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ERINN SAVAGE – Performance
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School of Design

Students and staff in The School of Design at The Glasgow School of Art enjoy being part of a community defined by a diverse portfolio of subject specialisms. The Digital Showcase presents graduating students work from across this broad field of design practice.

 

The material here encapsulates their creativity and criticality, it seeks to delight and stimulate, pointing us in new directions, suggesting better alternatives and revealing fresh thought. As emerging designers the work that students have produced engages directly with people and grapples with some of the most important matters of our time.

 

The context we have segued into is unknown. However it is precisely the types of works that are shown here, in their visionary, provocative, imaginative and beautiful clarity that will help us shape ways ahead in the days ahead.

Steve Reich / LSO Percussion Ensemble

Using one of the prints produced in the Systematic project, I digitally altered and applied as album and poster artwork that inspired the very pattern of the print. (See 'Phasing I') The album is London Symphony Orchestra Percussion Ensemble’s performance of Steve Reich’s Clapping Music, Music for Pieces of Wood and Sextet; performed on 30 October 2015 in St Luke’s London.

Artwork applied for large scale print

Phasing I

Inspired by the composer Steve Reich, this project explores how the compositional practice of minimal music could be applied and visualised through printmaking

Untitled

Modular woodblocks on the printing press

Phasing II

Woodblock prints on 50x70cm 200gsm Fabriano paper

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Systematic

Woodblock print on 50x70cm 200gsm Fabriano paper

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Letterforms

Potential letterforms derived from the modular shapes

Lines

Two book covers for Tim Ingold’s ‘Lines: A Brief History’ and ‘The Life of Lines’. These are designed in retrospect of a series I made in the previous year focusing on lines and systematic ways of printing. The covers feature a close crop of lines produced on a letterpress bed, showcasing the lines’ idiosyncrasies whilst the choice of printing also alludes to historic processes and indeed history itself.

Lines: A Brief History

A Life of Lines

Make It Move

Typeform and movement exploration

Frolic (short animation)

Music: Sun Rays Like Stilts by Tommy Guerero

Transitory (short animation)

Visualising music through forms derived from letters. Inspired by Saul Bass' motion-picture title sequences. Music: Quest by Nosaj Thing

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This item is for sale, please contact for more information.

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FATHER

FATHER is a book containing works by photographer Harley Weir exploring the complexities and beauty of masculinity. The cover uses bespoke lettering I created for the project highlighted in a pale pink foil, I chose to explore this kind of lettering to evoke the feelings of childishness that resonates with the title along with the rich, sumptuous forms within the content. May 2019

POLLUTED

Polluted is a photo-series that attempts to portray water pollution through the use of chemicals from around the home on film negatives to represent possible contaminants our waterways are exposed to. April 2019.

GIRLS AGAINST

The charitable organisation Girls Against held a competition to design the cover art of their first fundraiser compilation vinyl. I designed the winning entry that consisted of a lino cut design depicting a powerful woman surrounded by grabbing hands. I felt this design was appropriate as the organisation aims to raise awareness and fight against sexual harassment and assault at gigs. August 2018.

LOST

Lost was the penultimate project from my foundation year at Arts University Bournemouth. It focuses on my Granddad’s time in Vietnam and attempts to embody how his alzheimers may have effected the memories of his time there. I chose this particular time period after discovering a scrap book he had made that ducumented his time away with the Army supplying a rich variety of source material pertaining to one particular period in his life. The book utilises blank space along with damaged pages to enhance the curated and edited images to try and immerse the viewer in the disintegrating memories of a person with dementia. May 2016.

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PERSEPHONE

Persephone was a self directed print making project that resulted in the creation and sale of t-shirts on Everpress. This lino cut attempts to portray the Greek myth of Persephone’s descent into the underworld and her transformation into a queen. August 2019

GARDEN OF CHAOS

Garden of Chaos is a new magazine that aims to showcase Middle-Eastern countries, fashion, art, history and culture to a worldwide audience. This project is still in its infancy with final outcomes still in the process of being refined and developed. The desired logo is intended to be a modern play on Hieronymus Bosch style illustration and medieval Arabic manuscripts creating an intricate sigil for the reader to decipher. Ongoing

WARP AND WEFT

This project portrays the human mind as a delicate fabric prone to fraying creating a metaphor for cognitive disorders such as Alzheimers and dementia. I created a series of woven images from family photos of loved ones with dementia that aim to give the viewer an insight into the issues that come with loss of memory and the subsequent loss of self. September 2019

DAD

DAD is a font that has been taken directly out of the notebook my father keeps to aid his memory and transferred onto the digital plain. It was born out of the observed deterioration of his handwriting as his condition progressed, creating a visual embodiment of the often unnoticed early stages of Benson’s syndrome. March 2020

Balsyn

With a number of e-scent products being produced over the last few decades ultimately failing to do our olfactory systems justice, and some products such as iSmell joining the list of ’25 Worst Tech Products of All Time’, Balsyn aims to rebrand the digital scent industry into something we could imagine using in our daily lives in the future. The concept for this project comes from the discovery of a Japanese company that controversially uses the theory of vibration of olfaction, which argues that a molecule’s smell character is due to its vibrational frequency. By using this unproven theory, the design and aesthetic of a fictional product could be imagined in more creative and speculative ways. The product’s design consists of a flexible nose strip which is to be worn externally on the nose to interrupt the olfactory receptors inside the nose and brain and to replace any physical, real world scent with one that has been transmitted using either a phone or computer. The dot, a small circular sticker, is placed on the speaker of the phone or computer in order to pick up the vibrational frequency to then send to the nose strip. Both devices are made from TechnoGel, which is a breathable, flexible, waterproof and non-irritable, bio-degradable material. The name of the company and its logo were designed with the intent to feel like a global, large business and familiar like the big tech brands we know and use. The advert uses a template that the tech industry provides, to create the feeling of authority, innovation and the future.

