Our Summer Shows provide the opportunity to view the innovative work produced by graduates from the AUB. Scroll down to read the stories behind the people and projects…
Higher Education Summer Shows
29th August – 12th September 2014
Our Summer Shows provide the opportunity to view the innovative work produced by graduates from the AUB. Scroll down to read the stories behind the people and projects…
Higher Education Summer Shows
29th August – 12th September 2014
Mariya uses paint beyond its image making qualities, she is curious about its physicality and the transformation from liquid to something fixed...
Mariya is using paint beyond its image making qualities, she is curious about its physicality and the transformation from liquid to something fixed.
Rather then adding or taking away from the support in a conventional manner her process consist of pouring substance over and then separating it from the surface of the support.
Mariya’s practice has developed out of practical and theoretical concerns with paint and explores the intersection between painting and sculpture, questioning the role of the support and the relationship of the painting to the wall, where the painted element is no longer attached to or dependent upon the support.
"It is challenging… but so rewarding at the same time because in the end you have a production with enormous collaboration between so many courses and people that pull together." Thalia Jane Loonstein — BFI
“I’ve always had a passion for film and television and I’ve worked with these guys before on previous projects, so I worked on three grad films. You start with the usual meetings and discussing things. My role is usually a supervisor and I’m more of the organisational side, so I manage the budget and things. I talk a lot with the director about the style and things they want to gain from the film. From there, the costume department go off and do the sourcing and the making and pulling it all together.
Throughout the course of the weeks leading up to the shoot you have to fit the actors, you have to keep in contact with them and make sure the director is happy with the look and the style. On set the work is manually dressing and continuity and making sure looks great for the film.
There’s quite a lot of time constraints you have to think about it and budgeting which is a big deal. We fundraise like crazy! It is challenging in that sense, but so rewarding at the same time because in the end you have a production with enormous collaboration between so many courses and people that pull together. At the end of the day, I get something like this [screening at the BFI] out of it, which is unforgettable.
AUB has been a wonderful experience. It’s helped me develop my style of work and I’ve gained an understanding of what I want to do in the future. In the third year, you get enough freedom and enough help as well, to give you more of a push in the right direction. Having done my third year I’m now quite confident in going out and being able to freelance and being able to manage my work.”
"It's just a really collaborative thing. We work across the disciplines in film and we bought in costume students, make-up students and graphic designers." Dominic Mayer — BFI
“We’ve made a comedy about not growing up or about there not being such thing as an adult, so you don’t have to act your age, you don’t have to be mature if you don’t feel like it. It’s gone down really well. Today’s been the first day I’ve seen it with an audience and it’s so satisfying to see everyone laughing. For a while, we didn’t know if what we thought was going to be funny was funny. You go through phases with it where you think that no-one’s going to enjoy it and things like that.
It’s taken a year and we had to fundraise for it. We raised all the money ourselves and we shot the film about four months ago. It’s just a really collaborative thing. We work across the disciplines in film and we bought in costume students, make-up students and graphic designers. It’s one of the best things and it’s something Harry [Jackson, Director] said before it started. He said that one of the best things about making this film has been the collaborative side and getting everyone together.”
"Memory Palace is informed by the writings of Plato, Aristotle, Jedlowski, Lefebvre, Sacks and Cage..." - Lewis Toghill
Lewis is a multi-disciplinary designer with a keen interest in exploring the intersection of music, architecture and philosophy. Memory Palace is informed by the writings of Plato, Aristotle, Jedlowski, Lefebvre, Sacks and Cage, and seeks demonstrate the potential that a palimpsest approach holds in an urban context. Through exploration and re-interpretation of writings pertaining tomemory, both in an architectural and personal context, Memory Palace aims toexplore the power that the vestiges of the past hold to inform the developments of the present.
Site-specific sound experiments have formed a key component of Lewis’ architectural development, and the relationship between sound and space – and the effect of the former on the perception of latter – is further explored through a piece of music that seeks to evoke the ambience of the differentspaces within his proposal, and the experiential transition between them.
"The semantics of the architecture originally began with this idea of fire and heat, physically mirroring this with the use of the form of a bottle kiln for a unit of space..." - Britt Crayston
“The chosen route for the hybrid building in Poole was to create a large scale, bakery with hotel; a place to live, eat, work and learn. The baking aspect was important at the beginning as it was specifically chosen to link the project with the research by design unit, “Cake and Architecture; A Concrete Conoisseur”.
Incendium; latin for fire/heat of passion. The semantics of the architecture originally began with this idea of fire and heat, physically mirroring this with the use of the form of a bottle kiln for a unit of space. Incedium is a sculptural monolith. The visitor is invited to come in, led by an undulating wall which wraps itself from the exterior of the site into the central circulation core of the building. The spaces are identified distinctly within the levels of the building, and the way in which light is crafted into each floor identifies just how public or private a space is, even though all spaces are open to anyone.”
"The analysis of the ‘bird’ helped inform the design of the building in terms of structure, performance and aesthetics..." Helen Allsopp
“My architectural education has developed a particular passion for organic architecture. This interest was significantly highlighted within the Research by Design project undertaken at the beginning of third year where I conducted an investigation into the many different interpretations of organic architecture as demonstrated by some renowned architects such as Frank Lloyd Wright and Oscar Niemeyer. As part of this I researched and discussed how architecture is inspired by nature through forms, scales, patterns and technology.
My Final Project continues exploring forms found within nature. The initial design development began by examining nature found within the site with a focus on coastal birds being interpreted as the ‘image’ of the town. The analysis of the ‘bird’ helped inform the design of the building in terms of structure, performance and aesthetics. I used the light, delicate and intricate aesthetic qualities of feathers to create a sensual, dramatic and theatrical experience within my final design. The design development stage of this project consisted of a persistent model making process where many variations of the same model were created from paper to mirror the properties of a feather. The final proposition for the scheme is a market place for Poole which focuses on encouraging social activity and driving energy back into this part of the town.”
"I felt inspired by paper; the versatile qualities and the openness of it as a material." Sara Varandas — New Blood
“Paper is a valuable resource. I felt inspired by paper; the versatile qualities and the openness of it as a material. However, more than 17.5 billion pieces of Junk Mail is produced yearly. The “Pulp: Make: Use” awareness campaign informs and persuades people to recycle and upcycle. The message is delivered in an integrated campaign utilising a book publication, posters and signature objects created using junk mail. There were facts and processes I learnt along the way during this project, and has made me realise just how much paper is all around us and how much we waste!
AUB was one of those places that just felt like home to me. I have been studying here for five years cannot believe how fast it has gone! Vis Com was certainly the right course for me, I found the support and advice from the tutors and other students extremely accommodating and always there if you need a helping hand. I have been proud to represent the course over three years; my confidence has grown personally and as a designer and am pleased to have a D&AD Best of Year award from my second year of Vis Com — something I would have never believed possible when I first started!”
"Seeing our work on display at D&AD made me realise how diverse our course is, everyone’s final outcomes were all different, from print, to videos, and installations, I think that’s what is so good about the course…" Stacey McGowan — New...
