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I wanted to simplify and change my style, using a single colour block to summarise the content and images. I abandoned myself to use the complex style and tried to use extracted colours to create new images, minimalism tends to leave more space for suggestion.

Sticker1- the heart
inspiration from green day album cover

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In conjunction with the content provided in the digital skills session, I used photoshop and procreate to edit the finished product, adjust the colours to the right ambient colour, remove background imperfections etc.
Thanks to the clear guidance of my photography friend, I was able to make minor adjustments to the lighting, angles and sets to improve the quality of the final product compared to the impromptu photobooth set up at the college. I was also able to get a detailed beginner's tutorial and guidance in advance at lcc's photography studio, which gave me more experience on subsequent shoots and cut my time by almost half.
Although I absorbed a lot of practical design-type knowledge from the lectures, this first attempt at product packaging still left me confused about how to arrange images and text, so I used a logo instead of text. Although in the final film, the logo's presence is also very inconspicuous.

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Material: clay

Freeze frame animation, old-fashioned camera style graphics, mixed with computer special effects.
A semi-narrative surrealist style that tells a story within 30 seconds. Use a relaxed and pleasant accompaniment as a tool to advance the story.
Stauber excels in editing hypnotic pop music, avant-garde pop music, and synthetic music

Reflection: His animations often focus on exaggerated changes in facial expressions, especially eyes, and teeth.

After browsing several of his more prominent freeze-frame animations, the eyes played a role in attracting the audience and causing discomfort in the animation. Eyes often serve as a medium for communication and trust transmission between people, and Stauber takes advantage of this and places them in different exaggerated places. It becomes a symbol in the animation scenes, the audience and subject in the animation flip their positions, making the audience the one being stared at.

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I structured the story in such a way as to favour scenes of intermingling visions and consciousness from the first-person perspective. More like fantasy than dream crossing.

I positioned the theme towards some of the symptoms of mental illness, especially the effects on vision and the brain.

Amplifying the exaggerated visions and negative emotions of the protagonists allows the audience to visualise the effects of mental illness on people. So I positioned the animation in the horror genre, but I wanted to do something innovative so I studied and referenced a lot of similar animations.

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Within two weeks experience different tools, charcoal pencil would be easier to shape and generalize observed objects and landscape. Variety ways to use the charcoal could present the mood and motion that artist wants to share.

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create a limited edition physical print publication which describes a micro narrative inspired by observed, or real-life events.

This project consists of three components: — Keeping a visual diary — Developing a micro narrative — Creating a publication

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General idea on target audience
Bio expand more details of ideal customer

With the basic understanding of target client, I easily came up with a target client profile and had a reference film character in mind as a base to modify and expand upon.

Based on my own love of rock music, I decided to do some packaging design related to CD album. At first it was just a very vague impression of my target audience, but as I completed the profile step by step looking at it, the imagery went along and became more and more specific; I realised that a few random choices of keywords from a broad range would narrow it down to a precise group.

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Jonny fron deuce studio: branding and packaging agency

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Jonny fron deuce studio: branding and packaging agency

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Packaging design focuses on simplifying specific things to symbols
Examples: airport marking, traffic signs
emoji

how to choose target audience

Behaviouralism: Behaviouralist characteristics focus on how people behave, including buying and consumption habits. This data is used to understand what motivates people to buy a particular item.

Psychographics: Psychographics classify people based on factors related to their personality (e.g. interests, attitudes, values and beliefs). These traits will play an important role in a person's shopping behaviour.

With the basic understanding of target client, I easily came up with a target client profile and had a reference film character in mind as a base to modify and expand upon.

Based on my own love of rock music, I decided to do some packaging design related to CD album. At first it was just a very vague impression of my target audience, but as I completed the profile step by step looking at it, the imagery went along and became more and more specific; I realised that a few random choices of keywords from a broad range would narrow it down to a precise group.

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Functional process for packaging design
Idea
Design- multiple scheme for client
Customer test
Final outcome

Deuce studio
a one hour presentation on branding, packaging design, and identifying target audiences. Deuce Studio are a creative brand design agency based in London working with a variety of food and drink clients. During their talk I got a clear insight into the process of designing a brand's product packaging in a targeted way and the customer market research tests.

