Jasmine Beck - Zoo

My project is entitled Zoo. The main aim of the project being to work towards creating visual merchandise for Chester Zoo, in the form of an illustrative children's book based on the animals that inhabit it. I started the project by researching into the history of zoos in Britain including Chester Zoo as well as the importance and purpose that they serve in modern society. I then visited Chester Zoo to gather primary source imagery as well as a rich bank of notes about certain animal's characteristics and quirky attributes. I later used these notes to form a number of brief story boards. One of my story ideas stood out from the rest when I quite inadvertently came up with a poem based on the story titled "Horice The Rhino".This story was formed when on the visit to Chester Zoo, I saw a sign post on the rhino enclosure stating that the Latin name for a Rhino is Rhinoceros Unicornis. This is what formed the basis for my story It was this poem that I was to later spread out across 8 pages to form my children's book.

A strong influence in my book has been collage artist Eric Carle, creator of "The very hungry Caterpillar". The painted textures that I have incorporated digitally into my illustrations pay homage to his bright and colourful painted creations.

The characters for my story have been moulded mostly from my visit to Chester zoo and partly from outside imagery to create a selection of interesting and comical characters which reflect my own drawing style well. Although almost all of the aspects of my book are handmade, including the hand written font, it has all been brought together digitally and the vast majority of my time on this project has been spent furthering my skills on Adobe Illustrator to combine all of the hand drawn elements and produce a professional looking outcome digitally.

Alice Cornelia - Textures of Anatomy

Inspiration from Fabian Marcaccio's high volume paintings of silicone and paint was fundamental in my work. Such viscosity allowed for sculptural manipulation of paint to communicate textures of anatomy, allowing depiction in the body such as muscles or tendons to be slowed down and fully considered. I was also inspired by artists whose practice involved glass such as Dustin Yellin's personal exploration of the human form by breaking it down to the fibres of an individual through layering glass. Additionally Sigma Polke's less figurative but equally expressive physicality of marks on glass highlighted a relationship between all of these aspects that plays on texture and surface, which I capitalised on with a theme of internal and external. Given this, a fascination with the application of paint became the basis for a process lead approach and subsequently a more vigorous style.

I created experimentation with the thickness of oil paint and evaluated its limitations by exploring alternative such as plaster; however this dulled the colour and style preference. Style was influenced by artist Adam Neate's 3D figure heads with sweeping intertwined layers of plastic. Application of paint with a palette knife tried to replicate this in thick layers to portray fluidity and liquids in the body. This also translated into refining the process of a layered glass development previously by targeting specific areas of the body to portray. I developed the element of layers further through artist James Hyde, specifically his small fluid wisps and swirls of paint compiled in petri dishes. In response I created a layered image of a hand with petri dishes which also have biological associations to the human body. I used this aspect in my final outcome.

Underlining these developments, I consistently referred back to the basic anatomical principle of the body through biology textbooks, manuals and body dissection videos to make studies informed and convincing. This investigation continued up until the final outcome which sourced microscopic images of muscle, bone and fibres of the body. Consequently the more informed my work became, allowed me to be more suggestive and indicative. I broadened research from contemporary to traditional artists; close to my final piece performance artist Olivier De Sagazan's photographs/paintings from graphic performances with clay on the body influenced analytical and expressive parts of the outcome. In contrast, the renaissance period provided sketches from Da Vinci and Michelangelo influencing body language of primary images for developments and the final outcome in building my own interpretation of the body. Additionally Bryan Christie's transparent anatomical studies and anatomist Gunther Van Hagen's "Bodies" exhibition were utilised in developments to stress vulnerability and fragility from the complexity of the body, highlighting that the human body has a universal relatable aspect because it's a reflection of ourselves.

Self reflection through journal work and regular tutorials to adapt ideas and approach regularly evaluated my work. Within group critiques I agreed and took on board criticism and positive comments regarding materials and ideas, understanding that how my work translates in feedback is a vital part of evaluating success and improving my work.

Megan Jenner - Cardboard City

In my piece I looked at creating a world in which people can interact with. To be able to alter the environment and pathways within it. In this project I wanted to re-focus on my chosen pathway which is computer games design and allow myself to explore other ideas and concepts. My initial plan was to create something that people can interact with and change when they come to view the exhibition. Originally this was going to be achieved through layers of platforms that people could move and also have characters that people could play with. This changed as I chose to not include characters and just focus on creating the landscape. I looked at games like Ori and the Blind Forest and BattleBlock Theater which are 2D platform games that use layers to create depth and interest for the player. Working with old wood and thrown away materials I was able to experiment freely in creating different platforms.

As the project moved on I looked at the artists Nina Lindgren and her use of cardboard in her structures. I was really inspired by her work and to take my work forward I started using card since it was easily available and I could try out different things without worrying about wasting material. My work took a few different angles as I tried out glass and grey-board etc. but it settled on using card and grey-board to create the worlds and platforms. I looked at creating little stairs and other fun things that people could interact with and move around the world. The final piece grew and I created a frame to house these small environments. Overall I am really happy with how my final piece has come out. I'm glad that it has come together as one cohesive design as I was worried because there was going to be lots of smaller places that it would look disjointed and parts would look out of place. I made a decision to make it a city scape and this worked out really well – it's also something I haven't worked with before so from a design perspective it pushed me. Environment is about the world a character lives in and I feel my work gives the foundation for different characters to inhabit it like they would in a video game.

Catherine Broadbent -Notre Dame

Victor Hugo’s work, Notre dame de Paris has inspired the themes and concepts surrounding my work. I had mentioned and included this extraordinary book in my previous project based on making an image based on a famous book each day; Notre dame being one of them. Although I had already made a very illustrative image for that project, I realized that I could develop and rebrand the whole concept to make it interesting and to portray the majesty that is Notre-dame. I was very driven in the beginning to have my final exhibition piece as a grand set piece that would attract the viewer and to purvey the grandeur of the book and its themes of the gothic movement. I basically wanted to avoid something commonplace I would normally do; I didn’t want to make something cliché, maybe something that indicated it was “mine” but something a lot different.

The two artists I researched were Su Blackwell, a mix media artist who creates scenes and buildings from books and Tommy Pallotta, a director who animates using a technique called rotarscoping on films like ‘A scanner Darkly’ (2006). With these two influences I decided to create paper models from old books based from Su Blackwell and rotarscoped animations based von Pallotta. Because I was keen on experimenting with books and thought the written word would link in perfectly with my project, I thought that using a different media and technique other than Su Blackwell-like structure. I did some research and discovered the artist Brian Dettmer whom engraved and incorporated mix media into books by cutting segments like text or images onto each page to form an intricate collage like foreground, mid ground and background. I also looked at a neo-gothic stain glass artist called William Warrington.

I took a trip to Manchester to take photos of the neo-gothic John Ryland Library and the grand Manchester cathedral and researched into the gothic movement and that’s when I decided I wanted to inspire from Dettmers book engravings and to create my own with the photos and pictures from the gothic architecture I had taken. In a sense, William Warrington’s designs helped me with the shape and beauty of the stain glass; I originally researched him in the hopes of incorporating colour into my project, but this was eventually scraped because I didn’t think it would add anything. I think with the added artist research it was good to get a different perspective on gothic art/architecture.

