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Elements for final Submission

1. Developed sketchbook covering the work made in response to the 3 briefs

Students are expected to include a range of research, analysis, experiments and

explorations, ideas and concepts relating to each of the Briefs.

2. Visual Summary: Final summary for the whole project - 15 pages

Students are expected to create a final Visual Summary for the whole Headspace project.

This must include the previous pages made for Brief 1 & 2 and the new 5 pages for

Brief 3.

3. Publication

• A name/title

• Cover (4pp)

• Inner pages (12pp)

• A distinctive and memorable visual style in keeping with the subject matter. Each

publication will communicate a personal point of view, or visual aesthetic which

may be in the form of a specific specialism or discipline (Fashion, Graphic Design,

Illustration - for example).

4. Reflective Evaluation

This needs to be a critically reflective analysis of: your working methods, the research

approach, rationale for the publication, the portfolio of outcomes, intended audience -

(1000 words approximately)

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This story tells of a white horse and a black unicorn living in separate parallel worlds. When their worlds briefly merge, they meet and form a deep connection. Though they try to stay together, the worlds eventually pull apart, forcing them to separate. They hope to meet again, even knowing it may be impossible. The story ends asking: "Will they meet again?"

This represents deep connections that go beyond time and distance. The white horse and black unicorn are opposite but complete each other. Their meeting shows moments of perfect understanding, while their separation reminds us that some beautiful things in life are temporary.

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Tape Case

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This is a coming-of-age story about a 12-year-old boy who joins a Peking Opera troupe, goes through hard training, sees how others look down upon his master, works alone in Shanghai theaters, and finally returns after the war to find his master has died. The story shows how traditional culture struggles to survive during difficult times—those who seem powerful and strict are ignored and lonely, spending their whole lives protecting an art form that is slowly disappearing. This protection itself gives the deepest meaning to the simple wish to "live well."

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A3 size

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To make the experience more immersive, Jeremy is considering using old tape cases or cigarette boxes as packaging. These vintage containers feel like hidden memories from the past, symbolizing how traditional arts are being “played back” in a modern world.

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A storybook about parallel worlds and it will be printed on fabric. You won’t just read it—you can also feel it. The story and images will be designed together, showing moments from different dimensions, like cloth pieces from other worlds sewn into our own.

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Publication Week 3 - Zine cover in progress

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Publication Week 3 - Zine cover in progress

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I will create this work in the form of narrative, specifically depicting the storyline from a third person perspective. On the first page, the protagonist floats at the connection between eras. On the second page, she sees the Romantic consciousness and is given the task of finding other divided consciousness. She first travels back to the late 18th century and meets the Romantic consciousness of that period, Adeline. Then, in the early 19th century, she meets another consciousness, Rosalie. Each consciousness has its own unique personality, and I will detail their characteristics in the story

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3025

The 35th Year of Humanity’s Resource Crisis

Technology has advanced to unimaginable heights. Towers of iron and steel stretch into the heavens, their jagged silhouettes forming a new artificial sky. Traveling among the stars has become effortless, yet humanity remains powerless to solve the crisis in its own home.

Thirty-five years have passed since the Fifth World War. The genetic weapons deployed during that conflict triggered catastrophic mutations in Earth’s plant life. Most flora became inedible; some developed resistances to our countermeasures, while others evolved terrifying aggression. Vines and roots began to strangle our cities, creeping into foundations, splitting concrete, and reducing 80% of urban centers to crumbling ruins.

Our most advanced genetic editing systems—once a source of pride—proved useless against them. Only then did we realize the truth: for all our achievements, we understood almost nothing about plants.

It was clear—we had reached the end.

But humanity is nothing if not stubbornly, absurdly lucky.

During a routine quantum explosion experiment, we accidentally tore open a rift in spacetime. Beyond it lay another Earth—a parallel world, untouched by human hands.

This planet was swathed in green. No cities. No roads. No trace of civilization. Just an unbroken sea of vegetation. No one knew what it meant—whether these plants held value or posed yet another threat. After endless debate and bureaucratic evasion, the mission to explore this alien Earth fell to me: a mediocre botany researcher with no outstanding achievements to my name.

I knew the truth. I was no pioneer—just a disposable pawn, a stepping stone tossed into the unknown by greater minds. But I had no choice.

The ship passed through the rift.

As we crossed the threshold, the edges of reality twisted before my eyes. The void of space warped, its inky blackness threaded through with streaks of unfamiliar green, swirling like some primordial chaos.