Dream on the Beach (1)

Digital drawing

Dream on the Beach (2)

Digital drawing

Dream on the Beach (3)

Digital drawing

Dream on the Beach (4)

Digital drawing

Dream on the Beach (5)

Digital drawing

Dream on the Beach (6)

Pencil on paper

Dream on the Beach (7)

Pencil on paper

Dream on the Beach (8)

Pencil on paper

Blue Before Bed

Coloured pencil on paper

Dreams of Disaster

Gouache on paper

An Unintentional Community

This project explores community and sustainability on the Isle of Eigg, one of the four small isles of the Scottish Inner Hebrides. In February 2020 I visited the island and found a welcoming and determined community whose values align with much of what I feel is important. It is a community that harvests, respects the environment, is resourceful, and is considerate of others. Indeed, as we become more reflective on our way of life and consider the impact of our actions on our infrastructure and the environment, it seems we could all look to communities like Eigg as a source of inspiration. Perhaps now more than ever, considering the affects that Covid-19 pandemic is having on our society, we could benefit greatly from adopting a similar attitude to the people I met from Eigg. My interest in the island was sparked by my flatmate Rhona Brown, a product design student, who was researching Eigg’s ocean waste. The aim of her project was to empower the community by finding value in the materials that washed up on their shores. She had asked me to accompany her to document her trip (and probably provide a bit of moral support during the interviews she had planned!) This prompted me to invest some time into my own research which led me to learn about this truly unique island. The island came to be community owned in 1997 after a crowd funding project and the support of a mystery benefactor. Since then, the island has developed the infrastructure to generate and supply their own energy. Due to this success, they are no longer connected to the national grid and 95% of the energy they produce is renewable. This means they are self-sufficient without relying on mainland energy supplies, which I believe is a great example of their values and spirit. Living on an island comes with unique set of issues, some of which we learnt a lot about through meeting with locals. For example, the community organise beach clean ups finding ways to collect and recycle or dispose of waste that washes up on their shores, mainly from fishing boats. Only residents are allowed to have vehicles on the island and it isn’t very easy to get a new one over there. This means nothing working would be left unused. In fields and beach-side, there were old vehicles that had clearly been repeatedly repaired but had finally been cannibalised for parts. The care shown for the island, and the environment in general, is infectious. Volunteers come from all over the world to spend time working with islanders on environmental and conservation projects. I met Andreas, from Germany, who was working with Catherine and Pascal at their willow farm. Their craft sees them busy all year round, growing and harvesting willow to make into wicker baskets to sell internationally. One thing that resonated with me during a conversation with one of the islanders, is that most of the people who have moved there have not done so to live with the other individuals on the island. She described them as an ‘unintentional community’ who happen to share the island. They don’t always agree but they work it out and move on. A few people said to me that to live there, you don’t have a choice but to speak your mind, or else you’d go mad. I found the people to be honest and down-to-earth. They were humbly aware that they could not be, and wouldn’t want to be, the mouth piece for every islander because everyone had something different to say. This project is still very much in development, I had planned to return to Eigg to continue my research, but unfortunately I had to cancel due to the lockdown. Such a unique island could not have been captured in just one trip and so the project is very much on hold with a view to finishing as soon as I can return safely. Presented here is a selection of my photographs from my visit in February. I am excited to expand on this work and hope to eventually make a book that would document this unique place and inspiring community.

Part of the Furniture'

Part of the Furniture' is an investigation into the objectification of the female body and how best to challenge this when photographing a nude. The series aims to playfully criticise the way in which the female body is often treated as an object in popular culture imagery, as well as within art. The photographs, staged in the models’ home, depict nude female figures amongst objects typically found in a domestic setting. Sometimes the body connects with the objects to suggest a useable function. Other times the body mirrors the shapes or lines seen within the space. The arrangements suggest parity between the objects and the body, while the surreal sets poke fun at the notion that they could be in any way the same. It was important to use a home setting to consider broader issues, such as the expectations of women in the home, that still exist for some today. The final image depicts the women confronting the camera and, in turn, the viewer. Although the images are playful, the core message, that the way in which the female figure is objectified is fundamentally ridiculous, remains. After creating the photo series, I felt my ideas would have further impact if the photos themselves were literally objectified. I did this through making a set that would symbolise a domestic setting, but wouldn’t directly mimic one. I chose two photos from the series and mounted them onto furniture to reinforce the notion of objectification. The furniture itself has been altered and the carpet stretches from the floor all the way up the walls. The picture frame remains empty. The uncanny set highlights the absurd nature of objectifying the female body while reflecting something not dissimilar to what one sees in popular imagery today.

The In Between

Covid-19 has had a global impact, the effects of which most individuals have in common. It has caused everyone to have to pause and reflect. Some have also had to re-evaluate how they can continue to function as best as possible during national and international lockdowns. My peers and I have found our final year at art school cut short. We have been left in between student-hood and the ‘real world’, forced to graduate prematurely yet not able to throw ourselves into the next stage of our lives. Although this is difficult, it is important to remember that we are not the only ones being affected, every individual is stuck in their own kind of in between. This ongoing photo series, depicts quiet observations of my surroundings during lockdown. Taken at twilight, the time in between day and night, the stillness and emptiness is amplified. The photos aim to echo the current climate we all find ourselves in. I hope my project resonates with everyone as we all figure out this common place of ‘The In Between’.