Overall I enjoyed the FMP project and creating my final outcome. I love how it was based upon a literacy classic that stems into the realms of art.

Meagan Shaw - Subliminal Dreaming

"Well dreams they feel real while we're in them right? Its only when we wake up then we realize that something was actually strange..."- Dom Cobb Inception (2010)

How blurred can the boundary lines between the conscious and the subconscious become when we dream? Can our fears and secrets in reality be projected into our dreams in the form of a subliminal message?

"...dream has become their reality..."
This project has become a reflection of a series of recurring dreams which I have found have

Aimee Kinsey - The History of Objects

For my FMP, my theme focuses on the idea of memories in the modern day compared to in the past. I originally wanted to look at various different objects, but after my first group critique I got feedback on what items other's treasured most, which was largely photographs. I looked into how reproduction and manipulating photos can distract from their value and their meaning. I have a theory that due to advances in technology and how easy it is to now be a photographer, as everyone now has a camera in their back pocket, we are less precious over our photographs. I initially began experimenting with my early childhood photographs, as there was only one copy of each, I found that by making multiple copies of each photograph I became less attached. I then thought about what other photographs I could use that were processed on film and contrast modern day images, and delved into Victorian photographs, some of the earliest types of family portraits taken by a camera. I researched into how long the photographs took to capture back then, as well as the meaning behind the photos, I found out that Victorians had portraits taken of themselves to display their wealth, and smiling in a photograph was seen as incorrect and for the poor, a huge contrast to today's society.
I looked into artists such as Naomi Vona and Cendrinne Rovini, who both illustrate on top of photographs, using patterns and colour to alter the images. I felt that their illustrations instantly made the photographs more exciting and appealing to look at, as the intricacy draws the viewer in to look closer. I experimented with doing some illustrations myself onto first my photographs, then Victorian ones. I found that whilst drawing over the images, I looked at the original image far closer, looking at intricate details such as coat pockets or strands of hair. Although it was interesting experimenting with my own photographs, I felt the outcome was far more effective on the Victorian ones. I like how the colours of the pens and pencils contrast the black and white of the photograph and almost bring it into the modern day, as it would have been impossible to create a colour image back in those days. Also the way I have drawn over the top of the images is quite fun and lively; which is a complete contrast to the seriousness of the portraits. I decided to work on glass inspired by a previous project during Art Foundation; I think the glass is effective during this project as it allowed me to work with vintage photo frames to give my exhibition a more Victorian feel.

Overall I am pleased with how my exhibition has turned out, the larger glass pieces were a process of trial and error, experimenting with what materials worked best and how to get the image onto the glass, there were a few set-backs with smashed pieces which took up time and materials but I feel that this was good practise and in the end made my final piece stronger. I am happy with how eye-catching my work looks, I think the photo frames lend strongly to this, as they are all miss-match and arranged in an old fashioned manner, the bright colours make them look even more unique and help them to stand out. If I were to change anything about my final outcome, I would have liked to have a larger sheet of glass to work with, to create perhaps life size illustrations, however this obviously heightens the safety risks of working with glass and I would have needed more time to achieve this. Also I would have liked to experiment with lighting, I would have liked to have found a Victorian style table lamp to set up, to see how the light alters the images and reflection of the glass. However this is all in hindsight and I am very pleased with the outcome, I have learnt a lot throughout this project about different photography methods and about lifestyles of people during the Victorian period, it has been a very interesting concept to work with.

Rose Bibby - Mass Production Vs Hand Craft

Hand Crafting items can be a slow, time-consuming process but means that the objects you create are unique and, if you have the skill needed, can be of very good quality. However, the skill of crafting objects in itself takes time to develop.
Mass production can be fast and cheap. It can create items of quality but this is not guaranteed. Items produced through mass production are not unique and are sometimes produced through unethical means.
Throughout this project my work has developed significantly, with my exhibition being very different to any of my initial experiments. I started with the title of Mass Production Vs Hand Craft, looking at the work of William Morris and Ai Weiwei and contrasting handmade and machine-made items within my work. Moving on from this, I started to look at imitating marks on mass-produced objects that make them unique and after looking at the work of Susan Collis, my work started to become about worth. At this point, I also looked at a book on Marx, getting influence from a section about the exchange and use value of items.

The pieces shown still contrast mass production and hand craft as my earlier work did but they do this more subtly, with my main focus being on worth. All the stitching on the pieces is done by hand. I wanted to play with the idea of worth, looking at whether hand crafting items makes them more valuable than mass produced ones, even if they have been crafted badly. They are unique but does this make them more interesting and therefore worth more than a well-made mass-produced item?

With my focus being on worth, I started to look at stitching onto money, taking something which is mass produced and has an accepted exchange value and possibly ruining it. I first focused on repairing money, stitching up rips both obviously and subtly, thinking of people using celotape to fix ripped notes. I then spent one of these notes, being unsure of whether or not it would be accepted. Had I ruined the notes by adding cotton even though I had technically repaired them?

Developing from this idea, I then moved on to repairing clothing. Using the same rich red cottons, I repaired items of clothing quite obviously and sometimes badly because of my lack of skill in hand stitching. Looking at artist's signatures and designer logos that are on many mass-produced items of clothing, I decided to add my initials. In doing this, I was trying to contrast my hand repaired, unique items of clothing which are not worth much and mass-produced, designer clothing which can be very expensive, along with the idea that when a famous artist puts their signature on something, it adds value.

As well as repairing money, I also did a set of three banknotes, stitching onto each one so that the worth of the labour ended up the same price as the original note. By doing this, have I doubled the price, kept the price the same, or ruined the notes therefore lowering their exchange value? These are the questions that I wanted to explore.

lloyd Jones - City Scapes

The title of my project is City Scapes where I have looked at producing, arguably, ''the perfect City scape'' in which I have visited Liverpool and Manchester for their scenery of the city scapes. I visited Manchester at the night time and Liverpool both day time and night time to capture my final images, some of the effects you can see like still calm water and slight movement in the sky are due to the use of Neutral Density filters where I have to use a long shutter speed to get the right exposure from using this equipment, also some of the photos I have used

post editing skills to enlarge certain buildings to a size in which improves the final image from what it was in the first place, this shows my own personal expression in which I would class as the perfect city scape.

My influences are Will Pearson and Stephen Wilkes due to their desire to produce such brilliant cityscapes with such detail and post editing involved to produce what I would class as perfect city scapes, I mainly looked at the way they set up to take photos

and the amount of detail required to make them such good images which also leads to looking at the 10 commandments of landscape photography in which I had to consider certain things like the golden hour, use of a tripod, 100 ISO, low aperture, RAW file images, rule of thirds, balance of exposure, boosting certain colours and finding foreground interest, all of these commandments are very useful things to have in mind whilst out on a shoot as it totally improves what you produce in the end, in my case "The Perfect Cityscape".

Emma Scott - Gravity and Paint

Throughout my project I have been investigating how gravity affects the way paint moves. I first took inspiration from the artist Ian Davenport and this is where my initial experiments began. I immediately started to explore the technique of dripping the paint on thin strips of paper to see how far downwards it would travel and to investigate whether it would travel in a straight line. The consistency of the paint was a key factor at this stage as the thicker the paint was, the slower it would move. Following on from this, I researched in to how slopes can affect the way the paint can travel which led me on to looking at the formation of rivers and meanders. By placing the paper on a slope, I hoped for the paint to bend and change direction the further it moves downwards. Paint that had gathered at the bottom of my work was something that constantly caught my eye due to the patterned pools of paint that were created. This is something I developed further which has resulted in these final pieces displayed.

