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Agrimarkt (2013). HK16_Kat09. [online] Internet Archive. Archive.org. Available at: https://archive.org/details/tractors-HK16_Kat09 [Accessed 28 May 2024].

Atari (1992). Space Lords. [online] Internet Archive. Atari. Available at: https://archive.org/details/arcademanual_space-lords [Accessed 28 May 2024].

Atari and Namco (1982). Arcade Game Manual: Dig Dug by Atari/Namco. [online] Internet Archive. Available at: https://archive.org/details/ArcadeGameManualDigdug [Accessed 28 May 2024].

Digital Library Of India (2015). A Laboratory Manual In Farm Machinery. [online] Internet Archive. CHAPMAN & HALL, Limited. Available at: https://archive.org/details/in.ernet.dli.2015.14715 [Accessed 28 May 2024].

Plan, G. (1982). Arcade Game Manual: Pot of Gold. [online] Internet Archive. Available at: https://archive.org/details/potofgold [Accessed 28 May 2024].

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Overall, I feel as though this Professional Portfolio is a great bridge between my work within tattoo practice and outside. It allows me to present the two in a clean, clear and professional space, elevating my platform from solely being based on Instagram. It feels accessible and easy to navigate whilst remaining visually engaging. It achieves its purpose and potentially provides room to develop a portfolio that also includes a booking system to avoid the parts of social media I find the most challenging. ​

This development, in time (if I am in higher demand) will create clear boundaries for clients and with it offer a much clearer booking experience for the site user as well as myself. ​

If I were to make improvements, I would like to develop the website through code, perhaps through further training in these areas as Adamina had mentioned the risks of doing so without prior knowledge. I would like to create a custom mouse and hover interactions for my symbols. However, when I tested this it was not as effective as hoped so perhaps there are other coding methods I can develop my website to make it more engaging to navigate. ​

Overall, I feel satisfied with the outcome and am looking forward to developing it over time to suit my developing Practices.

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Audience Feedback and response | Promoting my work via my Social media work platform 

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Audience Feedback and response | Promoting my work via my Social media work platform 

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I decided to post the final scans I had taken to get a grasp of my audience's feedback, within the caption I mentioned all the visuals and some type are available as flash and information of where to enquire for more. This post was met in 24hours by over 100 likes which is very positive for my usual engagement and roughly 10 comments. All positive feedback I also noticed people sharing it to their own platforms. This positive response has inspired me to consider developing flash zines similar to this or in the style of the Risograph copies. I am excited to see how this page and my work will develop post graduation.

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Audience Feedback and response | Promoting my work via my Social media work platform 

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Audience Feedback and response | Promoting my work via my Social media work platform 

# data[].attributes.body
I decided to post the final scans I had taken to get a grasp of my audience's feedback, within the caption I mentioned all the visuals and some type are available as flash and information of where to enquire for more. This post was met in 24hours by over 100 likes which is very positive for my usual engagement and roughly 10 comments. All positive feedback I also noticed people sharing it to their own platforms. This positive response has inspired me to consider developing flash zines similar to this or in the style of the Risograph copies. I am excited to see how this page and my work will develop post graduation.

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BIBLIOGRAPHY

Digital Library Of India (2015). A Laboratory Manual In Farm Machinery. [online] Internet Archive. Chapman & Hall Ltd. Available at: https://archive.org/details/in.ernet.dli.2015.14715/mode/2up [Accessed 19 Apr. 2024]. original publishining can only be assumed by the copyright date in the interior provided, 1917.

Gaming, B. (2021). milk-jug-toss-arcade.. [online] Internet Archive. Archive.org. Available at: https://archive.org/details/manualzilla-id-6024683/mode/2up [Accessed 26 May 2024].

Grant, J. (2015). Artistic Value and Copies of Artworks. The Journal of Aesthetics and Art Criticism, [online] 73(4), pp.417–424. Available at: https://www.jstor.org/stable/44510189 [Accessed 1 May 2024]. Specifically section on Artistic Value and Copies of Artwork .

Gymnastics, B. (2020). The Beginner’s Forward Roll. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=z6w_9TPKUlk [Accessed 7 Apr. 2021].

Hazeley, J. and Morris, J. (2018). The Wonderful World of Ladybird Books for Grown-Ups. Penguin UK.

Hunt, D. and Internet Archive (2011). Farm power and machinery management : laboratory manual and workbook. 8th ed. [online] Internet Archive. Iowa: Ames : Iowa State University Press. Available at: https://archive.org/details/farmpowermachine00hunt/page/n1/mode/2up [Accessed 19 Apr. 2024].

Jacquet, J. (2022). The playbook : how to deny science, sell lies, and make a killing in the corporate world. New York: Pantheon Books.

Letraset (1981). Letraset.

Melnikov, E. (2022). Satire: A guide to proper library etiquette - Columbia Spectator. [online] Columbia Daily Spectator. Available at: https://www.columbiaspectator.com/spectrum/2023/12/03/satire-a-guide-to-proper-library-etiquette/ [Accessed 19 Mar. 2024].

Munroe, R. (2019). How To. Hachette Uk Distribution, p.320.

Nilupuli, D. (2020). Lancer (1800-2000) GSR Evolution 1. [online] Lancer Evolution Series. Available at: https://dahamie.car.blog/lancer-1800-2000-gsr-evolution-1/ [Accessed 8 Apr. 2024].

Piven, J. and Borgenicht, D. (2006). The WORST-CASE SCENARIO Little Book for Survival. Andrews McMeel Publishing.

Piven, J. and Borgenicht, D. (2019). The worst-case scenario survival handbook : expert advice for extreme situations. San Francisco: Chronicle Books.

Pool Bank Vintage Interiors (2024). Pitch Pine Vintage Golf Lockers. [online] Vinterior. Available at: https://www.vinterior.co/furniture/storage/cupboards/pitch-pine-vintage-cupboard-school-games-storage-sku22164116 [Accessed 1 May 2024]. Image of ‘Pitch Pine Vintage Golf Lockers’.

Rees, E. and Lloyd, J. (2017). The Joy of Socks: A Gourmet Guide to Sockmating. Constable.

Rodgers, B. (2016). Amy Douglas Grafts Surrealism to 19th Century Figures. [online] CFile - Contemporary Ceramic Art + Design. Available at: https://cfileonline.org/exhibition-amy-douglas-reclaims-porcelain-with-a-modern-naughty-twist/ [Accessed 21 Feb. 2024].

Siegmond, W.E. (1975). Once Upon a Question! Bantam Books.

WebAIM (2019). WebAIM: Contrast Checker. [online] Webaim. Available at: https://webaim.org/resources/contrastchecker/ [Accessed 10 Apr. 2024].

