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Notes:

Social media is seemingly crucial to promoting yourr brand

Creating communities for networks and connections

Spreading your personal brand and increase sales and visibility of your brand

Point of contact for employers

Creating a social media isn't something i'm particularly excited in however, it would be useful as an easy way to display your work and align it with a target audience.

Website building:

Domain names

Branding

Online Portfolio

Recogniseable logo and brand

Building a website would be a big overhaul to creating a professional image. I could speak to my brother about building one from scratch to save

LinkedIn

Opportunities

Contacts

Roles

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The Dots

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Cobalt Designs / Cobalt Blue

Cavan Ferry Studios

Long Hilt Studios

Wood Chip Designs

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I love the idea of hand tools and vintage aesthetics being included in the branding. Alternatively this imagery of modern machinery in old countryside. I love the idea of a ferry coming through a countryside.

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Involved in War Horse and Spirited Away

Puppetry Director, Puppeteer, Designer

https://tobyolie.com/about/

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Defining the goal of expanding the business/brand.

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Vintage

Old School

Lino Cut

Printed

Earth Tones

Handmade

Analogue

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My attendance to it was interesting as it was the first time I had attended a large scale meet and networking event for my area of practice. Not only did it give me a chance to meet new people, it also allowed me to see what people look for in new upcoming talent. Some of the main questions were

What do you do

What do you like doing

What do you want to do more of

What have you done in the past

Having a confident and clear answer to these questions is a brilliant way of ensuring people know what opportunities youd be interested in but also gives off the impression of confidence and planning ahead. People like it when you're willing to put in time and effort for the craft.

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Helping out with Chloe was another brilliant chance to network and get my name out there. Not only did it give me a chance to see what goes into crafting a production but I got to be a part of putting it together and taking it apart.

The rigging itself got me familiar with the various sections of the theatre and where certain things are stored. Devices for how and where things are stored, different deparments, different types of jobs. I absolutely adore physical labour and the get outs were far more physically intense than the get ins.

Just knowing the type of work that's available gives me a much stronger dialogue when talking with people in the industry. "Assisting in get ins and get outs, rigging and scenic carpentry" sounds far better than "uhhh, i just want to help out and get a bit of experience.

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3 BIG NAMES from the OPERA volunteering

Tracey was the stage manager and was fantastic at letting me know how the place is run and is a brilliant character to go to when you're not sure what needs being done.

Joanne, the senior technician, was introduced to me by Tracey and thus a connection was made with potential for further projects. I told them how enthusiastic I was to get involved in more projects and they told me to ping them across a message.

Jacqui is the last of the three who I was referred to by Joanne as another point of contact for getting involved in further work and whilst they're currently in an intense production period, after easter they will be having a look at what work is available.

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When I'm in a more financially viable situation, I'd like to take on crew birmingham as the next step for getting involved in paid work. I want to do a lot of rigging / derigging / scenic carpentry and build my vocational knowledge as well as applying for designer areas.

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We'll be discussing everything I want to document.

Formatting

Display

Quality

Process Pictures

Chronological

I want to sort of compile all the images i'll have to include in my portfolio. This will help me find layouts, categories and configurations for my portfolio.

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In terms of making a website, there are various tools for doing so which I could use. Alternatively I may contact my brother who designs many websites himself

www.hubspot.com

www.wordpress.com

www.weebly.com

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Build a well-rounded portfolio that shows competence in a range of key areas such as:

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Build a well-rounded portfolio that shows competence in a range of key areas such as:

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Drawing; observational, life drawing, concept sketching or technical drawing.

A range of 3D Design is very useful, including any model-making or product design, or sculpture. These can be photographed or documented in the portfolio if too large to bring in.

Fine Art based projects which may include painting, sculpture, printmaking.

Bring sketchbooks which show evidence of working through the design process from research, design development and concept sketches. Or any sketchbooks which support your fine art or design projects.

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I absolutely love this opening slide for this portfolio. It's memorable, eye catching, and speaks more to the designers style than anything else.

Vintage grain

Sans serif font

Bold, intense colours.

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Immediate clue into style and profession

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Immediate clue into style and profession

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Showing off an eye catching and bold piece of work immediately makes it the centre of the artists portfolio. It becomes the portfolio about what that artist is capable of and their confidence in it.

