I don't know much about this practitioner previous to this but at first glance, they seem to have an eclectic array of work, with no set style when focusing on the images they create however the way the page can be explored offers a sense of investigation and left me intrigued and wanting to see more and whatever work might come next.

Through their website, they present a series of installations, through visuals, and sound created by them or in collaboration. It feels as though everything they create is deeply considered in each part of the process and the setting they present in. Their work fluctuates depending on the needs of the subject. They seem incredibly researched and thorough when it comes to the context of where they pose their work, with an example of 'Cecil's Captions' a 16-day artist residency they took part in where she retyped water-damaged captions found in deep research of archives of the space she was part of. Then typing them on rice paper and placed the 30 captions around the environment "bringing the museum outside". When it comes to the audience Rachel Emily Taylor does not limit herself. It seems to vary from piece to location. Many pieces feel partially aimed at those involved in the process or those sharing an interest in the locations she produces and places her work.

I think the initial website is unique. I found it overwhelming at first with the large type however the feature of hovering over certain parts to reveal the layers of her work I found brilliant. I think it feels disjointed but researched with a variety of examples and establishes a clean layout once you head to explore the further layers.

I liked how the first page led to a vague form of contact through the UAL page as that is the current place of work the artist resides in.

Perhaps a traditional email or social media contact information could be made clearer on the site as this takes effort to navigate.

I hadn't previously heard of this illustrator before. My first impressions of the website are brilliant, it feels clear and bright there's such a wide array of textures and shapes to glide over with your mouse. At first glance, they seem sculpture and garment-based. I can only offer this as although they have a wide array of practices listed on their site those sections once explored further offer only a 'Coming Soon...' title page. Although building anticipation it does inhibit us from further exploring any other examples of their work. However, these sections do suggest a wide array of artistic forms.

Overall the website feels light and exciting, appropriate for younger audiences with the bright engaging colours but also offers producing many adults might love.

The info section is clean and concise it provides links to relevant sources as well as displayed contact information, with only the logo image as a visual this is clean and effectively placed to keep the artist and their style in mind whilst avoiding distracting the reader too much.

I am and have been a fan of this practitioner for a while. Exploring her chosen medium she can communicate her position on urbanisation and material culture, working across varied cultural narratives and producing outcomes through carpets, tiles, ceramics, wood sculpture and other materials.

Her work is varied and her website presents this variety in a clear, clean professional sleek way. The video provided in the About section feels like a personal insight into the artist's practice. We are meeting the practitioner and understanding through glimpses of the person behind the work.

The audience would be specific to persons looking for artists to approach in collaboration or an example presented in a talk to students and professionals alike.

The website overall is very clear, engaging and professional. It is easy to navigate which is key when looking for how to contact the host. I think one improvement that could be made is the colour palette as the practitioner employs such vibrant exciting colours, perhaps this could be reflected through further bursts of colour throughout the website.

I chose to look into these practitioners further as I did not connect to the layout or about section. For me, the website and about section as well as contact information were all very clearly organised but I did not feel intrigued or engaged by any part of its design. The typeface alone felt overwhelming and heavy. It felt as though it mimicked the typography of high-end designer companies. Which presented it as high-class and representative of upper-class design. It felt reflective of the kind of design I feel reflected in poorly considered gentrified start-ups. After exploring the array of work further, I have to acknowledge the professional and clean sleek nature of the presentation. It is a good example of what I do not want in a portfolio or website. The message I read from this type or area of design is not one I wish to present in my work, however, the clear layout, navigation and contact information are all valid positives that I will take into consideration when taking on producing my website and portfolio.

hello, I'm zau an illustrator working in printmaking, tattoo artistry, and ceramics. i focus on exploring themes of gathering, caring towards objects and incorporating found images and sounds into my work, bringing my perspective.

drawing from a diverse range of influences and inspirations, blending traditional and contemporary techniques to create my visuals.

a) Map out as many keywords and phrases about your studio practice as you can. Think of interests, context, processes, themes, research, briefs, content. Use actual names of people, places, projects etc.

b) Look at what you have written. Is it individual to you and understandable within the context of your field of practice? Can you be more specific? More detailed? More adventurous? More concise?

c) Identify several illustrators/artists/practitioners/others who work in ways that you find interesting. Look at how they write about themselves and their work. This could range from website biographies and interviews to magazine articles or exhibition write-ups. Note what is effective in the way they speak about their practice. Look for tone. Are they funny or serious for example? How do they express themselves using their voice?