During this next stage in my project, Holton Rower was the major influence for most of my pieces. Rather than dripping paint, Holton Rower continuously pours large amounts of paint over a block of plywood. By repeatedly pouring the paint on the same spot, it results in large scaled colourful pool of paint. I set out to create smaller personal interpretations of these pieces, gradually increasing them in scale and concept. I also intended to use an assortment of both media and materials. I experimented with wood, paper and plastic as well as the use of acrylic, water and gloss paint. I pursued the use of gloss paint as it gave me a higher quality of experiments and helped my project move forward hugely. Before creating my final pieces, I returned to the aforementioned process of having my work on a slope. I poured the paint in the same technique however I then lifted the base and watched the gravity pull the paint downwards. This made the paint blend together and create very interesting patterns.

For my final sets, I used plastic containers that I collected which I poured the paint on. With them being transparent, it allows you to see through the gaps to the dripped paint on the opposite side. These pieces displayed are a combination of the different techniques I used throughout my development. With some areas of the paint still wet underneath the top layer, there is a chance it will continue to drip down due to the gravity still pulling the paint downwards. This makes the paintings still alive and always moving.

Callum Ford - Current Affairs

For the Final major project I decided to represent current affairs in regards to politics, specifically politicians running in this year's election. This issue is recognisable, it's an important matter, and everyone, including myself, are a big part of it. My statement of intent recognises my initial intentions of producing a body of work which takes the reality of our governed country and mirrors it through a looking glass of obscurity- shining a light on the darker areas of politics and manifesting my individual opinion on the recent election with a series of grotesque, satirical paintings. My intentions were to create a collage of the different faces of politics to gather the idea that each of them are the same, they stand for the same cause of change for this country.

I referenced different artists throughout the project to develop my inspiration conceptually and stylistically. From previous projects my style has been developing into an individual response to the way we originally see things, it has bred this style

which I have grown fond of, it combines elements my favourite artists. I focused on artists previously used in other projects like Ralph Steadman, one of my favourite illustrators, due to his extreme and intense ink drawings his immediacy and spontaneity is something I've tried to adopt in my own work. Marlene Dumas, another artist I researched has more recently become an inspiration thanks to her haunting painting style of vacant facial expressions and an emotionless, ominous atmosphere in her work. These two artists were my main inspiration for how I wanted my work to look; the way I painted figures mixed Steadman's intensity and Dumas' expressionless characters.

As the project was developing I produced a series of portraits of politicians in the style I introduced for the collage I was producing. After help from my tutors we decided to conduct my own election in which these paintings would be displayed around college and students would be asked to find out

which of my paintings were their favourite, this part of the project took place on the day of the actual election so it simulated the actual feel of an election, so it was interesting to gather people'sviews and opinions on certain politicians. With the election taken place, and the conservatives in charge once again, I needed to think of a final piece which would respond to the recent changes. This demanded my attention to create this final piece which reflects on the Queen's speech and the conservative's manifesto. Using my painting style, artistic influences and satirical approach I created this montage of my obscure manifested opinion of British politics.
Evaluating my work throughout the project was fairly easy as I had group crits and tutorials from my tutor to help me understand where my project was and was going. It's helped me gather my own individual mind set and style which lead me to create this final piece which I think has turned out successfully.

Beth Roberts - Hiding and Revealing

"The Japanese say you have three faces. The first face you show to the world. The second face, you show to your close friends and your family. The third face, you never show to anyone. It is the truest reflection of who you are."

"You know it is stupid. You know with all your heart that it isn't a big deal and that it should roll of you. But that is where it kicks in: Suddenly the small thing is very big and it keeps growing in your head, flooding your chest, and trying to escape from under your skin. You know with all your heart that you're being ridiculous and you hate every minute of it."

My decisions regarding the composition, angles and technique were heavily influenced by the work of: Jen Davis, Michael Lewis and Hannah Starkey but specifically Lewis' work on self-portrait.

Amber Davenport - Equality

To me the definition of equality is the guarantee that an individual or group of individuals are treated identically, equally and fairly, specific to their needs; no matter what their race, gender, disability, religion or belief, sexual orientation or age. Once reviewing equality statistics in the UK I found that figures were improving overwhelmingly, with only one exception. The figures of people sleeping rough has rose 55% since 2010. I started to look into these figures more and it seems that figures have only been rising since the conservatives have come into power, due to the high chance that they would win the general election again in May I decided it was really important to communicate the correlation between the two. After reading various articles on different individual's stories and how they became homeless very quickly I decided I wanted to speak to people first hand; I visited the YMCA in Warrington which helps people no matter what their situation. I spoke to nine individuals in total and was completely overwhelmed by how willing they were to talk to me I wanted to take the information they gave me and turn it into something visual.

Rebecca Walton - Biological Alphabet

My project is based around the ecological system and the numerous lifeforms that exist on our planet. Such diversity in life has been captured through my illustrations which I wanted to showcase in this project.

The letters have been engraved into pieces of wood to represent each image. I chose to use wood as this fits with the theme of nature and biology, including the paper on which the illustrations occupy.

Megan Hadfield - Stop all the Clocks...

W. H. Auden's poem 'Funeral Blues' was given to me in a time of grief when my Grandma passed away. It helped me to put my emotions into words that I understood. From this, I feel that society has lost the definition of what time is and that there seems to be a sense of loss when it comes to humans and our contact with emotion. There is no thought process to slowing down. In order to slow society down, we must physically force them to through the clothes that they wear.

It's ironic that in today's society, we are still trying to get ahead of the technology that was originally invented to save us time.

Constantly rushing to keep up as we inevitably fall further behind.

Abbey Lam - Vision and its Thorn

Vision and its Thorn
2 Corinthians 12

I was first inspired by a passage in the bible where Paul the author talks about a Thorn in his flesh. This passage talks about weaknesses explaining we have weaknesses to keep us from being conceited and God's Grace is sufficient in our weakness.
The cuboid structure is to represent a window to the soul.

For someone to see their weakness they would need to reflect deeply within themselves. Inside the cuboid is a serpent like figure which symbolises Satan as Satan is described as a serpent in the first book of the Bible.

Daniel Austin - Manipulating Space

Manipulating space is to take an ordinary space and change either the function of the room or the way the room flow by adding and take away you can make certain aspects of the room seem larger or smaller. Within this project I have looked at different ways that I would be able to change and manipulate space, From this concept I will be looking at the space and how it can be transformed by add and removing and manipulating the object with and surrounding the space. I will look at different ways that I will be able to manipulate the space by using mechanisms that I will the walls slide side to side and up and down on, as well as this I will look at way to make certain walls collapse and ways to make the walls pivot using hinges, after starting the manipulating space project, by accident I started to explore how I would be able to change a physical space in a different form using everyday objects, to start this project I looked at the Michael Johansson and how he manipulates space so that he is able to fit objects In to a small space as storage utilising all the space that is available, I have also looked at the work of Henrique oliveria and how he uses recycle materials to make exhibitions that you have interact with and walk through, I started experiment with different material such as wood, plastic and metals as wood was the most accessible, I found scrap pieces of wood to cut up and make patterns, after looking at these artists I started to experiment with different patterns that I could use and one of them was parquet. After I decided that I was using the parquet pattern I started looking at different ways I would be able to use it, from the initial idea of using it as a traditional way as a floor I decided to look at different way that I would be able to use it, so up wall on the ceiling and in more drastic ways, as I considered making a small ramp of it a sick hole and a large hump, after try out a couple of experiment and finding the best way that I would be able to make the after consideration I thought that I would use the two that would most drastically change a space so I proceeded with the ramp up a wall and the hump in the centre of the room.