Personally, I was vague about the process of where product packaging comes from. Deuce studio presented a full range of three to four examples of packaging design, each with at least three options designed for the client to choose from, and the client would take these packages to a polling analysis to select the most popular ones.

There is a clear division of labour in the deuce studio, and although the three people are responsible for different parts of the project, they all have to work together on each occasion.

I was most impressed by the design of the new packaging for the beer brand for the American Workers' Memorial Day. They used colours related to the day as the theme colour, decorative elements related to the day, ribbons and vintage floral patterns, and the logo even echoed the Statue of Liberty. In terms of producing promotional images, their final finished image is very atmospheric.

Jenny’s lecture and case studies Have a clearer idea about the process of packaging design,

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Starts to simplify my style into a style tend to be more commercial and recognizable

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How the lines and shape would be different on packaging surface

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Inspired by the Sex Pistols album, the band's adept use of this type of colour is such that a similar combination of pink and yellow has left an impression on audiences that belongs only to the band.

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making single sticker and collage them together, arrange the way how to put them on the surface of storage box

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this video made with eletornic music
the beat and frame is weired but unique. Author using these techniques to emphase her purpose and idea.

After watching videos under different music backgrounds, Sophie's face shopping is the most impressive. I am also a fan of synthetic music and electronic music, so her video gave me the inspiration of topic and made me determine the style and tone of animation.

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Taking inspiration from the teagether and coffee bag designs, I chose to design single individual illustrations and ended up arranging them in a collage on the surface of the case. Visually bringing a casual expression but free feeling and suggesting the target customer with illustrations in strongly contrasting colours, the customer is visually led to believe that this is a derivative of a similar popular band.

Using the similar color matching as those famous albums or bands, to lead and suggest to the viewer that the packaging design of the item is for and made for customers who love rock music, reflecting a sense of intimacy.

For the logo design of the packaging, I chose to use patterns instead of text, as they give the viewer a more visual impression than words.

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I chose two or three different qualities of cardboard and laser paper for the packaging of the boxes.

Although the finished product went well, this was one of the drawbacks of the result, given that the product packaging needed to be mass produced, the collage format and the use of multiple materials for the product packaging required more flexibility to rely on manual assembly.

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in the previous project, my disadvantage is lack of DIY ability( chindgou) so this time I choose to use the exist box as my packaging design surface

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edit the audition and soundtrack into the video to change the video vibe and rhythm.

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The background soundtrack of horror movie, natural sounds and woman moaning.

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very first frame without any other new idea or story plot, scene inspiration from game death stranding. symbolised life, reborn and destory.

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I made 3-4 versions of the storyboard to determine which subs to keep and which to remove, as I learned a lot about the resources and drew a lot of production inspiration from them, but ideas are always changing, so I made more storyboards as an alternative.

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start with soundtrack first or start with keyframe painting,
how to matching the rhyme and frame,
is it possible to use part of other people's song
does the final outcome have to bring out any meaningful idea

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Japanese rock metal electronic music mv, which includes a large number of strobe effects, kaleidoscope effects, and repeated arrangement of text and graphics. Following the rhythm of the accompaniment, the lyrics and visuals are mainly repetitive and emphasize the theme content. Most of the shots in the animation are chaotic and uncomfortable.

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Kikuo - 愛して愛して愛して

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Mood: subconsciousness/ depression/ choking

poetic filming

frame method and style: kaleidoscope, light pollution

background music: electronic music, ai voice, envirnoment vocie( forest, wind, storm) animal sound(whale) screaming

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making entries from direct observation and experience.
visual diary serve as a repository of ideas which will be used to inspire our micro narrative.

Within two weeks experience different tools, charcoal pencil would be easier to shape and generalize observed objects and landscape. Variety ways to use the charcoal could present the mood and motion that I want to share.

Back to the Horniman museum, I use charcoal to try to draw exhibits with 'traces of history', imagining that the sketches, lines and shadows are retold as traces of past cultures.

In addition, I have been out sketching in parks, looking for 'historical traces' of the creatures around me, some of the trees in the parks are hundreds of years old and I have used them as a reference for my sketches.