I do really enjoy this however from a navigational perspective I don't think there are many attributes I aim to take from this example. However I am very grateful it exists, to keep the internet interesting.

GRAB BAG is a collective/project involving myself and Lilian Di Re. These are pillows from the first project we had worked on, made by me in 2023.

Although this is not reflective of the styles which I fluctuate within at present, I do feel it is a type of work I am very happy with and is personal to me as a non-binary individual.

I wish to evolve this work further before I present it as part of my portfolio as I feel that in its current form, it doesn't feel as though it merges well with the tone of work I have in the portfolio.

Discussing my ideas with Darryl at this stage proved key to my development. We had discussed potentially developing people's stories into symbols. One story, heard before the survey began, about someone finding money in a duffle bag by a football pitch under a bench and we discussed the kind of symbol that could be developed from that and how gauche it might look to make direct symbols like just a duffle bag with money. We contemplated making ceramic planks stacked hiding something to evolve the story in ceramic form. Just the initial idea generation but this had me excited so I developed some research into practitioners that felt relevant.

To push reach further I send this form to family, friends and posted it on my personal socials and tattoo account socials to have a varied response.

I developed the list of situations and objects I had made from the questionnaire responses and simplified them into short answers for different sections, adjusting them if needed and adding similar answers as filler.

My consideration at this stage is focused on everyday objects and household objects. There is the archaic connotation that all these items are homely and by my choosing to frame the text within these contexts (pillow, tea towel and plate) I am connecting the role of the mother to household objects. Directing the narrative to spill into gender normative stereotypes which I didn't intend to do but see upon reflection could pose an issue when considering the BA Illustration Graduate Show audience, Made up of students, friends family and tutors, I would hate for the visuals to miscommunicate or be blurred in their purpose by connected stereotypes.

KEY:

' ' : Participant response number

O : List order per individual engaging response recorded

Done for following sheets

Group Tutorial | 15 minutes pp | 4 ppl including me took part

I presented my project first. What I had to show was limited and consisted of the questionnaires I had collected at that point. I decided to also explain my aims when it came to developing these questionnaires into a book.

Joe and Isobel expressed it was a challenge to offer advice or critique without there being much work to look at however Joe did voice concerns about the book feeling like a constant running joke of all the ways to lose and find something feeling quite overused and tired after not long.

A this stage I need to reflect on what the tone of my guide will be.

I decided to develop my research from this into examples of these type of parody guides and instruction books.

During this meeting I took the opportunity to photograph the slides, specifically information about the Personal Archive and exhibition specs as I feel less sure of my plan for the layout and intricacies of these.

The tutorial with Darryl felt very helpful. We discussed type and the way I had been experimenting with AI for image generation. He suggested I experiment with the layout and formatting. As it felt stuck to an image text image text image text pattern that needed further development. He suggested giving the type more space, like a whole page per title/ subheading. I felt this 1:1 important to developing a bit more confidence in my work going forwards.

The timing of this session just before the following group session was a great boost as usually I go into group tutorials feeling anxious and talking too much about very little as I find it tricky to express what I am trying to get help with in those contexts.

So the boost I got from the 1:1 definitely prepared me to better express myself in the group setting.

I was given really valuable feedback in this tutorial also. Many of the same points being highlighted about the type image balance and structure needing further experimentation. I think both sessions have provided me with effective tools to develop at this stage.

• As a creative my practice in itself combined with the process of piecing that work together defines me. I collect and compile. I distort and collage with care and consideration of the exchanges taking place for that information to arrive in my hands. I look into the nooks and crannies of the subjects that interest me and bring out elements that I and hopefully my audience engage with. I operate in a DIY, intuitive space, which often means my work may not conform to traditional commercial or artistic boundaries, and its longevity might be limited. Nonetheless, this approach is integral to my identity as an artist.