Taylor Marshall Pythian - 60's and 70's

For My Final Major Project I have based it around the 60's/70's. I have been working towards producing a ready to wear collection as it relates well as it was an Ironic decade for fashion and is now currently back in fashion 2015 and has been constantly in and out of fashion for years. I know this by travelling around looking at high street window displays from vintage and also the high end of fashion and documenting throughout this project. I also adventured looking into disposable fashion using cheap synthetic fabrics and short lived, That I then included into my garments focussing into how much time I spent on making key pieces and finding the cheapest fabrics that I could work with. I also focused my work on major trends for clothes made out of paper emerged and pop art exploring key pieces to the 60's and early 70's such as flares, bell bottoms, halter necks, miniskirts and denim.

The Influences to this project was the 60's70's are currently in trend and I want to show my interpretation to that decade. The starting points to this project was I researched into "Disposable Fabrics" where the youth of the swinging sixties was the indulgent habit of quick-fix fashion looking at the latest garments wearing it and throwing it away. I also looked into the "Op and Pop Art" focusing on the art movement and contrasting lines and patterns that played with human perception looking into artists such as Andy Warhol and David Hockney. Finally the base of the 60's I looked into "Hippies" with the famous statements such as "Tune in and drop out" "Make love not war" I found out why the 60's was the year to be in and show the interest in ecology and craft-based and multi-ethnic fashion and instigate a new dress code for the generation being inspired by artists such as Miu Miu and Hussein Chalayan.

Daniel Banks - Balance

My project was based around the concept of balance. I wanted to explore balance through objects that we interact with every day as well as natural objects. I believe that objects are not made with just one purpose. I wanted to see what objects can be balanced.
I started by looking at artists that are already exploring balance. Most of the artists I came across focused on the natural world and balance within that. Artists like Martin Hill, Adrian Gray and Travis Ruskus. There were two artists that used more industrial materials to explore balance. Fabrice Le Nezet and Timothy Kendall Edser. With this research I could start to explore how these people worked and see if a sense of direction would take off for my project. As I started to explore with balance I realised

that objects that aren't made to be balanced can be balanced. This made me start to think about casting objects to see if certain materials change people's views on the object. This concept didn't work as I thought it would. It was costly and time consuming. Other experimental pieces had more potential. This is where I started to explore to ideas of balances through video. The stone balancing artist used this to expose the balances but I wanted the same effect but with a broader range of materials and environments. The film started to come together. I had filmed in one or two different locations. When an issue accrued. The quality was not the best. This was not the end of the world because I still had time to re-film and continue. I just wish I had established this before I filmed the first shots. The composition

ideas change dramatically because of the space I was given to exhibit. These were things that I hadn't considered would play a part in the beginning. It was an eye opener into the real life scenarios that I may come across in the future.
All in all I am happy with the space and final outcome that has come to be. The process has made me develop a lot more as an artist. I have experimented with new materials that I previously would have considered. This project has helped me to understand what actually makes me tick as an artist. I only wish I had more time. I would have done and explored so many more areas and objects. I haven't touched the surface when it comes to balance.

Emily Ford - Light and Space

I began this project by looking back on my previous pathway project 'Five+5'. This focused on utopia (a perfect environment) and dystopia (unsettling and an unpleasant environment) and how it can be seen throughout architecture. For 'Light and Space' I continued this concept but developed it further by looking into light, shadows and uses of colour as a way to change the atmosphere of the space. To amplify the effect of the lighting and shadows, I decided to use clear materials as the basis of the models. A utopia for one person may be different to another. This element was something I wanted to leave open to the viewer so colours and shadows could be interpreted by the individual.

Multiple architects, photographers and artists influenced my work including Philip Johnson, Mies Van der Rohe, James Welling, James Turrell and Dan Graham. Each brought a different discipline, allowing more areas for development in my work. As well as looking at artists, I visited Manchester and Paris, in particular looking at how glass and light is incorporated into architecture around built up cities. The Louvre in Paris proved to be very influential to my work as the materials and design linked to my own work, inspiring me to try more geometric shapes.

Initially, I experimented with clear materials such as plastic, glass and Perspex creating small scale, architectural models with 1:100, 1:150 and 1:200 unpainted figures. This added scale and purpose as well as allowing me to find which material worked best at creating shadows. From this I found the glass and Perspex took the light and colour the best. Throughout this process, I also drew from the shadows created, layering them up to add perspective. These drawings where then incorporated into my final design through the use of engraving on the laser cutter. I feel this adds another depth to the work and creates the illusion of deeper perspective.

For the final piece, I decided to use varying sizes of aluminium frames to add a sense of structure to the piece. From here, I engraved drawings into two frames and added 1:100 figures into the space. Previous development pieces were then included into the space to give further depth to the shadows. Lighting was then added with hints of colour as a way to provoke thoughts of utopia and dystopia, as well as create a mix of shadows in the exhibition space. I am pleased with how the piece has turned out and feel that although the piece is open to interpretation of the theme, it is still clear throughout.

Christian Monaghan - Portrait

My project started as an exploration of the ways that a portrait can be made and how far the definition can be stretched. But through experimentation, it became more of an exploration of how a person can be conveyed to the fullest extent via portrait. The aim became more about showing the subject's whole personality and interests through adjusting their appearance.

The start of the project involved me creating anonymous faces out of various materials, focusing on unique ways of creating portraits. Being an illustrator, it was fairly difficult using 3 dimensional means to create portraits, but being out of my comfort zone forced me to think creatively and produced some useful experiments. As the project developed, I started thinking more about who it was that I was depicting. I wanted to portray people or characters that provoked a reaction from me personally, be it positive or negative. After experimenting with media and researching various artists, I decided to take influence heavily from Bernard Pras and make the portraits out of objects that represented the people they were portraying. I chose to do 3 extensive experiments, 2 of them becoming final pieces. The three subjects I chose were David Attenborough, (someone I admire) Ronald McDonald (the face of a powerful and corrupted company) and Seasick Steve (a musician who I respect and has an interesting story)

Seasick Steve – This is the focus of my exhibition, being the biggest and most ambitious piece. It was made from old junk I found lying around my house and garage, which was then projected onto to make his likeness more obvious.

I feel that I have achieved what I set out to achieve with my FMP, finding a creative and interesting way to produce portraits that encapsulate the pure essence of the subjects involved.

