The Working Title Project Publication by Rianne Van de Rijt

the

working Title project

Edited by: Rianne van de Rijt

The Working Title Project Editor: Rianne van de Rijt

Design: Rianne van de Rijt

Proofreading: Chris Twigg First published 2015

otherwise stated. Every effort has been made to trace and contact the copyright holders of the images reproduced

reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other

electronic or mechanical methods, without the prior written permission of the author.

Publication is part of the Masters of Arts Graphic Design program at the University of Lincoln.

A collaborative project revolving around designers and their design process.

the

working Title project

Edited by: Rianne van de Rijt

CONTENTS 6

Foreword

Introduction

Autumn Anderson

Yudan (Yuna) Ding

Yiping (Helena) Yang

Dawn Frobisher

Felicity Shum

Natalie Houtoudi

Bukola Olabisi Bankole

Sarah Barrowcliff

Lucia Lopez Garci-Crespo

Project: Vusu: Designed For You

Project: The Design Student Abroad

Project: Data Pattern Design

Project: Adaptable and Adjustable Bariatric Garments

Project: Making by Hand

Project: Sheffield Culture Route

Project: H93 Museum Hotel

Project: A Conscious Deconstruction

Project: My Journey

106

Alethea Sandercock

114

Shiliu (Lewis) Fu

112

AJ Philp

132

Lucy Patterson

138

Emma Clarke

144

Kat Downs

152

Kamsin Mirchandani

162

Rianne van de Rijt

176

Jim Shorthose

184

Directory

185

Acknowledgment

Project: Creating Ghibli

Project: Animal Chair

Project: Baby Boo Hood - Educational toy for babies

Project: Monika

Project: Wearable Architecture

Project: Away With Words

Project: Middleport Farms - Stoke on Trent

Project: The Working Title Project - Publication & Diary

Essay: The Logic of the Creative Process

Foreword

JOHN STOCKER

This book is a contradiction: both a snapshot and a detailed look at how postgraduate design students go about engaging with the world through their work. At the heart of who we are is a multi-disciplinary community of research active postgraduate students and staff. What Rianne has so deftly captured is what goes on before the final designs reach a public audience: the hard work, the grind, the inertia, the momentum, the inspirations, the moments of clarity and creativity. She has worked alongside all the contributors, supporting and organizing, bringing a designers critical eye and sensibility to the process of understanding this creativity and design process thing. What we all do here - staff and students alike - is ask questions. We ask questions about the world around us, about our own work, the work of others and of each other. As you will begin to notice, the work that is created and documented in this book, is not only informed by this wish to enquire, but also a wish to embrace technical excellence and push creative and conceptual boundaries.

Welcome to The Working Title Project 9

Introduction

RIANNE VAN DE RIJT The Working Title Project is about exploring and documenting the creative process. It explores the creative thinking, processes and techniques that designers use in their design process to come to their final ideas and designs. It is about documenting the design process of designers through interviews and collaboration.

This book is the result of a substantial investigation

revolving around the creative design process. Throughout the project I have been talking to designers, almost interrogating them, about their projects. I asked for everything related to their creative practice, their

brainstorms, sketches, lists, drawings, tests, early renders and designs that normally would only be seen by

themselves or a select small group, like tutors through

assessment. In my opinion they hold much more value, they show the development and journey that the project and

designer took. I set out to uncover the design process to

reveal the ‘hidden’ thoughts and decisions in their projects. A client, visitor or reader most of the time only sees a final design, tailored for a presentation and curated for their

eyes. Now, I asked them to curate their design process to fit in a few spreads, through text and images they explain

their projects and decisions, ways of working and reading lists, telling me the information about their work for me

then to take and create into a book. This is the result of all

the interviews, images and explanation curated within 200 pages worth of valuable insights into design processes.

Throughout this book we see how some designers reach visual solutions and solve the problems that arise within

their projects. This uncovers the explorations, realizations and anticipations of various design projects and

designers within multiple disciplines. It shows that there are certain stages and questions every designer goes through in their own way.

Surprisingly there are few male designers featured in this book. This I realized over the course of the project, but is

pure coincidence. You may also notice that some projects are substantially longer, this is because every project has different characteristics and key elements, that might

need more or less explanation. The content drives the length of the interview and how it was designed.

If you would like to know more about a designer or a

project please refer to the directory later in this book. Feel free to reach out and contact them about their

endeavours, because some projects were not finalized before this book was finished.

So this is a true look into the design process of the

featured designers and a work-in-progress snap-shot

of their work. I find that sometimes the actual process of design is more intriguing than the final piece. The

unfinished work holds more potential and anticipation to grow and evolve into something else that, I think, is the beauty of work in progress.

PROJECT:

VUSU: Designed For You

AUTUMN ANDERSON The ‘VuSu Designed For You’ project ‘My masters in design has given started during Autumn’s product me the opportunity to fully design degree course when she was explore disability design and given an open design brief. From user centred design.’ being diagnosed with Ehlers-Danlos Syndrome (EDS) in her first year of her degree she tried to find suitable products that could aid with the brief I chose to design a range of home condition. Ehlers-Danlos Syndrome ware products that would be practical for means that you are hyper flexible people with mobility disablements whilst in your joints – the condition causes being positive items to own. damages by over stretching and dislocating joints. Ehlers-Danlos My Masters in Design has given me the Syndrome is part of a family of opportunity to fully explore disability design conditions that range in severity and user centred design. I have found that and are predominantly ‘invisible’. the products could be made to be useful for disabled and non-disabled people and be positively branded. During this course I have been exposed to many aspects of

WHY DID YOU CHOOSE THIS PROJECT?

design. I have explored manufacturing, user testing, product marketing, the logistics of

Autumn: When I was diagnosed I was

design and more. This study has given me

shocked at the range of products available

the time to fully develop three products,

on the market to help; they were designed

packaging and branding to launch VuSu as

for the elderly, were branded medically

a business. This journey has taught me many

and were expensive. Due to not using aids

new processes and methods from design

or helpful products I have unfortunately

challenges, which has motivated me to start

had great damage to my joints so when

VuSu as a viable business.

I got the opportunity to write my own

These are tests for prototyping functional forms using a 3D printer, for the Scrubbie, a hand-held washing-up product.

The VuSu product range has been

an accessible, socially excepted item that

unit costs and therefore make the range

certain people with mobility disablements.

although is practical for most, is essential for

developed for mass production to reduce more accessible to the potential user

market. By designing products that can

My main inspirations have been from

without I hope to reduce prejudices

my own. From having the condition I

my user groups’ experiences as well as

be used by people with disabilities and

understand how difficult daily tasks can

around disability design and increase

be however my user groups were greatly

communication about the conditions.

helpful during the whole process of design.

WHERE DO YOU FIND INSPIRATION?

Many objects and people have inspired me throughout my design journey. The Chef’n Potato Peeler was the first product I found More information about the Palm Peeler™ on: www.chefn.com

that worked well for my friends and me. It looked fun, was

affordable and enabled me to prepare

food with dislocations whilst also being useful for my flat mates.

‘There weren’t any products out there that were useful, functional and styled to fit me as a person. Just because someone has a disability does not mean they don’t want and need aesthetically positive products.’

Negative inspiration is something I have also embraced during this study. Some

WHERE DO YOU WORK BEST?

motivates me to change the market. Another

spread my work out and do experiments

I prefer to work in my home office as I can

‘disability’ products are so badly designed it

whilst not having to travel far. Due to

inspiration for me has been my memory of

my joints I am only able to walk into the

originally trying to buy disability products.

University studio once a day so I plan my

The whole experience of shopping for them

daily journeys. Although I use the library

was depressing. VuSu products will be sold

regularly for reading I prefer to take the

online from the launch through a modern,

books back home. The University studio

simple and fun website.

has been a useful place to have tutorials and discuss my work with other people.

The electric toothbrush is another inspiring

When at the University I spend a lot of

object for me as a designer and user. It is

The Chef’n Potato Peeler (© Chef’n, Palm Peeler™) was a source of inspiration for Autumn’s initial design work.

Autumn’s desk in her office. All the test moulds are stored away in boxes and piles throughout the office.

my process to user centred design, where

time in the workshops physically testing

contact with and without the condition

materials and designs or in the enterprise

has been integral to the whole process. I

building completing extra workshops on

started the designs again from the users

design business.

point of view, collecting their opinions and

WHAT STEPS DO YOU FOLLOW IN YOUR

experiences to design for them.

User centred design process has been

During the project I have ran meetings and

DESIGN PROCESS?

focus groups where a selection of users

a constant theme throughout the VuSu

have tested the functionality, branding,

project and has changed the way I work as a

aesthetics and packaging of VuSu. Their

designer. From my original brief during my

feedback has been greatly useful to me as

degree, I made myself the user and tested

the designer and for me on a personal level

products around my own capabilities. These tests involved everyday movements within

as someone with the condition.

taps and washing up. After a reflective

The development of the designs started

the home from squeezing bottles, turning

as sketches, rough models and rapid

period I realised that my designs were

prototypes. Once I had a range of

too personal and would potentially be

developed concepts I selected three to

difficult for mass production. This changed

further develop and make suitable for

mass manufacture. I firstly write out lists of

specifications to check I am including what is needed. Sketching for me is the initial

idea generation, working and playing with ideas that may form into concepts. I work

best in 3D, whether making rough models

or C.A.D visuals. I find that working in 3D programs gives me more practical sense

whereas working through physical mediums

and sketching is more creative and free. These are some of the questions that

arose during the first stages: How can

something wrap around your hand and

still be adjustable? How can it fi t different shapes and sizes of hands? How can you

attach a scourer to that shape to complete

the task of washing up? Can I use standard

Initial sketches for the Tippie product. A product that helps you drain pans.

Sketchbook with inspiration about useful functional existing products.

parts for the product to reduce costs?

How can I make the product durable with the least disposable parts as possible?

How does the material react with

different chemicals? Is it easy to clean? Is it simple to put on and remove? Is it

affordable to manufacture?

As all the products are designed to solve

a daily task I had to go back to basics and

design the simplest method of holding, squeezing, pulling etc. These design

Photo taken at a focus group meeting, to test the VuSu products.

aspects made the overall product simple to produce and use.

As well as being functional the range also

needed to visually appeal to the user group.

Although I collected many opinions on

styling from my users I, as the designer, had to form the products into a collection and

make them attractive the majority. It was

essential that the products communicated

durability, elegance, usefulness and quality, whilst also being fun and accessible. The

aesthetics of the products were greatly

influenced by the branding of VuSu as this

pulled them together.

Making your own seed-paper is one of

I hit many design hurdles along my journey

the many new skills Autumn learned

and found that by working with others in the

within this project. Its purpose was to experiment with reusable packaging.

design field I could bring all aspects together to form a design business. I continued with

user centred design throughout the whole

process and saw the products as prototypes until my users were satisfied.

‘Product design is trying to find the a balance between high quality, design, materials and manufacturing.’

Working at Hackspace learning how machinery works and how products are manufactured, resulted in a indispensable collaboration.

‘I have explored many new skills during this project, including silicone moulding, ceramic casting, digital fabric printing, sublimation, paper making and injection moulding. These new skills, although not perfected, have inspired me to explore further into industry processes.’

Various test pieces of fabric which is digitally printed with the VuSu pattern, to be used as a packaging and branding solution for the Scrubbie.

ARE YOU COLLABORATING WITH

became my focus groups and were a great

OTHER PEOPLE OR IS THE PROJECT

contact base for testing my products and

MORE INDIVIDUAL?

gaining feedback throughout the project.

Networking became hugely important

in the making of VuSu and motivated me

During this project I knew I would need

I have met, worked and collaborated with

Graphic Design student’s client as they re-

which has been inspiring and educational.

process. As I had only prototyped packaging

throughout the project. From this course

help from other students. I became the MA

many other people in the subject area,

designed my logo and started the branding before I collaborated with another

My main collaboration has been with the

Postgraduate Student, Lucia from MA

users themselves. Through going to events

International Design Enterprise. We worked

nationwide survey to people with the

being the creative and me testing materials.

and conferences I was able to launch a

together on the packaging design, Lucia

conditions. This information became my

Through working with other subjects areas,

inspiration for the products and gave me

courses or programmes at the University

an understanding of the lives of my users

I met a professional injection moulder.

and what they needed and wanted.

This contact was very useful and became

Through using Social Media I have had

taught me about the industry and also

essential to the success of VuSu. This contact

contact with thousands of others with

manufactured my first batch of product.

direct questions about my design choices

Through my industry link I was able to

the conditions, enabling me to ask them

and stay motivated.

join HackSpace Lincoln, a social group

of professionals, entrepreneurs and

From using online support groups I was

enthusiasts. This group has taught me about

able to go to a local meeting for people

machinery and how to make stuff work.

with the conditions. These meetings

Throughout the MA Design I have found

great contacts within the University. During my MA Design I also completed the

Enterprise Course, which exposed me to

the business industry and taught me many transferable skills.

WHAT HAVE YOU LEARNED OVER

ALL OF THE PRODUCT DESIGN AND BUSINESS SIDE OF VUSU?

I have learned that although good product

design may be extremely difficult to

achieve, the journey is the most important.

Through exploring different materials,

processes and people I have found that no matter what the end result knowledge is

gathered and learned for the next product. I have overall learned that a product

designer cannot do all aspects of design

and business, but can network with others to bring a whole set of skills together.

3D printed, silicon moulded and clay prototypes and tests for the VuSu

The three products that will be the start

branding and product range.

of the VuSu product range.

PROJECT:

The Design Student Abroad

YUDAN (YUNA) DING

‘I like to travel through Europe to visit locations where the work of my favourite artists is displayed.’

I don’t have that chance whilst living in

This project is a combination of illustration, product design and graphic design. Due to Yudan’s background in graphic design, Yudan chose to focus specifically on illustration that enabled her to take her work in new directions and approach graphic design with a different perspective. A diary is at the heart of Yudan’s project, which is used to record the transitions of a student in China to overseas life in the UK.

China. I also find that visiting gallery shops provides me with lots of ideas.

WHERE DO YOU WORK BEST?

I spend my time between living in London and Lincoln. Sometimes I live in Lincoln

and sometimes I live in London. When I

am in London I often visit exhibitions such as the Tate Modern and Tate Britain for

inspiration. When I return to Lincoln, I often study in the library where I reflect upon my visits to the galleries and exhibitions.

I learned how to screen print a few weeks

WHERE DO YOU FIND INSPIRATION?

ago. During the first week, I spent 40 hours in the workshop in order to make my first print

Yudan: Galleries and exhibitions as well as

and had to book 3 weeks in the workshop

travelling from place-to-place are where I

to completely finish my work. In one week

gain most of my inspiration. For example,

I’d typically spend four days in the workshop

I have visited the Saatchi gallery, and also

and up to 10 hours there each day!

went to Milan for three days to visit The Expo. Additionally, I went to Amsterdam to visit

I learned a great deal about screen-printing

my use of colour. I like to travel through

confidence with the process. This is mainly

the Van Gogh Museum which inspired

during those few weeks but I still lack some

Europe to visit locations where the work of

because it is quite difficult to make a print

my favourite artists is displayed, because

larger than A3 sized because of the scale.

I started with A3 prints initially, but when I printed A2 prints I found it difficult to

control the pressure and therefore the inks that flow through the screen. To get clean

solid colours you need to put even pressure on the squeegee while screen-printing, you need to have power to get even results.

This is hard to do on a bigger scale. I made all the colours for the prints. Sometimes I

mixed extra colours during the process to get the exact colour that I wanted. This is

a long process to go through. I ended up

with 17 prints where only 7 prints came out the way I wanted. Some prints had colour

mistakes and with others the separate layers were slightly misplaced. Those are things that are hard to control.

HOW DO YOU USE SKETCHBOOKS / DRAWING / MAKING NOTES?

For sketching I use my iPad most of the

time, because it is a very easy way to draw with your hand digitally. I draw with the Sketchbook Express app. I don’t use a

laptop, a tablet is easier to carry and I use it to develop my initial sketches. In the

Travel Diary Log I collect and develop my inspiration. I sketch and make notes in it.

Then I draw the sketches in the Sketchbook express app, and turn them into posters.

WHAT STEPS DO YOU FOLLOW IN YOUR DESIGN PROCESS?

I make notes about my everyday life, gallery

visits and travels in my Travel Diary Log. That is my main source of inspiration. I take ideas and sketches out of that book, and draw

them on my iPad in the Sketchbook Express app and create a digital illustration of it. I

draw digitally because it is easy to store my drawing, change colour and brush sizes.

The iPad is small to take with you, and not

heavy as a laptop. The look of the illustration almost looks like they are hand drawn with markers, but they are actually digital.

I travelled to Amsterdam and while I was there I met my landlady, she was really

nice. The first day she treated me on very

delicious chocolate and tea. I got the idea

and inspiration to make this illustration, that’s why I collected the chocolate packaging. When I am traveling I don’t take my iPad

so then I sketch by hand. And when I come

back I use my iPad to sketch and draw again.

‘Screen printing was a precious experience and an interesting new way to develop illustrations.’

Inspiration and research for my drawings come from my Travel Diary Log, where I

have recorded my gallery visits and other

experiences. The style I use is bright colours,

cut out letters, pieces of paper and drawing to make collages. My collages and illustrations

are inspired by my everyday life in the UK, that is why I draw myself in my illustrations.

In France I ate this famous ice cream and

took a picture of it, as a reference. I created an illustration to capture the moment while I was traveling. The cherries are in the

illustration because cherry ice cream was

their most famous flavour. In my illustration I try to create little hints to link to the place of the illustration. One of my final prints is

the picnic illustration. In China picnicking is not popular for young people. Karaoke is

more popular for young people. I like to go to the park and sit at the river to picnic. The Yudan’s workspace in her house. With work on the wall as a mini exhibition.

prints and posters will be framed and the aim is for them to become gallery shop products.

Page photographed from Yudan’s logbook, showing her inspiration and design development.

‘I noticed a lot of differences between the UK and China, more things than just weather and transport. This also influences my work for this project.’

I noticed a lot of differences between the UK and China, more things than just weather

and transport. This also influences my work for this project. In China I cook a traditional

meal for breakfast. But the English breakfast is very different, so I created an illustration

about that difference. I cook food everyday for myself, and go shopping. You even

see different vegetables here in the UK

than in China. I started to like some British

This is one of the final prints that

traditional dishes like fish and chips. In my

Yudan made for her collection.

Travel Diary Log I collect various things from events that happen to me like holidays, places and restaurants that I visit. I take

pictures as a form of inspiration to create illustrations and patterns with.

UNO ART: Gallery products and prints of ‘the design student abroad’ project.

Project:

Data pattern design

YIPING (HELENA) YANG Yiping’s project is about creating patterns from data. This brings new methods and applications to Yiping’s work and it is a new unexplored path within Yiping’s practice to explore and develop new forms of design.

Yiping: This project took me into a new

path in my design practice. First I focussed on hand drawn decorative illustration,

Yiping’s previous patterns were hand drawn and had a decorative purpose.

because that is something I like doing. Then because of this project I moved

towards data pattern design, because I

got the suggestion to use data to create

more intricate patterns and patterns with

meaning. This sounded like an interesting idea. Now, I focus on data visualization

as art, so the pattern is inspired and led

by the data, but not directly visible in the

pattern anymore. The purpose of the data patterns is mostly decorative meant to evoke emotion and recognition.

First I used graphs and diagrams of obesity and cancer research to create patterns. This did not work well because of the

complexity and the graphs are already visualizations of the true data, which is essentially only numbers.

Working with only numbers turned out to be quite difficult, choosing the right kind of data was also important. You need a

reliable source to gather the data from, it needs to be true, based on facts and

this was a big part of the research that I

First attempts of data visualization

conveyed. Sometimes I got stuck because

were with obesity data, based on the

the data that I needed was not accessible.

numbers of fat cells.

These two patterns are based on cancer data.

represent a specific range and the data

I also wanted a theme to create data

becomes only visual.

patterns around, that is when I started looking at data around weather.

I sketch on loose sheets of paper in black

and white so that I can easily scan them in

Weather changes every day, every hour

and trace them over in Illustrator, which

and maybe even every minute so it is a big

makes digitizing the illustration a lot easier.

source of information. Weather is also fixed

Then scan them in to digitize them. Digital

on a location, on a certain date and time, and

illustrations are easier to edit in size and

it turned out that the data is easily accessed. I use the Weather Underground website to (Source www.wunderground.com)

colour, this gives you more freedom to change things.

access up to date

data numbers, such

The patterns will be printed on fabric as

as time, location, temperature, dew point,

their final purpose, because the patterns

humidity, wind and wind speed.

are mostly decorative. I am still exploring

other forms of application for the patterns.