• Throughout my studies, there has been a visible shift in the direction of my work. I think my work shifted towards a similar direction to my current practice during my second year where we had the opportunity to make a short film accompanied by a zine for a project. The in-depth research and consistent reevaluation of the visuals felt refreshing. It has had a great effect on the work I now make and each project since I have had the opportunity to challenge myself and therefore learn more about my practice in the process.

• I believe at this point my skills have also developed greatly, I feel I have become a much more agile person as during my studies I have had many setbacks but regardless I make sure my work is handed in at a standard requiring all my care and attention. I have become more conscious of costs in the financial realm and also costs in sustainable and ethical fields. Being conscious of where and how I source materials as well as staying active on and off my platforms, at a time when the voices of creatives and people without immense power and greed are necessary as a push for development for our planet and for its inhabitants. I feel I have become more confident in clearly and equally communicating in group practices and projects, through my involvement in Sandbox, Degree show publication/marketing/ Identity amongst other collaborative projects. This in turn has built up my resilience to situations that may feel high pressure and my ability to work with others as well as independently to resolve or adapt from that stage in practice.

• These have given me newfound ability when working with groups as well as communicating outside those groups and creating an equal and comfortable setting for others as well as myself to feel able to share and feel a sense of collaborative community. I also believe that this has helped in my practice as I have grown more confident when acknowledging the hard work and skills I have developed when coming to clients with quotes. While growing the patience and reflection to consider the situation of those clients and the nature of my work when it comes to clear and comfortable communication. As with my line of work, communication must be something that a client feels comfortable doing, so that consent is clear and access to information is achieved with ease.

• I hope to continue but grow my current work as a tattoo artist. I also would love to continue printing and possibly selling work on an independent and small scale besides my tattoo work. But my tattoo work is my primary progression focus as it is something I truly enjoy and feel fulfilled by. I hope to continue working in London, although, with the cost of living crisis, this is becoming a very blurred possibility, which is why I have made efforts to develop plans for guest spots in other parts of Europe to gauge where else I may be a good fit and find a wider and consistent audience. This may require me to spend time in different countries depending on the season.

• My audience at this stage regarding tattooing is quite small and must have an interest in the eclectic style of tattooing that I provide. I have a hugely varied selection of clients and regulars from all over the country and from different backgrounds and ages. My work is very loose and texture-focused, with elements of comedy and awe at cultivating collections. The flash I put out is made through drawings collected and developed over time stuck and restuck and collaged then layered with pieces. The audience I cater to is people who are open to non-traditional tattooing done by a self-taught intuitive artist. My work draws inspiration from daily trinkets and punk zines as well as other forms of disruptive political zines. Although I have limited political designs I think this inspiration seeps through in the flash I provide. I am excited to gain an improved understanding of my audience as it develops over time throughout my time in this role.

  
  

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.

Nic expressed positivity about the ceramic cover and at this stage we discussed making copies, looking at paper and binding.

FURTHER RESEARCH:

I conducted research into the copies I would make and why I should or shouldn't be doing that. To evaluate how that serves my project, current practice and progression aims.

Question:

If I make copies that might diminish the importance of them as opposed to the original, what is the purpose? I

Answer:

By developing copies I can do so on a small scale whilst containing costs, and ensuring responsible materials are being used to offer those who can access the copies a much more accessible and affordable pricepoint than the original sculptural book. By making copies that are accessible through researching means and material costs I will be able to stay conscious and avoid blocking my current audience (varied financial positions) from accessing the work. Equally seeing as my work and audience are very much focused in the digital realm it is important I publish elements of that online and make that artwork tattooable to fit my progression aims. If I am not relating this to my practice what use does it have outside of the academic space?

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. 

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 ????