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Similar style of showing of well shot, high quality work.

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Similar style of showing of well shot, high quality work.

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Showing off clearly what you do and what it results in seems to be one of the strongest ways to approach the website

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It's a list of pictures with no clear key bindings to filter through them. User support is extremely important with these websites. Not having your work easily accessibly will shoot you in the foot.

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1. Photo of the logo & "PROFESSIONAL FUTURES PRESENTATION"

In this i'll be using the logo i've created and i'd like to generate a QR code to mirror it.

2. "WHERE I CAME FROM"

In this section, i'd like to cover building swords, shields, armour and various props with my dad. Seeing performances like The Goes Wrong Show, War Horse and A Christmas Carol. This being the foundation of my interest in props, set construction, general creation for theatre. Include the swords from the shed, the armour from my Foundation. I will perhaps include some of the uni work, further angling my decision to lean towards scenic carpentry.

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I sat down with Laura and compiled a list of the various bits and pieces I wanted to photograph and potentially different ways of presenting them

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The Three Swords:

Sword rack, simple with hooks either end similar to katana stands.

Fishing Wire / Suspension

Being held

Centurion Helmet:

Long pole mount

Display case

Large flat topped stand

Tempest model

Tall flat stand

Floor plan suspended behind the model

No model box

Furniture:

Simple front and side shots.

Cardboard city

Long stand

Multiple smaller stands

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Lino cut test examples and further ideas

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Lino cut test examples and further ideas

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I made a couple lino cut prints for two different logos.

One was the Cavan Ferry Studios logo,

the other was the Long Hilt Studios logo.

Note that the second one can be used for other company names and I really like how it looks.

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I've gone for the imagery of someone carving away a length of wood with a chisel. When the print dries, i'm going to scan it and bring it into photoshop where I'll turn it into a 2d threshhold image where I'll get rid of small imperfections and then create a more solid image for a logo.

I want to then explore options with Tony to create a vectorwork image that can be scaled to any size.

Overall i love this logo, a beautiful mix of handmade print and clear imagery makes it look extremely clean. In the future i'd probably make a seperate print for the company initials.

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I really loved how this one came out, ended up being far better than i had planned. I would want to change the initials part at the bottom and make the logo more similar to Long Hilt in terms of the amount of negative space. I want to put more emphasis on the ship.

Otherwise I'm going to do the same editing as long hilt and take it into photoshop to polish it up.

I'll scan them both in and try adding them onto business cards.

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Whilst they aren't crucial to modern networking, I often find that i excell in face to face communication. I think by pairing my extroverted, friendly and charming outward approach to networking with a recogniseable, bold and interesting business card would allow me to set up strong connections.

Pairing this business card with links to my Portfolio, website and contact addresses, means I can give a potential employer everything they need to check what I've got.

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EMBOSSED ADDS ADDITIONAL TACTILE MEMORABILITY TO THE CARD

INTERESTING TYPOGRAPHY FOR NAME BANNER REFLECTING THEIR STYLE

ARTPIECE AS THEIR LOGO

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CARD DIFFERENT SHAPE TO REFLECT DESIGN

DONT LIKE REVERSE SIDE WITH THE TEXT

UNIQUE DESIGN

THICK CARD

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SIMPLE ILLUSTRATION LINKING ACROSS PAGES

CLEAR AND DIRECT WORDS

LIMITED COLOUR PALLETTE

DESIGN INTERACTING WITH THE "BORING" BITS

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Gorgeous.

I LIKE THIS

BEAUTIFUL 2D DESIGN

TEXTURED GRAIN ON THE DESIGN // CARD.

TYPOGRAPHY REFLECTS COLOUR SCHEME

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Once taking away the imperfections and smoothing down certain lines, I used image tracing to turn the whole icon into a vector image. This means I can scale it up and down to any size i need for either business cards, website usage etc etc.

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I much much prefer how this one looks compared to the original lino cut. It is very simple and perhaps doesn't illustrate what Im intending. i'd like to come back to this as its own design in the future but i think Long Hilt // Wood Chip studios will be my main focus.