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Figure I

Drypoint, 2019

Figure II

Woodcut, 2020

Black curve

Drypoint, 2020

Black line I

Drypoint, 2020

Black line II

Drypoint, 2020

Three greys I

Monoprint and drypoint, 2020

Three greys II

Drypoint, 2020

Two greens

Monoprint and drypoint, 2020

Manifesto

Collage, 2019

X

Series of experimental animations exploring movement with sound and space, and the shifting connotations of the letter x. Throughout history, the ancient letter has symbolised a myriad of different meanings. However, one use remains prevalent, its simultaneous ability for its meaning to be substituted for anything, and also represent a complete lack of anything. From there I explored our obsession with the unknown, the existential reality that we may just not be that important. The experiments not only manipulated the formation and possible movements of the letter, but introduced factors of sound and space in an attempt to research how the letter would interact. I included the sounds of the Voyager golden records, a strange arrangement of beeps and buzzes that when decode reveal images and information of life on earth. I also played with plinths, gauze and projection to bring the experiments into the living realm so that they may be experienced again in a new way.

InPractice

InPractice is a quarterly journal that bridges the gap between graphic design/typographic theory and practical design principles. The journal is dotted with interviews and shorter articles from both designers and writers broken up by longer essay features. The essays have been reformatted for a journal friendly setting to allow easier reading and an aesthetically digestable experience from readers of all backgrounds.

X

Responsive X animation to Golden Records audio.

Un-useless (environmental)

As part of a brief exploring the art of Chindogu (objects designed for a specific individual need that would in practicality serve no real use), I developed a set of site specific vinyl signage. Inspired by Otl Aicher's signage system, I employed typical shapes, objects and figures found in common signage and began to manipulate their place in the environment, encouraging an ironic playfulness that causes the viewer to look again. The use of the Univers typeface offered a utilitarian and commonplace type to further subvert.

Un-useless (branding)

This identity system is for use in a fictional exhibition showcasing objects from various designers and artists that subvert the utilitarian uses and social relevance of everyday objects. Following from the vinyl signage experiments, promotional elements for the exhibition as well as a logo was developed. The exhibition title is inspired from an interview with original Chindogu artist Kenji Kawakami in which he describes his inventions as 'un-useless'. The sound as well as the grammatical formation of the word is an ideal indicator for the absurdity of these inventions and encapsulates the retaliation of conformity found in the objects included in the exhibition. A continued sense of fun and irony is included in the brand as the wonky dash and signage icons becomes characters in themselves, subverting the order and use of posters and banners. Even the printed material becomes objects of interference. A leaflet too big to handle and a poster that spreads its message through tear away stubs that ultimately lead to its demise integrates the brand irony further.

Un-useless (brand)

Poster developments

Un-useless (brand)

Poster tear-away stub

Pain and Glory

Movie poster design for the movie "Pain and Glory" a film where Almodovar reflects on the choices he's made in life.

Persona

Design for the movie 'Persona' the film is an exploration of duality, insanity and personal identity

Persona alternative

Design for the movie 'Persona' the film is an exploration of duality, insanity and personal identity

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Whilst you're here, the recycling is by the door.

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Lady and the Pig

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How long is a piece of string?

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24 Hour Body

A written piece inspired from the backs of shampoo bottles.

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Serendipity

Serendipity comes in waves, unplanned and uncontrollable. Yet, it is serendipitous moments that connects mankind to the unknown, developing a certain artistic freedom as man starts to make nature his playground

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Serendipity

Serendipity comes in waves, unplanned and uncontrollable. Yet, it is serendipitous moments that connects mankind to the unknown, developing a certain artistic freedom as man starts to make nature his playground

Price: £100

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Serendipity

Serendipity comes in waves, unplanned and uncontrollable. Yet, it is serendipitous moments that connects mankind to the unknown, developing a certain artistic freedom as man starts to make nature his playground

Price: £100

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Serendipity

Serendipity comes in waves, unplanned and uncontrollable. Yet, it is serendipitous moments that connects mankind to the unknown, developing a certain artistic freedom as man starts to make nature his playground

Price: £100

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Serendipity

Serendipity comes in waves, unplanned and uncontrollable. Yet, it is serendipitous moments that connects mankind to the unknown, developing a certain artistic freedom as man starts to make nature his playground

Price: £100

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Land

An ongoing exploration of the environments that surround us

Price: £120

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Land

An ongoing exploration of the environments that surround us

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Limits

Capturing and documenting stories of those who push the limits of the human body

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Limits

Capturing and documenting stories of those who push the limits of the human body

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Limits

Capturing and documenting stories of those who push the limits of the human body

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In Moleca

Immersed in canal water, a tourist arriving in the city hesitantly stares into the path ahead of them. It is unclear where the path ends and the canal begins as boats wash up on the sidewalk.

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In Moleca

High-tide levels, painted on a wall by locals. These ambiguous DIY markings can be found around the city, documenting the increasing tides of the Acqua Alta. Like children’s measurements on a wall, it is uncertain as to what height these markings may be in the future.

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In Moleca

A member of ‘Comitato No Grandi Navi’ holding a banner representing their local initiative and the issue it opposes: cruise ships. Around 600 enter the lagoon annually. It’s estimated that 1 cruise ship pumps out the equivalent to 1 million cars worth of emissions in a single day.

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In Moleca

A tourist in fancy dress stares into the water whilst travelling on a vapareiso water-bus during the ‘Carnevale’, the famous Venetian festival. This is the busiest time of year in Venice and attracts thousands of tourists who come to experience the old traditions of the ancient city.

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In Moleca

A cruise ship docked in the industrial area of Marghera. The scale of these ships in comparison to the fragile island that they are docking in is absurd. These have a devastating impact on the lagoon’s ecosystem and the city’s underpinnings. An old utopian ideal of travel that should be forgotten.