This was a test to develop an off uncanny feeling with the visuals for the guide. I really enjoyed how low quality the realism of the image with the promo I provided is. Far from uncanny this is shapes with shirts and hats on. I chose this outcome in particular for the head of the 'figure' on the left just in frame poking into the photo, provided an eerie feel. What makes this the answer to my promo, what makes this a family seeing sights?

I developed the image into my own drawn style, redacting figures from the group silhouette till I felt it resembled an odd enough family visual.

The roly-poly figure is based on the initial figure with varied proportions as its a character within this guide and it being less realistic separates the guide from classic guide examples.

The image was developed from a YouTube video of someone doing a forward roll or roll-poly in colloquial terms. (Gymnastics, 2020)

Here I have collared and coloured in tracing paper to create the two versions of the character 'man from guidebook' I decided to use tape that doesn't contrast as I didn't want to distract from the form itself as I feel it this structure does not serve the two images regarding visual communication flow. As opposed to the last Step draft where it fit within the three image system to add limit and structure to the images and create cohesion and separation from the type. Feeling like a visual break in the guide structure with the bold red tape. (See Step 4 draft)

I struggled developing visuals for the items I had listed in my plan for this Step. I didn't feel particularly happy with any of the illustrated pieces but felt the bold and large 'Search' to fill the page in an engaging way. I needed to rethink content and composition for this.

I decided to look into other images of pebbles that connected to me or that I already had taken.

I enjoyed the small details and use of the book to build platforms stacked with sculptures and trinkets. It had an otherworldly collector's playful nature to it. It made me want to make ceramic sculptures aside from my book that embodied elements of the guide. Like symbols of sorts.

This was further proven by a series of interactive pieces the computing course had developed receiving little to no input from viewers especially if it meant physical touch of the structure or software in any form.

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

I love this website but do not have the coding or design knowhow to replicate it to suit my page needs so will not be taking any specific notes from this forward with me in my website development journey.

The direction of my making largely shifted from my original idea which then affected the trajectory of this time plan. However this was just an initial plan and I do feel that based on the research developed in Unit 9, the work I have developed and the direction of that process feel justified and connected to their roots in the research conducted during the last Unit. The main development was focusing the work in a progression aims perspective and considering the audience which was not as much the purpose of my unit 9 outcome. This development in my thinking has centred my outcome to a context that fits my current platform and feels like an accumulation of well-rounded research and experimentation to arrive at this stage.

In Conclusion:

A change of plan and timeline was necessary for the development of my project and practice concerning my aims past university as well as developing skills, technique and creative risk-taking in the process.

So following this I decided to develop an alternate landing page after refreshing myself with the initial research I had conducted into practitioner website I found most clear and engaging as well as sites I felt lacked clarity or interest. With this refreshed perspective I approached my website a new with focus being navigation done playfully but simply. My icons would be playfully hand drawn with elements of hand drawn type as is common in my work in and outside tattooing. I would keep the type used consistent to the Arial font, redrawn and stretched if and where I felt to added to the flow of engagement.

ABOVE was my first development:

Happy Ever After an Identity Proposal I made as part of one of the three identities, including Patch Work and Moving on. This page was made based from the series of suggestions added to a mind map during an ideas meeting with the show's visual Identity/ Publication/ Marketing groups.

With anything like this, there will always be responses that aren't what you're hoping for. In my case, I had some questions left blank or responded to with a single word. I decided to read through each response and collect the responses that inspired engaging visuals. Which are presented in the following images and titled where relevant-->

Riso print file sorting and adding final textures to book cover

Tests down with colour to see if I should be using 4 or 3 colours (Met with Marius in the morning to help get to grips with Spectrolite's software as I had been having difficulty using it first few try's. My issues were down to the American sizing on the program and so I had needed to be specifically using A sizes like I had done during my editing phase.

I played with the black, blue, yellow and pink allowing me also tones of green to play with as I had experimented with them in my initial draft of the book. However I felt the guide had lost a structure it needed to stay within the realms of a guide. I wish for the guide to be playful and distinctly different from traditional instruction guide formats but the uniformity of those formats is part of my inspiration and I didn't wish to lose that by playing with colour too frivolously.