So I started to create a system around

Geometric data patterns will have a

the theme and weather data to generate

different look and appeal than hand drawn

patterns with. In the design I use time order,

patterns, so their purpose can be different.

scale, colour, density and sometimes three

Laser cutting patterns on wood to explore

dimensions instead of two. One pattern

the application of the patterns further is

is about rain and humidity, where each

something I will try as well, but right now I

hand drawn mark and shape represents a

will focus on fabric.

different range of data. Inspiration for this

piece came from the patterns that raindrops leave in water. Weather data is complicated

The weather data is mainly from Lincoln and

a design like an infographic, that is why I

actually experienced. For inspiration I look

other places I have visited, from weather I

and I don’t want to just copy it and create

at weather photo’s and type of weather,

organize the data in different time ranges

for shapes and colour, sometimes I pick a

and create a design where every mark will

Data pattern about rain and humidity, each mark represents a different range of data.

contrasting colour or more abstract shape

of ticking ‘YES / NO’ instructions. Choosing

changeable weather conditions result in the

example. Through the different answers

‘yes’ creates a ‘/’ and ‘no’ will create ‘\’ for

to represent in the pattern. Days with

you get different kind of sequence patterns.

most interesting patterns.

I like the work of Casey Reas because his (Source www.reas.com)

I had the idea to develop the project further using extreme weather data and weather

work looks simple but

disasters as a source of inspiration. Visual

most of his pattern series

images of weather disasters can evoke

are created by complicated software. He

strong feelings. The strong emotional

creates changeable patterns by using

feeling will give a new dimension to the

his understanding of coding and making

pattern and its application.

software. This is a different process to design patterns and it gives and extra

dimension to the final design. Reas series

of ‘YES / NO’ patterns is an interpretation

This pattern is based on wind, the circles represent the

This cup is an initial idea for the application of the design,

strength of the wind. The further out of the centre the

to show that it will have a decorative purpose. But I want to

stronger the wind. The data is then arranged in the time

go more into the direction of decorative fabrics.

zones of a clock to show when the wind was strong.

At first I was a bit hesitant to use extreme

infographic, because an infographic is

through an experience like that can have

make the hidden data visible through data

there to only convey information. I want to

weather data because people that went

art, to create an emotional experience. The

strong feeling about them. So I need to be

data can be designed in a more abstract

very careful with how I design the patterns

way so the information becomes less

and what the final design will look like.

visible and less distraction to the actual visual appeal of the design.

The question is if someone who suffered

from a weather disaster, would he or she or their relatives feel uncomfortable seeing

‘The purpose of this project is to design patterns that extreme weather data pattern to suitable evoke emotions and feelings products the money that is raised could be from non-emotional data and donated to help people that suffer from numbers.’ this kind of pattern on products. I could

use this as a positive thing, if I apply this

extreme weather conditions.

The purpose of this project has been to design patterns which evoke emotions

and feelings from non-emotional data and numbers. The emotions are linked to the data, but the data is not strongly visible in the pattern. Visuals have a stronger

ability to convey emotions than a static

Data pattern derived from data from floods. Focused on the treatment system of time and repetition.

In the final stage of my master degree, I started to use extreme weather data,

from disaster like tsunamis, storms and hurricanes. The three patterns (on this

page, and the next) are created by data from floods. Extreme data brings more

inspiration to me. They are designed with

the same system of time order, scale, colour and density. In these three the main focus

was on time. The colour and direction of the shapes represent the data.

In the blue pattern I mirrored the marks

The red/blue pattern and green pattern on this page are also derived from data

that represent the data, so that the marks

numbers that came from floods.

seem to blend in the background. Creating a continuous pattern. With the green

pattern I used the same method. The

marks constitute a changeable look. It

looks like the pattern, and therefore the time, repeats itself.

In the blue and red pattern I used a

distinction between the data shapes

(blue) and the background (red), breaking

‘Data art is data visualization as an art form.’

up the time flow. I turned the data

patterns into digitally printed fabrics and screen printed prints to turn them into fashionable products.

‘The patterns will be printed on fabric as their final purpose, because they are mostly decorative.’ Here you see a few bags and packaging

solutions with the data pattern printed on

it. The bags have a geometric feel because of the solid shapes. The bright colours

suit the pattern and makes the bags look fashionable. The fabrics were printed using digital printing.

PROJECT:

Adaptable and Adjustable Bariatric Garments

DAWN FROBISHER A work in progress project that, still very much in development, revolves around developing and creating adjustable and adaptable wear for people with unique body shapes. Who would need special garments to fit their needs? Specially considering fashion combined with a perfect fit, this is something that is hard to find when you are suffering with obesity.

WHY DID YOU CHOOSE THE PROJECT? Dawn: Previously I have studied on a

Fashion design Bachelor degree where on the final part I decided to focus on design

for plus size women. Mainly because there

isn’t a lot of plus size fashion out there and

Bariatric people benefi t from front fastenings in clothing, because

in my opinion this is a group that needs

they have difficulty reaching their

more choice and attention. Then my project

sides and back. Dawn tested various

shifted more towards clothing and obesity.

fashionable solutions.

Bariatric is a different name for obesity. It

Bariatric: the branch of medicine

is a term used for those who are classed

that deals with the study and treatment of obesity.

as clinically obese and who might need

weight loss surgery. I am looking at how that affects not only the body, but also

how that affects the person and looking at clothing for this group of people.

When someone goes through weight loss surgery, like a stomach bypass or gastric

sleeve surgery, they severely decrease the

Gastric stomach bypass: a surgical bypass operation that involves

size of the stomach to trigger weight loss.

reducing the size of the stomach to restrict food intake and reduce

The stomach becomes very small, that

caloric absorption in cases of severe obesity.

means that you can only eat small portions at certain times, you can’t eat and drink at the

Gastric sleeve surgery: A bariatric

same time and for the first few months your

surgical treatment in which a large portion of the stomach is

body can only take fluids. This also means

removed, leaving a gastric tube.

that in a small amount of time the body starts

The small residual stomach tube

to change and weight loss is rapid so I am

prevents overeating.

looking into the kind of clothes that could

is hard to maintain and turn it into a routine.

clothing being adaptable whilst body size

deal with without even worrying about nice

These are the struggles that these people

be worn. I am also considering the idea of

fabric, colours and fashionable clothing.

and shape changes.

That is where my project comes in, I want to

make accessible clothing for people with this

Most people suffering from obesity are

condition that is fashionable and fits properly.

looking at cheap clothing, initially, because they envision that through surgery they will become slimmer. This process takes time though, but they don’t think it is worthy

‘A change in your life can be good but if it doesn’t happen slowly it is hard to turn it into a routine.’

buying clothes that are fit for them.

So they end up with clothes that hang off them and that don’t fit properly, waiting

for their weight to stabilize so they can buy suitable clothing. There is no guarantee

that their body will stay slim only through a surgery, everyone’s body reacts differently

There are a lot of reasons that someone

like this happens so rapidly that your body

can be genetic as well. One of the big

to these procedures. An intense surgery

is obese, its not just through fast food but

needs time to adjust. A change in your life

issues is the psychology behind it and I

can be good but if it doesn’t happen slowly it

believe that if somebody feels bad about himself or herself then that’s not going

to help lose weight. Well-cut and fitted

clothing can really help give someone a boost and a positive self-image, which

can be the start of the acceptance of your own body. With that acceptance comes

the ability to change. If you are constantly fighting against your own body that does not want to lose any weight, no matter

what, then there is no acceptance and

and fabric fairs, which are really important in

battle rather than positive process.

exhibitions to keep myself up-to-date.

finding out what is out there. I have been to

change becomes harder and it becomes a

The issue is that some people never will live

The group of people I am looking at, like

body should, in their eyes, look. Talking to

and have today’s fabrics and patterns. So

up to their own expectation of how their

everyone else still wants to be fashionable

those who have had the surgery they were

there is a need to keep up-to-date.

saying things like: ‘I still only wear clothes a

size too big’ or ‘I wouldn’t want to wear tight

There is still, for me, the issue to be able to

They still have those old habits. Inside they

give me their thoughts, of me producing

clothes’ that accentuates any body shape.

design what the client wants. The client will

are still a bit ashamed of their body, even if

something slightly different than clothes

they had a massive weight loss, which I think

from a magazine for example. And also

is a very sad thing.

because of their specific needs in terms of fastenings, fabrics and colours. The

At the moment I work with a group of obese

preferred colours are mostly dark so that

people to look at what their needs are and

the clothes don’t look too exposing. So for

so they can look at some of my designs.

me the design process becomes,to figure

Ultimately, I want them to take interest and

out how to achieve something the clients

become part of the design process.

wants within the restrictions of their needs.

WHERE DO YOU FIND INSPIRATION?

I have looked at changing fastenings

have. And from looking at trends and what is

different techniques and different

so that they look fashionable, by using

Inspiration comes from the conversations I

methods. Obese people need adjusted

available in fashion. I visit fashion trade shows Pages from Dawn’s sketchbook containing sketches, notes about assembling the garment, inspirational textures, fabric samples and photographs of sown garments.

fastenings because they are limited in

their movement, and often have dexterity

problems and they can’t reach well behind their backs or sides. So fastenings often need to be in the front, where they are

‘Essentially I want to create a positive feeling around special garments.’

easy to use. Most people see them as an obstruction. I want to give them a

decorative appeal as well, so that they are a positive and integral part to the design. Essentially I want to create a positive

feeling around special garments. I think everyone has the right to wear clothes without feeling ashamed.

My goal is that decorative front fastenings

are seen as a complement to the garment

rather than a necessity to it. There is a balance to strike between the ability for a garment to fit and function properly for a person

with obesity and still fulfil their needs as a

flattering and fashionable piece of clothing.

Dawns workspace at home. It contains her sewing machine and mannequin, along with other tools and equipment.

Sometimes Dawn even glues in samples of texture, here it is a piece of bark that inspired her to do more sketching.

WHAT STEPS DO YOU USUALLY

In normal clothes a lot of polyester is used

I spend some time talking to people that

very breathable fabric. However people

FOLLOW IN YOUR DESIGN PROCESS?

which is not a natural fibre so it is not a that are obese tend to perspire more,

suffer from obesity and they tell me what

so the fabric would preferably have an

they want and would desire. Working with

absorption function which means natural

a client who commissions a garment is the

fibres are more suitable for them. Cotton

start of the design process.

and bamboo are regularly used, bamboo has a high absorption value and tends to

Currently I work from home where I have

be antibacterial as well.

set up a small sewing studio. There I

would create the pattern on the person’s

WHAT TOOLS AND TECHNIQUES DO

body using muslin or calico, rather

YOU USE IN YOUR PRACTICE?

than measuring

Muslin: A dressmaker's

I use hand drawn sketching and Photoshop,

it. Sometimes

pattern made from inexpensive cloth for fi tting. Calico: A plain white cotton cloth, also used for pattern making, heavier than muslin.

combining the two to plan the garments.

someone can get

The Photoshop sketches show colour, shape

worked-up about

and pattern of first ideas for garments. I

being measured.

add in inspiration sources like flowers to

The numbers start

base some of the sketches on. Design

to become really

different kind of patterns from the shapes

important so it is easier to avoid that using

and colours from within the flower. As I am

a muslin pattern.

drawing I am working out in my head how

By using a toile method, you’re not dealing Toile: also known as muslin, is the name for both, firmlywoven cotton fabric, and a trial garment. The toile gives you the proportions and an idea of the finished product, so you can avoid making mistakes.

the piece is going to be manufactured,

how the sleeves are going to be fitted and

with numbers, you

with what kind of stitching.

can shape it around the body to make a perfect fit. It takes

away a barrier that

numbers tend to have.

The muslin or calico them will be marked and pinned into a pattern to transfer to a paper pattern. Then I can create the

garment from that on the actual intended fabric. Changes can still be made in the

paper pattern stage, then we can start to talk about fabrics, colours and prints.

Photoshop sketches show initial ideas on 2D mannequins to give the general look and feel of the garment.

A spread out of Dawn’s sketchbook, showing tests with digital printing of patterns on fabric. And how these would inspire a new garment. The surrounding images are all showing adaptations of fabric to shape clothing. Through folds and pleads, fastenings and elastic fabrics.

As well as designing I do see myself more

For research I looked at the psychology

how I am going to make this. Transferring a

fastenings, what is available in today’s

as a manufacturer. So for me it is about

behind obesity, fabric characteristics,

garment from a 2D pattern or sketch to a 3D

fashion for this group and businesses

fitted piece of clothing. So I am making notes

that provide clothing for plus sizes. And

about what fabric I am thinking of using in

although I have not taken working with

an early design stage and considering fabric

disabilities further, looking at that helped

qualities like stretching and pleating.

me understand people that have extreme obesity better because some of their

needs, I realized, are the same. Where

Sometimes it is about designing a new

work has been written about people with

print for a fabric and getting it printed, if

disability and dress that actually transfers

someone can’t find the right kind of pattern.

to people with obesity as well.

It is about mediating between the client and

my knowledge around fabric, colour, pattern and fabric qualities. Someone might say

YOU ALSO STARTED YOUR OWN

it is not suitable for them. Then I end up

Dawn’s Dressmaking is a general alterations

BUSINESS, RIGHT?

they want this colour, but end up realizing

and custom-made dressmaking service.

talking about bringing a piece of that colour

My current customer network surprisingly

in to subdue it as a decoration to direct

consists of people who have body shape

attention to a different part of the garment

difficulties, or they can’t find clothes in

and body. A colourful printed collar around

normal shops because of their size.

the neck will divert the attention from the

rest of the body, this is a way to design with colour in a positive way.

WHAT ELEMENTS WENT DIFFERENT THAN EXPECTED?

It was astounding when I started researching what directions the project could possibly

take. I started out thinking I would work with plus size fashion, then it was suggested that

I had a look at people with disabilities. There

I ran into a blockage, people with disabilities wouldn’t talk to me and were hard to reach out to. I then managed to find the bariatric service online and they were happy to talk to me, recognizing the possibilities. This

turned the project towards plus size fashion again but in a much higher need than I

anticipated. I originally anticipated looking at body shape and enhancing that body

shape. I had not considered the adaptability of clothing and importance of fastenings

at that stage. That now gave a whole new

Dawn’s hand screen printed outdoor

interesting dimension to the project.

sign for her business as a professional dressmaking service.

WHAT NEW SKILLS DID YOU ACQUIRE

In the future, I aim to take the project

On a daily basis I acquired new skills, making

of garments that are adjustable and

WHILE DOING THIS PROJECT?

further and develop a small collection

garments for people and doing alterations

adaptable. A collection that will cover a

on clothing. Through that my confidence has

range of different sizes and shapes, so that

built tremendously the past year. Confidence

the same garment can be adapted and

is a valuable skill, you know your skills and

adjusted while losing (or gaining) weight.

knowledge but confidence is something

Clothing that grows and shrinks with the

you gain through experience. Working with

person who is wearing it. That is the design

different fabrics, although you know you can

challenge I have set myself.

work with them it’s about getting in there and doing it for somebody else, who is willing to paying for the garment.

Sewn testing folds and pleads to create a perfect fit for all body shapes.

‘Confidence is a valuable skill, you know your skills and knowledge but confidence is something you gain through experience.’

PROJECT:

Making by Hand

FELICITY SHUM Bright and colourful fabrics, prints, embroidery and little trinkets are some of the outcomes of Felicity’s project so far. With a focus on textiles and a passion for making by hand , surface embellishment, screen printing and delicate hand embroidery are integral to Felicity’s design work.

WHY DID YOU CHOOSE THIS PROJECT?

Felicity: I did a residency as part of the AA2A

scheme before working at the University and I hoped to use this work as the basis for my research when starting the MA. My AA2A

project was about the ‘rose tinted’, nostalgic and sometimes naïve view of the war

periods when used in design. I wanted to

make a point of this with my AA2A project, whilst highlighting some of the more

realistic, awful aspects of the time. I have an

interest in the history of the World Wars; but have very limited knowledge of the events. I hoped to research these important periods

in history and use the knowledge as a basis for my MA design work. I was concerned

about making anything nostalgic or ‘twee’ –

so I was keen to learn more to try and make sensitive and informed work. Or perhaps

create work that was inspired by this time but transformed into designs that are

seemingly unrelated – so you could look at

the pattern and not know what it was based on unless directly informed.

This is a selection of elements that Felicity made as ‘little projects’. Screen printed, sewn and stitched together into bobbins, gifts bags and a needle case.

A piece of print design that responded to the themes of WWII.

I felt so overwhelmed, like I needed to do informed research with weight to it - and it turned out the topic was too ‘heavy’. I felt like there was so much to learn and read about the history, that I couldn’t

absorb enough in the time and be able

to do design work too. The topic is really

interesting but also grim, raw and horrific – it made me melancholy.

IS IT THAT YOU WANT TO FIND OUT IF YOU ARE A DESIGNER OR A MAKER,

I realised that I was attempting a project

THROUGH THIS PROJECT? THE TITLE OF

that wasn’t right for me. I wanted to make

THE PROJECT IS SAYING THAT YOU ARE

work that reflected who I am, that I could

MORE OF A MAKER.

relate to… I felt a huge sense of relief

and the trajectory of my work changed

I suppose I think of all what I do as ‘making’

completely. The research and enterprise

– if I’m drawing or designing then I’m

making marks, if I’m screen printing then

design module made me realise that

I’m embellishing fabric and if I’m turning

‘research’ could be so many things and

my fabrics into an object or product then

applied in a variety of ways. A huge turning

I’m definitely ‘making’! For me, design and

point for me was when I realised that I wished

making are so entwined; I don’t think I

to do my research ‘in or through’ design. From then the project changed.

could do one without the other.

SO YOU STARTED DEFINING YOUR

it is not quite done and keep embellishing

CUSHIONS, A NEEDLE CASE AND LITTLE

from it, hiding it away or working on

PRACTICE ALREADY BY MAKING

or developing it. But if I had some distance

BAGS WITHIN THIS PROJECT AS WELL?

another piece, then I might see it with

fresh eyes and realise it is done - or maybe

I enjoy designing and printing fabric;

approach it in another way.

but I’m not always content with surface

pattern alone. I love to make ‘things’ from my prints and consider their purpose as

It’s not always the way, but when I look

made from this collection of designs was a

designing and start worrying; that’s when

at my work all the time I sometimes stop

part of my design process. The first thing I

I know I’m over working it! That is kind of

screen printed cushion with delicate hand

what happened with my WWII research;

embroidery; it was a gift to say thank you.

I over- thought things and worried about

I work better when I’m making things for

making the work rather than just creating

others – either as a gift or for an audience,

and learning from mistakes along the way.

such as making work for an exhibition. I really benefit from having to declare

something as ‘finished’ by giving it as a

gift or exhibiting it in a show. Sometimes I

can over-think over-work things; if I have a

piece of work on my desk it is easy to think

This pillow was made as a thank you gift.

These bobbins were a part of Felicity’s ‘Just a Note’ exhibition at The Collection, in Lincoln.

I was given the opportunity to exhibit at

The Collection and a very tight deadline

meant that I had to just ‘get on with it’! It encouraged me to draw, print and make – something I had been struggling with

previously. I was excited but daunted by

the gallery space at The Collection; but I chose to curate the show before making

any work because seeing the space helped me visualise what I wanted to create to use the space effectively. I designed how my

exhibition would look as a whole before I

knew what the work itself would look like.

Images on this page © Steve Haddock

WHERE DO YOU WORK BEST?

The print workshop – because I love to

print! However, being a technician means that I often find it hard to switch off from my job at the end of the day and start

using the room as a print maker. And also

my living room floor – I’ve got a tiny space

under the stairs where my desk and sewing machine are, but it isn’t quite big enough so I often sit cross-legged on the floor

whilst planning what I’m going to make! WHAT TOOLS AND TECHNIQUES DO YOU USE IN YOUR PRACTICE?

Textile design. Surface Design. Making. Tools and equipment: pens and paper, Adobe

Photoshop and Illustrator, screens, squeegee and print table. Techniques: Drawing and design development, screen printing, embroidery (freehand and machine). WHAT STEPS DO YOU USUALLY

Working in the print workshop comes

FOLLOW IN YOUR DESIGN PROCESS?

natural for Felicity as a designer maker and print technician.

When I create I often draw, develop

designs and repeat patterns before screen

printing (especially onto fabric) and adding embellishment through techniques such as

hand embroidery. I love to design and print textiles; but I am not always content with

surface pattern alone. I like to have an end use for the fabrics by applying my designs onto purposeful objects.

IS YOUR DESIGN PROCESS MORE ANALOGUE OR DIGITAL?