Wheeler, S.C. and Bechler, C.J. (2021). Objects and self-identity. Current Opinion in Psychology, 39(2352-250X), pp.6–11. doi:https://doi.org/10.1016/j.copsyc.2020.07.013.

www.nukegate.org (2012). EM-1 Capabilities of Nuclear Weapons. [online] Internet Archive. The Johns Hopkins University. Available at: https://archive.org/details/DnaEm1CapabilitiesOfNuclearWeapons/1951%20proposal%20for%20use%20of%20tactical%20nuclear%20weapons%20to%20end%20Korean%20War/mode/2up [Accessed 19 Apr. 2024]. Declassified in 1989 with some deletions.

Borgenicht, D. and Piven, J. (2010). The Worst-Case Scenario Survival Handbook: Life. [online] Google Books. Chronicle Books. Available at: https://books.google.co.uk/books?id=tb7Sfh6bqrIC&printsec=frontcover#v=onepage&q&f=false [Accessed 28 May 2024].

Columbia Daily Spectator. (2023). Satire: A guide to proper library etiquette - Columbia Spectator. [online] Available at: https://www.columbiaspectator.com/spectrum/2023/12/03/satire-a-guide-to-proper-library-etiquette/.

Jacquet, J. (2023). The Playbook. [online] www.penguin.co.uk. Penguin books. Available at: https://www.penguin.co.uk/books/289332/the-playbook-by-jacquet-jennifer/9780141982342 [Accessed 28 May 2024].

Lloyd, J. and Rees, E. (2019). The Joy of Socks: A Gourmet Guide to Sockmating. [online] www.hachette.co.uk. Hatchette Uk Ltd. Available at: https://www.hachette.co.uk/titles/emlyn-rees-4/the-joy-of-socks-a-gourmet-guide-to-sockmating/9781472125293/ [Accessed 28 May 2024].

Morris, J.H. (2018). The Wonderful World of Ladybird Books for Grown-Ups. [online] www.penguin.co.uk. Ladybird Books. Available at: https://www.penguin.co.uk/books/310037/the-wonderful-world-of-ladybird-books-for-grown-ups-by-morris-jason-hazeley-and-joel/9780241364048 [Accessed 28 May 2024].

Wikipedia Contributors (2024). How To (book). [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/How_To_%28book%29 [Accessed 16 Mar. 2024].

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​

In reflecting on my IPS outcome, I feel it has been a success. While the initial plan evolved, I believe the connection to the last research unit through the ongoing theme of human and object interaction has been effectively developed through my experimentation with layouts, writing, and visual storytelling.​

​

The book presents itself as an object. This design is another element that emerged from experimentation and creative risk-taking. This development would not have been possible without the stages of process and research through making and experimentation. The impact on the final book's cover, being an object itself, feels symbolic of the journey of losing and finding and how sometimes what we're looking for is hidden in plain sight. It is integral to the journey that the experience of reading the book be a process in itself. This aims to engage the reader both sensorially and visually to fully immerse in the guide. My research into traditional guides, as well as mock and parody guides, culminated in a piece that avoids excessive comedy and maintains structural variety through its layout and typographic decisions.​

​

I believe the finished product could be further refined. With more time, I could have improved the stitching and further developed my research into paints for the inside and cover. Despite this, I feel that relating my outcome to my progression aims, particularly the nod to traditional tattoo flash painting, was a well-calculated choice. The outcome does not feel completely unprofessional, and feedback from friends suggests it gives the illusion of being risograph printed, further enhancing its uniformity with the copies I have produced.

Although not directly related to my outcome, the research that led to creating copies has allowed me to share my work on a more accessible and affordable scale than I could have with the final soft sculpted book alone. In terms of my progression aims, sharing these outcomes on my professional portfolio and Instagram has received positive feedback, significantly enhancing my perspective on my work both within and outside of tattooing. This project has enabled me to bridge the gap between different art forms, allowing me to create adaptable work that fits into my flash designs while maintaining an active presence on my work platform without disrupting my project schedule.​

​

Through this project, I have developed numerous skills. I have learned to print, layout, and cleanly bind a zine, skills primarily honed through hands-on experience. I have become proficient at adapting my work to fit my audience and platform without compromising research or limiting the form to a traditional paper-bound piece. My image-making abilities have expanded through various digital methods, including experimenting with Artificially Generated Images and retransforming the results to fit my desired visual communication. Additionally, I have cultivated a higher regard for sustainability in all aspects of my practice, focusing on the journey and source of my materials. For example, I used Khadi paper for my prints, recycled bottles for pillow stuffing, and repurposed discarded materials to prevent them from ending up in a landfill.

Regarding contextual research, I have delved deeply into various aspects related to the creation and material journey of my outcome. My research included studying manuals and mock books and developing sustainable and economical printing, material, and binding solutions without relying on a print team or publishing company. This approach keeps my practice intuitive yet informed, allowing me to take calculated creative risks, such as the pillow book and 3D ceramic tile experiment, which I consider successes. ​

​

Through the development of this project, I have also gained a broader understanding of my audience. By considering alternate geographies on a digital scale and analysing engagement data from Instagram analytics, I have developed a statistical understanding of my audience demographics. However, beyond data and theory, I see my audience as individuals aged 18+ who are interested in non-traditional styles of tattoo artistry and are primarily based in London or other English-speaking countries. I aim to expand and evolve this audience through future guest spots and bookings, as well as by developing my style and further integrating my practice outside of tattooing within my digital presence. ​

​

Post-graduation, I hope to create more experimental flash books inspired by the research, collections, and processes I've developed during these past units and my time at Camberwell. I look forward to an uncertain future with anticipation, aiming to promote positive change in a challenging world through my actions and work.

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Asked mum to look for it: A guide on Losing & Finding

Soft Sculpted Book, 2024

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Future aims and goals relating to my Progression

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Future aims and goals relating to my Progression

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I'd like to develop a more professional booking system via email however I would need to develop more demand for this as I am not that busy yet.

I would like to release flash semi-regularly and develop a repeatable flash series

I would like to do further trades as this allows for other artists audiences to see my work while exchanging artwork for other tattoos, haircuts, places to stay if you're guest spotting as well as other forms of trades.

I would like to collaborate with artists to develop collaborative flash sheets offering a fair percentage for their deigns and being able to broaden and develop my portfolio.

I would like to do a tattoo raffle as this is a great way to improve engagement, I plan on doing this at 2k followers as I am currently at 1,300 I should be able to do this before then end of the year if I continue focusing on my tattoos and apply for various UK and other EU based guest spots

I am currently fluent in French, English and able to understand and speak with some hesitation in Spanish. I am hoping that these three will allow me to visit and access clients in various continents. I equally would like to learn a fourth language, potentially japanses as although it is very hard to tattoo there due to preconceived stereotypes around the practices the style of tattooing and country as a whole seems like a really great place to explore. Furthermore, my boss at my current studio is planning on developing a studio in Japan which may give me an option if the opportunity arrises to work there. (Much more longterm based plan).

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The studio I work at offers consent forms however they're very simple and don't cover some areas that clients new to tattoos may not be as well informed of before arriving to a session. For legal and consent reasons we require these forms filled out so I adapted mine to the following.