“My project was inspired from the Archbishop of Canterbury’s quote about how fashion has devalued the cross. I wanted to explore weather the meaning of the cross had been lost in a fashion statement, so I gathered research from both perspectives and found a clear contrast between how people viewed the cross, which enabled me to be very experimental with my project.
My final pieces were visual metaphors aiming to shock viewers and encourage them to think from a different perspective. I created an empty bible, to metaphorically show how something so powerful, can have no value after its meaning has been taken away.
The design of the cross top, was made to look like an ordinary fashion top, but with an unknowing religious undertone to it. When the top is worn, a crucifix becomes exposed on the back so that the person wearing the top cannot see the crucifix, but others can. This reflects the idea of perception- to show how people wearing the cross can sometimes be unaware of the subjectivity surrounding the fashion cross when it is worn as a trend.
My time at AUB has been very enjoyable. This final year has been a lot of hard work, but it has turned out to be very rewarding one- especially when you see your idea come to life. Seeing our work on display at D&AD made me realise how diverse our course is, everyone’s final outcomes were all different, from print, to videos, and installations, I think that’s what is so good about the course- having the option to literally do anything, with the help and guidance from the tutors. I am so glad that I picked such a good course, thanks AUB!”
"We went to the skip three times to get paints, I broke my car once and had to get it towed." Genoveva Arteaga-Rynn — CA•THEX•IS
“I’m exhibiting two different series. The first is called ‘I know a young lady who swallowed a fly…’. It’s a set of eight images and they’ve been influenced by insects. We’ve got moths and jewelled caterpillars and they’re all reflected in the clothing. I wanted to make something that was not about the person but more visually interesting as an image.
The second is from an editorial portrait series. It’s kind-of got an intrepid explorer feel and the backdrops were made by hand and it was shot in natural light in the studio. It was a lot of work! We went to the skip three times to get paints, I broke my car once and had to get it towed. I shot old Polaroids that were eight years old and they form different colours. All of the backdrops were painted copies of Polaroids that I’ve shot.
[AUB] is in a great location, it’s got the sea, it’s got the city, it’s got London very close. It’s got a bit of everything for everyone.”
"I literally couldn't have thought of going to another uni, I love it." Charlotte Ellis — CA•THEX•IS
“I have two piece of work up at the exhibition. One is based around identity and I looked at how hair is important to someone’s identity and how it’s so important to religion. I looked at different races, different people and different hair. I managed to photography a girl who unfortunately lost her hair through alopecia and a long-haired Indian guy who’s got hair down to his hips. It’s a progression between how important hair is to your identity. That was a portrait series but I’m predominantly a fashion photographer.
This series is loosely based around The Virgin Suicides, the film, and bringing in more of my style which is based on natural light and pastel tones.
Before I started the course I was assisting a celebrity portrait photographer and shot with flash, but since the course has gone on I’ve shot with a tripod and natural light.
I literally couldn’t have thought of going to another uni, I love it. I just love the community there where everyone works together and everyone wants to help each other.”
"I love working with kids. I enjoy the chaos of it, I think." India Phillips — CA•THEX•IS
“I worked with quite a few people on this. I worked with Fashion Design and Illustration and it was nice to have a big time. There were five kids on set and all of their mums as well, so it was a bit crazy. It’s weird, my friend who usually assists me said to me that I’m calmer on this than with one model. I enjoy the chaos of it, I think.”
"It's called the Kathputli colony and it's the world's largest concentration of street performers who all live in a slum in Delhi." Mark Leaver — CA•THEX•IS
“I knew for this project that I wanted to go abroad to shoot it. I was looking around online for volunteering opportunities and I found this place. It’s called the Kathputli colony and it’s the world’s largest concentration of street performers who all live in a slum in Delhi. In exchange for teaching English and basic admin work, I got two guides to take me around the slum for a month and introduce me to all of these people. Kathputli is actually Indian for puppet, so it’s literally the puppet colony.
Don’t get me wrong, these people are really good. They all perform in 5-star hotels and that’s how they make their money. This guy actually performed in front of the first Indian Prime Minister. All of these shots were taken inside people’s homes.”
"It's been really, really good to respond to something different, that's a bit rough and raw." Bethany Bailey — Teeth Cut, But Have You Washed Your Hands?
“My work is about finding subtleties in spaces. Here, I’ve worked to use a space and the surroundings. I’ve drawn directly onto the ground, responding to the light that’s moved through the window and responding to the time passing. It’s all about drawing in my practice, and this reflects in the prints on the walls as well.
These are blind embossings that use the etching process to create them. Instead of using ink, I use a dusting of French Chalk that picks up on the paper. So they’re very, very subtle and you have to be at a subtle angle to see them.
It’s really nice to be in this kind-of space [The Truman Brewery]. It’s been really, really good to respond to something different, that’s a bit rough and raw. For me, it’s been very, very useful to work in a space like this.
I found my way into contemporary drawing by using the [AUB] printmaking facilities and it’s offered me the time and experience in techniques and processes and that’s helped me through finding my own practice.”
"For me, Wilfred was playing with the acoustics of the space and I was intrigued to see how it would fool people." Dan Broadbent — Teeth Cut, But Have You Washed Your Hands?
“For this exhibition, I’ve submitted a piece of work that is basically a documentation of an installation that my friend Wilfred and myself took part in. Wilfred is an Architecture student and we worked together about six months ago. We were playing around with binaural sound, which is recording right and left individually, and we played around with how that can play with people’s perceptions a bit.
We took a replica foam head and placed it on a chair and recorded the sounds and enacted a performance with the objects in a room. The next day, we placed people in the exact same room, with the exact same objects, and played what we’d recorded through headphones, but they were blindfolded. When they took their blindfolds off, everything was supposed to appear as though it had moved, but everything was as it was.
For me, Wilfred was playing with the acoustics of the space and I was intrigued to see how it would fool people.”
Dan is the AUB Students’ Union President elect.
"The course really allows you to explore a lot, and pushes you to, which has led me to doing video projection…which is really different to painting!" Sophie Newton — Teeth Cut, But Have You Washed Your Hands?
“I started off doing performance-based work, which then turned into video projection work. I always film groups of people doing a performance of action. It’s about social interaction, the individual and the unit and the differences or similarities between that. I like to film from above, so you get interesting shapes and patterns emerging from that.
With this I doubled the videos and had them looping, so those individual actions happening in each cell then form a bigger thing happening!
I originally started off thinking I wanted to be a painter, but the course really allows you to explore a lot, and pushes you to, which has led me to doing video projection…which is really different to painting!”
"The main story has been heavily publicised but there's one strand that's never been told — that's my grandad's story." Rebecca Stone — New Designers
“My project is looking at an incident that my grandfather was involved in, in 1945, it’s The Yangtze Incident. The main story has been heavily publicised but there’s one strand that’s never been told — that’s my grandad’s story. He got thrown overboard with 49 other men — they had no idea where they were going, had to trek through minefields, two guys got taken as Prisoners of War, and they eventually made their way to Shanghai, to safety.