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I read some journal articles and watched some videos in order to get a better understanding of the ptsd symptoms of post-war veterans. Most of the content revolves around how to care for and avoid the symptoms of victims, with a third-person perspective on the lives of the most realistic veterans.

These sources also describe how the sudden sounds of everyday life can also affect the victims, pulling them straight back into the memory of the battlefield.

Towards the end of the animation, I thought about adding some sounds of everyday objects hitting each other to simulate the sounds of the battlefield, to better fit the first-person experience of a veteran. But that would break my original storyboard, so I'll have to keep that idea in mind for now.

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drawing from life
making entries from direct observation and experience.
visual diary serve as a repository of ideas which will be used to inspire your micro narrative.

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all the fiction or fantasy stories based on reality, micro-narratives will be inspired by observed or encountered real-life events.
The story must have some basis or origin in a reality you have recognized.

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Before the formative submission week, we have a session to help us creating concept image for animation. In this workshop I briefly learned about the significance of promotional graphics, the promotional nature of advertising.

A poster is a type of advertisement that wants the community to participate. Some posters are designed with artwork to attract more people to the event. Posters can be published and broadcast in the media, but are mostly posted in places where people can easily see them. They are extremely advertising-oriented. With the basic concept of promotional image, I made 2 versions image for animation during the workshop.

First edition focus on the skills, I tried to creating vibe same as my video, the unstable, anxious and angry. The second version of my poster was redrawn with changes based on tutor's suggestions. The content of the first version was different from the style of my animation and was in a single colour, making it difficult for the viewer to associate the two together. So I changed it from the first version, taking some surrealist paintings, using the image of the main character from my animation and using red to match the main colours of the animation.

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Mood: subconsciousness/ depression/ choking
poetic filming
frame method and style: kaleidoscope, light pollution
background music: electronic music, ai voice, envirnoment vocie( forest, wind, storm) animal sound(whale) screaming

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I was inspired by two unstructured visual narrative illustrations in the studio course session, where the storyline is not separated by physical lines or pages in the same image, and the seemingly unstructured arrangement of the plot gives the reader more imagination for the subsequent story.
For example, The Seven-Headed Dragon of the Two Brothers, Kay Nielsen's Grimm's Fairy Tales illustration; The work appears to be a complete illustration, but in fact the illustration is divided into two parts by the elements within the picture, both of which take place at the same time, interconnecting and interacting with each other.

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The earliest narrative illustration from ancient China. Reading order from both left and right side, ending in the middle.

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All the events happened at same time, reading order from both left and right side, highlight the protagonist

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This workshop took me on a journey through storytelling and how to relate the plot to the sequence of events. Personally, I do not like linear narratives that separate images one from the other, as traditional linear narratives often require multiple sequential plots to be inserted in between to link two separate unrelated images. In contrast, the high degree of freedom in reading sequences in visual narratives allows me more freedom, and with the aid of the narrative map task, I have an initial idea of the narrative arrangement for the next publication.

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Idea from game, dark soul series

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Artist’s fictional travelogue

After my personal reflection, I believe that this work as a whole is arranged in a sequence that inspires the viewer to examine the image.
Before opening the painting to a place similar to Earth, the author outlines the inner workings of the planet, driving the viewer's curiosity and stimulating their imagination, while the open image is a part of the scene of the planet, expressing the theme according to personal understanding. I think the work is very flexible in its narrative arrangement, and no matter which corner of the open triptych is viewed from, it can be understood as a complete world, with all the details shown contributing to the theme of the story.

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During this project I had a lot of opportunity to work with different materials, styles and bindings of booklets and zines.
The offprint event takes place at the tate gallery, which hosts independent experimental and socially engaged publishers in the fields of art, architecture, design, humanities and visual culture. With face-to-face meetings with the authors of the publications, as well as interviews and book launches, this is the best opportunity to get a visual insight into the publications.
I took the opportunity to become fascinated by the process and the finished product of the risograph, which I learned is more experimental in that unlike the standard ink colours chosen for printing such as cmyk, the risograph is based on spot colours and the finished colour will vary somewhat through overlay.

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TeaGether

"What sweets do people in different cultures enjoy along with their tea? The love of  confectionery is universal, though the variety from country to country is an unending discovery."