Connor Laffey - Crimson Butterfly

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Luke Massey - Community Hub

For my final major project, my original idea was to create a "community hub" in which I would film people in the progression of their project and I would then transfer these designs onto merchandise I.E. clothing while designing my own work under a singular brand. My own idea was to re produce famous paintings from around the world through photoshop by applying modern effects inspired by modern designs from skateboarding companies. My idea's for merchandise also co insides with placing a design onto a skateboard through laser cutting however, after researching into the laser cutting process I discovered that such a complex design would be practically impossible to laser cut into a skateboard, Mostly because of the complexity of the design but also because of the curvature of the skateboard makes it practically impossible to end up with a complete design covering the board from nose to tail. After this discovery, I decided to completely re think and change my project to one that still featured me printing and laser cutting design but ones that were culturally inspired. So after changing my SOI, I started researching into areas of: Russian constructivism and traditional Japanese art. I picked these movements and styles in particular because of the quality of imagery it would allow me to produce in the Adobe Suite and after some careful consideration, the imagery within both of these cultures would be very visually appealing when placed onto merchandise such as a skateboard and a t shirt. After my diagnostic stage, I therefore started research into symbolism in both cultures, though symbols were more prominent in the Japanese area of my research. I discovered that some flowers, colours and animals in the Japanese cultures are used to represent certain feelings and emotions, so I decided to make these the main focus of my imagery.

The imagery that I used mainly revolved around the symbols for luck, such as the Koi Karp and the traditional Japanese symbol for luck would be used a lot within my work along with Japanese cherry blossoms. After my designs were settled on I decided to transfer one of my simpler designs onto my blank skateboards through the laser cutting process however, the design didn't go to plan and the engraving process left most of the skateboard blank and not very visually attractive so I decided to leave the skateboard out of my exhibition. I therefore decided to print the design onto T shirts through dye substitution to add some strength to my exhibition.

Holly Grimes - The senses

In my statement of intent I have outlined my initial response to the word 'diorama'. It also detailed how I planned to produce work focusing on displays/arrangements of shop windows and market stalls. During the creation of the work in response to this initial idea, various problems arose: Slow production due to limitations on materials, time constraints and how to make a work that represented a culmination of all the ideas I had.

As a consequence of these problems - in particular the material and time based issues -I had to alter the way I was working. I went to my tutors and enquired about a solution for this issue, from these discussions came the suggestion to use plaster and cast objects. I proceeded with this idea and I found that it took less time than the previous methods. I also found that I could attain a level of detail and precision unobtainable with previous method.

As a result of regular tutorials with my tutors, the idea of the psychology behind supermarkets - specifically how they manipulate your senses to increase your willingness to buy - was suggested. This idea appealed to me greatly and I decided to alter my original idea whilst keeping it linked with the initial premise. This would develop into the idea of studying the five senses.
My project undertook many changes to the original idea. However, the artist that is the source of inspiration has remained the same: Kathrine Morling. This is regardless of the fact that I moved on to use plaster, as I still believe links between my work and hers exist due to her work being the initial inspiration.
For this FMP I have used many materials in various stages of development and in the final piece. Clay was one of the materials I used initially in my experimentation. In this experimentation I made three pieces: a cake, an apple and a banana. I then moved on to paper from which I created a range of fruit. Finally I moved on to grey board from which I attempted to create various items, unsuccessfully. It proved to be very difficult to use so I did not experiment with this material extensively. After this experimentation I decided none would work so I came to using clay as the mould for my casts and then used plaster of Paris and solo-cast.

At the end of the project I displayed my work for a final group critique. This was done by various people from different areas of the course. During this critique I presented and explained my work or more specifically: where I started, where I ended up and why. I was encouraged by feedback I received form group and felt my ideas translated well. The main observations from the group were: They liked the ideas present in my exhibition space and arrangement, that I used various materials effectively, they liked the senses concept and they liked the liked the aesthetics of the objects and how they looked like artefacts that would be presented in museum in the far future.

Rebekka Warburton - sticks

My statement of intent outlines mythical creatures and using that subject matter as a main focus, so the starting point of my project was medusa and creating a sculpture out of clay which then developed in to making a stop motion animation of the snakes on her head moving around, this then made my whole project being entirely based around animation. My work had developed from being just sculptures and drawings to mainly animating the clay sculptures I created. After the first development piece of medusa my work progressed into another stop motion animation where I looked at the film "An American Werewolf in London" at which point I mainly focused on the transformation from human to werewolf. During this project I researched artist Jan Svankmajer due to him also using clay within his animations and also because they were stop motion, so I thought that his work linked in well to my own. I experimented predominantly with clay as a material and did a few drawings to change the pace and also to mix up the media that I used throughout the duration of my project.

When progressing throughout the project I documented each of the pieces of work I did and evaluated it by saying what I did and what was wrong with each development piece such as when I animated Pegasus that was the worse animation that I did out of the three development pieces. I also encountered problems with doing my final piece due to technical difficulties as when I did some of the animation it didn't actually save so I lost all the work that I had just done, this also created problems for the reason that I couldn't actually do the animation again seeing as I had gotten rid of some areas of clay which I couldn't reproduce there was also the problem that when the clay dried on the skeleton that I used the clay cracked so to overcome this I improvised and used this as an advantage towards my animation. At the end of the project we did a final group critique where we had to present and explain our work and the comments that were given back to me was good as a few of my peers said that the soundtrack that I incorporated into my final animation fitted really well due to the concept of my project/animation, I agree with what has been said as it does relate to my animation and how the music fits in well, so I am pleased that these comments were said.
The final outcome I think was a success because it shows a story behind it and the fact that the music does make the video all the creepier and also because I put a filter on the video I think makes the animation better and more interesting.

Benjamin Simm - Alternative

The word 'alternative' is defined as 'something which is available as another possibility or choice'. I was drawn to the eras of Punk and Georgian because when these fashion trends were formed, they were considered 'alternative' and had a huge impact in the fashion industry which influenced designers in the past as well as the present. Artists Hussein Chalayan and Lucy Orta inspired me to create a garment which had an alternative purpose or alternative ways to wear the garment.

I desired to create a final outcome which had a more modern twist on Punk/Georgian as this would show the influence I had drawn from my research by taking key aspects and featuring them in my final outcome with my own interpretation. Artists such as Vivienne Westwood influenced my work with her collection of modern punk fashion.
The construction was challenging; when I had chosen the final designs of both the Punk and the Georgian garments I had to use my experience to create a garment which would unfasten into another garment. This is something I explored during my toile where I identified any issues so that when it came to making the final outcome I would have no problems when constructing it.

I photographed the model in the Georgian garment which then unfastened to reveal the Punk garment which I also photographed. I also focused on makeup and hair for the photo shoot and when the model altered the garment from Georgian to Punk she also altered her makeup and hair by smudging her makeup and making her hair untidy. I even altered the background from regal to urban to reflect the styles and also produced images with well thought out compositions. I incorporated work from one of my exploratory projects to show my progression with regards to the positioning on the model in my images.

For the exhibition I chose to focus on another of my exploratory projects to influence the arrangement of the space. I incorporated frames into the space to allow the viewer to be drawn to aspects of the piece and to also display my final images of the garment to provide insight into how the final outcome looks when it is either Georgian or Punk.
Overall I believe that my journey throughout this project has led me to an outcome which combines influences and key aspects from a variety of artists and eras of fashion effectively but also has an aesthetic and style with is more modernised and true to my own style.