I took his memoir and I wanted to relay the emotions and fear that he felt in architecture, just to get the story across about how horrific it was and the fact that these men need recognition.
I took the shape of the ship — the HMS Amethyst — I blew it up, to create a shrapnel concept and put the shapes back together, designed in 5mm steel sheets. I put the shapes back together in geodesic and geometric shapes. Each single sheet was specifically played to relay a fear or feeling or emotion that he had written in a letter for me. Some of them get tighter where there’s fear in the story, some are really open because it’s a sense of adventure, the minefield is all jagged. It stands as an exhibition and as a memorial.
Because this is such a raw structure and the story is heavy going, I decided to create a child’s activity to make it more family friendly. I created a silhouette of Simon the cat, who is one of the most famous members of the crew because he got a Dickin medal, which is the highest award an animal can get. The children are told at the begin that they have to go and find Simon and right round the end before you exit, there’s a huge bit where children can climb up and about. It just gives it a softer edge.
I actually got help from Lieutenant Commander Stewart Hett, who was on board. He’s been the one that’s tried to actively tell the story. He’s really, really supported me and given me so much archived information and material. I’ve had his support and I’ve been invited to attend the 65th anniversary of the incident and take my grandfather’s place on the memorial committee. Alongside that, when I go to Plymouth in September, Lt. Commander Stewart Hett is supporting me in presenting my plans to the museum.”
Find out more about Rebecca’s project and follow its future on her blog.
"Just to see what they could achieve with so little was what inspired me with this project." Carl Williams — New Designers
“This is a transformational living space for my client, Joanne O’Riordan. She was born without all of her limbs, so this project is aiming to provide her with the independence that she desires, so that she can live without a carer (without her Mum). This space allows her to live on her own, use all of the different appliances in her domestic space.
Using realistic, but at the same time futuristic, technologies, the building transforms around her, so it brings spaces to her, rather than her having to go to them. It’s using advanced robotic systems, used in the Volkswagen car tower, and conveyer belt systems to move spaces around at one metre per second.”
Carl’s project received a nod of approval from Volkswagen.
"Although they have interactive whiteboards instead of a blackboard, it's still quite a traditional setup, so I looked to teaching methods and learning styles and how children learn and develop." Hannah Houston — New Designers
My project was on St. Mark’s School. It’s a listed school in Bournemouth, more or less opposite the AUB campus. It’s 150 years old and they have really progressive teaching methods and access to advanced technology, but their classrooms are quite Victorian. Although they have interactive whiteboards instead of a blackboard, it’s still quite a traditional setup, so I looked to teaching methods and learning styles and how children learn and develop.
I developed learning environments that are more open and have different environments that are better suited to kinaesthetic learners, visual learners, logical learners, auditory learners. When they enter the lower part of the school, in this area they discover what kind of learner they are by experiencing each type and they can feel more comfortable in their best environment. By the time they reach the upper area of the school, it’s much more open and they can be given and know the best place to go to do that.
You can find out more about the process behind Hannah’s project over on her website.
"Everything is plain and modern, just white boxes. Wood is more unique. If someone makes something from scratch, it's much nicer than anything factory-made." Jasmine Dinnage — New Designers
“I designed two pavilions for locations in a forest and in a town. The idea was to bring people from the city into the forest and bring more attention to how important the forests are. Wood is everything — you look at all the designs of structures, houses — it’s everywhere. It’s such a beautiful material, so I wanted to highlight how important it is and how we need to keep our forests intact.
The forest pavilion is designed to reflect the shape of buildings and it’s almost Cathedral-like. The idea was to guide your eyes upwards so you see the forest and the trees, rather than just the bit that’s at eye level. In the town, I wanted to make something that’s kind of representative of the forest but also cityscape-like as well, so it’s a bit of both to try and connect the two. When you walk around it, it distorts your view so you can only see different parts of it, so again it forces you to look at different heights and different surroundings.
I think I’ve become a bit more experimental. I’ve enjoyed this project a lot more because it’s all under our control. I just looked at all the materials and wood is something I really liked and have a passion for.
"The guidance of knowledgable lecturers and visiting tutors, has led to awards and nominations I could have never imagined at the start of the course." Stephen Flagg — D&AD New Blood Best in Show winner
“The project combines my passion of football and design, showcasing the many layers of under-represented fan characteristics (through a print publication) that may previously be deemed irrelevant or minimal, and reflecting fans in a positive and educational tone as ‘true fans’, contradictory to negative media commentary of hooliganism, for an audience with little understanding and relevance to the sport.
AUB has been an outstanding place to learn and develop, working in a creative environment whereby every individual has a part to play in assisting one another to improve a wealth of vital skills, perfectly preparing myself for industry.
It has been an honour and a privilege to represent and be part of Visual Communication, and through the guidance of knowledgable lecturers and visiting tutors, has led to awards and nominations I could have never imagined at the start of the course.
"The most valuable thing I think I have learnt there is to not be confined to the four corners of a piece of paper." Chris Bennett — D&AD New Blood
“I never thought I’d be learning how to sew let alone creating a set of umbrellas for my Final Major project, but that’s what is great about Graphic Design at AUB. The most valuable thing I think I have learnt there is to not be confined to the four corners of a piece of paper, to let ideas drive your creativity and dictate the media and canvas for the outcome, no matter how big or small or even outrageous it may seem at first.
The focus of my Final major project was the predominant rise of modern surveillance in Britain and consisted of multiple visual outcomes. More specifically my set of ‘Privacy Umbrellas’ was my response to the overwhelming number of CCTV cameras in Britain and collectively they address the ethical issue of ‘choice’ in regards to surveillance. The idea started off like most, very simple, with a basic observation that the structure of an umbrella acts as a shield from CCTV cameras that more than often are mounted up high.
Furthermore, as my design was targeted predominantly towards British citizens, which prompted me to take influence from multiple British wartime camouflage tedhniques. Firstly ‘Warship Dazzle’ which is a cubist-inspired, disruptive pattern that was painted onto British battleships during World War One in order to conceal their size and orientation and confuse German U-boat commanders. Secondly was a more crude form of camouflage used to conceal ‘Anderson Bomb Shelters’ in peoples gardens during World War Two. Citizens would cover the roofs in turf and/or soil in order to blend in with he ground they were on and help conceal them from an aerial attack.”
Chris’ work was featured in Creative Review’s best of D&AD New Blood 2014.
"I like the fact that it subtly points out social issues; you see a beautiful bike and then shortly after you acknowledge that the wheels are square…" Emily Baldwin — D&AD New Blood
“This investigation graphically represents imperfections by intentionally subverting objects. The Imperfect Campaign intends to make social statements in an unconventional way by making the viewer question their attitude towards them.
The idea came from me delving into the broad subject of imperfections. I didn’t wish to focus on body image as this is a prominent issue in todays society. It developed by looking into the perfection of social media and subverting the angle in which we perceive it.
