally. The work which you will encounter in the Arts Degree Show 2018 is imaginative, adventurous and thought-provoking, bringing the individual and unique talents of our final-year students into an inspiring collective event. Here you will find paintings and illustrations, textile design, fashion garments, sculpture, photographs, installations, short films and animations, portfolios of graphic design work and video game demos. This diverse and rich display is the outcome of their application, talents and skills which have developed in an open and supportive studio- and practicebased environment, underpinned by rigorous theoretical and critical debate. The Arts Degree Show 2018 is created by our students, working with members of staff, to showcase their works in the ways that they have judged exemplify their achievements and potential. I am sure you will join me in congratulating them and wishing them every success in the future.

P000

Fine Ar t

P005

P000

Graphic Communication and Illustration

P071

P000

Te x t i l e s : Innovation and Design

P153

P000

Foundation: Art and Design

P215

P000

Index

P224

P000

Acknowledgements

P228

004

Foreword

Dr Deborah Harty Programme Director for Fine Art

School of the Arts, English and Drama

e are delighted to introduce you to the innovative and diverse contemporary art practices of the students graduating in 2018 from the Fine Art programme. As the work in the catalogue demonstrates, Fine Art at Loughborough University celebrates the individuality of the students and encourages the development of independent practice. The programme achieves this through an ethos of thinking through making, where we encourage experimentation with traditional skills as well as cutting-edge digital technology. The core philosophy of the programme is research-led teaching by a dedicated team of staff whose skill-base comprehensively addresses the wide sphere of contemporary fine art practice, art history and visual culture. They are supported by expert technical tutors and university teachers in the School’s six creative hubs.

The Degree Show is the conclusion of this activity and reflects a broad range of endeavour that is unique to each student’s development. This is the platform for their future careers, whether it is within a bespoke studio practice or in the creative industries. What the Degree Show introduces to the myriad of people that visit the exhibition are students who are independent thinkers armed with skills that are relevant to their individual ambitions and career. We would like to take this opportunity to congratulate our graduates on the excellence they have achieved during their time of study with us. It has been an absolute pleasure working with you and we wish you all the very best for your future endeavours.

Fine Art future creati ves

005

MIXED MEDIA PRINT-MAKING

Emily Arnold

e.arnoldfineart@outlook.com facebook.com/emilyarnoldart earnoldfineart.wordpress.com Awards and achievements: Open Exhibition’, NN Contemporary, Northampton, 2018 A ‘Changing Industry: Connecting Art and Engineering’ MTC, Coventry, 2018 ‘Winter Open Exhibition’, Sock Gallery, Loughborough, 2017 Published in ‘The Yellow Book’ by rethinkyourmind, 2017 ‘Perpetual Flux Exhibition’ MTC, Coventry, 2017 ‘Shakespeare Explored’, Loughborough University, 2016 ‘Foundation Degree Show’ Loughborough University, 2015 Fine Art Degree Show Fundraising Committee, 2018 Media and Stash Rep, 2017-18 Treasurer for LSU Harry Potter and Quidditch Society, 2016-17 Fine Art Part A & B Student Representative, 2015-17

Placements and work experience: Worked for LU Arts, 2017-18 Volunteer at Gleanings for the Hungry, California, summers 2014-17 Sales Assistant at Next, 2017 Organised Shakespeare Explored, Loughborough University, 2016

he work explores the concept of memory, particularly its fragility and distortion over time. It also links to ruins, which intrigue people by juxtaposing beauty within decay. Recent digital advances have changed the way we preserve and recollect memories, relying not on our own minds but instead using technology to record our experiences. By using the analogue cyanotype process, I embrace unpredictability and physically involve myself in the work, adding another fragment of memory. The process is an act of preservation, similar to Sophie Calle, bringing attention to ‘an archive of human experience’ (Sheringham, 2006, p.423). The ephemerality and transience of memory is evoked by the blurred imagery of quotidian objects. As Doris Salcedo exemplifies, inanimate objects are the most tangible evidence of human past (Kubler, 1962), hence, I chose to use them as catalysts to connect with the audience.

006

future creati ves

ith a critical eye on 21st-century British politics and society, my work aims to communicate corrupt government legislation that continues to be hidden from the general public. Inspired by the techniques of satire and protest, I withdraw the mediums of oil paint and canvas from their traditional canon of conforming with bourgeois aesthetics towards a state of narrative purpose of contemporary social realism. Focusing on prominent figures within the digital press and broadcasting, I caricature them in an effort to demonstrate to the viewer the concealed and subversive motive behind every facial expression. Combined with the confrontation of the issues surrounding the rise in child poverty and a fast-growing support for fascist political organisations within Brexit Britain, the artwork invites the viewer to develop a heightened awareness that contradicts the current state of unprecedented uncertainty for the future.

OIL PAINTING WITH MULTI-MEDIA

Emily Baker

emilyb.artist@gmail.com @emilyb.artist emilybartist.com Awards and achievements:

Co-curated and exhibited in the Perpetual Flux exhibition, Manufacturing Technology Centre, Coventry Presented a commissioned painting for Triumph Motorcycles at Triumph Design Awards 2017 Vice-Chair of the School of the Arts Committee, 2015-16

Placements and work experience: Resident Artist at the Manufacturing Technology Center, Coventry, 2016-17 Artist Volunteer for Imagineering Productions Ltd, 2016-17

Brexit inspired oil painting

future creati ves

007

DRAWING

Steph Bezzano

stephbezzano@hotmail.co.uk @stephbezzano stephbezzano.com Awards and achievements: Exhibited in ‘A Changing Industry: Connecting Art and Engineering’ MTC, Coventry, 2018 Exhibited in ‘Perpetual Flux’ MTC, Coventry, 2017 Loughborough University Scholar, 2016 Loughborough University Development Trust Prize winner, 2016

Drawing in space

itting within the expanded field of drawing, my work explores the interrelationship between paper and line – a practice defined by this duality.

Traditionally viewed as the overlooked backdrop against the marks contained within its boundaries, paper’s passive nature is undermined as line manifests from within the paper it is drawn upon, interchanging the relationship between line and ground and subverting the conventional relationship between the picture plane, frame and the drawn line. Paper establishes itself in space destroying the flat pictorial boundary, with lines materialising and enveloping the space, shifting the dynamic between the drawing and the viewer. Working with handmade paper ensures material experience is prioritised and lines embodied in its creation become a secondary layer of drawn lines. Repetitive marks on the surface bring line back onto the paper, re-establishing this relationship and evidencing traces of their creation and my thinking in their subtle discrepancies upon the surface.

008

future creati ves

DIGITAL ILLUSTRATION

Matt Booth

mattbooth13@hotmail.co.uk @theartofbooth (Instagram) matt-booth13.wixsite.com/theartofbooth

ithin my work I look at society, the media, politics and elements of satire. A large part of my work is dissecting the level of control the media has over the information we receive but also the role that time plays; each day, 100s of news stories appear and then are either forgotten or lost. I explore this through humour to draw the audience in and highlight different aspects of the narrative. But I also use humour as the media is already used as an outlet for the government to inspire fear and uncertainty and I want to bring to light the issues our society has. I select a number of stories each week to create illustrations from: I do this because I want to amuse yet enlighten, but more importantly, within days or weeks they lose all relevance or meaning, hence the lack of dates.

future creati ves

009

PRINT, CERAMICS

Carys Burrows

carysburrows96@gmail.com @carysburrowsart

Snowdonia Landscapes

y work is predominantly based on environmental landscape art through the medium of clay. The work is intended to be sustainable and based on the area of Snowdonia, North Wales. Varying between print and ceramics, but containing a constant theme, my work is primarily influenced by my experiences of this landscape and how we interact with it. This extends to looking at what we bring into natural environments as opposed to what we take out of them.

010

future creati ves

2D MIXED MEDIA

Hannah Burrows

hannah.burrows@hotmail.co.uk Placements and work experience: Experienced Counsellor in Art and Design, Point O’Pines Camp for Girls, New York

y work has, is and will always be an organised chaos of colour. Since exploring colour theories back in my foundation year, I went on to explore the ideology of colour and the impact it has on a personality.

Mixed Media Outcomes – Digital Drawing, Spray Paint and Collage

There are many things that have influenced my practice in the past four years, the first one being my absolute adoration for 80s style pattern and fashion design. The 80s designs have made a huge comeback not only on social media and through vintage revamped sources but also on the high-end catwalk. My work explores the patterns, colours and shapes first shown within 80s design and uses these elements to create outcomes that are impactful, bold and adventurous, using a variety of multi-mediums. My colour palettes have consistently focused on the primary colours and surrounding shades/tints and their impacts on an audience and environment.

future creati ves

011

ABSTRACT EXPRESSIONISM, ENVIRONMENTAL

Philippa Burton

philippaburton14@gmail.com @pjb_art (Instagram)

BREATH

very living organism respires, from the microscopic to the collective global ecosystem. By exploring the subject of breath, I mean to display the essential symbiotic relationship between man and nature. The core of this is the carbon cycle in which the respiration of earth’s plants, in combination with our oceans, currently intake approximately 55% of co₂ from the air we breathe. However, this peaceful constant of man and nature’s collective breath is being upset. Human-produced emissions are pushing the concentration of co₂ in the air to irreparable levels, threatening the balance of the planet’s breathing cycle and life on earth. Using the inhale, exhale rhythm of breath to dictate the movement of monochromatic materials, I aim to reflect the sublime exchange, transfer and synergy of oxygen and carbon dioxide that keeps our environment habitable.

012

future creati ves

DRAWING, PAINTING

Jamie Christmas

jamiechristmasart@outlook.com jamiechristmas.wordpress.com @jamiechristmas

t the centre of my practice is an interest in the landscape and the way in which we experience it. These drawings consider our relationship with places after we have left them, exploring the way we remember the landscape. My work depicts the form these images take in our minds. For most people, memories of places are not perfect snapshot images; our memories may only be faded, blurred images that lack detail. This is explored through the erasure of charcoal, and the folding and obscuring of paper. By referencing old black and white photographs my work has a nostalgic, reminiscent quality to it.

Drawings in charcoal, exploring our memories of the landscape

By depicting nondescript, generic but typically English landscapes, I intend to make people challenge their memories of the landscapes, and ultimately pose the question: ‘Have I been there before?’ future creati ves

013

ILLUSTRATION, PAINTING

Jodie Cowler

jodiecowler@hotmail.co.uk @jodiecowler_art jodiecowler.com

014

future creati ves

e have an inherent knowledge that everything in life will eventually decay but still turn to higher powers to seek saviour and happiness throughout our lives. In my space you will find a deserted room of worship, a shadow of an unreal faith where raptors once ruled. Illustrated are secluded landscapes, stripped of contemporary and commercial influences and desires, taken back to a pure and desolate form. They house characters held static in time, with little to do apart from converse with each other; they have turned to religion for guidance and have shaped their own faith. Raptors become priests and the skeletal form is left vulnerable and innocent. Through the use of both traditional and new media, it becomes a personal exploration for the viewer of their own private beliefs and asks them to question what they hold dear.

The Distorted Domestic

MULTI-MEDIA

Louisa Daniel

louisadaniel108@hotmail.com louisadaniel108.wixsite.com/artwebsite

We interact with the domestic every day.

he home is the familiar, we overlook the functional element and focus on the use – we know but we do not see. My work alludes to the notion of a distorted domestic and the division between the domestic and the theatrical, function and pleasure and private and public. The plunge through the fourth wall and into the set of the warped reality leaves the viewer playing a role in the space. The sculptures invite you to see ‘behind the scenes’. The large scale gives a sense of presence and physicality and the paintings are windows into the juxtaposed every day.

Materials partly sponsored by:

future creati ves

015

PORTRAIT PAINTING

George Davis

georgedavis36@hotmail.co.nz

y work explores male aggression and intimidation through the use of intense looking portraits. I have tried various styles of painting but I have found a smooth realistic method to be most effective. What makes my work so intimidating for the viewer to look at is my use of composition and the subject’s facial expressions.

016

future creati ves

y practice is stimulated by my own experiences. As someone who used to enjoy writing in a diary, I found that this became a habit of negative documentation and rumination of upsetting emotions. My work highlights my journey over the years of anxiety towards travel and negative thoughts in day-to-day life. I have been capturing my own experiences through collective items and written pieces where I have observed the world around me; stepping away from the emotional stress. Being fully aware of the concept of intention, I am inviting the audience into my own experiences, with the intention of them having their own journey in their minds in response to my work.

MULTI-MEDIA

Emma Finlayson

emma.finlayson71@hotmail.co.uk

future creati ves

017

MULTI-MEDIA

Thomas Fletcher fletchert31@gmail.com @t.fletcherart

y work is based on experiences of my own as a student and an artist. My work combines elements of satire and surrealism to represent some of my own common concerns and anxieties. In my most recent work I have been investigating psychology further and my work has now become more subjective, and more about representing inner emotions and experiences rather than striving for realistic continuity and correctness.

018

future creati ves

y practice focuses on humanity’s impact on the environment and its eco-systems and inhabitants. These global environmental issues, such as deforestation, mass agriculture and air/water pollution, are explored and highlighted through the adaptation of popular travel poster and postcard designs from the 1930s/40s. Instead of idealising the locations within each piece, my work pays an unfortunate homage to the destruction of Earth, portraying the reality of its distressing current state.

DIGITAL ILLUSTRATION

Bethany Fulks

bethanyjlf@gmail.com @bethanyjlf bethanyfulks.myportfolio.com Placements and work experience: Freelance illustrator and photographer

Whilst some of my illustrative pieces portray clear depictions of environmentalist issues, others require further inspection past the initial romanticised appearance to identify the hidden dangers lurking amongst the otherwise appealing aesthetics.

future creati ves

019

M PRINTED TEXTILES PAPERCUT ARTIST

Becky Guy

beckyymayart@gmail.com @beckyymayart beckyymayart.wixsite.com/pocketmypapercut Placements and work experience: Owner of Pocket My Papercut, commission work Teaching assistant at Kings Norton Girl’s School

020

future creati ves

y work explores the relationship between natural forms and man-made structures, delving specifically into how humans subconsciously rely on nature to live their everyday life. I have depicted various patterns influenced by nature to create enticing kaleidoscopic paper structures providing a form of visual escapism for the viewer. All of my works are cut by hand; whilst time intensive, the technique is of high importance as it represents the associated time-based process in nature: growth, decay and re-growth – cutting out parts to re-imagine a new man-made piece based on the Fibonacci sequence. The materiality of paper in itself encompasses the things we witness in nature every day – its strength and its delicacy – polar opposites which make it so mesmerising. Using a material, derived from nature, and cutting it in order to transform it into a visual form representative of its origins.

Nature’s Kaleidoscope

MULTI-MEDIA TEXTILES

Maria Halatsis

future creati ves

021

Film Installation

PRINTED FILM INSTALLATION TEXTILES

Lucy Hall

lucyelizabethhall95@gmail.com

his installation is a hybrid of film and ceramic elements that explore the involuntary emotion of disgust. The piece confronts spectators about human behaviour within domestic environments and how objects we instinctively repel can disrupt these familiarities. The black and white film projection displays confronting shots of a mouth orifice interacting with an array of items. The looped footage is projected onto the surface of a dining table; amongst the silverware, white ceramic plates act as screens that provide fragments of sharp, clear projection for the spectator. Porcelain Arum Lilies have been sculpted to integrate rat torsos with the intention of the viewer experiencing juxtaposing emotions. Spectators are encouraged to sit alongside the table, allowing themselves to be confronted by the discomforting and perplexing unfamiliarity they experience in this domestic setting.

022

future creati ves

n the past year, my artwork has developed from being a retrospective on my past mental health issues to a very real documentation of how I have coped with a recent relapse. It became an automatic process of finding ways to press my body into the paint and focus on the fluidity and emotions of my own form; essentially, the application of paint became secondary to the motions of the body, leading my work to develop a more performative narrative, while the outcome shows the range of marks and textures that are left in the wake of my own thoughts. The effect my work has on the audience is important to me as I want people to understand how trapping and uncomfortable mental health can make you feel, hence the narrow walkway which directs the viewer through the space and controls how you are able to interact with the paintings.

MIXEDMULTI-MEDIA MEDIA, MARKTEXTILES MAKING

Amelia Kate Hand

ahand530@outlook.com @ahandart

Awards and achievements: Photography for an author’s page, February 2018 Exhibited in the Shakespeare Explored Exhibition, March 2016 Exhibited in Foundation Art and Design Exhibition, June 2015

Placements and work experience: Association of Art Historians Conference, 2017 Stage Make-Up for LSU Disney Society, 2017 Shakespeare Explored Exhibition, 2016

future creati ves

023

PRINTED TEXTILES ABSTRACT, SENSORY VISUAL ART

Amy Haynes

haynesa96@gmail.com

‘

andscape’ is perhaps the most fitting term for my artwork.

However, instead of recreating a specific view, my practice takes the sensory experience of being in landscape as its subject. To achieve this, rather than communicate specific natural features, my work uses materiality, scale, colour and 3D form to make the viewer’s sensory/physical experience overt in their perception of the piece. This heightened awareness of sensory information is akin to how we interact with nature and gives space to promote an experience parallel to my interactions with landscape. I have become increasingly interested in the amalgamation of sensory and conceptual relations a viewer has with an artwork. This is sometimes presented in my work through the use of text, specifically titles. Contrasting the material work’s explicit physicality and exaggerating the meeting of concept and form highlights the mixing of these two supposedly disparate elements in the process of perception.

024

future creati ves

Is Fashion Art?

ithin Fine Art criticism, fashion is widely dismissed as superficial due to its commercial imperatives, and is subsequently not held in the same regard or commonly explored as a medium of Fine Art. However, my practice considers that when created for conceptual and profound aesthetic contemplation, fashion supersedes artificiality by employing the same artistic ambition and intention as traditional methods. The appropriation and restructuring of three widely recognisable contemporary artworks by Emin, Saville and Hirst into high fashion garments aims to perform the original artwork’s concept just as effectively. This physically challenges the critical preconceptions of fashion by positioning fashion as a conceptually communicative and therefore equally legitimate Fine Art medium. The fashion garments are captured by photography that acts as a framing device, enabling critical distance within which to directly question: is fashion art, what is art itself, and who is its judge?

MULTI-MEDIA FASHION CREATIVE TEXTILES

Alisia Heslop

alisiaheslop@hotmail.co.uk aheslopart.wixsite.com/fashion

Visualisations of Fashion Garments

future creati ves

025

PRINTED OIL PAINTING TEXTILES

Rowena Hewitt

rowena_hewitt@hotmail.co.uk @rowenahewittart

nfinished work obscures the mind, questioning aspects of incompletion. I have become captivated by the idea of purposefully unfinished work creating artwork to a point where it can still be deemed as art, yet not overworked to the point of completion. Incorporating bright, complementary colours mixed with glimpses of detail, showcases my abstract depiction of skyscapes and landscapes. Capturing the thought process and movement through initial line markings, reveals the journey of the painting. These preliminary sketches further enhance the non finito, un-finished, aspect of the work; forcing the viewer to think beyond what they can see.

026

future creati ves

Oil and acrylic paint on canvas

MULTI-MEDIA TEXTILES FINE ART

Chaz Howkins

chazhowkins@hotmail.com @chazchazchazzz facebook.com/chazhowkinsart chazhowkins.co.uk Awards and achievements: Awarded the 2016 Art Pass Student Exhibition, meaning I created a solo exhibition of my work entitled Does it Matter? The exhibition was taken to Leicester and Trade Sexual Health’s office space

Placements and work experience:

Don’t Linger in Bathrooms

urder, assault, harassment, interrogation. Spaces of anxiety. Political spaces which are meant to be private. As someone who doesn’t look like the typical expectations of masculine or feminine – I don’t linger in public bathrooms. This interactive installation showcases the experiences of queer people navigating gendered spaces. The intention of this is to make a non-queer audience reconsider how they interact with members of the queer community within these spaces. By critiquing the rigidity of segregating the use of public spaces by gender, the work focuses on the difference between gender identity and gender expression as well as the difference between gender and sex.

Solo exhibitions: Poor Network Connection The Good Shepherd, Perth, May 2017 Does It Matter? Trade Sexual Health HQ, Leicester, July 2016 Does It Matter? Radar Arts Project Space, Loughborough University, April 2016 Selected group exhibitions: A Changing Industry: Connecting Art and Engineering, Manufacturing Technology Centre, Coventry, February 2018 Queer Art(ists) Now, Archive Gallery, London, October 2017 Talking Genders, And What? Queer Arts Festival Archive Gallery, London, October 2017 Cabin Fever, Tangent Gallery, Curtin School of Design and Art, WA, May 2017 The Travelling Sketchbook Exhibition, tour of libraries in Western Australia, March 2017 - March 2018 Transtastic Connections, Perth WA, November 2016 South Perth’s Emerging Artists Award, City of South Perth Community Hall, WA, October 2016 International Postcard Exhibition, Surface Gallery, Nottingham, January 2016, 2017, 2018

future creati ves

027

PRINTED TEXTILES MULTI-MEDIA

Danielle James

d.f.james9596@gmail.com @dazzmyart

y approach to art is conceptual: I like to challenge not only my aesthetic skills but also my thinking. My work has recently become more specific and specialised towards feminism and I have used my practice to explore views on gender, trying to identify where I stand as a feminist. Issues around sexuality and the female body have been my key focus. By creating alternative images of the female body, I hope to represent female sexuality without the exploitative traditions of classical female nudes. We live in a highly sexualised culture as it is and the development of social media has landed us in a digital world inundated with easy hook-up dating apps, sexts and sending nudes. This is magnified at university, with its infamous culture of bingedrinking and one-night stands. I have used my practice to try and see what this means for feminism, in art and life.

028

future creati ves

MULTI-MEDIA SCULPTURE TEXTILES

Tomas Johnston

tomasjohnston2@gmail.com @tomojsculpture etsy.com/uk/shop/ceramictomstudio tomasjohnstonsculpture.com

y large sculptures aim to mimic and exaggerate natural movement and forms. The use of natural materials such as clay, soil, plants, stones and water create a condensed natural landscape; bringing the exterior into the interior. By keeping some of the sculptures wet it brings the forms and its surface to life, making the sculptures susceptible to change from the environment in which it is exhibited. Water and plants assist in creating an environment which is constantly changing and growing. My intimate relationship with clay is shown through having clay exhibited in multiple states; fired, raw and wet. I use primitive and traditional methods of construction, primarily coiling, which allows me to achieve structures with complex shapes and dramatic movements. I am interested in how the viewer interacts with sculptures and floor-based works, and have aimed to subtly encourage the viewers’ movements so that they experience the work instead of just viewing it.

Ceramic Sculpture Materials partly sponsored by:

future creati ves

029

PRINTED TEXTILES PHOTOGRAPHY, PAINTING

Eleanor Leason

e.leason8@gmail.com

hen asked to picture a market scenario, most people imagine outdoor stalls bustling with customers and bartering workers. Sadly this is no longer the case, with the introduction of supermarkets in the late forties prompting the loss of customers and the decline of wholesale markets across the country. To address this sad truth, my work focuses on the remaining workers of the Wolverhampton Wholesale Market who are still fighting to keep the trade alive. My project space aims to transport my viewers, through replicating an authentic market pitch that exposes these common misconceptions and reveals the dedication of the workers.

Images of the workers at the Wolverhampton Wholesale Market

030

future creati ves

I want to con you. I want to mock you. I want to steal both your reaction and your time.

he main focus behind my practice is to deal with the idea of something so elusive it could almost be considered profound. In reality however, it is the menial nothing – nothing but nonsense. The physical response to this mostly takes the form of text; usually poetry or through bold, often sweary statements. My aim is to engage the viewer through interactive pieces intended to either annoy and amuse, or baffle entirely as they attempt to decipher and unravel a truer reasoning. A beautiful time waste.

MULTI-MEDIA MULTI-MEDIA, TEXTILES TEXT

Molly Leavesley

molly.leavesley@yahoo.co.uk @mollyleavesleyart Awards and achievements: Exhibited and sold work at A Changing Industry exhibition, MTC, 2018 Wrote and illustrated children’s book: ‘I think I’m going to like it here’

Placements and work experience: Teaching Assistant in Art and Design, Bishop Milner Catholic School Art mentor for Fine Art, Bishop Milner Catholic College

‘Moongirl’ (100x300cm, ink on paper)

‘Open for a surprise xoxo’ (55x40cm, wood & ink sculpture)

Inside of ‘Open for surprise xoxo’

future creati ves

031

PRINTED TEXTILES MULTI-MEDIA

Kitty Lintin

cal-101@hotmail.co.uk kittylintin.wordpress.com @kitlintin Placements and work experience: Lorton Entertainment Paid Internship, September 2017 Bart Hess Future Bodies Summer School, August 2017

A series of images depicting encounters in physical space that concern the body, materiality and the digital condition

y practice is process-driven and founded on a range of experimental methodologies that explore encounters in physical space concerning the body, materiality and the digital condition. My interdisciplinary approach unites sculpture, photography and installation, fusing the natural and organic with the synthetic and artificial. The outcomes produced are dictated by the active synergy between body and material, revealing the intangible hybridity of the human body. My practice uses material manipulation to address themes of connectivity, fragmentation and human interaction with space, both virtual and real. Taking inspiration from my contemporary technological surroundings, I question how society has evolved into co-existence with the digital, losing touch with its biological origins. My installations act as physical and physiological tests, where awareness is brought to the participant’s own animate body as they enter the environment and engage with the sensory stimuli. The installations require the attentive presence of a participant, contrasting with their counterfeit technological existence.