Matthew Greenall - Objects and Structures

For my exhibition of the final major project I have created a series of concept art based around objects and structures and how they obtrude the environment around them. My goal was to create new objects in an existing place that would seem to blend in with its surroundings and look very natural in its place, and another object that would do the opposite of that and look alien in its location. I have been working on researching different environments and what it takes to create something natural or unnatural within it. I chose to base the setting on a pine forest as this seemed like the most natural place to carry out and

experiment such as this. I designed different concepts for the objects that would be placed within these environments. The first would be made of the resources in the environment, so in this case things like mud, grass, branches etc., and the second with something more alien to the place so I thought about something processed by humans such as different kinds of metal or refined stone. I then decided to create a set of concept art for the two structures and practiced different techniques I could use to display this work. I used acrylic paint to create three sets of artwork for both of these subjects, using black paint

for the environments and colour on the objects to highlight the new object in that already existing place. The layout of the pieces is set out to compare the two different objects that have been placed in the same environment and created in a similar style. I also created a digital model for both of these structures and created an environment around it much like what I had created with the artwork. I recorded a short video of the models to show off the designs and textures which have been placed on the show reel to aid the traditional concept art of my exhibition.

Lauren Muir - 20 pence piece

We have become a race obsessed with being the best. The best cars, the best homes, the best washing machine and the best bodies, as consumers a prize has become something that we can parade; a craze that stems from winning objects and money thus becoming people whose minds have become deviant of the true prizes in life.

By creating typical prize winning games I hope to recreate childhood memories of a simpler more joyous time with the theme of varying body parts or body features as the games. However, rather than gravitating towards horror and the grotesque the theme or my project is body appreciation and comfort with our features as humans.

I have took in depth research into the psyche of people and their relationships with appearance and tried to express the basis and concept behind my work by creating attractions and incorporating interactivity which I have done to ignite a connection.
For my fairground attraction I wish to create a younger audience in an older audience by harking back to childhood where we had more curiosity than hate for our bodies and had a natural freedom through being oblivious to any flaws or insecurities. I would like to allow the audience to come face to face with the natural comfort that children have in their bodies and how this changes into adulthood.

My belief is that no matter how rich or privileged; our children don't grow up with freedom. They grow surrounded by societal constraints. Whether it's not to have flaky toes or a hairy mole on your face it has all stemmed from a belief that in order to fit in and be beautiful we must be a certain way. From this, I hope that you all find comfort in everything you see in the mirror and I hope you to always be...

Curious, unaware, ignorant and childish.

Dominic Knapper - Documenting People

A series of frames for an animated computer game charater.

Dhilany Arulananthan - Silhouette

In this project I studied the female silhouette. I wanted to change the shape of the body by manipulating fabrics and using different techniques. The female silhouette has changed dramatically over time, we humans have manipulated the shape and contours of our silhouette through the clothes we wear which is influenced by the trends of that time.
I researched factors like, the development of synthetic fibres and wars which affected fashion to make it what it is to what it is today. I experimented with a variety of different fabrics, draping them of a body to see how the fabric moves, clings and fits on to the body.

The research for my project is mainly consisting of my photos and I analysed the female form by using my previous life drawing classes and also what my peers were wearing to see how and where the clothes cling the body.

From my research I was drawn into creating three different styles of garments, hourglass, illusion and drape. During my project I did not form a colour palette so I researched the 2015 fall Pantone colour trend and selected wine red, purple and blue as I felt this would be suitable for my collection.

The red corset dress represents an hourglass figure I have used underarm pads and a layered net skirt in order to create a smaller waist.

The illusion dress has black panels on either side of the body so that the eye is drawn to the blue panel and gives the illusion of a slimmer figure.
The drape dress is a loose fitting Ancient Greek inspired dress which is cinched in the waist using a belt to create a soft, elegant draped effect.

Lewis Jones - Nora

Continuing on from my previous pathway project, I have chosen to extend 'Nora' further and dig deeper into my nans life. I want to explore the medium of documentary photography and construct a novel based body of work. My initial idea is to simply document my Nan and her day to do life, however this developed further looking into my nans past, social and home life. I have always been drawn to documentary over previous projects so the experience has been built up over time.

I regularly visited the social club that my Nan attends twice a week, I started gathering information and key aspect of my nans life through conversations with her friends and herself. I soon found out that I knew very little about my Nan and wanted to find out more. I then started to take specific images in relation to the information which would then create a storyline to my novel. To further explore my nans life I then visited the sites of the places she used to work in her younger years during the war.

All of this information is displayed through images in a series of books, social, past and home life.

James Cannell - Glitch

missing statement

Charlotte Read - Belongings

The idea behind my project was to explore how the absence of people can be shown through their belongings. The project was based around how the absence of my granddad is shown through his left behind possessions and the documentation of my grandparent's empty house, which remains the same, unchanged and full of their objects and belongings.
All objects carry a meaning or significance to the individual who it belongs to. Throughout various ways of initial experimentation I responded to the objects meaning, this was done through using techniques such as plaster casting which removed the sentiment from the objects creating casts of the negative spaces, this was inspired by the work of Rachel Whiteread.

My ideas for my final outcome were initially inspired by Christian Boltanski's exhibition 'No Man's Land' and the use of human heartbeats playing aloud through the piece. I felt the use of recording would really help deliver the personal side of the project. I started by recording my grandma recalling memories, I then went on to interview my grandma and mum back in the setting of their old house, helping to provoke thoughts and memories of the times they shared in the house with my granddad. The video was based around an old video of the family, filmed in the garden of the house. Influenced by Jenny Holzer's projection work I made the decision to project the video back into the house as it holds more meaning this way, it was also a way of recreating the memories the house holds and displaying it visually for others to see.

The series of photographs I have displayed in frames and in the photo album are another part of my outcome. I wanted the photographs to depict the personal quirks and aspects which show the history of when the house was lived in. The point of the images were not to photograph the house in an aesthetical way but to show it how it really is. I firstly only intended to use photography as a starting point but as my project developed I felt the best way to emphasise the absence of people within the house was to document the belongings within the house instead of removing them from the places they have been stored for many years.

I felt the outcome of my piece was successful as I have been able to create something which has a meaningful impact and relates to my initial intention of the exploration of absence. I have been able to gain skills and the ability to use new software such as Adobe Premier. Photography is another skill I have developed throughout the process of the project and have gained a greater insight. The project has had a significant emotional impact upon family members, and has allowed me personally to get to know and celebrate a life full of memories, which holds a great importance.

Lauren Barrington - Nature Project

The theme I chose to work from was Nature and how finer, more beautiful details get looked over every day. I initially aimed to make an array of 2-3 large textile pieces as final outcomes displayed in my exhibition.

The project started with research into various textile and photography artists whose work not only reflected my theme but included imagery from childhood memories on the coastline. I was able to include my own take of this style of work by evidencing in my primary and secondary research my own imagery of memories of lakes, and pathways that I had visited with family as a child. Concentrating closely on the pattern of water at various times of the day, I was able to create some drawings that gave me inspiration for my final outcomes. The pattern and textures of the ripples in the water allowed me to create very minimal and textured samples reflecting this.

Something that was successful in my project was using the felting technique. This process was quite lengthy but very effective in terms of the textures
and patterns it was able to create. I had not used this technique before, so it was interesting to learn something new as well as giving me fresh ideas to work from. Something that was very effective was the idea of trapping and freezing flowers and leaves in time by either covering them in wax or PVA glue. I especially liked the idea of freezing them in time and be able to document the process of them being fully alive to them slowing wilting to eventually distorting in colour and dying. I experimented with applying these to samples by weaving, trapping and burning them with various sheer fabrics, enough for the flower/leaf to still show through.