I am a little old fashioned, often preferring to use an analogue method to a digital

Felicity’s sewing machine, where she

one – and this influences how I work. I love

turns the printed fabric into objects

receiving letters in the post, how clunky a

and products.

typewriter feels and secretly enjoy queuing up in the post office! I think it is this part

of my personality that likes the physicality of ‘things’. I enjoy mixing ink and the feel of pulling dye through a silk screen, the

Page taken out of Felicity’s logbook, to show how concise Felicity’s note-making is.

satisfaction of drafting a pattern and hand

ready for screen printing. I love to screen

may not even register.

development. Once my designs are on a

stitching a label, or the details that others

print; I use the process as part of my

screen I work intuitively, experimenting with colours and layout . For me screen

Lots of what I do uses analogue processes,

printing enhances the development of my

but I don’t abstain from using digital ones.

work – it isn’t just a way of getting my idea

I use Adobe Photoshop and Illustrator to

onto fabric, but a way of exploring and

tidy up my designs, put them into repeat

progressing my designs.

(so much quicker than doing it by hand)

and get the designs separated into layers

I love receiving letters in the post, how clunky a typewriter feels and secretly enjoy queuing up in the post office.

HOW DO YOU USE SKETCHBOOKS /

ARE YOU MORE OF A LIST MAKER OR

I love getting a new sketchbook, but

I spend so much of my time printing and

DRAWING / MAKING NOTES?

DO YOU DRAW MORE?

making that I can’t think about how I divide

sometimes fear the moment when you have

my time without thinking about these two.

to make the first mark in it – the pressure!

It is so hard to know, but here’s my guess:

I often leave a page or two blank, to come

back and work on later. The first thing I put

in a sketchbook is never my best work so it’s

Drawing and developing designs 14%

back and do something ‘better’ on the first

Screen printing 60%

nice to not start at the beginning so I can go

List making 4%

page! I don’t really like standard A sizes; so

Embroidery and making 22%

often prefer to work on thin strips of loose

paper, found papers (old note paper, graph paper etc.) or a square format sketchbook. I like to keep things separate, so often

have a little notebook to scribble down

my ideas, thoughts, lists and plans. I keep my drawings and design development

together. It’s good to have a notebook to keep a log of my ‘making’ – so this is

often where I figure out patterns, sizes and materials to use.

‘‘I am a little old fashioned, often preferring to use an analogue method to a digital one – and this influences how I work.’

IMAGE CAPTION?

DO YOU REFER BACK TO YOUR

RESEARCH? IF YES HOW OFTEN? / IF

NOT IS YOUR DESIGN PROCESS MORE BASED ON YOUR INTUITION?

I enjoy researching through design and this Research through design is an approach that takes advantage of the insights gained through design practice to provide a better understanding of complex and futureoriented issues that might occur while the project develops.

is most beneficial and influential to my practice. As

well as researching

books and journals,

I love to visit shows,

exhibitions and designer-maker fairs and these are often more influential in how I

work. I don’t often directly refer back to my research – I think it is important that things influence me more naturally, for example

being inspired by something a designer said

to me is more important than reading a lot of books which may not directly resonate with my practice. I enjoy researching places and

shows, but also why we, as creative people,

feel compelled to make the things we make.

My research is not what inspires the ‘topic’ of my work – in that way I work more intuitively. LOOKING BACK ON THIS STAGE, WHAT WENT WELL IN THE PROJECT?

I am so happy that I was offered the

opportunity to exhibit at The Collection. It

spurred me into action and gave me focus; I now feel confident and excited about the next phase of my project.

WHAT ELEMENTS WENT DIFFERENT THAN EXPECTED?

I didn’t anticipate how much I’d struggle at the beginning of the project, but without

this experience my project wouldn’t have

developed in the way it has. Making work

for my exhibition really helped me focus on ‘I loved the idea of

doing something and when it is finished put it away and hide it, to then start over again.’

my creative practice and how my project will evolve next.

HOW WILL YOU DEVELOP THE PROJECT

of a couple of smaller ‘projects’. The idea

I sometimes struggle to explain my

me to explore and experiment. To work

IN THE NEXT STAGE?

behind this approach is to encourage

creative practice; so I would like to take

outside my ‘comfort zone’ and push

the opportunity to do a series of ‘projects’

the boundaries of what I do. I hope that

during my major practical project. This will

by investigating different content and

allow me to explore a range of different

exploring processes, I will be able to refine

processes, test materials and work towards

my work and define what my practice is

different outcomes. I will decide on fixed

and the context that I am working in.

deadlines, although each project will not be allocated the same amount of time to

WHAT IS THE PURPOSE OF THE

Some projects will be over longer periods

Through exploring a range of different

PROJECT?

encourage me to work in different ways.

of time, so I may be working on numerous

processes, testing materials and working

things, and other projects may be very

towards different outcomes I hope to

short – perhaps with only a day or two to

develop and define my practice. Hopefully,

make the work. As the projects will be of

this will in turn enable me to speak more

varying length – the content and outcome

eloquently about my work and develop a

will vary dramatically. Longer projects may

statement about my practice.

have numerous outcomes or be made up

Felicity’s logbook contains writing along with a lot of ink, fabric and paper samples and tests.

A spread from Felicity’s logbook, where she keeps all her notes and samples together, nicely organised throughout the pages.

PROJECT:

Sheffield Culture Route

NATALIE HOUTIOUDI A project that deals with multiple traditions, cultures and routines of the people from various ethnicities living within the city of Sheffield. The aim is to create connections between ethnic neighbourhoods and the city centre.

WHY DID YOU CHOOSE THIS PROJECT?

WHERE DO YOU WORK BEST?

Natalie: I am interested in temporary

I tend to design best in the studio and

with them within a public environment. I

stage I have moved away from Lincoln and

installations and how people interact

write best at home. However for this final

find it interesting how urban installations

now live with family near Sheffield. I have

could re-establish a sense of community

had to make a work space for myself which

and belonging within a city and assist

moves around the house.

Sheffield is home to some of the largest

WHAT TOOLS AND TECHNIQUES DO

in neighbourhood regeneration efforts.

ethnic groups in the UK and the ethnic

YOU USE IN YOUR PRACTICE?

often create barriers within the city. Through

AutoCAD, Sketch Up (and Podium plug-in

neighbourhoods that have been formed

Sketchbook, sketching, taking notes,

these installations I wish to circulate people

for rendering), 3dsMax, Photoshop, Gimp

through the city and create connections

(Photo editing software), layout paper, Pro

between these ethnic neighbourhoods and

Markers, pencils and pens, model-making.

the city centre. They will act as a symbol, a

‘taster’, a celebration and a representation of

Sheffield rich cultural diversity and hopefully ‘A celebration and a

representation of Sheffield rich cultural diversity.’

educate and encourage people to discover more. I have worked on similar things in

the past but for this project I looked at it in

a way I haven’t previously as I merged my new exhibition knowledge with my pre-

existing interior Architecture knowledge.

Gromit Unleashed is a major public arts trail. Giant sculptures of the character Gromit decorated Bristol’s streets. Each sculpture was individually decorated by famous names from the worlds of animation, art, fashion, film and music.

This is my makeshift workplace since I moved. This is what it looks like today but it sometimes moves to a table.

WHAT STEPS DO YOU USUALLY

FOLLOW IN YOUR DESIGN PROCESS?

Concept - initial inspiration – sketching – storyboarding - planning – refine /focus

concept – sketching –making everything

digital – pay attention to details – finalize designs and details, and finally make presentation boards.

ARE YOU MORE OF A LIST MAKER OR DO YOU DRAW MORE?

I tend to draw more but I do make a lot of to

do lists. My notes are often in sketch form.

WHEN YOU STARTED THE PROJECT, DID

YOU FIRST START OUT RESEARCHING, DRAWING OR BRAINSTORMING? IN

SHORT HOW DID YOU START?

Brainstorming through mind maps and spider

diagrams. Then researching and finding

inspiration while at the same time sketching

down ideas. Kind of all at the same time. DO YOU REFER BACK TO YOUR

RESEARCH? IF YES HOW OFTEN? / IF

NOT IS YOUR DESIGN PROCESS MORE BASED ON YOUR INTUITION?

This sketch shows how many different

I do refer back to research to focus my

ethnicities live in the city centre of

concept and make sure I don’t run off track

Sheffield.

but I do often just design stuff and then

Below you also see a sketch of

have to adapt it to fit the concept.

Sheffield that indicates the start for planning the Sheffield Culture Route.

Here you see various stages of sketching: the research area, mind maps, visitor routes to generate and visualize ideas.

HOW WILL YOU DEVELOP THE PROJECT

LOOKING BACK ON THIS STAGE, WHAT

IN THE NEXT STAGE?

WENT WELL IN THE PROJECT?

I am now taking all my installations from

The site visits. I found all my sites on Google earth before I went to visit them through

sketch and plan stage to digital stage.

prove to be good apart from one that was

and detailing and adapt them according

From here I will be able to finalize colours

research on the areas. When visiting they all

to what I feel works and doesn’t work in 3D.

moved slightly further down.

What might work in 2D often doesn’t work

WHAT ELEMENTS WENT DIFFERENT

in 3D, when you pull it up.

THAN EXPECTED?

Initially the installations where all going

to be quite different but in the end they

are quite modular and run along a similar

structure themed according to the culture they represent.

WHAT OTHER ACTIVITIES / INTEREST

ARE YOU COLLABORATING WITH

DO YOU HAVE OUTSIDE THE MA THAT

OTHER PEOPLE OR IS THE PROJECT

ARE PART OF YOUR PRACTICE?

MORE INDIVIDUAL?

We are currently designing the display

It is individual. I am however trying to get

helped assemble the display cases in the

the design company based in London

cases for the University Library. We have

in touch with Sheffield City Council and

Ren Library, part of the Medieval Library at

that handles a lot of their projects to talk

the Lincoln Cathedral. That was part of the

to them about it.

Great Lincolnshire Exhibition.

We also assembled the display cabinet

of Lord Alfred Tennyson in the Lincoln

City Library. This is all stuff we have been

doing on the side, display cases are more curatorial and not really related to our practise but good for the experience.

Other than that I kayak and canoe

occasionally, Photography, Traveling and visiting Museums and Exhibitions.

The thumbnail sketches then evolve into more concrete drawings that show scale and size. Then the site is explored using sketches and zoning areas.

A early digital 3D render of the design for one of the installations.

This map shows the whole Culture Route. The blue lines show the connection between the installations.

PROJECT:

H93 Museum Hotel

BUKOLA OLABISI BANKOLE The H93 hotel and museum project surrounds an unfinished building site in Nigeria. This project aims to address abandoned and demolished heritage buildings in Nigeria. The specific site is located in the town Abeokuta in the Ogun State, Nigeria. The building is an uncompleted presidential lodge belonging to a personality of political and historical importance in Nigeria. The building is under severe degradation and decay, after 22 years, due to adverse exposure to weather as construction was stopped at the roofing stage. The purpose of the project is to conserve the site and transform it into a cultural heritage site.

The image on the opposite page shows how the existing site looks now. Overgrown and in decay.

WHY DID YOU CHOOSE THIS PROJECT?

sense. At the initial research stage I worked

the problem. Most heritage buildings in

the research part, where I work shifts per

from my room, and moved to the library for

Bukola: The project basically started with

phase depending on what I need.

Nigeria are being abandoned or demolished and I wanted to explore this phenomenon. Why haven’t they put in place planning to

WHAT STEPS DO YOU USUALLY

European countries there are strict rules

I started working with a plan and a

FOLLOW IN YOUR DESIGN PROCESS?

preserve or safeguard these buildings? In

concerning heritage buildings, like castles,

timetable, after the research phase. But

cathedrals and Victorian houses, but this is

at the end of the day I feel that the design

lacking in Nigeria. The project is inspired by

process is not linear, I design at every

the European heritage and conservation of

stage even when I am just doing mind

buildings that surround me here in Lincoln,

maps it is still part of design. I have the

and the opposite situation at home in Nigeria.

design in mind while I am brainstorming or writing reports, because I am writing

WHERE DO YOU WORK BEST?

with a consciousness of what the design will become. So my design process is

For now at this stage I work in the studio,

not linear, I keep adding and changing

because I have large drawings that I need

throughout the whole process. I still do

to trace, samples, materials and plans.

hand drawings even when I am working

This takes a lot of space that I don’t have

digital in Sketchup. Even when I am

at home, so working in the studio makes

AESTHETICS OF DECAY

TRACES IN THE CITY

Mood board that visualized the concept that links with the memory of place and the conservation of an architectural heritage site.

getting closer to the deadline I still make changes because the way I design is a

continuous process, I keep progressing

in the design to improve it. I receive new materials and if they inspire the design I

‘My design process goes back and forth, it is not a linear process.’

make changes accordingly.

The plan is to start with zoning the existing

Now I am also writing a report so I almost had

ventilation so more background research and

writing. It wasn’t a weird transition because

area, then space planning, heating and

to stop the design and sketching to focus on

then design analysis and looking at strategies

I am writing about the project, design

and approaches, model exploration. These

statement, mission statement, aims and

elements are all research into how the

objectives, concept statement and direction

building would function. Usually you decide

of the project that will help me define the

on a plan before producing it digitally,

project more. I even set guidelines and a

but it did not turn out that way. It took a

framework before I started so I wouldn’t go

more scattered process, I haven’t started

too much out of context, otherwise the project

any physical models because I felt like the

would be more chaotic. Doing this as well as

design wasn’t finished yet. I could have

keeping a logbook, it keeps me focused. All

done exploratory models but I did that more

the writing I do is a reflection on the design so

through sketching. That changed the cycle of

it is not like you have to stop your design, you

the design process a bit.

continuously think about it.

Above: Zoning the existing plans. Linking the existing space with the new purposes. Each colour resembles a different purpose. Below: Space planning through moving the rooms into different order through sketching.

Through sketching on the original hand-drawn plans of the building I tried to test the design of the roof. I first tried to resolve it in Sketchup, but I couldn’t get it right in the 2D plans so I had to pay more attention to that.

HOW DID YOU RECEIVE THE BUILDING

uses. For example you can’t just take the

PLANS OF A BUILDING IN DECAY?

cathedral and turn it into a hotel, it has to be

then were hand-drawn, so I had to redraw

heritage and traditions of that local area.

related to culture and be sympathetic to the

The building was built in 1992, the plans

them. I got the drawings from the architects that designed the original building. The drawings are very different from the

original site, because the building was

never completed. There was no roof, no

windows, no doors and no flooring, just the first structure for the walls and foundation. I

‘I made changes and started sketching and designing to complete the building in a new way.’

needed to compare the hand-drawn plans to the pictures I had from the site, trying to see

That is also why I chose to develop the

and what exists on the site I made changes

is part of the building. I thought it would be

elements that are there. From the drawings

museum, for commercial reasons the hotel

and started sketching and designing to

nice for people to experience the lifestyle

complete the building in a new way.

of ‘living in a museum’. Experiencing

the culture and traditions while staying comfortably in a hotel. The site is big

I adapted the old space to fit in this new

enough to accompany both.

concept for the purpose of the building. The building originally was originally meant to

be a presidential lodge, now I am turning it into a museum-hotel. I added the museum

aspect because of the heritage aspect. I am

adapting and re-using the building so I need to consider cultural and heritage aspect of

the location as well, before considering new

H93 HOTEL SCHEME

IS YOUR DESIGN PROCESS MORE

HOW DO YOU USE SKETCHBOOKS /

It depends on the stage of the project.

For my last project I used a sketchbook,

ANALOGUE OR DIGITAL?

DRAWING / MAKING NOTES?

When I am creating the plans, sections

but now I find that my concepts are better

and 3D models I use a lot of drawing

explained through sketching and tracing on

and sketches. Then my process is heavily

loose sheets of paper and through samples of

dependent on tracing paper, tracing over

materials. My ideas are more flexible on loose

plans, and sections to create perspective

paper, with a sketchbook you fill one page

drawings as well. Even when I print out the

after the other is filled, I find that too linear. In

digital renders I still find myself drawing

sketchbooks I put pictures of materials and

on the prints. I think that drawing by hand

places that inspire me, but not really drawings.

is creative, I find that when I draw with my

And for this project once something inspires

hands I get more ideas and is feels more

me, I order a sample to see how it looks first

flexible. When I draw on the computer I

hand. I have more samples and materials that

don’t really delete stuff, it feels too final,

are not contained in a sketchbook.

but I do erase and change things when I

WHAT ARE THE THINGS THAT YOU

am drawing by hand.

NEED TO KEEP IN MIND? FOR

EXAMPLE, THE STRUCTURE OR WITH THE LIGHTING AND MATERIALS?

The main thing was the location, because it is in Nigeria I need to think about the weather and climate. A tropical climate

‘But it can’t be completely new and out of context, it has to still relate to the memory of the place.’

and sunlight have a great impact on the

building. I needed to consider where the sun sets and the wind how the building would function within this context.

Even though I want to preserve the building as much as possible it still has to be

functional and useful. So at one point I even had to loosen my grip on the conversation ideologies, at the end of the day people

want to come to this place to experience

something good regardless of the building being a heritage building. So, though I am

aware of the conservation aspect, embracing an adaptive and progressive approach has

helped in developing my ideas further. I saw that sometimes what you do with the new

also emphasizes the old, and that opened up new ideas. Additions and subtractions to the walls and building and adding an

additional floor really enhances the new purpose of the building.

DO YOU START WORKING 2D AND

THEN AT A LATER STAGE MAKE A 3D (DIGITAL) MODEL?

Most designers and architects work that

way, but I find that looking at things in 3D

helps me because it is more realistic. I can’t work in a linear way: resolve the plans first, then move onto the sections and resolve

the heights of the spaces and then move onto three dimensions. What happens

then is you resolve all the problems in your plan without the sections, you lose sight

of that people stand, and see things from a standing position. When you design

in the plan you lose the depth and the

experience of the space would become two dimensional, even when something is build

you would have that kind of 2D experience. A 3D space feels more real to me, that is

why I work with both. So while I am making a new plan, I extend that into the sections

The patterns on the tiles are, like this pattern above, afro-Brazilian style,

and create a part of it in a 3D model to see

when before colonization during the

if it works. So I go back and forth between

slave trade, Nigerian slaves escaped

2D and 3D. This makes my whole design

the Brazilian slave trade and came back to Nigeria, they brought back

process more flexible and interchangeable.

motifs and pattern that were used

I don’t have a rigid design process, I try

in houses, that is where this pattern

to do the three things at the same time,

originates from.

A section of the digital 3D render that shows the gallery space.

design plans, sections and 3D visuals,

The vernacular, traditional practices and

experience the three dimensional space, it

it but trying to reinterpret them with a

because it is all about how people will

traditional materials, not really copying

is not just about designing a space.

contemporary twist, inspire what I am

doing now. I thought it was going to be

ARE THERE ELEMENTS THAT WENT

about the building, but now I am looking at

DIFFERENT THAN EXPECTED?

a bigger picture, the building became the means for expressing and translating the

I thought from the start that I had an open

culture. Heritage is the element that links

mind, but now I find that the direction is

the building with the culture.

conserving the intangible aspects of the

building more. Normally in adaptive reuse

ARE YOU COLLABORATING WITH

you pick clues from the ‘old’ the origin

of the building, but that is not the case

OTHER PEOPLE OR IS THE PROJECT

to pick the inspiration from the intangible

Initially I did interview the people in the

MORE INDIVIDUAL?

here. I have nothing to refer to, so I had elements, things that symbolise, and

village, but that was more research. I also

are meaningful for, the culture. It wasn’t

interviewed the conservation team at the

about the memories of the building,

Lincoln University conservation course.

because there were none, it became

They were really helpful in terms of the

more about the memory of the town.

conversation part of a building. The building

So I had to broaden the scope from the

in my case is not full on conservation, it is

building to the entire town and its culture.

also adaptive reuse and a little bit of cultural

‘The purpose of the project shifted from conserving the building to conserving and portraying the surrounding culture.’

aspects added to it, but it was useful to talk

to the conservation team to see it from their perspective and how they would approach the project. The rest is mainly individual.

ARE THERE NEW SKILLS YOU ACQUIRED WHILE DOING THIS PROJECT?

Definitely, because I worked in Interior

Design first and now I am studying interior Architecture I find as I am working there is a difference between purely design and

Architecture. When I was in design school I

would base everything on the concept. With Architecture the research and concepts are more theoretical, you have to have a valid

reason that support your design. You need to

look into theories, reasoning’s and ideologies that drive the concept. I work more

theoretical and research based now. I find

it easier to design with the theories, at first I

thought that they would be too restrictive for my creativity. But because you have them as

guidelines and framework of things you can

the tiles the fabrics, I am considering

elevates and focuses your design.

decisions I made taken from the research

everything based on the designs and

and can’t do, when you use them correctly it

I did on the culture and heritage. When it is done, it might look excessive, but I

Now I make changes and decisions

aim to have a reason for every aspect of

because there is a valid reason to do so. It

the design. The design is driven by these

is a much more refined and professional

considerations and the concept. Some

way of working. When you have a strong

ideas I shoved away and did not get picked,

foundation of research, then everything

but the whole project is a process of

you design and build from that will be

considerations. Everything within the project

solid. Once you nailed down your research

grew form the initial idea of conservation,

and theories, everything else you build on

heritage, culture and tradition.

it, concept would be focussed.