032

future creati ves

The Modern Trinity

PAINTING, MULTI-MEDIA PORTRAITURE, TEXTILES GRAPHIC DESIGN

Laura Lowman

lauralowman31@googlemail.com @lauralowmanart linkedin.com/in/laura-lowman Awards and achievements: Foundation Diploma in Art and Design, Merit, UCA Furnham, 2014-15

Placements and work experience: Creative Artworker, Eat the Peach Promotions, January 2016 - present Artist/Designer, Lioness Management, March - April 2018 Freelance Designer, Revelry Band UK, January - March 2018 Studio Assistant, Creations Pottery, March - October 2016 Freelance Artist (Painter), Independent Client, September - October 2015 Studio Assistant, Soho Print Store, July 2015

his series encapsulates the beauty behind the untold anxieties of the modern millennial woman. Abject elements of ourselves which are seen to defy the conventions of traditional femininity are instead celebrated and nurtured, encouraging us to question whether true beauty is found within facades on social media, or whether it, in fact, remains in the eye of the beholder. Romanticising one’s perception of these portraits through the use of warm, surreal colours allows for a dream-like aesthetic whilst paying homage to the concept of a rose-tinted lens perspective. This opposes the somewhat dark subject matter which resonates beneath the aesthetics: concerning women’s anxieties and self-doubt which is prompted by the looming presence of social media. The subjects appear vulnerable and exposed, and yet the boldness of scale, media, execution and colour defies this weakness – stressing that it’s not only normal to feel inadequate, but that there is strength in vulnerability.

future creati ves

033

The Contours of Venus

PRINTED TEXTILES SCULPTURE

Lucy Mackintosh

lucy-mackintosh@hotmail.com @lucy.f.j.art Placements and work experience: Worton Hall Studios, 2017 Lou Blackshaw, 2016 Assembly, Edinburgh Festival Fringe, 2014-15 Knightsbridge School, 2014

y artwork explores the image and objectification of the female form through abstract figurative sculpture. The sculptures resemble Venus figures referencing topics of worship, feminist artwork and the importance of materiality. My style synthesises old and new approaches and concepts of representing women in sculpture. My ‘Bodies’ reflect the theory that parts represent the whole, and can therefore be considered complete. Disregarding other body parts, the figure communicates concepts without distractions. My methodology involves natural materials to mirror organic, human bodies. They leave room for chance and imperfection, which reflects humanity. Malleable clay and straw mix is slapped-on, then smoothed out, keeping the hand’s impact. My process explores natural patterns that arise through outlining the bodies’ contours; in-turn, enhancing the figures. Patterns are applied in a terracotta slip, keeping the ceramic earthy and unvarnished when fired. Audience interaction is vital to appreciate the ritual aspects involved.

034

future creati ves

PHOTOGRAPHY, INSTALLATION, MULTI-MEDIA VIDEO, TEXTILES AUDIO

Kate McLaven

katemclaven@gmail.com

Awards and achievements: Co-organiser of Loughborough University’s first Women’s March, March 2018 Panel guest for Loughborough Women’s Network ‘100 years on’, March 2016 Welfare Rep for Faulkner Eggington Hall, 2015-16

Placements and work experience: Columns (creative agency), London Assistant for Freelance Florist and Garden Designer, Care Comber, London Assistant for Association of Art Historians Conference, Loughborough

y practice accumulates my own experiences and catechism with religion in the modern world. Having been brought up to be Coptic Christian, I’ve always contemplated the role of religion in my own life as well as in current affairs and in conjunction with identity. Using mediums of photography, video, audio and installation, I aim to demonstrate my ideologies of irony, guilt and detriment in relation to religion. By juxtaposing the ancestry and tradition of Christianity with contemporary mediums and philosophies, I aspire to shine light on the complications of religion in the world in which we live. With inspiration from ancient texts, classical compositions and ideologies in stark contrast to the works of Bettina Rheims, Bill Viola and Mona Hatoum, my practice is innovative, conceptual and thought-provoking. My feminist agenda and use of art activism also plays its own part through my practice, examining the role of women in society as well as in religion.

future creati ves

035

PRINTED OIL PAINTING TEXTILES

Antonia Miller

antoniamiller96@outlook.com

n the UK, 1 in 4 people experience mental health problems each year. Through various mediums, I have created a self-confessional body of work investigating mental illness, based around the experiences of myself and a friend. I aim to put together a thought provoking exhibition, capturing real feelings and experiences related to these issues, whilst referencing methods of coping including substance abuse and addiction. However, the main message of my work is a positive one. I want to emphasise the importance of human connection in a society where the topic of mental illness is still largely misunderstood. By showing a friendship that has grown stronger through both of our struggles and mistakes, I want to encourage others that they’re not alone, that it’s better to talk, and that mental illness is normal. Pictured are four paintings, oil on board and canvas, as well as a still from a piece of video work

036

future creati ves

Diaries

MULTI-MEDIA MULTI-MEDIA TEXTILES

Annie Moore

anniebmoore@btinternet.com @anniebeatrixdiary

ith this work, I aim to communicate how and what I think and feel in great detail – arguably to the point of intrusion. I hope that by doing this, my audience might find something which we share and that this might help them and me to feel less alone. A daily diary focused on immediacy and a weekly diary focused on reflection to form a contrast; introducing themes of time and memory. A collection of annotated receipts provide objectivity: the unedited information documents my spending habits and daily life. The receipts have developed into the most accurate diary and record of the three. Collectively, these diaries have become my autobiography, narrating this period of intense emotion and personal development.

future creati ves

037

PRINTED TEXTILES DRAWING, SCULPTURE

Becky Nicholson

rebeccanicholson_2@hotmail.co.uk @rebeccajanenicholsonart

y artwork currently consists of objects and mechanisms that aid movement. Prior to this project I was always attracted to abstract expressionism and found great satisfaction in creating subjective pieces which used mark making techniques to create a sense of dynamicity. I enjoy the concept of process and compared this to the government’s development scheme regarding affordable housing. This is where sculpture really took over. I primarily focused on the bird’s eye view of housing density which kept its simplicity but made the outcomes look detailed. Now, I’m heavily influenced by the process of construction which keeps the theme of buildings there. I invite the viewer to interact with the sculptures so that they become part of the work, and their input represents the energy put into the work of labourers. Overall, this course has been an eye-opener and has made me discover techniques, processes and methods that I never knew existed.

Mechanical Sculptures

038

future creati ves

A realization.

INSTALLATION, MULTI-MEDIA PERFORMANCE TEXTILES

process that we all have to go through when we suddenly see the brutality of our lives. How do we deal with this?

How do we deal with the silence in the middle of the night? Searching us out, screaming this unfathomable fearful knowledge, that the single certainty in our lives… is death. Can we carry on holding our old support systems which now seem so futile and fragile? Can we process… or do we repress? Deep into the subconscious. Deep into the abyss, the vacuum, the void which we know nothing of… which will only reach the surface in those slight moments when we see our own insanity. Our reflection. Ourselves. How do you keep going?

Jordan David Page

jordan.page1@hotmail.co.uk @jordanpageart Awards and achievements: Winner, London ACS (Artists’ Collecting Society) Materials Prize, 2017-18 Interviewed for the ACS Artist Spotlight Series Exhibited at the MTC Exhibition, Coventry, 2016 and 2017 Exhibited at the Corn Exchange Gallery, 2016

future creati ves

039

PRINTED TEXTILES SCULPTURE Work from ‘I carry the things you leave behind’

Alexandra Palmer Makowski sasha_makowski@hotmail.com aslpm-creative.tumblr.com Awards and achievements: BUCs silver medalist, Loughborough Women’s 3s Basketball team, 2016

Placements and work experience: Marketing Intern, Loughborough Sport, ongoing Sculpture Commission, University College London, ongoing Philanthropy and Marketing Internship, The Royal Marsden Cancer Charity, Summer 2017 Artist in Residence at the Google Girls Coding Event, University College London, Summer 2015 Charity Intern, The Royal Marsden Hospital, Summer 2015

y oeuvre draws on the personal account of my grandmother’s progressive illness as a platform to express the universal theme of mortality. The project capitalises on the neurological and physical deterioration of my grandmother to suggest the depersonalisation of illness and death, portraying my grandmother’s absence by continuing her presence through my practice. The body of work explores the transience of memory, juxtaposing photographs with objects to suggest the flux of birth, consciousness and death. ‘I carry the things you leave behind’ does not intend to articulate the immensity of loss. Rather, it encapsulates the essence of who they are, their principles, values and tenets which continue to live on among the people they touched.

040

future creati ves

DRAWING, INSTALLATION, MULTI-MEDIA LIGHT TEXTILES WORK

Amalia Zoe Papaioannou

amalia.zoe@gmail.com amaliazoe.wixsite.com/artwork @amalia.zoe.art (Instagram)

y work is an aesthetic exploration of light, colour and their effect on space and the viewer, focusing on the “primacy of embodied perception over intellection” (Bishop, 2005, p. 57). By using light and colour to alter the exhibition space, transforming it into an immersive environment, I aim to create an experience rather than an object to be passively observed. Through this visual experience, I hope to directly engage the viewer’s senses and perception, making those the primary focus of the work. Using abstracted imagery of light and colour, which are central but often overlooked in our everyday visual encounters, I have created a space where viewers can escape image-cluttered reality into a tranquil space that plays with feelings of wonder, disorientation and sensory pleasure, where they may become more aware of their presence in the space and their sensual, psychological and even physiological response to it. References: Bishop, C. (2005) Installation Art. London: Tate.

future creati ves

041

PRINTED PRINT, TEXTILES TEXTILES

Mirella Piatkowska

m.piatkowska@hotmail.co.uk @mirella.deville

y work explores the struggles many women have to face. Focusing on the women’s marches, specifically the signs that women create, allows me to explore the anger and how it can be displayed, especially the fact that the signs are created with a few words but mean so much. Using screenprint allows the signs to be simplified and focus on the meanings behind them. In such a developed world, it seems like a strange idea that women still have to fight for the rights to their own body. It seems that the patriarchal society still has more power over things that women own but don’t control.

042

future creati ves

ith a focus on family dynamics and relationships; my work considers my own and others’ views of ‘what is family?’. I operate within a liminal space as ‘family’ can be composed of multiple intertwining elements. I explore pictorial representation in art and the extent to which an image of a ‘family’ can be distorted, manipulated or erased without losing meaning/narrative. My work is realistic and mimetic; the time and care devoted to producing detailed portraits reflects the time and care dedicated to family. Our experiences of family are different and influenced by tacit knowledge. I focus on my friend’s family. I have a personal knowledge of my subject; however, I also understand the position of the ‘detached’ viewer. It is not necessary to know or recognise my ‘family’. I want people to identify with aspects of this family’s relationships, within their own.

Family is...

MULTI-MEDIA DRAWING, PAINTING TEXTILES

Kathryn Amanda Prestidge k.prestidge658@googlemail.com

Awards and achievements: Exhibitions Open Exhibition, Sock Gallery, Loughborough, August-September, 2016 Staffordshire Open Art Exhibition, Shire Hall Gallery, May-July 2016 AQA Prize for Art, March 2016 Lions Club International Achievement Award for winning the local competition in the 2010-11 Lions International Peace Poster Contest

Placements and work experience: Peer Assisted Learning Student Coordinator for Art, Loughborough University Peer Assisted Learning Facilitator for Art, Loughborough University

future creati ves

043

Schizophrenia

PRINTED TEXTILES PRINT-MAKING

Leah Frances Richards l.f.richards@gmail.com

y work focusses on the theme of schizophrenia. This is intrinsic to my art because I suffer from this illness. My practice is subjective and personal. I work with mono print and I use text to make statements about what it means to have schizophrenia. I print onto acetate because thoughts are not tangible and so its transparency becomes a metaphor for the ephemeral nature of thought. I have made books from prints to allow the viewer to read my mind as it were. The experience of looking through books and trying to read them is like trying to understand your own thoughts as a schizophrenic. You examine the pages to understand what they really say. It is necessary to consider thoughts that come from the subconscious because as a schizophrenic they are recognised more easily. I take anti-psychotics which cause side-effects and this adds to my experience.

044

future creati ves

Contour pen line on tracing paper

MULTI-MEDIA TEXTILES DRAWING, INSTALLATION

Briony Richardson

richardsonbriony@gmail.com @brionymayy

y interests have always been with identity and individuality.

Awareness of inner-being in our community is commonly disregarded. When one is aware of surrounding neighbours, more respect for their inner journey is developed. Thought processes, interpretations and opinions are all aspects that the singular can acknowledge. Through my art practice, I have exposed my consciousness of personal pathways. Each line resembles a new and ongoing life course which has an ongoing effect on each future direction. The organic forms within this intricate mass of line have creatively been developed over past intimate and impactful life experiences. I feel observing everyday happening in this visual stimulates enlightenment and realisation that can only be individually understood. Through questioning these areas of life and how other complex minds expand, I hope my practice and context connects to the mind in a visual display.

future creati ves

045

PRINTED TEXTILES PHOTOGRAPHY

Victoria Richardson

vikki_richardson17@yahoo.com @v_lr_art vikkirichardson17.wixsite.com/mysite

Scanned in Manipulated Negatives

046

future creati ves

y work explores the photographic boundaries of analogue film and challenges these photographic conventions. There has been a declining interest in fully functioning technology and an increase in each step of the analogue process. Challenging this process has allowed me to experiment whilst embracing the mistakes and chance of an imprecise science. Each print is a result of the manipulation and physical interventions that degrade the surface of the negative. The artwork is never completely representational, but it is this which allows each print to have its own unique appearance with unknown possibilities. The imagery aims to entice the viewer, so they are subconsciously absorbing technicolour and unexpected shapes due to the emulsions melting, silver rusting and new colours emerging.

MULTI-MEDIA DRAWING, PRINTING TEXTILES

Aelish Riley

aelishrileyart@gmail.com @aelishrileyart

Images showing the systematic way error has been explored using line drawing

rtists make mistakes on a regular basis. Without them there would be no place for experimentation or improvement in the making process. However, artists often cover up their mistakes, removing them from the work so that they are no longer visible to the viewer, giving the illusion that the work is perfect. Acknowledging errors in a piece of work adds a level of appreciation for the uniqueness of the human hand as it draws or paints, showing imperfection with every brush stroke or pencil mark. I have used this idea and utilised drawing as a way of demonstrating its concept. I have explored how errors can be recognised within a piece of work without it failing completely. By removing the subjectivity that comes from using colour and form, I allow the viewer to only observe the different marks on the paper and where the errors may lie.

future creati ves

047

PRINTED FILM, PHOTOGRAPHY TEXTILES

Lauren Ring

lauren_ring@hotmail.com @lauren_ring_art laurenring.wixsite.com/design

y current practice involves the use of film and photography. I explore our physical body’s interaction with materials, ultimately questioning how our spatial and haptic sensory experiences are grounded. I create illusory environments built by dynamic visuals and pulsating sounds. Such environments provide an intensity that destroys regularity and shows how interaction with new spaces allows chances for new experiences. I want to provoke questions but not provide answers, the visuals develop social and personal understanding built entirely on a subjective basis. “We all know that Art is not truth. Art is a lie that makes us realise truth, at least the truth that is given us to understand.” Pablo Picasso Music, materials and digital manipulation build layers that provide a metaphor for the ways we live and the ways visual culture can help us understand our reasons for existing.

Free from regularity and experience spaces of anonymity

048

future creati ves

MULTI-MEDIA INSTALLATION TEXTILES ARTIST

Charlotte Robinson

charlotterobinson96@hotmail.co.uk @charlotterobinsonfineart

he success of any object is how viewers interact and respond to it.

My practice engages viewers by dividing and enclosing space with large, hand-built sculptures, to initiate an experience of space, form and material. Interfering with viewers’ paths invites them to experience new space by walking around or avoiding the sculptures. The positioning, size and enclosed space initiates a range of responses, as viewers have to choose how to engage, explore and derive their own meaning, rather than being told what the work is about and fulfilling artists’ wishes. Using hands as a tool to make is instinctual. Our hands separate us from the animal world and I use them to create gestures in the clay. The marks are a language and heighten our sense of touch as well as sight. The trace and familiarity of human contact is what draws viewers into the unstable-looking structures.

future creati ves

049

M PRINTED TEXTILES DRAWING, SCULPTURE, INSTALLATION

Cristina Rodriguez

cristinarodriguez9505@gmail.com @tinarodriguez_art cristinarodriguezart.wixsite.com/ fine-art-portfolio

y practice challenges conventions by extending a drawing beyond two-dimensional parameters into a social and tangible space. Sculptors consider drawing as an integral process of thinking about space and form. My work questions the transition from drawing to sculpture by blurring the boundaries between both disciplines. I investigate the correlation between line, form, surface, material and the importance of space in both practices by drawing with salvaged industrial objects. It is as much about the intuitive process of drawing as it is about the material experience. My inspiration originates from a child scribbling on paper, the mindless freedom of line within a space spontaneously changing direction and overlapping traces. The manipulation and placement of identifiable objects in the space also intends to ‘draw’ the spectator in. Consequently, the viewer becomes caught in the act of drawing as they walk around the objects, leaving traces of invisible lines in the space.

Awards and achievements: Exhibited at the MTC Exhibition, Coventry, 2018 Shortlisted for the London ACS [Artists’ Collecting Society] Materials Prize 2017-18

050

future creati ves

Sculptural Drawings – found materials partly donated by Canal & River Trust.

n my current practice I have used photography to document site-specific landscape interventions that illustrate my personal nostalgia of walking. Like layers, the photographs present a childhood and adulthood perception upon the fragmented memories of reality and invented fantasies. Childhood memories are often expressed through art and literature. Perhaps it is because we have a lack of mystery and wonder in our everyday lives. It expresses a longing for a time of innocence, simplicity and purity. “I’d give all the wealth that years have piled, the slow result of life’s decay, To be once more a little child for one bright summer day.” (Lewis Carroll, 1865) This series of images have allowed me to explore my own and others’ perception of childhood including aspects of play, trust, family, creativity, achievement…

MULTI-MEDIA PHOTOGRAPHY, TEXTILES FILM

Harriet Rowles

harriet.rowles@gmail.com Awards and achievements: Storytelling 4 Health: Artists and academics exhibition, The Black Box, Coventry, 2016

Time Warps and Bends

future creati ves

051

PRINTED TEXTILES MULTI-MEDIA

Charles Rudd

charlesrudd7@gmail.com @charlesruddart Placements and work experience: NCS mentor

ctions have consequences. Some of those consequences are more prevalent. I have been particularly interested in the psychological and emotional responses surrounding the idea of prison. Researching further about why people commit violent crimes, and general prison life, I decided to create an atmosphere through my art work by concentrating on the emotions and expressions that are associated with prison. Major influences on my work include Francis Bacon and Ben Quilty. I have tried to implement aspects of their work such as contortion and gradual decaying into this project to really make the atmosphere within my exhibition as realistic as possible. My work investigates common mental health issues such as anxiety, which is incredibly evident throughout prison life.

052

future creati ves

Parallel World

The Power and Resilience of Africa

MULTI-MEDIA PAINT, MIXED TEXTILES MEDIA

David Rudd

davidrudd1404@gmail.com @davidruddart Placements and work experience: Summer Internship, JHA Afrika, Johannesburg, South Africa

y project is based on South African politics and specifically the rise and fall of now ex-President, Jacob Zuma, highlighting the controversial moments of his nine-year tenure. Having lived in Zimbabwe, South Africa and Zambia throughout my life, I have witnessed the corruption of African politics and seen how the actions of a select few people can cause such destruction to the people of that country. But, more importantly, through all the hardships – there is always a strong sense of hope and resilience that I have only seen in Africa. These feelings are what I have tried to showcase in my work by using bright, bold colours, as well as using Encaustic paint. The beeswax symbolises the malleable nature of us as humans as we are able to adapt to our surroundings even after the harshest lessons in life.

future creati ves

053

PRINTED TEXTILES PAINTING

Lucy Sandford-James

lucysandfordjames@outlook.com

y creative philosophy centres on Materiality; emphasis on the formal, permitting innovation and advancement. The idea of process, experimentation, and learning about materials and techniques has remained with me, confidently trusting in the notion that painting can take any form, can be more than just a medium, as a means of experience. My interest at present lies within neuro-aesthetics, with ‘Greenberg-ian’ values taking a back seat, feeding into, but not heavily influencing, my practice. Replacing it is a focus on the methodology in which Aesthetic pleasure is a function of the perceiver’s processing dynamics. I am exploring the potentials and capacities of the brain though different artistic tools. Embracing new found scientific knowledge about visual perception working alongside the complexity of material, I signpost how beauty, grounded in the processing experience of the perceiver, is a function of the stimulus’ properties.

Untitled Series

054

future creati ves

TEXTILES PHOTOGRAPHYMULTI-MEDIA AND CREATIVE DESIGN

Vanshi Shah

vanshi.shah@outlook.com @_vsphoto vanshishah.com Placements and work experience: Freelance Photographer: worked with Canon UK, Meditation Unlocked and at various weddings Featured in Design My Night, Yoga Matters, Canon UK (Instagram)

or me, photography is not just a reflection of reality, it is a personal exploration of the urban environment I live in. I am not concerned with reality but how we respond to it. Focusing on London’s contemporary architectural wonders, I distinguish the modern relationship between art and architecture. I aim to push the boundaries of conventional architectural photography, adapting and enhancing the traditional documentary style, experimenting with conceptual ideas. Innovative skyscrapers are fundamental to London’s skyline. I endeavour to portray the visual function of their aesthetic exteriors by offering my unique perspective; their location and identity remaining ambiguous or unknown. The relationship between structures through negative space and repetitive details on facades are the foundations upon which my ideas are generated. By presenting the photograph as a work of art, manipulating it in order to question its authenticity, my process proposes new ways of looking at architecture, encouraging others to emulate.

future creati ves

055

DRAWING

Phoebe Shaw

phoebeshawart@gmail.com @phoebeshaw_art phoebeshawart.wixsite.com/fineart

Pen Study I

‘147 Hours’

Pen Study II

y practice focuses on the creation of a communicative language through the use of mark-making. With a desire to express my dyslexic cognitive reasoning and responses, I abstract form and line from my self-portraits to create personal drawings that visualise the chaotic, transient nature of my thoughts and ideas. Through line I explore ways to communicate my experience of dyslexia and emotional responses. I create forms, with varying densities of line, which appear to undulate and this oscillation represents my experience of processing text. Within my practice I am investigating the ‘Rivers of White’ typographical concept, which focuses on the negative space around text. The flow of my work onto an alternate plane enhances the fluidity of movement and the tension between line and white space. The protracted drawing process itself includes an element of endurance, as the marks induce the visual-stress experienced with dyslexia.

056

future creati ves

Studio Photograph

Untitled 2018

SCULPTURE

Dominique-Nicole Sotuminu d1sotuminu@gmail.com

y sculptural practice combines interests in constraints on the process of female identity by patriarchal cultures and the process of marbling technique in papermaking. The uniqueness of each marbled sheet represents diversity in female identity. Through visual imagery, the absence of a pre-determined beginning or conclusion is undeniable, yet society strives to construct and confine her identity. The mannequin is symbolic of identity being manipulated by what she wears and how she looks, binding her to cultural ideals. The dress shape is dictated by the pannier, an undergarment that hindered movement. Paper, an everyday material is re-purposed as fabric to clothe the mannequin, replacing luxurious silk, satin and velvet generally classed as feminine. Paper is tangible as is woman, whose identity, like marbling, is intangible and inseparable. The plant shape represents paper’s origin and the Tabono, an ancient African symbol of strength and perseverance: qualities synonymous with women. The text on the paper speaks for and to women. They embellish the dress, replacing ornate embroidery and beading and decorative details like jewels. The writer’s identity is not restricted by race, age or profession and is paralleled by the omission of head and limbs.

future creati ves

057

MULTI-MEDIA

Hayley Stokes

hayleystokes1@yahoo.com facebook.com/hayley.stokes.art hayleystokes.com Awards and achievements: Awards Christopherson Purchase Prize, DMU, May, 2014 Exhibitions Don’t Mind (Two Queens Selected Members Show), Leicester, 2016 Perpetual Flux, The Manufacturing Technology Centre (MTC). Coventry, 2016 The Eye Exhibition Project: Inside/Outside, Old Library Galleries, Leicester, 2017 Convergence (East Midlands Artists), LCB Depot, Leicester, 2017 Qualifications MSc Criminological Psychology, December 2002 BSc Psychology, July 1997

Placements and work experience: More than 10 years’ experience as a qualified forensic psychologist

eginning my journey as an artist six years ago with an interest in portraiture, I have begun to challenge the degree to which images of our physical appearance can actually represent who we are. My previous career as a psychologist has strongly influenced my belief that we are ultimately a product of the people and relationships around us, in particular those within our families. Since becoming a mother, the power of our own experiences and behaviours on those of our children has become even more apparent to me. Through multimedia processes, including creative writing, my work is an exploration of myself in relation to members of my family. I play with the relative expressive qualities and potential ambiguities of image and written and spoken words, and reach for a balance of these methods that is emotionally expressive without compromising family members with whom I share my personal experiences.