Stepanyan's candy packaging design takes into account the way the illustrations are presented on a three-dimensional surface, treating the packaging directly as the table itself, which is set with the types of tea consumed in different cultures, from teapots and teaspoons, to the style of the chairs and even the textiles. This design helps the customer to clearly identify the sweets that go with the different tea drinking cultures and gives the customer inspiration and choice in their tea selection, which may make it difficult to resist buying the same type of sweets to go with a table of afternoon tea.

The different types of the same packaging gave the customer more choice, and this inspired me to create subsequent packaging designs.

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Saelia Aparicio operates within the paradoxical spaces that we can find in what we consider the normal and the everyday, using a unique symbolic system to represent, but also to digest, a stark reality. The artist creates a speculative universe for the audience and invites them to imagine with her, creating an ecosystem of characters and situations that drives us, without guiding us, into this fascinating thing we call present. From invasive species, to housing problems, pollution or climate crisis, her work navigates within this convoluted momentum using whispers instead of statements, talking through the materials she uses, the objects she builds, the shapes she creates. This produces in the visitor the aim to imagine and think collectively about alternative futures.

Her sculptures, videos and installations shape a fictional world. A world that filters between the cracks of collective imagination to exist in an in-between space, presenting hybrid bodies, built upon semantically loaded materials where what is human or not human blurs.

The language Aparicio creates inhabits an interstitial space in which a plant can caress a foundation, in which an empty house can feel the warmth of the people that it is no longer housing. In her work what is terrifying is revealed with a sense of humour, in this way destabilising our perception and inviting us to take a journey where other rules apply. A journey in which we can be plants or concrete, spores or microplastics, a journey in which we have to let ourselves go.

Saelia Aparicio (b.1982, Spain) is a London-based Spanish artist who completed her MA in Sculpture at the Royal College of Art in 2015. Her multidisciplinary work dwells on ideas of the organic, establishing analogies between corporeal and social mechanisms. The body is a malleable source of wonder and horror for Aparicio in her practice that spans large-scale mural drawings and sculptures that often feature modified found objects and mouth blown glass. Humour, and anaesthetic style inspired by comic books and cartoons, belies a concern for the bodily impact of daily life, the environment, disease and age.

In 2019, Aparicio won Generaciones 2019, one of the most prestigious awards for emerging artists in Europe, and was commissioned by the Serpentine Gallery to make the film 'Green Shoots' for their General Ecology symposium and research project, 'The Shape of a Circle in the Mind of a Fish with Plants' in London.

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Saelia Aparicio operates within the paradoxical spaces that we can find in what we consider the normal and the everyday, using a unique symbolic system to represent, but also to digest, a stark reality.

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 pizza boxes by Sitko designed by Werklig 

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 pizza boxes by Sitko designed by Werklig 

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Inspired by the multiple shapes of a single dough, the pizza boxes by Sitko designed by Werklig showcase playful geometric shapes.

The black and white pizza box aesthetic is very much a 'punk rock' vibe, but the warmth of the circles helps to generate a more homely, pizza-like mentality for the box. Although the packaging is only monochrome in black and white, the appropriate use of symbols changes the overall vibe of the packaging, combining punk with pizza.

I've always been a terrible crafter, I struggled with the quality of my handmade items in the chindogu project and I struggled to recreate the design I wanted. netbox workshop was based on existing packaging drawings and I used a cross-surface design to have a symmetrical pattern across the surface of the packaging.

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Get Your Caffeine Fix With These Collage-Style Coffee Bags

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Get Your Caffeine Fix With These Collage-Style Coffee Bags

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The Curators of Contemporary Craft have created this unique take on coffee packaging for KRANK Kustom Kaffeine. The bags of coffee are sure to catch your eye with a black and white collage-style approach taken to the illustration.

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A triptych is a work of art, divided into three sections, or articulated panels of three carvings, which can be folded closed or opened for display. As such, it is a polyptych. The middle panel is usually the largest and it is flanked by two smaller related pieces, although there are triptychs of panels of equal size. The triptych form appears in early Christian art and was a popular standard format for altarpieces from the Middle Ages onwards.

