43cm x 46 cm x 13cm

Cardboard and glue

This artwork was made by Yuheng Lao. Photos by Yuheng Lao.

The artwork was inspired by nature and Cyber style. The creation is based on two words [ Insects, Grass mover ] to design. 
The main part of my design first focused on the machine function. For the next step, Insect's outlook and characteristics are the elements I want to add to my design. Insect character reflects by the mosquitoes. So in my design you can see in the front they are two tubes across to the back, also the machine absorbs the grass to the storage device just like mosquitoes absorb the blood.
As a product, it is very essential for the customer to have a comfortable journey when they are using it. I set up handles on both sides. it would be probably good for people to use.

After the briefing video, I was searching for some information about Chindogu. it is clear to see these styles of products show wide function connected to your daily. But some they look might not necessary to order. On the other hand, it can be a key to use in my product design.

About my object, it is really happy to get so many comments showing likes to my work. For me, it still needs to keep moving on. There have been a few pieces of feedback from my friends who suggested,” it seems too abstract about the handle part, it would be better to make it like the wing of insects.” And “ Try to using on some colors to decorate your object, it  could nicely act as a read insects layout.”

For improvement, this mock-up could be combined with more other materials, like colored paper or metal. Moreover, if I could I would use the 3D printer to make plastic out layers.

From this section, I realized quiet thinking also could give more inspiration when you are facing an amount of information.  It is better to improve yourself as a practice.

 

In this project we are thinking about the future of 2052, you can follow it with books, articles and es, and films to use technology to create three objects changing in these 30 years.

Environmental are moving and changing, someplace has been destroyed, been waste, by polluted. In this project, my direction is to explore the environmental challenges and a green future planet. Determine to show the balanced between humans and nature without a gap’s world.   

Ideas for future buildings. Houses should be like plants, nourished by nature, with a self-sufficient ecosystem.

But nowadays, globe challenge has huge impacts to those region, the ocean waste and greenhouse gases, regions world gases suffering there homeland. If in one day, we will see those waste and pollutions coming in there creation, what it would be like?

Before I get in touch with screen print, it was a very complex technique for me, but after the introduction, it seem screen print could also work easily. It could mix with other ink and print in hundred times.

In the drawing I prepare at this time, I used different materials to make different textures, From the experiences I get at this time, crayon is easy to make texture on a film sheet, but it would be better to work on a bigger object. Pencil, especially then HB, when it transfers on screen it becomes transparent and reflective. 

Changes in the environment will subtly affect a person's psychology. If these disasters become more frequent in the future, will people worship these gods who are in charge of natural forces more because of the changes encountered in natural disasters.

from South Korea that has swept the globe. The wave first rippled across Asia in the late 1990s, led by Korean drama and cinema.

Hallyu then spread to all corners of the world with K-pop music during the mid-2000s, which coincided with the advent of the smartphone and social media embraced by a young, tech-savvy generation. What had initially begun as a marginal cultural movement exploded into a vibrant, mainstream phenomenon that has captured the attention and imagination of audiences internationally.

Today, South Korea has become a leading powerhouse challenging the global currents of popular culture through the export of its creative industries. This exhibition explores hallyu's meteoric rise and celebrates its many facets, offering a gateway into the past and present of Korean culture through the lenses of K-drama and cinema, K-pop and its fandoms, and K-beauty and fashion.

3 BA(Hons) Illustration & Visual Media as they enter their final months of study and prepare to graduate into the world of professional visual practice.

The students are exhibiting a range of self-initiated projects that exemplify the breadth of practice on the undergraduate course all underpinned by an interrogation of the image in today's visual culture. Each student exhibitor has produced a body of work that is unique to them.

Overall, the exhibition provides an opportunity for students to showcase their talents and creative vision as they transition from university to the professional world. It also allows them to engage with professionals and peers from various creative disciplines, facilitating meaningful conversations about the role of visual media in contemporary culture.

It pays particular attention to the work of the craftspeople of the Domy workshop (Yusoku Kumihimo Domy) founded in 1652 CE in what is now Tokyo, and which is currently led by the 10th-generation craftsman, Domys Kiichiro.

Kumihimo (lit. 'joined or constructed threads) are finely braided cords which have a long history in Japan and a particular relationship with braiding technology from the Asian continent, introduced at the same time as Buddhism about 1,500 years ago. This history can be found in the names of the braiding patterns.