WHAT IS YOUR FAVOURITE DESIGNER / QUOTE OR STYLE?

One I recently found is: ‘There is no

unconsidered excess.’ I am not sure who said that, but I chose this quote because

sometimes when you visit places people

go: ‘Oh this is excessive.’ I find that every single thing I am putting in this project,

WHAT HAPPENS AFTER THE PROJECT IS FINISHED?

After I have completed the MA course I will go back to Nigeria. There are some opportunities within Architecture and Interior Design there because it is a

developing country. There is a lot of

development with building buildings, but since interior architecture is sort of the

‘luxury’ aspect of architecture it could be

difficult for a interior architecture designer.

‘Theory justifies my design choices and decisions more than just having a concept.’

ProJect:

a conscious deconstruction

SARAH BARROWCLIFF A Conscious Deconstruction is about exploring visual expression and storytelling with a visual treatment of the poem The Rime of The Ancient Mariner. A highly visual and experimental project, exploring narratives and conveying a story through image making. Through the project Sarah wants to define her visual voice and learn new skills within the disciplines of Illustration and Graphic Design.

‘Drawing is definitely at the centre of my practice.’

WHY DID YOU CHOOSE THIS PROJECT? Sarah: Because I wanted to create a body of work where I could experiment with my creative practice and use different

techniques to make images. I found a poem most appropriate, as the choice of words

makes image making so interesting as it is

I started out by storyboarding the story into images with

full of expressive words allowing for me to

the major events happening. From there I picked the 20 scenes for the 20 images I will create.

be creative and experiment with different stages of the story.

THE PROJECT TITLE EXPLAINS THE

PROJECT QUITE STRAIGHTFORWARD, WHY NOT A MORE VAGUE TITLE?

This explains best what I am doing, my own visual interpretation of the book. The Rime

of the Ancient Mariner is the longest major poem by the English poet Samuel Taylor More information on: www.poetryfoundation.org/bio/ samuel-taylor-coleridge

Coleridge, written in 1797–98.

Throughout the poem a narrative is used, which links in with the visual narrative. In writing the narrative techniques of

personification and repetition are used to create a sense of danger or serenity,

depending on the mood in different parts

An early screen print exploring light and dark and pace.

of the poem. In the visualisations I use

WHY DID YOU PICK THE BOOK: THE

in my drawings, these are scale, black

It was John my tutor who advised me to

RIME OF THE ANCIENT MARINER?

various treatments to create the narrative

read it. He said to think about imagining

and white, light and dark, perspective

what the images would actually look like.

and pace. Since the project developed

That I needed to imagine the images

I became really interested in the idea of

I would make from the story. John

contrast and am exploring this practically

influenced it, but when I read the book

with the qualities of light, dark and scale.

I instantly started to think of things I

could do with the story. So it was a joint

I will create a body of work for each

conversation about the story that made me

technique I am using, a body of work for

pick this book. It was also in conversation

monoprints, collages and screen prints.

with John that I got to 20 deliverables, 20

This is to show the variety and difference

key points within the story to visualise.

in visualisation outcomes, which will vary

depending on the technique that is used.

SO DID YOU START THE PROJECT BY

STORYBOARDING THE BOOK?

YOUR WORK LOOKS LIKE A

DELIBERATE MIX BETWEEN GRAPHIC

I started with storyboarding the pieces of

I use a combination of different techniques

seeing how it would actually fit together.

DESIGN AND ILLUSTRATION?

the story, testing the pace of the story and

from each discipline. Monoprint

techniques use drawing and generate

I planned out the layout and backgrounds

towards illustration, collaging tends to

different proportions and shapes. I drew

more expressive visuals that lean more

into different thumbnail sketches to try out

use more skills than just drawing, it uses

the shapes of the sea while I was away on

different materials and compositions that I

holiday as a reference for the images. It

feel are closer to graphic design.

did help me break up the story into the

storyboard and through thinking of various

I am exploring the different aesthetics

ways of communicating the story.

through the design techniques to see what different results will come out of that.

The end result will be a book that is heavily

I want to find out if I am more of an

poem next to it, the text will be secondary

image based but does have the text of the

illustrator, graphic designer or art director.

to the images. In the end the book will

Since I have a background in Creative

bring all elements together, image, text,

Advertising, before starting on my masters

monoprint, collage and screen-print. It is

I completed a Bachelor degree in that area.

good that I did not stick with only screenprinting, which would have been too

restrictive. Monoprinting and collaging have

more energy and are not as time consuming as screen-printing, you don’t have to plan

‘I am building a tool-kit of different techniques to develop my visual voice.’

every single move with those techniques. I like to combine the intuition of one with

the planning and organizing of the other.

Note making like the visualizations are very personal to Sarah’s style of working. ‘I wrote down all the insights I had while working in the print room. I like to write on bright paper, and scraps of paper that I find lingering about.’

This is the thing when I went with screen-

printing, it didn’t look right so then I started layering images and more intuition came

into my work. I planned the screen-printing too much and it wasn’t me anymore, but by combining it with monoprinting and collaging it became more organic.

WHERE DO YOU FIND INSPIRATION?

From drawing, being around other people, talking to people, looking at creative

journals and magazines, painting, taking

photographs, walking, listening to others, making scrap books, drinking tea! I also

enjoy spending time looking through blogs and also looking at fashion magazines.

WHAT TOOLS AND TECHNIQUES DO YOU USE IN YOUR PRACTICE?

I have created a body of work with 3

different approaches to image making in

order to show a range to how I can image make. Firstly I have created prints in a

very expressive format layering and using screen printing to create 20 key scenes

within the poem that express the poem. Secondly I have a very graphic approach

which uses collage based inspiration from the work of Sara Fanelli and Hannah hock. This still involves layering and printing

Once the storyboards are made I

however it is a very different way that I

started sketching the images out and

have began to develop over the course of

choosing compositions.

the MA from the different designers I have being able to look at.

Thirdly I have a series of monoprints

which are another experimental choice of working that remind me more of Tracey

Emin’s style and approach to art however they are also full of expression and allow

me to tell the story in another way which is something I have found interesting.

WHERE DO YOU WORK BEST?

Usually in my room as I enjoy quiet when I am working but I also do a lot of thinking

in coffee shops and at the studio. I then will

make the prints, monoprints, screen prints or collages in the print-room at the University.

Gathered scraps and print hold together by a clip. And an inspiring quote from illustrator Sara Fanelli.

I find inspiration from magazines, I cut out images I see to use in collages and as a form of inspiration. These backgrounds I found in Creative Review, that gave me the idea for the crazy clouds in the background. I plan through the storyboarding and notes in my sketchbook.

LOOKING BACK ON THIS STAGE, WHAT

WHAT STEPS DO YOU USUALLY

WENT WELL IN THE PROJECT?

FOLLOW IN YOUR DESIGN PROCESS? I have always began by scribbles in my

Understanding that I can’t always rely on

layouts that I like and think work best. I enjoy

about layering and having the skills to use

just one design process, my work is all

sketch book and jotting down any ideas and

different elements to make the design the

looking for inspiration in books of designers

most effective it can be for the purpose.

I think communicate well. I like to think about this afterwards and then use my journal as

the basis for my work and beginning Ideas.

WHAT ELEMENTS WENT DIFFERENT

with but most recently I have enjoyed using

I didn’t think that my prints would be so

THAN EXPECTED?

I use all different types of mediums to work collage in my work as a major influence. I

colourful so this was a happy surprise! I

also enjoy using photography in my sketch

had layouts planned for my work in a very

books. Within my major project I have

geometric style similar to the diploma

focused on using monoprints because I

stage but the design process has allowed

enjoy the quality of line that they can create.

me to be much more experimental which is a happy surprise.

My design process doesn’t follow a set of

rules it is organic and free flowing and much

‘Out of my organic and sometimes chaotic design process I need to take WHEN YOU STARTED THE PROJECT, DID organized bits to create work YOU FIRST START OUT RESEARCHING, that can be screen-printed.’ more analogue than digital, as I think it allows for more personal design.

DRAWING OR BRAINSTORMING? IN

SHORT HOW DID YOU START?

I started drawing and reading and re-

WHAT IS THE PURPOSE OF THE

approach then I used collage and drawing

To allow people to understand more about

PROJECT?

reading the poem. I wanted to find a fresh painting and experimenting to form the

Visual Narrative as I aim to formulate a

basis to my work.

system that others could consider when image making. Using the experiments I

DO YOU REFER BACK TO YOUR

carried out in the Diploma level I wanted to

RESEARCH? IF YES HOW OFTEN? / IF

see whether my image making would make

NOT IS YOUR DESIGN PROCESS MORE

the poem easier to understand or maybe

BASED ON YOUR INTUITION?

look at it in a different way. Asking people

I do refer back more as I have got closer

what they thought of my designs allowed

to the end of the MA as I have learnt that

me to gain a true insight and interesting

planning isn’t always for the best sometimes

findings about my creative practice.

we create small mistakes which actually

communicate the design better. Intuition

will always play a huge part in my process but understanding what research I have looked at can always keep me on track.

ARE YOU COLLABORATING WITH

OTHER PEOPLE OR IS THE PROJECT MORE INDIVIDUAL?

Asking peoples opinions as I work through the project is something I have being

doing however the designing is all my own. WHAT NEW SKILLS DID YOU ACQUIRE WHILE DOING THIS PROJECT?

Screen printing, collaging, monoprinting,

and organising! Collaging also really works well in combination with screen-printing.

You can add things to the images through the different layers.

HOW WILL YOU CONTINUE THE PROJECT?

I aim to have 20 prints that truly reflect

my Visual Voice through Images. Then I

will continue working on the approaches of visual image making that I am using

already. I am building a tool-kit of different techniques for if I want to continue further into illustration. This to develop my own visual voice and illustrate and design

with that. I really learned the printing techniques through this project.

I also landed a part-time graphic design

job at a fashion company; this gave me the

opportunity to learn more about the graphic design industry and the ‘nuts and bolts’ of the job. This project in combination with

experience from a job really gave me the opportunity to learn and grow within the

illustration and graphic design disciplines. The project gave a set brief with quite an open end, I like the freedom to

experiment and develop new work that

is quite substantial that is what the brief

Some examples of the brightly

gave me. This project showed me how

coloured notes and ‘to-do’ lists Sarah

to create a coherent body of work. I had

makes to remind herself of important

to re-read the book so many times to

happenings and thoughts.

understand how to communicate it.

I had to do research on narrative,

communication and visual voice this all to create a response to the initial brief. Now you can tell the images I created

are a series together and form a story,

as for before I would make a one-off and leave it at that. It gave me more focus and consistency as a designer doing

one big project, creating one big visual conversation through image making. DO YOU HAVE ANYTHING TO ADD

THAT MIGHT BE INTERESTING ABOUT YOUR PROJECT?

I want people to look at the prints and be able to see that they are all coherent and

have a personal feel to them. I’ve had tears and many cups of tea to get to this stage

but seeing all of them work together in the way they are makes me more than happy!

These images are a mix of collages, monoprints and screen-prints.

These are a selection of the first set of completed images I aimed to visualize. Created using various kinds of printing techniques like collaging, monoprinting and screen-printing. From here I started thinking about a format in which I would show the 20 images I have created. It could be posters or a book.

PROJECT:

My Journey

Living in the UK and visiting China has given me tools and inspiration not only for projects, but for my life, in a personal and a professional way. (From left to right MA International Design Enterprise students: Lucia, Shiliu (Lewis), Cly (Kelai) and Lucy).

LUCIA LOPEZ GARCI-CRESPO Traveling and past experiences have always been a great source of inspiration for designers. Likewise for Lucia, who based her project on her life in Mexico City and traveling to the UK and China. The result is a project about enlightenment, discovery and the creation of an artist’s book. In our first module I got really into design related ethics and started realising a lot of things about this topic, since then I really want to do a graphic

WHY DID YOU CHOOSE THIS PROJECT?

project that explains the importance of

Lucia: I think more than ‘choosing’ it

the designer as an ethical being.

happened by itself, evolving an developing thanks to the things that have happened to

me or interested me throughout the course of the MA.

For example, in our first module I got really into design related ethics and started

realising a lot of things about this topic, since then I really want to do a graphic

project that explains the importance of

the designer as an ethical being. I think

it is essential that all designers (and the

earlier in their professional life the better) give thought to the fact that we have a

bigger social responsibility than what we

believe and that we can contribute doing

good in many simple ways. Also, there are very interesting books out there about

this topic, but they are sometimes a bit

complicated so I have been considering a simpler (and maybe more friendly) way to deliver this message.

On the other hand we had the China trip and the seating solution project that reminded me how much I enjoy graphic projects,

illustration and hand-made paper objects.

While on our course trip to China, I realised how much I enjoyed graphic design projects, illustration and making paper objects.

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The project: ‘How Wang Fo was saved’ derived from the original story and inspired by the trip to China.

The project ‘How Wang Fo was saved’ is

It will be a non-traditional shaped book

read the original story, quite a few years ago,

because it starts as a little thing but then

especially meaningful for me because since I

with unfolding elements, like the topic itself

I have wanted to illustrate it and then I had

grows and grows. I will also include some

this perfect opportunity to do so.

screen-printed elements in either glow in

the dark or photo-chromic inks that react to direct sunlight making it also a metaphor

My final MA project is an artist’s book –

that some of the aspects of ethics are not

written, illustrated, printed and assembled

visible at first sight.

by me. Both the appearance and the

content reflect the concept, which is graphic design related ethics. It will feed upon my

experiences in China, UK and Mexico. This

also reflects the three layers of ‘Good Design’ shown by the avocado metaphor below.

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Sketches and screen prints from inspirational sites around Lincoln. I really like the swans around Lincoln, you never really see them in Mexico.

WHERE DO YOU FIND INSPIRATION?

window overlooking the Cathedral or in

very beautiful and inspiring, I often go

things and feel most comfortable doing

my room at home, because I have all my

Basically everywhere, I actually find Lincoln

the mess I often need doing. The problem

uphill and just enjoy the sights and the

I have faced here is that both my studio

environment, I also often go through

and my bedroom are the same place,unlike

my photos of places I’ve visited because

my home back in Mexico, so my bed and

travelling is one of my favourite activities.

books are often an enormous temptation!

Of course I also browse design books,

journals and – very rarely- online sources,

WHAT TOOLS AND TECHNIQUES DO

but this is not as important for me as what

YOU USE IN YOUR PRACTICE?

surrounds me everyday.

My tools are mostly colour pens, I love

WHERE DO YOU WORK BEST?

Stabilo markers and very fine point pens

or pencils, notebooks, paper. I keep tons

Either in the 3rd floor of the library which

of scrap paper, double-sided tape (simply

I love, specially in the far corner near the

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I work in my room at home, because I have

I love working in the library, specially on

all my things and feel most comfortable

the silent level in the far corner near the

doing the mess I often need doing.

window overlooking the Cathedral.

The problem I have faced here is that

I love Stabilo markers and very fine

both my studio and my bedroom are

point pens or pencils.

the same place, so my bed and books are often an enormous temptation!

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cannot live without it) and my MacBook. And as techniques go I use very flowing and free drawing, watercolour sometimes and since

last year screen-printing. I also use Illustrator, Photoshop and In-Design.

DO YOU WORK IN THE MA STUDIO?

Not really, I go there more for tutorials and meetings with other MA students. I think

what happens is that I’m not very used to working in a ‘public’ space such as that, I really like it though.

WHAT STEPS DO YOU USUALLY

FOLLOW IN YOUR DESIGN PROCESS? Procrastinating is usually the first step,

since I find it very easy to get distracted by doing basically anything, but even

when I’m being ‘lazy’ I’m often thinking of my projects, looking up books about the topic and sketching until I come up with

something that actually sparks my energy

and interest and then I’m quite obsessive. Along the way I’m often distracted too,

but it is far less damaging because when

I’m in the zone I carry on until I’m done. It of course depends on the kind of project and deadlines because when I’m under pressure I’m a super fast worker.

I find just writing and drawing thoughts down helps the inspiration to come

naturally to me, and its funny because

sometimes my brainstorming is very tidy and others very messy.

Sometimes my brainstorming is very tidy and others very messy.

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IS YOUR DESIGN PROCESS MORE ANALOGUE OR DIGITAL?

It tends to be analogue in its initial stages, doodling and writing everything that

comes to my mind and then digital for the final set up. For example, in the Wang Fo

project I did all the drawings by hand but

then photographed them and the final set up was completely digital.

HOW DO YOU USE SKETCHBOOKS / DRAWING / MAKING NOTES?

I draw and write a lot as part of my design process and my everyday life. I find it very useful to have my notes, for the

modules for example, but I find it hard to have an official ‘sketchbook’ because I

draw/write on whatever comes in handy

napkins, leaflets, tickets, anything. Then I lose them or throw them away. When I

arrived in Lincoln I set out to have a proper sketchbook and I have sort of done it, but I’m a terribly fickle person.

Nevertheless a fact about me is that I

always carry a tiny notebook and a tiny pen and absolutely love drawing daily

funny incidents. The latest thing I did to

encourage my discipline is a daily drawing

challenge, it’s been going well so far – only skipped one day!

‘I always carry a tiny notebook and a tiny pen and absolutely love drawing daily funny incidents.’

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WHEN YOU STARTED THE PROJECT, DID

YOU FIRST START OUT RESEARCHING, DRAWING OR BRAINSTORMING? IN

SHORT HOW DID YOU START?

I start brainstorming and researching, but

I research information rather than images, because I think that if you start searching

for other design work related to your topic

you only fill your head with smoke and pre-

conceived ideas that block your own thought process. So I look for books and definitions and stuff and simultaneously brainstorm and draw because for me the first one is

stimulated by the second one and vice versa. For example, in this project I’ve been quite

slow because I want everything in my project to be cohesive so I’ve been thinking a lot, and at the same time looking information

about artists’ books, special screen printing inks and paper folding techniques, I have finally jotted down some details like the

format, size, length, etc. but there are many little details still locked inside my head.

LOOKING BACK ON THIS STAGE, WHAT

WENT WELL IN THE PROJECT?

I think it was good to give it a lot of

thought, maybe it was risky given the time frame, but as I said, it is really important to me to make coherent design, not just

whimsical or random stuff (no matter how nice) and so far it has paid of since I feel

confident with what I have set out to do. WHAT ELEMENTS WENT DIFFERENT THAN EXPECTED?

Well at first my project was a completely

different thing so from that initial point of

view everything went different. I remember I wanted to create a book on the graphical aspects shared between arts in Mexico

I will include screen-printed elements in photo-chromic inks (those that appear only under the sunlight).

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Wall of inspiration, ideas, project development and tests that show how the stages of the project flow into each other.

and China. I realised I can do that project

WHAT IS THE PURPOSE OF THE

research resources and specially the time it

I want to pour all that I’ve learned and

PROJECT?

in another point in my life, when I have the

all I think is relevant about this topic, it is

requires because it’s a big and interesting

not only a way of expressing my self and

topic. Then I had a very fixed style in my head

making my ideas clearer but also it will –

of what I wanted my book to look like but then

hopefully – reach other people (designer or

the word ‘enlighten’ came into my head (being

art practitioners in general) and spark that

something I want my book to do: to enlighten

interest in them. My book is intended as a

those who read it) and I started considering

map that can guide you to other sources of

the idea of a light-book, UV inks, glow in the

information, or as a starting point of a new

dark inks and now photo-chromic inks. So I

way of doing ethical design by questioning

think a lot of things go differently in this kind

your decisions and its consequences.

of projects if you let them evolve, which shows how unexpected roads are not always bad.

WHAT IS YOUR FAVOURITE DESIGNER / QUOTE OR STYLE?

HOW WILL YOU DEVELOP THE PROJECT IN THE NEXT STAGE?

I like Picasso’s quote ‘inspiration has to find

you working’, I love several artists (Remedios

My next stage is the actual making of the

Varo, Magritte, Frida, Escher, Mucha and

book, screen printing, assembling the

Morris) but I’m not crazy about any designer.

prints in several copies of the book, and

I mean there are lots of designers and

getting all ready for the show.

illustrators out there that amaze me, but I

don’t feel I’m their fan as I am of the artists I

mentioned above. My favourite composer is Brahms, if that helps?