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I don't really like this in terms of a business card. I think It does a wonderful job of illustrating their style however It looks more like a little memoir or souveniere someone would buy at a store.

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I like this idea of each business card being unique as it's cut from a larger lino cut selection.

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I like this idea of each business card being unique as it's cut from a larger lino cut selection.

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I feel like however, a business card should be recongiseable and each one be fairly consistent with eachother and printed in large amounts.

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They will take an unfathomable amount of time to print each one, what I'd do instead is digitise my prints and then draft a unique card straight from that.

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I love this tyoeface, it's bold, intense, matches my style a lot.

I can see there being issues with it not being used consistently as it is a very intense type face. For the occasional title maybe?

If I printed my letters individually I could create my whole card using digitise prints.

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I like this font and the way it fits into my theme of square based icons.

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3. "WHERE AM I NOW?"

Explore how I am developing my practical work via volunteering and hands on experience.

My enjoyment in working in the Opera, making furniture for the escape rooms, creating swords.

Further discussing my love for hands on craftsmanship, physical work as well as my competency as a designer. Also touch on the fact that I have not found my self to be particularly proficient in digital work compared to hands on work. I still find I will always try and get stuck in with manual work as soon as possible when designing. Trying to bring various ideas to life as soon as possible as I work better having them physically in my hands. "What if we did this" method.

4. "AREA OF PRACTICE"

Scenic Carpentry & Design prop making and potential costume work. Physical handmade work is where i will excell and have done. I am at my most comfortable in a manufacturing sense but also want to be able to develop my skills as a designer. Theatre and Film both would have opportunities for this. I'm not too interested in festival design. It's not only the manufacturing that interests me but trying to support a story at the same time.

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5. Case study 1 & 2

6. WHERE AM I GOING?

Here I will bring in reference to Grad+ and the CV building lectures in terms of building my professional image. Developing my visual style of communication and having a coherent colour theme and style. A recogniseable image. Companies im interested in. How I will source a workshop for production? Imposter syndrome and overcoming it through forcing work.

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PAST

PRESENT

FUTURE

These are the main titles, within each I need to cover the skills, experience and enjoyment through each of them.

For example PAST may include my skills developing with metalwork and woodwork, experience being limited to the IN course work and hobby related skills.

PRESENT will reflect what i am doing NOW to develop my goals, skills and experience. Using the workshop, networking, practical experience.

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Get knee deep in practical work experience, paid or volunteered.

Create a portfolio / professional image that reflects my passions, attitudes and creates an easy reference for employers and friends.

Design forward CV with concurrent theme.

Tailor experience needed and skills to learn for various job references.

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Paid work as designer and carpenter to develop my experience and portfolio to an extremely capable and reliable level to prove my ability through a range of practices.

Expand connections to other cities such as Brighton / Bristol / Dublin

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HEAD or LEAD Set/Scenic Designer working with other departments to bring a large scale story to life.

My own private workshop to produce my own props or parts for shows.

Be a major contact and networking "personality" bringing together theatres and shows from various parts across the UK

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Short term to long term goal list

Practicioner research // case studies: how they got there, previous expeirence, companies they work at etc etc.

CV creation // Design etc

Begin presentation framing, subjects etc

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Notes on certain aspects of presentation being spread out not in one slide.

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Notes on certain aspects of presentation being spread out not in one slide.

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The skills audit and Grad+ Week notes and lectures will all come in throughout the presentation as to be part of a larger reflective element to the presentation.

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Associate Set Designer - My Neighbour Totoro

https://www.isobelnicolson.com/

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Production Designer- My Neighbour Totoro

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Set and Costume Design - Tom Pye - Theatre, Opera, Ballet, Film and TV

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Tom Pye has designed sets and costumes for works including Long Day's Journey into Night and The Testament of Mary on Broadway, the West End shows Who's Afraid of Virginia Woolf? and Sinatra, and TV series Gentleman Jack. He has designed operas for the ENO and The Met Opera NYC, and his ballet credits include The Nutcracker and Anna Karenina.

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I've created a massive list of theatre companies and their respective phone number lists as a way of doing blanket sweep calls for work or information in projects.

