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With making my photogram pieces I had to come up with motifs. I wanted one that was a piece of architecture and one that was essentially a form of art. Taking inspiration from the arches and a carved design on the chapel wall I had my silhouettes. I then proceeded to the dark room where I would frame my paper under the light box and create a composition with my silhouettes. Once I was happy I would set the light box to be on for between 7.5 and 8 seconds. After exposing the paper to light I took it to the first tray and placed it in the developer and agitated it to bring out the piece. The developer only needs 60 seconds and then I move it to the stop phase, this phase stops the chemical reaction of the developer and allows the piece to rest, this only takes 30 seconds. Next is the fix phase, in the fix tray it takes 5 minutes and is to allow for the chemical to fix itself to the piece allowing it to stay as it is and not lose any of the colour. Last but not least you must wash it in water to remove the chemicals and then lastly take it out of the dark room to put it through the dryer. Most of the time while I was waiting for a piece to go through the fix phase I would attempt another piece and essentially rinse and repeat the process.

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This is the brief that was handed to us, along with the different specialisms to be chosen from. My specialism is - To create an animation educating young aspiring artists, to visit and explore Watts Gallery and the site. With this I will gather research, primary and secondary, to develop and formulate my ideas.

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By the 26th November I shall have:
- Completed a multitude of primary drawings
- Research into ideas for specified medium
- Develop and annotate my ideas
- have a visualisation of a final outcome

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03/11/2021
- Hand in for initial research and mind map.

04/11/2021
- Visit to Watts Gallery for primary research, to understand the visuals and formulate ideas through sketches and photos.

05/11/2021
- Start to select a visual starting point and produce mixed media responses

08/11/2021
-Do digital sketches one of architecture and one of a piece in or around the gallery. Make one sketch a long sketch and the other short

09/11/2021
-Research other animators to draw ideas and inspiration

10/11/2021
-Make mind map of animation to be able to proceed with further ideas

11/11/2021
-Research the wild life in the area to figure out sounds, visuals and music

12/11/2021
-experiment with different mediums to get a better understanding of how the art would be brought together

19/11/2021
-created photograms using motifs inspired by the Watts gallery trip

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I initially decided to visit the Watts Gallery website to get secondary research directly from the source of the gallery. This way I could find artists in residence, what the gallery offers such as art, workshops and history.

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Now open. Meet Lucy and Catherine Madox Brown, two creative women who grew up at the heart of the Pre-Raphaelite world. This exhibition explores the life, art and feminist legacies of these two significant artists.

Find a selection of artisan gifts inspired by our Arts & Crafts heritage. All proceeds go towards our charity Watts Gallery Trust.

This year marks 120 years of ceramic heritage at Watts Gallery - Artists' Village. To celebrate, we welcome our first Ceramicist in Residence, Ashleigh Fisk, to explore the art and ideas of Mary Watts.

Find out more

Upcoming Events and Exhibitions

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Now open. Meet Lucy and Catherine Madox Brown, two creative women who grew up at the heart of the Pre-Raphaelite world. This exhibition explores the life, art and feminist legacies of these two significant artists. Find a selection of artisan gifts inspired by our Arts & Crafts heritage.

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Watts artist village seems to a rather rustic and warm aesthetic with rich history. Spanning from Victorian era paintings all the way up to contemporary paintings, pottery, sculptures and more. Frederic Watts a renowned portraitist, sculptor, landscape painter and symbolist with his wife Mary Watts also a renowned designer and founder of compton pottery has left behind so much history and story all in one small area.

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Watts Gallery - Artists' Village

'I had no idea that here in Surrey, there was a collection of such richness and a story of such depth. That one man with his devoted wife could leave so much - which makes Compton a unique artists' village and Watts one of the most important artists and philanthropists of the 19th century.' Penelope Keith CBE DL

Watts Gallery - Artists' Village is a unique Arts & Crafts gem nestled in the Surrey Hills. Discover stunning Victorian paintings and sculpture in the historic Watts Gallery before treating yourself to lunch or a cream tea in the Tea Shop. Wander to the nearby Grade I listed Watts Chapel, taking in the beautiful woodlands and grounds, or find out more about the lives of G F and Mary Watts at Watts Studios before taking a tour of the artists' home, Limnerslease. In the Pottery Building there is art for sale in the Watts Contemporary exhibition along with a wide selection of gifts, books and homewares in the Shop.

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'I had no idea that here in Surrey, there was a collection of such richness and a story of such depth. That one man with his devoted wife could leave so much - which makes Compton a unique artists' village and Watts one of the most important artists and philanthropists of the 19th century.'