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A Senior Lecturer in Magazine and Book Design and Production at the London College of Communication, where his ongoing practice-based research focuses on experimental publishing and collaborative work.
Oswin is adept at using graphic permutations, focusing on the design and layout of books and publications.

And among his series of work, here is an interesting instruction of how to create  a no nation flag.
He based on his personal experience Combining creative programming and digital media printing techniques, he has created hundreds of completely unduplicated no nation flags using this production process.

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A typo/graphic journal exploring changing thoughts, feelings and reactions to the Covid-19 pandemic from personal, political and social perspectives.
I personally enjoyed the layout and narrative of the book, which can be seen in the differenttechnique used by the author, the innovations in the typo and graphic arrangement. It is a very inspiring book. He distinguishes the different periods of covid19 by the typography of the text and the changes in colour.
The first half of the book, for example, is a broken, chaotic visual way of visually conveying to the reader the mood of the masses and the uncontrollable state of affairs during the quarantine.

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Inspired by The Garden of Earthly Delights, I chose to use a similar folding method to describe the story: my idea is to have an introduction and prophecy of the story on the cover before opening the booklet, a non-linear narrative of the content of the story itself when opening the booklet, and the ending of the story on the back page
.
I utilised a number of directional elements arranged in the image to give the viewer a more personal understanding of the storyline.
For example, the cover page references the tenth card of the Tarot - the Wheel of Fortune: signifying a new beginning, the Wheel of Fortune symbolises the fickleness of the world. It can also be interpreted as meaning destiny. I wanted to use this card to suggest that the ultimate ending of the story is determined by a fixed fate.

The section that opens in the middle is about the fated war, and I have added many details to suggest that it is an unfair war. The ending of the story is placed at the back, where the protagonist has an extra gun on him, similar in shape to the holy spear of destiny, suggesting that his fate has been fixed.

The presence of the Spear of Destiny echoes the Wheel of Fortune on the cover.

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In the last session before the end of the project, each group of 5-6 people takes turns going through the group memeber's publications for five minutes each and so on. At first I thought five minutes was too long and rich, but after looking at the others' work as a whole, the extra time would automatically make me think about how the authors produced their publications, what materials they used, what was the main idea of the story and what were the best things about the publications that I could learn and build my knowledge from.
This also made my subsequent group discussions go more smoothly and the ideas exchanged between the group members were derived from repeated reflection and observation. The five minutes spent browsing was really useful compared to skimming through.

In the zine mini-exhibition held, I saw a more diverse range of bookformat, 3D folded books, booklets and more publications that broke the fixed format.

I learnt that some of my peers use risograph print and they gave me details of the printing process and the variety of printing plate options etc. There were also peers who used a variety of formats same as my initial ideas, different folding styles for the booklets, the use of wool and fabric for the outside of the book; these methods they used gave me a rough idea of the final product, and they also shared trial and error methods for more efficient production and access to the right materials at the right price.

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Giving each other feed back, observation through all perspectives: materials using, paper category and texture, narrative structure, color combination.

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The final product was as good as I wanted it to be in terms of material, but due to time constraints I did not have the opportunity to try out different media multiple times. The colours are also quite different from my original sketches, but the good thing is that the material of the paper makes the colour arrangement kind of blend in, it's more like a retro poster feel.

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Digital Printing& Printing and Finishing Area

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Digital Printing& Printing and Finishing Area

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During my free time I booked the digital printing space with other peers and the staff offered us a choice of different qualities of paper, with different grammages and variations in texture.
Most of the papers looked similar but there were subtle colour differences between the papers.

I finally chose to print my publication on opaque double-sided sulphuric acid paper, which has the advantage of not being easily ruined or broken, is frosted and non-reflective, and most importantly is waterproof, something I couldn't do with other papers so I decided to take the plunge.

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animation development

The animation I created is similar to stop-motion animation but uses a technique in the articulation of the different frames to make the images more fluid and rich.

For the stop-motion part: I mainly used procreate, as this is the first time I have formally animated a story, it was important to create a sense of atmosphere and convey the theme to the audience, so it was more important to use different material strokes, color contrasts, and effects to convey emotions than to focus on the smooth changes of the characters and scenes.

