Maria Quintas IVM Last year I started a project that aimed to celebrate the use of analog practices in a digital-driven time where I challenged myself to do a series of animations without the use of digital tools (link to see). This came in response to my dislike, as an illustrator, of using drawing tablets. At that time, I felt the necessity to accentuate the relation between my practice and my body. Physicality, Space, Movement, and Pre-Film Animation Techniques became keywords for my research and lead me to grow an interest in dance, choreography, and the creation of engines. ("Synchronous Objects" by William Forsythe and the work of Tim Hunkin are some of my favorite findings from that research). I did the animations and a physical support to animate it however I ended up leaving this project on hold. During this DPS year, I have had the chance to run a workshop for kids about screen printing (w/ friend and DPS colleague Matilde Basto) and to do some visuals for a concert for kids - both these experiences got me engaged with experimental learning. I decided to learn more about it and understood how important the free movement of the body and artistic activities are for the development of children. These allow them to explore their creativity without limits and grow their sense of space, self-confidence, self-awareness, etc. It proves how “people absorb a newly acquired skill-set better while doing, engaging their bodies rather than simply observing”. For my SIP, I "unfroze" my previously mentioned project. I tried to incorporate my initial research for it and my interests at that time. However, at a certain point, I realised I was getting lost on my research - I was trying to incorporate a lot of things into one project - doing a lot of research on movement when it is such a broad subject. I had to narrow it down. I decided to focus on free movement as a form of communication. Why do we say we can't dance? - Why do we think we can't dance? - Why do we repress our physical expression? - these are some of the questions that came to my mind. As we grow our learning shifts more and more from experimental to passive, and so does our way of communicating. Our visual and physical language is replaced by verbal language - we start "not knowing how to dance" and "not knowing how to draw". We start to have more norms on how to act - self-express - we become more self-conscious about how we are perceived. I decided that my main aim with my SIP was to incentivise people to explore the experimental side of their language. My SIP will be a publication called "How to do an animation". It will consist of a DIY workshop/ performative exercise where I will give steps on - as the name indicates - how to do an animation. I will be challenging people to dismantle their verbal language through a series of exercises - 1. a game (cross-words style) in which the result will be a word or a set of words/ 2. those will be translated into physical language/ 3. through tracing techniques, the previous results will translate into visual language/ 4. there will be a set to do a phenakistoscope (pre-film animation device), where the visual results will be inserted, and a DIY mechanism on how to rotate. At the moment, I'm doing an internship in a risoprint studio so I plan to print this publication there. I will be printing a series and will ask some friends & family (of different ages and professional fields) to do this DIY workshop to test and see the results and interest. I will then promote the publication to get more people engaged with it. To cover the production cost, I will sell these at a symbolic price of +- 3 pounds. With this project, I plan to start a series of publications that will accompany my research on movement - a subject that I want to keep learning and working about for the next years. I will also aim to get involved in a contemporary dance/ performance collective for interdisciplinary artists (Next Artists Collective). For my dissertation, I will want to continue exploring these subjects - the relation between body and mind, physical language, free movement, and its relation to the creation of movements and communities.
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Karolina Alvekrans BA (Hons) Design for Art Direction Alongside interning at Pentagram, I have spent most my weekends this year working on a D&AD New Blood brief as part of my SIP. Set by Google Fonts and HMCT, the brief asks you to create a typographic led campaign brings attention or awareness to a human rights issue. I chose to focus on gender inequality, using children as a chosen audience. I have come up with a campaign idea that uses typography as a playground to foster a positive attitude towards feminism. Though speculative (for now), the campaign invites children and their parents or carers to a set of activities based on different fonts. Working on a New Blood brief is great practice, not only because they’re set by people in the industry, but also because they make you do a lot of research. The core of a New Blood project is always “the big idea” and it challenges you to come up with something unexpected and bold, that no one has thought of before. I have certainly enjoyed this way of working, as it has challenged the process I normally follow. Before, my theoretical and visual research would go hand in hand. Thanks to the New Blood brief, I have realised that this may not always be the best way, and perhaps it works better for me to first