058

future creati ves

ABSTRACT (MULTI-MEDIUM) CREATOR

Emma Stoneman

emmastoneman@outlook.com

y body of work is one which provokes a visually sensual effect on the viewer. I enjoy making my audience feel completely immersed within my art by making it engaging and expressive. My work has always drawn a focus to bright, bold colours which seep throughout my paintings and ceramics, encouraging an emotive feeling to be felt. I work expressively, creating abstracted forms and unique gestural marks throughout my art. Listening to mixed genres of music and working on large-scale pieces are fundamental parts of my process, helping me to produce aesthetic and striking creations. My work communicates its own emotive language, created in a subjective style to show off the notion of making “art for arts sake”. Trusting my unconscious application of materials is key to the development of my creations. I enjoy working in a spontaneous and free manner which helps to create visually powerful art.

future creati ves

059

Thoughts on Paper

DRAWING

Grace Stones

graceestones@gmail.com @grace_stones_art facebook.com/gracestonesart graceestones.wixsite.com/artist Awards and achievements: A Changing Industry: Connecting and Engineering Exhibition, MTC, February 2018 Perpetual Flux Art Exhibition, MTC, December 2016 50th Anniversary Exhibition, Codsall Village Hall, July 2012

Placements and work experience: Fundraising Committee, Loughborough University, 2017-18 Haiti Arts Action Trip, August 2017 Arts and Crafts Pop-up Shop, December 2012, March 2013

y process-led practice combines different mental health coping mechanisms I currently use; Cognitive Defusion, Expressive Writing and Acceptance. These strategies solidified the concepts of repetition, text, site-specificity and the physicality of the thought. Rather than saying the belief out loud, (as suggested in Cognitive Defusion) my work concentrates on the phrase within a written context. It is then repeated over and over again onto the surface, creating dense obsessive marks. ‘The Acceptance Tool’ enabled me to consider how the artwork could dominate the space in which it is shown. The viewer is invited to step into the area the drawing is occupying, allowing them to experience the scale and impact of the thoughts. Furthermore, the reflections shown on the graphite surface display subtle images of themselves and change in response to its environment. Thus, relating to disruptions in the process of coping with mental health daily.

060

future creati ves

Burnout

INSTALLATION

Hannah Stout

hannah_stout@hotmail.co.uk @hannahstoutart

am a type 1 diabetic. Since I was diagnosed just over a year ago, I have struggled with the sudden dependence on medication and importance of routine. With a general theme of repetition, this work shows the monotonous nature of treating diabetes. Burnout references a response to a diagnosis known as ‘diabetes burnout’, during which the sufferer experiences frustration and, in my case, depression and rebellion against the diagnosis. The matches form a timeline of meter readings (which can be affected by anything from my eating habits to my level of acceptance of the disease). This visualisation of data, therefore, tells my diabetes story. Ultimately, I hope that this work will raise some awareness of the day-to-day reality for those suffering with this disease.

future creati ves

061

“Fohir Sal”, ink and bleach on paper

PAINTING

Benji Thomas

benjimthomas@gmail.com @benjithomasart benjithomas.com Awards and achievements: ‘VAULT’, solo exhibition at the Old Bank Gallery, Hayes, January 2018 – 20% of profits to the Degree Show fund Group exhibition at the MTC, Coventry, February 2018 Semifinalist on SkyArts Landscape Artist of the Year, July 2017 Artist interview on BBC Berkshire Breakfast Show, October 2017

y work is driven by curiosity and intense observation, and attempts to find the surreal moments within the real – moments that shift our perception of everyday reality. Images that are of this world, but don’t seem it. My fascination lies in imagining an alternate narrative in the source photograph, and exploring how I can pluck that tiny scrap of information from the world, and transform it through the act of ink painting into something of individual identity. Pedestrian scenarios become something of mystery or spectacle, something otherworldly or uncanny. The process I have developed is very important – the unpredictable nature of using ink and bleach means I can partially relinquish agency, and ultimately allow the painting to detach from the original image. It’s through this sense of degraded reality that notions of dreams or memories perhaps surface. The paintings are born from instinct and discovery.

“Barbara Connor”, detail

“Barbara Connor”, ink and bleach on paper

062

future creati ves

t the heart of my artwork lies an exploration of the human condition, a perhaps futile attempt to decode it.

Modern Man (detail)

My practice utilises narrative, figurative painting, with elements of allegory, as a form of socio-political commentary. The ambiguous narratives present an unsettling vision of a world in a state of disorder, through oppressive and powerful imagery that conveys semidystopian undertones. I seek to invite debate through exposing the forgotten individuals, struggling to exist in contemporary society. The actions and consequences within the paintings act as an observation of class issues, pertaining to increasing inequality and social mobility. This is partly inspired by my own background growing up in a sleepy, ex-mining village in the Midlands. The elements of displacement and instability stem from the current socio-political climate and the politics of fear. From the shifting landscape of European politics to broader global conflicts, nuclear tensions and mass migration.

Modern Man

Photomontage studies

PAINTING

Samson Tudor

samsontudor@me.com @samsontudorart samsontudorblog.com Awards and achievements: Winner of the London ACS (Artists’ Collecting Society) Materials Prize 2017-18 Exhibited at MTC Exhibition, Coventry, 2018 Exhibited at West End Gallery, Leicester, 2017 Exhibited at LSA Annual Exhibition, New Walk Gallery, Leicester, 2016 Winner of LSA (Leicester Society of Artists) Student Award 2016

Studio still

future creati ves

063

M MIXED MEDIA

Ada Yin Ching Tung adatungyc@gmail.com @adatungyc adayinchingtung.com

Awards and achievements: Shortlisted for The Beatrix Potter Reimagined Competition and exhibited at The Lakes International Comic Art Festival, Kendal, UK, October 2016 Shortlisted for The National Open Art Competition, UK, August 2016 1st place, The Glyndebourne’s National Art Competition, exhibited at the Stalls Gallery, Glyndebourne, UK, December 2015

Placements and work experience: Community Art Space Intern, Casphalt, Hong Kong, Summer 2017 Art Gallery Intern, Alisan Fine Arts, Hong Kong, Summer 2015

064

future creati ves

y practice focuses on the intimacy of domesticity while exploring the possibilities of paintings, spaces and their relationships. I believe that domesticity and the comfort of the spaces within a room are very important to personal growth as they are to the capability of coping with solitude and the appreciation for the mundanity in life. I love playing with everyday objects from the secondhand shops and different materials. By carefully rearranging and reconstructing them, new stories are created and I can re-establish a new relationship between the objects and spaces, and also with the viewers. In order to better explore different small spaces of domesticity, I don’t limit my practice to one medium, which would give me more stimulation to build up ideas and to create different and new interpretations about the surroundings.

PHOTOGRAPHY

Dale Robert Tyers daletyers@outlook.com @dalerobertart

otivated by personal experiences of growing up and becoming a father, my work explores the juxtaposition of the harsh and hostile aspects of the world, as experienced and understood in adulthood, against the utopian constructions of childhood that are produced and reproduced by societal institutions. Though predominantly influenced by the anxiety I experience in relation to my daughter’s increased awareness of the adult world, my work also attempts to move beyond personal concerns and engage with wider discourses of childhood, maturation, and crisis, allowing my work to connect with, and contribute to, the wealth of cultural responses that aim to archive loss, in relation to the environment, late-capitalism, and conflict.

Childhood and the Capitalocene

future creati ves

065

Pattern of Thought

PRINTMAKING

Chloë Alice Webster chloe@chloewebster.com @chlo_alice chloewebster.com Awards and achievements: Exhibited at MTC Exhibition, Coventry, 2018 Shortlisted for the London ACS (Artists’ Collecting Society) Materials Prize 2017-18

once felt so lost within my practice that I found a peach in my composition, and with that, I realised that everything else was insignificant. My work is about exploration of thought through visual language. Inspired by phenomena, I connect with my senses and unpick what it really feels like to be seeing, being, touching and doing. I immerse myself in the process of printmaking, considering space and scale, capturing the intimate moments of my thoughts. The realisation of the power of text consolidates the complexity of the mind; breathing and feeling what I write. By letting my mind wander, I become free. Free to feel, free to grieve, free to live. Documenting my thoughts has become cathartic. What is left in each print is the trace of a moment; something I once felt.

066

future creati ves

Nostalgia ad Infinitum (Installation)

PAINTING, MIXED MEDIA

Stephanie White

stephi.white@hotmail.com @herartattack Awards and achievements: The Welcome Mat Exhibition, Loughborough University, 2018 Loughborough University Shakespeare Society Events Rep, 2017-18 Loughborough University Student Ambassador, 2015-18 Loughborough University Spotify Student Brand Ambassador, 2016-17 Graphic Design Summer Placement at Blue Moon Creative, Pershore, 2014

lossoming adult, Time rushes while looking back, Be not afeard.

Domestic nostalgia and the resulting fear of the future; two personal worlds separated by one button. Press it. Or Don’t. Participate and relate; Ignore and move on. This installation looks at the concept of personal development through memory and current situation. It’s about sudden realisations and the changes of growing up, about choices made and their consequences. It’s about wishes, wants and what ifs? A fear of the future and the security of the domestic overlap to create a space that invites the viewer to participate with the work, either confronting it or choosing not to. It’s down to the press of a button. A flap of a butterfly’s wing. The idea of infinity and its countless outcomes.

future creati ves

067

ach year society spends billions of pounds on cut flowers, with the knowledge that they will eventually perish, decay and ultimately be thrown away. Within my practice, I visually expose the decomposition process and eternally preserve flowers in their wilting state, in order to encourage the viewer to reconsider the preconceived idea that a dead flower is no longer aesthetically pleasing. With the understanding that ‘beauty’ is a highly subjective concept; my photographs are a personal response to what I believe makes decaying plants seem beautiful.

PHOTOGRAPHY

Rebecca Louise Wymant

r.l.wymant@gmail.com @rebeccawymant_art rlwymant.wixsite.com/rebeccawymantart

Using macro photography, lighting gels and the digital imaging processing technique, focus stacking, I am able to capture and amplify the flowers’ extraordinary textures, fragile forms, and minuscule details, which are usually unnoticed and ignored. With additional careful application and consideration into colour theory, it encourages viewers to witness the decaying plant in a new way and drive an emotional response from within.

Awards and achievements: Fine Art Degree Show Fundraising Committee, Loughborough University, 2018 Exhibited in ‘A Changing Industry: Connecting Art and Engineering’, The Manufacturing Technology Centre, Coventry, 2018 Co-curated and organised ‘Perpetual Flux’, the first art exhibition held at The Manufacturing Technology Centre, Coventry, 2016 Exhibited in ‘Not My Cup of Tea’, Loughborough, 2016 Exhibited in Art and Design Foundation Exhibition, Loughborough University, 2014 Commissioned for weddings and events Duke of Edinburgh’s Bronze and Silver awards Open University Photography Short Course

Placements and work experience: Artist in Residence, The Manufacturing Technology Centre, Coventry 2016-17 Imagineer Productions, Coventry 2016-17 Events photographer, The Manufacturing Technology Centre, Coventry 2016-17 Peer Mentor 2015-16 Barista and Athletics Coach, Corby Athletics Club, 2015 Sales Assistant, Next 2014 and 2016 Gretton Primary School, Chirpy Chicks Pre-School and Up-Starts Nursery and Pre-School, 2011

Matthiola

068

future creati ves

Untitled (Fabric, String, Paper and Other Things)

PRINT MAKING

Rebecca Wymark

rebecca.wymark@sky.com

riving my practice is the aim to interpret and understand the everyday by exploring the spatial, material and emotional landscape of my most immediate environments: the studio and the home. Found materials, embedded with sentimental and semiotic meaning, are captured as abstract or anthropomorphic forms. A haphazard method of assemblage denotes an embodied process of making; responding to the materiality of the object. Accompanying the prints are fragile paper casts of furniture objects. Lopsided, water-stained and wonky: the functionless forms are embedded with intricate detail that enables viewers to re-discover the object.

future creati ves

069

Foreword

Dr Robert Harland Programme Director for Graphic Communication and Illustration School of the Arts, English and Drama

he Graphic Communication and Illustration team are delighted to introduce and showcase the diverse and inventive range of work produced by 2018 graduating students. The knowledge, understanding and skills on display in this catalogue, and the accompanying exhibition, is the result of an extended period of hard work by students and staff in the School of the Arts, English and Drama. Throughout the programme of study, research-informed teaching by a diverse and dedicated team of researchers, teachers and practitioners, as well effective administrators, ensures that each student has located their area of interest within the very broad scope of what ‘graphics’ is today. This should be clear from the work on display. Students are also graduating with a strong sense of where and how to develop the next stage of their career as they enter a fast-moving industry within which graphic design, and its associated disciplines, has been the most prominent and prosperous over the past four decades.

The programme nurtures and develops the intelligent application of practical design skills through traditional and innovative approaches to analogue and digital media This goes handin-hand with high levels of awareness about historical, theoretical and critical perspectives that consciously contribute to shaping the objects on display. Furthermore, students have given a great deal of consideration to the audience who will receive the messages they have created, through continuous reflection and evaluation of the social, cultural, economic, ethical and sustainable contexts for their work. The work on display is a credit to the professionalism, dedication and discipline of students, as well as those who have supported them on this journey: friends, parents, relatives and other students. We all share in this extraordinary journey that involves not only the preparation of a portfolio but also preparation for professional life.

Graphic Communication and Illustration future creati ves

071

M GRAPHIC DESIGN

Kate Adamson

adamsonkate@hotmail.co.uk @kateadamsondesign

y work is typically minimalist and typography-focused to create clean and bold graphics for campaigns aimed at bringing about more awareness of, and positive changes for, causes important to humanity and our planet. I also have a keen interest in creating new and often unusual imagery from anything I can find through collage and mixed media. A collection of hand-drawn travel stickers and stamps for a collaboration project

Analog collage showing the possible effects of global warming and sea level rise in the future in cities around the world

Poster design from a project involving the creation of the ‘I Matter’ sub-brand/campaign within the Black Lives Matter campaign

App design examples from a project involving the creation of a brand to encourage people to visit their local castles and to learn more about their local heritage

072

future creati ves

Illustrations for antibiotic resistance awareness

ANIMATION, ILLUSTRATION

Emily Anagnostopoulou

e.m.anagnostopoulou@gmail.com behance.net/emanagnostopoulou linkedin.com/in/emanagnostopoulou Awards and achievements: Diploma in International Studies at Joshibi University of Art and Design, Tokyo

ince starting my studies at Loughborough University, I have developed a strong interest in narrative, particularly character-led narrative. Whether for moving or still image, I enjoy using characters to help a story unfold, expressing emotions and evoking a response from the audience. This is one of the reasons I chose to do a year of study abroad in Japan, which is renowned for its storytelling, particularly in Manga and Anime. While I was there, I attended modules in both traditional 2D handdrawn and 3D animation, as well as Manga. Not only did it help me develop essential skills and knowledge, but it was also an amazing cultural experience. This has opened my eyes to new approaches and possibilities within my field, preparing me for a career in the creative industry.

future creati ves

073

I GRAPHIC DESIGN, ILLUSTRATION, ANIMATION

am fascinated by literature, film and pop culture. My work is heavily inspired by these interests, as well as my past experiences and surrounding environment. Having a background in painting has influenced my current visual language, and I enjoy using a variety of media for visual story telling, including illustration and moving image. Through my work, I hope to express a social purpose and simplify complex cultural issues.

Ela Deniz Apaydin eladapaydin@gmail.com @elatjeart

Placements and work experience: Turner Commercial Productions (now CNN Create)

Digital painting using Photoshop

074

future creati ves

Illustrated GIF aiming to visualise struggles with mental health

Social media post for Emoti-Dog project

ADVERTISING, CREATIVE THINKING

Dante Attuoni

dante.a2oni@gmail.com @dante.attuoni.design danteattuoni.com Placements and work experience: Freelance work: dealing in all aspects of creative design, from corporate advertising in print to branding and website building, 2015 - present Placement year: Loc8me (student accommodation). Peter Pizzeria. JIM Gym, 2016-17

Box design for WINK, a murder mystery card game

Social media ad to raise awareness of the gender pay gap

he aspect I enjoy most of the creative process is the inception and development of ideas; the piecing together of various snippets of information and visual cues to create something inventive and different. This has enabled me to design work with a strong focus on concept and message, and has led me to develop an eager interest in the advertising industry.

future creati ves

075

A collection of work from 2014-18

GRAPHIC COMMUNICATION

Nnenna Austen-Okoronkwo harrietaustenok@ymail.com behance.net/nnennaaustenok

Placements and work experience: Graphic Design Intern, Imagination Ltd, London

y work can be seen as a pathway to my future goal as a Creative Director. It experiments with different forms of visual communication from photography and videography to character design and layouts. Through my time at Loughborough University, I have been able to explore the social implications of my work. I have come to learn that as a designer, my work is often driven by my personal experiences, encounters and passions. Often times as designers, we create things that are just visually pleasing; however, I want my work to do more than just that. I aim to create work that is beautiful and meaningful. I want to encourage people to think differently and raise questions of the social norms, whilst also aiming to further educate and inform about issues and dilemmas that are often overlooked in society. Furthermore, I aim to continue to create work which is meaningful yet captivating.

076

future creati ves

PUBLISHING, PHOTOGRAPHY

Makenzie Bardgett

makenziebardgett@gmail.com @mbardgett_design_page makenziebardgett.wixsite.com/myportfolio

would like to think of my work as thought-provoking, either through its visuals or the message behind them. I like to make the audience take a second and third glance to truly understand the piece of work: each time they look, a new element comes to light. I express my creativity through illustrations and photography, with careful consideration for content layout, colour, and the contextual message. I feel that, as a graphic communicator, it is important to have a strong meaning behind each project that we take on, as it drives our passion and our creativity. Throughout my studies at Loughborough University, I have found my most successful projects were driven by a meaningful message such as public awareness campaigns or movement art. I believe that my work can reflect many messages in many contexts, from bright and humorous, to graceful and delicate, to dark and emotional. future creati ves

077

GRAPHIC DESIGN

Andy Barker

ajbarker@ntlworld.com @a_spud behance.net/ajbarker9d61

am a highly motivated designer with a passion for print. I have the competence to solve creative problems through my knowledge of branding, typography and image making.

Placements and work experience: Internship at UKFast Work experience at BigKid, Inter-marketing Agency and Bupa International Design Team

I created a short zeen highlighting the ups and downs of living as a rail-riding hobo in 1920s America.

078

future creati ves

An illustration created for the D&AD Burger King Brief along with Eren Yamansef. Please see page 150 for a more detailed view of the final piece.

3D VISUAL ARTIST, MOTION DESIGNER Visuals and motion graphics for DBE live DJ night

George Barrett

phaseshift.eu@gmail.com @phaseshift_ phaseshift.eu behance.net/phaseshift Placements and work experience: Freelance 3D visual artist, 2016-18

I A Collab campaign project with Ralph Lyons, to help and encourage creatives to improve their time management

am a hard-working 3D visual artist with an enthusiasm for technology and design. Over the past few years, I have taught myself how to use Cinema 4D, Octane Render, Adobe Suite, Marvellous Designer and a range of other applications. My interest in both music and sci-fi has seen me working as a freelancer creating visuals for a local event, as well as collaborating with other creatives, from which I have been able to build up my own render machine. My specialities lie in motion graphics and 3D visualisations, as well as creative branding and advertising.

3D poly modelling project of a walkman VM-55

A frame from an animation series based on the senses

I believe myself to be a team player with a strong view that sharing creative knowledge and skills can make the design world a better place. I get a buzz out of sharing my work and I believe it will only get better the more I learn.

future creati ves

079

GRAPHIC DESIGN

Kristy Melanie Barrett designkristy@gmail.com @designkristy

Placements and work experience: Placement year at The Lady Magazine, London

orn in the suburbs of London, I have always been surrounded by its colourful culture and arts which on reflection has definitely influenced me and my passion for graphic design. University has allowed me to contextualise a personally unique visual language which I primarily communicate through typography and illustration. My work is mainly digital based but I never shy away from using other playful mediums and getting my hands dirty. Branding and packaging design is what interests me most as I not only enjoy the creative aspects but also the strategy behind the final product. I am eager to get out in to the ‘big bad world’ and immerse myself in the creative industry where I can continue to challenge myself and develop as a designer.

080

future creati ves

Self-initiated brief rebranding Barilla pasta, with an aim to restore the brand’s Italian authenticity.

BRANDING AND CREATIVE STRATEGY

Bryony Biggam

bry.biggam@gmail.com @dogs_humans behance.net/bryonybiggam Placements and work experience: Summer internship, EBOW The Digital Agency

I sitting pretty beautiful data revealing an ugly truth.

01 02

240hrs

sitting pretty

T HREE ST UDENTS, ONE WEEK, 240 HRS

10 13

01 02

22 03

21 04

80 hrs

86 hrs

sittng pretty

16 15

15 14

10 13

Gaming

Toilet

Eating

ACADEMIC YEARS

Phone Laptop TV

HOURS PER DAY

1. 5 yrs 11 hrs If the student continues to sit the length of time recorded over this study, she wil spend half of her university degree sedentary.

Phone

Work

DAY 1 DAY 2 DAY 3 DAY 4 DAY 5 DAY 6 DAY 7

The student sat on average 11hrs per day which has been linked to an increased risk of heart attack, stroke or heart disease-related death.

SCREEN T IME

GLOBAL EF FECT

9hrs

80%

The student spent an average of 9hrs looking at a screen per day. Those who have 3hrs or more of screen time per day increase their risk of heart disease by 64%.

80% of young people age 13 - 15 worldwide, get less than one hour of vigorous exercise each day.

Work

DAY 1 DAY 2 DAY 3 DAY 4 DAY 5 DAY 6 DAY 7

Gaming Laptop TV

ACADEMIC YEARS

HOURS PER DAY

SCREEN T IME

1. 6 yrs 12 hrs 10hrs If the student continues to sit the length of time recorded over this study, he will spend over half of his university degree sedentary.

am graduating from Loughborough as a designer thanks to one of life’s turn of fortunes. Originally intending to play elite hockey and study sports science, I discovered my body had other plans and a prolonged period of injury gave me time to reflect and re-evaluate the career path I wanted to follow. Sport continues to influence my work – not in an obvious way, but rather it has given me an instinct to keep searching for solutions, striving to improve and developing new skillsets.

The student sat on average 12hrs per day which has been linked to an increased risk of heart attack, stroke or heart disease-related death.

The student spent an average of 10hrs looking at a screen per day. Those who have 3hrs or more of screen time per day increase their risk of heart disease by 64% .

GLOBAL EF FECT

4th 4th leading risk factor for global mortality is physical inactivity.

“Sitting Pretty” is a short study of sedentary behaviour in a small group of students, inspired by the concept of ‘freedom of movement’ and presented as a unification of information and art.

As a designer my strengths lie in researchbased storytelling that brings together imagery and copy in an intelligent, conceptdriven manner. I have found particular affinity with branding projects – relishing the mental challenge of strategic thinking and problem solving in giving a brand a personality, designing beyond the name and the logo. I find beauty in subtlety, and I like to think this is reflected in my work. I focus considerable energy into research and subscribe to the theory that the best designers think more and design less.

future creati ves

081

M INTERACTIVE DESIGN, ILLUSTRATION

y work is mainly illustrative and focuses on using composition and colour to my advantage. My work often aims to bring awareness and combat social issues, particularly regarding mental well being. To do this I incorporate illustration within my work through either interactive design, animation or narrative illustration.

Sophie Brocklehurst

sophiebrock29@gmail.com sophiebrock29.myportfolio.com linkedin.com/in/sophiebrocklehurst29 Placements and work experience: Co-Graphic Designer, Royals Netball Club Chelmsford, July 2016

Editorial illustration to raise awareness of the harmful impact of helicopter parenting – 2017

Initial thumbnail sketches for editorial illustration, 2017

082

future creati ves

App game design which aims to help combat childhood loneliness, 2018

BRANDING

Cocoloco

Tom Burman

thomas.burman1@btinternet.com @tomburman_design Placements and work experience: Graphic Design Intern, AECOM

y work tends to focus on branding and packaging as this is what I am most interested in and is the area that I can see myself pursuing in the future. My style tends to be rather modern and colourful with heavily stylised designs. I aim to be as playful as possible with my work to convey my lighthearted and fun personality. P.S. If you couldn’t tell I like beer.

Third Law Pilsner

Iron Lady IPA

Dam Busters Ale

future creati ves

083

ILLUSTRATION, ANIMATION

n these projects I have been exploring illustration with different visual languages in order to communicate with the target audience appropriately.

Minnie Chai

minniechai2828@gmail.com @pminniechai_artwork

It would be aesthetically pleasing for users to have the illustrations on the swimming pool at night. I have looked into Kathy Lou’s Thesis on hotel experience, which concluded that users often look forward to or expect the hotel to have advanced equipment to improve the user’s experience and to entertain them. The illustration will show the vibrant culture of Singapore as well as entertaining the guest.

Colour Changing Wallpaper (DNAD Hotel Indigo Brief) In this project, my aim was to illustrate the place where the Hotel Indigo is located and create a hotel mural for the illustration. For this brief, I have chosen to base this project at Singapore, Katong. The idea of the wall display is that the colours will change during the day and dim down after 7pm. This is to help change the traveller’s mood and aid recovery from jet lag while encouraging them to explore Singapore.

084

future creati ves

Zoo Crew app

BRANDING, ILLUSTRATION

Hong Kong Neon Museum Visual

Beverly Sze Wing Chan

beverlychansw@gmail.com behance.net/beverlychan linkedin.com/in/beverly-chan00123 Placements and work experience:

Freelance Creative Designer, Quintessentially Dubai Creative Designer, Quintessentially Hong Kong Graphic Design and Illustration Intern, LED Leisure Management, UK

aving an international background is one of my biggest advantages. With my background, past education and work experience from the UK to Hong Kong to Dubai, I am capable of adapting to different culture and have the ability to make connections. I have worked with big businesses and small businesses, from Bentley, Four Seasons Hotel, Google to local businesses. I have a clear understanding of how to approach clients from different business scales and what they desire creatively.