My inspiration for this project came from looking into body image. During my initial research it was obvious that there were bigger issues that could be addressed within this concept. I overcame this by stepping out of my comfort zone and thinking a little more conceptually.
I like the fact that it subtly points out social issues; you see a beautiful bike and then shortly after you acknowledge that the wheels are square which allows the viewer to search out a deeper meaning within the visuals and interrogate them.”
"I've been working on and off for an agency and now I've got offers from places from places I would've even have imagined." Lewis Bartlett — D&AD New Blood
“My project is called By Hand. It’s an exploratory project that, over six months, looks at how creativity is used within the industry and how, by hand, you can create something magical that still makes people stop and go, “wow”. So I looked at old techniques like relief printing and foil-blocking and how they converge with new technology.
The quote that I picked out — “I can’t quite make it out but it looks cool” — is the fundamental of people who are narrow-minded about design who might say “oh you just draw” or “you take photos”, but we do so much more than that. We create something that people want to do and by hand, so I wanted to show that off.
I’ve been working on and off for an agency and now I’ve got offers from places from places I would’ve even have imagined.”
"It's been really cool to get involved with other courses and the whole creative community." Adrian Teague — D&AD New Blood
“The brief was to create an app for any domestic target audience of your choice to save energy. The process we went through was quite long. We started figuring out where npower can save the most energy in terms of people who use apps and use the most energy. The app tracks who’s in and who’s out and turns energy on and off accordingly.
It was really interesting to get into the target audience’s mindset. We had a couple of focus groups asking people in a house share, “What is your problem when trying to save energy?” and there’s a classic scenario where one housemate will turn up the heating and the other will turn it up. This addressed it because each housemate can set their personal preference and depending on who’s in or out the app will create a happy medium.
We’re just waiting for Thursday now to see if we get an award from it because it’s been nominated.
AUB I think is really, really nice. It’s a creative institute by itself. It’s been really cool to get involved with other courses and the whole creative community.
Find out more about Synergy and watch the video on the D&AD New Blood website.
"AUB is a great uni, we've definitely got some of the best stands here as well." Colm O'Connor — D&AD New Blood
“It’s all about Testicular Cancer awareness. I want to get into advertising and art direction so I started out trying to make it a bit funny as well. I started off thinking about how to get men to go to the doctors. I picked sports and balls and it all went from there.
I was thinking about doing Graphics or Illustration, but for what I wanted to do, I definitely think this was the best course for me. AUB is a great uni, we’ve definitely got some of the best stands here as well.”
"I also did a book on Bigfoot!" Sam Bartlett — D&AD New Blood
“It’s a book split into two halves. This side is all about conspiracy theories, “Is Bigfoot real?”, “We’ve seen him”, eyewitness evidence, newspaper clippings, abductions, everything like that. On the flip side, it’s the scientific approach. This is more considered with diagrams, “these are the reasons he doesn’t exist”, everything like that.
In the centre, there’s newspapers and the reason they’re in the centre is because they could be used for either argument. So scientists could say, “look what the tabloids are printing, it’s a load of rubbish”, or the conspiracy side could say, “it’s a newspaper, why aren’t you taking notice of this?”.
It’s a lot of fun to work on. I started thinking, “oh this will be so funny” and when I started to research it I realised that it was really compelling. The answer is that we’ll never know if he exists or not because there’s so much of the world that’s yet to be explored.
I’ve really liked AUB. It’s good because it’s such a creative environment. You get fine artists sketching in the courtyard and you get make-up and fashion walking through — it’s good to see everyone in one place. I love it.”
Sam’s Sasquatch Analysis book was recognised by the International Society of Typographic Design and presented with a 2014 Student Award.
"I got a call saying, "Guys, we won Best In Show", it was really exciting." Matt Wood — D&AD New Blood
“My work is about the internet and technology and how information is broken up — it’s spread across different webpages and different mediums. When you’re searching for something, you have to look in a lot of different places. What I created was a book that works alongside an iPad app. You read the book and next to the text, there’s a little symbol and that links you into the app where you’d find more information.
It’s breaking things up and it’s kind-of inconvenient, but it’s making a point that it is what’s going on now. It was a long and tiring project!
We’ve always got tutors in the uni talking to us, helping us, guiding us, suggesting things and letting us solve our own problems. It’s been really good.”
"I don't think I would've done half as well if I went to a different university." Chris Burns — D&AD New Blood
“I was looking at memory to start with and then, from memory, started looking at dementia. It’s quite an interesting subject that a lot of people don’t know anything about — I didn’t know anything about it — but it was through talking to different people whose relatives have dementia that I then started collecting loads of quotes and asking questions.
From the questions, I began to start doing visual experiments to start showing what these people had said. The general consensus from these people was the idea of relatives slipping away from who they were. That’s where the chairs came in, the chairs represent the individuals. The older you are, the more likely you are to get dementia and as you get older, you become associated with your chair. “
"Each item probably takes a couple of days to a week [to produce], depending on the size of them. So, it's a lengthy process!" Emily Irving — High Noon
“All of my projects are nostalgic, so the things that make people remember a certain point in their life. This particular project was about one of the biggest things I think everyone has a memory of at some point in their life, which is going on holiday.
It’s a lot of trial and error — the suitcase, for example, took about six days to put together. I generally work with paper and card and that had to be more solid, so that had to be made out of cardboard, which is something that I’ve never used before.
For me, it’s just about the preciseness and the obsession that I have with the perfection of cutting paper and really trying to figure out how it all goes together. The fascination for me comes from the construction, so it’s about figuring out how I put it together and how it’s going to function.”
"Just being around weird creative people is great and being able to be weird is great!" Claire Edwardes — High Noon
“[This is] a selection of different bits of work I’ve done throughout the year. I love anything cluttered and a bit rubbish and trinkets and bits like that. Basically, it’s just creating lots of rubbish — nice-looking rubbish!
Each piece took me about a day to make, in my tiny little uni room with a sowing machine at 3 o’clock in the morning, frantically trying to get it all done, covered in thread!
I love how diverse Illustration is, in terms of what you can do. I can’t draw and I’m quite happy to say that as an Illustration student! So being able to do this and showing me different views of what Illustration is, is great.”
"I just love creating characters and little worlds — this is what I love to do." Sam Davies — High Noon
“I do children’s picture book illustration. The Peter Pan one is kind-of self-explanatory! I was just watching it and decided I wanted to do my own version. I just love creating characters and little worlds — this is what I love to do.
In my first year, I loved drawing but I didn’t know where my work was aimed at and I just loved children’s picture books anyway, so I thought I may as well have a go and I’ve been getting better and better so I’m just carrying on with it, really. It’s definitely what I want to be doing in the future.
AUB allows you to be who you are and they cater to everyone — I’ve had a really good time.”