How many centuries had humanity spent fighting against plants?

First, we cut them down to make way for our farms and towns. Then, after wars reduced our cities to rubble, we tore their roots from the ruins and rebuilt. Now, we struggled to reclaim our last strongholds from forests that had turned against us.

Watching that emerald planet grow larger in the viewport, I understood: the struggle between city and plant was a cycle. Every time we claimed victory, the green world returned, stronger than before.

Was this Earth’s future?

Humanity had ruled this world for millennia. But would the next era still belong to us?

The ship began its descent.

The landing was smoother than I expected.

Gathering my courage, I stepped outside—and saw something I could never have imagined.

This Earth had humans.

Before I could process the sight, a child reached out and touched my arm.

In an instant, my vision blurred. My mind flooded with foreign knowledge, as if my brain had been injected with raw data. I looked down and saw veins pulsing with a faint green light.

Then, clarity.

In that moment, I understood their civilization.

They had transferred information directly into my mind using the sap of a specialized tree.

These plants were not proof of their technological inferiority—they were their technology. While my world had poured its genius into machines and engines, these people had devoted every resource to mastering botany. Every one of them was a botanist far beyond my skill.

Their homes were living plants.

The Thermooca, for example—a hybrid species whose hollow trunk provided vast interior spaces. Special compounds in its bark regulated temperature, keeping dwellings comfortable year-round. Its sap was often smeared inside other plant-homes as a natural "air conditioning" agent.

Then there was the Nymboak, a tree that secreted a thin membrane as it grew, forming cocoon-like chambers in its branches. A single specimen could house fifty people.

All their plants were interconnected at the root. Information traveled through their neural networks, converging into a colossal World Tree—their Yggdrasil—which governed the planet’s fundamental systems.

Their leader welcomed me warmly, this strange visitor from beyond the stars. He showed me their experimental fields, where they struggled to cultivate high-yield, edible plants. To protect their fragile seedlings, they had bred defensive flora with astonishing lethality—plants that attacked intruders in ways I could scarcely comprehend, some with firepower rivaling our most advanced artillery.

But the most terrifying discovery was an unnamed specimen—a freak of nature, accidentally engineered.

It was a cradle of nightmares.

Its massive leaves concealed something that should not be seen. The space around it was distorted, as if the plant had clawed a festering wound in the fabric of reality. I could not look directly at its core; even from fifty meters away, my vision blurred at the edges. It was a twisted, unborn god. If provoked, it might drag the entire cosmos down with it.

I trembled.

Desperate to steady myself, I reached into my pocket and pulled out a cigarette. A relic of the past—most people in my world had long abandoned nicotine in favor of neural pleasure injectors. But I had fought to keep this small vice.

I flicked the ignition at its tip. A tiny flame sparked to life between my fingers.

The leader’s reaction stunned me even more than the monstrous plant had.

His voice shook as he whispered, "Is that… fire?"

And in that moment, I understood.

The reason they had never developed edible crops was not for lack of skill—it was because they had never learned to cook.

For thousands of years, they had eaten plants raw, enduring the slow poison of uncooked toxins. Their lifespans were far shorter than ours.

A few glowing embers fell from my cigarette, landing at my feet like fragments of a miniature sun. I crushed them under my boot and exhaled slowly.

Then, I told them a beautiful lie.

I was a hidden god, I said. Moved by their suffering, I had descended to bring them the divine gift of fire. I would taste their crops, learn their cultivation secrets, and teach them how to harness the flame.

The news spread faster than I expected. Their root-network transmitted information at speeds rivaling our quantum internet. By the time we returned to their settlement (forgive me—I still think of it as a "tribe"), I was already being hailed as a savior.

The cycle was about to break.

No—perhaps break was the wrong word.

The cycle would merge.

Cities and plants would become one. The war between them would end.

Back on my ship, I dug through piles of discarded equipment until I found it—the one device my old botany professor had insisted I bring: a DNA extractor, its body crafted entirely from tempered glass. It could analyze any plant’s genetic structure and predict its effects on the human body. I linked it to the ship’s transmitter, ensuring all data would be relayed back to Earth in real time.

And so began my decade-long mission—one that would alter two worlds.

I analyzed nearly every plant on that planet, watching as multicolored fluids spiraled through the extractor’s glass tubes. The people watched in awe as I deciphered strings of genetic code, instructing them on which plants were edible, which were toxic, and how to neutralize their poisons. The culmination of their civilization’s knowledge was measured out in vials no more advanced than a child’s chemistry set.