I referenced the environments created by the stop-motion animation of Stauber's work, and I think the atmosphere that Stauber created brought together a sense of eeriness and harmony.

collage animation: The stop-motion animation uses collage for some of the scenes, which I have used in my previous work, and the final product is often very efficient to produce, with the right adjustments to create my desired sense of eerie
atmosphere.

I used switch mode between third and first-person perspectives to depict the effects of post-war trauma on people, in a way that allows for a more visual experience of the traumatic experience of the victims and the severe mental and psychological impact it has on them, causing them to become emotionally unbalanced.

story content: The effect is slowly permeating, from the victim himself to his friends and family; the animation is first seen from the third-person perspective, where they first see the victim acting strangely, and the nightmares and visions from the victim's first-person perspective, and eventually the victim's reality blends in with the visions.

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Starting with the pre-reliance on the existing netbox assembly section, I was acutely aware that my manual ability had a direct impact on the quality of the final product. In conjunction with the chindogu project in the previous unit, I chose to use the existing boxes directly for packaging, which was more efficient, more flexible in terms of packaging and ultimately of somewhat better quality than paper.

Looking around at other people's shooting process and their finished promotional photos has also given me inspiration to improve the editing of my finished photos, for example by arranging products in a repetitive manner, focusing on a balanced composition, or using a tagline to attract customers.

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After completing a series of research and a target audience task, I decided to design a collection box that could store a large number of CDs, as both rock lovers and CD collectors are obsessed with collecting CDs.

Although I searched the market for collector's boxes, most of them were wholesale plain black boxes and there was no specific brand or company that made packaging designs for CD collector's boxes.
The reason for this, in my analysis, is that there is a huge variety of music and it is difficult for a brand company to make a product to promote to fans of a particular style of music, unless it is an exclusive product sold separately for a popular band or musician, but only the fans will patronise it.

In response to this I decided to create a packaging design that would be interactive with the client, increasing the freedom to change the packaging and allowing the client to decide the arrangement and placement of the illustrations on the packaging.

CD collection box sample

I realised that although CD collection cases are plain and mostly black on the outside, the interiors of them allow the cases to hold more cd's of different sizes, so the cases on the market are more about practicality than aesthetics, which I suspect is one of the reasons why cd cases have not managed to develop a separate brand.
What I personally wanted to do for this project was to make a case that was both aesthetically pleasing and practical and sturdy. After all, if a cd case is left unopened in the house it will be left in a corner for a long time.

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The thin air exhibition brings together several people who specialise in the use of light to construct immaterial constructions, statues and interactive installations. Aiming to reveal displays with light that cannot be captured by the naked eye, the exhibition forces the viewer to reach the edge of their perceptive abilities, allowing the senses to be enhanced.

Schreiber is a multidisciplinary artist known for his large-scale laser sculptures. Due to the visually arresting nature of his installations, viewers are often invited with curiosity to enter the environments he creates and physically interact with his work. He is interested in how physics, technology and perception change our experience of the world, re-imagining light and space to explore unseen forces.
Recurring themes in Schreiber's work include novelty, mystery and spectacle.

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The experience

'Colossal immersive light show'
Secret London

'Rife with architectural design and optical effects, it's a must-see. '
10 Magazine

'A world to step into'
Metal Mag

Thin Air's opening chapter is a transformative journey through the cavernous spaces of Beams.

Taking advantage of over 55,000 square feet of vast interconnecting environments, the exhibition brings together works by seven global contemporary artists and collectives and explores the boundaries between art and technology, working with light, atmospherics, sound and experimental new media.

The artists

Kimchi and Chips with Rosa Menkman

Kimchi and Chips is a Seoul-based art collective founded in 2009 by Mimi Son and Elliot Woods. Their large-scale installations explore the intersection of art, science and philosophy. Rather than separating these disciplines, the duo combine Buddhist philosophy with computer coding, electromagnetics and optical systems. Son and Elliot are recognised as pioneers in volumetric imagery and advanced 3D projection. As well as presenting their ideas through their installations, they share them as open-source software that are used by other creative practitioners and popular software toolkits.