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PROJECT:

Creating Ghibli

Creating GHIBLI

Summer Film Exhibition

The Arches London 108

ALETHEA SANDERCOCK Alethea with this project aims to create an exhibition that celebrates the work of the animation Studio Ghibli. Studio Ghibli is most known for feature animation films like: Spirited Away (2001), My Neighbor Totoro (1988) and Princess Mononoke (1997).

WHY DID YOU CHOOSE THIS PROJECT? Alethea: It was a chance to explore the

world of Studio Ghibli films, the animation

process involved finding creative solutions to bring the on screen elements into the ‘real world’ of the exhibition.

WHERE DO YOU FIND INSPIRATION?

For this project especially, film was a huge inspiration - delving into the on screen

worlds, immersing myself into the artwork of Ghibli. Music also provides inspiration -

whether Ghibli soundtracks or just YouTube play lists of dramatic music.

WHERE DO YOU WORK BEST?

In my room, I surround myself in the work (mood boards / sketches / inspirational

images ect.). I put background music on (or a film depending on my task) and just lose

myself in the designs, creating the world of my exhibition.

WHAT TOOLS AND TECHNIQUES DO YOU USE IN YOUR PRACTICE?

I always find myself sketching idea after

I surround myself in my work, creating mood boards, sketches and ‘decorating’ my room with inspirational images.

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A lot of idea generation and research happens before the start of forming the actual exhibition. First all the elements of the narrative are solved.

idea (no matter how roughly). Even after

I’ve created computer 3D models or quick physical models I end up looking back at these sketches, improving and refining them. After Photoshop rendering the

sketches it becomes the case usually that they go into my final presentation.

DO YOU WORK IN THE MA STUDIO? For the most part no - I tend to base

my working time in my own space. It’s

‘It was a chance to explore the world of Studio Ghibli films... and find creative solutions to bring the on screen elements into the ‘real’ world.’ 110

I always start with a brainstorm that later becomes the basis for my brief.

easier to control, and I don’t have to

WHAT STEPS DO YOU USUALLY

always looks messy when I’m working.

Brainstorming and brief creation.

FOLLOW IN YOUR DESIGN PROCESS?

worry about getting in someone’s way - it However, that’s not to say that I don’t like

Research, mood board creation and

the studio environment. I always find the

finding inspiration. Narrative development, storyboarding and sketching ideas (for

communication / conversations I have

3D elements, spaces). Location studies,

with other people, when in the studio, to

zone planning and more basic planning.

be hugely helpful when I am designing,

Finalising plans and 3D modelling

especially when I find myself stuck on an

(computer & physical) / visual development

issue. I find talking through the project

(sketching). Then presentation set up

sparks new ideas, or offers the chance to

(organising how to communicate all ideas

listen to someone else’s opinion. It’s just

for the exhibition design).

that after these sessions in the studio I

find it easier to do the actual tasks for the design at home.

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The film, animations and music of

‘For this project especially, film was a huge inspiration... immersing myself into the artwork of Ghibli.’

Studio Ghibli were a huge source of inspiration to me. For the development of the exhibition I used elements from some of the movies to create narratives around.

IS YOUR DESIGN PROCESS MORE

DO YOU REFER BACK TO YOUR

Analogue for the huge majority of the

NOT IS YOUR DESIGN PROCESS MORE

RESEARCH? IF YES HOW OFTEN? / IF

ANALOGUE OR DIGITAL?

BASED ON YOUR INTUITION?

project - digital elements are often printed out and reworked by hand over and over

I’m constantly looking back at any research

becomes digital (Photoshop editing and

find myself researching things throughout

again. It is only in the final stages that work

gathered, although for exhibition design I

creation of presentation boards etc).

the design process for various reasons. When new ideas for the space arise new research

ARE YOU MORE OF A LIST MAKER OR

is done, but then this has to be cross

DO YOU DRAW MORE?

referenced with previous research in order

Early on in the project I find myself making

to determine if an idea will work on its own

list after list, brainstorm after brainstorm

and alongside everything else that has been

on my ideas and concept. Once the actual

designed into the exhibition and narrative.

design of elements in the exhibition space are under way this converts to drawing.

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LOOKING BACK ON THIS STAGE, WHAT

HOW WILL YOU DEVELOP THE PROJECT

The creation of a narrative went well for

The next point of development is to realise

IN THE NEXT STAGE?

WENT WELL IN THE PROJECT?

the exhibition visually for others to see and

this Ghibli exhibition. As Studio Ghibli films

understand, into 3D exhibition visuals.

are known for their strong story lines it was easy to use the inspiration they provided

to develop an exhibition that would create

WHAT IS THE PURPOSE OF THE

realisation of this narrative became the

This project is a chance to explore a genre

PROJECT?

the story of bringing these films to life. The

of film that I love. For the audience, I see

product of blending what was ‘real’ with

this project as a way for them to discover

that of Ghibli’s on screen worlds.

the magic of Studio Ghibli - its worlds and

WHAT ELEMENTS WENT DIFFERENT

characters - as well as a way for them to

THAN EXPECTED?

understand the beauty of the elements

of animation unique to the studio and its

Originally this project seemed to be very

analogue process.

technology orientated, but through the

development process the design became a mix between theatrical sets, interaction with actors and technology.

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WHAT OTHER ACTIVITIES / INTEREST

WHAT NEW SKILLS DID YOU ACQUIRE

ARE PART OF YOUR PRACTICE

The creation and understanding of narrative,

DO YOU HAVE OUTSIDE THE MA THAT

WHILE DOING THIS PROJECT?

and how this influences the space and how

As an extension of my practice, I volunteer

the flow of space has been developed by

front of house at Lincoln Castle as a Visitor

the start of designing this project.

Experience Volunteer. This allows me to

see how both visitors and staff react to and use spaces that are narrative / educational

based. As exhibition design (including that of the Ghibli exhibition project) is fully geared towards the visitor experience, and what

they will take away from your exhibition, this

insight proves invaluable to me as a designer. ARE YOU COLLABORATING WITH

‘The whole point of the exhibition is to create a This project is more individual. Although space where Studio Ghibli discussions have been held about the project creations become ‘reality’, with small groups, essentially the main design blending technology, theatre has completed without much outside input. and play.’ OTHER PEOPLE OR IS THE PROJECT MORE INDIVIDUAL?

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WHAT ARE 5 BOOKS / JOURNALS THAT YOU RECENTLY READ?

1. Museums Journal - December 2014 issue onwards

2. Crossover Design by NewWebPick Team 3. Identity and the Museum Visitor Experience by John Falk

4. Museums and the Interpretation of Visual Culture by Eilean Hooper-Greenhill

5. The Participatory Museum by Nina Simon WHAT IS YOUR FAVOURITE DESIGNER / QUOTE OR STYLE?

Favourite exhibition design studio: Casson Mann.

DO YOU HAVE ANYTHING TO ADD

THAT MIGHT BE INTERESTING ABOUT YOUR PROJECT?

This Ghibli exhibition has 3 main stages: The first is the discovery of a theatrical

area, where people are welcomed into

the world of Ghibli creations. The second part is showing the animation process

Rough visual of the exit of the Studio

with projections and interactive play areas

Ghibli exhibition.

along with animation elements and various design features that blur the lines between reality and screen. The final part shows

animation from the final productions of the animation process - both the Ghibli

process and the visitors’ own animations created in the previous interactive

activities are shown here. The whole point

of the exhibition is to create a space where Studio Ghibli creations become ‘reality’, blending technology, theatre and play.

First digital sketch up renders of the exhibition space, ready to be edited with the exhibitions content.

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PROJECT:

Animal Chair

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SHILIU (LEWIS) FU Shiliu developed a project where he combines elements that he likes in design. That is working in the workshop with hand tools to create objects, and for this project working for kids with an animal theme. Combining what you like, for Shiliu, turns out to result in a lively and fun hands-on project.

WHY DID YOU CHOOSE THIS PROJECT? Shiliu: I like to play with kids and I like

animals as well. So one day I drew an animal in my sketchbook in order to find some

Shiliu working on his children’s chair in

inspiration and doodle a bit. Then, while

the University workshop.

sketching, I found out it can be designed

like a child’s chair and children can sit on it. So it turned into this project for children. I

could give the chairs a theme like a chair for kids so they feel like a knight. So then I kept designing and sketching it.

WHERE DO YOU FIND INSPIRATION?

I found my inspiration from my drawings

and sketches. In the beginning, I have no

idea what the final product is going to look like. Moreover, I like drawing in my leisure

time so I draw sketches randomly, and then I find the inspiration to develop it further into a project.

WHERE DO YOU WORK BEST?

I like working in the workshop. Because

I can do my craft there and I enjoy being

there. Actually, I like every place that I can do handicraft, work with my hands and tools.

Some of the first sketches for the animal chair project.

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Sketches of how animal shapes translate to chair designs, and exploring how people sit on chairs.

WHAT TOOLS AND TECHNIQUES DO

behave to know what children like. After

About the tools I use the most, I think I use

drafts about what I think. Then I will look

YOU USE IN YOUR PRACTICE?

that I will design it simply. I will draw many

saws, the cutting machine, sand paper,

at other designer’s projects and obtain

pens and of course my hands. So basically

some suggestion from Dave, our program

all tools that you find in a workshop.

leader. Then I will improve my draft until it is satisfactory. Finally I will make it. If I

DO YOU WORK IN THE MA STUDIO?

have any problems with making it I will

consult other professionals and workshop

Sometimes. When we have tutorials

technicians to help me.

or lectures in our studio I would work

there, draw some sketches or search for

ARE YOU MORE OF A LIST MAKER OR

references. I prefer working in studio, the

DO YOU DRAW MORE?

workshop or at home.

I draw and sketch a lot, which makes my

WHAT STEPS DO YOU USUALLY

design process more analogue.

FOLLOW IN YOUR DESIGN PROCESS? Firstly I will draw some sketches to find

WHEN YOU STARTED THE PROJECT, DID

and try to find some images about it,

DRAWING OR BRAINSTORMING? IN

YOU FIRST START OUT RESEARCHING,

inspiration. Then I will follow my inspiration

SHORT HOW DID YOU START?

as background research. Then I will

think how to design it and what I should

I will do brainstorming first. However, if I

prepare before designing. For example,

cannot get anything I will make drawings

for my project, I will search for books

and sketches. And after that comes the

about children’s furniture or how children

researching of the project and designs.

On the next page are more idea sketches and Shiliu working in the workshop on his first prototype.

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Shiliu’s wall of inspiration in

the studio, where he collects his sketches, research and inspiration.

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DO YOU REFER BACK TO YOUR

RESEARCH? IF YES HOW OFTEN? / IF

NOT IS YOUR DESIGN PROCESS MORE BASED ON YOUR INTUITION?

My design is based on my research and

drawings. For example I can find out what colour children like, which materials and

fabrics they like, and what measurements are

suitable for them from my research. However, my intuition is also important for me.

WHAT ELEMENTS WENT DIFFERENT THAN EXPECTED?

It is the draft stage. I improved my design twice from Dave’s suggestion. It turned

out different than I expected but I know what I am doing now, which will make it better eventually.

HOW WILL YOU DEVELOP THE PROJECT IN THE NEXT STAGE?

After the design is complete Shiliu

After making the model I will go to a

started making the first model out of

factory to create a real children’s chair and

the material: polyethylene.

maybe I will change a little in order to make the manufacturing easier.

WHAT IS THE PURPOSE OF THE PROJECT?

My purpose is to make a cute animal chair for children. It is not just a chair, it is also a toy for kids and a decoration in children’s rooms. Because I think that designing an animal chair is a interesting project and

there are not many kinds of animal chair for kids on the market. In other words I think my project is different and distinctive. ARE YOU COLLABORATING WITH

OTHER PEOPLE OR IS THE PROJECT MORE INDIVIDUAL?

The project is more individual, but I get

advice from workshops technicians and my tutor if we talk about my project.

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Hand-stitched models of shapes of animals that could be turned into children’s chairs.

WHAT NEW SKILLS DID YOU ACQUIRE

Chris Simpson. Hertford: Stobart Davies.

WHILE DOING THIS PROJECT?

5. Middlebrooks, S. (1998) Getting to Know City Kids: Understanding Their

Hand stitching. In other words, I made

Thinking, Imagining, and Socializing.

many little prototype toys for my project by

New York: Teachers College Pr.

stitching shapes of animals.

WHAT ARE 5 BOOKS / JOURNALS THAT

WHAT IS YOUR FAVOURITE DESIGNER /

1. Maflin, A. (2008) Children’s Rooms:

I like the work of Rachel Faucett, she keeps

QUOTE OR STYLE?

YOU RECENTLY READ?

an online blog Handmade Charlotte. This

Great Ideas to Transform Your Child’s

is where she posts D.I.Y.

Space Plus 25 Step-by-step Projects.

www.handmadecharlotte.com

London: Cico.

Children’s projects to

Children. Germany: Die Gestalten Verlag.

and furniture tips for kids rooms.

2. Klanten, R. (2009) Play All Day: Design for

make fun toys and shares interior design

3. Conran, T. (1992) Children’s Furniture and Toys: Stylish Projects to Make for

Your Children. New York: Collier Books.

4. Simpson, C. (2009) Art and Craft of

Making Children’s Furniture: A Practical

Guide with Step-by-step Instructions by

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PROJECT:

Baby Boo Hood - Educational Toy for Babies

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AJ PHILP A project that combines education, design, thorough research and past experiences. With the aim to launch the Tj Trends21 company, this results in the possibility for the project to grow and to meet commercial interests.

WHY DID YOU CHOOSE THIS PROJECT? AJ: My final project is based on an idea

‘I have always believed in early education for babies and research has show that we can develop our babies brains by 90% by the age of five.’

that came to me 13 years ago when I was working as a maternity nurse. The MA

International Design Enterprise course has

enabled me to develop this idea and for it to become real.

I have always believed in early education

for babies and research has show that we

can develop our babies brains by 90% by the age of five. Research has also proven

that bilingual children are able to develop

more skills than monolingual children. This research backed my theory that the more stimulation babies received the brighter

they appeared to be. I found baby toys to be ineffective and cumbersome. Those extremely beautiful hanging mobiles

decorative in every way, but to the baby

lying in the pram underneath, all they can

see is the feet. My aim is to produce a hood that fits inside a pram or buggy that can be lifted up when the baby is awake and put

down for when baby needs to sleep (over stimulation will result in babies that are

Black, red and white are the first

unable to settle and calm down).

colours a baby can perceive.

It will be designed with three colours,

black, red, white, for the first four months

as that is all a baby can see. Play lights and songs in different languages. After four months it can be turned over and it will

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now show lots of bright colours and have

WHAT TOOLS AND TECHNIQUES DO

I also hope to have a baby App for mums

I tend to work with prototypes first

YOU USE IN YOUR PRACTICE?

interactive toys for the child to play with.

or ripping out images for inspiration,

phones which can also be played in the

designing a mood board of sorts.

hood to stimulate them further. The Baby boo buggy hood will hopefully be sold

DO YOU WORK IN THE MA STUDIO?

to nationwide stores under my company

I do work in MA studio but I prefer to work

name Tj Trends21.

in the library.

WHERE DO YOU FIND INSPIRATION? In this project inspiration came from my

WHAT STEPS DO YOU USUALLY

in Spain. Children adore watching fish and

I start with researching, gathering photo’s

FOLLOW IN YOUR DESIGN PROCESS?

travels to Africa and my home near the sea

and images, then creating prototypes and

nothing beats a trip to the zoo.

sketching initial ideas.

WHERE DO YOU WORK BEST?

The place I love to work in is anywhere

IS YOUR DESIGN PROCESS MORE

library most of the time.

Again it depends on the project but on this

ANALOGUE OR DIGITAL?

quiet with no one around, so the studio or

project it appears to be more digital.

Images on this page show a close up

Right page is a page from AJ’s

of AJ’s inspiration wall in the studio.

sketchbook, showing a collage with sources of inspirations.

Here she documents and labels research and inspiration.

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HOW DO YOU USE SKETCHBOOKS / DRAWING / MAKING NOTES?

I tend to gather more images from magazines, shops, parks to gain

inspiration, then move onto sketching. ARE YOU MORE OF A LIST MAKER OR DO YOU DRAW MORE?

Lists, lists and more lists and then I put the work together then I have slips of paper

coming out of my sketch book as to what needs to be added.

WHEN YOU STARTED THE PROJECT, DID YOU FIRST START OUT RESEARCHING, DRAWING OR BRAINSTORMING? IN SHORT HOW DID YOU START?

Research most of the way. I went to loads

of baby stores here in Lincoln, London and Spain. I asked groups of mums on their

thoughts of how and when they shop for

baby toys, if at all. I took photos and from

there came up with a plan. It is also based on my own knowledge through my work and experience.

DO YOU REFER BACK TO YOUR

RESEARCH? IF YES HOW OFTEN? / IF

NOT IS YOUR DESIGN PROCESS MORE

First idea generation sketches that show

BASED ON YOUR INTUITION?

the first elements that will develop into

I refer to my research all the time it helps to

becoming the Baby Boo Hood.

define where not to go.

LOOKING BACK ON THIS STAGE, WHAT WENT WELL IN THE PROJECT?

My background knowledge was the most

useful tool. I use to be a maternity nurse for over twenty years, so I know how and what products are available and if they work.

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WHAT ELEMENTS WENT DIFFERENT THAN EXPECTED?

Designing the baby app is not the direction I was thinking of going, and I may not actually head that way. However I am excited at the thought. The market is actually very quiet in this area.

HOW WILL YOU DEVELOP THE PROJECT IN THE NEXT STAGE?

I would like to see it go to market so if a

company took it off my hands and would manufacture it, I would be thrilled. And

hopefully the Baby Boo buggy hood could be sold to nationwide.

WHAT IS THE PURPOSE OF THE PROJECT?

To educate parents that time is precious and babies grow with the blink of an eye and

I want them to embrace the value of early

education. We seem more interested if our child is potty trained by two than we are in

opening the world of stimuli and developing a child’s brain to is maximum potential.

WHAT OTHER ACTIVITIES / INTEREST

DO YOU HAVE OUTSIDE THE MA THAT ARE PART OF YOUR PRACTICE?

Reading on how to stimulate a child,

nature over nurture, and design. I am

also interested in how playgrounds, zoos are set up for children. The window of

opportunity of educating and stimulating a child is often missed.

ARE YOU COLLABORATING WITH

OTHER PEOPLE OR IS THE PROJECT MORE INDIVIDUAL?

I am working with Les Porter from

ideasin2action who is helping put language and light into the toy. I am talking to Susan

Cadd, innovation manager at the University, on how to design a baby app.

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WHAT NEW SKILLS DID YOU ACQUIRE WHILE DOING THIS PROJECT?

New skills I have developed are digital printing and app designing.

WHAT ARE 5 BOOKS / JOURNALS THAT YOU RECENTLY READ?

1. Einstein Never Used Flashcards: How Our Children Really Learn

2. How babies talk

3. Designed for kids

4. Baby talk strengthen your babies ability

to talk and understand and communicate

5. Toy design

WHAT IS YOUR FAVOURITE DESIGNER / QUOTE OR STYLE?

To improve is to change; to be perfect is

to change often by Winston Churchill. My

favourite artist is Picasso but favourite designer would be Coco Chanel. One extreme to

another and that’s how I design. I like clean orderly lines but I work in chaos and I’m

forever changing and I aim for perfection. DO YOU HAVE ANYTHING TO ADD

THAT MIGHT BE INTERESTING ABOUT YOUR PROJECT?

I designed this project on experience

which is based on scientific fact. Parents are drawn into buying toys for there

babies that look pretty or fit into their

colour scheme of their house,which is often beige, or drawn into buying for

gender. I want to educate the parents into buying to stimulate their baby to put their development first.

This are the first prototypes of the Baby Boo Hood. Tests with fabric, colour and form.

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This is a total overview of AJ’s wall of inspiration, an ever expanding

documentation of research that grows with the

development of the project.

PROJECT:

Monika

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LUCY PATTERSON A colourful and exploratory project, inspired by the trip to China for a month which has given Lucy the chance to venture in new directions, to experiment with new materials and techniques and to learn more about surface design.

WHY DID YOU CHOOSE THIS PROJECT? Lucy: I chose to do this project because I

wanted to explore print and surface design,

as well as working in an inter-disciplinary way. WHERE DO YOU FIND INSPIRATION?

The inspiration for my project came from my trip to China and the photographs I

As many other designers Lucy also

took of my journey.

keeps an ‘analogue’ wall of inspiration.

WHERE DO YOU WORK BEST?

I work best at my desk at home, when I am

doing digital work, but I also like working in different studios and the library.