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Research into my analytics @street_microwave

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Research into my analytics @street_microwave

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These show that majority of my audience according to this information are between ages of 18-34, with limited exceptions. I am glad to see that there is a 0,1% younger as my page is tailored to an 18+ audience with regards to my practice only being available to adults 18+ in age. The majority (76,4%) of my audience are UK based, with some in the US, France Germany And apparently Australia. One piece of data I am not interested in paying much notice to is the Gendered data as the algorithm does not include other gender identities outside of the binary, very disappointingly.

I think this is an effective system that I would like to look into further and may be able to use regarding progression aims when deciding on places to guest spot within and outside of the UK.

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Website reflection regarding relevant inclusion of tattoo works over alternative Portfolio platform 

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Website reflection regarding relevant inclusion of tattoo works over alternative Portfolio platform 

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I considered adding images of previous and healed tattoos however upon reflection I already have a platform I use for that and feel as though copying it would make a website redundant. I therefore decided to develop my flash book which I have only very few snippets on my Instagram so that the website feels worth visiting for those in my audience who are focused on Instagram. I also believe this format fits a lot cleaner with that of the rest of the site. It feels separate in content but has an essence of the website and a homogeny with the surrounding elements the website homes.

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Tattoo section of Professional Portfolio

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Tattoo section of Professional Portfolio

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Portfolio of my current work plus some tattoo flash and extras!

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This page contains a key that is important to the rest of the flash book. The cow means the design has already been done and taken.

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I have decided to use scans of my developing flash book as it feels like a well-rounded inclusion of my illustration merged with my tattoo work. It is an ever-changing eclectic book that I believe is a good snapshot of my practice. I feel it is more important and relevant for a website portfolio to include this form of work. As opposed to directly showing tattoos I have done. I aim to provide information directing site visitors to my main work platform Instagram for further content.

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For almost a two years I have been tattooing working very irregularly in a tattoo studio in Whitechapel. My progression aims involve continuing with tattoo artistry post my studies, having more time to devote to it and hopefully growing into a profitable business. At the moment I require multiple forms of income through other work during my studies as I am not able to devote the time needed to this craft. However, I have made plans to do an artist guest spot in Paris, mid June for 3 days. I previously did a guest spot on Bristol where I was able to grow my audience as well as visit a different location. Since then I have had the same clients from that guest spot return to be tattooed by me at my Whitechapel location.

I am hoping by testing guest spots elsewhere I will be able to develop further understanding of my audience in those places as well as making connections with other tattoo artists. I am being hosted by studio La Kermesses or @lalalakermesses on instagram. It is a queer friendly studio with some of the best safeguarding and ethos I have ever seen. The studio offers free colour testing for all POC clients as well as transparent zero tolerance policy to any sort of discomfort created by artists or clients within the safe space. They are extremely hygiene aware and fully licensed. The studio has a detailed guide on their set up and pack down policy in adherence to hygiene and blood born pathogen conscious tattooing. Something that other studios should take note of.

I have sent them an email (evidenced below detailing my name pronouns and providing a variety of tattoo examples on various clients with varying gendered and racial background to provide a more nuanced selection of examples. As there is a very serious issue with whitewashing profiles. Eradicating darker skin tones from artist pages due to so called 'aesthetic' is racially ignorant and is something I try my best as an artist to stay away from. It is important we show where is relevant a varied client base, from genders, to skin tones to body types. All these factors must be something an artist is actively learning to improve on.

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Following the portfolio surgery I have mad the following changes:

Adjusted and made edits to clean up the home page as well as repositioning objects

Resizing elements on the mobile view for improved legibility and consistency in layout

Made sure all elements with links are working, I have missed links from certain projects as I feel some are there as a token of appreciation for the previous work I've done that I still enjoy but whose subject matter feels disconnected from my current practice.

Corrected spelling where needed

Also, separate from feedback:

I added a CV that is there to be copied and pasted or viewed very slowly. I added this as I didn't feel having a clear CV was completely relevant however enjoyed making it and felt it may be relevant if I need work besides tattoo work during slower months.

I added a background to the landing page, a photo I took from inside a tent when I was camping in Scotland. I developed a lot of work from that trip so this is a private nod to me and the people I shared the trip with. I also feel it creates a sense of intrigue and transition from inside the dark space to out in the world of my webpage, I hope without sounding too pretentious.

Another image from the trip is also included in my CV page as a comedic element due to the monotonous structure of a CV compared with the image of a sheep feels rather intrinsically linked bizarrely.

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Concrete Future 3| Portfolio Surgeries Monday 29th April

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Concrete Future 3| Portfolio Surgeries Monday 29th April

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Professional Portfolio Surgery Workshop:

Although I was unable to attend this workshop, I caught up through a friend and got someone to volunteer to evaluate my website for me.

REFLECTION BASED ON THIS FEEDBACK

Portfolio Surgeries answered 20th May 2024

1. What works well overall?

1. Easy to navigate

2. Clear Legible text- contrasting background

3. The layout is cohesive and well-structured

2. How have they communicated this information?

Distinguished placement, it is clear where you can interact, through symbols and titles.

3. How have they laid out their work?

They've laid it out so that the elements of each project are visible.

4. Have they included too little or too many projects?

Not too many and not too little so that it would feel sparse.

5. Is there anything they could do to make it clearer?

Maybe the addition of a hover-over feature on each piece. This could take away from the simplicity of the piece.

6. Do the biography relate to their work?

Yes

7. Is their biography an appropriate length?

Appropriate length for the tone and information provided.

8. Is there anything they could add or omit from their biography that is missing/ not relevant?

No, it feels well-rounded and to the point with enough space for intrigue.

9. Do all the images load and are they high enough quality?

Perhaps the badge image could be edited further as I noticed they weren't cut accurately. Perhaps space the images out better also. Everything else feels of very high quality.

10. Is there a 'landing page'? Does it benefit the website?

When you meet the landing page there's a feeling that you're being shown a small door into the artist's world. Welcomed in with a click.

11. How is the text displayed? Is it an appropriate size, colour, typeface & position?

Text is appropriate with the colour allowing for high visibility. It seems as though the accessibility of the site would be open for those with slight visual impairment.

12. Open their website on a mobile phone and/or tablet- does it work?

Phone version - The tattoo icon is much bigger, perhaps due to this platform being connected to the artist's Instagram this would make the most sense as we would assume the audience that explores the website would have an interest in this side of the artist's work. Although the icons have changed place in certain parts it still feels appropriate to the format.

13. Anything that should be added or taken away to improve the Viewer experience?

Edits on the badge could be done and objects could repositioned and resised in parts to suit both mobile and desktop interfaces.

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The scans of the hand drawn type I developed

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The scans of the hand drawn type I developed

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I purposefully added borders with ripped edges as I felt this might create an interesting texture to the website. However, upon tests, it felt much too busy overall so I decided to only have this paper visible in the tattoo section to separate it from my main body of work shown whilst tying it together through typeface choice. This is a good fit and works with the layout of the sliding flash book on the page very well.