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info@seedbed-studio.co.uk

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Artistry, Carpentry, Sculpting Construction Set Services, Birmingham

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We provide set construction services in Design, Scenic Artistry, Carpentry, Props, Sculpting, and Construction at Seedbed Studio in Birmingham to promote the ability of the Artists.

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A lot of places to hire in digbeth or around birmingham are almost entirely residential and studio booking space. I can't find anywhere that has woodworking tools available or accessible.

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This company tends to learn towards classes and booking out there space for 1-1 tutoring work. I'm tempted to shoot them a message to see if I could arrange a deal with them

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This company is a community non-profit that aims to bring workshop spaces to those that cannot afford to set up their own. This would be a good place to get started working on excess pieces from work.

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Seemingly affordable studio space that might also be a good place to start having a designated place to work from.

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WELCOME TO IRON HOUSE STUDIOS

Alongside our Iron House venues, we are pleased to open our affordable studios for local artists situated onsite at Iron House. When we started building Iron House in December of 2018, our vision was to build a creative ecosystem, that started with unique events venues. The fact we are taking the next step in our plan is incredibly exciting for everyone in the team.

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WELCOME TO IRON HOUSE STUDIOS Alongside our Iron House venues, we are pleased to open our affordable studios for local artists situated onsite at Iron House. When we started building Iron House in December of 2018, our vision was to build a creative ecosystem, that started with unique events venues.

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I have to say I was extremely surprised with how well I responded to the text.

I wasn't sure how deep and nuanced different explorations of time could be but through reading it I found myself wrestling with my brain to imagine these unfathomable worlds.

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I really loved passages that explored passages of time that innately changed human behaviour.

One example was a whole human life time took place over 1 day, those born in summer would never know snow, they'd never know cold etc.

One thing that partially interested me was how on earth you can portray the experience of nothing.

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I want to get better at communicating my ideas and development, and one crucial way I can do that is using white card and other model formats to illustrate developing ideas.

I also find I work more efficiently and my creative development of ideas flows smooth when I have a physical demonstration of it in front of me. Then using iterative work to develop it further.

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Developing my professional image and relationships

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Developing my professional image and relationships

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Strengthening my ability to communicate with third parties I'm working with or for is a skill I want to develop. Efficiently communicating ideas and reciprocating feedback.

Similar to this, sourcing materials and being self sufficient is something I'd like to improve as well.

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The first idea I came up with was this one scene of a long hallway all broken up and distorted, with a giant pendulum at the back, projecting different images against the hallway after each chime.

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Trying to feed into that idea of not understanding or not being able to understand the passage of time.

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A band I have worked with steadily recently called MANTARRAY are currently going through a massive rebrand and upheaval of their image in which they're releasing new music, music videos and coming back with a BANG.

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I've acted in one of their music videos as a police officer for the song "Allegations"

I've done photography, portrait shots and images for the band for general promotion. These have then been handed off to an editor to finalise.

Illustrations and print work.

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Further involvement I suggested to the band

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Further involvement I suggested to the band

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Creating sets and assets for them to use in various music videos

Designing a full scale stage for a live unplugged video

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THE WAREHOUSE VIDEO

THE LIVE LOUNGE IN THE STICKS

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This is a mind map including heaps of information about the band, various logistics they have to support producing live work.

It covers many angles from the theme the band wants to represents to the tech they have available.

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I've planned over the 6 weeks to the deadline, various set goals for when components of the projects need to be done.

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Sourcing help for large illustrative work.

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Sourcing help for large illustrative work.

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A lot of the work that'll need to be done will be graffiti. I have two people I'll be asking for help if needed.

Finn - graffiti artist

George - graffiti artist

I'd create the designs which they'd be helping me bring it to life as long as I provide the paint.

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The second half of the video will be held in a warehouse owned by a friend of the band.

I'm going to create some freestanding set pieces for the band out of reclaimed wood and old fabric and graffiti a mixture of detailed, specific imagery such as a giant mantaray or a decayed camper van etc.

These can be placed in and around the workshop for the video.

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Paul and Holly raised the point that as this is effectively a collaborative project between me and the band, there is the risk that my ability as a designer and the scope of what I can come up with may be limited.

My way around this is by creating as vast ideas as possible as proposals and then potentially reducing these down to practicality for the application of them. My relationship with the band is also very close and a lot of this work has been from my proposal to create something for them. If it doesn't work or align with what they want then they can just leave it out.