Kimchi and Chips have presented their work at the National Museum of Contemporary Art (MMCA Korea), ZKM Center for Art and Media, Somerset House, Ars Electronica, ACC Gwangju, Zeche Zollverein, SxSW and Resonate Festival.

Rosa Menkman is a Dutch artist and researcher interested in the possibility of the glitch. Defined as a noise artefact that results from an accident in either digital or analogue media, glitches can provide insight into the otherwise obscure alchemy of media resolutions. Menkman is the author of Glitch Moment/um (2011), Beyond Resolution (2020) and recently edited the Im/Possible images reader (2023). In 2019 she was awarded the Collide Arts at CERN Award. Menkman's narrative is based on research she did at the NeMe Arts Centre, Cyprus during her European Media Art Platform residency.

Kimchi and Chips is a Seoul-based art collective founded in 2009 by Mimi Son and Elliot Woods. Their large-scale installations explore the intersection of art, science and philosophy. Rather than separating these disciplines, the duo combine Buddhist philosophy with computer coding, electromagnetics and optical systems. Son and Elliot are recognised as pioneers in volumetric imagery and advanced 3D projection. As well as presenting their ideas through their installations, they share them as open-source software that are used by other creative practitioners and popular software toolkits.

Kimchi and Chips have presented their work at the National Museum of Contemporary Art (MMCA Korea), ZKM Center for Art and Media, Somerset House, Ars Electronica, ACC Gwangju, Zeche Zollverein, SxSW and Resonate Festival.

Rosa Menkman is a Dutch artist and researcher interested in the possibility of the glitch. Defined as a noise artefact that results from an accident in either digital or analogue media, glitches can provide insight into the otherwise obscure alchemy of media resolutions. Menkman is the author of Glitch Moment/um (2011), Beyond Resolution (2020) and recently edited the Im/Possible images reader (2023). In 2019 she was awarded the Collide Arts at CERN Award. Menkman's narrative is based on research she did at the NeMe Arts Centre, Cyprus during her European Media Art Platform residency.

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The experience Thin Air's opening chapter is a transformative journey through the cavernous spaces of Beams. Taking advantage of over 55,000 square feet of vast interconnecting environments, the exhibition brings together works by seven global contemporary artists and collectives and explores the boundaries between art and technology, working with light, atmospherics, sound and experimental new media.

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There are many other interactive types of installations in the exhibition, but my visit focused on the observation of colour and light; seeing how the artists use different frequencies of sound and light in a large venue to influence the environment and the position of the viewer in it.

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Nelson's exhibition was described as 'A maze of masterful installations'. His installations take the viewer on a journey into fictional worlds that eerily echo the real world.

The materials are recycled from salvage yards, thrift shops, auctions and flea markets and constructed with an astonishingly lifelike quality.
With references to science fiction, failed political movements, dark histories and more, they touch on extremely alternative ways of living and thinking: lost belief systems, disrupted histories and cultures that refuse to fit into an increasingly homogenised and globalised world.

His installations are marked by a sense of fragmentation, switching from scene to scene as if travelling through different time zones.
By adding careful details to his settings, as a viewer can experience these environments first hand.

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The first major survey of work by internationally acclaimed British artist Mike Nelson features his psychologically charged and atmospheric installations.

Need to know

Age recommendation

Under-16s must be accompanied by an adult.

Access information
The exhibition includes two installations - The Deliverance and the Patience from 2001 and I, IMPOSTOR (the darkroom) from 2011 - with narrow period doors and small, restricted interior spaces. These are not accessible for wheelchair users and some people with mobility impairments.

In acknowledgement of this, we're offering a discounted £6* ticket (usual price £15/£16*) for visitors whose access to these installations is limited.

And, to ensure all visitors can experience these works, we've produced artist-led video walkthroughs of the two installations, viewable on tablets inside the gallery.

Booking
The nature of the installations in this exhibition mean the Hayward Gallery can hold fewer visitors than usual. To avoid disappointment, we recommend booking in advance.

Standard entry: Weds - Fri £15, Sat - Sun & Bank Holidays £16*

Members: Free

Concessions: £12**

Students: £12, only available Wed - Fri & after 5pm on Sat

Under-30s & Lambeth residents: £6, only available Wed - Fri & after 5pm on Sat

Ages 12 - 16: £6

Under-12s: Free

* Excludes £3 booking fee.