For the rest of the type I decided to edit it to be a reddish hue, still retaining the texture of the pen to fit the textured handmade feel of my portfolio, I tested the colour on the WEBAIM colour testing site to check accessibility. Although the red on white didn't pass the test for small writing I aim to have the red writing with white backgrounds large enough for this issue to be avoided. As well as providing pages where the background is black which passed all tests for legibility. This is an important part of the process to consider as part of my practice and ethos heavily centres around accessibility which is why elements such as these are necessary to consider when developing a Professional Portfolio.

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I then developed my type, by hand drawing warped type I had based on Arial fonts. Arial I have used for the majority of my work and had noticed was the typeface used on lost property tags in the TFL lost property office during my research in Unit 9. I feel as though redrawing it by hand with looseness but being careful regarding legibility will develop a cohesive branding to the page as opposed to the rigidity of the typefaces Cargo has to offer. None of these typefaces fit my identity as a creative.

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This was simple, legible and effective. However I feel it was lacking much intrigue and felt flat.

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This was my final draft and colour for the landing page in this style. I then was looking into developing a hover effect where the door would open and the dog would stick its tongue out. I experimented on this using photoshop and code that I found on cargo's website however the effect was not as desired. I came to the realisation this landing page did not relate to my practice or the rest of my website it was not inspiration that felt linked in my work either it was just an engaging visual that I adapted.

With this considered I decided to move on from this visual and adapt a clear more functional but equally as visually engaging landing page.

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I adapted the image further to make it my own

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Based on image found from Pinterest of an old plastic model dog house that I heavily edited and warped. 

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same red with white background text test

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same red with white background text test

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Normal Text

The five boxing wizards jump quickly.

Large Text

The five boxing wizards jump quickly.

Graphical Objects and User Interface Components

Web accessibility testing can be difficult! The experts at WebAIM can audit your web site and provide a detailed report to help you remediate accessibility and WCAG compliance issues.

Learn more about WebAIM Evaluation Services

Explanation

Enter a foreground and background color in RGB hexadecimal format (e.g., #FD3 or #F7DA39) or choose a color using the color picker. The Lightness slider can be used to adjust the selected color.

WCAG 2.0 level AA requires a contrast ratio of at least 4.5:1 for normal text and 3:1 for large text. WCAG 2.1 requires a contrast ratio of at least 3:1 for graphics and user interface components (such as form input borders). WCAG Level AAA requires a contrast ratio of at least 7:1 for normal text and 4.5:1 for large text.

Large text is defined as 14 point (typically 18.66px) and bold or larger, or 18 point (typically 24px) or larger.

Hint: Colorzilla is an excellent tool for extracting the color value from any page element. Additionally, WAVE can analyze contrast ratios for all page text elements at once.

Use our link contrast checker to evaluate links that are identified using color alone.

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Research into my analytics @street_microwave

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Research into my analytics @street_microwave

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These show that majority of my audience according to this information are between ages of 18-34, with limited exceptions. I am glad to see that there is a 0,1% younger as my page is tailored to an 18+ audience with regards to my practice only being available to adults 18+ in age. The majority (76,4%) of my audience are UK based, with some in the US, France Germany And apparently Australia. One piece of data I am not interested in paying much notice to is the Gendered data as the algorithm does not include other gender identities outside of the binary, very disappointingly.

I think this is an effective system that I would like to look into further and may be able to use regarding progression aims when deciding on places to guest spot within and outside of the UK.

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I went home and worked on the Sandbox article with the work Lily had sent me

I worry this design is too busy and pulls away from the characters we are directing our audience to look at 'Buzz & Munch'. However further tests need to be done, so I plan to develop this composition further on Wednesday with the hope of finishing Wednesday night as the deadline for submissions is Thursday.

REFLECTION:

We later discovered that the budget issue for sandbox could be solved but this would mean a delay in the project with the new print date post mine and Lily's deadlines of submission. So we have decided to come back to this layout and improve it once we have submitted.

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I developed these as an alternative to the dog house I had initially developed after coming to the realisation this didn't connect to my work in or outside of tattooing. It didn't feel as though it served my website, so developing these I had my practice in mind as I played with typography and image development. Editing them to png's before including them on my website.

more website work till 11pm in Learning Zone

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I developed these as an alternative to the dog house I had initially developed after coming to the realisation this didn't connect to my work in or outside of tattooing. It didn't feel as though it served my website, so developing these I had my practice in mind as I played with typography and image development. Editing them to png's before including them on my website.

more website work till 11pm in Learning Zone

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19th April 2024 AI generated text from Chat GBT for Sandbox

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19th April 2024 AI generated text from Chat GBT for Sandbox

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For this text I provided a prompt initially for chatGBT; write me a poem about the future of the human species. The response given was not desired and felt too loose. Developing further I asked; to write a short prediction on the future for insects in a future where they are being relied on heavily as a source of food. To which I received quite a serious response. Considering the artwork Lily and I hoped to make we didn't feel this was a good fit to be playful and comedic in our visual storytelling. So developing it further in a more playful and familiar character conversation I offered the prompt, to write it like a script of conversation in the style of Wallace and Gromit's grand day out but instead of those characters, they are replaced by two bugs living in the future. This delivered the following:

Buzz: Flutter, my friend, have you heard? They say insects like us will be the next big thing in human food!

Flutter: Really? Why's that, Buzz?

Buzz: Humans need sustainable protein, and we insects are efficient converters. We'll be farmed for snacks and shakes.

Flutter: Quite the twist for us bugs!

Buzz: Indeed! Get ready for bug banquets and cheers for our sustainable nibbles.

Flutter: To the bug buffet, Buzz! Let's show 'em what we're made of.

Buzz: Right-o, Flutter! Onwards to a buzzing future!

End Scene

We made a few edits here and there but overall felt was a success. It was dark but cheerfully unaware of itself. We decided to change the name as Flutter felt much too dull for a bug name, instead, we decided the character could be a snail and I suggested Munch as a replacement. Lily was happy with this change and we both felt it was obvious and playful enough to keep the balance between a comedic story with slightly sinister undertones.

After making the necessary edits we developed the following script:

SANDBOX: BUGS

BUZZ & MUNCH

write it like a script of conversation in the style of Wallace and Gromit’s grand day out but instead of those characters they are replaced by two bugs living in the future

ChatGPT

Scene: A cosy underground den, inhabited by two insects, Buzz and Munch having a chat.

Buzz: Munch, have you heard the buzz? They reckon insects like us will be the next big thing in human food!

Munch: Oh? How's that, Buzz?

Buzz: Well, you see, Munch, humans are facing a bit of a pickle with their food sources. Crops are struggling, cows are burping too much, and fish are swimming in troubled waters. But fear not, old pal, because they're turning to us bugs!

Munch: Us bugs, what for?

Buzz: We insects are high-quality protein. And we've got a teeny-tiny environmental footprint compared to those hefty cows and pigs.

Munch: Well, well, well…Who would've thought we'd be the stars of the future feast!