do research, then come up with a big idea, then form a concept and then last of all design it. If your concept is strong, it will back up all your design decisions. Then again, is there such thing as an ‘ideal’ design process? We all work in different ways, and what works for someone might not work for someone else. It’s always good practice to explore different ways of doing things and challenge your perception. Defining and knowing the way you work best will for sure help you work more efficiently and will help you push even better outcomes. The New Blood brief (and my DPS year in general) has opened my eyes to the world of typography, and the way it can really enhance and transform a message. For my project, one of my key references is Vocal Type – a type foundry founded by Tre Seals, that aims to create typefaces that reflect a diverse perspective. Tre Seals of Vocal Type. “This is a type foundry for creatives of colour who feel they don’t have a say in their industry. This is for the creative women who feel they don’t have a say in their industry. This is for the creative who is tired of being ‘inspired’ by the same creations from different people and wondering why.” Seals’ practice is very inspiring to me, not only his mentality and drive, but also his method of making typefaces. They are based on extensive research on communities, protests, and scraps of ephemera. It is interesting to see how many things can inspire the design of a typeface, adding extra layers of meaning. It inspires me to do something similar. Seals’ outlook on type is that it can be the starting point for important conversations. Essentially, everything we read is made up of type. He says: “If consumers understood design half as much as they understand technology, they’d be able to make better conscious (and possibly world changing) decisions.” Vocal Type typefaces. Whilst talking about activist typography, I would also like to mention Buy Fonts Save Lives, a foundry that I also researched for my SIP. They sell typefaces which various designers contribute with, and all the proceeds go to charities. I think it is such a wonderful example of using the power of design and creativity to do good. I have decided that I would like to do something similar, either contribute with a font, or start my own cause. It has also inspired me to do work for charities – there are many in need of good graphic design. For example, Marina Willer’s charming identity for Battersea Dogs and Cats home is heart-warming and it speaks with friendliness and joy. Just what a charity needs – an identity that reflects the good work they do. Buy Fonts Save Lives by Paul Harpin and Ampersand Media. Battersea Dogs and Cats Home branding by Marina Willer. For my future design practice, my thesis topic research, and interests for year 4, I am keen on focusing on projects with a greater cause, helping people make their voices heard and use my skills to create meaningful change. I am also interested in developing my New Blood project further, and for year 4 I would like to research more about how kids can learn graphic design and visual communication. It’s a topic that is more relevant than ever before. Cat How of How & How Studio explains very well how visual communication is the key factor in the fight for a better world.
“People who understand that media can be used as a force for good are on the right track... […] communicating a message in a visually engaging way, will get in front of more eyeballs and spread the word. It is an essential part of our armoury in the fight against climate change, alongside political reform, etc.” As they say, good design is invisible, but bad design isn’t. The world right now needs good graphic designers that can help people make sense of the overflow of information. That is really the core of my SIP – to introduce children to the wonderful tools of design early on in life. Buy Fonts Save Lives (2021) Available at: https://buyfontssavelives.com/ (Accessed: 14 March 2022). Brewer, J. (2018) Pentagram rebrands Battersea dogs and cats home to visualise "personality over sentiment". 16 April. Available at: https://www.itsnicethat.com/news/pentagram-rebrands-battersea-dogs-and-cats-home-graphic-design-160418 (Accessed: 14 March 2022). Moody, E. (2021) Cat How on how How & How are reducing their environmental impact, and how everyone could do more. 9 November. https://the-brandidentity.com/interview/cat-how-on-how-how-how-are-reducing-their-environmental-impact-and-how-everyone-could-do-more (Accessed: 14 March 2022). Munro, S. (2019) Typography as a Radical Act in an Industry Ever-dominated by White Men. 26 August. Available at: https://eyeondesign.aiga.org/tre-seals-is-turning-typography-into-a-radical-act/ (Accessed: 14 March 2022). Vocal Type (2022) Available at: https://www.vocaltype.co/ (Accessed: 14 March 2022). Yueran Li Graphic and Media Design For the SIP project, i was given a brief about environmental design. The first thing came in my mind was trash and plastic pollution. Talking about the issues that plastic trash has made isn't new. But as i dig deeper, there is an interesting issue came up, which was 'Microplastics'. Today, single-use plastics account for 40 percent of the plastic produced every year. Many of these products, such as plastic bags and food wrappers, have a lifespan of mere minutes to hours, yet they may persist in the environment for hundreds of years. Once at sea, sunlight, wind, and wave action break down plastic