"A lot of my work focuses around buildings as opposed to people. I quite like getting the character of a building as opposed to that of a person." Louis Craig Carpenter — High Noon
“A lot of my work focuses around buildings as opposed to people. My dad’s an architect, so it’s probably where the love of buildings came from. I quite like getting the character of a building as opposed to that of a person. For my final major project, I wanted to a lot of screen-printing, so I did a book so I could do a lot of screen prints of images from within it. I really, really enjoy it and it’s something I want to do a lot more of.
Before I started on Illustration, I was thinking of doing modelmaking, hence the model of the buildings. It’s also probably why I love screen-printing, because it’s quite physical.
I’ve had a lot of freedom to do what I want [on Illustration], which is really cool.”
"I draw out a simple storyboard but the frames are very much dependent on what I have in terms of material — there's a lot of Ideal Home magazines from the 60s and 70s" Joe Mackenzie — High Noon
“I was looking at 1950s culture and I’ve always loved stories where nothing really happens. I’ve always loved the atmosphere and building a tension. It’s sort-of Mad Men inspired. The story is simple — the bloke’s coming back from work and the woman’s got her place in the home. It’s making the point that roles now are very different.
I draw out a simple storyboard but the frames are very much dependent on what I have in terms of material — there’s a lot of Ideal Home magazines from the 60s and 70s and a lot of film magazines, advertising films in the cinema from the 50s. The frames develop from what I actually have and I piece it together from what’s in front of me.
I came into it [Illustration] not having a particular style and it wasn’t until this year I made it my goal to finish having a continuity in my work that all looked like my work.”
The BA (Hons) Visual Communication at the Arts University Bournemouth is proud to present our most fridgeworthy pieces; a collection of our unique talents and work to suit any appetite. fridgeworthy.co.uk
The BA (Hons) Visual Communication at the Arts University Bournemouth is proud to present our most fridgeworthy pieces; a collection of our unique talents and work to suit any appetite.
Collaboration is at the heart of what we do...
Collaboration is at the heart of what we do. Here are two of our final year Illustration students working together to bring out the best in each others mediums. Marianna Madriz draws beautiful characters and Abby Foord works in paper engineering – this is what they created together.
'I'm inspired by Latin American folk art, fashion & 1950's design..." Marianna Madriz
“I like to think of my illustration work as a mixture of everything I admire visually: playful characters, striking colours, shapes and patterns. It’s inspired by Latin American folk art, fashion, 1950′s design and anything surrounding me that I find interesting, and I feel my final book for university reflects this to some extent.
After the summer shows I want to keep creating and getting better, learning to develop good story lines and experiment with sequential illustration. I’m hoping to create more self published zines and narratives, as this is mainly the route I want to take with my work.
Right now I’m really excited to meet likeminded graduates and creatives who want to achieve the same goals, and are hungry to collaborate with new people. I definitely feel this summer will be a good platform to get some new projects going and establish everlasting connections!”
"The most important aspect of designing the Graduate Exhibition has been to present my course mates' work in such a way that allows it to speak for itself, while providing the visitor with an engaging narrative to follow." Molly Syrett
Molly has designed the BA (Hons) Costume 2014 Graduate Exhibition.
“I felt very strongly about wanting to take on this project because it’s the kind of job I aspire to have in the future, but one that often requires years of experience, so the chance to have a go now seemed like a fantastic opportunity to get a big exhibition project under my belt just as I’m graduating. Also, to see how it compares to set design.
Going to exhibitions has always been exciting for me, so a big part of the research was visiting museums and current exhibitions. I found lots of inspiration in the way information and exhibits were displayed so individually – to suit the nature of the work or art. Three big ones to mention are David Bowie Is… at The V&A, Isabella Blow: Fashion Galore! at Somerset House and Hello My Name is Paul Smith at the Design Museum. They varied in scale and style and demonstrated how space can be used to guide a visitor in a certain way, or let them make their own decisions: creating a narrative.
Having gathered lots of images and ideas from current and past exhibitions I started considering how to display my peers’ work. There is such an incredible range of style and type of work on this course, that it seemed pointless to attempt to theme or group the exhibits and what would be important is to allow them to speak for themselves by providing the appropriate environment.
To show off the range of disciplines studied on the course I have specifically linked each exhibit to a colour, which refers back to construction, design, supervision or film. This provides a physical guide for visitors to follow, in the form of a pathway on the floor.
The difficult part of having a clear image of what I wanted it to be like in my head, was communicating this and then facing the realities of the design. Mainly being, that there is not enough space for the sheer volume of work. The challenge is then to rearrange and focus on the layout as a natural occurring part of the exhibition, rather than a cumbersome afterthought – something quite apparent once you’re walking around. To hope that the design can be finalised and nothing changed after a certain point is simply unrealistic, as adjustments will be made right up until the last minute – but that’s ok! As with set design, I’m expecting my favourite part to come when the build begins to happen and everything starts shaping up right in front of you, by then it’s far too late to worry.
This project has been very challenging, not letting the pressure of doing my course mates justice interfere with my design, and keeping on top of the paperwork has been difficult, but I am very excited to see the final show in a couple of weeks, with all the work in all it’s glory!”
"I’ve taken the design language of a chainsaw and a sewing machine, and swapped them over..." Lizzie Holleyman - New Blades
“These are my product mashups. I’ve taken the design language of a chainsaw and a sewing machine, and swapped them over so it changes your perception of how well they would function. You’ve got the feminine elements of the sewing machine design contrasting with the ‘manliness’ of the chainsaw. The sewing machine looks like it could sew through bark!
In the International Journal of Design I saw a Swedish group who explored this idea of gender norms with a hand drill and a hand blender.
It’s been about having fun with swapping around how things look. It was interesting actually getting a design down for these – what elements you leave in or out. Trying to get the essence of the design language without loosing the functionality.”
“The puppet was a client led brief. The client is a performer that uses circus skills to tell the condensed history of Britain. He was starting a web series and needed some puppets and one of the things he required was a bespoke knight on a horse. He has a plastic styrene skeleton with dip dye cotton stretched over so he has a soft quality but he can stand on his own and he’s quite tough. The puppet comes apart so you can use it like a muppet puppet with the rods in the arms.”
"I wasn’t keen on the way that Marvel has made Groot, so I decided to design my own version of him..."
“I saw the trailer for Guardians of the Galaxy at Christmas time. I wasn’t keen on the way that Marvel has made Groot, so I decided to do my own version of him.
It started out as a clay sculpt. I then cut him into bits and had 6 pieces in silicon block. It went through quite a lot of silicon! The limbs and the head are cast and fast cast and the torso is fibreglass because it weighed something like 5 kilos in clay. Fibreglass was a better option because it’s just as strong and its hollow. The legs and arms were then bolted on.
It wasn’t until it got the paint on that it started to come to life, because the fibreglass is black. When I got the primer on I started to really see it happen.
Guardians of the Galaxy is coming out later this year, and I’m looking forward to seeing their version of Groot. This has been my favourite project by far.“
"Mulch is a big furry mountain monster, who sleeps in caves by day and forages in the woods by night…"
Welcome to Project Mulch. Mulch is a big furry monster, designed and created by Lorna Moon, Ciara McClean and Freddy Holdsworth at AUB Modelmaking.
