1) Was working with primary research useful for the project? Yes or no, why?

Yes, it allowed for us to bounce ideas off each other and brainstorm/explore what the concept of anarchism meant to us in a more open-ended way.

2) What was the most challenging part? Which was the easiest part?

The hardest part was coming up with 10 ideas linking the material (ink) and process (expand) in such a short amount of time. Some of the ideas were definitely a bit abstract towards the end! The easiest bit, for the most part, was sketching/doodling those ideas.

3) If you could do the task again, what would you change or improve?

I would possibly think about also incorporating secondary research into the task earlier – our group spent a lot of time fretting over whether we had the right definition of anarchism because none of us knew for definite!

4) Describe the entire process and the work you did today in two sentences.

The process was challenging and different as much thought and discussion was needed between us before we even put pen to paper. It made us consider lots of concepts rather than one end product.

1) What is graphic communication design? Reflect on the discussion in your group and with the whole class.

Graphic communication design is a dynamic and ever-changing discipline that uses a visual language to convey a purposeful message in a variety of mediums.  By controlling colour, type, images and ideas, specific messages can be sent to the intended audience, which is an invaluable skill, especially in the professions of advertising and marketing. It simplifies complex ideas into something that is succinct and clear, making the core message easier to understand. 

2) The creation of a new alphabet: what was the core of your idea? Does the final outcome deliver a message - yes or no: why?

The quote "You don't have to be a professional to have an opinion about the rainbow" by Olafur Eliasson (from the video interview Become Your Own Navigator, 2019) served as inspiration for our new alphabet. Firstly, we were drawn to the colours of the rainbow and as a group, we decided simplicity was key. We applied a colour gradient from red to violet across the letters A to Z so each one had its own individual shade (image 1).

We then thought about the makeup of the actual letters - how many lines and curves were used to form each one when using capitals. We settled on using a straight line (|) to represent (unsurprisingly!) a straight line and a circle (O) to signify a curve. The number of each would be dependent on how many formed the letter. For example, A became ||| (3 straight lines), B became |OO (1 straight line and 2 curves) and so on (see image 2 for full alphabet).

The symbols for each letter would be drawn using the colour which had been decided upon beforehand. Finally, we wrote out the quote using our new alphabet (image 3), although we did find it a little difficult recreating some of the shades exactly as sometimes multiple pens, which hadn't been noted down, had been used to create that specific colour.

This led me to create my own alphabet (image 4) separate from the group, using only 7 colours.

I also decided I wanted to focus more on the shape of the rainbow and came up with a growing circular pattern, almost like the rainbow was moving round the points of a compass (from the 'navigator' aspect in the title of the interview). Ultimately, I think both designs did deliver a message - sometimes the simple, most obvious route can be the most effective. 

1) How did you respond to working as a team?

I enjoyed working in a group during this workshop -  we all supported and encouraged each other when creating our looks, despite the fact none of us being particularly fashion orientated in the first place! I tried to be as proactive as possible but all of us had a say when making our designs - listening and bouncing ideas off each other played a key role in the creative process.

2) How did you combine your ideas to create experimental looks?

We would each pick garments/fabrics that appealed to us individually and then would try them out on the model one at a time. After voicing our opinions, we would make changes in order to create a more aesthetically pleasing look - sometimes someone would have a better idea of how to use an item. The final designs ended up being an amalgamation of the best of all our ideas - communicating the chosen message in the most effective manner. 

3) How were your ideas of fashion communication developed or challenged by the activities?

I originally thought fashion communication was simply creating a design that looked good but through the activities, I could see it was more about getting our individual voices across through style, while also linking to our chosen theme. Teamwork and flexibility are also paramount in fashion communication - the stylist, photographer and model all have to work together to create the desired look. While we may have had an idea in our mind of what we wanted to create,  physical limitations of the fabric/garments could get in the way of our vision - sometimes they would simply not behave how we wanted and we would have to adapt our ideas to overcome this issue. 

4) How did photography help to transform your images into potential narratives?

While we tried our best to get our chosen message across through the looks, photography really helped to push our narratives further. We shot on location and picked places that linked back to the theme to some extent. Our black/white hybrid look was titled 'We will not take this lying down' and we tried to make the model look like she was in encaged by shooting through a metal grid. We attained a moodier, grittier feel through the bleakness of the setting, combined with lighting and contrast in the photos to really highlight defiance and strength in the face of oppression, something our look alone could not achieve. When shooting our pattern/block colour look we took two different approaches. Firstly we chose a white, plain background to make the colours really pop by reducing distractions. However, we actually used a more colourful setting in the end, mimicking the bright colours of the design and making the whole image look bolder and vibrant. For our oversized/fitted look, we didn't focus on location as much but thought about how angles could work in our favour. We often shot from a low angle, as if on the floor, making items in the foreground look larger, fitting with the oversized theme. 

5) What were successful strategies that others used and why were they successful?