WHAT TOOLS AND TECHNIQUES DO YOU USE IN YOUR PRACTICE?

I screen print, lino print, collage, and draw by hand and on illustrator.

DO YOU WORK IN THE MA STUDIO?

Depending on what I am doing on that day, depends on where I work. I like working in the studio when it is quiet.

WHAT STEPS DO YOU USUALLY

FOLLOW IN YOUR DESIGN PROCESS? I usually do a lot of experimenting, and

gathering of research through doing things, rather than reading. I like to see what

happens, rather than plan the whole project

Screen printing has been a big part of

and how it will turn out/ what it will become.

Lucy’s design process for this project. Experimenting with the materials: fabric, paper and wood.

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Lucy’s workspace in her home.

IS YOUR DESIGN PROCESS MORE ANALOGUE OR DIGITAL?

In the beginning I tend to stay away from

working on the computer, but towards the end, when I am finishing designs, I tend to convert my work into a digital format, so that I can control it more effectively.

HOW DO YOU USE SKETCHBOOKS / DRAWING / MAKING NOTES?

Lucy’s sketches and test fabric pieces

I like to work on separate sheets of paper

that are part of her process.

for my initial drawings. I like to experiment on illustrator as I can quickly develop my

ideas. I work a lot on fabric, using different materials, as much of my work revolves

around fabric manipulation. My notes are

WHEN YOU STARTED THE PROJECT, DID

then transferred into my online blog.

DRAWING OR BRAINSTORMING? IN

YOU FIRST START OUT RESEARCHING,

usually written down in a notebook, and

SHORT HOW DID YOU START?

ARE YOU MORE OF A LIST MAKER OR

It started with a few quick sketches, but

DO YOU DRAW MORE?

then I focussed more on print designs, and

manipulating photographs to develop print

I tend to make lists as goals for the week,

ideas. Screen printing has been a big part in

to track my progress. Drawing is usually

transferring my ideas from paper / illustrator

used to work out problems, and plan the

drawings, to actual printed fabric samples.

process I am going to use.

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‘I work a lot on fabric, using different materials, as much of my work revolves around fabric manipulation.’

Some fabric experiments and screen print tests, designed with photo’s of Lucy’s trip to China.

DO YOU REFER BACK TO YOUR

LOOKING BACK ON THIS STAGE, WHAT

NOT IS YOUR DESIGN PROCESS MORE

The most successful part about my project

WENT WELL IN THE PROJECT?

RESEARCH? IF YES HOW OFTEN? / IF BASED ON YOUR INTUITION?

was the prints, and experimenting with

screen printing, and progressing this to

My design process is based more on

digital printing.

intuition. I tend to reflect on research, but I don’t fully rely on it. I find it more useful

to experiment with materials and process, than to read about them.

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WHAT NEW SKILLS DID YOU ACQUIRE

WHAT ELEMENTS WENT DIFFERENT THAN EXPECTED?

WHILE DOING THIS PROJECT?

been working with materials I wouldn’t

fabrics, but never on wood, so this process

I had done screen printing before on

Although my project seemed simple, I have

was new to me. I also learned how the

usually work with, such as wood. Screen

digital printer works.

printing on wood was a lot more successful than what I thought it would be.

WHAT ARE 5 BOOKS / JOURNALS THAT YOU RECENTLY READ?

HOW WILL YOU DEVELOP THE PROJECT IN THE NEXT STAGE?

I tend to read a lot of magazines:

create fabrics with prints using the digital

2. Aesthetica Magazine

1. Selvage Magazine

I am planning to develop my prints, and

3. Vogue Magazine

printer. I will then turn my 2D work into 3D

4. Wallpaper Magazine

forms and objects.

5. Marie Clare Magazine

WHAT IS THE PURPOSE OF THE PROJECT?

WHAT IS YOUR FAVOURITE DESIGNER /

what I could do with my images from our MA

He who buys what he does not need steals

QUOTE OR STYLE?

The purpose of this project was to explore

from himself. This quote reminds me to

International Design Enterprise course trip

consider the materials I use, and stay

to China, and develop textile pieces, which

focussed on what I am doing.

communicate my memories from the trip. ARE YOU COLLABORATING WITH

OTHER PEOPLE OR IS THE PROJECT MORE INDIVIDUAL?

My project is individual, however, I am

speaking to fellow students, teachers and

technicians about how to develop my work.

Lucy’s edited photo’s printed in 3 solid colours, so they could be used for screen printing as well.

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Above, more print tests and manipulated photo’s digitally edited in Photoshop. Left, a wooden shelf, screen printed in two colours. Below, a collage piece was one of Lucy’s sources of inspiration for this project.

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PROJECT:

Wearable Architecture

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EMMA CLARKE A project exploring a field between the disciplines of Jewellery and Architecture. Transforming spaces into wearable luxurious objects, one a miniature version of the other.

WHY DID YOU CHOOSE THIS PROJECT?

Emma: I chose this project as it combines my fascination and obsession with

designing and making jewellery with the

complexities and precision of Architecture. For me jewellery relates to the body in the

same way that buildings relate to the earth, it explores and interacts with the contours of the living body as a landscape from which it can be constructed.

WHERE DO YOU FIND INSPIRATION?

The majority of my inspiration derives from Architecture, specifically contemporary

Architecture, for example the work of Saha Hadid and Daniel Leibskind, as their use

of geometric shapes and futuristic forms when combined produce these almost

sculptural structures that we are able to

discover and explore. This I feel is similar to what I do within my own practice, but on a much smaller scale.

WHERE DO YOU WORK BEST?

I work best within a workshop environment; somewhere I can surround myself with

tools while experimenting with precious metals, pushing their boundaries and

testing their limits. I enjoy the process of being hands on with my materials and often learn through tacit knowledge.

These are 3D printed prototypes, testing scale and size before the jewellery is made out of expensive silver.

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WHAT TOOLS AND TECHNIQUES DO

into pieces of jewellery. Sometimes I will

The tools I use range from hammers to

drawings in 3D to test if they work as an

YOU USE IN YOUR PRACTICE?

produce CAD models to represent my object.

pliers, shears, saws, files, emery boards,

drawplates, gauges to drilling, polishing and soldering equipment. Techniques I

IS YOUR DESIGN PROCESS MORE

soldering, oxidising, piercing, polishing

My design process is mainly analogue in

ANALOGUE OR DIGITAL?

use within my practice include drawing,

terms of drawing and testing if certain

and stone setting.

techniques are going to work, although I do use the CAD software Rhino to produce 3D

‘In this project I have tested my skills and made everything by hand.’

models occasionally as a way of testing my

ideas and turning my drawings into physical objects. Sometimes my designs require

CAD software to produce the final pieces

WHAT STEPS DO YOU USUALLY

if the design is too complex to be made by

FOLLOW IN YOUR DESIGN PROCESS?

hand, however in this project I have tested my skills and made everything by hand.

I start by drawing abstract geometrical shapes within my sketchbook which I

take from my source of inspiration; I then evolve these shapes by starting to create

designs for objects that eventually progress

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LOOKING BACK ON THIS STAGE, WHAT

ARE YOU MORE OF A LIST MAKER OR

WENT WELL IN THE PROJECT?

DO YOU DRAW MORE?

I tend to make lists to organise my thoughts

I feel that all of my final pieces worked and

me to visualise and develop them, so I

that contain little ledges and walls, as there

turned out well, especially the pendants

and ideas but it is the drawing that helps

were times where I didn’t think it would be

would say drawing is what I do most.

possible to solder them in without them

DO YOU REFER BACK TO YOUR

reaching their melting point.

RESEARCH? IF YES HOW OFTEN? / IF

NOT IS YOUR DESIGN PROCESS MORE

WHAT ELEMENTS WENT DIFFERENT

My research always informs both my

Originally the pendants were meant to

would not be aware of other practitioners

shoulder so that they could be worn as

THAN EXPECTED?

BASED ON YOUR INTUITION?

fit onto a structure which lay over the

designs and my practice, without it I

one collective piece or taken off and

exploring my subject of interest or if

worn individually. However I decided to

my idea has simply already been done.

go against this idea, as trying to come up

However intuition also plays a part in my

with a solution of how to fix the pendants

design process as sometimes I get caught

to the structure so that they can be taken

up with an idea and just run with it.

off again without damaging them in the process was proving to be difficult.

I work best within a workshop

HOW WILL YOU DEVELOP THE PROJECT

environment; somewhere I can surround myself with tools while

IN THE FUTURE?

experimenting with precious metals.

Now that I have thoroughly researched

into the subject of both space and scale and how it is used within Architecture, sculpture and jewellery, I feel this has

The jewellery objects are hollow to represent the inside of an Architectural space.

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opened up many doors in regards to how

collaborated with anyone as the project is

Architecture. Also it has made me question

a test of me pushing boundaries of both

I can approach my subject of wearable

quite personal in the sense that it has been

what would become of my pieces if they

my skills and knowledge of techniques, by

were scaled up to the size of a building,

attempting more complex designs.

would they function as Architecture or would adjustments need to be made.

WHAT NEW SKILLS DID YOU ACQUIRE

would be to collaborate with an architect

Within this project I learnt the skill of sweat

WHILE DOING THIS PROJECT?

Another way I could develop my project and see what would come of it.

soldering which I found to be a lot more

challenging and temperamental than the

WHAT IS THE GOAL/PURPOSE OF THE

standard approach, as when you apply heat

PROJECT?

to the already melted solder the top piece of silver tends to slide out of position when it

The purpose of my project is to develop a

has reached temperature, there is no control.

series of small scale objects that explore

two seemingly different forms of creative

WHAT ARE 5 BOOKS / JOURNALS THAT

practice, exploring the relationships between

YOU RECENTLY READ?

wearable objects and architectural volume.

1. Design of enclosed Spaces

WHAT OTHER ACTIVITIES / INTEREST

2. The Modulor Le Corbusier

DO YOU HAVE OUTSIDE THE MA THAT

3. Antony Gormley Blind Light

ARE PART OF YOUR PRACTICE

4. Rachel Whiteread

5. Maker Wearer Viewer Jack Cunningham

Alongside the MA I have done a few

commissions and have been repairing and resizing jewellery.

WHAT IS YOUR FAVOURITE DESIGNER /

ARE YOU COLLABORATING WITH

‘Imagination is everything. It is the preview

QUOTE OR STYLE?

OTHER PEOPLE OR IS THE PROJECT

of life’s coming attractions.’ Albert Einstein.

MORE INDIVIDUAL?

Throughout this project I have not

Close-up of two of the separate elements of Emma’s wearable Architecture Jewellery collection.

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PROJECT:

Away With Words

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KAT DOWNS An intriguing project that sprouted from the creation of ‘The Little Cup’ after a spark of inspiration. Rethinking and re-purposing objects adding meaning and a little curiosity is one way to describe Kat’s project. Venturing into the realm of ‘objet trouvé’.

‘This project actually began with an object that I created somewhat intuitively. ‘The Little Cup’ was a very early piece that happened near the start of my MA.’

WHY DID YOU CHOOSE THIS PROJECT?

I created a spoon that has a screw in pin with

me picking out the most important aspects

the handle of the cup to bring it all together.

coffee beans on it and a ring that fits around

Kat: This project came about as a result of

The original idea was that it can simply be

of my practice in the last few years and

a cup, spoon and some coffee so the found

trying to give it a more solid direction. I

object can retain its original function. The

was also interested in trying some new

spoon can also be a ring, the pin unscrews

techniques and one of the underlying

to become a brooch and when they are all

themes is the use of found objects which

together, a chord could be placed on the

was a really positive experience. I used to

handle of the cup to create a neck-piece.

have a great dislike for pretty much all ‘objet trouvé’ based art but spending time trying it

and researching it has enhanced my practice

‘The Little Cup’ is where this project

and helped me understand what I disliked

began. When I created this piece I

about it originally but it has also convinced

was researching the concept of multi-

me to revise some of my views on it.

functional objects/jewellery.

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WHERE DO YOU WORK BEST?

Kat’s work space at her home in Lincoln. ‘It is usually quite a messy

I work best in my personal studio at my

area as I need ‘organised chaos’ to

home in Lincoln. My desk is next to the

get my creative juices flowing. I have

French doors that open on to my garden

a lot of tools and equipment spread

where I get many birds visiting and wanting

throughout my entire house as I have an interest is so many different things

to be fed. The birds are wonderfully

from metal work to sewing.’

interesting to watch and I also keep goldfish and tropical fish in my workshop which offer a tranquil and relaxing atmosphere whilst I am contemplating what I am working on.

WHERE DO YOU FIND INSPIRATION?

WHAT TOOLS AND TECHNIQUES DO

and therefore reading and researching

This is a very difficult question to answer as

maxims, etc. is a really big part of my

and concepts surrounding language so

YOU USE IN YOUR PRACTICE?

I find much of my inspiration in language such things as phrases, sayings, quotes,

my practice is strongly reliant on narratives

practice. This can be academic reading but

the tools and techniques I use are heavily

also leisure reading as I find just as many

influenced by each individual piece that I

interesting words and saying that are new

make. I feel I would not be able to express

to me from reading novels and other such

my thoughts through my work fully if I was to

works as I do from reading textbooks.

limit myself to a set of tools and techniques.

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I am however very fond of using Stirling

silver as this material is malleable and very diverse so I use this in many of my pieces.

DO YOU WORK IN THE MA STUDIO?

Not very often at all. I find that I am easily distracted by the comings and goings of

others and the less familiar surroundings

tend to make my mind go on tangents. I am

at my most productive when I am in a familiar environment with no unexpected sights or

Sketchbooks that I used during my

sounds to pull my attention from my work.

major project. I love working in this long thin format. The pages show a variety

WHAT STEPS DO YOU USUALLY

of the different things that I use my sketchbooks for. They show samples

FOLLOW IN YOUR DESIGN PROCESS?

of materials, silver beads and notes/

I tend to start with written information

images discussing my choice of clasp,

as the basis of my projects. I make a lot

rough design development and ideas.

of notes and very quick doodles. This

stage of my work is always pretty messy

because, when I get a really good idea, my brain moves much too fast for my hands to keep up so I have to jot things down in a personal form of shorthand. Once

I have lots of thoughts down I begin to

go through them to expand on the best

ideas and then begin some more detailed sketches and notes on what I will do next. IS YOUR DESIGN PROCESS MORE ANALOGUE OR DIGITAL?

Very much analogue. I have a lot of respect for all creative individuals and the methods they use to create their work but I create

because I have a need to get my hands dirty and therefore do not like using any method that separates me in any physical way from

what I create. I do use photography to some extent but I often use it as a quick way to

record technical notes than as part of my actual design process. I much prefer to

Pages form my neat sketchbook. The

sketch and make models or collages than

actual sketchbook was originally an A2

use CAD or other digital methods.

portrait orientated book that I cut in half to create a long thin book. I usually have several sketchbooks on the go at the same time so that I can use different books for different types of information.

149

and well-made and I aspired to be that

clever one day. Obviously this is not how

these items are really manufactured but that childish aspiration of being able to create

an entire object by my own hands has stuck with me and I feel it will always strongly inform my practice.

HOW DO YOU USE SKETCHBOOKS / DRAWING / MAKING NOTES?

I am extremely picky with the style of

my actual sketchbooks. They have to be

wire-bound so they can be dismantled and pages moved around or a few blank pages taken with me so I do not risk losing or

damaging the other contents. Wire-bound books also expand better when collected

items are stuck in. I also like to work on thin long pages so I often purchase typical A3 or A2 books and cut them down into 2 or

3 smaller books of equal sizes. Once I have created a suitable sketchbook I will use

These particular pages show some of

it for anything and everything that I find

my experiments with different papers whist developing my ‘Tea Rose’ piece

relevant to my project. I will add research

and an early concept for a ‘Tea Tree’

or inspirational objects, sketches, notes

based on the Alice in Wonderland

on ideas and photographs with technical

rose trees. The 3 roses are cut from

notes that document techniques I have

fresh tea bags, used tea bags and tea stained printer paper with the word

used (especially difficult or new methods).

tea printed on it in various fonts.

ARE YOU MORE OF A LIST MAKER OR DO YOU DRAW MORE?

I think this need to be very physically

I do make an awful lot of lists during a

involved in the entire process stems from

project. I find it helps me to focus and relax

a slightly silly view I had on materialistic

when I list everything that I want/need to

items when I was a child. I used to believe

do so I can plan my next moves and stick

that every object was made by a person. For

to any time constraints. I do love to draw

example, I thought that our family washing

when I need to create a visual aide but I

machine was created by one individual

find that this takes too much time away

that made the case and all the buttons and

from more important things that I need to

then put the whole thing together all by

get on with so I will avoid it if I have more

themselves. I always thought that these

pressing matters to attend to.

people were the cleverest people on the planet to have enough knowledge to be

able to forge the metal, mould the plastic solder all the wires, plumb the pipes and put it all together with it looking so shiny

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WHEN YOU STARTED THE PROJECT, DID

materials or techniques to be used. Usually

DRAWING OR BRAINSTORMING? IN

I find myself making mistakes or regretting

YOU FIRST START OUT RESEARCHING,

this sort of venture would end in disaster as

SHORT HOW DID YOU START?

certain decisions if I do not have a solid plan beforehand but The Little Cup just worked

The start of this particular project deviated

and it gave birth to my entire project.

somewhat from my usual routine. I would

normally begin all my projects with a good

DO YOU REFER BACK TO YOUR

brainstorming session and get as many

RESEARCH? IF YES HOW OFTEN? / IF

ideas jotted down as possible but this

project actually began with an object that

NOT IS YOUR DESIGN PROCESS MORE

Cup’ was a very early piece that happened

I have to refer back on my research quite

BASED ON YOUR INTUITION?

I created somewhat intuitively. ‘The Little

a lot in any project I do. I usually start with

near the start of my MA. This object came

so many ideas and concepts that I must

into being after I purchased a little espresso

refer back in order to start narrowing down

cup from a supermarket and decided to

onto a specific path and this means reading

turn it into a piece of art. I had no plans

back through most of my thoughts and

and it is one of the very few times I have

discoveries quite a few times before things

simply sat down at my workbench and just

begin to hone in on a stream-lined concept.

allowed something to come into being

without consciously planning the design,

My project is about manipulating the meaning of common

The term teetotal is used to describe an individual that

sayings and representing them in a different way that is

abstains from the consumption of alcoholic beverages.

either more literal or obtuse. For example, a tea rose is a

I manipulated the word to represent ‘tea’ and total’ and

breed of actual rose but I chose to create a rose from silver

therefore designed a circular abacus that is an item for

whose petals are made from used tea bags to represent the

calculating ‘totals’ and designed it to sit in the top of one of

idea of a tea rose differently.

my found tea cups which represents the ‘tea’ part.

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LOOKING BACK ON THIS STAGE, WHAT

WHAT OTHER ACTIVITIES / INTEREST

I feel that the narratives worked very well

ARE PART OF YOUR PRACTICE?

DO YOU HAVE OUTSIDE THE MA THAT

WENT WELL IN THE PROJECT?

and the use of many different found cups

Much of what I do in my life revolves

theme but made each piece unique and

language. I spend a lot of my free time

around artisan skills and my love of

brought it all together with an underlying

reading all manner of books but I also

individual at the same time.

enjoy the creative problem solving

WHAT ELEMENTS WENT DIFFERENT

involved in DIY projects and other personal

THAN EXPECTED?

creative pursuits. From hanging pictures

and spice racks on the wall to building my

I had many more plans and ideas that I

own PC’s, I find that I am at my happiest

wanted to include in the project but I simply

when I am involved in some form of

did not have enough time to create every

hands on creation or construction. I am

piece that I would have liked to. I found

one of those really strange people that

this a little disappointing and it is difficult

thoroughly enjoys flat-pack construction

to pick which ideas to go ahead with when

as this involves both the deciphering of

you really like all of them. I also found that

usually very confusing instructions and the

some of the techniques I needed to use to

physical act of building an object.

represent certain concepts required skills that I could not hone satisfactorily in the

ARE YOU COLLABORATING WITH

time constraints of the project.

OTHER PEOPLE OR IS THE PROJECT MORE INDIVIDUAL?

HOW WILL YOU DEVELOP THE PROJECT IN THE NEXT STAGE?