“Mulch started out as an idea in our second year. We went to visit John Nolan who specialsies in Animatronics. We saw his work and got really excited about it.
Ciara did all the character design and it spiralled from there. The face is all radio controlled and the suit itself is controlled by the person wearing it. He has his own beer as well – we are working on getting the beer into production. We’d like to make a promotional advert for it, featuring Mulch. Our tutors kept calling him munch and we got it wrong and called him mulch – we liked that better, it suits him. Its earthy.
We basically made him to show off and have something really cool for the show!”
"This is a recreation of a prop from American comedy Parks and Recreation, which I’m a big fan of..." Hannah Amey
“This is a recreation of a prop from American comedy Parks and Recreation, which I’m a big fan of. Its bronze powder, fast cast, sculpting and laser cutting.
I also made a puzzle maze on the lathe and mill. I got it sulphuric anodised to protect the surface – it gives it the blue colour.
My stained glass butterfly is based on a glasswinged butterfly. Their wings are actually see-though, so I choose to use glass. I sculpted the body and cast it in pewter. This model is ten times bigger than the real thing.
I would like to go and work in TV props or movie miniatures. I did one in my second year, and they’re really coming back.”
"I explore knitting as a drawing tool whilst trying to challenge stereotypes that surround the process of knit." Crystal Budd
“My work explores the versatility of knitting as a drawing tool whilst trying to challenge stereotypes that surround the process of knit.
I’m excited for the summer shows as it’s a chance to see what everyone’s been working towards for the last few months. It makes a big difference seeing work displayed in an exhibition setting as opposed to seeing small snippets here and there and watching pieces develop bit by bit.”
"I sewed individual scales onto the dragons body..." Miranda Jane Topping - New Blades
“The whale was initially a client project, and they wanted two fins. I really enjoyed making that for them, so I made this version of which has more of a natural history feel and only has 1 fin – which they do in real life.
The dragon head and claws are part of a puppet.The body is articulated and can move, and then I fabricated over in it black and I sewed individual scales on.
I loved making them – I like sculpting, particularly animals.”
"Watching the show was cool - seeing your work used in a live situation makes it all worth it" Harriet Rose - New Blades
“New Blades has been great. It’s one of the first time you see you work on display, not in the corner of a messy desk.
I made the bird, dog and sausage head for the Acting production of Grimm Tales. I had to make the bird pretty quickly in 2 weeks. I’d worked at a company called Rainbow which makes mascots, so I’d picked up everything I could. Watching the show was cool, seeing your work used in a live situation makes it all worth it.
I want to work in fabrication – something big and colourful. The bigger the better!”
"I wanted to showcase a reflection about contemporary reality on the complex, chaotic, cruel, beautiful and wonderful world we live in." Annabell Arch - New Blades
“All my work is designed for retail. I wanted to create quirky pieces that would draw people in. The lips made of lipstick would be used to display shades of red for a brand. It has been created using Rhino to lay out the lipsticks evenly, then the base is laser cut black acrylic attached to painted black MDF for strength. The lipstick head was lathed from cemi wood, and then repeated with a silicone mold. Each lipstick head has been made from fast cast, and pigmented accordingly.
A lot of mannequins these days are very realistic, so I designed the trio of heads to take away any identity so the focus becomes the clothes not the mannequin. I wanted to showcase a reflection about contemporary reality on the “complex, chaotic, cruel, beautiful and wonderful” world we live in. I wanted to create a range which was unique, and distorted the human look to a mannequin face.”
"I made friends with a furniture-maker over the summer and she does a lot of laminating work. This inspired to me try and use as many techniques as possible in this project." Frankey Pinnock - New Blades
“These are a pair of shoes inspired by Kandinsky.
I’d like to work in footwear, but come at it from an architectural angle. These aren’t wearable, I’ve put them on but wouldn’t walk in them! I am more interested in sculptural and exhibition pieces.
I made friends with a furniture maker over the summer and she does a lot of laminating work. This inspired to me try and use as many techniques as possible in this project. I’ve wanted to work with leather for a long time. This was a 5 week project – the finale!
I also created a pair of 17th century replica shoes for an exhibition in Bournemouth for the BU Archaeology department. They’ve been bringing up pieces from the Swash wreck in the Channel and they found an old shoe, so I created them a replica. They were tough to make as everything is hand sewn. It was great to collaborate on that project with a guy who makes them professionally on the Isle of Wight. He lent me the ‘Lasts’ which are the wooden blocks you make the shoes on.
I’ve loved AUB Modelmaking – it’s so flexible and there are lots of opportunities to collaborate with people on other courses. I started with an animation background, working for Aardman Animations. The people I met there said go and do this course! I’m so glad I did.”
"I wanted to show children with missing limbs that it's ok to be different, and that they can be proud of their prosthetics..." Bex Lowe - New Blades
“These are cosmosis fits – which basically replace a missing artificial limb. I wanted to find a cheaper way of customising prosthetics for kids at a younger age. I wanted to show them that its ok to be different, and that they can be proud of a missing limb.
I found a way to lasercut sheeted silicone – I spent hours playing with settings. I was told it might not be possible but I wasn’t taking no for an answer! I mixed my own silicone and had It sheeted and then lasercut unique sheets and then inlaid them to the feet. They don’t have to use these all the time – you can swap them over, so you can use these if you are going on a night out or to the school disco.
At the moment, all you can have with a prosthetic is the tattoo painted onto it, and it takes a trained technician to do that. Also the ink sits on the surface, so friction can rub it off. This way the ink is totally inlaid so it wont rub out.
I’ve done one for Jackie Coventry, and she is the first person in the UK to have a laser etched tattoo. It’s her gym leg – she now she loves going to the gym and showing it off!
The puppet is Tommy – my final major project. I made everything on him, apart from his glass eyes. I learnt how to hand punch and make a wig, tailor a suit to his body size and 3d printed and modelled the teeth. They’ve been aged so that they look real. He’s a smoker! He works on simple mechanics based around the 1950’s.”
BA (Hons) Graphic Design are busy creating Engage. Take a peek at the design and lasercutting of their invites…
BA (Hons) Graphic Design are busy creating Engage.
Take a peek at the design and lasercutting of their invites…
18.00 — 21.00
Open to Public
2nd — 3rd July
9.30 — 20.00
Stand No 44/45
Old Spitalfields Market
'Just hanging out...'
BA (Hons) Costume with Performance Design have started to build their Summer Show, taking over the Studio Theatre. The giant puppets from ‘Oh What A Lovely War’ are suspended from the ceiling, and the mannequins are waiting to be dressed!
"This project has has helped me identify my own design style, inviting the public to share the value of craftsmanship in todays industry." Lewis Bartlett
“My project is looking at how the combination of traditional print methods and modern technology converges to celebrate the value of craft.
By understanding traditional print methods, it has allowed me to create a set of typographic illustrations, following the process through to a final series of hand crafted prints. My main inspiration is taken from a passion of hand rendered typography and the current design industry.