waste into small particles, often less than one-fifth of an inch across. These so-called microplastics are spread throughout the water column and have been found in every corner of the globe, from Mount Everest, the highest peak, to the Mariana Trench, the deepest trough. What’s more, microplastics are breaking down further into smaller and smaller pieces. Plastic microfibers, meanwhile, have been found in drinking water systems, food and drifting through the air. As what I have researched, microplastics plastic is now present in wildlife and farm animals. Someone may think i am a vegetarian so i won't have microplastics in my body. That is wrong. The tiny pollutants are also found in fruit and vegetables such as carrots, lettuce, pears, and apples. The elements of microplastics are capable to penetrate the seed, root, culm, leaves and fruits plant cell based on their size and type. So, we know we have microplastics in our food now. How much do you think we eat a week? A recent study from the University of Newcastle in Australia produced a really shocking answer – 5 grams a week, equivalent to a credit card’s worth. After all of these research, I think microplastics is a good concept i can play with. Then I start to ask myself that how to make people pay attention to this issues and how to arise people’s awareness. ‘Plastic Air’ is an interactive experience created by data visualiser Giorgia Lupi and Google Arts & Culture. This project allows visitors to interact with the daily items on the digital screen. When visitors click on them, items will be exploded into many tiny coloured pieces floating around the screen with chemical composition. All the experiences are driven by real scientific data. Lupi talked about one of the challenge was to visualise microplastics. Microplastics are so tiny and invisible. People literally can’t see them. Lupi came up the idea of “reconnecting” which linking otherwise random bits of plastic in the air with everyday items such as water bottles, coffee cups, pacifiers, car bumpers and etc to make it more real and relatable for people. “When you actually stop to think that these common items are contributing to this type of pollution, it becomes much more urgent,” Lupi says. Giorgia Lupi / Pentagram: Plastic Air (Copyright © Google Arts & Culture, 2021) I like the idea of “reconnecting”, which makes me start to think of how can I visualise microplastics. I think of an idea of releasing microplastics food menu and recipe. All the food on the menu are made by microplastics. Cause instead of telling its ‘bad’, I prefer to enhance its positive branding image. Beyond meat and Vegeterian diet, there is a new “healthy” super food called ‘Microplastics Food’. With exaggeration, I want to rise people’s curiosity by creating a “Microplastics Food Menu”. What I focus on is creating a sense of absurdity.
Inspired by the restaurant menu style I saw at Chinatown, I decided to created a menu for Chinese restruant to sell some microplastics food with the cheap, chaotic and noisy tone, so as to mock the current criteria for “Healthy diet”. Then I would like to come up with some funny names for these food, such as transparent fried fish to get people’s attention. The final work be hung in a Chinese restaurant with a curtain format to form a part of sarcasm. It's also can be with some exaggerated promotion headlines, such as ‘Eating plastics is a new trend!’ ‘A new arising super food: Microplastics Food’. This can be an imagination of the future of food in an ironic tone. This project offers me the opportunity of speculating what the world needs in the future and being intellectually ahead as a “new agency”. While the extent to which microplastics harm humans hasn’t yet been adequately studied, existing research does show that plastic may contain additives to be toxic or harmful to humans. Styrene, in particular, has been linked to health issues such as cancer, hearing loss, and nervous system problems. I really enjoyed this project and i find out that I am always passionate to bring the culture in every project. I was always keen on exploring graphic design but I have been an intern in W+K for almost five months as a creative. The job of the creative is keeping coming up creative ideas, is not much related to graphic design. Self initiated project offers me this chance to experience my previous field again. This allowed me to self reflect and evaluate on what my interest are and what I would like to pursue in the future as a graduate. References Giorgia Lupi visualises the tiny, invisible bits of plastic floating in the air around us https://www.itsnicethat.com/news/plastic-air-giorgia-lupi-pentagram-google-arts-and-culture-digital-220421 New Study Reveals We Eat A Credit Card's Worth Of Microplastics A Week. How To Minimize www.peacefuldumpling.com/we-eat-microplastics Microplastics or Veganism? https://ecoclub.com/blogs/from-microplastics-to-veganism Good day, WOW blog readers. My name is Adila and since the last blog entry, a lot has changed for me. I have started an internship at a sustainable clothing brand and have been met with unexpected disappointments, learning curves and been led to thoughtful & intuitive yet impulsive conclusions. In this essay I will first cover certain events that have sparked my ambition for my Self Initiated project, and then finally go into more detail about what my project is. This structure will give you more understanding of how I found myself at this decision.