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In Moleca

A sculpture by Mario Irarrázabal for the 1995 Venice Biennale, initially installed in the centre of Venice. I found it in a relocated in the Marghera on the mainland, crumbling and held together by scaffolding. A portrait of humanity; this resonates a strong depiction of our current climate.

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In Moleca

A hose siphons water from a flooded home back into the flooded street. Many residences are adapted to withstand the high-tides with raised doorways and flood barriers. In more severe cases however, these become ineffective.

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In Moleca

Tables and chairs huddled and chained together to prevent them from floating away. Taken in Piazza San Marco where tides reach the highest in Venice during the Acqua Alta. Also an area most often flooded by crowds due to mass-tourism.

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In Moleca

Staring into a vast landscape of nothingness, two tourists stand in Piazza San Marco up to their legs in water, one of the lowest areas of the city and most affected by the high-tide.

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Pause or Pay UK

I, as a graduating student at the Glasgow School of Art, would like to state my support for the Pause or Pay Campaign. To read the full manifesto go to www.pauseorpayuk.org

BFK Rebrand

The Hungarian KKBK Inc. (Centre for Major Governmental Insverstments) rebranded itself to be the Budapest Innovation Centre (BFK). The corporation handles urban planning, real estate and sports planning related tasks in the capital. With the new name came a brand new logo and identity. This work is a proposed idea for the rebrand tender.

Perfect Citizen

'Perfect Citizen' is a satirical work, addressing the idea of a social credit system. In today’s society information is the primary currency. Our every move is digitised and converted into data. The rise of social media only served to significantly accelerate these trends. Centralised digital platforms enable easier tracking, where 'gamification' builds into surveillance. The idea of a social credit system fosters a public opinion environment, leading to a loss of agency and public shaming. In this project I explore different scenarios. I look at whether this phenomenon potentiates a culture of honesty and safety, or a society of deceit through representation and conformity. What happens to the maverick?

Sequoias are dying!

A short documentary film about the dying Sequoia tree.

It Has Gotten Weird Out Here

A postcard series.

Eastfield Jam

A animated collage for Hear My Music's 10 minute musical piece.

Urban Roots Logo Development

This is just a few of the logos that were developed to get to the final logo used for the identity.

Urban Roots Leaflets

These are some examples of finished leaflets incorporating the whole identity.

Children's book WIP

A few spreads from a commission I am currently working on in collaboration with an illustrator.

Pause or Pause

As a graduating student at the Glasgow School of Art, I would like to state my support for the Pause or Pay Campaign.

Ongoing series of still images part of a documentary titled '60, Seconds out',examining the semiotic structures of a boxing club as environment and of boxing as practice involving the body. Focusing on details such as sweat, fibres and pores, this photographic series aims to convey an intimate and sensory experience of boxing. The images, deliberately generated ‘in-between’ rounds lasting exactly 60 seconds, records the unique effects of boxing training on the individual as a suspension of time. From close-up portraits to contextualising environmental shots, ‘60, Seconds Out’ intends to offer a visual access into the Language of a boxing club. I consider this project as being in collaboration with the members of the Kelvin Amateur Boxing Club in Govanhill, Glasgow, whom kindly welcomed me.

Robbie after sparring

The Virtue of Water and Salt (of the earth)

Deriving it’s name from a chapter featured in John Graham Dalyell’s 1834 work ‘The Darker Superstition’s of Scotland’, 'The Virtue of Water and Salt (of the earth)’ is an ongoing project. Belief in superstition has long been characterised as a sign of ‘low-intelligence’, and associated with societies most marginalised groups, such as the lower-classes, people with marginalised genders/identities, and people of colour. Superstition has arguably also played an important role in the lives of those who could not access essential yet costly amenities, from herbal remedies in place of the services of a costly doctor, to folk tales, impractical-practical advice and genuine reasons to socially interact with one another. This project aims to explore this second, less spoken of side to superstition.

The Virtue of Water and Salt (of the earth)

The Virtue of Water and Salt (of the earth)

A sketchbook example.

Invisible Place/Hidden Cities

‘Invisible Place/Hidden Cities’ ‘Invisible Place/Hidden Cities’, developed after reading Italo Calvino’s ‘Invisible Cities’, was an exploration of the role of lanes and alleyways within cities and places. I had become interested in whether lanes, in their overgrown and neglected state, often served as a more truthful reflection of the goings on in the area they are located than the better-groomed roads and streets which encased them. The final series, depicted here, sought to articulate the feeling of being stood in a lane, where it is almost always slightly dark and claustrophbically narrow, cluttered with weeds, forgotten objects and discrete happenings, which are seldom tidied up as they would be elsewhere. They sought to ask the viewer whether the events and stories (good, bad and secret) which occur within them could happen anywhere but the enclosed space of a lane, or are they where these occurrences seek refuge, away from open spaces and prying eyes.

Invisible Place/Hidden Cities

‘Invisible Place/Hidden Cities’ ‘Invisible Place/Hidden Cities’, developed after reading Italo Calvino’s ‘Invisible Cities’, was an exploration of the role of lanes and alleyways within cities and places. I had become interested in whether lanes, in their overgrown and neglected state, often served as a more truthful reflection of the goings on in the area they are located than the better-groomed roads and streets which encased them. The final series, depicted here, sought to articulate the feeling of being stood in a lane, where it is almost always slightly dark and claustrophbically narrow, cluttered with weeds, forgotten objects and discrete happenings, which are seldom tidied up as they would be elsewhere. They sought to ask the viewer whether the events and stories (good, bad and secret) which occur within them could happen anywhere but the enclosed space of a lane, or are they where these occurrences seek refuge, away from open spaces and prying eyes.