With this in mind, it has helped me identify my own design style, inviting the public to share the value of craftsmanship in todays industry.”
"Working in collaboration we built the set for dance circus fusion company Joli Vyann.." Hannah Coombe
“My final major project was a set commission for dance circus fusion company Joli Vyann. I worked in collaboration for this project with Natalia Maslanka, another final year student from Interior Architecture and Design.
We designed and built the bridge set for the client’s upcoming theatre performance ‘Stateless’, which will premiere on Friday 3rd October at The Point in Eastleigh. “
"I enjoy creating tactile works, which explore the dis-location of culture." Francesca Fugl
“I enjoy creating tactile works, which explores the dis-location of culture. Primarily working with human hair, using this medium for creating tactile objects which reference ethnicity and cultural differences.
Through my work I aims to give a unique insight into this issue, which is outside of our daily understanding and experiences.
I have drawn great inspiration from my surrounding family, who have now become an increasingly influential and integral part of my subject matter. Furthering my knowledge and understanding by exploring and studying their cultural history.”
"I focused on specialist screen and digital printing, using a range of hand print techniques; pigment, procion discharge, foil and flock." Sharayah Engelbrecht
“The subject of this project is exotic birds and reptiles in their natural context amongst tropical flowers, plants and foliage. The inspiration and interpretation behind the imagery is derived from nature, museums, botanical gardens and wildlife parks.
The objective was to translate the natural beauty of wildlife and nature into interior designs for wallpapers and fabrics. The target market is boutique hotels. I focused on specialist screen and digital printing, using a range of hand print techniques; pigment, procion discharge, foil and flock. These techniques were used to work back into the digital fabric prints, alongside the screen printed fabrics.
Drawing was vital to the design process, using first hand research and photography. Traditional drawing techniques and designing with Photoshop CS6. Which enabled me to put my drawings into repeats for digital prints and wallpaper designs. They were styled with the intention of complimenting both contemporary and traditional interiors.
Using a range of lightweight interior fabrics, including silk, cotton, muslin, voile, and georgette, I visualised a number of potential applications including cushion covers, duvet covers and drapes . Alternatively, heavy fabrics would be more suited to hard wearing interiors such as upholstery furniture, curtains and bedding - utilising a range of thickness for linen, cotton, velvet and wool.”
"I looked at textures and patterns that encroach on buildings, like the growth of moss and peeling paints, or drain covers and paving stones." Emma McCusker
“For my final collection at AUB, I created series of avant-garde yet playful fashion accessory and embellishment pieces.
For these works I was inspired by the subtleties of repeat, order, overlay, linking and connecting that are present in Brutalist architecture; juxtaposed to the textures and patterns that encroach on these buildings like the growth of moss and peeling paints or drain covers and paving stones.
Tactility is key to my practice and by using surreal texture combinations and playing with materials, like including dip-dyed hair and fur fringing as well as including water in my work I hope to have achieved a fun collection which begs an inquisitive response from those who interact with my work. As a designer with a keen interest in new technologies, I predominantly use laser cutting and CAD embroidery in the production of my work, but believe it is important to marry this with hand-rendered methods of working- the construction process and a focus on the manipulation of materials is what I hope makes my work unique, fun and fashion forward.”
"I took inspiration from refracted imagery within everyday - looking at distorted forms in reflective surfaces along with digital malfunctions such as static and glitches." Emily Swan
“Refraction displays both print and manipulation techniques creating a unique collection for womenswear fabrics and accessories. Taking inspiration from refracted imagery within everyday – looking at distorted forms in reflective surfaces along with digital malfunctions such as static and glitches.
I have used print techniques to create bold and colourful designs for garment and accessory fabrics. These printed fabrics are often reworked using folding techniques taking the form of geometric tessellations representing the refracted images viewed within window shapes of reflective architecture. These pieces are intended for accessory ideas focusing on bag panels.
2D folds also becomes 3D using bonding techniques to fuse components together and create expanding, movable pieces for bags/hand held accessories. These are interactive pieces whereby the piece has to be manipulated in some way to see its full form. These ideas are to be developed in terms of materials, structure etc.
Containing influences from aspects of sportswear prints, this collection is aimed towards a young female audience with it’s fresh yet playful colour palette with the addition of metallic and plastic hints to give a reflective quality.”
"The purpose of Nudge was that there is no purpose. We wanted fun things to happen for no reason and for people to ‘play’ again, like they did as children." Kin Leong
“Press Play was a mass participation event, in which a crowd of 42 people gathered at the Triangle in Bournemouth Town Centre to listen to the same MP3 at the same time. Participants listened to an MP3 that instructed them to take part in activities such as high fiving strangers, attaching pegs with compliments to unsuspecting members of the public, and taking part in a dance off. The track took them on a journey through town and down to the seafront.
In preparation for this event, we built up a brand with a strong following. Nudge’s aim was to create humorous happenings in public spaces. Our most successful publicity stunt was on Valentine’s Day when an actor and violinist travelled around university handing roses to girls and serenading them. We also organised guerrilla marketing campaigns to publicise our brand and Press Play.
The purpose of Nudge was that there is no purpose. We wanted fun things to happen for no reason and for people to ‘play’ again, like they did as children.
Vision: To recreate the element of play within society.
Mission: We aim to create shared experiences in Bournemouth by staging a series of innovate and humorous happenings in public spaces.
Values: Excitement. Fun. Innovation. Experience. Connectivity”
"Finding a church that had never been used before for the event was literally perfect. Church meets Circus!" Delphine Du Barry
“My inspiration for The Inexplicable Cabaret Circus, a show and dining experience, came from a combination of different shows and events I had seen or been part of in my past three years at University.
Through volunteering at Pavilion Dance I was able to see a lot of their performances. Through awe I was inspired to hold an event that was very performance based. The 1930’s Circus, Cirque du Soleil and swing cabaret where also all huge influences.
I really wanted to create something different for Bournemouth that was fun and incorporated dining and a show, a perfect combination. It was also important that we used a unique space to set this show in so finding a church that had never been used before for the event was literally perfect. Church meets Circus!
A lot was learnt from holding this show but now I know the process and what it takes I would most defiantly do it all over again. The idea to hold The Inexplicable Cabaret Circus again has been spoken of but this time bigger and better, so we’ll see the future holds.”
"Learning to walk and act inside those huge puppets was a challenging feat." Richard Alexander - Oh What A Lovely War
“My German puppet Moltke character was a fun one to play. Based on General Moltke, he was the Kaiser’s ‘lunatic attendant’, so making him as hysterical and evil as possible was great fun, and learning to walk and act inside those huge puppets was a challenging feat!
The Commanding Officer was based on the ‘Hooray Henry’ type from the war, one of the senior military commanders who was completely detached from the reality of what was going on. The lighter and more out-of-touch I played him, the bigger the irony to the audience!”
BA (Hons) Fine Art are building their final show – and you can watch it all happen on their blog. Teeth Cut, but have you washed your hands? will be at Brick Lane in London, 3rd- 7th July 2014 at Free Range.