Upon starting my internship I was excited and nervous due to not having previous work experience. (I know, I know, surprisingly starting work late is actually quite normal in countries outside of the UK & US). I was excited because I felt that I was going to be working somewhere that truly reflects my sustainability values, somewhere that is aware of social and environmental issues and importantly, holds them in focus throughout their design process. I was also very excited to learn how a business operates, to see both the personal and technical dynamics. Considering that where I am interning, the brand is still considered relatively small despite having 6 stores across London, the team is small in size and well knit. This allows me to see various aspects of a fashion business and I am satisfied to say that I have indeed learnt how a fashion business can operate. How work is distributed between people to simplify and excel the productivity of the people and the brand, how a fashion production line works - lead times, forming relationships between the brand and suppliers, manufacturers and technical workers. In this sense, I have taken a lot from my internship. Unfortunately, I have also been met with a few disappointments. I was surprised and underwhelmed to discover that the main sustainable impression that the brand gave off - wasn't really delivered or present in their supply line. Only about 15-20% of their products truly reflect their impressionable ethos, brand “values” and name. So, during a brand meeting when we were on the topic of brand weaknesses; I thought it would be a good time to voice my discovered fact - the ignored elephant in the room. When I said that this impression wasn't really echoed, a nervous joke hit the air; “brand name change?” Followed by the CEO explaining to me that “obviously” if a brand wants to grow, it has to eventually source outside of that limitation. I do understand this, but there are many other ways and available sustainable fabrics with new cutting edge technology, that would mirror the sustainability values your brand holds. Not only that, but it is imperative for you even if you weren't a claimed sustainable brand to be trying to develop the most sustainable production line you can, as we are in an environmental catastrophe! I didn't voice that second opinion as I felt further constructive comments from me were unwelcome. In the following weeks, when the teams were trying to source new supplies for the next collection, I took the liberty of researching truly sustainable mills and suppliers - new innovative fabrics and exciting recycling methods. When the opportunity would arise, I would share my findings and voice the possibility of involving some of these supplies. The rebutting argument was that recycled fabrics actually have less long fiber length - ultimately making the fabric less strong. This makes sense, but, in a dying world - is this really what matters most? And as a claimed sustainable brand - is this what matters most to you? One of the conclusions I have reached is that as a society, we need to have a value shift. Yes, a 100% virgin blend of cotton is, in theory, more valuable, more durable and more luxurious than a 100% recycled blend of cotton. But we must understand that we cannot sustain ourselves if we continue thinking in this way. The Life Cycle Impact Assessment (LCIA) (Liu, Y et al, 2020) found that although the spinning of recycled cotton does have a large electrical usage component. It also is a “viable alternative to relieve resource and environmental pressure. About 0.5 ha of agricultural land can be saved, 6600 kg CO2 eq can be reduced, and 2783 m3 irrigation water can be saved by using 1000 kg of the recycled cotton yarns.” (Liu, Y et al, 2020) Its regenerative value, the ability to use cotton to its full life and the far less environmental effect it provokes, is what should truly hold value in this day and age. This mentality must develop quickly and simultaneously within producers and consumers. In the past I have made bags and garments using alternative materials like used tobacco packs, unwanted fabric from collected clothes and technical detailed procedures like embroidery. These designs were all made experimentally at home using what was available to me first hand. For my Self Initiated Project I wanted to take my fuelled passion for sustainability in fashion and accessory design a step further. With my recently learnt findings about running a small business I began looking at suppliers that were exciting and of interest to me. Regenerative and innovative fabrics like Econyl; fabric made from the collected fishing nets disposed of in the ocean. Or Lyocell; a plant based fabric that is mainly composed of eucalyptus. The production of this fabric uses 50% less water than cotton, does not involve toxic chemicals and 99.5% of the dissolving agents can be reused. Alongside that I have also come across incredible bio leathers like cactus, banana, apple and mushroom as well as 100% rPET leather with responsible dying techniques and sustainable considerations during production. I became joyously overwhelmed with the possibilities of these exciting materials being developed, I can not wait to try and involve them in my design process. For my SIP project, I have set up a brand name, and am forming relationships with suppliers. Alongside receiving samples and digital catalogs I'm taking courses on branding and circular fashion. I have begun the daunting and challenging process of designing a small bag collection, looking into funding options and incubator programmes for my future advancement. I appreciate designers like Bethany Williams, (UAL alumni) that has made handbags from book making waste under her brand. Or Christopher Raeburn that has set up the brand Raeburn Lab, making garments from reworked surplus fabric and materials like overdyed drogue parachutes. I see these designers as innovators and brands to learn from when developing and positioning my own. Although I might not be able to fully produce a collection within the