Feedback I received during the near final stages for my project was to use the idea of trapped plants in my exhibition by hanging them. Another response was to focus more on finer details by maybe creating 6-8 small sized outcomes that focus on close up details. I took the feedback on board and decided on creating 6-8 smaller sized outcomes (if time) as that way, finer details wouldn't get lost in an A4 sized outcome.

For the final stage of the project I chose the work mainly in using sheer fabrics for my outcomes such as, voile and organza alongside threads that complementing the design. Embellishment played a large role as well as using the felting technique. They were based on my own imagery I had collected, some focusing on the changes in the water as various times of the day, and other more at the calmer side of nature, plant cells and surface of leafs. Something that was challenging during the whole process was keeping planned time scale, as I found I had to catch up regularly to keep on top of my work. Journal work could have been prioritised more, as at time I was more focused on creating samples rather than working on my journal work alongside this process. This resulted in only managing to produce 5 textile pieces as my outcomes due to time constraints. If I were to do any parts of the project again, concentrating more on journal work is something to work on for the future, which would have allowed me to create more varied outcomes.

Andrianna Moulinos - I sicked up spaghetti and it spelled out Margaret Thatcher."

Impotent Lovers is a film based on the relationships and behaviours between humans and how modern day society has revolutionised our natural animal instincts. From analysing the similarities and contrasts between animals and humans, I started to form ideas on mixing opposite traits together to form abstract characters. I decided for there to be no communication through language, only sounds so it became abstract and animalistic.

The two lovers represent any kind of relationship, however the costumes and some scenes are related to Britain's first and only female Prime Minister, Margaret Thatcher and her beloved husband Denis.

These characters are performed by myself and friend Nicholas Parker. Margaret was a woman who was either loved or hated and was constantly pressured to behave and look like a man to become the authoritative leader that she was. By changing the deepness of her voice, darkening her hair and wearing formal suits, the roles of a mother and wife were so distant from her transformation. The smart blazers and emphasised shoulders, supposes high-class and maturity within the characters, which is a contradiction to their childish behaviour. The film also depicts the contrasts in Margaret's feminine and masculine identities and how Denis copes with her 'bi-polar' and memory loss.

The film is based on the couples daily life, however portrayed in a dreamlike reality from being greatly inspired by British comedy sketch 'Noel Fielding'

s Luxury Comedy'. It has psychedelic character's and bizarre story lines which was my initial influence for the characters to wear houses on their heads. This film became so entertaining once I started to base it on comedy and surrealism. The houses are symbolic of the internal thoughts and external projections created in the human mind, with the comparison on how we behave differently when inside our own home, to when we're out in public.
The white faces also developed the idea that the couple are the ghosts or reincarnations of the real Margaret and Denis Thatcher, who have come back to life, having to face the reality of houses being stuck on their heads. Most scenes were filmed by Lauren Muir and the set locations were between Warrington, Manchester and London.

Hannah Broadbent - Folklore

In my FMP, I have explored the theme of Folklore and nature. From the beginning I had wanted to create a project based on mythological creates within natural environments. Of course theses environments would have to be native to the UK so it's not like I could go over to another country and take a picture of a desert for example. Seeing as I had this in mind, I started off by looking up native wildlife like animals and flowers, or maybe wildlife not necessarily native to the UK but would live in those environments; I also decided to research locations I could potentially take photos of later in the project. I then went on to look up folklore creatures that are said to inhabit such environments. I researched varicose creatures like a faun/satyr, mermaid, nymphs, angels, trolls, wood elves and many other various creatures, I also looked up mythological aspects like fairy rings and paths and looked up paganism so I could get a historical input on the matter.

My main source of inspiration for my FMP came from artist like Brian Froud who created art work for the Labyrinth, Josephine Wall whose work has a very

mythological influenced style and Linda Ravenscroft who creates vibrant pieces of work to mythological creatures like mermaids and fairies. I had also created a board and put all of my influential pictures onto it, this helped me a lot.

When creating my work, I decided that I wanted to produce some illustrations, I wanted to go for a slightly realistic style than my usual style seeing as I would be putting a natural element into it also. So that's when I decided to use rotoscoping as a means to my illustration work (rotoscoping is technically a form of animation where you trace over from frame to frame, a lot of rotoscoping tends to not look exactly like the subject it is tracing from, this is why I have called it rotoscoping seeing as the subjects I have used don't look like the illustrations I have produced). I rotoscoped over models I used to act out my mythological creatures and I also got scenery pictures from different sources to use as my background (which I also rotoscoped). Putting all of these aspects into place I used photoshop as my main source of illustration and used a graphics tablet to help me get into more detail.

I didn't just want to just make illustrations, I wanted to make the piece a little more immersive when viewing so I decided to create some illustrative textiles along with it, I had create the fabric leaves on the tree using the freehand embroidery on the sewing machine, and used the sewing machine to create the mushrooms and then painted them after. The reason I have put the toadstools in a circle is because of the mythology behind them; a toadstool ring like that is a real life thing, they are called faerie rings and are supposed to be portals into the faerie realm if you enter into the centre of one.

Overall I enjoyed this project I do think however I could have created many more illustrations and more textile pieces but in some ways I produced enough work for my FMP and am very happy of how the result of my exhibition turned out.

Claire Young - Spiral

Missing Statement

Connor Anderson - Armour

For my fmp I have created a large wearable piece of armour for display along with the workings of how I sketched out the design and how close it emulated the armour it was modelled after , this was done with weeks of trial and error , in the first week I tried to build up on card board only to find it was not a very flexible and I tried to find replacement materials such as foam but was only able to acquire it towards the end of the project , this was a large knock back and so I trialled many different materials till I found grey board to be a more than fulfilling base , after a long time creating the sketches and planning I began to try development pieces once these pieces where done I had found that I had the perfect way to recreate the armour I was seeking with what I had a hand that is the final piece , but along the way I had failed at various things I had to attach a way of fastening the armour to a person over five times till I eventually found I could use a zipped if I could find a good way to keep it on the materials and not have it fall off , the whole creation process fell through about twice once when I tried to make a necro armour that required a lot and I only got the staff made before I judged it would take too long and I have evidenced it with the wood working segment in my book , allot of my past work has I influenced this piece so much as the theme itself is a continuation of older themes , most of my past work has been a build up towards this final, using my skills at creating props and other forms of cosplay I chose to name the whole of the unit reality vs fantasy , the premise being that I use my skills to create something considered not real , a work of fiction and bring it into reality or at least make it appear to , after working out the rough of the body I began to work into the detailing to appear after I had layered over the news prints to form the overall layer, then using the sprays I had I started work on the materials and when it was all finished it was just a case of acquiring a mannequin.

Georgina Lowe - Unwanted Memories

I started this project by continuing on my previous pathway project 'Phobias' where I researched different types of phobias and fears and created a set of images to do with my researched fears. This then lead to me thinking of other secrets people hide from the world. I came up with the idea of focusing on traumatic events people go through and how it has affected them in their day to day lives. I wanted to create a series of 4 film photographs relating to a traumatic event someone has been through and focus on the post production/hand manipulations rather than the digital manipulations.