Four Seasons Resort, Dubai seasonal booklet

The Grown Up Chocolate Company rebrand

During my placement year, I have worked across industries. Through working in the fitness industry in the UK to working in the luxury brand industry in Hong Kong and Dubai, I have experienced different levels of branding, as well as different cultures. From branding a friendly, affordable charitable trust for the community to rebranding multi-million pound luxury brand, I am capable of reaching clients’ expectations. I really enjoyed working in the brand industry and this is what I would carry on doing in the future. I have also developed an interest in animation and film making. future creati ves

085

Concept art – Animation ‘Our place in the Universe’

Book cover design – ‘Animal Farm’

Illustration – ‘Where the sea meets the sky’

ILLUSTRATION, ANIMATION

Angel Gayan Chiu

angelgychiu@gmail.com @angelc.art angelchiuart.wixsite.com/portfolio behance.net/gychiu1 Placements and work experience: Freelance illustrator and graphic designer in Hong Kong and the UK

o demonstrate that the visual language I employ is suitable and adaptable for a wide range of target audiences, I participated in several illustration competitions to practise drawing in different formats and media, ranging from digital to print. This does not only strengthen my illustrative skills, but trains me to manage my time efficiently in order to produce high-quality work within tight deadlines. Seeing my characters and imagination come to life is what I considered the greatest enjoyment throughout my creative process. My work mostly features animals, which is a frequently used theme among children’s books and allegories. As well as producing original work, I also find portraying a unique interpretation of an existing story or concept particularly effective to boost my creativity, and this is reflected in the choice of competitions throughout the semesters.

Illustration – ‘Where the sea meets the sky’

086

future creati ves

ILLUSTRATION, CONCEPT ART

Rachel Clark

rhclarkart@gmail.com @rhclark artstation.com/rhclark Awards and achievements: Mad Engine’s judges’ selection for licensed apparel, August, 2017 Awarded 1st place for illustration by Helplines Partnership, December, 2015

am a concept artist and illustrator specialising in sci-fi and fantasy. My work is inspired by classic literature, contemporary film, as well as the flora and fauna of the natural world. My goal as an artist is to use digital painting to bring a modern perspective to timeless narratives.

These images showcase my skills in character design, portraiture, decorative, and landscape illustration

future creati ves

087

OUOU campaign logo

OUOU self-checking toilet roll

OUOU sports bra and boys pants

Community Table logo

CAMPAIGNS, BRANDING, PHOTOGRAPHY

Emily Clode

emilyclode@hotmail.co.uk @clodedesign emilyclode.wixsite.com/emilyclode behance.net/emilyclode Placements and work experience: Internship at Allstars Kids Club, 4 months, 2017 Communications Manager at Segment Magazine, six months, 2016-17 Artworker at Creative Hope Studio, 6 months, 2016-17

UOU was a six-week collaborative campaign project with Dan Herrick which encouraged men and women aged 25-35 to self-check for breast and testicular cancer. Through a fun and positive campaign for work places on World Cancer Day, we aim to educate employees in an inclusive campaign. We designed a range of touch points including: a drawing activity, mug, informative self-checking toilet roll, quiz, underwear and 12 desktop screensavers which changed monthly to encourage self-checking. Community Table was an interactive design project which aimed to tackle loneliness among elderly people through cafés. Cafés created a ‘Community Table’ where customers sat to get to know each other, providing company for people who would prefer not to sit alone. Branding was designed to be suitable for visually impaired people using contrasting colour choices. A deck of playing cards called Connect Cards were designed to work alongside Community Table, as the questions on them encourage discussion.

Community Table connect cards

088

future creati ves

ILLUSTRATION, PHOTOGRAPHY, CONCEPT DESIGN

Isaac Coppin

isaac.coppin97@gmail.com isaaccoppin.myportfolio.com behance.net/isaaccoppin linkedin.com/in/isaaccoppin Placements and work experience:

Designer and Illustrator, Label Magazine, October 2016 - present Media Representative, Art Society, March 2017 - March 2018

Penguin Student Design Award 2018 entry

D&AD New Blood Awards 2018 – Hotel Indigo, Brighton

tudying at Loughborough University has allowed me to explore graphic design and illustration from a holistic perspective, learning new skills and challenging the normality of design throughout. I’ve always enjoyed working with illustration and have a passion for photography, which together, allow me to produce both hand-rendered and digital outcomes with an illustrative twist. To achieve the goal of producing visually strong, eye-catching pieces, I work hard to understand and research the context around the brief and the target market. During my final year, I concentrated on growing my skills in production design, concept art, and visual development, as I’m especially interested in pursuing a creative career in the film industry. Films have always been a powerful influence on my ideas and practice in work. I am tremendously keen to try new things and learn and I pride myself on paying close attention to detail and quality.

Label Magazine illustration – Eleven

Label Magazine illustration – Luke Cage

future creati ves

089

City of Learning: Improving User Experience on the London Underground

GRAPHIC AND UX DESIGN

Nicola Corsini

nicola_corsini@hotmail.com Placements and work experience: Product Development Intern, The Walt Disney Company

enjoy combining research and creative skills in a user-centred approach to design. My project, ‘City of Learning’, aims to provide clarity for daily commuters on the London Underground through an immersive experience. The moving images transform tunnels and walkways into therapeutic environments. Each image is designed to evoke a different emotional response, projected depending on the time of day and commuter behaviour. My work explores both humanistic and commercial aspects of design, to create outputs which are emotionally responsive, yet have marketable applications.

Visualisation of moving image: ‘Heal’

090

future creati ves

Visualisation of moving image: ‘Heal’

ILLUSTRATION

Frank Coxon

frank1coxon@gmail.com frankcoxon.myportfolio.com

Animal Farm, book cover

The Old Man & The Sea, book cover

am a digital designer and illustrator who is passionate about developing creative briefs to produce exciting outcomes. My work has transitioned through many disciplines and has now become focused on animation and illustration. My illustration has been developed through recent projects such as book design and packaging design, in which I like to apply my own personal voice and design language.

future creati ves

091

BRANDING AND CREATIVE STRATEGY

Megan Day

meg.day@me.com @day_by_meg Placements and work experience: Creative Brand Strategist, Brand Love, 2017 - present Creative Intern, Cheil London, 2016 and 2017 Creative Intern, Doner London, 2012

W10 – Rebranding North Kensington for young creatives Co- Contactless Donations for London’s homeless. Touchpoint concept allowing London commuters to easily donate to the homeless.

W10 – Rebranding North Kensington for young creatives

ocused on branding and advertising, my work combines my love for design with a passion for culture, brands and society. Dealing especially with audience, brand tone and visual language, my projects aim to create something visually and conceptually exciting and stimulating. Energised by creating work that makes a difference, my work focuses on solving problems and addressing topics within our current society. Following time interning at London advertising agencies Doner and Cheil, I have found my love for strategy which has fuelled and focused my projects. I am excited to be starting my career post-graduation as Creative Brand Strategist at London-based brand strategy agency, Brand Love.

092

future creati ves

raising a gender – a contemporary art exhibition curating conversation around the topic of raising children without gender.

assion for the entertainment industry and a deep interest in evolving technology are the two key motivators that push me to pursue my dream of working in the creative marketing industry.

Extract from my Burger King D&AD project. The #MakeYourMark social media campaign is aimed at 18- to 24-year-olds who are sceptical of marketing claims.

I was able to experience this first-hand during my 12-month internship with Warner Bros., where I was employed as the Creative and Marketing Intern. Helping with franchise co-ordination, product management and cross-divisional marketing campaigns, I gained invaluable industry experience – and had fun too! I am a motivated, multi-cultured designer who enjoys working in teams. When working on a brief, I am always looking at how to make an impact on evolving markets, whilst utilising ever-changing platforms in order to best execute these ideas. Following graduation, I hope to get back into the marketing industry, whether it’s working on a one-off media campaign with a single aim, or managing a global brand and aligning visions with multiple teams.

MARKETING, DIGITAL DESIGN

Joe Dossary

joedossary@hotmail.com @jdossarydesign jdossary.wordpress.com Awards and achievements:

Interviewed in the March 2017 issue of British GQ as part of the new ‘Ask the Intern’ feature Featured on the Warner Bros. placement website as part of their annual ‘Success Stories’ page, October 2016

Placements and work experience: Creative and Marketing Intern, Warner Bros., London, 12-month internship 2016-17

Cartoon Network/Boomerang Amazon webstore. Designed in collaboration with Turner whilst at Warner Bros., this store acts as a digital hub for iconic shows.

DC cross-divisional home entertainment insert. Designed whilst at Warner Bros., this leaflet was included with all DC Home Entertainment releases, including Wonder Woman.

12 Days of Wizarding World Christmas Twitter giveaway. Organised and produced whilst at Warner Bros., this campaign received an overwhelming response with over 15,945 retweets.

Bullet Force key art production and marketing placements. As part of an interactive design brief, Bullet Force would be pitched to Sony in partnership with Amnesty International as a mini-game that re-sensitises audiences to the reality of gun crime in the U.S.

future creati ves

093

PRINTED TEXTILES UX/UI

Hadley Eames

hadleyeames535@gmail.com Placements and work experience: ‘Gravity’ Marketing, Summer 2018 Assistant Web Designer, Open University MK, June - July 2017 Intern, Marketing and Space Planning, Wilmott Dixon, April - May 2014

n my final semester I challenged myself with a D&AD brief: Burger King. The mission was to create an advertising campaign that drives home the single-minded proposition: ‘because fire is better’. I focused on the origin of fire: ie. the era of the cavemen. In terms of producing promotional material to the intended target audience of 18-24 years, I thought it best to use up-to-date current medium to include a video campaign, memes and an ‘AR Snapchat Lens’ for my final degree show.

Snapchat VR Space

Cosmetics and Props/Pre-production

Pre-production – On-site

Direction-Production

I’ve also been involved in the process of completing a dating app that is event-driven and focuses primarily on promoting face-toface interaction. I have an aspiration to learn about service and user experience design and hope to continue this passion by completing a Masters at Loughorough University next year in this chosen field.

094

future creati ves

MULTI-MEDIABRANDING TEXTILES

Kornel Faludi

faludikornel@gmail.com behance.net/kornelfaludi

take great enjoyment from seeing the personality and the feel of a brand come alive at the end of a project. What captivates me most about branding is just how different every project is from the last.

Design for a new brand that protests against CCTV surveillance

Design for a new brand that advocates CCTV surveillance

BrandOpus Chrysalis Awards – a new brand that reuses and repurposes spent grain, 2018

future creati ves

095

Hand-rendered typography as part of KFC’s live brief to contemporise the iconic family share bucket through exciting and celebratory artwork

Celebratory and colourful design to illustrate the feeling of sharing and togetherness as part of KFC’s live brief with the YCN Student Awards 2018

PRINTED TEXTILES ILLUSTRATION

Megan Freeman

meganfreeman.design@gmail.com @meganfreemanillustration linkedin.com/in/megan-freeman Placements and work experience: British Fashion Council Vivienne Westwood Anthropologie EU Hearst UK

s a visual communicator with a curiosity for colour and texture and a fascination with collage, I am motivated and inspired by the presence of illustration in contemporary design. The visual aesthetic of my work is developed and enriched through the combination of in-depth comprehensive research and continuous experimentation with new media, through which I aspire to create stimulating illustrations which intrigue and engage the viewer. Whilst working on a number of shorter projects, I have developed an interest in the placement of shape and colour to create dynamic illustrations. Even though I have applied my work to a variety of visual platforms, I am predominantly attracted to editorial and book design, as I enjoy the creative challenge these projects provide. Combining conceptual research skills with an experimental approach to design, I aspire to illustrate in a way that is versatile, current and relevant to the expanding design industry.

096

future creati ves

Book cover design entry for George Orwell’s Animal Farm as part of the Penguin Student Design Awards 2018

MULTI-MEDIABRANDING TEXTILES

am motivated by my interest in branding and marketing. I have concentrated on creating work that is simple and effective to my set briefs. For my finalyear project, I did a D&AD brief (JCDecaux) and used a variety of different media – research, black and white photography and typography – to promote the words #London is Open, a new campaign from the mayor of London. My focus was on getting people’s attention, so I wanted the project to be interactive and personal to Londoners. I created pop-up photo booths around London, where people can take black and white photographs of themselves, and fill in the hashtag #Londonis... to encourage them to think about what London means to them.

#LondonisExciting

Shivani Gohil

shivani_gohil@hotmail.co.uk

#LondonisTogether

future creati ves

097

RETAIL DESIGN PRINTED TEXTILES

Hannah Goodwin

hlougoodwin@gmail.com Placements and work experience: Little Black Book Agency – Chelsea, London

fter interning at a London-based fashion and beauty agency over the summer, I realised my passion for creating and designing for the luxury retail sector. I am enthusiastic about working with luxury brands to devise and implement full-service solutions to a variety of creative briefs. Creating anything from window displays to a new packaging solution, I aim to create a userfriendly and innovative experience. I actively look to utilise and explore the most innovative methods in order to push the boundaries of creative services. After graduation I am looking forward to focusing on a career in visual merchandising.

098

future creati ves

Pawfect Match is a campaign that makes ‘rescue dogs’ the most desirable breed of dog in Britain

MULTI-MEDIA INTERACTIVE TEXTILES DESIGN

Natalie Grace

n-grace27@hotmail.com n-grace27.myportfolio.com/work Placements and work experience: Work experience, Square One Creative (creative design agency) Customer communications work experience, Marketing Team, Boots UK

The rebranding of the ‘The River Lights’ in Derby, a forgotten and underdeveloped area in the city centre.

The branding of the 2018 Heritage Trust Photographic Exhibition

am passionate about a broad spectrum of themes as demonstrated in my current projects as they range from raising awareness of current issues to the branding of events. As a design student, my interests lie within Interactive Design, Branding, and Marketing. My final year of study has highlighted to me that my strengths lie in digital and interactive design. I aim to make my work bold, unique, and exciting to reinforce the positive intent and purpose of each project. In particular, I find projects that focus on raising awareness of, or tackling, relevant and ‘real life’ problems the most rewarding. As a creative minded individual, I believe I can build and develop innovative design solutions working individually and within a team environment. My ideas and thought-processes are inspired and stimulated by a variety of sources which enables me to work on a diverse range of projects.

The Memory Pod is a project created to tackle loneliness amongst the senior generation. The mock up shows the video brochure design.

future creati ves

099

GRAPHIC DESIGN PRINTED TEXTILES

Natasha Grossi

tashagrossi@yahoo.co.uk @tashagrossidesign

uring my time as a design student at Loughborough University, it has been indicative that my interests lie in conceptualisation and storytelling. My final-year project has allowed me to showcase my creativity and bring imaginative concepts to life through visualisation of ideas. I have a natural ability to narrate and wish to reflect this in the work I create. Working in a group for my final-year project has improved my ability to communicate and organise effectively. Ultimately, I aim for my work to have an impact on people, whether it be a comical or intriguing piece of work.

100

future creati ves

Final-year project: augmented reality trading card game

Non-Fiction Book Cover Competition run by Penguin – this is my outcome for the Stephen Hawking brief

MULTI-MEDIA ILLUSTRATION TEXTILES

A visual from my Digital Health campaign – a reminder to keep our technology updated to prevent our personal online data from being stolen. Based on the ransomware attack on the NHS

Fran Hall

fhall233@gmail.com @franbhall fbhall-15.myportfolio.com

y inspiration comes from a range of creators such as Shepard Fairey and Alphonse Mucha, and William Morris and Banksy. I am very enthusiastic about producing work that’s symbolic, and my work tends to be very decorative and colourful. I thrive when I’m drawing, and I’m an illustrator at heart. From the beginning, my aspiration has been to work in publishing, freelance illustration or textiles. I have done various publishing briefs, which were mainly focused on book illustrations, covers and magazines. I’ve also completed briefs for branding, photography, and illustration. These were built around subjects such as ransomware or the environment. Over the last couple of years, I have learnt a great deal about graphic communication, illustration, and most of all, about myself and what I can do.

Fragments cover – a short tale inspired by my visit to Prague

Inside pages of Fragments

future creati ves

101

PRINTED TEXTILES BRANDING

James Hamlyn

jameshamlyncreative@gmail.com @jameshamlyncreative

A still from an animation project looking at special relativity

mainly work around branding but with some work exploring other areas.

Another still from the animation project

Branding and advertising for a retirement social club

102

future creati ves

Work for Loughborough Students’ Hockey Club

outh Korea, educating others, learning new languages and written type. These summarise where my passion for work lies. Theory, research and factually driven, my focus within design is finding, sorting and concluding research with an appropriate visual outcome. I have always linked my University work with target audiences through suitable companies and organisations from the NHS to Seoul Metropolitan Government and most recently, EDIYA COFFEE. I enjoy exploring new options and forming my own ideas which have relevance to current day practice. Cultural analysis, ideation, photography and illustration are my creative strengths.

CULTURAL ANALYSIS, MULTI-MEDIA PHOTOGRAPHY TEXTILES

Alex Mary Harrington

ahazharrington@gmail.com ahazharrington.myportfolio.com Awards and achievements: Guest speaker at The Festival of Life and Death, UK, September 2018 Co-founder and volunteer for English Conversation Club at Loughborough Students’ Union, December 2017 - June 2018 HSK 1 and 2 Chinese Mandarin, September 2016 - May 2018 Ede and Ravenscroft and Loughborough University Prize Winner with a sponsored research trip to South Korea, July 2017 British Taekwondo Bronze Medallist, October 2016

Placements and work experience: Freelance Photographer, Summer 2015 - present Translator and Customer Service at Chengs Chinese Takeaway, Chelmsford, August 2013 - September 2017 Post-Production Editor for Ph2O Photography Limited, Summer 2017 Photographer for NHS East Midlands Ambulance Trust, September 2016 Co-Graphic Designer for Chelmsford Royals Netball Club, July 2016 9 9

Inspired by repurposing commemorative memorabilia into a Korean modern living day context, I present a 75-day in-house coffee experience commencing on and for the 75th anniversary of Korean liberation in 2020 to EDIYA COFFEE. This will not only spark public interest into traditional Korean culture but sales and profit too.

future creati ves

103

PRINTED TEXTILES GRAPHIC DESIGN

Kunfan He

alice867813905@gmail.com behance.net/alice867818f08

London is Open

Placements and work experience: Internship, Creative Designer, Shanghai Focus company, 2017 Internship, Creative Designer, Shanghai Dawson company, 2016

Local knowledge

isual communication is the fundamental propose of every design of mine. It is a way of expressing myself to the public and bringing positive changes to society. As a graphic designer, my professional skills increase rapidly every time I finish new challenges. The thinking process always follows two principles: creativity and innovation. I developed my work through a range of different media and tools. Works were demonstrated through photography, book design, branding and user experience design. My ambition is to input all my enthusiasm into the visual world, combining my knowledge, social and cultural awareness, to achieve the purpose of communicating with strong visual language.

104

future creati ves

London is Open

Quit Smoking app

Portrait

OUOU campaign logo

OUOU office mug

MULTI-MEDIA BRANDING, TEXTILES IDENTITY

Dan Herrick

dan@danherrick.design @danherrickdesign danherrick.design Placements and work experience: Bright Spark Creative, Newcastle Lazy Grace, Newcastle

Awards and achievements: Loughborough University Academic Excellence, October 2017

OUOU symptoms iconography

Armstrong & Aldrin’s Moon Rock vodka bottle

am a graphic communicator with a focus on creating brand identities that are memorable and distinctive. Through my work, I aim to communicate a visual and verbal tone of voice that represents the client’s values and appeals to their audience. OUOU educates men and women aged 25-35 of the symptoms of breast and testicular cancers – the most common types within this demographic. The campaign employs mischievous and positive language to promote monthly self-checking and encourage conversation of a taboo topic in workplaces. Check out the campaign video at: vimeo.com/260808823

Armstrong & Aldrin’s Moon Rock Vodka logomark

Playing on nationalistic sentiments to appeal to a neoconservative American audience, Armstrong & Aldrin’s Moon Rock Vodka commemorates the United States’ victory in the Space Race. The vodka is produced on US soil and is filtered over a piece of moon rock that was carried back to Earth from the Apollo 11 mission.

future creati ves

105

PRINTED TEXTILES ILLUSTRATION

Tom Hope

tomhope15@gmail.com tomhope15.myportfolio.com @tomhopeinsta

’ve always had an interest in drawing which is why I aspire to become a professional illustrator. In recent projects I’ve worked on illustrating graphic novels and books along with smaller illustrations for product design and posters. I’ve included examples of my two favourite projects where I broke away from my usual drawing style and instead tried something new. I’m motivated to keep experimenting with new things and growing as an illustrator so I can flourish in the professional industry.

Examples of two illustration projects I worked on recently. One is based around a trip to Prague and the other is based around the 100th anniversary of The Great War.

106

future creati ves

A selection of work from my most recent projects

MULTI-MEDIA ILLUSTRATION TEXTILES

Alex Jenkin

alexjenkin1996@gmail.com @alexjenkinart

y passion is based around telling a story – throughout my life, my art has first and foremost attempted to communicate narrative ideas. My interest spawned at an early age when I started to read comics and illustrated novels, where I found a good illustration can say just as much as a page of writing. Initially, I wished to enter the comic book industry, and although this is still one of my aims, it is not my sole one. As I progressed through my course at Loughborough, it became apparent that my focus was the storytelling aspect of art – something I have worked on more specifically in my recent work.

future creati ves

107

PRINTED TEXTILES CREATIVE STRATEGY

Natalia Jimenez-Murphy n.jimenez.murphy@gmail.com nataliajm.myportfolio.com

Placements and work experience: Freelance Graphic Designer – Nobox, Miami Marketing Intern – Endeavor, Miami Design Intern – Melissa Shoes, New York Graphic Design Intern – Nobox, Miami Marketing Intern – Pitusa, Miami

Illustrating the issues families face within airports.

An infographic identifying the customer journey, problems and possible interactive solutions for creating a more family friendly environment in airports.

he most important factor to my creativity is my global mindset, driven by my experience and understanding with other cultures. Growing up in Chicago, with a half-Spanish background, living in the Netherlands and now studying in the UK has opened my mind and made me realize the impact of design and, more importantly, creative thinking in the world today. My passion for creative work extends beyond design and into strategy, entrepreneurship and marketing. I believe it is fundamental to use my creative thinking and design skills in a variety of ways and disciplines in order to create positive impact.

Through my university career and work experience, I have realised that my main interests lie within creative strategy, marketing and entrepreneurship. The research, ideation, development and planning stages of the creative process are the ones which excite me the most. They allow me to think differently, solve problems and develop innovative ideas.

108

future creati ves

Hand-made prototype for redesign of Stephen Hawking’s ‘A Brief History of Time’. The book’s shapes, cut-outs and illustrations reflect the content surrounding physics and cosmology explored in the book.

Examples of digital illustrations created for the book.

have completed numerous projects throughout my degree, across a variety of disciplines: photography, branding, editorial design, packaging, animation, app design and illustration; each brief widening and strengthening my skills, shaping me into a multidiscipline designer. As a curiously minded emerging creative, specialising in branding and packaging, I carefully select or create briefs to produce designs that are more exciting and fit for purpose than what is currently available, whilst solving key problems and challenging social norms to educate, provoke or persuade my audience. Learning how different audiences respond to designs is an aspect that interests me as much as the design process. I enjoy finding ways to engage with new audiences, and purposefully choose briefs with varying target audiences. This has allowed me to produce work that is decorative and elegant as well as bold and playful, demonstrating an ability to create effective solutions from complex briefs.

BRANDING, MULTI-MEDIA PACKAGING TEXTILES

Lauren Johnson

laurenjohnson37@hotmail.co.uk @lj_graphicdesign linkedin.com/in/laurenjohnson37 Placements and work experience: Marketing Coordinator, Loughborough University Rag

Final-year work

future creati ves

109

PRINTED TEXTILES GRAPHIC DESIGN, PHOTOGRAPHY

Alice Kendall

aliceelsiekendall@gmail.com @alicekendall_photography behance.net/alicekendall Placements and work experience: Graphic Designer, West London Shooting School, 2016-17

ith an ambition to design for change, I am inspired by taking on design briefs which combat social and environmental problems. I believe graphic design is a very powerful communicative tool which can spark and inspire positive transformations within society. Through meticulous research I enjoy finding innovative and unconventional design solutions to reach specific target audiences. I am an avid photographer, fascinated by photography’s narrative function in bridging the gap between sitter and audience. By using my photographic, digital design, branding, typographic, conceptual and research skills, I adopt an incisive process from ideation right through to high-quality execution. My placement year was an invaluable insight into the relevance of creativity to the commercial world and my four years spent developing my visual design skills have equipped me to be ‘industry-ready.’

110

future creati ves

FlairPay is a campaign to urge creative companies to pay their interns rather than offering unpaid internships

A selection of work from my most recent projects

TYPOGRAPHY, MULTI-MEDIA ILLUSTRATION TEXTILES

Rob Kilworth

robert.kilworth@btinternet.com

lthough my style has evolved over the years, the core of what I love to create has always been the same. My work focuses on how I can strip down an idea into a well thought out piece that tells the story I want, while maintaining a strong use of colour. Whether it be a simple piece of typography design that has charm and character, or a full page layout that draws from my love of illustration, my attention to detail and playfulness of conceptual ideation are what shine through.

future creati ves

111

PRINTED TEXTILES PHOTOGRAPHY, GRAPHIC DESIGN

Alice Kirkaldy

alice.kirkaldy@hotmail.com

rowing up in Dubai, I have experienced how different cultures can affect the design surrounding them. I enjoy experimenting with new techniques and technologies throughout my coursework and designs. I like to put my own unique spin on my work, allowing my signature style to stand out and be seen. Studying at Loughborough University has expanded my knowledge and design processes, along with allowing me to produce more interesting and innovative designs.