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The initial brief for the set piece was just a large banner, one issue that arrised was that in the location there wasn't any secure places in mind to hang the banner from.

This proceeded to influence the set piece to be freestanding board. I added this boarded front to give it a slight visual complexity and to break up the shape slightly.

The upper section of the model with the canvas however, looked absolutely awful. There was no shape or interesting nature to it. As I like to work iteratively with my models though this was okay.

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In this iterative piece, I changed the shape of the canvas backdrop to a pointed angle. Accompanying this with a smaller solid piece, reflecting the shape of the larger set created a much nicer larger set. This gave options to rearange to add or subtract from certain emphasies on the bands dynamic.

Having the spikes ascend towards the centre implies an importance of the centre character. It adds an escence of superiority and power to the collective group.

Having the peaks facing away will draw the viewers eyes to the centre, and guide us behind the band. If this backdrop is intended to reveal something this woiuld work phenomenally.

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Top: Illustrates the peaks facing out suggesting an almost greeting shape. It's inviting the viewers eyes to the centre. Alternatively suggests the group has originated from within. Could be used as a narrative device

Bottom: Illustrates the peaks facing in. Almost a defensive position. It is a symbol of height and suggests power in the centre character. Like giant closed gates.

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Using a multiplier layer I created a rough mockup of what I thought the scale finished product could look like.

I loved the way it came out. I wanted it have heavy inspiration from graffiti culture. I've never done graffiti so most of the design came from an illustrative mind.

Included in the design I wanted to include some tags based on the bands names Kieran, Maddy and Redding.

Overall I was happy with the design and it took quite a while to push these ideas any further. I wanted to start making it to scale to get a better idea on what I had available.

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I scored some pallets from my work down in digbeth at chance & counters where luckily the area manager was there to give me the full go ahead.

Chucked them in the back of my friends car to transport them to the uni.

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INITIAL BUILDING AND FURTHER INFORMATION AFFECTING DESIGN

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INITIAL BUILDING AND FURTHER INFORMATION AFFECTING DESIGN

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As I was making the start of the design, the true scale of it started to become more and more apparent. I then contacted the owner of the warehouse for more specific measurements of the area it'll be around which was drastically shorter than I imagined.

This meant I had to scale down my pieces which meant that they became 2 symmetrical, freestanding pieces instead of a larger and asymmetrical design.

I'll finish building them, go back into procreate and come up with further designs to create a coherent piece of 2 equally sized pieces

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Members, family and friends of the band own large vans, are part of vocational trades and own their own musical equipment. This means I've got plenty of contacts to start developing relationships with for help with transport and acquiring materials. The lead guitarist Kie's dad for example has been able to source around 7 pallets for me as well as having a van to transport them.

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Here's what the width would look like if I made my model to scale. It was absolutely humungous and inconcievably massive. Considering this would only be half of what I had planned I decided to split this into two, and make the whole piece two equal sides.

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Having vans accessible is fantastic however if I'm making a 3 metre tall piece, it needs to disassemble into far far smaller pieces. I've come up with a few work arounds for this.

One example being that all these pieces are assembled via seperate pieces. The core of it being the pallets on an angle.

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Seeing the space I have available to use will determine the size, style and logistics of what I can make.

The places we're scouting out are familiar to the band and are in very very close distance to accessible roads. This means transporting large set pieces will be easier to set up.

Most of these places will be in and around Worcester and Telford. Abandoned old railways and stock yards etc.

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I'm hoping to have my set for the 1st project completed by the 15th, which means I can prepare for it to be painted as well as start exploring options for the larger set.

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The primary thing I noted for the journey to the bluebell forest is that it's absolutely achievable to arrive at however the actual amount of real estate in the forest I didn't get a chance to look at.

The scale of it did mean there would be plenty of spaces suitable for a music video but not necessarily a live show.

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The angle on the pallet boards is because I knew the primary purpose of the piece was to be a part of a music video. If they were flat up against they would be angled away from the camera lense.

The angle means they meet the eyeline and should show up far better and easier to light.