The main artists who influenced me were Joel Sternfeld and his 'On this Site' project because of the simplicity of his images and also William Eggleston and his use of dye transfers. Through this research I found out about carbon printing and decided that I wanted to try it out and see if I could successfully do it. I then began researching different types of traumatic events and then spoke to a few of my friends who have been through similar circumstances and interviewed them so that I could plan photo-shoots around their experiences, however I had to be sure that I was sensitive when I conducted these interviews so that I didn't offend them by asking too personal questions and I had to be sure that they were okay with me creating a series of photographs about their situations. This was quite an upsetting time however I believe that by asking people for their real life situations it made my work a lot more personal and easier to relate to. I also think that if I had made up some situations up it might have come across as making a joke and undermining the seriousness of the topic. I was happy how the interviews went because they gave me a lot of information to work with.

I then began planning my photo-shoots, and I focused on 3 topics: homelessness, stalking and loneliness. Once I had decided on the topics I began researching the hand manipulations that I wanted to experiment with. This included: marbling, bitumen and white spirit and carbon printing. I also did a few digital pieces however I wanted to focus more on hand manipulations. All of my hand manipulation experiments were successful, however I couldn't master the technique of carbon printing because I feel like I used the wrong sort of photo paper, so now if I were to try again I know what I would do. However the bitumen and white spirit, marbling and the acetate sheets representing the negatives of my images were all successful because I feel like they fit with the eerie theme I was going for. Therefore I have included them in my final piece because they show my research and my different experiments I did when focusing on hand manipulations.

Kate Hulme - 24/7 Model

My FMP is a self based documentary of my experiences as a professional model.

Megan Walsh - Habits

My final outcome is a set of three life sized images exploring subconscious habits. My chosen theme was hand and habits. I wanted to explore habits and how we do so many things without even knowing. I also wanted to explore how we do certain habits only in certain situations. I have been influenced by numerous artists and photographers such as Lee Jeffries, Eric Kim and Louise Bourgeois. I have been able to explore and develop my Photoshop skills with this project, by using several new Photoshop tools to

cut out and manipulate my work. I have found this process quite challenging, but this has help me to develop. My initial idea, I believe, has developed and changed quite a bit throughout this project, but my initial concept has mostly stayed the same. From just focusing on hands, has led me to explore a whole range of habits, which then led me look at how people wear similar clothes to friends and/or family. Whether its styles you've picked up from your family, or subconsciously wanting to fit in with friends that go

out wearing near identical clothes without realising. I have documented my work by annotations and evaluating my work throughout this project. Over all I am happy with my final outcome and how the whole project has come together. If I was given the time I would have liked to try other ways to print as the college printer has led to all my work being slightly different shades. I would have liked to have tried to print them in less pieces as it was quite challenging to put them all together.

Shannen Godwin - Fear

Definition - a distressing emotion aroused by impending danger, evil, pain, etc., whether the threat is real or imagined; the feeling or condition of being afraid.

My specialist pathway is Film and I have used the concept of fear in relation to the horror movie franchise. I have made a series of recreated film posters, old and modern, to change the representation

of women in horror movies. Horror films have been around since the 1890's and women are still being represented as stereotypes such as sinful, blonde and the victim. The aim of these posters is to represent women as powerful and strong by playing the role of the killer.
I created a short film, based on a person who wakes up in a dark attic; now has to find their way out but begins to think they are being followed by a paranormal presence. This film is based on the

psychological reasons of what people fear, such as isolated locations, the dark and found footage, and the reasons why people enjoy watching them. These reasons include a loss of danger in society, the exhilaration and the excitement, which draw viewers in to the genre.

Lauren Rutter - Nature

Missing Statement

Charlotte Blythe - Invisible Gallery

We use light everyday. Mobile phones, televisions, computers, lamps and much more - but what happens whenthe light is taken away?

All vision is removed and your sight is eliminated. My aim is to state the importance of light by displaying works which hae been produced with no sight. In regualr light, the work is invisible - a UV light is needed to unveil the drawings. The actual process of the works involved putting random unknown objects into a box which I would then feel, hear or even smell in order to draw it. Drawing with UV pens meant the ink was invisible too, so there was no option but to use alternative sources. Obviously with no sight, the drawings will be obscured and even incomprehensible but this makes it clear that light is an important factor that we take for granted in everyday life.

Cara Price - What Did You Feel?

My project is a continuation from the previous FMP – “As I See It” because it’s subjective to myself, by that I mean both are self-reflective/personalisation projects.
Francesca Woodman; is a fine example of
the type of notion I tend to use within my
work. A non-fiction genre combining photography and Filmmaking. The content and meaning for my final outcome and project is for the viewer to decide - How they interpret and perceive? What they see/hear and feel? Will this be different from one person to another.
The causation of difference is to do with their external response (physiological state) and how that is altered by their internal response (psychological state).
By that I mean what they take in and process is controlled by their past; Experiences, Memories, Feelings in situations, Life’s Lessons. The response depends on their personality and how sensitive they are to feelings, emotions and situations that would provoke a state of mind such as fight or flight when subjected to a fear.

My project is based on 4 core themes:

• WAR – between self/or others
• SOCIETY- opinions/rules
• RELIGION- beliefs
• CRIME – wrong doings

The one element that defines my concept, tying each of the 4 themes together is:
MIND – perception

The intention of my film is to communicate a sense of confusion and disorientation, through the visual and auditory stimulation presented. 
The sensory input of disorientation links to the idea of self reflection, in this case of how an individual on the autistic Spectrum, like myself, views this complicated world in which we live in. The severe sensation of anxiety and confusion (fear) is experienced on a daily basis, brought on by not knowing (unknown) what is happening around you.Therefore in conclusion my concept is based on myself:

• Phobias
• Anxiety and Depression
• & Of course my perception disorder

The importance of this project is that I communicate just how hindering my internal elements can be on daily life.

Mitchell Armstrong - Illustration

Missing Statement

Faith Howley - Sound

My Project is based on sound. The inspiration for this came from how we perceive sound. My initial research led me to consider both blind and deaf people, and their unique relationship with sound. For example, percussionist Evelyn Glennie, who, profoundly deaf, manages to push the basic boundaries of sound to create inspiring percussion pieces. This presented me with the idea of whether we truly listen, and also of ambient sound, which we tend to ignore, as we no longer really hear it. I put this concept at the forefront of my Project.

Inspired by my research into the "Skwerl: how English sounds to non-English speakers" Video, I wanted to challenge people's expectations of what they might hear, when seeing a particular scene or action. Initially, I took the familiar process of making cups of tea, which I filmed and then replaced each sound with that of an abstract, contrasting sound.
Similar ideas inspired my 'sound replacement' video, taking clips of familiar environments, pairing this also with abstract and contrasting audio, inspiring people to listen to the sounds around them.

I began to look at the relationship between sound and emotion, and how strongly linked sound can be to memory and perception. Considering how sound can change a space, I visited several empty spaces, and then played the sounds of the original purpose of each space back into it, for example an empty swimming pool and disused quarry. I wanted to draw on the history of a space through sound. To demonstrate how interesting and powerful this piece is when experienced live, I have created the sound clip of a basketball match which I will be playing back into the empty sports hall, to create a live response to the work I have done during my project.