112

future creati ves

Part of the project ‘Gi Roc’ that is about my twenties. ‘the blue spring’ is a series of graphic illustration works of my blue emotion.

MULTI-MEDIA GRAPHIC TEXTILES DESIGN

Hae Ko

studio.cranberries@gmail.com @by.heize

ver since I began learning about communication design, I have focused on successful communication. As a Korean studying in the UK, I have observed lots of interesting cultural differences. This reminds me that communication is important to people who have different backgrounds from each other. My works are usually based on my life experiences. Before I came to the UK, I spent most of my time in my country, South Korea. This usually gives me a basic idea when I start developing my project and my five-year-life in the UK helps me to develop my thinking. This mixture of experiences helps me to create interesting outcomes.

future creati ves

113

A PRINTED TEXTILES GRAPHIC DESIGN

Caroline Lakeman

carolinelakeman@gmail.com behance.net/carolinelakeman linkedin.com/in/carolinelakeman Awards and achievements: Diploma in International Studies at the University of Michigan

Placements and work experience: Design Intern, OLIVER Agency

lthough a late starter in regards to a specialism, I have finally found my calling in the world of editorial design and typography. The precision, patience and time needed to edit layouts and type are crucial to ensuring that the readers can enjoy the work without being jarred by overlooked details. Determining the relationship between text and image is paramount; through ambiguity or contrast, I am able to create visual and narrative hierarchies. Editorial design enables me to dive into other skills such as photography and handwritten type, to make bespoke pieces of work that perfectly fit briefs. I strive to push the boundaries of accepted conventions within the industry, rather than resting easy; to produce work that makes others stop and think, not only about the content, but about the beauty and simplicity of the surrounding design.

Editorial sharing a World War II diary account from the occupation of Jersey

114

future creati ves

rom a young age, illustrations in children’s books had me in awe, with their endearing compositions and storylines, inspiring me to create my own. Throughout my work, my main aim has been to develop characters that my target audience can empathise and connect with. I enjoy working in a mixture of mediums to create fun, engaging compositions, but especially love the flexibility of creating work digitally.

Carmelite Prize 2018

The Mouse and the Carrot

MULTI-MEDIA ILLUSTRATION TEXTILES

Jade Lawley

jade.lo.lawley@gmail.com @jadelawleyillustration jadelawley.design linkedin.com/in/jade-lawley-85911a162

Grandparents go on Holiday

The Mouse and the Carrot

future creati ves

115

PRINTED TEXTILES ILLUSTRATION

Hannah Jayne Lewin

hannahjl1995@googlemail.com @hannahjayneillustration hannahjayneillustration.com

wholeheartedly love to draw and my time at Loughborough has further fuelled this passion and helped develop my skills as an image-maker. I take inspiration from a variety of areas, but by far my greatest inspiration comes from the adventures I have exploring the world around me. I often capture textures from different places I visit and work them back into my illustrations. I love to tell stories with my pictures but also like producing stand-alone imagery. The challenge of sensitively communicating serious issues to children is something I enjoy, in addition to creating fun, playful imagery suited to more light-hearted topics. My sketchbooks are a vital part of my illustration process and in them I experiment with materials and processes, which help me create unique and considered outcomes. I like to apply my illustrations to innovative and interactive products to actively engage young target audiences.

Double-page spreads and character designs for the Templar Illustration Competition 2018

116

future creati ves

Gulangyu Island branding

MOTION GRAPHICS, MULTI-MEDIA INTERACTIVE TEXTILES DESIGN “JoyBirth” UI/UX design

Lujia Li

llj930remem@gmail.com lilujia.wixsite.com/portfolio vimeo.com/lujia Placements and work experience: Motion Graphics Designer, Possible Worldwide, Singapore, October 2014 - August 2016 Media Designer, Asto System, Singapore, July 2014 - September 2014 Student Producer, Creative Designer, Mediacorp, Okto Chanel, September 2013 - November 2013

tudying a course in Graphic Communication has given me a better insight into what path I want to follow in the future. I found I had a great interest in UI/UX design and motion graphics. My passion for design transforms ideas about the world around me into the visual language. Fusing different ideas and techniques into one whole piece is what I usually intend to do. I also have a special affection for photography and films. Besides this, I enjoy travelling and seeing the mix of cultures. Sometimes these inspire me to produce new and exciting things in many different forms.

Prague Spring Festival Promo Video

future creati ves

117

“Do Not Waste”

Package Design – Sliced Beef for Hot Pot

PRINTED TEXTILES ILLUSTRATION, STORYBOARDING

Jiayu Liu

j_yul66@yahoo.com behance.net/j_yul661218

Town in the Evening Dobrou Chut’ (Study Trip to Prague)

his is a documentation of my journey exploring different areas in Graphic Communication.

Light-heartedness and joy is the concept of my way to talk to my audience. Simplicity is my style. Please enjoy!

“Shun” – This Moment

118

future creati ves

am an ambitious, hard-working creative with a passion for storytelling. My degree work has been directed towards storyboarding, concept design and visual development for the purpose of animation. My prior experience of Fine Art gave me a comprehensive set of traditional artistic skills. I realised during the foundation course at Loughborough that I could translate my skills to visually communicate stories and meaning. My experience in drawing and painting has greatly influenced my digital art technique. My intention is for my audience to see themselves in my characters, provoking self-reflection under the theme of each project. I heavily research the themes and target audience for every project, allowing me to fully understand the context and approach each issue in the most effective way possible. I love the way that designing for animation allows me to create a whole new world from scratch, where I can make anything happen!

STEM Project Character Design

CONCEPT MULTI-MEDIA DESIGN, ANIMATION TEXTILES

Phoebe-Rose Logan

phoeberoselogan@gmail.com @phoebe_artist behance.net/phoeberoselogan Awards and achievements: The Employability Award, March 2018 The Education Award, July 2016 HBO Game of Thrones Pop Up Exhibition, November 2016 Face Off Exhibition, Loughborough, May 2015

Placements and work experience: Art Director, Label magazine, June 2017 - current Illustrator and Page Designer, Label magazine, October 2016 - June 2017 Graphic Design work experience, Line Up, August 2014

STEM Project Developed Storyboard

STEM Project Environment Design

future creati ves

119

*clears throat*

could give you the whole “I’ve been drawing since I could hold a pencil” story, but the truth is I cried the first time I saw a pencil because I thought it was edible. It just gave me blue mouth and red eye.

PRINTED TEXTILES ILLUSTRATION, GRAPHIC DESIGN, ANIMATION

Emily M. Logie

emilylogie@gmail.com @dairylogie behance.net/mlogie

The way I work is spontaneous yet logical, sincere yet humorous, taboo yet relevant. I utilise people’s pre-existing concepts to encourage them to unexpectedly connect the dots. My goal with association is to create ideas that expand the audience’s perception, to guide the audience towards new possibilities and ways of thinking. Through association and focusing on taboo subjects alongside memorable humour, I efficiently communicate to the audience. I’ve found my passion, and it wasn’t hidden in a passionfruit. It was hidden in using design to do good. It was hidden in the words: “I have an arsehole but I am not an arsehole.”

Awards and achievements: Study abroad at the University of Michigan, September 2016 - April 2017

Placements and work experience: Intern, Dunelm Design Department, February 2018 Volunteer, The Sparks Arts for Children, May 2017

These images portray a year’s worth of work; creating visually pleasing images for the eyes to feed the brain. They hope that taboo topics can become conversational through humour.

120

future creati ves

y diverse and commercial-facing portfolio includes self-driven, bold and experimental projects, all with a unique design language. I place a strong focus on visual communication, with the aim to bring strength and simplicity to new and existing brands, whilst incorporating intuitive strategic thinking. I always pay particular attention to the detail; for example, optimising brand elements to perform across various platforms, from the small-space digital world to environmental graphics. Academic projects range from re-branding a 25-year-old comedy festival to creating a collaborative platform for young creatives; and from designing a well-being app for students to branding a museum of way-finding. Freelancing has given me the opportunity to challenge myself outside the university environment, for example: helping to brand start-up companies and meeting people from different backgrounds. The biggest motivation I have is to create an open and better connected world.

‘It’s time to’ group project campaign

Paralucent / Source Sans Pro Purple

Ralph Lyons

ralphlyons17@gmail.com @_lyonscreative lyonscreative.graphics Placements and work experience: Paid work for content design and live production agency, SomeBrightSpark

‘It’s time to’ group project campaign

Me& Eu

Aqua blue

MULTI-MEDIABRANDING TEXTILES

Green

Regular Semi-Bold Bold

Red

Grey

R: 198 G:198 B:198 #C6C6C6

R: 107 G:36 B:222 #6B24DE

R: 239 G:75 B:75 #EF4B4B

R: 56 G:12 B:142 #380C8E

R: 15 G:216 B:187 #0FD8BB

R: 59 G:134 B:255 #3B86FF

Me & Eu collaborative platform

The mission is simple, to create a platform that encourages UK student designers to collaborate with EU student designers.

together nite erge

Me & Eu collaborative platform

Leicester Comedy Festival re-brand

future creati ves

121

Branding a geographical location – Gandhi Market, a buzzing textiles street market in Mumbai, India, which is a prominent touristic and cultural attraction for many international visitors.

PRINTED TEXTILES GRAPHIC COMMUNICATION

Hinal Makwana

hinalmak2000@gmail.com hinalmak2000.wixsite.com/creativeportfolio

y main design focus has been geographical branding that looks at visual identity and the emphasis of awareness campaigns. Much more recently, I have enjoyed exploring user interface design and helping to create a memorable experience through a digital service. These projects have reflected my skills in graphic communication such as logo design, typography, photography and digital collage. I like to use digital design software as well as support my work using traditional methods such as hand-drawing. My growing interests in the urban-visual environment as well as my bi-cultural background have contributed to the themes of my projects.

D&AD New Blood 2018 – JCDecaux’s digital bus shelter screens on Oxford Street, London, are designed to communicate the Mayor’s message #LondonIsOpen that will bring together parents and children amongst the shopping crowd.

122

future creati ves

City of Learning – Routes, a smartphone app that lets users research, plan and customise leisurely walking activities in the outdoors which they can participate in away from their busy working schedule.

MULTI-MEDIA ILLUSTRATION TEXTILES

Rose Mallon

rose.mallon11@gmail.com

hroughout my time at University, I have researched and explored a range of creative skills and techniques, which I have adapted into my own illustrative voice. My work is focused on illustration as it has been a passion of mine from a very young age, inspired by stories I grew up reading. My love for books fuels my illustrations and I have recently focused my projects on teen and adult fiction. Developing a style consisting of inks and collage, my aims for my work are to be both unique and recognisable. My work has always had a strong focus on ink illustrations; however, this has recently evolved into mixed media which I wish to continue developing.

Recent illustration projects

future creati ves

123

Behind the scenes of drag performance, Portraiture project – representation of space

PRINTED TEXTILES PRODUCTION DESIGN CINEMATOGRAPHY,

Sadie May

sadiemayoldfield97@gmail.com sadiemay.myportfolio.com @sadie_may_productions Placements and work experience: Freelance photography and videography E-learning Content Designer, Shaping Business LTD Media Representative, LSU Disability Support Network Social Media and Communications Manager, Chrome Motors

y work is mainly revolved around storytelling and using photography and film making to explore visual communication. Over the course of my degree, I have designed and built my own sets. This led to a further interest in storytelling with environments, lighting and camera angles to develop more detail in an image or film. I use illustration for character designs and storyboards which has been an effective way to present ideas and plan shoots. This work is an example of the narrative I really enjoy researching.

Eva, Portraiture project inspired by Cheshire police interview discussing children in house raids

124

future creati ves

GRAPHIC MULTI-MEDIA DESIGN, ILLUSTRATION TEXTILES

Vanisha Mistry

vanishamistry@hotmail.co.uk vanishamistry.myportfolio.com linkedin.com/in/vanisham Moving Mums, a fitness app designed for mums

Awards and achievements: Diploma in Professional Studies, 2017 Label Illustration Competition winner, 2015

Placements and work experience: Graphic Design Intern, Rayburn Tours Industrial Placement, 2016-17

Yarning Away, a brand identity client commission

s a highly ambitious and multi-disciplined visual communicator, my interests lie in all aspects of graphic design, including: UX, advertising, editorial, branding and illustration. My work commonly serves a purpose where I aim to raise awareness and problem solve, highlighting social and environmental aspects which educate, inform and connect with my target audience. As a naturally attentive individual, I am continually driven to seek new challenges by drawing inspiration from a range of places to push the boundaries with my creative thinking. My attention to detail and presentation is reflected professionally in both print and digital formats. My experience of performing in deadline-driven environments, alongside a growing portfolio showcasing a diverse range of transferable skills, demonstrates my ability to adapt to any given brief.

D&AD John Lewis rooftop bar pop-up experience

future creati ves

125

PRINTED TEXTILES ANIMATION

Jack Samuel Morgan jacksmorgan55@gmail.com @jack_samuel_morgan

uch of my work at University has been on animations, from budgeting and pitching, through to storyboarding and animatics. Often, I try to incorporate visual wit into my work, giving it a sense of humour. Music has also been quite influential to my work, with certain tunes striking up honest emotions and inspiring the strong visuals. This is something I hope is evident in my Degree Show animation.

Character sheets from various final-year projects

126

future creati ves

GRAPHIC DESIGN, BRANDING, MULTI-MEDIA MARKETING TEXTILES

Branding a Food Festival

Nupur Nair

nupur.nair11@gmail.com @nupur_designs linkedin.com/in/nupur-nair-9250b3131 nupurnair11.wixsite.com/nupursportfolio Awards and achievements: Awarded ‘Best Development’ at the Midlands 2017 SPA Awards for WoW magazine (Loughborough Athletic Union Magazine) Loughborough Employability Award, 2015-16

Placements and work experience: WoW magazine editorial team, 2017-18 Branding and marketing internship, Vistaeagles Global, 2017

have a growing passion for visual communication, helping me to completely indulge myself in my design process. I enjoy exploring the solutions to design challenges, especially those surrounding branding, publishing and visual identity. I have had the opportunity to live in three different countries: India, UAE and now the UK. This culture and diverse background has resonated in my design language, consistently being a strong influence. My work is dynamic, ranging from minimalistic graphics to vibrant and bold imagery.

Illustrative publishing design

Bystander Intervention Campaign

I believe that connecting with the audience is the key to any successful design. It is vital that they understand and interpret the work appropriately. My goal is to design for a purpose, creating work that captures the attention of the target audience but also makes them think differently and challenges their mind. I like to make my work stand out by encouraging the viewer to look twice. future creati ves

127

PRINTED TEXTILES BRANDING, VISUAL IDENTITY

Lucy Nicholls

ln.graphics97@gmail.com @ln.graphics97 lngraphics97.wixsite.com/portfolio linkedin.com/in/lngraphics97 The Solar System, illustrated for a children’s mobile app

Awards and achievements:

Postcards for a World War education centre

Highly Commended for the Media Award in the LSU Societies Awards 2017 for my work with LSU Harry Potter and Quidditch Society, March 2017

Placements and work experience: Freelance Designer, 2013 - present Media Representative for LSU and Harry Potter Society, March 2016 - March 2017 Mock-up boxes for a luxury chocolate brand

y work is heavily focused around visual identity and a minimalistic style. Branding has been a passion of mine for several years, starting initially as an interest in typography, before developing more towards an interest in the whole visual identity of a brand. Even my dissertation was focused around branding, looking at the use of typography in political campaigns. The knowledge I have gained from my three years of study has allowed me to refine my design skills and my ability for solving a problem through graphic communication.

Website home page for a World War education centre

I am largely influenced by current trends in visual identity, meaning that every project I complete has its own unique style and they all look very different. A passion for music and album artwork has helped fuel this: seeing how bands change their image to fit with current styles, or choosing to represent themselves minimally visually and let the music speak for itself. Typically, my work is all produced digitally, with most illustration being done completely on a computer, and I often use very simple colour palettes and create bold and clean logos with simple typography. This means my work is often very ‘to the point’, much like me.

128

future creati ves

Business cards for myself as a freelance designer

MULTI-MEDIA TEXTILES ILLUSTRATION, STORYTELLING

William Edward Oates

williamoates@manx.net @black_ink_marat @willandmouse

y work is predominantly illustrative, condensing big concepts and ideas into bite-sized visual metaphors. A lot of my work has more of a serious undertone which can been seen with my choice of medium. I incorporate textures and analogue mark making with digital software in order to create something that looks authentic with a digital presence too. This latest project is a combination of illustration, storytelling and minimalistic animation practices. It consists of five original stories that can be best described as dark and ironic fables.

future creati ves

129

y love of design resides primarily in problem solving. The satisfaction of cracking a brief to create an effective solution is worth the blood, sweat and tears. Loughborough has allowed me to explore various areas of visual communication where I found my passion in advertising and branding. My aim in every project is to produce work developed from a unique viewpoint, embracing creativity through experimentation and problem solving. I have been described as a proactive designer which, outside of university, has led to significant responsibility. Through my organisation, passion and competitive nature, I have proven to create innovative solutions to challenging briefs.

PRINTED TEXTILES BRANDING, ADVERTISING

Natalie Oon

D&AD New Blood Antalis and Conqueror – interactive installation

natalie.lixuan.oon@gmail.com behance.com/natalieoon linkedin.com/in/natalie-oon Placements and work experience: Head of Design, Loughborough University Label, October 2017 - June 2018 Graphic Design Intern, Rainbows Hospice, October 2017 - January 2018 Graphic Design Intern, Wild Asia, Malaysia, July 2017 - August 2017

Awards and achievements: Loughborough Employability Award, June 2017

Rainbows Hospice – online advertising

130

future creati ves

Burst the Bubble – 10 Ways to Beat Stress poster

The Templar Illustration Prize 2018 – The Museum of Curiosity, cover

MULTI-MEDIA ILLUSTRATION TEXTILES

Megan Pickering

holysnailproductions@gmail.com @holysnailproductions

Page 1, illustration only

s a creative, illustration has always inspired me; the pure creative freedom to draw and design anything that my imagination can think of is amazing. I have always loved stories, both telling them and hearing them, and that really comes through in my work. My illustrations are fun and expressive, with endearing characters and quirky storylines. I find inspiration in day-to-day life: the little things that make you think, that inspire you to learn more, showing that there is a wealth of knowledge out there that is waiting to be discovered.

Page 2, illustration only

future creati ves

131

Re-branding for the Rio de Janeiro botanical gardens

PRINTED TEXTILES BRANDING

Philippa Pont

philippaafpont@gmail.com @philippapontdesigns

y work centres on using a strong visual language and focused user research to create an effective response to any brief. My natural interest in digital media and its business applications within the creative market made me choose to pursue a career in branding and visual identity. I believe that my multi-national background also brings a different perspective to my work, as it makes me aware of the importance of cultural research which allows me to develop not only designs which are visually pleasing, but also interesting and effective.

App screenshots for ‘Bike Buddy’ app

132

future creati ves

Visualisation for ‘Bike Buddy’ app

Publication to inform young people about drugs

PUBLISHING, MULTI-MEDIA ILLUSTRATION TEXTILES

Lisa M. Remy

lis.m.remy@gmail.com @lmremy_design Placements and work experience: Label magazine, 2017-18 Marketing at régie.lu (part of the Luxemburger Wort), 2017 Animation at the Picture Factory, 2013 Animation at the Studio 352, 2013

am a driven illustrator and publishing designer. My design etiquette is flexible as I tend to adapt my style and techniques to the needs of the project and target audience. I prioritise the experience and interaction of my audience with my work, and value the user’s feedback, taking their social and cultural background into account. My visual language is influenced by numerous designers. I use illustration to create a strong graphic narrative, which is then used in functional designs that serve a purpose. Attention to detail is crucial to my design process, as well as aspects such as typography and colour palettes.

Double page spread in Label magazine

I enjoy getting involved in projects, such as the Label magazine at University, which helps me gain valuable experience within the publishing design discipline.

Illustration for an article about people of colour in the beauty industry

My main goal is to create work that provokes a reaction from people who see it.

future creati ves

133

Final-year project AR game

PRINTED TEXTILES GRAPHIC DESIGN

Yando Siebert

yandosiebert@me.com @yandosiebert_design Placements and work experience: Specsavers

uring my time at Loughborough University, my course has allowed and encouraged me to explore many different aspects of graphic design. My final-year project encompasses the skills I’ve learnt and showcases my creative breadth. The opportunity to work in a group is an experience I decided to take advantage of for my final-year project, preparing me for a working environment when in the creative industry. I have a natural flair for producing original ideas and have been able to illustrate this ability through my final-year project.

134

future creati ves

MULTI-MEDIA GRAPHIC TEXTILES DESIGN

Alice Sisson

a.sisson@outlook.com @_ascreative Placements and work experience: FC Cartons, June 2016 - June 2017

aised and educated in the Midlands, I have embraced the opportunity to delve between disciplines at Loughborough. Regardless of the project, a focused, contentious attitude is continuously maintained to methodically respond to briefs and eventuate a considered outcome. Whilst remaining flexible, my work is often decorative. It appreciates detail and is frequently laced with personal, cultural or subtle mechanisms to reinforce subliminal intentions and meaning. In a digitally dominated generation, I ordinarily favour more traditional, tangible print qualities that screenorientated design simply cannot satisfy. I have always admired the beauty of typography – finding it fun to re-write entire books as a young child (perhaps odd). The emotional properties and individual character which typography can visually construe are still of personal fascination. Whilst this remains a sentiment, I am always keen to try new techniques, medias and applications which all further expand upon an existing diverse skills base.

future creati ves

135

Empower Refugee Women (ERW) – branding and interactive design

Library Train – branding and service design

PRINTED BRAND IDENTITY, TEXTILESUI/UX DESIGN

Brintha Sivarajah

brinthasivarajah@googlemail.com brinthasivarajah.com Awards and achievements: Performing in Loughborough Students’ Union events, October 2017 Member of NHSF Loughborough Media Team, March 2016 Head of Tamil Society Media Team, January 2016

Placements and work experience: Events Promotion Executive, GTi Media Digital Marketing Executive, Sports & Entertainment Engagement Ltd (SEE) Customer Assistant, KFC restaurant Customer Assistant, LOROS charity store Graphic Design Assistant, Diams Limited Teaching Assistant, Merton Primary School

Interactive digital bus stand – ERW outcome

136

future creati ves

am an ambitious creative designer with key interests in trying challenging and risk taking briefs. I thrive in exploring different user groups and understanding user needs, interests, routines and stakeholder relationships. Getting to know people from different cultural backgrounds motivates and inspires my design for the social good, in the context of promoting a positive impact through the application of unique visual language.

Re-branding Design Museum’s visual identity

Re-brand SEE’s corporate identity – placement-year project

MULTI-MEDIA TEXTILES ILLUSTRATION

Charlotte Six

charlottesix96@gmail.com @charlottesix_art

s a mixed-race African/Belgian girl raised in England, multiculturalism has always been a big part of my upbringing, and shaped the way I see the world today. Through my work I like to project my vision of today’s society, and I aim to showcase the beauty within the different cultures that shape the world. My work is usually colourful and dynamic, at times opinionated and always passionate. I like to use a variety of different media, from generating graphic art through computer programmes to using acrylic and gouache paint, as well as collage and hand drawings.

future creati ves

137

was born in São Paulo, Brazil; however, since the year 2000, I have lived and studied in China, Germany, and now the UK. My international living experience is a big inspiration for much of my work.

PRINTED TEXTILES PUBLISHING

I have done a year-long work placement at Johnson & Johnson as an in-house designer, which gave me experience of working in a corporate environment. I also spent a month doing an art direction and design placement at McCann Central, which gave me the experience of working in an agency.

Bia Soares

My main interests are publishing design and typography, but I also have experience in UX and information design.

Placements and work experience:

This particular project is a response to a 2018 D&AD brief asking that graphic design is used to make a difference. São Paulo Para Todos is a multi-platform initiative to get people to work together and participate more in charitable community events.

biaasoares96@hotmail.com

Art direction and design work placement, McCann Central, 2018-present Junior Graphic Designer, Johnson & Johnson, 2016-17

The magazine

The app

138

São Paulo Para Todos means São Paulo for Everyone, which emphasises the mission of collaboration and community

future creati ves

BRANDING, MULTI-MEDIA MARKETING TEXTILES

Bevy Brewery Campaign – Rebranding Streatham, London

Ella Storey

ellaisabellastorey@hotmail.co.uk

Placements and work experience: Junior Graphic Designer Intern, Honey Creative Business Consultancy

y work focuses on creating an intriguing and emotionallyconnected brand experience. I enjoy combining brand strategy and identity with creativity in order to produce the most suited outcome for my target audience, whether this be through an online social media campaign, an environmental campaign or a publication. My projects aim to be visually exciting and personal in order to have an impact on customer engagement and interaction. The idea of building a brand and marketing new products to audiences excites me. This has encouraged me to study Digital Marketing at Masters degree level in September 2018 at Loughborough University, London.