Nowadays, kumihimo are often associated with obijime, the decorative cord that secures the obi sash of a woman's kimono. This has not always been the case and kumihimo have been an important component in the construction of Japanese armour. There are also ornamental knots - musubi - which use kumihimo cords, tied in a variety of auspicious forms, to adorn highly-valued items or the garments of high ranking officials. Less well known are the industrial applications of kumihimo, with designers using carbon fire kumihimo structures in aerospace engineering, architecture, athletic equipment and prostheses.

Advertising, e.g. posters, social media campaigns;

Publishing, e.g. children's books, comics, graphic novels;

Corporate, e.g. branding, internal campaigns, catalogues, brochures;

Editorials, e.g. fashion illustration, magazines, editorial illustration;

Merchandising, e.g. clothing, tote bags, stickers;

Multimedia, e.g. storyboard for film/TV, game design, concept art;

Other, e.g. decorations, murals, zine collective, art direction...

5)Preparing your images

Take photos with good light (believe or not, a cloudy day is perfect to avoid overexposure!);

-Scan at 600dpi minimum. Pre-set your scanner with your preferred settings if needed (grayscale printing over black for B/W artwork recommended).

-Digital adjustments: colour correction/cropping/unnecessary lineart/marks and spots on the page;

'Clone & stamp' or 'content aware fill' functions on Photoshop.

6)Analog portfolio

-Keep your og artwork as clean as possible;

-Print digital work at 300dpi - that will do. Invest in good quality paper.

-Choose landscape or portrait, and stick with it. You don't want your client to be rotating the portfolio!

Invest in a good folder (ratty plastic folders cheapen the look of your work!)

E.g. spiral bound black portfolio to better organize your page order

7)Digital Portfolio

The ideal software would be Adobe package - UAL students get amazing yearly discounts,

-Try use Adobe InDesign as opposed to PowerPoint - bleed, margins and slugs make your job so much easier;

InDesign has also plenty of templates to start from;

-Being this an industry grade software, it is important to get acquainted with it ASAP. YouTube and Linkedin Learning can help!

8) Setting up A Website

Use website-building platforms such as: Adobe Portfolio, Behance (both included in your Adobe student package), Square Space, Wix, Hotglue, etc;

-Include only your most relevant and strongest works (as opposed to targeted portfolios, try to include a variety of fields/media);

-Structure your work by creating subsections; if using templates to access subsections, make sure they are all different;

E.g. a face, a detail, a landscape, a concept...

-Provide clear contact details and links to social media;

-Check out the Association of Illustrators - many established professionals to get inspiration from! (https://theaoi.com/)

9) templates ( It’s That Nice/ Behance)

10)IMPORTANT tips

-Include 4-6 projects, up to 15 pages in total (though online portfolio e.g. website can have more);

-Show your most recent works first - so the client can see your current style;

-Use concise captions to describe your work;

E.g. 'Ellie and Joel - character spreadsheets for The Last of Us game concept'

-Include unfinished work too! They client would want to see the entirety of your working processes;

E.g. Studies-->thumbnails->sketch-->finals

-Choose a consistent tone (pre-made or editable templates can help); spend time researching fonts and layouts.

different ways of 'drawing from life’.

Informed by this you will keep a visual diary making entries from direct observation and experience.

You be provided with a series of conceptual lenses to help guide your making creative decisions.

Your visual diary will then serve as a repository of ideas that will be used to inspire your micro-narrative.

Micro Narrative:

All fiction no matter how fantastical is informed by real-world situations. Your micro-narrative will be inspired by observed or encountered real-life events.

Consider how you can find creative inspiration in everyday life, for example, by attuning to the beautiful, extraordinary, tender, or interesting events and happenings around us

Your narrative can become fictionalized or fantastical but must have some basis or origin in a reality you have recognized.

Your narrative must communicate without written text, words, type, or symbols. The only type allowed will be on the cover.

Publication Specifications:

- series of three identically reproduced printed publications

the publication will describe a wordless visual narrative

- no words, type, or symbols in the narrative.

-type on the cover only

use 2 colors as well as the color of your paper stock only

- make a publication with two sheets of a3 paper only

Project Aims

independent working

curiosity and creative imagination critical thinking

working on location participatory observation ethics and representation

authorial practice

crafting stories

building story worlds

narrative structure and sequencing storytelling as a technology and a tool making and materiality

print reproduction

layout and composition

space, navigation, and experience in book form booklet printing

medium and message

print publication as a method of dissemination

Sequence

Sequence describes the ordering of the presentations

of time and events contained within the narrative and is

intrinsically linked to how the audience perceives time.

Illustrators can creatively consider how their records can be sequenced to control what information is revealed and when.