Buzz:  Exactly! There’ll be rows of crickets and mealworms, happily munching away, destined for crispy snacks and protein-packed shakes.

Munch: What a curious turn of events.

Munch: Brace yourself… To the bug buffet!

Buzz: Let's show 'em what we're made of.

End Scene

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Amy Douglas is an artist who works inspired by 19th Century Figues altered to comedic effect, each having surreal elements and sticking with the viewer.

I considered this as a potential paths with the stories I encounter from the surveys, however this would require further development that may displace me from connecting my work to my progression aims as well as keeping my work linked to my research from the previous unit.

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CFile - Contemporary Ceramic Art + Design

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Amy Douglas Grafts Surrealism to 19th Century Figures

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Douglas puts her skills as a restorer of porcelain to good use as she creates naughty and strange contemporary ceramic art using old figurines.

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A few notes I had post 1:1 with Henrietta. This was an incredibly helpful tutorial where I was able to ask further questions on questions I still felt uncertain about, mostly regarding my Personal Archive as this was an area of weakness in Unit 9 which I was hoping to develop and improve through my submission for Unit 10. Concerning audience, Henrietta suggested looking at Alternate geography theories. I felt this was an interesting path to understanding my audience as the geographies vary due to my audience being dictated by the analytics of my tattoo page.

I decided to look into the analytics further...

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The front and back covers I developed for the publication. We decided that making this a colour was a good replacement for the GF Smith alternate paper we had discussed using previously as that would have surpassed out budget limits greatly. By making the cover largely red and using the thicker 240gsm FSC free uncoated paper from ExWhyZed we would still be able to achieve illusion that the cover was a different paper entirely. making it stand out as a publication as much as the example degree show publications ExWhyZed had advertised on their platform. Furthermore if we had chosen the brown toned paper we were at one point considering we wouldn't have been able to print red as they had said black would be the only visible option. This would've affected the colour identity of the Show and made the publication feel disconnected.

Overall, I and others in the group feel this is a successful and engaging cover. With the van illustration driving away from the page full of the boxes of students work that were unable to submit.

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Contacting UAL Brand and Creative team for approval on Logo use

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Contacting UAL Brand and Creative team for approval on Logo use

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FUTHER RESEARCH CONDUCTED FOR COVER:

I looked into getting the use of UAL: Camberwell logo approved for the publication as the team reflected that this would be an opportunity missed to avoid using the University's name as it will be our last opportunity to do so. With this decided I looked into the specs of using UAL branding in particular Campus use and noticed that the white logo above a certain size was the only thing I need consider as the content didn't oppose any values held by the University so it should be a simple process. I got in touch via email to confirm this and received approval by deadline so was able to send the PDFs in using the University logo.

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Using Lily's typeface they had made for the publication and show logo I suggested adding a moving van with boxes in the back still visible and a list of the student that hadn't had a chance to appear with their work within the publication. This felt the best way to include the students without them feeling disappointed at not submitting. I drafted up the drawing and edited to according to the tone of red were had chosen.

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We decided to include a foreword that provided a soft introduction to the content, keeping it connected to our show whilst keeping it engaging and playful.

This was done in collaboration between Lily and Silva. I feel it is a great opener to the publication.

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Total edits developed by me 44, including my own (below)

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Total edits developed by me 44, including my own (below)

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Tuesday 21st

For my object, I chose my bike, which recently had its wheel and part of the brake system stolen while I locked it overnight at uni. It's been a crucial means of getting to and from places, especially because my financial situation makes me feel like I shouldn't go to things especially if that means spending a tenner on tubes and overground. It's a crucial object and so I'm happy to have included it.

For my piece of work, I selected the ceramic tile, as I reflected it is not an outcome but a key part of my experimentation journey that I feel is a success and is an exciting link to develop my work outside tattooing in future.

For my information, I provided my tattoo/ business account as it is the most relevant connection to my creative practice. I also did a rough portrait similar to my website drawings.

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These were the four layouts we had chosen to continue with to give our limited team of editors, Nick, myself, Lily and we even had a little help from three other students who weren't part of publication which was a great help initially however we had do re edit all of these as they didn't fit the format we had structured between the three of us to keep uniformity between the eclectic collection of various student submissions we included.

REFLECTION:

The system we developed by Tuesday left us with lots of corrections, making the meeting of our deadline tight but achievable as long as consistent hard work and checking spelling of names, instagrams and general colour matching of the red tones in the background layout felt cohesive. We were able to achieve this through long hours of heavy laborious work between Nick, Lily and I. It would have elevated our work if we had a larger in person team that we were able to explain the format to but from the outcomes of the three students that helped us we noticed it might be more time effective to continue the work as a smaller group. This was influenced heavily by the minimal communication coming from members of publication team, which did cause challenge but we remained resilient and adapted to meet the deadline and keep the work at a visually impactful and cohesive standard. I feel this experience would've played out different if Lily and I hadn't been involved as we have previous experience with show preparation, such as the Interim show. This allowed me to maintain professionalism when communicating with the group even through pressure of the deadline as it is never clear why people aren't contributing and therefore unfair and unwise to cause discomfort by directly asking or alienating those inactive members from updates on the publication process.

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I added this after discussing with members of our editing team in person. We decided that the bubblewrap background would be best suited inside the cover as opposed to a background as it would be cleaner if student's work was presented on the various (moving out Identity and Publication team chosen) objects to make layout and editing consistent and accessible for any members of team that could lend a hand. Seeing as the deadline to submit the inside pages and cover is the 22nd May.

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Contacting UAL Brand and Creative team for approval on Logo use

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Contacting UAL Brand and Creative team for approval on Logo use

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FUTHER RESEARCH CONDUCTED FOR COVER:

I looked into getting the use of UAL: Camberwell logo approved for the publication as the team reflected that this would be an opportunity missed to avoid using the University's name as it will be our last opportunity to do so. With this decided I looked into the specs of using UAL branding in particular Campus use and noticed that the white logo above a certain size was the only thing I need consider as the content didn't oppose any values held by the University so it should be a simple process. I got in touch via email to confirm this and received approval by deadline so was able to send the PDFs in using the University logo.

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The front and back covers I developed for the publication. We decided that making this a colour was a good replacement for the GF Smith alternate paper we had discussed using previously as that would have surpassed out budget limits greatly. By making the cover largely red and using the thicker 240gsm FSC free uncoated paper from ExWhyZed we would still be able to achieve illusion that the cover was a different paper entirely. making it stand out as a publication as much as the example degree show publications ExWhyZed had advertised on their platform. Furthermore if we had chosen the brown toned paper we were at one point considering we wouldn't have been able to print red as they had said black would be the only visible option. This would've affected the colour identity of the Show and made the publication feel disconnected.

Overall, I and others in the group feel this is a successful and engaging cover. With the van illustration driving away from the page full of the boxes of students work that were unable to submit.

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Using Lily's typeface they had made for the publication and show logo I suggested adding a moving van with boxes in the back still visible and a list of the student that hadn't had a chance to appear with their work within the publication. This felt the best way to include the students without them feeling disappointed at not submitting. I drafted up the drawing and edited to according to the tone of red were had chosen.