Street Feast Campaign – Summer Loyalty Book

future creati ves

139

GRAPHIC TEXTILES DESIGN PRINTED

Simran Takhar

s_tak@hotmail.co.uk @simrantakhargraphics behance.net/simrantakhargraphics simrantakhar.myportfolio.com Placements and work experience:

Branding and packaging concept for a healthy coffee drink

Sky TV Creative

’m passionate about using the fundamentals of graphic design to create meaningful, well crafted visual designs and experiences. I have a multidisciplinary graphic design background with experience of working in branding, campaigns, packaging, UX/UI, web and interactive design.

Branded mobile website for an arts festival

Snapchat geo-filter campaign on air pollution in our cities, entry for D&AD New Blood DropBox brief

140

future creati ves

User interface design and illustrations for a children’s yoga video game

ILLUSTRATION, MULTI-MEDIAUITEXTILES DESIGN, GRAPHIC DESIGN

Xiaofei Tang

finaqiang@gmail.com @fina_fei UI design for breakup app (Goodbye)

Placements and work experience: Intern Designer, Guixin decoration design and engineering company, 2017 Graphic Designer, Hair Alley Original Music Team, 2016

Illustration (Has nothing to do with school work)

s a Chinese student studying abroad, I was troubled not only by the impact of two completely different cultures but also my indecisive direction in the field of art and design. I have a lot of interest in many areas at the same time, such as illustration, graphic, printmaking photography, animation, web design, UI design, etc.

Penguin Student Design Awards – book cover design for Animal Farm

Prague proposal – photograph series

Fortunately, the three years of learning at Loughborough have enabled me to experience most of the areas I am interested in. It also made me realise which area is rapidly developing and in urgent need of talent: interactive design. I believe that the various skills and knowledge I have accumulated can be a great help in the field of interactive design.

Prague proposal – photograph series

future creati ves

141

PRINTED VISUAL COMMUNICATION TEXTILES

Winning logo for an international project on digital storytelling called ‘Europe of our Lives’

Triplan, a reliable trip planning service for families visiting London

Sharika Sabir Tayub

sharikatayub@gmail.com behance.net/sharikatdesign sharikatdesign.myportfolio.com Awards and achievements: Winning logo for an international project on digital storytelling called ‘Europe of our Lives’, February 2018 LEAP Award (Leaders in Education – Advanced Programme) – Bronze, May 2017 Programme President for the School of the Arts, 2016-17 Your Education Award – Gold, May 2016

Placements and work experience: Freelance Designer Editorial Designer and Illustrator for Label magazine Design Intern at Dot Dash Design, Loughborough Design Intern at Stream, Melton Mowbray

Hellmann’s D&AD Brief: Hearty, an app for university students that can be accessed through a smart fridge interface located in student accommodation halls. It aims to educate the user by helping them manage and track their food; leading to less waste and also helping them save money.

am impassioned by the prospect of creating a purposeful design for the target user. I have created a personalised design process, which focuses on the user: a thorough research method allows me to build a profile about the potential user, thus a memorable experience can be created for them. I am interested in branding, service design, user experience and user interface design. However, I focus on using my wide skill set to form a design solution, whatever the brief. My proclivity to both experiment and further the boundaries of my skill set allow me to reach new levels of design potential across specialisms, through taking hitherto visual risks. A rigorous approach, which forms in the culmination of hard-work and determination, causes me to create products with staggering technical quality and fit the user’s criteria in an aesthetically pleasing way.

142

future creati ves

ILLUSTRATION

Bee Wain

beeawaindesign@gmail.com @beeawaindesign linkedin.com/in/beewain beeawain.myportfolio.com Placements and work experience: Graphic Design Intern, Eulum Design Ltd, 2016 - present Freelance Creative, Capture House, 2016 - present

Awards and achievements: Interview Panel Member for prospective students applying for Graphic Communication and Illustration BA Hons, January 2018 - March 2018 Programme Representative for Part C Graphic Communication and Illustration, 2017 - present Chair of the School of the Arts committee, January 2016 - March 2016 Programme Representative for Part B Graphic Communication and Illustration, 2015-16 Stash Representative for Butler Court Halls of Residence at Loughborough University, 2015-16 Global Development Ambassador, Loughborough University’s Students’ Union, 2015-16

eveloping educational design that provides learning experiences for others drives my creativity. I am dedicated to spending my time experimenting with digital and traditional media in order to explore visual communication possibilities. Illustration is my specialism, and I take pride in producing original, conceptual drawings, which vary from children’s book illustrations to detailed medical illustrations. All of these pieces have been completed in the past year.

future creati ves

143

PRINTED TEXTILES

Ben Ward

am an illustrator by trade, and thoroughly enjoy the process of expressing concepts through a variety of mediums. Illustration allows me to creatively evolve, revealing personality traits and emotions, and enables me to form a unique perspective of the world moulded by research and practice. I want to use my work for education and helping others find and create their own individual creative voice. My work is based on changing people’s perceptions, and trying to make people re-evaluate what they believe to be right and wrong. Born into a military lifestyle, my dad’s constant reposting enabled me to get a glimpse of a variety of cultures throughout Britain. This has allowed me to gain an understanding of a number of perspectives, which I try to apply to my work.

144

future creati ves

London Sport Awards animation shot

MULTI-MEDIA TEXTILES

Michael Ward

mikeydward@hotmail.com Placements and work experience: Framestore

hroughout my time studying at Loughborough I have found projects that included animation have engaged and inspired me the most. Due to this I have decided to largely pursue animated projects. Working freelance for London Sport on an animation for their annual awards ceremony gave me an insight into the rewards from professional work. Other work includes a character redesign and animation for the Beano. Both of these animations showcased some of my editing skills alongside the ability to work to a deadline in a professional setting. For my final project writing and Illustrating my own children’s book has allowed me to focus on character development skills. This combined with short animations of the character aims to enhance and bring them to life.

Ivy the Terrible character design and stills

Sunset on the Savannah book cover

future creati ves

145

hroughout the Graphic Communication and Illustration degree at Loughborough University, I have enjoyed responding to a wide range of challenging briefs. I am particularly drawn to branding and advertising assignments. I enjoy finding creative solutions to real life issues and creating work which is designed to educate and challenge the audience. I have enjoyed the challenge of thinking about solutions for issues related to the environment, animal welfare and mental health.

BRANDING, ADVERTISING

I have always had an interest in page layout and design. Working on Label magazine and being Head of Design has helped develop these skills further.

Alice Weil

alice.weil96@hotmail.com @aliceweil_design behance.net/aliceweil Placements and work experience: Head of Design, Label magazine, October 2017 - present Volunteer, Label magazine, October 2016 - June 2017

D&AD New Blood Antalis and Conqueror – an interactive installation celebrating the possibilities of paper as a physical, tactile and creative material for design.

Plastic Planet – ticket design, part of a larger project raising the awareness of plastic pollution and its damage to marine life. Aimed at families and young children between 7 and 11 years old.

146

future creati ves

Burst the Bubble – a business card, part of a larger project aiming to develop a health and well-being strategy to protect university staff from the effects of work-related stress.

Through the Looking Glass – page design, a political twist on Lewis Carroll’s Through the Looking Glass, chapters 9-12. Part of a group illustration and page layout project.

nthusiastic user-centered designer with a demonstrated history of working alongside consumers in the retail industry. A sharp-eyed communicator comfortable with the Adobe Creative Suite, branding, identity, advertising and photography, possessing a keen interest in front-end development and programming.

The poster, an entry to the BNY Mellon Boat Race Poster Competition, was short-listed by the judges and was sent to a public vote to determine the winner, receiving high praise from the judges.

BRAND IDENTITY, PUBLICATION DESIGN, FRONT-END DEVELOPMENT

James Wilkins

My submission for the Penguin Design Award, a bookcover design and layout for Jonathan Coe’s satirical novel ‘What A Carve Up’; made primarily with ink and charcoal, followed by image-processing on Adobe Photoshop and Illustrator.

james_wilkins@hotmail.co.uk linkedin.com/in/james-wilkins Awards and achievements: Web Development Foundations: Full-stack vs Front-end, Lynda.com, December 2017 Lens Best Volunteer 2015/16, Loughborough Students’ Union, June 2016 HTML5 Introduction (online course, 93%), edX, 2016

Placements and work experience: QA Automation Engineer, First Utility, August 2017 Shop Floor Assistant (part-time), ASDA, February 2012 - February 2017 Graphic Designer, Red Bee Creative, November 2014 Product Team Member, First Utility, April - May 2014 Marketing Team Member, First Utility, June 2011

Shot digitally and edited in Adobe Lightroom, I produced a series entitled Roads Untravelled which attempts to capture the emotion and atmosphere of empty places – bar a single, lone silhouette.

The design was chosen as a short-listed entry to the Royal Opera House Design Challenge in 2014, and was displayed at the front of the Royal Opera House.

The brief demanded the collaboration of group members to plan, design and produce a document that markets Lewis Carroll’s Through the Looking-Glass, and What Alice Found There to an adult audience.

future creati ves

147

Winter Bouldering League – branding project

BRANDING, MARKETING

Jacqui Wong

jacquiwong@live.co.uk behance.net/jacquiwong linkedin.com/in/wongjac Placements and work experience: Marketing Design Intern, Penguin Random House, London, Summer 2017 Artworker and Design Intern, USB2U, Northamptonshire, 2016-17 Junior Photographer, Kurt Geiger, Northamptonshire, Summer 2015

uring my time studying at Loughborough University I have particularly been focused and interested in branding and marketing. Through my projects, I have taken the opportunity to develop and challenge myself with problem solving concepts whilst balancing innovative and creative design.

Mealmates – branding and application project

148

future creati ves

A series of posters created in response to a brief entitled Globalisation Nation, around questioning the harsh laws of Saudi Arabia, allowing the audience to think about the differences in cultures and enlightening different sides and opinions on the rules, opening up a conversation.

GRAPHIC DESIGN

Annie Wood

anniewood96@yahoo.co.uk @missprint_aw linkedin.com/in/annie-wood missprintaw.com Placements and work experience: Work experience at Sky creative agency. Graphic designer and brand developer for The Seaver Foundation Social media, website and graphic designer for The Green Cabin company.

find with the creative industry and my course, worldly limits don’t exist. I get the opportunity for the world to glimpse into my imagination, making it come to life. With the skills I have learnt over the last four years, I can visually communicate exciting concepts using a wide range of approaches and techniques. Animation is the area I hope to pursue in the creative industry: having the opportunity to transport the audience into a world I want them to be a part of.

A stop motion animated GIF was created on the subject of mental health and how easy it is in our society today to hide behind social media.

I think what excites me is when work is created and begs the question of “how did you make that?”. My work has the charm of a “human hand”, first starting out with creating animation frames or a storyboard, before developing the outcome digitally. I find with this human connection between artist and viewer, the message becomes more relatable. Never closing doors, I am always open for a challenge.

future creati ves

149

Rockethouse app. A service to help students find other potential housemates based on interests and lifestyle in a fun way.

DIGITAL DESIGN

Eren Yamansef

eren.yamansef@hotmail.co.uk @yamansefdesign behance.net/erenyamans4753 linkedin.com/in/eren-yamansef6a641b150 Placements and work experience: DBE ticket salesman, 2014-18

y interest in design started with studying Graphic Products at school. However, it was at Loughborough during the Art and Design course I found my talents lay in Visual Communication. My strengths are in digital design.

How to eat a whopper. A healthy and safety card created for the New Blood D&AD Burger King brief. Made with Andy Barker (see page 78).

150

future creati ves

IMAGE-MAKER

Cindy Yu

cindyyudesigns@gmail.com cyudesign.co.uk @cyudesign linkedin.com/in/cindyyu95 Awards and achievements: WoW magazine ‘Best Development’ Winner of the Midlands 2017 and shortlisted for Best Coverage and Best Newcomer in the UK, April 2018

Placements and work experience: Working as a freelance designer with my client (Chris Clifton) on a tracking motorcycle app

YNC competition KFC Brief, core bucket design

s an enthusiastic and creative individual, I am very interested in children’s illustration and expressing a narrative using visual cues to capture the imaginative minds of children, whose understanding of literature is not as attuned.

Carly the chameleon illustration 1

Branding Hunstanton

Carly the chameleon illustration 2

My work is fun and vibrant but can be diverse, ranging from realistic fully detailed illustrations to very simplified child-like colourful illustrations. I love the ability to explore and express my ideas through visual language. The meaning behind my work, alongside the aesthetics, are the most important aspects. My goal is to create work that engages with the audience to educate, inspire or evoke a reaction and make a change, even if it is small. I love to travel and visit new places and I am inspired by conversing with people, seeing the environment and experiencing the culture. Everyone has their own experiences, stories and cultural knowledge that inspires and influences me to create innovative work. future creati ves

151

Foreword

Kerry Walton Programme Director for Textiles: Innovation and Design School of the Arts, English and Drama

e are pleased to be celebrating the wonderful work of students graduating from the Textiles: Innovation and Design programme. This catalogue represents the innovation and diversity of the textiles students’ skills and abilities, and marks the end of an exciting and challenging three or four years at Loughborough, whilst looking ahead to the future. Individual skills have developed through one of four specialised pathways – Weave, Print, Multi-Media Textiles, and for the first time, our new Integrated Digital Practice option. Textiles practice on the programme is informed by individual identities and aspirations, encompassing exciting contemporary design, research into innovative materials and processes, and the integration of new technologies with traditional craft processes. We have strong industry links and aid our students in gaining work experience and

placement opportunities in the UK and internationally. Some take advantage of the opportunity to spend a year out, either on industrial training, or international university placements, which leads to a Diploma in Professional or International Studies. At a time when future employment in the sector is a clear goal, these students have been educated to be inventive, innovative, professional and hardworking, giving them a head start on a diversity of career paths. The work presented is a credit to their professionalism, marking the point at which they will embark upon new career paths, and as evidenced here these will extend across a variety of opportunities within the Textiles sector. We wish our graduates all the very best for the future.

Te x t i l e s : Innovation and Design future creati ves

153

PRINTED TEXTILES INTEGRATED DIGITAL PRACTICE

Joyce Allen

joyceallentextiles@gmail.com @ji_all_textiles Awards and achievements: Madeira Student Sponsorship, 2017-18 Featured on contrado.co.uk in January and March 2018 for work, designs and processes Featured on akamatra.com in November 2017 for a designed rug Featured on exposeddesigners.com in April 2017 as the artist of the month

Placements and work experience: Marketing Assistant Intern, Contrado, UK, July 2017 Assistant designer Intern, Amanda Kelly Studio, UK, June 2017 Assistant designer Intern, D’ascoli & Company, New Delhi, India, March-April 2016 Central Saint Martins summer course: Pattern Cutting and Street Fashion, July 2013 Participation to art film festival d’Konschtkescht, Metz, France, November 2012 Central Saint Martins summer course: Fashion Illustration, July 2012 Work experience at upholstery decorator, Laxou, France, 2010 Work experience at landscape architect, Paris, France, 2009

n the last two years and since specialising in integrated digital practice (IDP), my work has been focused around the use of digital software such as Photoshop, Illustrator, InDesign and Wilcom. These softwares have been used to create patterns, files for the laser cutter, moodboards, visualisations and digital embroideries. I have combined and explored the use of both hand and digital practices to create bold, colourful, geometric and fun designs with a strong mid-century modern influence. To translate the theme into materials, I have focused on the use of cork, plywood and any other bold fabrics which would perfectly communicate my inspirations and tastes in trends. The surface and textiles designs are all inspired by modern art and objects of the 1950s, especially from California and Palm Springs. My work is purposely made for interiors, upholstery, high-end homes and hotels. However, it carries traits which enables interpretation for further uses.

154

future creati ves

’ lluminous’ is based on capturing the movement of neon lights and the injection of bright and bold colour. The collection is designed for the eclectic dresser who yearns for out-of-the-ordinary garments to add to their collection. The colours and prints represent a woman who is bold, strong and a risk taker, especially when it comes to her wardrobe. The prints and colours are derived from photographs taken in parts of Dubai that were infused with lights and colour. Using photography in various ways helped capture different movements, colour and compositions.

MULTI-MEDIA PRINTED TEXTILES

Hessa Alsuwaidi

hessa.alsuwaidi@gmail.com hessa.me @hessaxdesign Placements and work experience: Adriana Dickson: Bespoke Footwear Ted Baker Ansorium

future creati ves

155

‘Graceful Warrior’

PRINTED TEXTILES MULTI-MEDIA TEXTILES

Lydia Andrew

@lydiaandrew lydiaandrew@icloud.com Awards and achievements: Finalist, The Tab Future 100 most influential women at university, April 2018 LUDT Prize for Outstanding Second-Year Student in the School of the Arts, English and Drama, Loughborough University, June 2016 ‘Textiles Story’ Charnwood Arts competition winner, June 2015

Placements and work experience: Jasmine Stacey Collection, London Una Burke, London Jenny Packham, London Kula Tsurdiu, Rhodes, Greece

156

future creati ves

powerful, feminine collection inspired by the surface structure and ornamental detail of armorial garments, juxtaposed with the natural structure and defences of cacti and succulents. I have developed a range of detailed and sophisticated designs on luxurious fabrics based on the subtle colour palettes found in nature. I have created structure through embellishment, using intricate embroidery and handbeaded techniques to create a high-end collection for fashion accessories.

his high-end woven collection is titled Everyday Expressions. Utilising a signature graphic style, the hand-woven designs feature geometric shapes inspired by our everyday surroundings. These were captured through photography which was then manipulated to achieve abstract effects, providing inspiration for the woven designs. The chosen palette is bold and contemporary. The weaves exemplify various dyeing methods to achieve gradual feathering effects, creating unique patterns based on my photography and drawing. The choice of yarn such as silk and steel complements the colour palette and the dyeing techniques used, adding a further distinctive aspect to the collection. The thorough investigation of geometric shapes in the surrounding urban environment, combined with extensive trend research, has resulted in an original and current collection.

MULTI-MEDIA WOVEN TEXTILES

Hollie Andrews

hollie.andrews@hotmail.com @hollieandrewsdesign Awards and achievements: Selected to showcase work to first-year Textile students, April 2018 Bradford Textiles Society: won 1st place in the Woven Textiles for Fashion Category, April 2018 Interview panel member, Loughborough University Textile applicants, March 2018 Exhibiting designer at Premiere Vision, Paris, February 2018 Chosen to represent Loughborough at the Making it in Textiles Conference, October 2017

Placements and work experience: Dash and Miller, Megan Crook, Logo World Limited, FFOMO – Fashion Fear of Missing Out

A selection of woven designs from ‘Everyday Expressions’

future creati ves

157

PRINTED WOVEN TEXTILES TEXTILES

Charlotte Bainbridge cbainbridge23@gmail.com @west_17thread Awards and achievements: Selling woven work at Première Vision

Placements and work experience: Donghia, New York: Interior textiles & design Anna Valentine: Couture womenswear Johnston’s of Elgin: British woven & knitted fashion Buffalo Private label: Socks & hosiery Paragon Clothing: Fabric sourcing

WEST 17THREAD

his Spring/Summer collection is inspired by the urban landscapes of London and New York combined with a love of Japanese simplicity, style and colour. Distilling the references of skyline, grid systems, metal girders, blocks and repetitive shapes to its purest form and representing this throughout my woven textiles. The woven designs have been created for specific garments, utilising a variety of luxurious wefts such as silk, cashmere and suede in a minimalist colour palette, but with the addition of wire thread, echoing the Japanese technique of Kintsugi (the art of mending broken pottery with gold) adding beauty as the metal catches the light, but also allowing the fabric to be shaped and structured. The collection is designed to be layered together whilst emphasising the natural beauty, properties and conflicting textures of the yarns.

158

future creati ves

MULTI-MEDIA PRINTED TEXTILES

Harriet Barlow Smith harrietbsuk@hotmail.co.uk

Placements and work experience: Marks & Spencer: Home House of Hackney

y interiors collection is based on my visit to the country house, Hardwick Hall. I have taken inspiration from the contents of the house, and gardens, and from the decorative wall murals seen there. This Spring/Summer collection uses a decorative and sophisticated colour palette, and a mixture of processes and painterly elements to give an aged effect to my designs in an contemporary way.

future creati ves

159

PRINTED WOVEN TEXTILES TEXTILES

Kathryn Beck

kat@beck.me.uk uk.linkedin.com/in/kathrynabeck @kathrynbeck_portfolio Awards and achievements: Programme Representative, 2015-16 and 2017-18 Commendation, Bradford Textile Society, April 2018 Society of Dyers & Colourists International Design Competition, regional runner up, March 2018 Weave and print designs sold, 2017-18 Commendation, Bradford Textile Society, April 2016 Designs sold at Premiere Vision, Paris, February 2016

Placements and work experience: Next, Fabric Sourcing Dash+Miller Mary Jones Design

Dark Blooms

collection of woven fabrics for high-end women’s spring/summer occasionwear. ‘Dark Blooms’ is inspired by English garden florals encapsulated in ice and crystals.

The colour palette features highlights of icy blues, sharp lime green and orange, grounded by rich navy and teal. Guided by the imagery constructed through visual research, varied fabric weight and layered elements were key in creating a versatile collection. Encompassing luxury, the fabrics have been designed to feature embellishments within the surface, on silk grounds with subtle hints of metallic sheen. Dark Blooms incorporates over-scaled crystallized draped fringing, placement pattern and all over coordinate designs. Influence was taken from a board range of contextual research in addition to woven textiles, such as embroidery, embellishment, bespoke floristry and art installations, to best create an innovative and unique collection.

160

future creati ves

MULTI-MEDIA TEXTILES

Robyn Bellamy

robynbellamy95@gmail.com Placements and work experience: Jenny King Embroidery Mary Katrantzou Jane Bowler Philip Treacy

Micro/Macro in Nature

he theme of my collection is “Micro/Macro in Nature” in which I draw on floral, foliage and microscopic imagery as inspiration and translate this into innovative embroidery, embellishments and fabric manipulated textiles samples, and luxury womenswear and accessories. Digital embroidery is a passion of mine and I wanted to use the technology not only to stitch out decorative designs but as a functional way to combine other techniques in order to produce three-dimensional designs having texture and movement. I am fascinated by colour and enjoy the way in nature all colours complement each other. This inspired me to create a collection using a rainbow of colour and explore how they work together. My collection is the accumulation of the inspiration and skills I’ve acquired throughout my degree and my placement year.

future creati ves

161

PRINTED TEXTILES MULTI-MEDIA TEXTILES

Finlay Bray

fmbray18@hotmail.com @finlay.m.bray Awards and achievements: Design sold at Premiere Vision 2016

Placements and work experience: Alexander McQueen Hawthorne & Heaney

Resolute

his Resolute project is inspired by the influence of Grecian goddesses and women in Greek mythology. Exploring the stylisations of the classical mode and looking at how textiles have always been an underlying theme in Greek myths, weaving and textiles have frequently formed the perfect disguise to hide women’s overlooked plans of power. Focusing on the historical narrative of ancient Greek literature and mythology, the work explores different roles and characters of women, their power and how they affect textiles and fashion by referring to the colours and textures in the myths. Through embroidery and the experimental practice of subtraction cutting, hand-dyed silks are manipulated to allow the wearer to embody the goddess.

162

future creati ves

Digital Embroidery Samples

INTEGRATED MULTI-MEDIA DIGITAL PRACTICE TEXTILES

Emily Brennan

ebren@btinternet.com Awards and achievements: Runner up in Cotton USA competition, Loughborough, 2017 Distinction in Art Foundation Bucks Uni, 2015

Placements and work experience: Sourcing fabric, Wycombe Resource Centre Art therapy, Thames Valley Adventure Playground

he theme for my current project was influenced by my previous work based around the topic of Masculinity and Femininity. I have continued the idea of Masculinity and Femininity by concentrating on beauty and strength: two elements related to these concepts. The focal point of beauty and strength was on unusual and unique insects, something that isn’t typically considered beautiful or strong but with the use of elements that are considered to resemble strength: cogs, screws, keys and robotic features, I was able to create pieces that brought these components to life. My colour palette ranged from off-black to teal to echo my idea about strength. In contrast, the concept of beauty was portrayed through the colours of: rose pink, lime green and mustard yellow. The pieces I have created would be used for car and travel accessories including: head rests, luggage straps and car mats.

future creati ves

163

PRINTED WOVEN TEXTILES TEXTILES

Daniella Buff

daniellabuff@hotmail.co.uk @daniellabuffdesigns Awards and achievements: Highly commended, Bradford Textile Society, Scholarship Award Winner, The Worshipful Company Of Weavers, February 2018 Three designs sold at Premiere Vision, including to Hugo Boss, February 2016

Placements and work experience: Marks & Spence: Fabric Sourcing Anna Champeney Hermione De Paula Wallace & Sewell

Distorted Contrast

’m a vibrant, meticulous and bubbly individual which I believe shines through my work alongside my great aeipathy for weaving. This collection is inspired by underwater coral; I have tried to bring to life the way the rocks juxtapose the smooth reflections created by water. My final major project showcases a range of techniques which grasps a distorted theme. Within my collection I enjoy using an array of contrasting yarns to combine exciting different elements which complement one another, especially focusing on intense textured areas against the smooth and sleek. My passion for colour is evident through my exclusive use of hand-dyed yarns, which helps to ensure my designs display a unique and original style.