** Limited availability. Read about concessions.

Tickets can only be sold through the Southbank Centre and our authorised agents, and can't be resold. You can return your tickets to the Southbank Centre for a credit voucher up to 48 hours before the event. Tickets resold on any third-party platforms will become invalid.

Get presale tickets

Members get the first chance to book our entire programme of events, including go-down-in-history gigs, concerts with world-class orchestras, and talks from cultural icons and political giants.

Hayward Gallery

The Hayward Gallery is closed and will reopen for Dear Earth: Art and Hope in a Time of Crisis on Wednesday 21 June 2023.

Our address is: Hayward Gallery, Belvedere Road, London SE1 8XX.

The nearest tube and train stations within 5-7 minutes walk are Waterloo (Northern, Bakerloo, Jubilee and Waterloo & City lines) and Embankment (District & Circle lines).

There are also lots of bus routes with stops 2-5 minutes from our venues. For more information on getting here by road, rail or river.

Visit our Getting here page

Some free events, including our HENI Project Space exhibitions, don't require a pre-booked ticket - you can simply turn up on the day. These events are labelled FREE on our website with no way to book.

If you don't receive your e-ticket

Members

Advance booking for schools

We are happy to welcome primary, secondary and SEND schools during Hayward Gallery opening hours at the following rates:

Primary schools: Free, booking required.
Secondary schools in Lambeth and Southwark: Free, booking required.
All other secondary schools: £6 per pupil. Accompanying teachers go free.

Please email us with your preferred visit date and any other relevant school and pupil information at[email protected]

If you have any further questions or need anything else to support your visit, please contact the schools team.

Parking
Blue Badge parking at National Theatre
Alternative parking for Blue Badge holders visiting the Southbank Centre can be found at the National Theatre car park (330 metres). If you are visiting the Hayward Gallery, just take your badge and car park ticket to the Ticket Desk in the gallery foyer for validation before you leave.

Please note: on Sunday when the National Theatre building is closed there is no step-free access from the car park.
Blue Badge parking APCOA Cornwall Road

Eating & drinking on-site

The Hayward Gallery Cafe is the ideal spot for some pre-exhibition sustenance or a post-visit drink.

Drop in for a speciality coffee, artisan sandwiches, seasonal fresh salads and an array of homemade cakes and pastries from our in-house baker. Soak up the views with a crisp glass of wine, locally sourced craft ale or one of our signature cocktails.
Find out more

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The first major survey of work by internationally acclaimed British artist Mike Nelson features his psychologically charged and atmospheric installations. Need to know Age recommendation Under-16s must be accompanied by an adult. Access information The exhibition includes two installations - The Deliverance and the Patience from 2001 and I, IMPOSTOR (the darkroom) from 2011 - with narrow period doors and small, restricted interior spaces.

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I was surprised to find some peers using the same techniques as me (kaleidoscope effects) and to observe how other peers were using transitions and more frames; my friend were able to analyse the animations I was interested in: for example, controlling the overall rhythm of the animation, marking the transitions and the background music in advance so that they could be modified and added to the frame count.

In the browse, a number of peers have also produced the same type of animation as mine. But the different techniques and styles used make the animation much more amplified and reveal a sense of eeriness; this feeling comes from religious beliefs, hospitals with newborn life, extremely saturated images, etc.

In the feedback I received, my peer also suggested that more editing and matching could be done to the audio tracks and images to make the animation more fluid. I review the animation after it has been produced, at intervals of two to three months, and I am also able to find flaws and areas that could be improved.

In itself, my two friends who showed the showreel to me this time were just trying to pass the time, and although their advice didn't come from the original authors themselves, the benefit was that their subject matter expertise could easily tell me the professional names of those animation methods and not get personal in their feedback.
Because the project itself is similar to an interdisciplinary study, it was difficult for me to find people in my peers who had enough experience in animation production, so my interdisciplinary friends were more spot on in their feedback than my peers.

On reflection, I think it is more efficient and professional to refer to this approach in my choice of finding people to give feedback on my own work.