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We decided to include a foreword that provided a soft introduction to the content, keeping it connected to our show whilst keeping it engaging and playful.

This was done in collaboration between Lily and Silva. I feel it is a great opener to the publication.

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Total edits developed by me 44, including my own (below)

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Total edits developed by me 44, including my own (below)

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Tuesday 21st

For my object, I chose my bike, which recently had its wheel and part of the brake system stolen while I locked it overnight at uni. It's been a crucial means of getting to and from places, especially because my financial situation makes me feel like I shouldn't go to things especially if that means spending a tenner on tubes and overground. It's a crucial object and so I'm happy to have included it.

For my piece of work, I selected the ceramic tile, as I reflected it is not an outcome but a key part of my experimentation journey that I feel is a success and is an exciting link to develop my work outside tattooing in future.

For my information, I provided my tattoo/ business account as it is the most relevant connection to my creative practice. I also did a rough portrait similar to my website drawings.

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These were the four layouts we had chosen to continue with to give our limited team of editors, Nick, myself, Lily and we even had a little help from three other students who weren't part of publication which was a great help initially however we had do re edit all of these as they didn't fit the format we had structured between the three of us to keep uniformity between the eclectic collection of various student submissions we included.

REFLECTION:

The system we developed by Tuesday left us with lots of corrections, making the meeting of our deadline tight but achievable as long as consistent hard work and checking spelling of names, instagrams and general colour matching of the red tones in the background layout felt cohesive. We were able to achieve this through long hours of heavy laborious work between Nick, Lily and I. It would have elevated our work if we had a larger in person team that we were able to explain the format to but from the outcomes of the three students that helped us we noticed it might be more time effective to continue the work as a smaller group. This was influenced heavily by the minimal communication coming from members of publication team, which did cause challenge but we remained resilient and adapted to meet the deadline and keep the work at a visually impactful and cohesive standard. I feel this experience would've played out different if Lily and I hadn't been involved as we have previous experience with show preparation, such as the Interim show. This allowed me to maintain professionalism when communicating with the group even through pressure of the deadline as it is never clear why people aren't contributing and therefore unfair and unwise to cause discomfort by directly asking or alienating those inactive members from updates on the publication process.

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Critical Evaluation:

Although this was intended initially as an experiment I feel it was more than an experiment and would stand as a successful outcome if it had been rooted in the same research and developed as much as the book. The challenge this poses in regards to progression is that developing something like this to suit my platform and audience would be a challenge. I do still intend to post it perhaps on my story in an archival way to share current projects with anyone who might take interest however this does not feel entirely well-rounded enough as a project to be developed into my Independent Programme of Study outcome as it stands.

However, with further development, this could be an interesting part of a series or developed into stickers with my work Instagram handle besides it as part of marketing plans while I guest spot in different places.

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If the colour had been a better match this could've been an interesting piece even with the cracks. These add a sort of evidence of the piece's journey even if this was not intended and just about fits the back text.

However, I have firmly chosen the soft pillow cover as my revised IPS outcome as I believe after much reflection(evidenced previously) this is a better fit to the research journey and final outcome in itself.

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Front cover decal transfer experimentation

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Front cover decal transfer experimentation

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This transfer was far off the colours I intended on showing so more confidence gained to the decision of choosing the pillow cover over the ceramic cover with transferred image on top.

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I added this after discussing with members of our editing team in person. We decided that the bubblewrap background would be best suited inside the cover as opposed to a background as it would be cleaner if student's work was presented on the various (moving out Identity and Publication team chosen) objects to make layout and editing consistent and accessible for any members of team that could lend a hand. Seeing as the deadline to submit the inside pages and cover is the 22nd May.

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Noticing cracks had formed in one of the tiles that I had planned as the cover has enforced my confidence in going forward with the pillow cover as my IPS outcome. As a cover it feels much more connected to the research and regardless to if the tile hadn't broken I do think that this cover does not feel rooted in my research or connected to its content. It feels much more sporadic a choice.

IN CONCLUSION:

The pillow/soft sculpted cover is what I aim to develop into the final Independent Programme of Study outcome. Because as I have previously explains it embodies an object, camouflaging its content within its form. The guide hiding under or between pillows feels like more of a journey for my audience when approaching the work in public, exhibition settings. I have also made pillows before during previous projects and noticed positive feedback from my audience online so am optimistic about reactions to it if it develops as currently planned.

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Today I had my last riso session. I have figured out a system as the machine seems to be temperamental with the paper due to it being hand cut and not perfectly A3, cut by Lars as the paper I needed had not been ordered in time we had to make do with guillotining much larger paper to size.

This photo shows a technique off putting slight weight on the paper so that it avoids sending through too many sheets at once and causing constant paper jams, saving time and avoiding faults in prints or ruined copies.

REFLECTION:

I feel the print quality and size has not diminished their purpose or visual engagement. The copies once printed were extremely vivid and the missed registration felt suitable to my method of DIY/intuitive/ punk zine making.

I do feel that if I had more time experimenting with colour further may have been interesting from an experimentation perspective, however I do feel that through my many drafts and mockups I have been able to develop varied experiments that have allowed me to come to a fully educated decision in choosing the final structure, layout and colour palette of the Risograph zines.

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REFLECTION AND REASONING:

I decided to test green and the placement of the pink and yellows amongst the black screen print. I thought the green could provide interesting contrast and seeing as I would be hand painting printing the inside wouldn't be an issue so I could experiment with further colours. I decided that the addition of a fourth colour felt much too busy and that the negative space amongst the simplicity of the pink yellow and black was much cleaner and effective. Adding an extra colour would lose a sense of the uniformity between the original and the Risograph copies also which I felt would be less effective when promoting the work online.

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I made a rough mock up of the time before I began my printing to help me with which design needed to go behind which when printing as Spectrolite doesn't do this for you. Using the Spectrolite files I printed these and coloured them in roughly in the original colours I had planned on before changing my mind about the blue. This has been a useful rough guide throughout the print process. Something to refer to when my brain feels overwhelmed.

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EXPERIMENTS: Hand painting and colour testing 

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EXPERIMENTS: Hand painting and colour testing 

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This was my very rough set up. I ironed each material to avoid creasing interrupting my painting. I then rolled the sections I wasn't working on tightly to avoid creasing and developed the covers, testing blue yellow and pinks with the black screen print as well as green yellow and pinks until finally deciding on the yellow and pink in a similar configuration to the paper screen prints I had developed and matching the plan for the Risograph printed copies.

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In this session I was finally able to get one size of all the A3 sheets completed as well as the pink and yellow tones on one of the sets of 25. Leaving me enough for one more session.

I adjusted colours so that I could get them printed and cut in time before I was too busy on other tasks to allow enough time to get them cut and to bind them myself. By printing some masters in pink and black only I reduced my print time, allowing me to stay on schedule and get my books finished before the deadline of my submission.