164

future creati ves

MULTI-MEDIA PRINTED TEXTILES

Fiona Bush

fiona.bush95@gmail.com @fionabushprinted_textiles Awards and achievements:

1st prize, H&M Live project, January 2016 Award for the most creative student in 6th form, July 2013

Placements and work experience: Print Designer Assistant, H&M Marketing Assistant, Designers Guild Fabric Sample Ordering, VM Fabrics Marketing Assistant, Arla Foods

y current project is based on a study trip to Barcelona. Inspired by the vibrant Gaudi mosaics and Spanish architecture, the project aims to attract customers looking for traditional patterns but with a modern edge.

future creati ves

165

PRINTED TEXTILES MULTI-MEDIA TEXTILES

Ellen Caldwell

e.caldwell@gmx.com Placements and work experience: Digital Designer, BC International

y work is a collection which is primarily based on texture; focused on highlighting subtle colour to create high-impact design pieces. Taking inspiration from my lifestyle and countries travelled, I aim to have developed a coherent collection that emulates the restless surfaces and design of the natural elements that surround us. Incorporating mixed media usage within my prints to show the contrast between differing mediums, the prints are to expand into in depth, rich colour designs to fit into a natural interior design collection.

166

future creati ves

Landscape of china, pleated sample

MULTI-MEDIA PRINTED TEXTILES

Catherine Corinna Chang catherine.chang@mail.com

Placements and work experience: Coast Misfit Vm Fabrics Orla Kiely Spring Near East Nicole Farhi F&F

or my final collection, I have chosen to design womenswear SS ‘19 with the theme being Chinese culture. I chose this as I wanted to research into my heritage and show the beauty of China. I have hand drawn, screen printed and digital manipulated my designs.

Chrysanthemum leaves

Pagoda print

future creati ves

167

PRINTED WOVEN TEXTILES TEXTILES

Laura Chatfield

laura_ellen3@hotmail.co.uk @l_chatfield_textiles

y final collection is based on the theme of Surrealism and is intended for Autumn/Winter womenswear; I had a lot of fun with this theme because I could create images that were a bit weird and unexpected. I took photos of normal objects and added something unexpected or juxtaposition to create the Surrealist feel. I then used traditional weaving techniques and added a modern twist by using modern materials or unexpected yarns. The denim warps I bleached myself and I’m really happy with the outcomes. I have achieved what I set out to by creating a collection that is unique and something that I am proud of. I hope you like it!

168

future creati ves

MULTI-MEDIA PRINTED TEXTILES

Joanna Clay

joannaelizabethclay@gmail.com @joannaclay_design Awards and achievements: Commendation, Bradford Textiles Society Design Competition, 2018 Design sold at Blueprint trade show, New York, whilst on placement at Dot Dash Design

Placements and work experience: Dot Dash Design Nutmeg Clothing Little Bird SOS Sue Faulks Art

Babylon

ehind the premise of my project’s theme lies personal experience. The idea of plants growing, flourishing and radiating beauty in harsh, artificial and restricting environments originated from my understanding of anxiety. Although anxiety is restraining and negative, I have witnessed beauty and grown in character through experiencing it. Therefore, the foundation of my final collection is the fascinating fusion of brutalist, architectural environments and organic plant life. The title Babylon evolved from this idea, and my collection portrays a modern-day take on the lost city’s hanging gardens. Urban greenhouses and conservatories such as the Barbican in London, have been pivotal in inspiring this theme. I have captured this concept and its curious effects through juxtaposing geometric and organic shapes in an expressive and regimented style. Digital and screen printing processes have been used to translate my contemporary designs onto fabrics for a practical, yet quirky, high-end womenswear resort collection. future creati ves

169

Cabinet of Curiosities

‘

PRINTED TEXTILES

Holly Clements

hollyclements96@gmail.com @hollyclements_textiles Awards and achievements: Live project winner, Standfast and Barracks, 2018

Placements and work experience: Timorous Beasties Prince of Wales Island International School, Malaysia Fusion CPH Amanda Kelly

170

future creati ves

abinet of Curiosities’ is an interiors collection showcasing the findings of a fictional 18th-century traveller. Inspired by museum visits, I gathered historically accurate imagery, which became the backbone of the collection’s designs. With a strong nautical theme also running through the collection, the world of an 18th-century explorer is captured though detailed drawings of ships, maritime instruments, faraway places, unusual animals, plants and the tools and equipment used to navigate the seas during the 1700s. The designs create drama and luxury through the use of rich colours and fabrics. Strong illustrative skills and a great love of drawing have been utilised in the collection to draw upon the shapes, textures and details within objects. Compositions are worked onto fabrics and wallpapers through both screen printing and digital methods, which in turn creates a fresh and conceptual approach to print design.

MULTI-MEDIA PRINTED TEXTILES

Faye Connor

faye-connor@hotmail.co.uk Placements and work experience: H&M

ince coming back to university from my placement year, the focus of my work has shifted towards menswear collections. I have found it interesting how the placement of large-scale prints can work with the more structured garments of menswear such as shirts and suits. Within my project, I have used multiple techniques to keep my work original and innovative. I like to work digitally as well as by hand, which has enabled me to bring together the photographic and hand-drawn elements of my work to create multi-layered prints that convey the project aesthetic.

future creati ves

171

Flora Jewel Shining Peony

PRINTED TEXTILES

Hayley Copeland

htcopeland@gmail.com @htctextiles Placements and work experience: Sogé Studio, New York

What Sparkles Within

detailed, elegant and high-end collection, based upon antique jewellery and florals and influenced by the works of Alice Temperley, Dior and Dries Van Noten. The collection is a mixture of screen prints and digitals on high-end silks, draped to showcase their beauty. I had been inspired by various interesting florals such as peonies and roses, as well as antique jewellery exhibited at the V&A, London. This interesting combination of beauties was what pushed the project to its full potential. Silk was an obvious choice of fabric: the drape really excited me and linked well with the imagery in my designs.

Bold Floral Length

I have put a modern twist on a classical theme, using bold and interesting colours in this Autumn/Winter collection. Shocking Floral Length

172

future creati ves

MULTI-MEDIA PRINTED TEXTILES

Modern Perceptions

he initial inspiration for this project came from the idea of bringing together a number of topics to incorporate elements from various sources into the designs. The themes for my prints and compositions are based around cacti, tiles, ornamental elements and paisleys. I have included some monochrome prints as contrast in the collection. I have also explored the idea of using abstract art and geometrics and the idea of tattoos on clothing. This project has been focused around contemporary art, adding cacti and succulent motifs to the designs. I have designed for a type of woman who is young and active, with a sense of style and fashion. This person would enjoy wearing loose, simple and unfussy clothing. She would enjoy wearing leathers, and denim. The collection is aimed towards the high/luxurious pret à porter end of the market. I am thinking of a Spring/Summer collection.

Olivia Cronin

olivia.cronin@hotmail.fr @olive.creation Placements and work experience: Bay and Brown Impasse De La Défense Première Vision Léonard

future creati ves

173

PRINTED TEXTILES MULTI-MEDIA TEXTILES

Heather Davis

heather.jane.davis46@gmail.com @heatherdavisdesigns Placements and work experience: Mary Katrantzou Cornelia Parker Harcourt London Laura Ford Suzie Turner

174

future creati ves

Emergence

rom my year out in industry, I have worked with leather and jesmonite and have further experimented to bring these two opposite materials together. The outcomes form textured, tactile and hard surfaces that can be applied within the interior and architectural market. The main theme throughout my degree has been to use industrial and unconventional materials combined with soft fabrics to push the boundaries of what textiles can be.

MULTI-MEDIA PRINTED TEXTILES

Superstitions Of The Undergrowth

‘

uperstitions Of The Undergrowth’ is a luxury interior fabric collection inspired by herbal healing and the traditional folklore of plants. It highlights the potential uses of common wild foliage as well as our growing desire to reconnect with the natural world and our senses.

A visual exploration into light, shadows and colour therapy has enabled the development of a lightto-dark colour palette, celebrating how natural light creates a gradual shift in colour from morning through to evening, whilst emphasising how these changing colours can evoke emotions and senses within interior spaces to build an atmospheric ‘day-to-night’ collection. The collection combines an illustrative drawing style with luxurious fabrics to produce striking large-scale designs and co-ordinate prints through the use of traditional screen printing and digital methods. It creates narrative and compelling designs and aims to bring disregarded plants into focus with a magical yet elegant twist.

Phoebe Deeprose

phoebemdeeprose@gmail.com phoebedeeprose.co.uk @deeprosedesigns facebook.com/deeprosedesigns Awards and achievements: Winner of Standfast and Barracks Live project, 2018 Represented Loughborough in The Society of Dyers & Colourists International Design Competition regional heats, 2018 Fusion CPH- womenswear designs sold internationally, 2017 Runner-up in H&M Live Project resulting in 3 month placement, 2016 Artwork featured in Charnwood Exhibition, 2015

Placements and work experience: Marks & Spencer: Home Design Fusion CPH, Denmark Timorous Beasties Bearded Kitten H&M, Sweden Mirjam Rouden

future creati ves

175

Wild Blooms

T PRINTED WOVEN TEXTILES TEXTILES

Isabelle Deller

isabelle.deller@outlook.com Awards and achievements: Commendation, Bradford Textile Society competition, 2018

Placements and work experience: Rupert Sanderson Shoes Dash + Miller French Connection Homeware Photoshoot

176

future creati ves

his luxury collection of fashion fabrics has been inspired by natural forms and aims to combine structure, texture and colour to create a varied yet complementary collection. An initial series of edited natural, floral and foliage photographs stimulated a range of drawings and design ideas focused on compositions and textures found in nature. Experimenting with different combinations of yarn was an important development throughout this project, which has helped to achieve the intended surface quality. Choosing a range of different fibres has allowed the creation of texture, accompanied by specific hand-dyeing techniques and a colour palette that complements the yarn. This allowed a sophisticated bespoke collection of fabrics appropriate for the current luxury fashion trends to be achieved.

INTEGRATED MULTI-MEDIA DIGITAL PRACTICE TEXTILES

Lucy Dennis

lucykatedennis@gmail.com @lkd_design Awards and achievements: Madeira Sponsorship, October 2017 - June 2018 1st Prize, Cotton USA, June 2017 Charnwood Arts Exhibition, ‘My textiles story’, April 2016

Placements and work experience: Textile Design Research project for The Loughborough University Doctoral College Bus Stop Clothing Ltd Wallis

Rigid Elegance

he theme of the collection originated from Armoury and the period of the Renaissance; using this as a starting point, this collection depicts a visual story of softness and lightness but with the underlining use of components to demonstrate the form of armour. It translates explorative drawing, painting and imagery of the theme into innovate textile outcomes through the integration of laser cutting, digital print and embroidery. Technical knowledge of digital practices aided the use of unusual combinations of processes and materials therefore creating new, interesting textile surfaces. The soft armour appeal is achieved by the use of colour palette, shapes and the application of contrasting materials: lightweight nets and satins with rigid leather and acrylic.

future creati ves

177

PRINTED TEXTILES

Katie Dollimore

designs@katie-louise.uk

Country Escape

etting out into the country is somewhere you can get some peace, somewhere you can escape and so through this collection I have tried to recreate this experience. This is a Spring/Summer interior collection, inspired by the texture and detail of the British countryside; it focuses on the rugged landscapes along the coastline and the intricate botanical plants. I wanted to create a very natural and soft aesthetic through my use of colour and painterly lines. I have been able to capture the pictorial aspects of the flora alongside the more scaled-up marks of the landscapes, giving depth to my designs. I have used both digital skills along with hand-painting techniques to achieve this.

178

future creati ves

taly has long been famous for its laid back approach to living: ‘La Dolce Vita’ is the ultimate way of living, the barefoot carefree lifestyle was the envy of Europe in the 50s and 60s. The project aims to capture not only an era, but a way of living. Photography in Bologna sparked an interest in the topic, which has been supported by extensive painting and drawing, exploring the lush landscapes, decorative architecture and the sunny palette of the country. Further to this, development of both digital print and digital embroidery has formed a collection inspired by the romantic notion of escaping to the Riviera. The designs have been visualised as a Resort Collection; vibrant, bohemian and millennial.

INTEGRATED MULTI-MEDIA DIGITAL PRACTICE TEXTILES

Emma Fowler

emma.fowler@live.co.uk @emma_fowler_textiles

future creati ves

179

PRINTED WOVEN TEXTILES TEXTILES

Amy Gorman

amyegorman14@gmail.com @gormannamy Awards and achievements: Runner-up, Bradford Textile Society Design Competition, March 2018

Placements and work experience: Buffalo Private Label The Dressing Rooms of Cheshire Style Library TOFT UK

180

future creati ves

Rhythmic Lines

ovement, line and colour is the inspiration for this collection. My woven samples have been designed in response to a collection of bold drawings influenced by natural images of leaves and foliage. The layered painterly strokes and graphic lines within the drawings have inspired an intriguing variety of twills in the samples. Colour has been incredibly important in the development of this project and the daring combinations have allowed for an exciting and innovative collection. The collection comprises of hand-woven fabrics, jacquard and digitally printed samples to get a strong sense of diversity throughout. By using silk, cotton and viscose, these designs are all suited for high-end fashions, especially womenswear.

MULTI-MEDIA PRINTED TEXTILES

Jessica Gray

jessica.gray10@hotmail.com Placements and work experience: Christopher Farr Cloth

Siam Botanicals

‘

iam Botanicals’ is a luxury interior collection inspired by memories of my childhood home in Bangkok, Thailand.

The collection is a refined combination of screen-printing and digital prints, incorporating Buddhist architectural geometrics and textures with the flora and fauna of Thailand. The collection consists of striking imagery and an intense use of colour and scale. The experimental use of different techniques creates surface qualities, combining screen-printing with digital designs that embody unique and distinctive outcomes portrays a modern but futuristic take on the traditional botanical illustration.

future creati ves

181

Ephemeral Nature

‘ PRINTED TEXTILES

Esme Griffiths

esmegriffiths95@gmail.com @esmeconstance Placements and work experience: Timorous Beasties Dot Dash Design

182

future creati ves

phemeral Nature’ is a project inspired by the short-lived beauty and fragility found within nature. My passion for drawing and painting has allowed me to form a collection that captures the delicate and fleeting moments of flora and fauna, to create a fresh and modern high-end interior collection.

MULTI-MEDIA TEXTILES

Jessica Groves

bess5595@hotmail.co.uk @jessicagrovesdesigns Placements and work experience: Anna Valentine Jenny Packham Monsoon Accessorize Jane Bowler

Structures

his project explores the old technique of macramé in a new and innovative way. From looking at simple block images found in a city environment and combining them with colour found in a variety of minerals, I have been able to create clean finishes with complicated macramé structures. My macramé journey started in my second year of university when I started to learn and experiment with its versatility with a variety of polyester cords. Over the years, I have been able to develop my skills in this craft and I wanted to use this project to celebrate that journey. My collection showcases macramé in its intricate, detailed and bold form by using a variety of ribbons and cotton cords. This has been combined with laser-cut acrylic, cotton fringing and digital prints on silk that have been developed into large contemporary accessory pieces.

future creati ves

183

The City Conservatory

PRINTED TEXTILES

‘

Rosie Hamilton

rosie.patricia.hamilton@gmail.com @rosiehamiltondesign Placements and work experience: Marks & Spencers: Womenswear Print Pattern Design Studio Amanda Kelly Design Studio VM Fabrics Fusion CPH

184

future creati ves

he City Conservatory’ captures an interesting juxtaposition of ideas. Firstly, the lines and geometrics which are influenced by the raw Brutalist architecture characteristic of many buildings in Berlin and London, and secondly, the flourishing and rich foliage so typical of botanical gardens in Britain.

The palette centres on rich greens derived from an array of palms and other tropical plants. This, alongside a series of bold accents, serves to create an overarching statement and vibrant designs. Graphic pattern clashes are seen to combine with playful illustration in order to create eccentric prints, designed for statement accessories and luxury modern interiors. In achieving this, the collection becomes infused with a sense of the vitality which emanates from a city environment.

MULTI-MEDIA WOVEN TEXTILES

Olivia Haswell

oliviahaswelldesign@gmail.com @oliviahaswelltextiledesign Awards and achievements:

Shortlisted for Loughborough University Placement Award, March 2018 Awarded a Scholarship from The Worshipful Company of Weavers, November 2017 Represented Loughborough University at ‘Making it in Textiles’ conference in Bradford, October 2017

Placements and work experience: Colefax and Fowler, London, June 2016 - August 2017

Opulent Cubism

‘

pulent Cubism’ is a hand-woven, luxury interiors collection, evocative of the Cubist movement of the early 20th century, with emphasis on the vivid colours, shapes and textures of the geometric paintings by French artists Robert Delaunay and George Braque. Inspiration for the collection originates from the rich hues of Delaunay’s paintings, combined with textural surface patterns displayed in Renaissance-styled stately homes. Ornate panelling and intricate silk damasks in collaboration with the Cubist geometric paintings, inspire bold wall coverings amongst the hand and jacquard woven textiles, which form the basis of the contemporary collection. Irregular colour variations from the visual stimulus informs vivid tie-dyeing techniques on linen and silk yarn, providing both depth and texture to the collection.

A range of experimental woven trimmings accompany the soft-furnishing fabrics for cushions, lampshades, drapes and occasional upholstery, embellishing the final collection. future creati ves

185

PRINTED TEXTILES

Emma Elizabeth Hill

emmaelizabeth.design@aol.co.uk @emmaelizabethhill

Vivid Archipelago

‘

ivid Archipelago’ is a playful interiors collection, inspired by the jungles of Borneo and incorporating an array of colours, textures and techniques into an assortment of lively statement prints and tonal co-ordinates.

Taking inspiration from the dense foliage, native wildlife and unusual flora, this collection aims to encompass the rich, vibrant beauty of this tropical environment, and combine it with bold lines and intricate detailing. It translates the rich colours and beautiful marks and textures into exciting prints that truly bring the jungle into your home. This, along with the addition of more lively and detailed designs that invite you to look closer, ‘Vivid Archipelago’ will most definitely leave you feeling a little wanderlust.

186

future creati ves

MULTI-MEDIA WOVEN TEXTILES

Anna Hopkins

anna.hopkins304@gmail.com made-by-anna.com @_madebyanna Awards and achievements: Design sold at Premier Vision, Paris

Placements and work experience: Dash & Miller Ltd. and The Bristol Weaving Mill, Bristol Next Retail Ltd., Leicester Dash & Miller Ltd. and The Bristol Weaving Mill, Bristol Margo Selby, Whitstable

BODY + NATURE

collection inspired by our relationship as humans with nature; how we are part of the natural world, connect and grow together. This has been explored with my fascination of light and layering through experimentation with double exposure photography. Looking at subtle areas of colour and light, they have been expressed with cyanotype on woven fabric and double cloth structural techniques, particularly tubular weaving. Sensitive colour combinations are used to capture the delicacy of human form and light in the natural world. Striving to reduce wastage at design level, structures have been woven to size and shape for bags to eliminate patterncutting waste. Woven cloth has been paired with repurposed leather to create bespoke bags with individual handles and fastenings in mind. future creati ves

187

PRINTED TEXTILES MULTI-MEDIA TEXTILES

Amy Housden

amy.housden@btinternet.com @amyhousdentextiles Placements and work experience: 3RD ROCK

fter experiences within the industry and exposure to the sustainability issues they face, I was shocked to find out the expanse of waste imposed on the planet daily. The collection is aimed at a sustainable fashion market, directed at consumers conscious of the environment, who enjoy spending time outdoors. The samples are practical and protect the wearer against the elements when out in the colder climate. The materials and use of fabrics has been influenced by Inuits and Eskimos, and research into how they kept warm and dry. Processes such as knitting, felting, couching and embellishment have been used to create fabrics constructed of wool and cotton, alongside printing, to create surface pattern and embroidery as a decorative technique. An additional process of laser-cutting has been used to produce a contemporary collection and finishes such as waxing and waterproofing have been explored.

188

future creati ves

he wild and mysterious landscapes of the Staffordshire Moorlands were the inspiration behind this Autumn/Winter collection. It utilises symbolism and imagery stemming from the late 14th-century poem, Sir Gwain and the Green Knight, set in the tree laden surroundings of Lud’s Church deep in the Black Forest. Abstract expressionist Franz Kline stimulated the introduction of the collection and encouraged development into expressive scale, a monochromatic palette and diverse brush strokes; juxtaposed with intricate line imagery influenced by illustrator Harry Clarke. Hand-rendered and digital techniques captured the outstanding natural beauty, allowing experimentation with shape, structure and translation of photography and typography. The amalgamation of innovative screen-printing techniques and digital printing onto luxurious fabrics present an eclectic array of individual compositions depicting the historic myths of the area. A conceptual and contemporary collection for high-end fashion.

MULTI-MEDIA PRINTED TEXTILES

Emily Instone

emily.instone@hotmail.co.uk @emilyinstone Placements and work experience: Ralph & Russo Jimmy Choo Alexander McQueen Marks & Spencer

future creati ves

189

Opposites Attract: A Cultural Twist

B PRINTED TEXTILES MULTI-MEDIA TEXTILES

Irma Khan

irma.khan18@hotmail.com @ik_textiles Placements and work experience: Zeynep Kartal BC International Dot Dash Design

190

future creati ves

eing inspired by culture has always been a very personal thing to me and to incorporate it into my work to convey this cultural aesthetic is very challenging. My project is inspired by truck art from Pakistan. Truck art is a popular form of regional decoration in South Pakistan which incorporates floral, geometric patterns and calligraphy in a very traditional way. The designs are vibrant but are visualised combining traditional and contemporary forms of decoration. My fashion textiles collection explores materials such as leather, faux fur and suede with digital printing intricately handembellished to replicate traditional Pakistani embellishment and give a real essence of East meets West.

am constantly inspired by my surroundings, and long walks through forests and woodland areas. My project, entitled ‘Winters Walk’, is based on walks I take through areas close to my home. It is an interior collection targeting high-end customers and nature enthusiasts. Each drawing and design is inspired by animals I have seen in their natural habitats, and photographs I have taken documenting the paths I take. I have experimented with colour, material and techniques with the aim of producing a tonal collection using colours of blues, greens and creams, inspired by line and aspects of toile. My collection is designed focusing on high-end interiors and fabrics, with the concept intimating the sights I see.

MULTI-MEDIA PRINTED TEXTILES

Holly Lee

holly-lee@outlook.com

Placements and work experience: BC International

future creati ves

191

PRINTED WOVEN TEXTILES TEXTILES

Emily Lees

leesemily1@gmail.com @emilylees.designs Awards and achievements: 2nd prize and highly commended, Bradford Textiles Society Competition, April 2018 Standfast and Barracks Competition winner, February 2018 The Worshipful Company of Weavers Scholarship, February 2018 Represented Loughborough University at the Making it in Textiles Conference, October 2017

Placements and work experience: Kula Tsurdiu Bridal Couture, Rhodes Margo Selby Dash and Miller Anna Champeney Estudio Textil Magic Textiles

192

future creati ves

Mediterranean Abstract

his high-end interior collection is inspired by the Mediterranean and my experiences in France, Greece, and Spain; discovering first-hand how the extraordinary light and landscape influences the use of bold colours. The project focuses on abstract compositions and intriguing colours. Visual interpretations from my photography reflect the striking landscapes by using a mixture of large expressive brushstrokes combined with delicate marks. The handwoven large-scale designs focus on subtle textures and abstract structures. The use of wool and silk has enhanced the contrasting soft and bright colours, giving a fresh, contemporary feel to interior accessory fabrics such as blankets and throws. Experimenting with different dyeing techniques was important throughout this project, enabling me to achieve a painterly effect, which is reflected in my expressive paintings. Colour is a key factor in this collection: my designs utilise a fresh colour palette, soft shades contrasting with vivid colours.

MULTI-MEDIA PRINTED TEXTILES

Imogen Lowe

imogen.lowe@yahoo.co.uk @ilal_print Placements and work experience: Clarissa Hulse Bay and Brown Amanda Kelly Whiston & Wright

Oriental Utopia

‘

riental Utopia’ is a digital design collection that delves into the world of photomontage, which is created for interiors.

It is inspired by Asia and plays on the traditional versus city life. Whilst stemming from typical floral print, the collection includes eccentric, one-off designs with explosions of colours to create a distinctive impression. Vibrancy and quirkiness are juxtaposed with traditional screen printing methods. The collection explores the manipulation of scale and movement, pushing boundaries within each design to create a fresh and exciting look within interior design.

future creati ves

193

PRINTED TEXTILES MULTI-MEDIA TEXTILES

Beth Lukockyj

bethany.lukockyj@hotmail.com @bethluko_textiles

Order and Chaos of Movement

he theme for this project is ‘order and chaos of movement’, in which the physical act and amount of movement within everyday life is chaotic. This is contrasted with the tracking and collecting of data by individuals such as steps walked, distance covered etc. This project also touches on ideas of wellbeing, which has connotations of comfort, health and protection which feature within the work. This strongly informed the choice of materials, which are intended to feel pleasant and where possible, completely natural against the skin. A range of both traditional and modern techniques have been developed and combined to create a series of considered pieces that feature decorative, textural and practical properties. The work produced is intended to fit within a readyto-wear context created with movement in mind. This continues to relate to the ideas surrounding health and well-being whilst utilising technical features such as being comfortable, breathable and waterproof.

194

future creati ves

MULTI-MEDIA PRINTED TEXTILES

Charlotte Mckernon

charlottemckernon488@gmail.com

Enchantment

he name of this collection is Enchantment.