A sketchbook example.

Of All My Mother’s Who Came Before

An illustrated book, whose contents explored the anonymity, presence and locality of one of my Great Grandmother’s, who had passed away just three years older than myself on the time of writing. ‘Of All My Mother’s Who Came Before’ is a book concerning familiarity and presence of predecessor’s and those who went before.

Of All My Mother’s Who Came Before

Of All My Mother’s Who Came Before

Of All My Mother’s Who Came Before

An illustrated book, whose contents explored the anonymity, presence and locality of one of my Great Grandmother’s, who had passed away just three years older than myself on the time of writing. ‘Of All My Mother’s Who Came Before’ is a book concerning familiarity and presence of predecessor’s and those who went before.

Absences and Invertibrates

Mark-Burnett-Film-Stand

A Type of Sound

A Type of Sound Creating a relationship between type and sound. Using the typeface Futura the geometric sans serif typeface which was based on visual elements of the Bauhaus design style of 1919 to 1933. Futura’s simple geometric circles, triangles and squares represent function over form, taking away the nonessential and decorative elements. Working with a local musician Pefkin https://pefkin.bandcamp.com/music to match sound to type and create a sonic typeface, I immediately thought of how soundwaves are graphically represented by triangle, sine, square and sawtooth waveforms. We assigned a waveform to fourteen letters, matching the shape of the letter to a waveform, and created 2 octaves worth of tuned sonic type. With the remaining 12 letters we created more percussive tones, using found sounds. Instruments used include Korg Volca FM, Korg Volca Modular, Doepfer Dark Energy, Korg Kaossilator, Arturia Brute, acoustic guitar, Aeolian Chimes found object sound sculpture, zither, ebow, chimes, hydrophone.. The sounds were treated using reverse reverb, pitch-shifting, backwards loops. Using After Effects the new typeface was animated and combined with the individual sounds to create an interactive typeface that was ever evolving into a new sound or shape with simple overlays, pitch speed and rhythm. Through a significant period of exploration and experimentation the project has evolved from a simple circle, to a sonic, visual and interactive typeface which can be applied in work, play or identity. Mark Burnett Year 4 Com Des – Graphics M.Burnett1@student.gsa.ac.uk

A Type of Sound

Creating a relationship between type and sound

A Type of Sound

Creating a relationship between type and sound

An interactive typeface.

Atlanta Bonus Features Site

User interface design for a conceptual site that works like a DVD bonus features towards online streaming site for the television show Atlanta by Donald Glover. Pulling out references from the television show to create content.

Life After GSA 2019 Graphic Graduate Replies

A publication made up of a compilation of uniformed question and answer email from GSA Communication Design graduates. Answers were aim to provide helpful advices to graduating students. The brief requires the usage of 2 tones of colour and to pair the black text I selected blue to evoke reli- ability and authority . Other things to consider was the density, font pair- ing, layout system and restriction as well as the potential mass production of the booklet hence the spiral bound.

Call Me Maybe Oh Canada

An experimental perfect bounded book containing riso printed geomet- ric illustration of popular songs using a program called songsim. Songs varies from pop star Carly Rae Jepsen's hit Call Me Maybe to the Canadian national anthem Oh Canada hence the title of the book. The cover is typeset and printed in the letterpress.

Cannibalistic Tendencies

Original etchings

Price: £35

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This work may contain graphic imagery, Click to toggle blur.

No Bubbles

Prints A3

Price: £40

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(Still from) Double Circle Bloom

(Still from) Bloomin

(Still from) ReelSpaces

(Still from) Spit Bubbles

(Still from) GlassFlower

Unfinished Saltcoats Labour Social Club Documentary

Saltcoats

Glasgow 1980

Videos I put together for 'Work in Progress' exhibition

Research

Initial research behind project looking at poems and old family photo albums

Look 1

Cropped suit jacket inspired by photographs of my mum in the 80s with a white nylon romper.

Look 2

Distorted jacket inspired by photograph of my Grandad with exaggerated high waisted tailored trousers.

Look 3

Exaggerated tracksuit jacket with cut out details exposing yellow nylon lining. Inspired by photographs of my older sisters.

Look 4

Ruched sleeve rain jacket with scarf detail inspired by a Glaswegian football player and the fans scarves.

Look 5

Tracksuit with 70s collar and exposed print detail and distorted flare trousers.

Look 6

Pinstripe shirt with 70s collar and ruched waistband inspired by photographs of my parents in the 70s and 80s.

Line Up

Final Line-up featuring Raymond Depardon's photographs of Glasgow in 1980

Accessories Research

Accessories project inspired by the headscarves and shopping bags seen in photographs of old women in the 80s.

BIKE FRAME BAG

The COVID-19 situation is a crisis and challenge effecting the whole of us. Trough this pandemic creatives had to find new ways of making, marketing and distributing products. These have to provide safety and purpose. Isabell put her own gtraduation collection on hold to help make medical scrubs during the lockdown period. This also led to exploring smaller projects like these commuter bags to provide a product with a deeper meaning and function. Sustainablitly is a key element in Isabells designs. The prototype bags were made out of left over calico, retiered yoga matt, retiered tent fabric and secondhand zips.