This project is a very individual endeavour

and many of my projects have been but one

I have so many more ideas and concepts

day in the near future I would love to have an

to attempt regarding this project that I

opportunity to be involved in a collaboration.

think it may continue for several more years alongside my future endeavours. I would

also like to try recreating some of my pieces

WHAT NEW SKILLS DID YOU ACQUIRE

gain experience/expertise in the skills that I

I have previously mentioned that my work

WHILE DOING THIS PROJECT?

in the future after I have had more time to

is driven by narratives and intangible ideas

found challenging the first time around.

that I attempt to solidify into tangible

WHAT IS THE PURPOSE OF THE

objects and this almost always requires the

PROJECT?

use of any material, skill or technique that

will provide the right results to support that

Projects like this one are always very much

narrative. In this project alone I attempted

for me rather than my audience. Like many

woodwork, flocking, creating sugar glass,

artists, I do enjoy the feeling of others

anodising silver, caring for a living bonsai

appreciating my work but I get my real thrill

tree and wiring an LED up to batteries.

from the actual creation processes so for

Many of these techniques were things

me, the appreciation from an audience is

that I had never attempted before so my

more of an added bonus than a goal.

project has added a great deal of new and different skills to my repertoire which I will continue to hone in the future.

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WHAT ARE 5 BOOKS / JOURNALS THAT

However, my favourite quote is ‘If you put

1. The Toaster Project – Thomas Thwaites

only find what you are looking for. You

YOU RECENTLY READ?

things away in a too tidy way, then you will

2. Language and Creativity: The Art of

will never be surprised nor delighted by

Common Talk – Ronald Carter

fortuitous discoveries.’ (Karl Lagerfeld)

3. Language Myths, Mysteries and Magic –

This quote resonates with me because it is

Karen Stollznow

very much representative of how I work. I

4. Why We Make Things and Why It

am pretty messy and disorganised at times

Matters – Peter Korn

but I make the most wonderful discoveries

5. The Art of Looking Sideways –

on a daily basis.

Alan Fletcher

DO YOU HAVE ANYTHING TO ADD

THAT MIGHT BE INTERESTING ABOUT YOUR PROJECT?

I feel that my project (my entire MA in fact)

WHAT IS YOUR FAVOURITE DESIGNER /

has been quite a long, difficult journey and

QUOTE OR STYLE?

there were times that I just wanted to curl

up in a ball and quit, especially when things

This is probably the most difficult of all the

were not working or I had convinced myself

questions to answer definitively. I have a

that my ideas were terrible and my concept

very eclectic taste in many things and just

was utter nonsense. However, I persevered

like with music artists or writers, it is often

and the result has been that this endeavour

impossible to truly single one out as a

has provided me with a great insight into my

favourite artist. I enjoy the work of many

practice and why I do what I do. Looking back

great artists from Picasso and Da Vinci to

I would not even exchange the low points

Luke Jerrum (who makes the most amazing

for better memories as the experience as a

glass sculptures based on things like the

whole has been fantastic and the positives

AIDS virus) and jewellers like Akiko Kurihara

greatly outweigh the negatives.

and Anna Talbot.

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PROJECT:

Middleport Farms – Stoke on Trent

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KAMSIN MIRCHANDANI some research papers that showed statistics

A project aimed to design and re-use the Middleport Pottery building in Burslem, Stoke on Trent. A Victorian factory built in 1888 and now an abandoned site, until very recently. Looked at with new interests, in regeneration purposes, Kamsin aims to transform the site into a renewed urban farm, centre for research and education.

about Britain’s food systems, it’s strengths

and drawbacks. Soon enough, I found that many of Britain’s cities are suffering from food poverty, and that its system of food

production and distribution needed a major overhaul. Delving further into the situation

of food poverty in Britain, I discovered that

areas in Manchester, Liverpool, Lincolnshire and Staffordshire are some of the most

deprived. The number of people fed by

food banks has also increased exponentially over the last decade. The UK has become

WHY DID YOU CHOOSE THIS PROJECT?

used to a plentiful supply of affordable

food, however, 40 percent of it is sourced

Kamsin: When I began to put ideas together

from outside the country.

for a thesis project proposal, something

that instantly came to me was that we as

designers have the power to play a small

These findings helped me to build a strong

us. I asked myself, what would I want to

sufficiency in our food system, and why

case for why I think we need more self-

part in shaping the environment around

therefore I should pursue it as an important

contribute to transforming our cities, so

global issue that needs addressing at a

that they have more value and significance

regional scale.

to their inhabitants?

Being personally allured to the concept of ‘eating what you grow’, I decided to

explore self-sufficiency of cities and their

Photo of the existing buildings that are

relationship with food. I then looked up

part of the old Middleport Pottery site.

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Sketches and drawings are a way to explore the possibilities, limits and boundaries of the project.

WHAT DRIVES YOUR PRACTICE?

the Middleport farms project, I was driven to

the hermeneutic circle, which I find very

at first, because of the existing conceptual

explore more of this seemingly utopian idea

Curiosity! And in that sense, the theory of

visuals of vertical farms. As crazy and wild as

fascinating. I begin by asking myself what Theory of interpretation and understanding that no observation is free from the effects of the observer's experiences and projections of his or her personal values and expectations.

these concepts may be, some very realistic

I want to address,

visions are already out there, operating and

explore and express.

proving to be a step forward for Architecture

In addressing

and food. I wanted to contribute my vision to

the problem that

this as well, and so curiosity got the best of

needs a creative

me. What would my dream urban farm be?

solution, a goal state must be defined, and parameters must be outlined. Clarifying the intent is the first step in the process.

WHERE DO YOU FIND INSPIRATION?

exploration, the unexpected is welcome and

proverbial moth to a flame I am drawn

In the next stage, that of open-ended

I am a design enthusiast! And like the

every intriguing thread is followed, without

to all things wonderfully designed, from

immediate concern for the outcome. The

structures and spaces to products and

more the curiosity, the more the exploration

graphics. When I think of what inspires my

and generation of new ideas that further

practice, I think back to the places I have

develop the asking of more questions. In the

travelled to, and spaces that left me feeling

last stage, expression is one that provides

some sort of emotion. Exploring new places

a tangible form of an idea or a solution.

leaves you in a state of serendipity. Jason

The key is to refine the idea, so that what is

Silva defines it as ‘moments of unexpected

distinct about the point of view is clear. With

relevance’, where you find yourself looking

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for something and you find something else.

Analysis of the building site, and the

I guess, they subconsciously act as triggers

variety of spaces that are located and used on the site.

for inspiration. From the majestic expanse

of the Hagia Sofia in Istanbul, to the serene

Santorini horizon across the Mediterranean Sea, I’ve taken home everything I’ve felt

from it. I relate to Zumthor here when he says: ‘Memories like these contain the deepest architectural experience that I know. They are the reservoirs of the

architectural atmospheres and images that I explore in my work as an architect.’

WHAT TOOLS AND TECHNIQUES

DO YOU USE TO PRACTICE YOUR

PRACTICE?

I love my Wacom pen tablet, it is my favourite tool for sure. And I like my Promarkers,

sketchbooks and tracing roll. Every designer has their preferred techniques which we all use at different stages of the different

process, but more or less they involve visual

‘The proposition for the project was to design an urban farm within a derelict, abandoned or underutilized site.’

157

One of the collages titled ‘Transcending into ecologically wired beings’ depicts the ‘greening’ of mankind.

communication of our ideas, and how we

to create collages to interpret and explore

non-visual communication such as reflective

could layer various aspects of the project

the project. This is a fun stage, where I

do that best depends on our skill set. A

to form an interesting surreal culmination

critical thinking essay writing is something

of possibilities, merging philosophy and

I’ve grown to enjoy and get better at during

metaphors with aesthetic style and the

my Masters. Currently for example, when I

concept of vertical farming.

am approaching the design development

stage where I finalize floor plans and begin

3d modelling, I want to be able to refer to my

Next, I address the site itself in order to have

evolve them so that they can be implemented

studies help to shed light on how designers

reflective thinking and further expand and

a thorough understanding of the space. Case

in my design. Keeping a daily critical

have tackled comparable situations to the

reflective analysis diary has helped me find

one at hand. It compels you to think in

the project’s individual voice and given me

perspectives you may not have thought in

direction to move forward without inhibitions.

previously. Then I draw out a mind map of

I communicate best visually through collages,

sketchy diagrams, thoughts, findings and

my digital 3d views, sections, material boards

questions. I begin to develop a concept for

etc. Physical Model making is something I

the space, an interpretation through what the

need to do more of though!

space signifies and metaphorically stands

for. The concept design phase embodies the

WHAT STEPS DO YOU USUALLY

preliminary identification of three main facets

FOLLOW IN YOUR DESIGN PROCESS?

of the design – concept, theme and style.

Together these form the crux of the narrative

The start of my projects have almost

that provides the direction forward.

always been directed by a project brief. The proposition for this project was to

design an urban farm within a derelict,

Stoke on Trent, a city in Staffordshire,

abandoned or under-utilized site. I began

is currently classified as the 16th most

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deprived in the UK, and would value the

plans and layouts, where a language of

I found Middleport Pottery, in Burslem, a

pattern of lines surfaces.

shape and form emerges and a recognizable

addition of an urban farm in its communities. grade II listed Victorian pottery factory that was built in 1888 producing Burleighware

I selected some photographs I had taken

of rich story and character.

and using my digital pen tablet I traced its

pottery. It seemed like a great building, full

on my site visit, took them into Photoshop, contours, and drew in new lines to indicate selective demolitions and additions. This

The proposed urban farm envisions a

massing exercise helped me to visualize the

place where researchers, farmers and the

quiddity of the urban farm.

community work for the economic, social,

and ecological benefits of a regional food system. Food production awareness and

It is at this point, when my plans are taking

decisions about nutrition and the origin of

such as materials and colours, in order to

education help to make more informed

shape that I begin to cogitate on aspects

the food they consume.

ensure my understanding of the space’s. This runs alongside the further development of

Next I drew up sun studies and access

the plans and sections. Samples of selected

routes in order to find out the best areas

materials take their spot onto the material

for crop production and how the logistics

board which helps to depict the tactile and

and circulation will work within the farm.

visual sense of the space.

In the next phase, I pull out my sketchbook

The site location provides opportunity to

sketchy ideas then take shape into woolly

architecture of the area.

connect with the existing historical industrial

and doodle my visions and ideas. The

I drew up sun studies and access routes in order to find out the best areas for crop production etc.

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Together the structure, spaces, function

retain an awareness for the memory of the

Strategic moves are supplemented by

approach to the needs of the site, because

place? Could this be through the protective

and history provide conceptual prospects.

it is inevitable that a suggestion of the

a complex combination of these factors

former meaning disturbs and inspires the

along with my individual pursuit. I find that

subsequent design? How do I tie in the

I am inclined towards exploring how a

potential links between pottery and farming?

contemporary play of materials and form can

The common thread here is that both

develop compositions that complement the

functions serve the purpose of production.

juxtaposition of ‘past’ and ‘future’. I wish to

experiment with the attributes of industrial

architecture and strong bold lines of modern

Once the space has a close-to-final structural

language this intervention can create.

software to generate it as three-dimensional

and physical clarity, I translate it onto

cubist architecture in order to see the kind of

renders or illustrations. These are

visualizations expressed through the help of

I ask myself if a strong graphical effect

advanced sophisticated computer tools. This

should be evoked by the intervention,

could be called the last step in the Concept

creating a strong sense of identity for the

Design Phase of a project.

urban farm. And in doing so, how do I

I looked into the program concept and considered some organizational strategies within the site analysis.

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With everything collated and presented,

feedback from critiques and clients is what drives it to further design development, an ongoing process until execution and implementation.

I think the process of visualizing a space

through its surfaces and specific materials, instantly renders the character of the

interiors. Pigmented plaster, polished

concrete, red brick, clear glass, and slate

stone veneer is the direction I have in mind, and will implement them in the computer

model to test it out. While these materials may previously have been seen together quite commonly in an industrial style

interior, it is the application and detailing that will give it its own individual quality.

Visuals from the sketching stage and the 3D digital renders stage, showing mood, perspective and space into an image.

Approaching the design development stage where I finalize floor plans and begin 3d

modelling, I want to be able to refer to my

reflective thinking and further expand and

evolve them so that they can be implemented ‘The process of visualizing

a space through its surfaces and specific materials, instantly renders the character of the interiors.’

in my design. Keeping a daily critical

reflective analysis diary has helped me find the project’s individual voice and given me

direction to move forward without inhibitions. One of the striking features of this site is the bottle kiln. I want to explore how a contemporary view of play with materials can complement the juxtaposition of ‘past’ and ‘future’.

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‘Accepting the physical power of the warehouse, taking its energy and shaping it in an unexpected and new way would create a symbiotic association between the old and the new.’

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PROJECT:

The Working Title Project: Publication & Diary

Early cover design

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RIANNE VAN DE RIJT As the concluding interview I would like to tell the journey of my project, which is actually creating this book. To aid this process I kept a diary about this project and documented as much as possible about all the aspects I was dealing with. For example: interviewing, transcribing, design, art direction and design management are just a few of those. My main aim has been to document my experience of creating a substantial communication design project.

Folder that contains sketches, ideas

WHY DID YOU CHOOSE THIS PROJECT?

and brainstorms for both the diary and publication side of the project.

Rianne: I chose the project because I wanted a real brief. I had enough

experience with fictional briefs from my

BA that I was now ready for the ‘real deal.’

form this publication that will launch at

a few times before finding my feet and

as a vehicle to get the knowledge to fill

I set out this MA with changing projects

the final show. I will take on this live brief

settling for this project. It was because of

in the second part of my major project,

the collaboration with Danielle Bastiaens

which is: the diary side of the project.

and her project The Purdah Press that I was

The diary is about recording the process

interested in more collaborative projects.

I go through of making ‘The Working

Title Project’, working on the publication,

It made me realise that through a good

gathering content, collaborating with fellow

collaboration, and combing skills, a project

designers/students. This part revolves

can take unexpected courses that can end

around the visualization and presentation

in great results.

of my thoughts through a series of personal diaries. It will be a review of the design

I also have past experience in this subject,

process from a designer’s point of view.

creating magazines and I worked in a

team that created my previous University’s yearbook. It was after a talk with my tutor

In general I aimed to gain a better

on this project.

process means to designers and (non-)

and a project pitch that I chose to embark

understanding of what the term: design designers, which resulted in this publication.

I also wanted to enable others to understand

I decided to split the project into two

my thoughts and experiences concerning

parts. The first part is about exploring and

the subject of design thinking and the

documenting the creative process through

design process, which is the diary side.

collaboration with MA students – and

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WHERE DO YOU FIND INSPIRATION?

WHERE DO YOU WORK BEST?

and museums or when I find a ‘new’

but I feel I am most productive when I

Traveling around, visiting galleries

I work in the studio, library and at home,

undiscovered quirky little shop full of

am working at home behind my desk

prints, stationery, accessories, illustrations

surrounded by all my notes and books that

and postcards it triggers my inspiration.

are piling up next to me (on both sides).

I tend to collect postcards, the nicely

There I can focus best and don’t need to

illustrated and properly designed but

worry about bringing enough food for the

also the ugly ‘typical’ tourist destination

entire day, it seems like a silly reason, but I

cards, they are a nice keepsake and hold

can’t work when I am hungry.

many graphic design elements that attract me. I also read a lot of books, there is

When I moved houses half way during the

books. Books seem to hold a promise of

desk with no drawers and limited storage

always a pile besides my desk with unread

MA I moved into a room with a much smaller space. It was then that I noticed I need to be

undiscovered knowledge and images

able to spread out to work best. So now I

to ‘feast’ your eyes with, especially with

occupy half of my bedroom floor as well.

design books. The design of book covers sometimes can be very misleading,

portraying the wrong thing or making the

I also have a roll of paper running over my

right with this project.

worry about not finding any piece of paper,

book ‘look better than it is.’ I hope I got it

desk to make instant notes. I don’t have to

if I don’t write down ideas immediately my

memory might change them a bit and they

can become more vague. So having access to an endless supply of paper helps.

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Makeshift ‘photo studio’ only works in daylight.

‘I need to be able to spread out my work to work best.’ DO YOU WORK IN THE MA STUDIO?

WHAT TOOLS AND TECHNIQUES DO YOU USE IN YOUR PRACTICE?

After tutorials I often keep lingering in

and Touch tablet, since I started using it ‘we’

fellow students. Basically I am just curious

the studio, but mostly to catch up with

I can’t work without my Wacom Intous Pen

what everyone is up to, that is one of the

became inseparable. I can’t even work with

reasons I chose to do this project, because

a normal mouse anymore, all my design

I’m always curious about the work of other

work is done with the tablet. My camera,

designers. I also noticed how the MA

a Nikon D5100, is also essential for my

studio changed over the course of a year,

practice to record design stages and make

the space keeps adapting according to the

photographs of the final work to go into

needs of students and staff. In my opinion,

my portfolio. Or in this project’s case make

you can always find something interesting

photo’s for most of the interviews. I even

and new happening in the studio, even if

have a makeshift studio, which is basically

it is just an empty box I wonder ‘where did

only a white piece of foam board near a

that suddenly came from.’

window. And, of course, I love to work in Photoshop, InDesign and Illustrator.

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WHAT STEPS DO YOU USUALLY

FOLLOW IN YOUR DESIGN PROCESS?

When I have the brief then I start planning.

I try to plan backwards to break the project into little bit size chunks. Then I start

making to-do lists and start my process from there. When reading a brief I will

make notes and write down prepossessed knowledge. Then I will start writing down random ideas in brainstorms and mind maps. Then I sketch in thumbnail form.

My sketches exist mostly with notes in the

sidebar. Simultaneously I will do research. For this book I started looking at possibilities for formats, sizes, typefaces and type sizes. I also looked at other books about designers and their work. They were mainly about

final design work and not the designer and

their design process. That is when I saw that this could be a unique insight in the ‘work behind’ a final design piece.

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I tried a new form of sketching on

My desk is always full of paper, notes,

paper rolls, experimenting what the

lists and other curiosities and samples.

end-less ‘border’ would impact on.

IS YOUR DESIGN PROCESS MORE

HOW DO YOU USE SKETCHBOOKS /

In the begin stages of brainstorming,

For this project I tried something new, I

ANALOGUE OR DIGITAL?

DRAWING / MAKING NOTES?

idea generation and sketching my design

installed my own version of the so called

process is a combination of analogue note

‘analogue memory desk’ created by Kirsten

making and online research. After my

Camara. It is a paper roll inside a wooden

sketches feel concrete enough I move into

stand, that goes over your desk so you

InDesign, Photoshop or Illustrator. Or if it

never need to look for paper again. I only

is a more hand rendered illustration I am

noticed with my laptop, lamp, pens, and

working on I make a detailed drawing and

tablet my desk is quite full now, so there is

scan that in, in order to work on it digitally.

not very much room to keep drawing.

I would love to work more analogue with

I use loose sheets of paper more than I

but the type of graphic design I am

reordering the loose sheets and you can

printing techniques like screen printing,

use sketchbooks. I like that you can keep

doing requires a more digital approach.

scan them in easily. I also kept track of a

I pay careful attention to archiving and

project time line on a little paper roll. At one

managing files, which turned out to be

point every project paper will dominate my

quite a challenge for this project since

desk, with loose sheets everywhere, that is

there were so many designers involved. I

when I start binding them together.

had to consider edit versions and revision as well, so keeping my files up to date needed constant attention.

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Spread out of Rianne’s diary entry.

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171

ARE YOU MORE OF A LIST MAKER OR DO YOU DRAW MORE?

I am more of a list maker, I make to-do lists

all the time. Crossing things off the list feels

productive. Even when I am sketching I make lists and notes on the side, almost to explain to myself what the sketch is about before I

forget what that little shape used to mean. WHEN YOU STARTED THE PROJECT, DID YOU FIRST START OUT RESEARCHING, DRAWING OR BRAINSTORMING? IN SHORT HOW DID YOU START?

Every day I make notes in a diary. That

For this project I first created the brief,

later get transferred and expanded on

set out all my aims and objectives in a

in my other diary.

proposal. Then I started to de-construct

the brief into little tasks: research format,

inform printers, decide on typeface, set up interview questions, make layout sketches etc. And I moved on from there.

I started by researching how I could best

interview people. What direct questions I needed to ask to get the most out of the interview. Over the course of the project I changed my methodology a bit. First I

interviewed people in person, this gave

me the most interesting conversations and

Close up of the plan I made, complete

answers. But I soon realised that I needed

with time scaled coloured bars for

to transcribe the interviews afterwards,

each date.

this took a lot of time. Then I tried to go

with set questions, completed in advance, and a conversation about the questions afterwards. This already gave me the

typed up answers, but also gave me the

unexpected interesting slight detours that

I liked so much about interviews in person.

So this meant less work and still interesting results. When the deadline came closer I noticed this approach needed some

revision because I would need to spend

more time on the design than the interview.

Then I decided to interview people via email only. This resulted in concrete and focussed answers. After completing all the interviews

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I also keep notes on my written thesis

Since it is such a substantial project

in my diary. It holds all the elements

labelling and ordering were essential,

that come together in the project.