Sequences may follow the same chronological time frame in which events occur within the narrative, described as linear narratives.

Non-linear narratives might transport the viewer back and forth, disrupting the chronological time frame. Non-linear narratives might also introduce multiple storylines.

The control and order of time sequence can be tactically used to build

tension or curiosity through delaying certain plot revelations.

of time and events contained within the narrative and is

intrinsically linked to how the audience perceives time.

Illustrators can creatively consider how their records can be sequenced to control what information is revealed and when.

Sequences may follow the same chronological time frame in which events occur within the narrative, these are described as linear narratives.

Non-linear narratives might transport the viewer back and forth in time disrupting the chronological time frame. Non-linear narratives might also introduce multiple storylines.

The control and ordering of time sequence can be tactically used to build

tension or curiosity through delaying certain plot revelations.

前言

19世纪米公进金观，大批广东人移居香沿，其中包括不少画家，而广东面家的到来给这座城市带米了 与岭南画派一脉相承的学术上米。从2(世：北创改革开放后的香港回归，非容中西的香港画坛您发强化自己的身份认同，逐步深入探紫独有的艺术风格。特别在广东艺术的特孩彩响下，其开放包容的环境给这个连通世界的重 要地区带米新的文化资讯，促使其传统水露艺术的现代化转型。冯水基作为新一代香港画家在中国水墨画推陈出 新的道路上不断成长，将传统水靈艺术与西方现当代艺木思湖融合，发展山香港这个独具地区特色的水盟文化和创作面魏。冯永基一直对祖国悠久的历史文化和艺术传统有者至深的情结与热妥，坚持研习中国水，并不断思考和探素对水墨艺术的认知气见解。对空问环境、造型的敏應，让冯永基自幼留下不少优秀的绘画作品，直至大学阶段赴美升学，从新闻系、社会系辗转至建筑系学习并辅修艺术，回国后在建筑设计 领域深耕多年，硕果累累。如果说建筑师的学识与经验给子了他最初的艺术察觉，那么水墨画则提供了另一精神栖地。

从中国美术史的发展线素来看，山水画的发展与绘画观念的变更形能相件。古人在对时间、 空间的形而上思考中不断瑞摩眼见自然，在形而下的传移写照中融入了自己对人生、自然、世界的理解与顿悟。唐代张彦远在 《历代名画记》中强调“经营位置“在绘画六法中的重要性。有着多元文化与建筑学科背景的冯永基，其画面经营士分讲究，经营位置既展现了艺术家对构图的智慧和谋路，又要求芒术家对于面面主次关系的取舍与把握，可 谓艺术创作中非常全面而综合的能力。作为一名兼具建筑师与水墨艺术家双重身份的冯永基，在中西方艺术思潮与建筑哲学的影响下，对于新材料、新工艺，对古典、现代装饰及建筑新的重新思考和观念凝结，让其在水墨创作生发出独有的力量。传统中国画的发展路越历朝各代，在传承变化中不断创新，延续至今。冯永基的水墨创作扎根中国传统媒介，融入了西方现代艺术的新构成主义与色彩学原理，加以建筑学专业的多维视角和画面把控力，令其水墨图像既被赋子强烈的形式感，又充满诗意，其极具个人风格的观念和绘画语言，将目之所及的城市与自然美景构建于笔端生动的水墨气韵之中。

随看新时代身港澳人文湾区的紫荣发展，广东美术馆不断聚焦粤港澳文化艺木方面的研究与交流，将以香港、 澳门为代表的不同地区但同根同源的艺米面统呈现给观众。本次由广东美术馆主办的“「七拾」水墨心境 时空赋能一—冯永基艺术展”，可得是对冯永基数十教艺术生淮的一次全面回顾。作为我馆粤港澳大湾区年度重要艺术家个案，展览酒盖水墨画、建筑装置、影像等多和媒介，试图尽可能全面地星现艺术家冯水基的绘画风貌及 多维度的芒术成就。并以艺术家至爱的乒乓球运动为线索展现其游走于水墨和建筑之间6作体验。忠谢香港特别行政区康乐及文化事务兴钻下的香港艺术馆及香港文化博物馆，还有香港大学美术博物馆对本次展览的藏品支