timeframe of my SIP project, I would have liked to confirm a selection of the materials I will use for the small collection I am designing, continue the relationship I have formed with some suppliers, further understand my audience and branding, learn about about the legalities and technicalities of production and business, as well as learn more about design – the list is endless. In short, I would like to have advanced substantially in my knowledge of Circular fashion business and in the establishment of my brand “house of merxury”. Bibliography: Liu, Y., Huang, H., Zhu, L. et al. Could the recycled yarns substitute for the virgin cotton yarns: a comparative LCA. Int J Life Cycle Assess 25, 2050–2062 (2020). https://link.springer.com/article/10.1007/s11367-020-01815-8 Inês Botequilha I’m a Graphic and Media Design student at LCC. I’m currently undertaking a DPS Year and doing a placement in a Digital Marketing and Computer Software company in Portugal as a Junior UX/UI designer. Besides this, I’m working on my Self-Initiated project which is a re-branding project for my mother’s brand. Nowadays, “consumers are more health and wellness conscious than ever before” (Why is the Skincare Market Growing At Such Breakneck Speed?, 2021). Because of social media, people are having an increasing desire for self-care products due to its popularity amongst digital influencers and brands expansion on social platforms. Due to this growth, small and hand-craft brands are having more recognition and are starting to become more and more appreciated. Adding to this, an “investment” on social media accounts like Instagram is one of the most benefic things to do for a brand in the present time. So, reconsidering what my focus for the SIP could be in December, I remembered my mother’s aromatherapy brand which I’ve been doing some Instagram posts and labels for the past years, but never gave it a true effort on this branding side it really needs. As these self-care brands are gaining acknowledgment and Aromatherapy focused in essential oils and a mental, physical and emotional therapy using bio products, I thought it’s the perfect time to invest in this. Reconsidering all of this, I decided to focus my SIP on a “total makeover” of the brand’s image and creating a new image for the company. To focus on the graphics part related to the logo, labels and company imagery and then proceed to work on the website and social media part. Despite my excitement to make all of this happen, it has been very difficult to manage my time as I’m working full time every day of the week, but I see it also as a challenge to make me learn how to better manage my time. So, this will be a project that will obviously defy my graphic design and branding skills, but also to develop my soft skills and learn how to be better at managing my personal and professional life which I believe is the big purpose of this DPS year. My research is being based in other self-care promoting and bio products brands and their approach to their marketing strategy and social media feed. For context, two very influential brands for me when I think about this are Rituals and Lush. Rituals is a cosmetic brand which promotes the “power of rituals” in our everyday life and how we should prioritize our well-being, “We’re not here to sell you beauty, we are here to make you feel good” (Raymond Cloosterman, no date) is their MO and image. This brand is worldwide known and, as I said previously, the “self-care” wave we’ve been watching grow for the past years contributes a lot to its popularity, besides their incredible branding image. When it comes to Lush, it is also a very well-known brand amongst people nowadays and it defends a very important principle similar to my mother’s brand which is the use of natural products in our everyday life. When I give these two examples, I’m not only comparing their messages in the well-being universe I’m continuously exploring as I work in this project with my mother, but also when it comes to their image and design work which is also very powerful and influential to me, that’s why I believe they’re the best practitioner examples I could talk about, as I usually use it as inspiration. I believe this SIP is very important for us students and it contributes a lot for our time-management and independent work skills. We’re allowed to organize this project as we wish and this is such a good thing, but very defiant at the same time. I look forward to see the outcome and how I managed to structure it in the future. The only thing I wish I could be able to do is give it more time and focus, because as I said in the beginning it is very difficult to coordinate it and fully focus on it plus working from 9am to 18pm during the week. Besides this, I’ll do my best at managing this and I believe this project will be very important not only to my professional growth, but also to contribute to my mother’s brand.
Bibliography Why is the Skincare Market Growing At Such Breakneck Speed? (2021) Available at: https://automat.ai/resources/skincare-market-growth/ Raymond Cloosterman (CEO) About Rituals Available at: https://www.rituals.com/eng-pt/about-rituals.html Images: Our path to sustainability (Rituals Website) Available at: https://www.rituals.com/eng-pt/clean-conscious-caring.html My name is Bibechana Pun. I am studying Graphic and Media Design, and am currently halfway through a virtual animation bootcamp. I am using this opportunity to improve my 3D skills, which will benefit me both in the long run and in my self initiated project. My SIP is a short animation that aims to raise awareness about the effects of loneliness and isolation on people. My primary research focused on the effect that the pandemic had on increasing loneliness. My primary method of research was conducted through social media which allowed me to reach a wider audience. I utilised several different Instagram accounts I own, all of which have different audiences, to allow me to get a more diverse response. My questionnaire was anonymous, a feature that I felt would allow people to be more