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We met at 2pm to discuss making a move on getting posts up onto the instagram and decided to edit a poster, I did it there and then just before my third Riso session and the rest of the team printed and put them up. They were simple posters to create interest and hopefully get a bit more of a relevant following as the team put them up throughout the university.

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This was a mock of the potential sticker and logo directions we have in mind. I sent this to both Publication as well as the Marketing and Visual Identity group chats as some people had been unable to attend meetings and we wanted to keep the opportunity for discussion and alternative idea options open. To ensure opportunity for equal input and communication amongst the group.

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17:25- Meeting with Silva updates on Sandbox and Grad Show problem solving - fewer copies = more budget for other expenses in publication and enough budget for sandbox too

As there was news that the SANDBOX budget had been spent accidentally.

This was a temporary solution as we were still waiting on final count for the publication student submissions, so fewer copies might not be an issue.

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11:00 meeting with Nic, Alex and a few relevant team reps. Specifically regarding shop identity and budget-related deadlines and tasks.

12:00 second meeting shop, myself Hannah, Silva, Tilly, Phoebe: identity and shop decisions (lasted 40 minutes)

12:40 - Art shop visit for pillow supplies, found a eco bubble wrap asked Audrey in the shop for a breakdown in ordering and delivery time plan combined with price and quantity 250cm, sent to shop team rep for them to consider as part of their budget. - *IMAGE: A note I made when purchasing inks to paint my book and cover. This was for eco bubble wrap that was available in the uni shop. I thought we might be able to get it at cost price through the university for a smaller amount as an alternative to wasteful bubble wrap. So sent it to Hannah, one of the team reps post our meeting as a potential option.

13:00 - organising sticker and logo options (editing)

17:00: Meet with Marius to discuss vinyl and print budget and label sizes. I asked about getting clear vinyl to create labels for the exhibition that could be printed by Lars. This came at no cost to us as it is part of the Prep budget for the exhibition.

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Completed:

Two colour layers for one side of each A3 paper x 25 as that is the amount if copies I decided to make.

I now have to wait to print the other layers, needing 4 sessions total for all sides and colours.

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EXWHYZED- PRINTERS Grad show publication

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EXWHYZED- PRINTERS Grad show publication

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I got in touch with ExWhyZed today to get an idea on how different paper would develop our quote as they only offered white paper. Lily and I looked into paper types and Lily came back with a few options.

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Logo and vinyl decisions for GRAD SHOW identity

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Logo and vinyl decisions for GRAD SHOW identity

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Emailing Marius for vinyl and sending over the logo we had developed before changing our minds and no longer including pink

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I went home and worked on the Sandbox article with the work Lily had sent me

I worry this design is too busy and pulls away from the characters we are directing our audience to look at 'Buzz & Munch'. However further tests need to be done, so I plan to develop this composition further on Wednesday with the hope of finishing Wednesday night as the deadline for submissions is Thursday.

REFLECTION:

We later discovered that the budget issue for sandbox could be solved but this would mean a delay in the project with the new print date post mine and Lily's deadlines of submission. So we have decided to come back to this layout and improve it once we have submitted.

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I had been debating on the yellow or fluorescent yellow but noticed that the fluorescent left quite an unsaturated streaky almost green hue which wouldn't compliment my book at all so I decided on the more vivid yellow. These colours feel uniform enough in their consistency to create a repetitive structure as is commonplace in Manual and Instruction or Guide Designs. It also feels engaging enough to be used throughout the publication in a clean and visually interesting way.

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EXWHYZED- PRINTERS Grad show publication

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EXWHYZED- PRINTERS Grad show publication

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I got in touch with ExWhyZed today to get an idea on how different paper would develop our quote as they only offered white paper. Lily and I looked into paper types and Lily came back with a few options.

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Logo and vinyl decisions for GRAD SHOW identity

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Logo and vinyl decisions for GRAD SHOW identity

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Emailing Marius for vinyl and sending over the logo we had developed before changing our minds and no longer including pink

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Logo and vinyl decisions for GRAD SHOW identity

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Logo and vinyl decisions for GRAD SHOW identity

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Emailing Marius for vinyl and sending over the logo we had developed before changing our minds and no longer including pink

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Looking at Red and pink vinyl to use for the front of the show. The red we decided on is the fluorescent red as it fits our logo. We initially decided 13th May on making part of that vinyl display in a more pastel toned pink but changed our mind throughout that week as the design didn't benefit from the two colours, and Marius had pointed out the contrast needed to be higher and the subdued pink to red contrast didn't feel effective enough in the colour range that was available to fit our intended concept.

CONCLUSION:

We decided on the red and finished logo work that week

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Tattoo/ sticker insert page for sandbox, material research

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Tattoo/ sticker insert page for sandbox, material research

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I have chosen the fluorescent print with the bright yellow tones as my two base colours with black for details as these are part of the risograph colour gallery and I want to maintain uniformity with the copies I create.

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Book Paris trip - tattoos, approved dates with Paris studio

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Book Paris trip - tattoos, approved dates with Paris studio

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Communication with various Print services for the degree show publication

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Communication with various Print services for the degree show publication

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This was just initial points of contact with loose specifications to get a rough idea of what quote we would be looking at

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Communication with various Print services for the degree show publication

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Communication with various Print services for the degree show publication

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This was just initial points of contact with loose specifications to get a rough idea of what quote we would be looking at

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Explained from meeting :

Budget for the Grad show:

Entire Budget: £2,469

Shop

Could take up to 3 weeks or longer

£250

£150 funding application -

> stickers

> Biodegradable packaging

> Banner

> Bags

(£250 for workshop materials

+

£300 misc perhaps for building )

Publication

Set up the supplier we will be choosing, send to Jen by Friday

123 students total

300 copies of the publication printed

Supplier suggestions:

Chelsea print

£1,000

Printers we need to get in touch with

£250 for misc

How much do we need for stickers?

Stickers printed on printable vinyl with Lars and then cut by the vinyl cutter

Get in touch with Marius

https://historicengland.org.uk/services-skills/education/educational-images/rock-cut-tombs-main-street-heysham-8776#:~:text=These%206%20graves%20are%20carved,crosses%2C%20at%20the%20head%20end.

https://www.grafityp.co.uk/sign-vinyls/pvc-free/width=610mm/

Need a printing quote for publication - £1500

Sticker company in uni stickers aren’t fully cut might be a good option for sandbox - print with Lars

Vinyl colours send marius today pink red

https://www.grafityp.co.uk/sign-vinyls/200-300-series/?count=116

Called grafitype and they dont have any fluo pink, have never sold it.

For publication ask jen about approved sticker co

Printable vinyl sheets - screen printed or laser printable vinyl

66 double pages

Leeds publishers- digitronix

EMAILED- hello@exwhyzed.com (8th May asking for a quote)

Marketing - make a list of illustrator and places to send invitations to

£169- For printing cards ????