BIKE FRAME BAG-

BIKE FRAME BAG

BIKE FRAME BAG

Fashion Collection: Sherpa and the Altidude

Looking at my previous research from a new angle led to a curiosity for the Sherpas in the Himalayas. I want to explore the impact of the commercialization of Mount Everest on the Sherpas, their families and their environment. Mass excursions force the mountain to drown in garbage and their locals to suffer from the impact on their water and ecosystem. But in the same moment there’s the need for heavy tourism to keep their economy going. These conditions put extra danger and responsibilities on the Sherpas. I want to express how a change in clothing and functional outerwear provides the Sherpas with more protection, but conversely increases accessibility to inexperienced or amateur mountaineers with life-saving clothing/ gear. This in turn feeds into the commercialization of high-altitude mountaineering. (Altidude aka. privileged adventure tourist driven by his amateur financial impetus to be one of the best mountaineers in a once in a life time excursion.)

Fashion Collection: Sherpa and the Altidude

Fashion Collection: Sherpa and the Altidude

The Sherpa and the Altidude

The Sherpa and the Altidude

The Sherpa and the Altidude

HISTORICAL TRAUMA / 15 400 PIECES

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PAUSE OR PAY

Hand Sketches

Valentine

From 'Conversation' series

Ankita

From 'Conversation' series

'Conversation' series

This series is a study of gestures taken from a set of interviews.

Hand Held

Looking through history, people have labelled different hand positions and movements, through symbolism within cultures and specific moments in time. Furthermore, how people have progressively shifted their hand behaviours through the age of personal devices. Our hands have adapted physically to its new demands. Taking selfies and holding a portable device in your hand has become the new norm and what body language culture has spawned from this era.

LeftLeft

A cast of a left hand which has been 3D modelled and then laser cut

“What do you think about ghosts?”- 1

series is the study of people's hand movements when responding to the question “What do you think about ghosts?”.

“What do you think about ghosts?”- 2

This series is the study of people's hand movements when responding to the question “What do you think about ghosts?”.-

Michael (desktop computer) displaying the Chrome extension that replaces technology related words such as computer, machine, CPU etc. with their humanised counterparts.

Screenshot of the same extension replacing words on a webpage.

Computer parts labelled with their respective human parts.

Sample of the extension's code done in Atom.

Screenshot of extension working on webpage.

Processing sketch that causes a popup to appear on screen whenever there is an attempt to close the window.

Patterns of Play-

Print of a match between Rafael Nadal and Rodger Federer in the 2008 Monte Carlos final.

Patterns of Play Documentation video

Video documentation of how the artist created his work, exploring the technology and thinking that went in to finalising the piece

Patterns of Play

Still image of the prints on display

Patterns of Play

Image of how the prints compare to live tennis matches

Motion Capture Tennis

A motion capture experiment of a point between Rafael Nadal and Juan Martín del Potro in the Wimbledon 2018 Quater-Final

Wire Experiment

Wire Experiment

Proposed Sculpture (untitled)

Genesis, Neuromancer, Gamer Theory - framed prints

Genesis - detail

Sixty Minutes in Minecraft - detail

Sixty Minutes in Minecraft - framed drawings

Rust

When we take images using our phones we typically take them in bursts and select the best ones for social media. This is explored in Rust where taking a memorable day from her own phone she has used machine learning to generate artificial beach imagery to imitate existing memories which she has planted within the grid of a camera roll. As we scroll through our camera roll would we notice that false images had been placed amongst the burst? What else could be suggested to us?

Jamais Vu

In Jamais Vu images are generated based on social media status updates which others have publicly reposted and shared through memory apps. These images were then framed and staged within her own home as sentimental photographs would be. The frames are placed above artificial flowers next to a family clock which has stopped working. While the scene may seem ordinary in passing, on closer inspection may appear odd.

Hosting Focus Groups

Through hosting creative activity-based workshops, I have been collecting honest, first-hand experiences from young people in relation to their mental health. Using the information gathered from these activities and discussions I determined 3 key themes; medication, barriers to accessing support and stigma. Using these themes, I have been developing a series of works.

Medication

From discussions that took place during the focus groups, it became evident that young people consider mental health support and care to feel very clinical. In particular, participants commented on feeling ill-informed, anxious and confused about the use and role of medication on their treatment. This work is a visual interpretation of these discussions. Using machine learning to generate fictional medication names, I have been designing and assembling my own medication packaging. My intention is for this packaging to be convincing and mistaken for real prescription medications, thus highlighting how trivial and alien medication names, and the role of such medications, can feel to a young person.

Barriers to Accessing Support

For this study I have been working with one young person to develop an augmented reality application that communicates some of the barriers they have encountered when accessing support for their mental health. The main challenge this young person faced was consistently relying on telephone communication to access such services – something they found impossible due to the nature of their anxiety. Using the AR application, audio and animations are activated when visual triggers are detected. These visual triggers are fictional correspondence inspired by the real correspondence the young person received - one of the most significant being a self-referral card. While a self-referral system might seem practical for service delivery, and can even seem insignificant to others, it can be a huge barrier to some users who need to access the service. In this work I hope to communicate the emotional implications of such systems and how they can be counter-productive for young people in the treatment of mental ill-health.

Stigma

Stigma is still a significant barrier when it comes to young people talking openly about their mental health. When a young person experiences stigma they can begin to feel their mental health condition defines who they are. Using the Tobii eye-tracker and Processing I have been developing an interactive installation that features video interviews of three young people talking about their experiences of mental ill-health and associated stigma. These video interviews are initially distorted with stigmatising phrases the young person has experienced. When the eye-tracker detects that someone is gazing at the display the video becomes less distorted – and the user begins to ‘see’ the person beneath the stigma and hear their story.