I wouldn’t want to lose things!

I am glad that I have done it this way. The

set up of the design and layout, I tested

just that I am less involved in the process,

creating a system of doing the interview and

results are in all cases of good quality. It is

how I would do the interviews and I started

when the interview is email only.

then moving onto the design work. Because of this I already knew what I was getting

DO YOU REFER BACK TO YOUR

into, up to a point at least. Assembling

RESEARCH? IF YES HOW OFTEN? / IF

everything together became easier this

NOT IS YOUR DESIGN PROCESS MORE

way too, that is why I could manage more

BASED ON YOUR INTUITION?

interviews. Designing an entry became

I don’t regularly refer back to it. When I

quicker over the course of the project

is most of the time final. Because it is

content and editing images.

and I became more efficient in managing

research and make a decision, the decision well researched it doesn’t need revising. Sometimes it does, that is why I keep

So I think I can say I definitely hit my aim to

everything makes sense. I researched a lot

design process means to other designers.

checking on my design if I keep on track and

gain a better understanding of what the term

into layout and grid rules, you can obey the

rules or break them. I choose to take the rules

WHAT ELEMENTS WENT DIFFERENT

like and I think are relevant for my project.

A lot of the interviews, surprisingly, went

LOOKING BACK ON THIS STAGE, WHAT

gave me way more content than expected.

THAN EXPECTED?

as guidance and choose the elements that I

different than expected. Most people

WENT WELL IN THE PROJECT?

Initially I thought I would end up with a

book with 150-180 pages, but as you can

I aimed to interview at least 10 people,

see it turned out substantially larger than

so I definitely hit that mark. This doesn’t

that. This in my eyes is a good thing, it

necessarily mean it went well. I had difficulty

means my intentions were well received,

managing interviews, getting content or

and that it is a lively subject that designers

even responses from people. Looking back

are interested about.

I am glad I had a test phase for the proposal of the project. Here I already started the

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HOW WILL YOU DEVELOP THE PROJECT

times), Liverpool, Leeds, Manchester,

When this book is printed, one part of my

Oxford, Brighton, Bristol, Bath, Truro, St.

IN THE NEXT STAGE?

York, Birmingham, London, Sheffield,

Ives and of course Lincoln. In most cities I

MA is finished. I will now need to complete

would visit galleries and museums to gain

the project by writing and finishing my

inspiration and look at work of artists. I

thesis. After the MA I hope to go into the

enjoyed visiting every single one of them.

design industry, into a design company or

Alongside the MA I also kept working on

working with projects that I like.

freelance projects and work as a student

WHAT IS THE PURPOSE OF THE

ambassador for the University.

PROJECT?

ARE YOU COLLABORATING WITH

The purpose is to explain the various

design stages to readers with design and

OTHER PEOPLE OR IS THE PROJECT

process will be highly personal and thus

I am very much collaborating with people!

MORE INDIVIDUAL?

non-design backgrounds. Each design

unique to that individual. Also this book

All the people mentioned in this book, I

contacted at some point in the project. I

will shine a light on the current design

collaborated through interviews, receiving

debates around the design process

content, text and images. I also got feedback

because it is from a designer / student

from participants and tutors. I contacted

point of view. It will show the differences /

printers about printing possibilities and

similarities of designer and student.

made decisions according to their advice.

It was also the idea that participating

students would have a well-designed

document that contains their work. They

My desk is always full of paper, notes,

could take it to interviews to show their

lists and other curiosities and samples.

working process.

The purpose of the design diary is that it will hold my personal and honest notes

and thoughts on my design process. So

that readers can view, not only the actual publication, but also a look into what

happened behind the design of the book. How I experienced the collaboration

etc. This way I can also experience what aspects of it I enjoy the most or need to work on in my future career.

WHAT OTHER ACTIVITIES / INTEREST

DO YOU HAVE OUTSIDE THE MA THAT ARE PART OF YOUR PRACTICE?

In the two and a half years that I have lived in the UK I took the opportunity to visit

nearby cities. I visited Nottingham (several

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‘I learned what the best way is to plan and execute a large graphic design project, through highs and lows, throughout this process.’

On the other hand the assembly of all the

content and compiling everything into one format has been an individual task. It was only me that worked on the design and

layout of the book. That has remained the

task for me as a graphic designer. So I got to experience the collaboration side but also had a part of the project that is the result of my work and effort. That is also where

the diary side comes in. This is the format where I create my own content, without

collaboration, but taking the collaboration as an inspirational starting point.

WHAT NEW SKILLS DID YOU ACQUIRE WHILE DOING THIS PROJECT?

I learned what the best way is to plan a graphic design project, through highs

and lows. I got to wear many hats (more than I would have when I would work in a design agency, as an intern) for

example: be the graphic designer, art

director, interviewer, transcriber, editor,

In another folder I store all the interview

production manager and time manager

entries, text files, spread designs and

and I am one of the participants!

edited versions. And also information of possible printers and test prints.

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WHAT ARE 5 BOOKS / JOURNALS THAT YOU RECENTLY READ?

1. Studio Culture by Unit Editions (Tony Brook and Adrian Shaughnessy)

2. The Great Discontent – The Possibility issue

3. Make Your Own Luck by Kate Moross 4. People of Print by Andy Cooke and Marcroy Smith

5. How to be a Graphic Designer, Without

Losing Your Soul by Adrian Shaughnessy

WHAT IS YOUR FAVOURITE DESIGNER / QUOTE OR STYLE?

Over the course of my MA I really started

to like the work of Adrian Shaughnessy and Unit Editions. Adrian wrote books about

graphic design, like Graphic Design: A User’s Manual. And Unit Editions is an independent publishing venture producing high-quality

books on graphic design and visual culture.

One of the early plans I made to break up the book into several interview sections, introduction etc. A lot has changed within the layout.

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177

ESSAY:

The Logic of the Creative Process

It is probably true to say that we can a meal, arranging your interior space, never really know what creativity getting dressed in the morning and making 'is'. It is probably true that different your kids laugh. The fact that our culture people go through different creative celebrates certain acts as creative and not processes, and that it happens in others, is not sufficient reason to locate different ways each time we do it. creativity itself only in those celebrated Sometimes creativity will be an realms of Cultural production. The potential iterative process, which we try over for creativity is much more widely spread and over again until we are happy and democratic than that. with the results. At other times it comes from a flash of inspiration, which occurs to us all at once, almost fully formed. Creativity is, it ‘Cultural studies have seems, a deeply mysterious process. developed various theories

about how certain cultural process impact upon what we collective select and receive as appropriate and valued cultural outcomes of the creative process.’

This does not mean we cannot discuss it. Restricting our inquiries into creativity as

'deeply mysterious' leaves us at the mercy of apparently random events over which we seem to have little control. We might

need our creativity to be a bit more reliable

than that. Secondly, if we don't at least try to reflect back upon the nature of the creative

But how can we go further into this debate

cultural myth that only those people touched

possible pathways. Evolutionary theory,

process, we run the risk of accepting the

about what creativity 'is'? There are many

by some kind of 'genius' are creative. I don't

modern neuroscience, the various branches

accept this idea of 'genius'. Clearly some

of psychology have had much to say about

people are good at some things, whilst

the creative person. Philosophy, sociology

others are good at other things. But this

and anthropology has focussed much more

need not collapse into the cultural myth

upon the social relationships that make up

that the 'creative talent' has something

and constantly inform creative relationships.

innately special about them. The 'creative

Cultural studies have developed various

talent' will want to perpetuate that view, but

theories about how certain cultural process

there is (potentially at least) just as much

impact upon what we collective select

creativity in the mundane acts of cooking

and receive as appropriate and valued

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JIM SHORTHOSE

•

cultural outcomes of the creative process.

Economics and business have made similar

A keen sense of involvement with ones current work, and a response to some accident or error which only vaguely

statements concerning the market contexts of creativity and the creative industries.

hints at future possibilities

•

Feelings of current momentum within

want to 'stand back from the details', to

•

Working within ones current style, and

the creative process.

•

Finding useful daily routines to develop

There are many possible strands to a fully developed explanation of this things we call creativity. But in this small article, I

offer some speculations as to the 'logic' of

It seems clear that creativity is at heart a

•

very multifaceted process where myriad competing, sometimes contradictory

developing plans, and the need to 'break the rules'

the euphoria at being 'released'

and shape ones creative work, and the benefits of one-off pieces of pure luck The value of referring to ones

cumulative experience, and the

benefits of holding onto a sense of

things are happening. The creative

process can at times be a moving series of

•

negotiations between,

innocence

Feelings of tension and suffering associated with forming and

developing ones creative plans, and

the great sense of happiness and

‘Creativity is at heart a very multifaceted process where myriad competing, sometimes contradictory things are happening.’

purpose they also bring

You can probably think of others? So with

all these contradictory facets, feelings and bits of process, how we can think of an

underlying 'logic' to creativity? Perhaps the most common is the idea that the creative

•

A sense of playfulness, and a very

•

A visceral need to express something

•

process often exhibits divergent thinking

or ideational fluency. Convergent thinking, the opposite of divergent thinking, tends

serious intent

to be about working along set trams

lines to arrive as efficiently as possible at

to the world, and a vague sense of

the solution. It is coloured by an arrival

experimentation to see what happens

agenda. Divergent thinking puts more

A highly developed sense of motivation

value in imaginative wanderings and

and curiosity, and the tussle with

other playful explorations to take thinking

feelings of disorientation

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beyond logic and rationality, which tends

Although creativity requires concentration,

thinking starts with ‘what if’ types of

background noise, all those sounds 'just

to colour our everyday lives. Divergent

it can also come from being aware of

questions, and a 'lets see what happens'

off stage' which relate to what you are

outlook. It is more about enjoying the

currently doing, but to which you are only

journey than seeking efficient arrival.

half paying attention to. Good film-makers always record the Wildtrack - the audio

from the actors and surrounding noises of the scene. Even though they have no

‘Rather than going in a straight line, creativity is usually more circular. It often takes in influences from many strands as it goes along.’

intention of using it, you never know.

Sometimes noise needs to be blocked out to allow focus, but at other times

noise is the vehicle that can help you find serendipity and do obliquity.

Hacking is the modern name for getting

something done with tools that were not

intended for that task. Its creativity comes

from putting means and ends in a different

Rather than going in a straight line,

order, from 'bending the rules' to achieve

creativity is usually more circular. It often

something despite what the 'handbook'

takes in influences from many strands as

of normal procedure says. For Max Weber,

it goes along. It often grows out of itself,

instrumental rationality starts with the

as feedback loops from mid-points in the

formal means (organizational charts, written

creative process send you back to new

procedures, departmental responsibilities,

beginnings, and fresh outlooks. It needs

specific tools etc.) and tries to apply

to be gone over again and again. That is, it

these same means to all end. In contrast,

is recursive. A creative practice (career or

substantive rationality start with the ends (the

business) usually requires practice (doing

final objective or desired outcome) and only

it again and again until it gets good). That

then decides upon the means for that specific

is, it is iterative. Creativity often comes from

job. Hacking is underpinned by a substantive

serendipity, aimless wanderings which get

rationality, and is often part of the underlying

you to where you want to be. The concept of

'logic; of the creative process.

obliquity, coming at things from an oblique

angle rather than always trying to bash away at things head-on, speaks of how creativity

The musical idea of counterpoint refers

can be achieved by various circuitous routes.

to the way sounds can form pleasing

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contrasts, create mutually informative

deep philosophy, and many people find

'harmonious' when placed next to each

need not be that way.

dialectical logic difficult to grasp. But it

relationships or otherwise become

other, even though they are rhythmically

independent. It forms a dynamic context

‘The ever moving and dynamic process between... the emergence of novel combinations contradictory facets fuels within the creative space as a whole. the process of creative flux Counterpoint as used in music is analogous and change, which is the to more general ideas about creativity. essence of creativity.’ for each component to have its own

place whilst simultaneously encouraging

Independent 'bits' of creativity often find their location, meaning and (dis) harmony when they get play against

The point is, creativity does not come from

often comes from the colliding mergers

sets, single attitudes, linear plans, one-way

other independent 'bits'. Creative think

'things' – ideas, propensities, universal mind-

of independence and inter-dependence

logics – but from the various interplays,

within a broader whole. Counterpoint

differences and contradictions between such

speaks of interesting contrasts even

'things' as they mutually inform each other.

though each creative act has its own

For dialectical logic, opposites mutually

rhythm or logic. Sometimes counterpoint

inform each other, often define each other.

can be a very broad thing played out

Try a thought experiment. If the world only

across different types of background

had one colour, then that colour would not

creative trajectory. Sometimes a more

exist. It is only by being not-blue, not-red

specific thing used to form a particular

and not-yellow, that green can be perceived

creative outcome – think of how imagery

as green, and thereby have its green-ness.

and music play across each other in a film.

Similar with creativity. Because it is made up from so many mutually interacting

So we can see a developing set of

contradictions and ever changing thought

ideas about how creativity can have an

processes, we can say that the underlying

underlying 'logic' made up of less than

'logic' of creativity is dialectical. The ever

directly connected parts. But perhaps the

moving and dynamic process between

best way to sum all this up and really arrive

these contradictory facets fuels the process

at a picture of the 'logic' of the creative

of creative flux and change, which is the

process is to delve into the weird world of

essence of creativity. And this gets played

dialectical logic. This starts to get us into

out in lots of interactions, between,

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Your Brain and You - the way your brain

What You Do and What You Don’t Do – the

simultaneously reflecting back upon its own

against ideas of what you ‘don’t do’. The

way you define what your creativity 'does'

functions to take in information whilst

'presence' of your creativity is made up

brain-ness. This culminates in your mind,

partly from what you have decided should

the process which selects certain ideas and

be 'absent'. Connecting the interplays

information in terms of what is important

between these 'presences' to 'absences'

to this thing you call ‘You’, which has the

is what sometimes makes new bits of

feeling of being a more unified entity. Being

creativity move. Being good at creativity

aware of this mind selection process, which

sometimes entails knowing about what you

is simultaneously 'You' and something you

'don't do', so that you can then 'do it'.

'do' is a good way of getting better at doing it. Being good at creativity entails being good at self-awareness.

Your Imagination and the Real World – the

You and Others – the way this thing called

shaped by the objective social, political and

way your inner, subjective experiences are

economic realities of the World, which you

‘You’ - your personality, experiences,

then in turn shape to imagine other possible

motivations and skills are shaped by the

Worlds, and so seek to change things. The

relationships you have with everything that

'outer' shapes the 'inner', so that the 'inner'

is ‘Not-You’, that is everyone else. And then

then seeks to shape to the 'outer'. Being

the way this 'Not-You' of everyone else you

good at creativity often entails being good

meet is shaped in turn by their experiences

at thinking about 'what is' so as to think

of you. 'You' are 'Not-You', and 'Not-You' is

about 'what ought to be'.

'You'. Being good at creativity often entails being good at relationships.

Working and Not-Working – the way

Now and the Past – the way that what you

creativity involves researching, thinking

are working on 'Now' is the culmination

and planning something so that you can

of a long series of ‘Not-Now’ events from

forget about it, go for a walk, do something

your past, that have formed your current

else, get drunk, so that you can arrive at a

perceptions of 'Now'. The present is a

solution without appearing to have thought

culmination of the past, and your sense of

about it. Many creative people report that

creativity for the future is made from the

the flash of inspiration comes when they

at creativity entails being good at the

from work. Being good at creative work

idea you have of the present. Being good

are relaxed, comfortable, taking time away

history of you and your creativity.

often entails taking a bath.

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Person and Culture – the way the creative

Complexity and Simplicity – the way

impact upon the broader culture, just as

multiple, often competing, sometimes

individual generates new ideas which

creativity requires drawing together

the broader culture shapes what 'counts'

contradictory ideas so they can be

as creativity, selects which bits are to be

corralled into more simple statements, just

celebrated and decides how the creative

as blindingly simple statements, images

individual is doing in terms of cultural

and designs can then sometimes convey

'success'. Being good at creativity often

a whole world of complexity and nuance.

entails finding happy compromises between

Being good at creativity often entails being

what you want and what they want.

good at navigation between different 'levels' of meaning.

Focussed Action and Relaxed Semi-

Action – the way in which creative focus

Deliberate and Non-Deliberate – the way

semi-action, just as the relaxed semi-

supplemented by more unconscious or

often comes from a period of relaxed

that deliberately ‘paying attention’ is often

action stimulates the creative person into

playful spheres of non-attention, just as

focussed action. Being good at creativity

these attentions can then become re-

often entails knowing when it is 'not

forgotten and 'embodied' parts of creative

working' and when to do something else. It

flow. Being good at creativity often entails

is important that this is actually 'something'

skilful navigation between non-deliberate

else, to keep your mind active but not too

remembering and deliberate forgetting.

focussed. Doing nothing at all doesn't seem to work so well.

Continuous and Discontinuous – the way

Worldliness and Naivety – the way a smart

continuous ways are often refreshed by a

that creative processes carried out in a

creative interaction with the world often

break, just as the break carries within it the

stems from asking fairly naïve and childlike

new creative insights developed through

questions, just as that very naivety spurs the

our daily concerted efforts. Being good

creative person to develop more insightful

at creativity often entails mixing a holiday

questions. Being good at creativity often

from work with a working holiday.

entails choosing the right question at the

right time within the lifetime of the project as it emerges out of itself.

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Goal-defined and Non-goal-defined – the

Tradition and Rebellion – the way that

things, for specific reasons to achieve

and educate us into themes and techniques,

way that the attention paid to specific

creative traditions can give location to work

a specific goal is sometimes informed

just as we challenge and push these

by those more open-ended activities

'location' to shine light of new directions

we engage for no specific thing, reason

and possibilities. Being good at creativity

or goal, just as the non-goal oriented

often entails finding a good balance

thoughts are given a creative 'home'

between learning one's craft from previous

by goal-specific needs. Being good at

masters and challenging their authority.

creativity often entails not trying too hard, so that we can try hard.

Objectivity and Passion – the way that one's

Discipline and Playfulness – the way

what will and will not work, just as that

creativity requires an objective sense of

creative processes require the shelving of

very work flows from an innate passion for

play if it is come to full fruition, just as that

something that you put your heart and soul

very playfulness is the wellspring of the

into, and will defend to the end come what

fruitful thing to be disciplined about. Being

may. Being good at creativity often entails

good at creativity often entails being a

working to create your 'baby' so as to let it

grown-up child, or a childlike adult.

die away, to be reborn at another time.

Extroversion and Introversion – the way

Difficult Tensions and Great Pleasures –

eagerness to engage with the world by

sufferings and difficulties of creativity give us

many creative people exhibit a extrovert

the way that grappling with the tensions,

overcoming a nervous shyness about their

great pleasure, just as those pleasure remind

work, just as that shy introversion gives

us of the great tensions to come. Being

them time and space to develop better

good at creativity often entails accepting the

articulations of their creative self to the

pain because we know of the joy to come.

outside world. Being good at creativity

often entails choosing the right identity for

If we were constantly aware of all this

the right occasion.

dialectical stuff, it would no doubt culminate in a whole series of infinite regressions

Pride and Humility – the way creative people

and navel gazing. We would probably get

very little done, and it might even drive us

exhibit a proud declaration about their

a little crazy. We usually experience our

achievements, which itself emanates from a

creative processes in a more unified way.

humble recognition that they are building

Many creative people report the experience

upon the work of others and can never really

of being 'in the zone' when things are

fulfil their dreams for their ambitions. Being

going really well. Czikszentmihalyi calls this

good at creativity often entails knowing

experience creative flow.

when to shout and when to be quiet.

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It is experienced when, •

There are clear goals every step

•

There is immediate feedback

• • • • • • •

However, despite the unified sense of experiencing being 'in the zone', of autotelic creativity, it still might be useful to speculate on the underlying dialectical nature of your creative self, your creative processes, your creative working practices, your creative past and future if you are to more fully grasp its inner dynamic. And grasping that might be a good way to approach a more selfaware understanding of what your creativity is and how it works.

of the way

to one's actions

There is a good balance between challenges and skills

Action and awareness merge Distractions are excluded from consciousness

There is no worry of failure

Self-consciousness disappears

The sense of time becomes distorted The activity becomes autotelic

Which means, • •

Auto = self

Telos = ultimate aim or objective

Creativity becomes autotelic when it is

propelled forward only by its own inner meaning and dynamics alone. When

it is experienced as its own pleasure.

Particularly when things are going well,

creativity becomes it its own 'logic', its own reason and its own reward. Process and

outcome become wrapped up together. 'Being in' the creative process becomes more immediate and meaningful than

'having it' for the pursuit of an external

need or demand. With autotelic creativity, everything is already 'there' within it.

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Natalie Houtoudi