honest and open about their feelings. I included closed single choice questions and open ended ones that gave responders the opportunity to talk about their experiences. By being able to gain insight on personal experiences and situations people have gone through, I can pick out similar themes from the responses and base the plot of the animation off of how a majority of respondents felt. In my journey to create my short animation, I signed up for an animation bootcamp and was able to make the cut. As of writing I am halfway through and have learned a lot about animation production and pipelines in professional studios. The people I work with come from animation backgrounds or have years more experience in 3D than me. This has admittedly brought about some insecurities in my own skills, a feeling of imposter syndrome if you will, but I have learned to move past this and to instead take the chance to learn as much as I can. Part of discovering a new agency is about feeling discomfort in situations you feel inexperienced in. I have felt self-doubt and a lack of belief in my ability to translate my ideas from sketches to an animation, these are natural responses when facing a new agency, what's important is what you do to change them. Throughout the making of my SIP I have had two very strong influences. The first being ‘The Unsent Project’ which is an ongoing collection of messages posted by online users. Having followed it for numerous years I found it especially relative to my SIP. The premise of the project is that people may submit messages to their first loves (which is open to interpretation). You have the choice to address the person you’re referring to, or to leave the ‘to:’ section blank. The other influence in my work is ‘Sinking Feeling’, a short animation made by Blue Zoo Studios, the same studio running the animation bootcamp I’m partaking in. The short film is a huge influence on my SIP as they both deal with topics concerning mental health, relationships and convey similar messages. ‘Sinking Feeling’ has become somewhat of a target for me, and an example of how I want my short animation to come across to audiences. My SIP positions me well for the career I’d like to pursue. I wish to gear my work towards animation and storytelling, creating stories that are thoughtful and based on observation. I hope that the making of this animation will be a good addition to my portfolio, and will steer me closer towards the vision I have for myself. References
Jill I Chin Sung (BA) Design for Branded Space Self initiated project??? Being a person that always overthinks, to finally decide on a topic for this SIP was hard. After a long time of over thinking about what I’m interested in and what kind of outcome would be feasible. I’ve decided to work on a project that is built on my interest in food and my study in space design. Restaurant design and experiential eating is the outcome of combination between food and space. However during my research for idea development I came across an annual report about future food from Bompas and Parr. By reading about what the future of food can be and the trend which leads to the future, I realized that food culture is moving at a fast paced environment just like there's a new Apple technology every year. It made me rethink my perspective on restaurant design and what my project can be. Which is why I have proposed to produce a spatial environment which reflects the current and future of food, restaurants and dining. In order to produce an outcome based on food I first research on any topics of circular economy, food poverty, Fair Trade, and food trends. I think this is the part where I began to understand the food world around me. It is not just the obvious of what is in my supermarket and the youtube cooking channel I watch, but digging deeper to who's producing the food as well as analysing and reflecting the people who consume these food. Then I move my research to spatial design in a food related setting such as restaurants, bars, and market design. A book called EAT OUT! from Gestalten has helped me understand the basic connection between food and space. “...the diner swallows food and the dining room swallows the dinner.” Looking into examples of restaurants that are designed based on the food and the people who are coming into the space showcase the intangible connection of food, people, and world. While in search for examples of work that has any relation to food and space I continue to wonder if I can ever make sense of the space around me and if I can find a conclusion to my research. However looking at An exploration of self initiated Graphic Design, I was drawn to the work of Daniel Eatock. The way he explores a daily interest is ongoing and engaging, for some of his projects he collects images from different people in the process of defining an item. Such as one of his projects, Empty Drinking Glasses, where he collects various glass packaging and redefines them by drinking glasses. By looking at this artist’s work I realized that the method and process of researching can reveal a new definition of the topic. Perhaps the outcome of my project doesn’t always have to end up as a singular piece, like my final conclusion about sustainable future food. But instead it can be a variety of conclusions and aspects about what future food can be like. Figure 1. Empty Drinking Glasses/ Daniel Eatock/ 2009-ongoing Being a branded space designer is a new category of work in many industries, and the definition of what space is can be even more vague than before. When I look for works of installation or spatial design there is no single way of how a work is produced and what are the skills needed. Each outcome of the spatial design is based on the environment, people and designer. And that is why I think the ability to have one’s voices and perspective be heard and seen as a self agency can promote a wider understanding of how we want to shape our world. Figure 2. Refuge for Resurgence, Biennale Architettura, La Biennale di Venezia, 2021. Photograph by Giorgio Lazzaro.