特，照谢本次展览的策展人皮道坚先生以及所有工作团队的共同努力，为我们呈现如此恢宏而细腻的展览，让观众在冯永基的水墨建梅中题受香港艺木家独有的艺术情怀。

广东吉美术馆协会会长

广尔省美术家协会關主麻

，东美术馆馆长

王

策展人语

旗购建效机众西西个领城的香地艺大家昌米基，年在15岁便开始了自己的艺术创作。他早年师从何百里，以库週不区 的自然风期为对象，创代一些传說下峰南旅“风格的代品。 1984年道过你了推技能到官大现所们号街看活断木號运动，从此放弄了早期“岭南派“风格的与生西法，创作风格大变。兴起干1960年代的香他新水零

爸动：由日寿胜所领号，陈运动在登史的本土美等体春和招学根达之上，将抽象之术当你个人自我表达的有力工具：推業在作品内酒和艺术源言上与国际湖流对接，以活位新时代社会。政治和科技的转麥。在这一钱类过程中， 後统的山i水商随材被本士化．抽象化的构图和层层蛋染所取代，笑出了水墨媒介的租特质悠和艺太家随心檸酒的买性表理升华。

建想羊新楚了鸡水集对非物的退知和電解，令冯未基55年来从末间断过对建筑与绘西关系的思号，时间与空

国内默能，禾较园任的物质材和放承我的图十仅事之问的极宜来力的结合，自然而然地成为了鸡永站艺术

雙作以桥的突出 农年。本次展物中，一牛由西百余块田建镇应片销物出来的大型花置 （乒民）促暗示者艺术

京与建年和水数的一种鞋解肯缘

当中园山水西二术“在怀味保，“以龙娜道”的传统被引入当代粉神，成为当代精种的一种尔方表达，中国现当代术盟艺术便凸，道一种对“達價一”侍性”和“结意”的年克与採求，这足“画中行浮”这一中国画传统的观代转换，马木基的现代水墨阿艺术是这一现代转換过程中的成功案例。

西水其的理代水墨作品，主製以山八林木，自然花草为麵材，虽依然延线中国传统山水西立轴与长巷的茄本旧式，我大山大水一势宏月，哎边角小款余韵维长，但所省以大的色以分對面面，抽象意味派能，全向感极街。

日子其建筑拜的直觉，沙水起不新地你索 各利新材料，新工具和新技法，通过它们之向的排列组合对水遇语書

进行5威，兰水基第在作品中将具休的山义行导乐统技化为一套色彩施指系统，道过相近倒式，类似技法下的色形多饮米凸是心该意“， 以更域真然对魚的道义转换，他以南所米有的方式，今媒材的物1尽情凸豆，从而料成一种新的联积，止現者在色与趣的交啊之中生发对环境的关生，路受口然的灵性与生的的意义。他的大面联谈墨：该移配以新印技法的啊法，星张大千，刘国松飛人之后对中国传統水爆话育表现力的新拓服。但与米大F，刘品松多人不府，鸡水基能以“群片化“的至舢联解构建宏大历史文化杨城，将观者引1入惠想的境地…

中。“风美“与“心境“的相互流动，含苏内致地将欣镜长引向对东方街学都复的问社。為水基用北朋技到一轮能粉白然。万史号人生融合在一起的当代水盟表达方式-“水零心項，

逃统师的"场所精神”三对空面构造：体直您知，细节直克的敏思，給了验码冰基不新幣米村料创新的展感

外，也让其作品的时何与空问意味不新白然生发，从1991年的（大地合吗》系列开给他大瓶來阳条屏的影式

进行创作，

中国绘画史中的系福形式街開應街的一能附。。“辟风’路割發变话来

耳来元叶期街始蔬行，屏此第器被看成

光一种准址乳儿式， 世是北州科真的一种空再与平血和给台的二术宝地方式，北怎本功能驶理公丽空的。有永基利用条开形式，通过空间的分制、连结和广展来重构传统的线性与興代的油象绘训空间，以进一步销贸你沙巷化。在（手秋，中5為永基用二十四联屏路示中国古代的 ，二十四史)，以尔征历史上中国期代前寒繁和历史的新不往号，又用连期不地们山維来應叹中华大地的公象万千，城延于山之有的云要期系城金前烟的能指。而条屏的远用階助创道不问-美实”之同的辨风及其相互转換的兒肌。在，十八式，中，心石城m

的外能世界技抽象为十八联立轴，鸡永基通过相近四式下的色彩交換来山罪自己的心硬意緒，色彩象征息面的切换构成如交的乐童般的起伏跃台，条球阿的苑离校抽象为“留白”，使单四的塔南道化为创运性的堂间，十八面条屏风面成为十尺的“国”。大们可以“透过美好与海救、的饮气想观写不同心态起管到各异最致”，铁得一种包容的大智惠。