I decided after testing and collecting in person reactions that I would continue with a three colour print of yellow, pink and black. I wish to keep print cost and time down which 4 colours would make a larger challenge than initially anticipated.

The reasoning for wanting to keep print costs down is due to accessibility. I would like the zine's I make to be a much more affordable version of the sculptural book I intend to make. So as to make it something that can reach a wider audience outside that of the University Grad Show or even my limited online following or professional portfolio. By having a more accessible format of my book those that choose to make the purchase will be able to easily carry it around with them and feel less precious when allowing others to borrow or look at it as it is part of a printed series that can be reproduced.

I noticed that parts of the pages might not print due to the clean margin feature on Spectrolite I can anticipate this. I felt it necessary to fix and so adjusted this and other last-minute features, like registration and contrast once I had exported and RISO-fy 'd it on their program.

Today I edited the image/ text transfers by measuring the original tile and creating individual Photoshop files so that it would print as precise as possible, with no margin for error as each element is small on the tile. Once edited I sent these to James the technician who showed me the transfer printing process, which felt similar in some ways to the stencil heat transfer that I am familiar with when making up stencil sheets whilst tattooing. I applied each element after cutting them and soaking them for 30 seconds or less. I wedged any pockets of water or air out to achieve a seamless bond between the transferred image/text and the tile itself. This was a great test for my final book tiles. I then painted the golden €1 coin with 10 karat gold paint which is something I would likely not be able to afford outside of uni walls so am glad I have been able to experiment with it whilst I am here.

This is the email sent to the print team at Chelsea. I had also filled in the quote form for Ex Why Zed's website while looking for further supplies as fall back options if these don't fit our budget or printing requirements.

Their initial quote left us plenty of budget. We had discussed paper options as I expressed the publication team was hoping to get some off-white paper, however they didn't supply the paper we had in mind so they recommended we look at GF Smith papers and order samples so we can get an idea on what the outcome might look like.

I am printing on this paper as well as the discarded material saved from film sets. I decided to print the paper in the pink and yellow with black as the final colour but for the material found registration a real challenge with this fabric so decided on printing a few in just black so I am able to carefully paint the rest of the colours myself. This will make the book somwthing that can't be cleaned and with visibly grow imperfections overtime but I believe this adds to the book's identity as an object in itself.

I have two materials one more synthetic and shiny and the other much thinner and natural off white in tone, I am leaning into the later for my final pillow texture as from a sensory perspective the shiny pillow with the textured paper inside feels overwhelming to me and a distraction. I want the cover to stand out from the inside paper of course but do not want it to feel completely disconnected.

more website work till 11pm in Learning Zone

• How did you use your research? What ideas did you identify and how did you apply these?How did you build on / develop the research you began in Unit 9?

  My research from Unit 9 has influenced and evolved the work I've made greatly. I was looking through lenses of research and academic theories into the relationships between humans and material possessions which I was able to develop through varied research at the beginning of this project into questionnaires(PRIMARY RESEARCH) that allowed me to get a more grounded playful selection of personal experiences than the more academic structure of research I had been developing. This inspired me to generate suitable imagery and the ceramic elements were very much intertwined with my limited experimentations and learning through making carried out within Unit 9 also. I believe that this initial research has sprung me directly to my current path through Primary and Secondary forms of research. The main ideas applied relate to the direction of the project, I am still looking into the relationship we have with objects however this has also developed through the piece I'm making taking the form of an object in itself. I have developed this body of research and applied it to form symbols of that research as opposed to direct copy.

• What processes or techniques did you use?

  I developed confidence with text analysis and a newfound interest in writing that I had previously avoided as I struggle with it in many ways. I also was able to begin experimenting with ceramic making and in previous units also dabbled in soft sculpture. These processes and practices have helped me develop my options and methods of making whilst allowing me to also develop my skills in other areas experimenting with methods of making I had not yet attempted previously.

  
  

• Which key artists/designers or key writings did you look at that informed your projects? How did these shape your thinking/making?