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William De Morgan started off as a fine artist, but through his scientific and mathematic endeavours he came to discover many innovative lustre glazes, created kilns and stained glass.
He created artwork that has an interesting pearlescent look to the glaze, giving it a historical, rustic yet never aging look. It's very inspirational to understand that combing multiple techniques and skills, William was able to become an innovator in the art world.

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William De Morgan - The De Morgan Foundation

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William De Morgan (1839 - 1917) Family and Early Years William De Morgan (1839 - 1917) was far more than William Morris’s potter friend, as he is often remembered. He was the most inventive and innovative designer of the Arts and Crafts Movement. He began

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William De Morgan

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This beautiful piece by William De Morgan, shows the intricacies and skills he developed. Having beautiful tessellating patterns engulf the entire piece, thinning to the neck and bulging around the centre of the pot yet still not drawing away from the fish or other patterns. The art piece has an odd sense of chaos with a calming aura around it. The red and whirling patterns tend to marry perfectly with the imagery of flowing fish and botanical features at the top.

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Evelyn De Morgan was an exquisite painter, defying expectations. She created vivid imagery in her paintings with rich colour that delivered messages of feminism, spirituality and rejection. It seems she carried a lot of emotional weight in her pieces of work. You can see the beautiful dedication to her art just by how amazing her study pieces were, displaying stunning draped figures and beautifully blended nude poses. “At work a little after 7… 17 today, that is to say seventeen years wasted in eating, dawdling and frittering time away… Art is eternal, but life is short… I will make up for it now, I have not a moment to lose.” a quote found in Evelyn Morgan's diary really shows her pure, fiery dedication to the art she was making.

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Evelyn De Morgan - The De Morgan Foundation

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Evelyn De Morgan (1855 - 1919) Evelyn De Morgan (1855 - 1919) was a painter who defied the expectations of her class and gender to become one of the most impressive artists of a generation. Her richly coloured canvases featuring beautifully draped figures, deliver messages of feminism, spirit…

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Evelyn De Morgan

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This piece "Ariadne in Naxos" by Evelyn De Morgan is a beautiful Greek mythology inspired neo traditional painting depicting Ariadne in a whole different light than has been before. She taken a whole new look at the imagery of Ariadne, portraying her after her rage, in a solemn state. The rich use of red on her robe and the desaturated cloth and scenery really draws the attention where intended. Upon research it is said that the red robe conveys martyrdom and the many shells are said to symbolise female sexuality, fertility and love.

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Through my exploration of watts gallery and their artists through primary and secondary research. I mind mapped out some vague key words I would attach to the scene and aesthetic off the entire venue and artwork. Originally I was settled on photography but for some reason something felt missing, many ideas whirl through, texture based calendar or an idea to do with the warmth and feel of the art work. Upon doing more research and physical work with print making, I decided the gallery felt it would benefit from a more hands on approach and that photography wouldn't do it justice. I first felt this upon visiting the gallery and discovering the beauty of it in a first hand experience that could not be appreciated from a photograph.

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I moved onto animation, a still contemporary art form, but one that would feel at home with the gallery. Mainly focusing on the ambiance and palette, I jotted down more formulated ideas. Trying to grasp what type of aesthetic and vibe to go for. This helped me to narrow down what type of animation to pursue and what to further research.

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Initially I started off by sketching out some rough thumbnails to get ideas flowing. I sketched out various forms of the art work, venue, patterns and ideas to get a basis of what could be converted into animation. I want the animation to set the scene for what is encompassed in visiting the gallery. Trying to at least keep the first 10 seconds quick firing and visually appealing, to keep the viewer enthralled, I hope to then transition into a slower moving but still appealing set of animations to give quick and brief info on the site.

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Since I also have a passion in sound and music making, I thought that all the senses should be encompassed by the animation. I decided to study and find out what wildlife was in the surrounding area to create a sort of background Foley ambiance which then would merge into a nice melody, only using the sounds of the wildlife around and nature. I found out that the likes of Roe Deer, Badgers, Foxes, Green woodpecker, Great spotted woodpecker and Lesser woodpecker habit this area.

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Surrey is England's most wooded county, with woodland covering over a fifth of the county! Many woods are rich in wildlife and make a great place to visit. Some have been part of the landscape for centuries and are designated ancient woodland. Surrey's woodland is home to a vast array of wildlife including up to 43 species of butterflies and 623 types of moths.