An installation Refuge for Resurgence by Superflux Anab Jain (Indian/British, b.1976) and Jon Ardern (UK, b.1978) of Superflux (UK, est.2009) in collaboration with Sebastian Tiew (Malaysian, b.1994). This installation shows how we can use spatial form to convey a message about our future. In this table setting environment it uses plates, utensils, and scenic views to narrate what human and animal living coherently could be like. Although I’m not sure what my future ambition is, I know that there is a future in food and space design. Because it plays an important part of human’s culture. The idea of enhancing food experience and using dining space to convey a message is the trend and attention people are looking for in the world until now. As we look for a more sensory experience in eating as well as placing a definition for everything that we do, the study of food relation to space will be recognized as more than just part of our life and culture. As with everything, once you take the time to dig into the multi perspective of a matter there will always be a statement that can be made and a topic to initiate conversation. Bibliography Eatock.com. 2022. Empty Drinking Glasses : Daniel Eatock. [online] Available at: <https://eatock.com/collections/empty-drinking-glasses/> [Accessed 14 March 2022] Klanten, R., Ehmann, S. and Moreno, S., 2010. Eat out! Restaurant Design and Food Experience. Berlin: Gestalten. Superflux. 2022. Refuge for Resurgence - Superflux. [online] Available at: <https://superflux.in/index.php/work/refuge-for-resurgence/#> [Accessed 14 March 2022]. Image Figure 1. Eatock.com. 2022. Empty Drinking Glasses : Daniel Eatock. [online] Available at: <https://eatock.com/collections/empty-drinking-glasses/> [Accessed 14 March 2022]. Figure 2. Superflux. 2022. Refuge for Resurgence - Superflux. [online] Available at: <https://superflux.in/index.php/work/refuge-for-resurgence/#> [Accessed 14 March 2022]. Freya Wilson, Graphic Branding & Identity Agency. Noun, pronounced ay-juhn-see. Referring to the capacity a person must have to be able to make their own decisions. Agency. A secret agent: a spy acting alone to uncover secret information. Agency. An agent: a person who acts on behalf of another person or group. Agency is active, agency is independent, agency takes initiative. New agency is acquired through experience, confidence and consideration. But above all, new agency is earned from a leap of faith, unsure that you will fall to the ground dismangled or suddenly catch your feet and run. A self-initiated project, in the words of Jessica Walsh, art director, designer and illustrator allows you to “exercise your creativity, experiment with techniques and show the world what you’re capable of making”. Projects like her ‘40 Days of Dating’, or founding ‘Ladies Wine & Design’ enable Walsh to fall back in love with her craft, and to equally excite others too. It can be as fulfilling as it can be fruitful. My self-initiated project, designing a sneaker resell brand identity and social calendar, currently feels less like a labour of love, and more laborious. This is because it covers areas that I lack confidence in, that I know I have to work on and want to. I do not like to dwell in the areas I have little confidence in. Yet it is true that we don’t grow when things are easy, we grow when we face challenges. This growth will bloom by building my confidence, creating this ‘new agency’, and cementing my career prospects - not only for the sake of my portfolio but also my self-esteem. I have been slowly chipping away at my imposter syndrome throughout the year and feel that this feeling of independence and knowledge that I can design would chip away a hearty chunk. I am currently sitting cross legged within the discomfort zone, but luckily this is a place I have become very familiar with within my DPS year. It is a second home. This project will take me on the journey through the design process from ideation, to creation and refinement, a process I have not undergone the whole way through since my new professional knowledge from my experience interning. I am excited to put my new knowledge to the test, but know that there is still as much that I do not know as there is that I do. I plan to interweave different aspects that I have particularly enjoyed during placements, such as copywriting, PR and social media, into my project, playing on these strengths to create a more well-rounded end solution. This Self-initiated project affords me time to dedicate to the brand guidelines as well as explore new mediums mentioned within the workplace, that I am eager to learn more about. Allowing me to tailor the contents of my portfolio to my particular strengths and areas of interest, and possibly act as a springboard to my final year project.
As Scottish illustrator and big SIP advocator Johanna Basford bluntly puts it “the stuff you don’t get paid for, leads to the stuff you do” claiming that “self-initiated work is (her) most powerful marketing tool”. New agency today, my own agency one day. My Self Initiated project is a collaborative project with my peer; since we both study Design for Branded Spaces, we decided to create a podcast to encourage 18-24-year-olds to attend cultural spaces. Featuring five episodes 20 minutes long, we will connect trends to current exhibitions and public spaces. One statistic from the taking part survey that stood out to me the most when beginning my research was that 45% aged 16-24 years visited at least once in the last 12 months in 20/20. Our mission is to make attending cultural spaces trendy, but if listeners cannot participate, they still gain insight and knowledge through our conversations. We have to accept that the level of expertise will never be enough as attending holding discussions will hopefully provoke some critical thinking amongst young people. By doing an Instagram alongside the podcast, we have aimed to bring out a visual side for people who may not attend, attempting to bring the exhibitions to them if they can not participate. I've always been interested in spaces, mainly how they enrich and enhance our lives. Whether