  Warren E. Siegmond heavily inspired me in his layout of the cover for Once Upon A Question! (Siegmond, 1975) alongside illustrators of that piece Leslie Flanders, Andrea Francione, Cheryl Gentile and Roberta Pressel who weren't recognised with the same strength as Siegmond for this piece but deserve a mention. The playful nature of the cover hints that the stories it holds are engaging and brilliant. This is why I took great inspiration from this whilst making my Sandbox cover and subsequently the ceramic and final book cover.

  I also drew great inspiration from layouts of the manuals I researched in particular the type for the cover of 'Farm power and machinery management: laboratory manual and workbook'(Hunt, 1977). A simple bold title accompanied by a smaller type presenting the name however I used it to insert the rest of the title.

  
  

• How did you communicate with your audience (tone, identity, form of project)?

  I communicated with my audience in the tone of the project, being that it feels like a collection and fits within the space of my style at this point in my practice. I also think the book's soft sculptural form adds to the textural work my audience engages with and all pieces are easily adaptable in tattoo form which relates it to the purpose of my progression.

  
  

• Why did you make the decisions you did?

  Write down why you made your work in a certain way in terms of the context or field of interest; your research; the audience; the message; the process; the material (s)

  
  

  Regarding the context of the work, I wanted my final piece to feel connected to both the Unit 9 research and the initial questionnaires. Although this is abstract in parts I felt this was important as the stages that have brought the work to this stage have been developed over these suits and more. I felt a need however to with events experienced through this project offer subtle inserts of reflection on our relationship with Loss itself symbolised in the guide of this book providing answers but not far from a self-help book structure. I feel this element is more private and don't feel it is something I wanted to make clearer, it is to an extent a private element a reflection of myself in this work as it has developed so have I. I believe making the majority of the work accessible to a tattoo flash perspective and within the realm of my ability as an artist has also helped my practice and keep this piece connected to my current digital audience.

  I decided for my work to have an intuitive handmade look to reflect the way I approach all my work, through research and much trial and error and development to achieve an outcome that in itself feels like an object with history. I chose to for example reuse discarded material thrown away by a film set to make the cover itself and stuff it with a recycled bottlecap material to keep my practice as sustainable conscious as I could economically manage. Something I focus on when tattooing through the use of biodegradable razors, cartridges and ink caps. I'd like to make sustainability a larger part of my process however the access to such materials can be costly which in turn makes it difficult to offer a flexible budget to clients and my audience with work I make outside of my tattoo practice.

• Now write down what was successful, and what wasn't as successful. Why was this the case?

  The cover I could've developed further or made prints of to communicate with my audience and create a more accessible version of the book. I think the book could've been bound with more precision to refine the work. However, with this said it fits the style of work I create and I am very happy with the quality of the work and the final visual that comes with it. I feel as though hand painting and adjusting colour was a great way to return to the roots of tattoo practices. Traditional flash is made in this way. I also feel making copies of the book using riso matches the colour and natural disjointed elements of the book without diminishing their visual value. I feel that making the copies and hand binding was a risk but eventually worth that risk as the outcome feels clean and just as important as the original. It also allows me to share the book with my audience online if they can meet the price of the smaller zines.

  
  

• What decisions, experimentation, and conversations did you have that directed your work and helped you learn about what you wanted to do next?

  The decision to not go forward with the ceramic cove benefited the outcome greatly as although the book remains a sculpture the materials used and form feel a better match to the research done in achieving this outcome as well as the content of the piece itself. By the book being in the form of a pillow/pillows, the writing/content is hidden under the pillow which connects to the act of removing ourselves from objects in a childish sense. Playful hiding or finding of things under pillows. The book itself taking its form as an object made entirely out of recycled and discarded material is a full circle symbol of my unit 9 research and the work done since then in this unit.

  
  

The Final Value Thesis, claims that "Objects that possess artistic value are valuable for their own sake in virtue of their value as art" (Stang 2012, 271). Stang's critique of this and defence of experientialism with the claim that experiences of artworks provide their artistic value fails to clarify what artistic value means for experiences. His Acquaintance argument claims that original artworks do not provide greater artistic value than copies because both allow us to experience the same work (pj. 1). Although this resonates with my intentions in creating copies of my book this does fail to recognise that copies there are often elements of craftmanship that are lost which would've otherwise largely contributed to the audience's experience.