Wonderful wildlife, breathtaking views and top picnic spots are just some of the gems on offer at the county's countryside sites. Surrey has many places to visit where you can experience local wildlife and get up close to the natural environment. Three national nature reserves, 42 local nature reserves and many other open spaces managed by a variety of conservation organisations.

Surrey Wildlife Trust manage over 80 sites across the county for the benefit of people and wildlife.

Farnham Heath RSPB Reserve is home to an array of wonderful wildlife including the rare Dartford warbler, nightjar, woodlark and tree pipit. Wooded areas of the Reserve have wonderful displays of bluebells in spring and an amazing variety of fungi in the autumn.

Newlands Corner, near Guildford, offers breathtaking views of the surrounding countryside. In spring and summer, the chalk grassland is carpeted with stunning wild flowers and the woodland has some ancient yew trees which are over 100 years old!

The mix of open grassland, wide rides and woodland makes Sheepleas, near East and West Horsley, an excellent site for watching butterflies. Over 30 species have been recorded including common blue, green hairstreak, silver-washed fritillary, ringlets and migrants such as the clouded yellow and painted lady.

Norbury Park, near Leatherhead, is made up of a mixture of woodland, grassland and farmland. The range of habitats encourage a diverse mixture of wildlife, including roe deer, badgers and foxes in the woodland, together with all three British woodpeckers (green, great spotted and the much smaller lesser spotted).

Just off the A3 and junction 10 of the M25 lies Wisley & Ockham Common, an internationally important site for dragonflies and many rare bird species. The combination of wet heath and valley mire support interesting grasses and forbes such as Surrey's largest colony of rare bog hair grass and important sphagnum moss beds.

A great place to escape from it all is Chinthurst Hill near Guildford. A quiet and peaceful site where you'll find a stone folly built in the 1930s and a fine display of bluebells during the spring.

West End Commons, near Woking, have a mixture of woodland, open glades and heathland. The sandy soil suits a range of special plants, including heather and bilberry. This sand also makes for easy, mud-free walking.

Staffhurst Wood, in the east of the county, has a fine mix of oak, ash and beech with areas of hornbeam and hazel coppice. The wood is a fragment of the old 'Wildwood' that once covered much of southern England.

All of these sites have self-guided trails to wander around by following the waymark signs or see Surrey Wildlife Trust's information on these reserves.

For more information on nature and wildlife, see the pages on Explore Surrey.

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Surrey is England's most wooded county, with woodland covering over a fifth of the county! Many woods are rich in wildlife and make a great place to visit. Some have been part of the landscape for centuries and are designated ancient woodland.

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I did a digital study of the watts gallery walkway, this was to better understand the complexity of the structures and architecture around watts artist village. Doing this digital study it prompted ideas for my animation, such as brick work texture as background and elaborate beam structures as transition points. The rafters stood out to me as a rather aesthetic piece in this sketch, the detail that is still shown the further back, and the symmetry it keeps.

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With this visual study I kept my time limit to a minimum, only trying to take in the details as opposed to the shade. The intricacy in the hair was the main focus of this study. The bust has emotion and development through out, this was another key factor I was looking for in ideas for the animation, allowing intricacy in a simple yet beautiful way, prompting emotion and awe.

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This frotage was achieved by rubbing graphite on an exterior part of the chapel wall where the beam had shallow texture.

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I found this symbol on the corner of a bench. It lends its self well to the Frotage as it has very distinct features. I used elements of this for a print motif later.

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Also taken from a separate bench. there were many different symbols and textures around the walk way. This Frotage of a bird is one is my favourites as it really has a distinct feel of the nature and atmosphere surrounding the area.

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With this story board I wanted to take inspiration from my thumbnail sketches but not take directly from it and try to develop some new ideas. I was inspired by a more relaxing take on trailers for films, trying to draw in a younger demographic. Trying to stylize each shot to merge with one another and use transitions effectively to keep the movement of each scene flowing.

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I finally settled on this 108 Second runtime at 12 frames per second story board. I was very inspired by the movement that every piece of art interpreted, be it tessellating patterns, wings or waves of the sea. There was a rather visual ambience of the entire village as well, with the sun breaking through the trees creating god rays. It starts off drawing people in with an animated rendition of one of the tile pieces made by William De Morgan, then moving through the gallery into the technical "intro" screen with the Watts Gallery logo. Moving into a more cinematic set of shots, using walking animations and another rendition of an art piece. Now moving into short but to the point messages to actually inspire artists to visit and explore Watts Artist Village. What's not included in the story board are in-between frames that will be filled with information about Watts Gallery so that people are slightly informed. After advertising what artists are within the gallery I finish of the animation with a re-visit to the fourth shot but with an overlay of text telling the viewer to visit the website.