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24/04 Grad show publication/ visual identity meeting 

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24/04 Grad show publication/ visual identity meeting 

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I wrote this out for everyone to have as a reminder of what we needed to submit. This was pre my making a form for students to submit their work which was to be sent with an email to the whole year.

We had decided on:

(today) 24th April sending out emails

1st May printed out images and drawings of the following:

Trolley - animated sophie , still trolley by zau

Bubblewrap (image)

Cardboard box - animated rosalie

Knapsack - zau

Suitcase - camille reworked by zau as the texture wasn't a good fit

Moving out title card label - lilly

Typeface for Moving out font

Deadline 3rd May for student submission. This is work that includes; a drawing of yourself with your preferred name and Instagram (similar to a name tag and think fragile and handle with care), then provide an image or drawing of an object you’ve carried with you for the past 3 years (could be a description, photo or drawing) and finally one finished piece of work from your current project, e.g. a drawing, photograph, ceramic piece, still from a film/animation, etc.

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These were the final collection of my images and text that I developed with a legible and slightly hand-drawn feel to keep the visual language consistent as I had seen parts of Lily's work and wanted to keep elements such as type within the same realm but different enough so that the audience is easily able to decipher which character is speaking. This distinction we are aiming to make clearer also through the addition of speech bubbles.

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One of the spot illustrations developed a playful take on the line on cows and pigs after a discussion over WhatsApp on who could cover which elements of the spot illustrations to best manage our time.

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Further minor changes to the shell and the shoes I felt could be exaggerated. As the situation itself is already implausible and surreal why not add these elements to the characters and spot illustration.

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27/04/24. SANDBOX lily x me cola double page spread

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27/04/24. SANDBOX lily x me cola double page spread

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Drafts of the snail character munch. I hadn't considered the colour of the Riso issue at this stage as I hope to develop these characters into flash at some point and really wasn't keen on the colours chosen for the Sandbox zine, however, the majority vote won and these things happen when working collaboratively. I would also easily be able to adjust hue and saturation to match that of the colours in the Sandbox issue.

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AI generated text from Chat GBT for Sandbox

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AI generated text from Chat GBT for Sandbox

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ChatGPT is a free-to-use AI system. Use it for engaging conversations, gain insights, automate tasks, and witness the future of AI, all in one place.

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This is my replacement image I decided to chose. It is in connection to the very beginning of the last unit and a journey of finding things that fit what I was looking for. I was looking for a rabbit and this is what dungeons had to offer. What I needed buried under pebbles being transformed to fit this project.

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Video Source I developed the images from 

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Video Source I developed the images from 

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(Gymnastics, 2020)

I had initially thought of image generation but Dall.e mini does not do well with form and proportion and I felt there should be sections where the illustration serve as visual aids. This format felt important to not swerve too far from realism as to lose any sense of structure in the guide.

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This image (Nilupuli, 2020) uploaded to a car blog but initially discovered on google was a reference I developed the image of the car from. I made adjustments to the vehicle and details however I used this as initial inspiration as it felt like a good choice. An old boxy car to fit the character and mismatched nature of the images I had currently developed. I felt like I needed the inspiration of a real vehicle to develop this image for proportion and clarity when it came to my visual expression. I added the suit to it to allude to the initial story that idea developed from( an anonymous submission as part of my questionnaire).

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This Catalogue (Letraset, 1981) I had actually found on top of a bin. A lost object in itself.

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This as I said felt too close to the original image which is why I am reconsidering this as a draft. I think I need to experiment with proportions further and the detail of the character I have begun to develop.

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This was found on Google from a simple search looking for images of a person picking up something. I noticed a huge amount of the results of this search reveal male presenting figures. Usually very average-looking caucasian men. Considering this as the norm and rather unimpressive or noteworthy I considered this as a character within the guide. Taking the reader through the steps of an average man in his late 50s- or early to mid-60s. It felt like a suitable fit for the corporate structure of a guide.

Although I don'y wish to insult or poke fun at this demographic with my work. In particular I don't wish to mimic or directly copy this figure as the model is a real person that I don't know and wouldn't want to illustrate directly from. I instead decided to exaggerate this idea past this point. Initially developing a sketch for the first page that felt perhaps too close to this image, which is why the later developments of this character are more abstract and playful.

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Reflection on Mock book/ Parody guide books

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Reflection on Mock book/ Parody guide books

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Overall looking over the guide and parody books I felt a lot of them were trying too hard or made me wince at their comedic attempts. Comedy is very hard and it feels that many of these were very much to self-aware to their downfall. I am hoping for what I make to have a tint of comedy and playfulness but I am no expert and don't wish to have my outcome feel incredibly forced in its poor attempts at cracking a laugh. It's not my intentions to make this guide funny because that isn't the purpose of it as an object and book. If my book seems funny I'd rather it be out of confusion as to why it's an object or why the images and text are structured however I chose to do so as opposed to purposeful comedic attempts.

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Based on the last unit I felt the need to revisit relationships between people and objects and how/ why certain objects fulfil elements of the identity or sense of self.

It is research I need to be looking into I feel. As I want to develop reasoning for what my guide means for my audience. How does turning my work into an object or sculpture in itself serve the narrative of the dynamic between objects and people? Do I need to have this narrative clear or just part of my journey in making?

Key themes and points relevant to my progression include:

1. Objects as vehicles of expression. To shape the identity by providing tangible representations of personal and group affiliations. -"Possessed objects can serve as identity-expression vehicles".

Developing my book into a sculpture in itself is something my audience can connect to, something familiar perhaps. A familiar object which holds content within that itself feels familiar or relatable in parts as most people have experienced losing or misplacing an object before.

2. The same object can carry public and private meanings for the owner and others. "Public meaning is shared due to socialisation and enculturation, while private meaning is formed by personal experiences with the object".

In relation to my current project this is an important factor when considering why I am making this and who I'm making it for. The work I am intending to make has levels of meaning, public through the projective narrative of its guide like structure. Then personally I intend to intertwine more private meaning through the unserious tasks I lay out as part of the guide. My intentions are to insight reflections on the material world we are part of and contemplate moments of separation, detox from object/ objects that absorb us and see how time taken away from things we spend much of our time with affects our mood habits and sense of self. I don't have an answer and am not expecting the guide to be this important to anyone but time spent reading is the book is time spent away from busyness of our lives. I am considering making copies of the guide at some stage so I can offer a more accessible form of the guide in size and price. Allowing persons to take home the object and develop their own private meanings formed by reading and sharing it with others.

The review underscores that objects are integral to identity formation and expression, providing both personal and social symbolic value. This symbolic value is grounded in psychological consistency, which shapes the dynamic relationships between people, objects, and their connotative meanings. Although I don't wish to inflate ego and claim my intended making will lead to anything of such importance I do believe that by transforming the guide into a sculpture or object in itself besides its utility as a book will add to the intended interaction between it and my intended audience. Being the degree show audience, consisting of tutors, friends and family.

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The form I made did not receive a huge amount of responses however we felt it important to offer the opportunity to the entire year to vote for their chosen identity.