Finally, I taught them agriculture.

(Though, in truth, I was hardly qualified.)

"Plants need fertilizer," I told them. "Burn what you don’t need."

So they gathered the husks of their defensive plants—the ones too dangerous to eat—and piled them in the fields. Then, with a single spark, we set them ablaze.

The flames roared to life, red tongues licking at the sky like a newborn sun. By morning, all that remained was blackened soil—rich, fertile, and ready for new life.

Meanwhile, back on my Earth, something miraculous was happening.

The mutated plants that had overrun our cities were changing. The genetic data I had sent back was being put to use. The aggressive flora became docile, controllable—even useful. Green and steel intertwined, merging into something new, something strange.

Something like the swirling chaos I had seen in the rift.

As the spacetime fissure began to close—the universe healing its own wound—I knew my time here was ending.

I had to go.

This record is all that remains of those ten sealed years.

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From Chinese mythology：

The Legend of Shennong Tasting Hundreds of Herbs：

In ancient times, people lived by hunting and gathering wild fruits, often falling ill or even dying from eating poisonous plants. Shennong, witnessing the suffering of the people, was determined to taste all kinds of herbs to distinguish which were edible, which had medicinal properties, and which were toxic.

He traveled across mountains and rivers with a divine whip (Zhebian) and a transparent mythical beast (Zhangshi). For each plant he encountered, he personally tasted it, observed his physical reactions, and recorded its medicinal properties. It is said that he was poisoned seventy times in a single day but survived each time by using his ability to detoxify.

Through long-term trial, Shennong identified millet and taught people how to grow crops, promoting the development of agriculture. At the same time, he discovered many herbal medicines, laying the foundation for traditional Chinese medicine.

The Story of Yan Emperor

1. Contributions related to fire:

◦ Yan Emperor taught people to use fire for cooking, keeping warm, and driving away wild beasts.

◦ He promoted the "slash-and-burn" farming method (burning vegetation as fertilizer).

◦ He was regarded as the incarnation of the Fire God and the Sun God.

2. Literal meaning of the Chinese character '炎'（Yan）:

◦ The Chinese character "炎" (Yan) depicts the image of flames rising.

◦ It extends to mean brightness, warmth, and prosperity, representing the prosperity and strength of his tribe.

炎（Yan）Emperor and Shennong were initially two distinct legendary figures. However, over time, their images gradually merged. By the Eastern Han Dynasty, scholars officially combined them as "Yan Emperor Shennong," preserving the symbol of the "virtue of fire" while emphasizing their contributions to agriculture.

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Under the wave of the times, Zhang Hong’s family unexpectedly owed a huge debt.

In order to make a living, Zhang Hong‘s parents flew to the United States. His mother knew that Zhang Hong was not interested in learning, so she sent him to the drama class where Master Cheng was. When Zhang Hong first came to the drama class, the master and apprentices were not very optimistic about him, thinking that he was the eldest child of the rich parents who could not afford to suffer. However, the number of actors was small, and the Japanese constantly harassed them in Shanghai. If the master wanted to keep the drama from war, he had to work hard on everyone. Therefore, through his own efforts and the master’s hard work, Zhang Hong finally changed the master and apprentice‘s opinion of him, and also changed his fate.

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1.Decide on Zine theme - what are you trying to communicate?

2.Choose the visual style of your Zine (colour, font, illustration, photography, layout). Refer back to your sketchbook and moodboard to help you create a style guide.

3. Extract information from your moodboard; colours, textures, patterns… Use these to create the style of your zine.

4. Plan the content for your pages: what text, images and visual elements goes on what pages? Create a plan, design each page – make a mock up to the template you have chosen.

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Publication Week 2 - Zine Cover Prototype

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Publication Week 2 - Zine Cover Prototype

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Publication Week 2 - Zine Cover Prototype

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Publication Week 2 - Zine Cover Prototype

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Publication Week 2 - Zine Cover Prototype

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Publication Week 2 - Zine Cover Prototype

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Protagonist: Zhang Hong

Supporting actors: Master Cheng, Master Mother, Brother Shi, Pomegranate

Zhang Hong: He is a child who grew up in Shanghai. His family conditions are quite good. In 1921, the Communist Party was established. Zhang Hong’s father‘s factory suffered a general strike. Workers hoped to improve their treatment. Zhang Hong’s father was greatly affected by the family‘s income. In order to make a living, Zhang Hong’s father and mother flew to the United States together. Leave Zhang Hong alone. His mother knew that Zhang Hong had no interest in learning, so she left him in Master Cheng‘s drama class and became a family class.