retail spaces, public spaces, or cultural spaces, all have rich, insightful qualities to better an individual's cultural capital. This idea of cultural capital comes from a French sociologist, Bourdieu defined this theory as "familiarity with the legitimate culture within a society" (Bourdieu, 1984). The idea is that cultural capital is passed on through parenting. However, someone's economic and social capital can hinder their ability to engage with these spaces. Through the podcast, we aim to eliminate this boundary that some individuals may face towards gaining this type of capital. Personally, there is something beautiful about these spaces; they inspire, help you make mental connections, they exercise your mind to create and help create meanings. The critical theory of indeterminacy supports the idea of persecution and interpretation, "a perceptual phenomenon that occurs when a viewer is presented with a seemingly meaningful visual stimulus that denies easy or immediate identification" (Pepperell, 2006). As a young designer, I am motivated to make these experiences accessible and inspiring. As a spatial designer, the increase of immersive spaces excites me for the future of exhibition spaces. While it attracts younger audiences, it revolutionises how we engage with the material. Over the past few years, podcasts have become increasingly popular, especially among younger people. The weekly reach of podcasts listeners is listened to by 22% of 15-24-year-olds. Since COVID19, there has been a 19.7% rise in podcast listeners in the UK. After deciding, we wanted to encourage the engagement of 18-24-year-olds with cultural spaces; we decided the best way to explore this was through a podcast. Therefore we have combined current trends with museum and gallery exhibitions, both psychical and virtual and retail spaces. As part of my research, I researched the taking part survey; I found was that 39.3% of young adults' reasoning for not attending museums was that they had no time. Part of our aim for the podcast was to make people aware of what's happening in these spaces, help them gain insight, take on board factual information and knowledge without visiting the space. This form of passive learning helps people absorb new information. Research shows 32% of people listen to podcasts while commuting, a free way to keep up to date on a tight schedule! The idea to create an Instagram to support the podcast was purely for visual documentation for listeners to engage with. A starting point for our research was brainstorming what the current trends are amongst our demographic. One of our episodes will be about new technologies and digital art linked with LUX: New Wave of Contemporary Art at 180 The Strand. Relating to NFTs and digital art technologies, we thought this exhibition encapsulates the new direction of art. These exhibitions are more attractive to younger audiences as we have grown up with the digital age. The new normal has brought innovation, new ways of working and new artwork. Being responsive and aware of the change is fundamental. We plan to research virtual exhibitions, public spaces and retail spaces to give a full synopsis of engaging and inspiring spaces. Defining a self-initiated project has been very valuable. It has pushed me to engage with my practice in a reflective way, hold discussions and challenge opinions. Mainly it has made me question my position in the new normal, where it situates me as a designer and the viewer/engager. Olaf Eliasson believes the viewer completes an artwork "without the viewer there is, in a way, nothing." Highlighting the importance of perception and interpretation, I think the new way we engage with spaces places the viewer as the subject; they're the purpose, the completion of the piece itself. Previously I would have agreed and accepted Eliasson's opinion; however, now I question the viewer's role in participation. Since the pandemic, I have realised the importance of spaces being boundless, with no restrictions of interacting and engaging anywhere in the world. Developing a new agency has widened my inquiry into making spaces widely accessible. My SIP stemmed from personal interest but has grown into a focal point and direction for my final year. My dissertation is closely linked to this, looking at the engagement of young people in immersive spaces. With the rise of immersive "Instagrammable" exhibitions, I have now questioned the level of engagement amongst young people. Are they engaging with the space or engaging with social media? Creating a podcast has made me understand how to reach audiences that cant attend. Overall, I have discovered my keen interest in the engagement of spaces, increasing engagement amongst young people, and, more importantly, revolutionising the spaces we know. Regarding future ambitions, I feel there is more direction and purpose to push the boundaries, make spaces Instagrammable but rich in content and information, and create unique experiences and experiences people will talk about and post about. But most importantly, make spaces that inspire and make future generations question.
"That's the muse for me: the next generation. And I want my work to inspire people like them" – Virgil Abloh References: Bourdieu, Pierre (1984) Distinction, Routledge Pepperell, R. (2006). Seeing without objects: visual indeterminacy and art. Leonardo 39, 394–400 Links: https://www.dazeddigital.com/fashion/article/54932/1/virgil-abloh-inspiring-powerful-quotes-louis-vuitton-off-white https://culturallearningalliance.org.uk/what-is-cultural-capital https://www.buzzsprout.com/blog/podcast-statistics https://podnews.net/update/rajar-midas-survey-q1-2020 https://www.magneticmemorymethod.com/17-reasons-art-galleries-improve-memory/ https://www.gov.uk/government/statistics/taking-part-201920-museums/museums-taking-part-survey-201920 https://www.artspace.com/magazine/interviews_features/book_report/without-the-viewer-there-is-nothing-olafur-eliasson-on-positioning-the-audience-and-the-notion-of-55556 |
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February 2023
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