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I based this motif cut out on the arches at the cemetery walk way in Watts Artist Village, I loved the symmetrical pattern used in these arches and thought the simplistic design would lend its self well to a photogram. I initially cut out the motif on a thinner piece of paper and then used it to trace onto a piece of card to allow myself to mirror the effect.

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This motif is is based off of a design found on the upper part of the chapel wall. I decided to use this as a motif as it required more precise cutting and felt that its stylized look had a rather animation esc feel.

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This was my first attempt at a photogram, trying to centre the cut-out as best as possible. The composition was tremendously thought out and if done again I would attempt to bring out more negative space. I found that this piece is very well developed, with a strong difference in the values of white and black. I do feel that in being so well developed it brings out the imperfections in the cut out.

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With this second attempt, I decided to experiment on a smaller piece. I framed the cut-out at a sort of 45 degree angle and allowed some of it to spill of the edge. I much prefer this composition as it gives a nicer sense of negative space and has a nice balance between the black and white. I prefer the matte look of the paper as it gives a softer and essentially more luxurious feel. Unfortunately it looks like the centre of the photogram got exposed to extra light before I managed to get it to develop. But in an essence it creates a nice copper tone to the centre of the photogram.

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This is my favourite piece that I did with the photogram. Using the same composition as the last piece I decided to experiment with the developer. Instead of just plunging the piece into the developer and agitating it, I instead went with taking a paint brush and painting the developer on. Once there was one layer developed I then went over it again, once more and the splashed some on. I love the sort of designer essence that this piece gives of, essentially mimicking a brand such a Dolce & Gabana. It creates layers and a 3D undertone to the whole piece, bringing out the silhouette without being too busy.

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This last piece became an experiment and combination of the two silhouettes I created with an added natural element. I wanted to use the two motifs I created to combine the feel of Watts gallery and also add a natural element to embody the fact that the gallery is surrounded by nature. I am not too happy with the placement of the objects as they feel like they are in open space with no real reason, I wanted to place each piece to help compliment each other, unfortunately that wasn't attained. If I was to attempt this piece again I would have the first motif at the bottom of the piece, creating a border at the bottom and have the natural element, the branch, to the right side as so to seem like there is interaction.

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This bust has been used in my digital sketch study.

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This texture and pattern is what inspire the main body of my motif for the print.

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The textures, patterns and carvings on this wall are so beautiful, that I have taken much inspiration from each small part of it, including in my photogram piece.

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This Celtic knot was used in my rough thumbnail sketch and gave me some ideas for movement of still objects in animation.

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This became a staple in my ideas for the animation. It creates a sort of portal like feel into another world and gave me many ideas for transitions, movement, framing and colour.

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Used for many things such as my motif and digital sketch research, the symmetrical pattern of this walk way is beautiful.

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Inside View Of The Watts Cemetery Walk Way

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Inside View Of The Watts Cemetery Walk Way

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The Light Shineth In The Darkness And The Darkness Comprehendeth It Not - Evelyn D. Morgan - 1906

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The Light Shineth In The Darkness And The Darkness Comprehendeth It Not - Evelyn D. Morgan - 1906

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I decided to do a very quick visual study of just the head of this piece. What I wanted to get from this study is essence, shape and feeling. The piece itself has a very religious tone to it and a vibrant palette.

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The All-Pervading - G.F. Watts - 1887-1896

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The All-Pervading - G.F. Watts - 1887-1896

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I loved the centrepiece being this unknown sphere held by this faceless and seemingly omnipotent being. It sparks feeling of comfort yet also fear, having someone else control what happens brings comfort, but having an unknown of the future and the being of which has control creates feelings of unrest, coupled with the desaturated grey, blue and brown palette. I drew just the sphere and hands as I was so drawn to this centrepiece.

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The feeling of movement captured in this image is what drew me to drawing it, I love how the hair is layered and how the dynamic form is used to tell a story. It gives a sombre yet having a bright palette. A whole story told in the face.

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Otter & Fish - William De Morgan - 1872-1907

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Otter & Fish - William De Morgan - 1872-1907

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Otter & Fish was probably one of my favourite pieces that I saw in the gallery, I sketched just the otter based on its repeating patterns and very expressive face. The red was very saturated and brought the entire piece together. It was a piece of struggle that was told throw the story of an otter catching a fish. I was drawn to this piece as it gave me many ideas for using the repeating patterns to have as an overlay and for transitional effects to draw the whole thing together.