Some groups were more flexible with the roles of photographer, model and stylist - they swapped more often and played to each other's strengths. This could sometimes result in a stronger overall image, and different points of view helped ideas evolve.

Today's session focused on my outcome from last week and what themes could be extracted from it. I decided plastic pollution, marine animal welfare and overfishing could be the most fruitful topics and came up with a series of illustrations to act as mascots to raise awareness. I stuck with the image of an octopus as I felt it had a lot of potential with the curves of its limbs, creating interesting patterns as well as filling the space. The drawings themselves were simplistic, using a limited colour palette, single lines and block shapes. I did this in order to get the message across clearly and directly, removing unnecessary background distractions. I used bright neon colours to make the design more eye-catching, grabbing the viewer's attention immediately. However, I am wondering whether more organic, almost oceanic colours may be more appropriate, furthering and emphasising the chosen topic areas. 

I decided I could develop my idea further by creating a 3D outcome as well - I am planning on printing the illustrations onto tote bags, encouraging people to ditch single-use plastic bags to help reduce the amount of plastic in the ocean. By having the designs on a bag, the message may literally travel further as well, with people using them out and about - the illustrations won't be stuck in one location. 

1) Which one of your themed photos was the most successful and why?

I think the photos for the black/white themed shoot were the most successful - we had more time to think ideas through than the shoots in the afternoon and, to be honest, everyone seemed more enthusiastic in the morning! We also had a lot more different items to utilise, creating varied shots and giving us plenty of opportunity to experiment - at one point I was even balanced on one foot while wearing rollerblades in order to create the desired shadow! The resulting shots were intriguing, with a lot of contrast between the light and dark, combined with distinctive shadows - some were almost abstract in nature, drawing in the viewer and letting them interpret the image in their own way. 

2) What new skills have you acquired from today's lesson and how will this change your approach to still life photography?

I found sketching out potential layouts a useful skill to carry forward - even if the eventual images look nothing like your original drawings. It made me more aware of composition before even picking up the camera and offered a reasonable starting point for the shoots. I also learnt how different shooting in a studio is compared to on location - you have so much more control over lighting and can create much more polished, clean images. However, this does not mean the resulting photos are superior to those on location - both approaches have their own advantages and I will seek to use both in the future.

3) What role did you enjoy most as part of a team?

I enjoyed both the role of photographer and art director in my team but I am aware that I'm not the most technically accomplished photographer - I only used my phone to take the photos, whereas others were using SLRs. However, I can frame a shot fairly well and enjoy thinking about interesting compositions and angles but perhaps this means I am potentially more suited to the art direction role. I tried to make sure my team didn't lose focus of the objective of the shoot, whether it be lighting, composition or narrative, and suggested varying locations in order to produce a wide range of images. 

1) What are the benefits of using a library to conduct research, as opposed to online?

One of the biggest benefits of using a library, as opposed to the internet, is the validity of the research - if something has been published in a book it is more likely to be factually sound than online, where anyone can make a webpage or even edit information (like on Wikipedia). It is also a bit like looking for a needle in the haystack on the web; the web is incredibly vast and through your search you are likely to only come across a small fraction of the information out there and you may even struggle to find something relevant. In a library, the resources are collated into sections so it is a lot easier to find information on a certain theme as books are all together in one area. This may also be useful in expanding your search as related items are within your reach. 

2) How did using drawing enable you to make/refine decisions about your layout?

Drawing was useful in developing my poster's layout as you could sketch lots of ideas quickly, comparing aspects of each layout that worked or what could be improved upon. It could give a general idea of what it would look like, rather than wasting time creating the poster digitally, just to discover something wasn't quite right. However, I did struggle to emulate fonts exactly so I had to accept these would only be a rough designs. 

This week's workshop was all about converting our ideas from last week into designs that would work when printed. Fortunately for me, my illustrations were already fairly blocky, so they didn't need to be adapted much for print - I tried to minimise my use of very thin lines and had to accept that when I was preparing my plate these areas would not be as detailed as in my drawing. The biggest issue for me was the fact that I decided to print in 2 colours (red & black), meaning that I would have to prepare 2 plates for each illustration (of which I had 3). I find red and black to be a visually striking combination, and would definitely draw more attention to the design when on a bag. However, it meant I had to split my illustration into red and black areas when I was tracing them, as well as considering blank areas, making the process a little more complicated. Overall, I would be preparing 6 print plates, opposed to one as most people were doing, so it was going to be a very time-consuming process, especially when I am not overly comfortable/proficient when using a scalpel. I am considering simplifying the font I am using to ease the process, although I don't think it will be as visually effective as the one I have already developed.

1) What struck you about the works we saw in the presentation?