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Using the lovely technician lee as a scale for the piece. I started to figure out how tall I wanted this to be. I knew I wanted that piercing height on one side but the height of the beams seemed perfect for one side.

I had plans for a sort of mechanism i'd use to create a disassemblable piece. This would also allow me to make variable heights. Which leads me onto my second problem. if I wanted it to be 2.5 metres tall, i'd need a van with a 2.5 metre long back which seemed just unrealistic given the circumstances.

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Why I love building the scale pieces as soon as possible is that I can see the problems first hand as they come up. I think you can plan and plan and plan but you sometimes need it to be in front of you to see how to make it work.

What ended up being the simplest solution, was borne from a seperate issue!!

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THE CANVAS!! CREATOR OF ISSUES AND SOLVER OF MANY.

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THE CANVAS!! CREATOR OF ISSUES AND SOLVER OF MANY.

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As I was preparing the stand for the eventual canvas to go onto, I realised that creating a secure canvas to paint on in the first place would have to be stretched and attached to something. I created the canvas frame in the shape I wanted the peaks to be and resolved to make the canvas secure and work independently.

The solution was then extremely easy, bolt the frame straight onto the beams and hey presto, a fully disassemblable set piece.

Now i've made such a thing, it'll be intuitive to make the same thing again but I found the problem solving process far easier just trying to intuitively fix them. A lot of the time it just comes down to, make it and bolt it to it but when trying to plan it ahead I can get bogged down in details.

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One final piece! I wanted to have at least one made as I had my friend scheduled to come in and help. I really liked the scale. The picture definitely makes it look smaller as I am frankly a ginormous individual.

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YOHOO!!! I had been mulling over what on earth the second design could be. it was friving me crazy. I wanted to include something about the band or the song but their themes so far had rotated around a mantaray and graffiti designs.

I came up with the car driving away as when we were doing set photography, redding (the main character in the music video) was driving behind us and I recorded it low exposure and it looked fantastic. This reminded me that the songs visual story is him running away from the police and this idea of him in a getaway car leaving destruction behind him felt amazing,

I was chuffed to pieces.

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The mantarray!!! Coming back for its final digital render. It's effectively the same as I wanted to wait and see what effects we could pull off with the spray paint.

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Being close with the band also means that there are opportunities to flesh out my skills in other areas such as graphic design, photo editing.

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First big lessons with spray painting onto canvas

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First big lessons with spray painting onto canvas

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Black shows up incredibly strong. The beauty of spray paint is you tend to be able to go over yourself repeatedly until it's perfect. With canvas, the paint clumps and sets sometimes rather randomly across the fabric. This might be because it was in a dusty workshop so contaminents got stuck in the weaves of the fabric.

Save black for last

Lightest possible colour (like yellow for sketching)

Canvas will shade the colours as more layers are put on.

Colours are incredibly vibrant (positive)

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Backgrounds and block colours for shapes

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Backgrounds and block colours for shapes

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One of the best things about having someone experiencesd with me like Finn, is the opportunity to be experimental and try out things that might not work with the comfort of experience guiding you. For example i wanted the piece to have random glyphs and patterns over it to fill up the space.

Finn knew how to best approach this from a colour and area perspective so he could help me best bring these ideas to life.

Adapting the tags i came up witth was also loads of fun as it grounds these ideas in reality and helps achieve a far better result.

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Adding the line work, final details, tags and colours brought this piece to life. The picture doesn't do it justice as to how bold and intense it is. It turned out far better than I hoped and finn's expertise was a crucial factor in developing it to it's best.

Incorperating a huge range of deep blues and purples with the highlights I think it fantastically combined the escence of the band into a piece.

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Interesting challenges and incorperating previous learning

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Interesting challenges and incorperating previous learning

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Approaching it differently:

Using yellow for sketching

Finalising whole layout before introducing the black.

Challenges

Perspective

Horizon and scene placement

Glows and lights interacting

Use of canvas or colour for the lights

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A couple changes that improved the design.

Using telephone poles instead of trees gave a gorgeous clarity to the scene

Using yellow and deep reds tied the piece together, when leaving it as canvas, it made it look unfinished.

Light sprays of orange and yellow to give the light and fire a glow to it.

Light line accents to the car to improve clarity of shape and form of the car

License plate as a small nod to the band