Experimentation Documentation

Development Sketch

(t)ether work in progress

Mockups

Mockups of Final Outcome

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Machine learning/trained print

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Print

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Print

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Print

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Print

Beyond Flatpack Culture: Towards a New Ecology of Modularity

3D render

Beyond Flatpack Culture: Towards a New Ecology of Modularity, Beyond Flatpack Culture: Towards a New Ecology of Modularity

3D render

Beyond Flatpack Culture: Towards a New Ecology of Modularity

3D render

Beyond Flatpack Culture: Towards a New Ecology of Modularity

3D printed models

Age of Experience

EEG-VR wearing concept / Illustrator

Age of Experience

Virtual garden illustration / Illustrator

Age of Experience

Virtual garden illustration / pencil, colour pencil

Age of Experience

Virtual garden / Unity

Age of Experience

Brainwaves / Muse lab

Objects in Liminal Space

Documentation of design research in liminal space.

Sculpture of the Machine

Digital computer aided design model of 3D printed sculpture.

Portrait of the Machine 1

Machine learning algorithm image output from self-portrait sequence.

Portrait of the Machine 2

Machine learning algorithm image output from self-portrait sequence.

Uncanny Artifact

Digital computer aided design model of 3D printed sculpture.

Teapot Head

Digital computer aided design model of 3D printed sculpture.

Site Context

Section View

Plan View

Entrance

Feature Wall

Waiting Area

Changing Rooms

Sauna and Steam Rooms

Ramp Water Feature

Pool Room

This exploded isometric illustrates the scale of the building with its layered interior, rooftop garden bar and natural surroundings within Glasgow’s vibrant city centre.

An illustrative map shows The River Hotel and Clyde Gin Bar in relation to the surrounding city centre along with main connection routes to North, South, East and West of Glasgow.

The River Hotel’s façade boasts natural stonework shown in this 2D visual seen alongside The Clyde Gin Bar, the only public space throughout the hotel accessed from its exclusive riverside frontage.

The entrance foyer makes use of natural light which floods this stylish yet functional space. With self-check in screens, 24/7 lobby desk and grand staircase, The River Hotel is bound to make a great first impression.

This section cuts through the Clyde Gin Bar showcasing booth seating to outward facing windows for views of the clyde, feature copper horseshoe bar and atmospheric private booth seating area towards the rear.

The Clyde Gin Bar is all about immersing yourself in local Scottish gins and how they are made. With 1:1 gin tasting experience you will learn about the botanicals used in each gin to their accompanying perfect serve. A smaller bar makes for a more intimate learning experience, creating a personal relationship between customers and staff.

The River Hotel has been designed to create an experience for every customer while being aesthetically focused, generating a range of atmospheres throughout. As they journey through the building, the interior will encourage visitors to reflect in its quirky corridors before they cross the boundary to their own private space.

As The River Hotel is located in the heart of Glasgow, it was important to play on the famous Scottish culture through creating an unforgettable brand. Using Glaswegian Slang on door signs adds a truly unique touch while allowing world-wide visitors to learn common language used around our fantastic city.

These sections showcase the Main Suite and all it has to offer. Section A displays the spacious sleeping area and its connection to the luxurious en-suite, although not completely closed off the use of materials creates a balanced divide between these two areas. Section B shows the lavished dressing area with bespoke archways housing wardrobe, shelving and vanity unit featured in all rooms. These arches are a reference the buildings architecture which is a key inspiration throughout the hotels design.

A section of the guest only lounge on the third floor, accompanied by a roof top bar area. Creating an exclusive space for only guests. The space is multi-functional, a lounge area during the day to the exclusive booths to be used for private use at night. The roof top bar offers amazing views of the city and a vital connection with the river.

Project Concept Poster

Concept poster for The Wheatsheaf Hotel and Cook School, which expresses brand ethos and materiality.

Axonometric Drawing

An axonometric drawing of The Wheatsheaf, expressing the zoning and spatial arrangement of key spaces.

Visual of Corridor with Void

View from the second floor corridor, looking down through the void onto the entrance and cook school.

Materiality of Key Spaces

Detailing of the cook school, reception and corridor spaces.

Memory Box poster

poster of my project

Memory Box

movie

Nithsdale Mission Hall

My community project utilises the former Nithsdale Mission Hall in the Strathbungo/Govanhill area of Glasgow’s Southside. Designed by Alexander Skirving and built for the Queen's Park United Presbyterian Church in 1887-88, it felt like an appropriate choice of site given its history as a supportive community space. However, I also fell in love with the Greek Thomson style architectural details on the building’s exterior façade, as well as the site materiality, which provided lots of exciting inspiration throughout my design development process and ultimately greatly influenced my final design concept. As a result of a fire, the roof and interior were completely destroyed, however this worked to my creative advantage providing me with an empty shell to design within.

Cross section A-A

Sòlas, meaning comfort and happiness in Scots Gaelic, is a space bringing new Scots and the local community together to support one another and celebrate multiculturalism through food, learning and social exchange. The space offers a range of services including English lessons, counselling, a crèche, a multilingual library, book group, study areas, a contemplation space, and a cafe with pop-up multicultural dinners. The structural layout has been deliberately kept open to allow visitors to see the range of activities happening, and navigate around the space with ease. In doing so, I wanted to create a “buzz” within the space in order to create a comfortable, convivial atmosphere.

The Cafe and Welcome Area

Entering the space from street level, you will arrive in the cafe and welcome area. The cafe servery acts as an informal welcome desk to help visitors navigate the space and is therefore strategically placed close to the entrance. The familiar cafe scene should aim to reduce anxieties for new visitors. I have designed several different seating areas to adapt to different user needs and requirements. The curved wooden balustrade aims to soften the space, while the natural tones give a welcoming warmth to the interior, along with the addition of plants and flowers. There are subtle references to the site materiality through the servery design and the wooden balustrade.