I found the works in the presentation quite shocking to be honest, despite knowing that many had been generated by AI or algorithms beforehand. I couldn't shake the feeling of the uncanny - seeing these familiar icons, such as the Mona Lisa and Mark Zuckerberg, being manipulated in this way to influence the viewer was a bit eerie and unsettling! I was amazed by the advancement in technology (you could hardly tell the images were AI) but it does worry me about how such technology could be used - there could be a definite threat to personal privacy, the possibility of spreading false information or even defamation of personas. 

2) Why did we pay attention to the Spectre project and in general to the manipulation of images and reality?

I think the Spectre project was so attention-grabbing as we live in such a digital era, so the safety of our personal data is paramount. It's especially disconcerting to see Mark Zuckerberg 'revealing the truth about Facebook' and discussing 'who really owns the future' - his image has been manipulated through AI to say things you'd never expect him to say publically, showing how anyone is vulnerable to data manipulation and really instills a sense of fear into you.  Technology has advanced to a point where you have to question what is real and what is not, highlighting how careful you have to be in today's climate with what you believe.

3) The works of the presentation have a great communicative power. Why?

The works have such great communicative power as they take something so well-known and build upon that. The concept of recreating something with almost identical image, voice and mannerisms of an actual human to communicate a message they do not necessarily believe is very shocking and captures the viewer's attention straight away. The conflict between what is fake and reality in the presentation is impressive and evokes deeper thoughts into what message is actually being conveyed.

4) Do you think an ethical position in communication is important?

Yes, I think an ethical position in communication is very important. Through technology today, it is so easy to mislead an audience and could result in the spread of fake information or even defamation of someone's persona. If techniques of manipulation become widespread, it will create a deepset sense of mistrust and people will not know what to believe, essentially destroying the whole point of communication. 

1) What have you learnt about the properties of materials?

I have learnt that materials do not necessarily behave in the way you would expect. For example, I assumed using acetate would create a very vibrant effect, but the colour was a lot more diluted than I first thought. I also found that translucent materials, such as tracing paper, could act as a light diffuser and make the light source a lot less harsh. By combining materials you could also achieve varying textures and colours, that a single material could not provide.

2) What can you do to change how the light affects the material?

You could change the intensity of the light to see how it affects the material - I did this by moving the material different distances from the light source. The direction of the light source (whether it is backlit or frontlit)  could also create different effects.

3) What can you change about the construction of the box to facilitate your experiments?

If I were to do this again, I would possibly work with a smaller box - I found mine a bit too big and therefore the light wasn't as concentrated as I would have liked. I would also potentially line the box with mirror card to create more reflection within the area; I would be interested in seeing how the effects would look if the light wasn't coming from a single direction. This could also be achieved by cutting holes in the box and letting in light in different places. 

4) How could this way of working be implemented into your current project?

I don't think this way of working would be useful in any of my current projects but I would definitely consider it in the future, especially for photographic outcomes. These effects could serve quite nicely layered over photos or for creating more dynamic backgrounds. 

1) How does hand-lettering enable an alternative form of communication?

I think hand-lettering is a lot more personal form of communication - by the very fact it is done by hand and is not mechanically or digitally created. There will be natural variations that add interest and a touch of humanity. 

2) Explain how you used your postcard to generate an idea for the text content of your outcome?

As the postcard text mentions fishing (and not much else!) I felt I had to go down the route of using a fish or water icon in some way. I changed the wording from 'I have been fishing' to the common phrase of 'Gone Fishing' as it is simpler and more to the point. 

3) Which animation experiments were your most successful and why? 

I had a few experiments that I really liked - in the end, I combined aspects from the water throwing experiment which made the ink run and the extended letter as a fishing rod entering the water to create my final outcome. I used both timelapse and stop motion animation in my experiments but ultimately I felt the timelapse was the most effective as there is something more honest and human about the outcome. 

1) How did you respond to working as a team? What were the ways you found to combine your ideas to create a new & unique moodboard?

Working as a team was particularly helpful in this exercise as we needed to get a lot of ideas together in a short space of time. As there was such a wide variety of ideas (the picture made every one of different things) everyone learnt to compromise, producing a joint effort acceptable for all.

2) How were your ideas of fashion communication challenged + developed by the references presented by Rhea Dillon?

I thought Rhea Dillon's films, 'Define Beauty: Process' and 'Black Angel' were visually impressive and very thought-provoking - the violin used in the scores (Asriel Hayes) really enhanced the dramatic effect, making the pieces especially emotive. Below are a few stills from 'Define Beauty: Process' which I found particularly captivating as the central focal point draws the eye, while the use of water almost makes it seem like an immersive experience.

Source: https://vimeo.com/dillonrhea

Rhea also made me realise there are lots of different aspects to fashion communication with many varying roles, from stylist or art director to filmmaker or photographer. Despite being such a diverse pathway, personally I have learnt that fashion communication is not my prime interest. 

3) How did making the mood boards transform your ideas/thinking into a cohesive shoot or styling prep moodboard?

Although an interesting exercise, possibly due to the limited time available, I did not find that creating the mood board did not go as far as transforming my ideas into a cohesive shoot.