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I decided to create my motif by taking different patterns and shapes from parts of the gallery. the main body of this piece is created from a pattern that was found on the chapel wall, then I combined it with a pattern from one of the carvings in a bench found in Watts Gallery Cemetery Walkway. The off shoots and vines are based on the nature that surrounds the area.

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I then transferred my motif on to a lino block using a print of my motif and carbon paper. I taped down the carbon paper to the block and proceeded to trace it until it was fully transferred. Once the image was transferred I decided whether or not to remove certain parts and free hand some more. After all the design and transfer was done I then proceeded to carve out the lino block, there was a few mistakes that were made where I carved into the design, but I improvised and then added it to the main design. I used two sizes and shapes of carving tools to make this block, a thin v-shaped tool to get clean lines around the design and a wide flatter tool to clear the rest of the lino away.

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I was happy with the colour and how the main body came out. Unfortunately i felt there was too much chatter that drew away from the design itself. some of the chatter i really loved as it filled the empty space around the centre, but i opted to try and get rid of some of it to make the piece look less cluttered.

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After doing the first few prints I decided to revisit the block. This time I cut the block into an organic shape to fit the design. After the block was cut I took the flatter tool to carve away at some of the chatter and even out some of the lines, I also took the V tool to deepen some of the lines where detail had been lost.

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Because what i was looking for was a cleaner look, i opted to go for a solid black ink. This piece turned out perfectly. To avoid inking in the incorrect areas I used Lino rails and put them on either side of the piece. I then rolled out ink evenly onto a surface and started to cover my lino. Once the lino was sufficiently covered with a few layers I went over to the Albion lever press and placed some scrap paper on top of my block, then I lined up the table with the press and pulled the lever. When the piece was revealed I was very happy with how it looked. I went back and repeated the process but turning the piece every time.

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I decided to go with this palette as it is a set of very commonly found colours found in Watts Artist Village. The Red adds the pop and regal feel of the entire atmosphere in the gallery. The cream brown mimics the wood used in many of the buildings and the tress surrounding the area. The blue as seen on many of the walls holding the art pieces and is a calming non-saturated colour that wont clash with the red. The pale green to give the feeling of nature but still be non assuming and is to be as more of an accent colour.

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Tom Haugomat is a Paris based artist who a very motion graphic essence in his animations. I love the use of colour against the desaturated blues, the use of lighting to draw attention to a scene and the simplicity yet complexity of every detail. The lineless style has an incredible charm and really keeps the eyes locked to the work. He has earthy and pop-ish colours that combine with an amazing manipulation of negative space.

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With animation that's filled with vivid colours and mesmerizing scenes Bruno really draws out a dreamy visual in his work. I took inspiration from the way Bruno lights his characters with strong edge lighting that creates a strong and graphic look to his work.

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I decided that the thing that accompanies animations and visuals well and draws in young viewers is good use of sound. I collected different sounds of animals in the surrounding area of Watts gallery and made a short 8 second loop that would be composed into a full track.

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Here I am filtering through the different parts of audio and choosing what could be adapted into a melody, percussive elements and melody layers. I cut up small amounts of the sound and then move them into a mixer. In the mixer is where I change the sounds and give them a new life, where I can adapt them and layer them correctly

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After its all been chosen I then arrange the audio i have edited to compose a short loop. once the loop is all arranged and finished I go back to the mixer and sort out the levels of the frequencies, add effects such as reverb or delay banks, Equalise the Highs out of many of the sounds and then export it as an MP3 or WAV file.

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Through out this project I have been learning and adapting skills in different mediums I haven’t ventured in before, starting in photography and ending in animation with music elements. Even from the very first bits of research that I thought wouldn’t lend its self to the final outcome made it in. Things such as just viewing the De Morgan artwork created ideas down the line to use his repetitive pattern. I feel I could have done better in the physical primary research, but felt flustered by the speed of the drawing and the elements I wanted to pick out, saying that I found the otter & fish tile which made it into the final storyboard. At times I felt my time management slip and I feel the whole process would have been much smoother and neater had I planned my time down to the minute. I really enjoyed being able to combine my love for music into an idea for animation. As well the printing process was a really helpful tool, as creating the motif I combined multiple assets I had discovered in watts gallery to make a final print, and with the photogram I had done the same but more simplified, I would have wished to of produced more photogram a but got caught up with the fine details of a single silhouette. All in all I struggled with some aspects of this project mainly down to poor time management, I was updating a schedule for a short time but lost track. To further improve I will create a schedule before hand and stick to it to keep my organisation together.