The Vertical Multilingual Library

The vertical multilingual library is a central feature in my design, as it is seen from every space in the building. This helps ease navigation through the building, acting as a familiar reference point. I wanted to create an innovative and exciting space to stimulate learning and encourage cultural exchange, with a space designed on the upper level for the book group to meet. The curved stepped seating acts as an informal reading space as well as a pop up event space for talks or meetings. The circular apertures in the library structure are inspired by Skirving’s original trusses (destroyed in 2005 fire), which I have reinstated in my design.

The Contemplation Nook

I designed this contemplation nook where visitors can escape for a moment of quiet contemplation, if feeling overwhelmed. This is a particularly important space in the design for the more vulnerable users of the space who may have just arrived in Glasgow and be feeling anxious. The natural, muted colour palette aims to create a calming, tranquil environment, as does the natural light flooding into the space on either side from the apertures above (see floor plan). Cushions and blankets are also provided for an added layer of comfort.

Cross Section B-B

This section illustrates the various level changes in my design, which subtly differentiate between different zones and activities. Here you can see the ‘floating’ upper floor supported on either side by steel beams, which allowed me to create unique apertures and achieve an interesting relationship between both floors (see floorplans for further clarity). This design feature enables light and sound to flow more naturally through the building, as well as enriching user experience. The wooden wall panelling directly references Skirving’s original drawings as does the ramp which responds to the original sloped floor of the gospel hall.

The Rooftop Dining Space

The rooftop dining space is intended for pop-up community dinners where multiculturalism is celebrated over food and social exchange. It can also act as a private meeting space or extension to the cafe when not in use. This space is an upper extension to the outbuilding on site, which I have connected to the main building via a glazed corridor. The glass roof, with velux windows, allows light to flood in. A variety of plants and flowers have been added to create a colourful, welcoming space.

The Crèche

The crèche is located in the outbuilding, which I converted for this use as a means of noise separation from the main building, as well as for direct access to the outdoor space where the children can play. The design is playful, colourful and inviting with two large bookshelves for story books, games and toys. Not only is this visually pleasing for the young children but it is great for storage. The cut-outs in the bookcase take inspiration from the circular pattern formations found in the roof trusses, and are intended as fun additions to the space for the children to climb through or sit in.

Brickwork Pattern Studies

The analysis of the exterior building’s brickwork formations formed an integral part of my project, informing the development of a series of patterns based on the shapes, colours and textures. These patterns went on to inform elements of my final design including the cafe servery tiling design, the wooden balustrade, aspects of the colour scheme as well as textile designs for curtains and cushions.

Laser Cut MDF

After carrying out pattern studies based on site materiality, I experimented by laser cutting these patterns on MDF to see how they might translate as physical space dividers, while also analysing their relationship with light and shadow. The cafe’s wooden balustrade is directly inspired by these patterns and references the stepped brick detailing on the building’s facade.

Hotel Concept

A collage of the key design elements of the hotel

Ground Floor Plan

Scale 1:150 technical drawing

Initial Reception Sketches

Initial reception sketches and concept

Reception

A visual of the reception

Reception Niche

A detailed visual of a reception niche

Reception Desk / Welcome Area

A visual of what the guest encounters upon arrival

Initial Bar Sketches

Initial bar and restaurant sketches and concept

Bar

A visual of the bar

Bar Niches

A visual of bar seating inside the niches

Bar Through to Restaurant

A visual of the stained glass depictions of scenes from Scottish authors' works, assembled as a bar structure, looking through to the restaurant beyond.

COUNSELLING ROOM VISUAL

This is one of the 7 counselling rooms. This one in particular is used for one-on-one counselling, but group discussion rooms are also available. The walls will be lime washed with a pink terracotta paint over to create a rough atmospheric feel to the wall. The floor is finished with a poured concrete. To juxtapose this hard floor will be a soft embedded playground rubber material acting as a rug beneath the two soft chairs.

COUNSELLING ROOMS SECTION

A section of the counselling rooms and waiting area. One of PLATFORM's main aims is to support and counsel people with mental health issues that have steamed or worsened by social media and the virtual world. Trained councillors will BE specifically trained within this field. Young people can get in contact with the PLATFORM themselves, referred to by a GP or encouraged to take a visit by a school. The acknowledgment that schools and GPs are struggling to help young people with such mental health issues and a need for a centre the specifies with the virtual world would not only help the young people but also lessen the demand on GPs and schools. “1 in 8 children have a diagnosable mental health disorder-that’s roughly 3 in every classroom.”

MANIFESTO

This poster visually symbolises my project's manifesto setting out my main aims and declaration for the year ahead. The internet chic and vaporwave aesthetic is something I want to capture throughout the entirety of my project. I want to explore the visual themes and trends of internet culture as well as the ethical and moral issues.

JOURNAL WORK

Exploring the social impact the digital world has on young people’s mental health, I hope to create a centre providing educational and counselling support. Seeking inspiration from online trends and issues such as surveillance and cancel culture. The centre remains unbiased and recognises the grey area that most of the internet lives in, the centre simply wished to educate people on issues so the users can use their technology more wisely and confidently.

PLATFORM BRANDING

The name PLATFORM is quite cringe with its double meaning of a 'social media platform' and a 'train station platform' both relevant as my centre is exploring issues in and around social media and it is situated within railway arches. The bespoke lettering I created for the branding is inspired by the ‘satisfying video’ and ‘slime’ phenomenon currently trending online.

MATERIALITY

Designers and artists create videos or pictures, hyper realistic rendering of a fake reality. They push the boundaries between our world and its constraints through software that has no boundaries. Personally I have always thought that such videos and images are created to challenge people's perceptions of reality, to catch people off guard when their subconcious is predicting how the materials will interact and they unexpectedly react in a way that seems impossible.