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Haipai 1930

I will tell a story about a teenager studying Haipai culture in the 1930s.

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My book is in B5 size and has 16 pages in total. The cover is made of kraft paper. The content is mainly abstract and fantastical. It depicts my paintings by showing different things in the same place in a parallel world.

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A story about a main character who encounters a romanticised body of consciousness from a different time.

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I plan to make it into a fairy tale picture book format, with a 2mm thick cardboard cover bound into a booklet. The inner pages are made of various materials, but mainly watercolor paper, and the main painting technique is watercolor.

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I want to continue exploring the theme of cycles and delve deeper into it. I want to draw a tree that has grown for a thousand years and communicate with it to understand the cycle between plants and cities over the past thousand years. I think tree rings are a great form of expression, as each ring records a story. But I think this theme is not deep enough. I hope to make a narrative Zine. However, I have no idea about the story in this Zine.

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Activity 2:

You will now create your own mindmap linking your Zine to your chosen context: social - environmental - fashion - gaming - graphic design - Illustration.

using your practical outcomes, and areas of interest to inform the content  and visual aesthetci of your Zine -  (30min)

Upload your mindmap to Padlet and write down the main aspects from it that will help to inform you Zine outcome.

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Activity 1

Answer these questions on Padlet:

What is the subject, theme or specialism guiding your Zine?

What is your knowledge and expertise in this area?

How can you interest other ‘fans’ and ‘lovers’ on the same subject?

What do you want to present or highlight?

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First Page of Visual Summary

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Foam Blocks/Moss/branches/landscaping clay

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The 19th Route Army and the January 28th Shanghai Battle

Shot 8: Japanese Provocations in Shanghai

Prologue: Shanghai was the most cosmopolitan metropolis in the Far East, the center of China’s industry, commerce, and finance, and a hub of concentrated foreign interests. After the September 18th Incident, Shanghai became the heart of nationwide boycotts of Japanese goods and anti-Japanese movements.

Narration: To divert international attention from the Northeast, the Japanese military conspired to stir up trouble in Shanghai. As tensions escalated, Japanese fleets and marines poured into the city. The gathering of Japanese warships on the Huangpu River fueled the militant fervor of Japanese expatriates, who rampaged through the streets, vandalizing Chinese shops. Meanwhile, Japanese marines staged armed demonstrations, openly provoking Chinese forces.

Shot 9: The Japanese Attack

Prologue: On January 23, officers of the 19th Route Army at the battalion level and above held an emergency meeting at the Longhua Garrison Headquarters. All attendees resolved to defend Shanghai and made urgent preparations, deciding to annihilate any Japanese forces that attacked Chinese positions. On the 27th, Japanese Consul General Murai Kuraso delivered an ultimatum to Shanghai Mayor Wu Tiecheng over the "Nichiren Monk Incident," demanding apologies, punishment for anti-Japanese activists, the dissolution of抗日 groups, and the withdrawal of Chinese troops. Wu Tiecheng shamefully agreed to all demands, but his capitulation did not prevent war.

Narration: Late on the night of January 28, Japanese marines launched a surprise attack on the 19th Route Army’s positions from five directions. Before the assault, Rear Admiral Shiozawa Kōichi, commander of the Japanese fleet, arrogantly declared that Japanese forces would occupy Shanghai within four hours.

Shots 10–13: The 19th Route Army’s Resistance

Prologue: In the first week, fighting was concentrated in Zhabei. By February 4, the Japanese launched their first offensive, spreading the battle to Jiangwan and Wusong, but their assault was crushed—the first Japanese regiment attacking Jiangwan was wiped out. The disgraced Shiozawa was recalled and replaced by Vice Admiral Nomura Kichisaburō, commander of Japan’s Third Fleet. Nomura confidently claimed that the Japanese advance would halt once they crossed Yunzaobin Creek. Reinforced Japanese troops attacked Yunzaobin and Caojiaqiao on February 11. Shanghai’s citizens fervently supported the 19th Route Army, forming volunteer corps, intelligence teams, and transport units—over 50 volunteer groups, totaling more than 20,000 people, registered with the army. The public donated generously, raising 100,000 yuan in a single day on January 30 and 7 million yuan during the conflict. Chinese workers at Japanese factories, shops, and residences went on strike or resigned en masse to support the soldiers fighting on the front lines.