The Enchantment interiors collection is aimed at the higher end of the clientele. ‘Sophisticated’ is the word I would use to describe the effect I aimed to create whilst designing my print collection. The reasoning behind naming this collection ‘Enchantment’ was the connection with fairytales and this was the effect I was fashioning, albeit in a more sophisticated, grown-up manner. The prints are inspired by nature with a mystic, ethereal effect. The aim was not to create a clichéd collection with fairies in the designs: the designs were a subtle hint towards the magic of the fairytale world.

future creati ves

195

PRINTED TEXTILES

Abigail Munday

@abigailmundaytextiles Awards and achievements: Bronze Arts Award

Placements and work experience: The Curwen Print Study Centre Diamond Business Solutions Ltd

Exploring Global Textiles

he project was initially influenced by researching pattern, colour and texture from textiles around the world; mainly looking at traditional African geometric pattern, Asian batik printed textiles and South American woven designs. Combining this research with inspiration from current trends and contemporary fashion collections helped create a modern take on traditional pattern. The project intends to use both digital and screen-printed fabrics to create a high-end fashion collection for women.

196

future creati ves

Scatter of Seasons

isiting the Josef Frank for Svenkst Tenn exhibition reignited inspiration from my childhood, growing up on a flower farm. Aware of the changing seasons from bulb to bloom, seed to flower; bare branches of winter to the new life shoots of green in spring; summer’s full glory to the subtle changes of colour in autumn. An amalgamation of seasons has blossomed to stimulate the imagination for a rich and courageous interiors collection. My collection is an expression of ‘more is more’ with an array of patterns, textures, colours and printing techniques. Refined combinations of screen and digital prints curated from hand-rendered designs translate into strong, rich and energetic drawings, creating an intense abundance of luxurious velvets, linens and cotton fabrics which coordinate with wallpapers to produce a compilation of designs for luxury interior spaces.

MULTI-MEDIA PRINTED TEXTILES

Charlotte Munson

charmunson@gmail.com @charstextiles Awards and achievements:

Commended in the Bradford Textiles Society Design Competition, 2018 Designs launched in store and online for Tori Murphy, 2017 Designs launched in store and online for Marks and Spencer: Home, 2017

Placements and work experience: Tori Murphy Marks & Spencer: Home Marks & Spencer: Fashion Bay and Brown

future creati ves

197

Pixelated Perspectives

PRINTED TEXTILES

Emily Pascoe

pascoe.emily@btinternet.com pascoeprintsme.tumblr.com @pascoeprintsme facebook.com/pascoeprintsme Awards and achievements: Longina Philips – designs sold internationally, 2017 Designs sold nationally, Fusion CPH, 2017 Produced the womenswear Spring/Summer 18 swimwear collection, H&M, 2016 Runner-up, H&M Live Design project – resulting in 3-month placement, 2016

Placements and work experience: Fusion CPH, Copenhagen Karolina York, Sydney Longina Philips, Sydney H&M, Stockholm

198

future creati ves

“ n a world dominated by digital technology, everything we look at or through, is with the assistance of geometrically formed pixels which are contained within structured, man-made forms. It has become apparent that the digital age is looked upon in a negative light; however, looking at it with a different perspective and seeing that it is simply a part of our existence sees beauty within it.” My Spring/Summer 19 unisex fashion collection integrates pixelated forms through geometric, hand-painted and digitally manipulated compositions. I aim to create a coherent hypermodern, high-end and versatile fashion collection with the use of contemporary colour and an array of lustrous silks and lightweight sheer materials, combined with heavier statement fabrics. Through pushing forward the idea that we can create design with the use of technology, we can see it as a beauty of our existence rather than a detriment to our society.

MULTI-MEDIA PRINTED TEXTILES

Annie Preece

anniemepreece@gmail.com Placements and work experience: Mother Of Pearl Silken Favours Lorna Syson

wanted to demonstrate my versatility as a designer, whilst maintaining a sense of integrity by expressing my personality and passions. ‘Eastern Promise’ was motivated by my interest in how textile design is influenced by global ethnic traditions and folklore. The objective was to take elements of traditional eastern designs – ‘Chinoiserie’ – and inject them with a contemporary twist, using modern colour palettes and introducing graphic background images. ‘Retrospective’ was born out of my love and fascination for neon lighting salvaged from old movie props, retro displays, fairgrounds and circuses. The eclectic collection at God’s Own Junkyard’ near my east London home is my primary influence and I wanted to recreate psychedelic patterns and images in a neon and contemporary palette. The design process for both projects allowed me to develop my painting style using gouache – an intricate, precise method. The resulting designs are intended for use in a fashion context. future creati ves

199

PRINTED TEXTILES MULTI-MEDIA TEXTILES

Heather Ratliff

hj_ratliff@hotmail.co.uk calluna-design.co.uk @calluna_design Awards and achievements: Bursary finalist, The Textile Society Exhibited work at The Antique Textile Fair Manchester Sold work at Premiere Vision, Paris Exhibited work at Charnwood Arts

Placements and work experience: HOBBS Freelance Print Design Needle & Thread Studio HOBBS Womenswear Design Marks & Spencer: Home Design Jenny Packham Womenswear & Bridal Embroidery

CONNECT

an craves a connection with nature: from our gardens to hiking or travelling the world in search of new phenomena, we have found solace in our environment for generations. In a world of rapidly deteriorating natural spaces, I want to encourage a CONNECT with our world available right outside our door. Sustainability is something that is fundamental to my practice, as well as giving my work a sense of integrity and ensuring I work mindfully. Biophilic design is the concept of forging connections with nature in order to improve health and well-being and explores how pattern and colour benefit our well-being. CONNECT uses this concept whilst infusing fabric with scent to incorporate a sensory haptic experience for the wearer. Drawing on traditional skills from around the world, the fabrics are built by hand, bespoke, without gender, age and trends; simple yet refined pieces to live in, to live with.

200

future creati ves

MULTI-MEDIA PRINTED TEXTILES UNMASK

contemporary womenswear collection that explores the parallels between identity and the anonymity of street art. For Spring/Summer 2018 application, ‘UNMASK’ is primarily influenced by the Figurative Art Trend. Drawing inspiration from the streets of Berlin and Paris, the collection exhibits soft, textural elements alongside bold linear prints to juxtapose the fluid with the solid.

Jodie Reid

jodiereid.design@gmail.com @jodiereid_design Awards and achievements: Winner of a H&M Design Award, 2016

Placements and work experience: H&M Next Plc

future creati ves

201

PRINTED TEXTILES

Alicia Simmons

alicia_simmons@hotmail.co.uk Placements and work experience: Cath Kidston

West meets East

t is often thought that the West has had a great deal of influence over Eastern art and design as well as modern development. Starting with the traditional ‘folding screen’ as inspiration, I have explored the concept of the West adopting design ideas from the Chinoiserie art movement as early as the 16th Century. After the invasion of Japan in 1543, the structure of the folding screen was introduced to Europe. The decorative and practical piece featured fine art designs of landscapes, cherry blossoms and classic lacquer painting. Using natural linens, velvets and silks as well as a range of painting techniques, my collection intends to tell a story of the evolution of the folding screen and pay homage to the beautiful design we have inherited from Asia in a chosen palette of modern deep hues with a nod to traditional oriental colour.

202

future creati ves

MULTI-MEDIA TEXTILES

Robert Stammers

rastammers.myportfolio.com @robaastam Placements and work experience: Alexander McQueen Peter Jensen Jimmy Choo Egomark London

Work in Progress

nspired by the surface qualities of London’s epidermal layers, ‘Work In Progress’ is a multi-media body of work that highlights the beauty of the mundane within urban spaces that are constantly under repair. The project has explored how animal prints echo their environment and how the visual language of the urban landscape could be reflected in this way. Through the digital manipulation of photography and mark-making, unusual fabric combinations and surface treatments are complemented by a contemporary aesthetic.

future creati ves

203

PRINTED WOVEN TEXTILES TEXTILES

Kirsten Still

kirstenstill@hotmail.co.uk @kirstenstilldesigns Placements and work experience: Bay and Brown Wan Hung Margo Selby

hile visiting the Victoria and Albert museum in London during my placement year, I was inspired by the complex and unique surface area of samurai armour, the subject of my design brief. Three-dimensional elements, created by using a variety of textured yarns, pleating and macramé, are key to my individual style of work and homage to the variety of shapes, embellishments and decorative markings of the armour. Working towards a fashion outcome, I researched designers such as Alexander McQueen, Stephanie Rolland and Balmain, who use similar techniques and themes in their collections.

204

future creati ves

y final collection began when I stepped into the magical, ethereal world of the Romany traveller, near where I live. I was fortunate to be able to draw inspiration from the unique, rich, bohemia of colour and pattern. Beautiful wagons lined in paisley carpets, crochet throws, and delicate silk scarves draped around birdcages, all became the perfect backdrop for the start of my collection. I wanted to explore the folklore traditions of a life on the road, where living under the stars is everyday life. The whimsical magic of George and Charlie’s life enabled me to create a contemporary print collection with a strong emphasis on colour, texture and pattern.

MULTI-MEDIA PRINTED TEXTILES

Hannah Stillingfleet

hstillin@hotmail.co.uk @stillhannah_printdesign

Placements and work experience: House of Hackney Urban Outfitters CaroLondon

future creati ves

205

PRINTED WOVEN TEXTILES TEXTILES

Emily Taylor

emilytayo.designs@outlook.com @emilytayo.designs Awards and achievements: 3rd prize for Woven Interior Fabrics, Bradford Textile Society, April 2018 Commendation for Woven Fashion Fabrics, Bradford Textile Society, April 2018

Placements and work experience: Fabric Sourcing Trainee, Next Plc Studio Intern, Dash and Miller Creative Associate, Toft Alpaca

Elemental Motifs

lemental – “An essential or characteristic part of something abstract.”

Motif – “A decorative image or design, especially a repeated one forming a pattern.” Using my own first-hand observations and photography of characteristic architecture as a core theme, I intend to explore the concept of ‘limitless’ in terms of scale and form for a high-end interiors collection. My aim is to discover the connections and contrasts between hard against soft, light against dark and different linear textures communicating depth into my theme, as well as creating decorative and geometric style patterns. As I’m producing an interiors collection, market research has shown there are three main areas: furnishing fabrics, soft throws and lightweight sheers. The aim is to design three hand-woven warps to show a variety of interior fabrics, which will complement and sit aesthetically with one another. In terms of scale, form and contrast, I believe these three warps will thoroughly explore my intended concept. 206

future creati ves

Eastern Opulence

‘

astern Opulence’ is a womenswear print collection that has a fresh, eccentric and abstract take on traditional Eastern art and design.

Beautiful and historical East Asian tapestries, ceramics and woodblock prints have inspired this collection. Working from delicate and detailed Japanese art, a variety of botanical, geometric and texture based paintings and drawings were developed, then digitally manipulated and collaged together to bring a contemporary twist to a range of rich and unique prints. The final collection has been carefully selected to produce a group of prints that successfully co-ordinate together for the confident and innovative woman of the 21st century. The collection includes both feminine and bold, striking prints that flow in harmony with each other through colour, scale and pattern.

MULTI-MEDIA PRINTED TEXTILES

Anika Thanki

anika_thanki@hotmail.com @anikathanki Placements and work experience: JRC London Marks & Spencer Ted Baker Saloni Amanda Kelly Design Bay and Brown

future creati ves

207

Haiku

his lifestyle collection has been inspired by East Asian scenes of nature, infused with influences of traditional Japanese design, portrayed in an abstract style.

PRINTED TEXTILES MULTI-MEDIA TEXTILES

Olivia Tomlinson

ojtomlinson@googlemail.com oliviatomlinson.myportfolio.com @designsbyolivia Placements and work experience: Fusion CPH Copenhagen Dunelm George (Asda) Karolina York Sydney Speedo New Look Tori Murphy

208

future creati ves

Typically a three-lined observation about a fleeting moment involving nature, a ‘Haiku’ is a short poem originating from Japan. To reflect this, each piece of my collection will have multiple techniques layered throughout, all inspired by a traditional Japanese blossom. The combination of soft fabrics and intricate detail combine to evoke the elegant side of nature, reaffirming the title ‘Haiku’. Exploring print design as a base both traditionally through screen printing and digitally, with additional layers of flock, laser cut and embellishment, to create a collection of high-end womenswear and interiors for Spring/Summer 18. The main focus was on combining elegant prints, sourced from a carefully selected colour palate, with a delicate textured finish that consisted of embellishment or further detailing through laser-cut sections.

MULTI-MEDIA PRINTED TEXTILES

Jenny Vass

jenny_vass05@hotmail.com

Placements and work experience: Michelle Lowe-Holder: Women’s Accessories Studio Assistant for Womenswear Fashion, Peter Pilotto Print Design Assistant, Bay and Brown Head Office Administration and Print Design Assistant, VM Fabrics

“

ales from the Mediterranean” is a luxury women’s printed scarf collection for Resort 2019.

Each scarf design tells a different story and features mythological gods and goddesses or magical folktales involving princes and princesses, secret gardens and mystical creatures. Drawing inspiration from Mediterranean design styles, this printed scarf collection represents a rich culture of stories, traditions and beliefs passed down from generation to generation. Digital printing and screen printing techniques are explored and combined with an exuberant colour palette to intricately illustrate each individual tale and concept. The richly coloured illustrative qualities mixed with the story-telling element are what make this luxury scarf collection unique. future creati ves

209

Theatrical Romanticism PRINTED PRINTED TEXTILES TEXTILES

Sophie Warden

sophwarden@hotmail.co.uk Placements and work experience: H&M, Stockholm Paperchase, London Jimmy Choo, London Marks & Spencer, London

210

future creati ves

‘

heatrical Romanticism’ is inspired by the romantic ambience and architectural elegance featured within the opera house. The explorations of costumes and storylines within theatrical performances have been embodied in this collection through detailed illustrations, using a variety of digital and screen printed techniques. Capturing the rich colours found within the opera house alongside opulent metallics, this collection celebrates the dramatic atmosphere within the opera house. Exploring a variety of fabric manipulation skills on silk and chiffon, the story has been enriched through the layering of the fabric to fulfil a couture collection.

MULTI-MEDIA TEXTILES

Francesca White

frannywhite@btinternet.com francescaalicewhite.co.uk @francescaalicewhite Awards and achievements:

Highly Commended at SDC International Design Competition, 2018 Assisted Loughborough University staff at Première Vision, 2018 Fusion CPH – Womenswear designs sold internationally, 2017 Work exhibited in ‘Our Knitted Story’ at Charnwood Museum, 2015

Placements and work experience: Romo Fusion CPH Beaumont & Brown Artist Residency at Totnes Art and Design Foundation The Devon Guild of Craftsmen Hybrid Arts Osborne & Little

esigned by Nature; Crafted by Man is an explorative project which aims to examine the complex relationship between the natural world and the human population. In modern society, consumerists find themselves craving natural and organic qualities within their manmade interior spaces, with recent trends focused on bringing the ‘outside in’. This collection of surface designs is divided into three complementary colour palettes suitable for use within an interior context. Pattern, colour and texture have been inspired by visual and sensory data gathered by exposing a range of materials to natural processes such as oxidisation, erosion and decomposition. Investigating how these environments can be controlled and manipulated, I explored how different weather conditions could be harnessed as a means of drawing. This body of work questions the necessity for global mass production and explores the notion of utilising naturally existing imagery and materials. Offering consumers environmentally conscious and bespoke products, this collection addresses the sustainable issues of contemporary design. future creati ves

211

PRINTED TEXTILES INTEGRATED DIGITAL PRACTICE

India-Rose Wilkins

iwilkins.contact@gmail.com indiaroseuk.tumblr.com @indiaroseuk linkedin.com/in/indiarosewilkins

y focus for this final project was ‘Curiosities of Roma Culture’, where I have explored the dark beauty within Roma origins. I have a keen eye for detail, and within this project, I have explored the contrast between heavy and sheer materials, whilst combining hand-drawn elements with digital processes. I wanted to draw attention to the delicateness of the details in my digital embroidery and laser-etched pieces by sticking to a muted colour palette; therefore, I needed the colour within my digital prints to be rich enough to capture my colour skills. My drawing skills have developed immensely throughout this project, allowing me to achieve detailed imagery within my designs. My aspiration for the Degree Show was to create a mysterious and atmospheric space, where I could transform grotesque imagery into something beautiful.

212

future creati ves

MULTI-MEDIA TEXTILES

Annabelle Williams

annabelle.williams@rocketmail.com annabellewilliamsdesigns.com Awards and achievements:

Commendation, The Bradford Textiles Society, 2018 Loughborough Employability Award, 2018 Multiple designs sold internationally during placement year, 2017 1st-Year Prize, Loughborough University Development Trust, 2015 The John Mack Foundation Art and Design Award, 2014

Placements and work experience: Harvey Nichols Fusion CPH New Look Hugo Boss Pentland Brands LTD

Floral Fusion

n the natural environment there are inherent geometric patterns that create structure and repetition amidst the apparent chaos. Within the biological formation of a flower, mathematics determines how patterns can physically form and evolve. This project investigates the relationship between the geometric patterns that are found within a flower’s structure with the natural shapes and colours of the flower’s leaves, buds and petals. Techniques including smocking and digital embroidery have been explored to convey the organic repetition and naturalistic lines found within floral structures. First-hand research, including drawing and photography, has fundamentally underpinned this project, largely influencing the colours, shapes and structures that are combined to create contemporary designs for the fashion and accessories industry.

future creati ves

213

Foreword

Paula Gamble-Schwarz Programme Director for Foundation: Art and Design School of the Arts, English and Drama

e are delighted to contribute a range of images from the Foundation students’ work to this year’s Arts Degree Show catalogue. Our cohort of 180 students have undertaken an intense year of study, which has provided them with the opportunity to focus on the practical elements of the four key disciplines of Textiles and Fashion, Fine Art, 3D Design and Visual Communications, along with a solid grounding in the conceptual, historical and theoretical elements of contemporary Art and Design.

The Foundation experience provides an excellent springboard for students who choose to progress on to a range of higher education courses and institutions. This transition year ensures that they are well equipped for the academic and technical challenges that they will face as they enter the next phase of their academic journey. The students’ hard work and commitment, along with the guidance and encouragement of the staff, allow us to present you with this accomplished and diverse body of Foundation outcomes.

Foundation: Art and Design future creati ves

215

Emma Copping, Max Mydat, Julian Patient

Art and Design Foundation Exhibition

3D Design Selected works from students who have specialised in 3D Design

Sayuri Fonseka

216

future creati ves

Fred Hendry-Bryars

Nick Parrotte, Max Mydat

Fred Hendry-Bryars, Nerea Asua Lowe

Sayuri Fonseka, Eleanor Hughes, Lauren Goodchild

future creati ves

217

Eleanor Walker

Art and Design Foundation Exhibition

Fine Art Selected works from students who have specialised in Fine Art

Grace Baker

George Robertshaw Isobel Emmett

Jemima Lewin-Brandt

218

future creati ves

Jake Walker

Clara Levisse

Freya Gibbs

Paz Prieto Hornedo

Myra Motiwalla

Daniel Young

future creati ves

219

Georgie Gerrard

Art and Design Foundation Exhibition

Iona Palmer

Textiles and Fashion Selected works from students who have specialised in Textiles and Fashion

Sarah Caldwell

220

future creati ves

Gemma Luteijn

Florence Millar

Annabelle Loweth

Callum Johnson

Sophie Hall

Ella Bartram

future creati ves

221

Art and Design Foundation Exhibition

Visual Communications Selected works from students who have specialised in Visual Communication

Anjali Vedd

Darcy Wakefield

222

future creati ves

Iveta Navickaite

Manueal Tanem

Izzie Glover

Zoe Myatt

Molly Swift

Olivia Garwood

future creati ves

223

Index

PRINTED TEXTILES

Fine Ar t 006 Emily Arnold

028 Danielle James

050 Cristina Rodriguez

007 Emily Baker

029 Tomas Johnston

051 Harriet Rowles

008 Steph Bezzano

030 Eleanor Leason

052 Charles Rudd

009 Matt Booth

031 Molly Leavesley

053 David Rudd

010 Carys Burrows

032 Kitty Lintin

054 Lucy Sandford-James

011 Hannah Burrows

033 Laura Lowman

055 Vanshi Shah

012 Philippa Burton

034 Lucy Mackintosh

056 Phoebe Shaw

013 Jamie Christmas

035 Kate McLaven

057 Dominique-Nicole Sotuminu

014 Jodie Cowler

036 Antonia Miller

058 Hayley Stokes

015 Louisa Daniel

037 Annie Moore

059 Emma Stoneman

016 George Davis

038 Becky Nicholson

060 Grace Stones

017 Emma Finlayson

039 Jordan David Page

061 Hannah Stout

018 Thomas Fletcher

040 Alexandra Palmer Makowski

062 Benji Thomas

019 Bethany Fulks

041 Amalia Zoe Papaioannou

063 Samson Tudor

020 Becky Guy

042 Mirella Piatkowska

064 Ada Yin Ching Tung

021 Maria Halatsis

043 Kathryn Amanda Prestidge

065 Dale Robert Tyers

022 Lucy Hall

044 Leah Frances Richards

066 Chloë Alice Webster

023 Amelia Kate Hand

045 Briony Richardson

067 Stephanie White

024 Amy Haynes

046 Victoria Richardson

068 Rebecca Louise Wymant

025 Alisia Heslop

047 Aelish Riley

069 Rebecca Wymark

026 Rowena Hewitt

048 Lauren Ring

027 Chaz Howkins

049 Charlotte Robinson

224

future creati ves

Index

MULTI-MEDIA TEXTILES

Graphic Communication and Illustration 072 Kate Adamson

094 Hadley Eames

116 Hannah Jayne Lewin

138 Bia Soares

073 Emily Anagnostopoulou

095 Kornel Faludi

117 Lujia Li

139 Ella Storey

074 Ela Deniz Apaydin

096 Megan Freeman

118 Jiayu Liu

140 Simran Takhar

075 Dante Attuoni

097 Shivani Gohil

119 Phoebe-Rose Logan

141 Xiaofei Tang

076 Nnenna Austen-Okoronkwo

098 Hannah Goodwin

120 Emily M. Logie

142 Sharika Sabir Tayub

077 Makenzie Bardgett

099 Natalie Grace

121 Ralph Lyons

143 Bee Wain

078 Andy Barker

100 Natasha Grossi

122 Hinal Makwana

144 Ben Ward

079 George Barrett

101 Fran Hall

123 Rose Mallon

145 Michael Ward

080 Kristy Melanie Barrett

102 James Hamlyn

124 Sadie May

146 Alice Weil

081 Bryony Biggam

103 Alex Mary Harrington

125 Vanisha Mistry

147 James Wilkins

082 Sophie Brocklehurst

104 Kunfan He

126 Jack Samuel Morgan

148 Jacqui Wong

083 Tom Burman

105 Dan Herrick

127 Nupur Nair

149 Annie Wood

084 Minnie Chai

106 Tom Hope

128 Lucy Nicholls

150 Eren Yamansef

085 Beverly Sze Wing Chan

107 Alex Jenkin

129 William Edward Oates

151 Cindy Yu

086 Angel Gayan Chiu

108 Natalia Jimenez-Murphy

130 Natalie Oon

087 Rachel Clark

109 Lauren Johnson

131 Megan Pickering

088 Emily Clode

110 Alice Kendall

132 Philippa Pont

089 Isaac Coppin

111 Rob Kilworth

133 Lisa M. Remy

090 Nicola Corsini

112 Alice Kirkaldy

134 Yando Siebert

091 Frank Coxon

113 Hae Ko

135 Alice Sisson

092 Megan Day

114 Caroline Lakeman

136 Brintha Sivarajah

093 Joe Dossary

115 Jade Lawley

137 Charlotte Six

future creati ves

225

Index

Te x t i l e s : I n n o v a t i o n a n d D e s i g n 154 Joyce Allen

175 Phoebe Deeprose

196 Abigail Munday

155 Hessa Alsuwaidi

176 Isabelle Deller

197 Charlotte Munson

156 Lydia Andrew

177 Lucy Dennis

198 Emily Pascoe

157 Hollie Andrews

178 Katie Dollimore

199 Annie Preece

158 Charlotte Bainbridge

179 Emma Fowler

200 Heather Ratliff

159 Harriet Barlow Smith

180 Amy Gorman

201 Jodie Reid

160 Kathryn Beck

181 Jessica Gray

202 Alicia Simmons

161 Robyn Bellamy

182 Esme Griffiths

203 Robert Stammers

162 Finlay Bray

183 Jessica Groves

204 Kirsten Still

163 Emily Brennan

184 Rosie Hamilton

205 Hannah Stillingfleet

164 Daniella Buff

185 Olivia Haswell

206 Emily Taylor

165 Fiona Bush

186 Emma Elizabeth Hill

207 Anika Thanki

166 Ellen Caldwell

187 Anna Hopkins

208 Olivia Tomlinson

167 Catherine Corinna Chang

188 Amy Housden

209 Jenny Vass

168 Laura Chatfield

189 Emily Instone

210 Sophie Warden

169 Joanna Clay

190 Irma Khan

211 Francesca White

170 Holly Clements

191 Holly Lee

212 India-Rose Wilkins

171 Faye Connor

192 Emily Lees

213 Annabelle Williams

172 Hayley Copeland

193 Imogen Lowe

173 Olivia Cronin

194 Beth Lukockyj

174 Heather Davis

195 Charlotte Mckernon

226

future creati ves

Congratulations to all students who have contributed to the Arts Degree Show 2018! Thank you to: The Degree Show Reps Loughborough University Creative and Print Services Sam Smith and Jagjit Samra for their photography work The School’s academic, technical and support staff

future creatives

Arts Degree Show work is also available to view online:

lboro.ac.uk/artsdegreeshow

228

future creati ves

2018

arts degree show future creatives

lboro.ac.uk/artsdegreeshow

#lboroads18