I do feel that by making copies my goal isn't solely replicating the same experience, evidenced through my aims to make the book itself out of recycled material as a soft sculpture using screen printed and handpainted elements for its cover and inkjet amongst handpainted elements for the inside pages. My intentions with the copies are for them to be much smaller, therefore easily transportable, printed using a risograph-only speckled paper to suit the recycled book paper. Then bound by hand. Similarities will be in the layout and colouring of the copies to the original. By making them smaller I can affordably print and bind them myself, keeping costs and therefore final price low to stay accessible to my online audience.

I in some ways am copying or scanning copies of my final book to share with my online audience for accessibility and to advertise the work as a potential flash. This form of copy alters but ultimately keeps the viewer's experience accessible.

I wanted to note key elements of the publications and draw from that research when considering the layout of my Guidebook.

These are the manuals I looked at using Archive.org:

ARCADE GAME MANUALS

https://archive.org/details/potofgold

https://archive.org/details/manualzilla-id-6024683

https://archive.org/details/arcademanual_space-lords

https://archive.org/details/ArcadeGameManualDigdug

These all had such engaging covers to offer followed by mostly mundane unengaging corporate manual/ guide structures. The bold covers I feel are important to take from as their purpose is to engage in the same way the purpose of the game is to attract their intended audience and subsequently engage their attention.

Similarly, I aim to attract my in-person and digital audiences to the work through a similar strategy. I want them to feel intrigued by what the cover has to offer.

FARM/ TRACTOR MANUALS

https://archive.org/details/tractors-HK16_Kat09

https://archive.org/details/in.ernet.dli.2015.14715

https://archive.org/details/farmpowermachine00hunt

One of these is a catalogue with an interesting cover but the same repetitive catalogue structure to follow. It is the most recent of the books also which is why I think the design feels reminiscent of early Internet graphics and contrasting the Farm manuals. Those farm manuals for the most part, however, feature fairly banal covers followed by simple banal repetitive manual/ guide structures for the contents. This is to be expected however within this, there is merit. The repetitive nature of the type and titles ties the work and the book together. Grounds it in its purpose to offer information without too much decoration of visuals or unnecessary poetic writing. This should be considered when going forward as these characteristics seem key to the guide/manual structure.

List of Books/ articles looked at

https://www.penguin.co.uk/books/310037/the-wonderful-world-of-ladybird-books-for-grown-ups-by-morris-jason-hazeley-and-joel/9780241364048

https://www.penguin.co.uk/books/289332/the-playbook-by-jacquet-jennifer/9780141982342

https://www.columbiaspectator.com/spectrum/2023/12/03/satire-a-guide-to-proper-library-etiquette/

https://en.wikipedia.org/wiki/How_To_%28book%29

https://books.google.co.uk/books?id=tb7Sfh6bqrIC&printsec=frontcover#v=onepage&q&f=false

https://www.hachette.co.uk/titles/emlyn-rees-4/the-joy-of-socks-a-gourmet-guide-to-sockmating/9781472125293/

ABOVE was my first development:

Happy Ever After an Identity Proposal I made as part of one of the three identities, including Patch Work and Moving on. This page was made based from the series of suggestions added to a mind map during an ideas meeting with the show's visual Identity/ Publication/ Marketing groups.

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.

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.

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.

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. 

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 ????

CONCLUSION:

We decided on the red and finished logo work that week

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

• 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.

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

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.

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.

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.

• 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.

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

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.

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.

I decided to look into the analytics further...

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.

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

more website work till 11pm in Learning Zone

more website work till 11pm in Learning Zone

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.

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.

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

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.

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.

• 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.

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.

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.

Soft Sculpted Book, 2024

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.​

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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.​

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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.​

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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. ​

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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. ​

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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.

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 .

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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.

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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.

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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.

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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].

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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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