Narration: The Japanese attack threw Shanghai into chaos, with countless civilians fleeing to the concessions or other cities to escape the violence. In Nanjing, the Nationalist government had already appealed to Minister of Military Affairs He Yingqin on January 30, requesting permission to deploy troops to Shanghai. He Yingqin responded irritably, "The 19th Route Army disobeyed orders. They were told to withdraw from Shanghai but refused, instead provoking a fight with the Japanese and disrupting the central government’s policy, making the situation difficult to manage." He rejected the request.

That evening, He Yingqin heard a commotion outside his residence—it was Song Xilian and over 30 officers pleading to join the fight. One battalion commander spoke bluntly: "I am your student, Minister. Now that the Japanese are at our doorstep, are we to kneel and accept being slaves of a lost nation?!" The 19th Route Army fought alone on the front lines, repeatedly begging for reinforcements. Public outrage grew over the central government’s inaction, and criticism mounted. Chiang Kai-shek, recently reinstated, saw that sending no troops would be indefensible and decided to dispatch the 88th and 87th Divisions—his elite forces—as the 5th Army under General Zhang Zhizhong, who arrived in Shanghai on February 18.

After the September 18th Incident, Liao Zhongkai’s widow, He Xiangning, sent a woman’s dress to Zhang Zhizhong (then dean of the Central Military Academy) to forward to Whampoa students, along with a poem: Shame on you men, bowing to oppressors, surrendering our land, eternally disgraced. We women would rather die in battle—take our skirts and give us your uniforms! This was Zhang’s chance to redeem himself in battle.

Admiral Nomura and other Japanese naval commanders had not anticipated the 19th Route Army’s fierce resolve and combat strength. After repeated failures, they called in the Japanese Army for reinforcements. On February 7, the 9th Division landed at Shanghai and Wusong, with Lieutenant General Ueda Kenkichi taking command. Upon arrival, Ueda issued an ultimatum demanding the 19th Route Army withdraw voluntarily—a demand the Chinese commanders ignored. The 9th Division targeted Jiangwan and Miaoxing, bombing Chinese positions before launching infantry assaults with tank support.

By then, Zhang Zhizhong’s 5th Army had joined the fight, with Zhang commanding the left flank, Cai Tingkai the right, and Jiang Guangnai as overall commander. The 5th and 19th Route Armies cooperated closely, resisting fiercely from fortified positions and inflicting heavy casualties on the Japanese

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Scene 5: The 19th Route Army’s defensive positions.

Narration: To the Japanese forces’ surprise, the 19th Route Army displayed extraordinary determination in battle, and the people of Shanghai fervently supported their defenders. Under the command of Generals Jiang Guangnai and Cai Tingkai, they resisted decisively—without explicit approval from the Nanjing government—inflicting heavy casualties on the invading Japanese marines.

Reflection: The January 28th Shanghai Incident awakened many who had been indulging in a life of decadence in the foreign concessions. The Japanese artillery fire and bombings brought them face-to-face with suffering—like a bone stuck in the throat, a thorn in the flesh. Just as the people of Shenyang could never forget "September 18," "January 28" remains forever etched in the memory of Shanghai.

Shot 6: Lu Xun

Narration: At the time, Lu Xun and his family lived in an apartment directly opposite the headquarters of the Japanese Naval Landing Force on North Sichuan Road in Shanghai. From the apartment window, they could see large numbers of soldiers assembling in the headquarters compound before being transported southward by roaring trucks.

Reflection: To this day, a bullet mark from that time remains on the wall of Lu Xun’s study. Very few could remain untouched by the war—even the concessions, long considered the safest zones, were no longer havens of security. Though both warring sides respected the special status of the concessions, no one could technically guarantee that bullets and shells would never land within them.

Shot 7: The Fall of Northeast China

Narration: After the September 18th Incident, the Nanjing government urged the people to endure, waiting for the League of Nations' resolution to be respected by Japan and for justice to prevail over brute force. But two weeks passed, and the crisis in the Northeast worsened daily. The provincial governments of Liaoning and Jilin had collapsed, while Heilongjiang’s teetered on the edge. On October 8, 1931, Japan bombed Jinzhou—the first aerial attack on a peaceful city since the end of World War I, killing many civilians. The situation made it clear that the Japanese military and government had decided to seize the Northeast by force. On January 3, 1932, Japanese troops occupied Jinzhou, marking the complete fall of the Northeast.