在晚川现代化话境之下，随養科技环城的改变，人们的时间规，历史硬也随之改安，城性，老警利厦期化的时何观破解构为一种“碎分化”的时间机。对万史的结们性解美也化拉于一种”际汽化一的新送，計街和二附的

“脱成“令人得以对时空和历史进行自由的解构和重9。鸡水基行这种-牌片心-的朝洪分式远用到自它的包排之中，通过对自然。万史和人生为型特解读将一科游极冠世的沉惠製 不教換为员段理性的自省与文惠。庆前

构述起一种长本土文化价值现念与当代生活恐知技合色 來的-水场心境”，仙从-物“住出发的水盤媒介厮探类

号“水漏心項”的精神性构建，段大地为我们微括了传统文化的当下看意义

文/项苙苹

我曾经问李山老师怎么看待阿籽奶奶的西作，李老师的回答迅速而千脆：“她的画是艺术本身”。我认为，奶奶的创作很可证明艺术是人的本能需求,就像渴了就想喝、饿了就想吃，女儿刘奕欣的习画过程也是我的判断依据之一。她从小喜欢画画，我们也不教，就让她随意去画，眼见着她自己涂抹着练习着，从最初简单的涂鸦逐渐进化到逼真的刻画。我想，我们的祖先一定也是这样把艺术发展起来的。

最近与友人聊到那只会画画的猪加索 (Pigcasso)，更让我进一步确信，艺术不只是人的本能，也是宇宙万物的本能——不然，日月星辰如何能如此壮观，花儿如何能开得如此美丽，鸟儿如何能筑巢遮挡风兩，鹦鹉螺如何能长出如此赏心悦目的斐波纳契曲线？以此反观，与其说艺术是人以自然为师学习的结果，不如说艺术原本就是人的本能，就像鸟) 花儿、螺儿那样。所以，不得不服博伊斯这位巫师般的人物，他以其天才的直觉作出判断：“人人都是艺术家。”即每个人都有艺术本能，都有成为艺术家的可能。

房龙说：“如果你能领养一门艺术作为你的义子，你能够，而且必然会得到无限乐趣，你的生活会过得更加充实。”这个说法深得我心，有艺术这么个义子相伴，下半生不就有依靠了？因为艺术是乐子，是能治愈心灵疾病的方子。当然,房龙是一位极为严格的老师，他要求我们“领养”一门艺术后每日练习，精益求精，不可三天打鱼两天晒网。显然奶奶出色地执行了房老师的要求，每天认真画画、不断精进。奶奶创作的最可贵之处是她的真诚，如圣马太执笔书写时的那种真挚、 庄严和信念，这恰是专业化的现代社会所缺失的。

房龙还说，一个人无论用什么方法，只要他能根据自己的感受来反映自然界，他就是一个真正的艺术家。

因此，在通向成为艺术家的道路上，我们所有素人需要克服的只是两个长久以来的偏见而已：一，艺术是少数天才，或至少受过专业培训的人才能从事的;二，素人艺术家通常来自非疯即演或极度边缘化的人群。如你我般普普通通、再正常不过的阿籽奶奶就是一个很好的证明！

简单画画

文/阿籽奶奶

我叫尹玉凤，孙女叫阿籽，今年七八十岁，我原来身体哪哪儿都不好了，越想不好就越揪心，身体就越不好。想什么，什么就跟着你。我就开始摸索画笔，描绘现在能看到的一切花花草草，瓶瓶罐罐，蔬菜水果。太深刻的事情我也想不来，儿孙事情也管不着了，他们有他们的活法，平平安安就好。

现在的世界孩子们比我了解，我的生活经验是旧世界的，他们也不愿意听。我和这些花花草草的交流，也让我感受到了另外一个天地，安静下来，就不被干扰了，孩子们的事也就不放在心上了。因为知道太多也没用，放在心更没有用，帮不上，嫌你烦。

一草一木在我慢慢描绘中，它们也鲜活起来。花草的情感默默无言，静默美好，你越是用心体会，它就给你展示的越多。一心的体会，让你不大关注自己的不舒服，身体却也一天天好起来了，现在吃得好睡得香，心里的杂事越来越少。每天画一张，动作要慢，要看仔细，稍不留神就容易画错，错了改起来太麻烦了，所以要认真。

其实我觉得过画画简单，过日子难，画画可以想怎么画就怎么画，画坏了也没事，可以改改。我现在每天早上起来最重要的是画什么，吃什么不重要，看到新的“模特”，就像看到新的世界一样，把看到的画出来，开心。