Teeth Cut, but have you washed your hands? will be at Brick Lane in London, 3rd- 7th July 2014 at Free Range.
Address: F Block, The Old Truman Brewery, 85 Brick Lane, EC1 6QL
Volkswagen have offered an endorsement of the final major project of Level 6 student Carl Williams, who designed a robotic home for a young woman suffering from tetra-amelia syndrome.
Volkswagen have offered an endorsement of the final major project of Level 6 student Carl Williams, who designed a robotic home for a young woman suffering from tetra-amelia syndrome.
Carl said: ‘The aim of the project was to provide Independence for a severely disabled person, born without all of her limbs. Her name is Joanne O’Riordan. Using futuristic but realistic technologies, Joanne’s living space is transformed around her to allow her to function with complete independence.
The project aimed to fill a gap that exists in residential design and disabled design at present. Buildings are not designed to accommodate people with such severe disabilities and this project does that.’
Volkswagen Press and PR: “Volkswagen believes that good design is essential for progress. Design should have a purpose and move the game forward. In combination with good technology and engineering and by working in partnership from the conception to the execution of a product the best results can be achieved. We need to train the designers and engineers for the future and hence it is important that university courses offer the high quality tuition which helps produce the designers of tomorrow.
We welcome the contribution students such as Carl Williams at University of Arts Bournemouth could make in the future.”
77 year old Jean Woods and David Grant modelled some of the AUB collections at Graduate Fashion Week to thunderous applause.
AUB Fashion works with ‘All walks beyond the catwalk‘ whose aim is to empower the next generation of creatives, from design, film, photography and journalism to create a fashion future that promotes a broader range of body and beauty ideals to truly celebrate individuality.
77 year old Jean Woods and David Gant modelled some of the AUB collections at Graduate Fashion Week to thunderous applause.
Founder of ‘All Walks’ Caryn Franklin introduced the AUB Graduate Fashion Week catwalk – praising the consistent involvement of BA (Hons) Fashion and dedication to the ethos of ‘All Walks’ from the students.
"My bikinis are for the fashion conscious surfer - they're for all sizes, look great on, are skintight and really supportive." Millie Hampson - Graduate Fashion Week
“These bikinis are designed for the Fashion conscious surfer. They are an alternative to the spring suits that are available on the high street. There are currently not many functional and agile bikinis like this.
They’re for all sizes, look great on, are skintight and really supportive.
I had a live brief with Roxy in which I did a spring suit collection. As I was doing my marketing report, I noticed a gap in the market for this type of thing. I’m looking forward to really growing this brand when I graduate.”
"I took inspiration from project about a Nigerian tribe who reused their clothes to make new outfits." Georgina Hall-Clarke - Graduate Fashion Week
“Having my work chosen for the GFW catwalk was so unexpected. I’m so happy with how it looked up there.
I knew I wanted to use denim for my collection so I took my inspiration from denim itself – I used a lot of dying and bleaching techniques. From there I looked at Jackie Nickerson and a project about a Nigerian tribe who reused their clothes to make new outfits.
I hope to go into the denim industry – bringing what I have learnt about making denim different with me.”
"Some elements of my collections represented the spirit and some the flesh - and the battle between the two. " Kathryn Rogers - Graduate Fashion Week
“I was so please with the GFW show – it went as smoothly as it could!
My work looked at two realms – the spiritual and the physical, and the battle between the two as the two elements struggle against each other. Some elements of my collections represented the spirit and some the flesh. Knitwear and texture is a huge part of my work and I have experimented with wool, leathers and plastics.
I cant believe my time at AUB is ending, its been so great and the time has flown by!
I’m hoping to go on to specialise in knitwear and make industry links here.”
" I have a family member who is a surgeon, so I have looked at reconstructive plastic surgery and cutting methods, and used them within fabric." Alice James - Graduate Fashion Week
“Seeing your work in London on the catwalk was an incredible experience.
My collection took inspiration from an exhibition in the AUB Gallery: Block Party – Contemporary craft inspired by the Art of the Tailor. I saw a piece there by Rhian Solomon on Body Cloth.
It questioned if we can we cut cloth in the same way we cut skin. I have a family member who is a surgeon, so I have looked at reconstructive plastic surgery and cutting methods, and used them within fabric.
I’m looking to go into menswear, buying and merchandising at a head office”
"I’ve used three concepts: Africa in 1889, Bollywood vs Burning Man and Chinese propaganda from outer space." Twinks Burnett - Graduate Fashion Week
“Graduate Fashion week has been really exciting – talking about your work with the industry is brilliant. Winning the Fashion styling and Creative direction award has been a joy!
My final collection comprises Millinery, styling and creative direction. I’ve used three concepts: Africa in 1889, Bollywood vs Burning Man and Chinese propaganda from outer space. I wanted to create prints that showed these genres and shapes that exaggerated the cultural refernces and imagery that melted perceptions of styling.
Being at AUB has been an amazing journey. Without a shadow of a doubt it’s been the best University for me, it’s like a little fishbowl of creativity. I think if I had been anywhere else I would have got distracted, and had outside influences that may have toned down my style. At Bournemouth I have taken the time to do everything I possibly could do.”
"There’s a transatlantic relationship in my work – the traditions of Savile Row meeting the vibrance of New York cityscapes" Lizzie Atkins - Graduate Fashion Week
“The GFW show was amazing – I’m really proud of my coursemates!
My prints in my collection are based around my Fathers artwork. I’ve been surrounded by it from such a young age, from my 2nd year at AUB I knew that I was going to do this project.There’s a transatlantic relationship in my work – the traditions of Savile Row meeting the vibrance of New York cityscapes.
I’m really interested in going down the tailoring route and more training – within Savile Row hopefully.”
Lizzie has a strong individual design style. Her fusing of traditional and conceptual design recently won her the ‘Savile Row Training Academies’ Bladen award.
" My collection comes from a love of all things spooky - I always wanted to be a vampire instead of a princess." Jenna Jenwah Le Maitre - Graduate Fashion Week
Graduate Fashion Week
“My collection comes from a childhood love for all things spooky. It emulates that feeling of wanting to dress up as a character and have fun with your clothes at that age. I always wanted to be a vampire instead of a princess, so have used wolves, bats and ravens in my designs.
I’ve loved my time at AUB. Its been challenging doing childrenswear but so rewarding because it makes you it really makes you work for what you want to do. My organisational skills are now through the roof after organising the models!
I want to continue working in Childrenswear, perhaps working on something more organic and earthy.”
Jenna has an interest in ethical fashion and has implemented this in her collection using faux fur and environmentally friendly glow in the dark and iridescent vinyl
"For my solar bus stop I was incredibly inspired how many small designs can be complex, but at the same time quite simple..." Dilara Murzagaliyeva
Foundation – 3D Art / Craft / Design Pathway
“I started researching about what exactly architecture means for people and I found this exhibition, which was called “Sensing Spaces: Architecture Reimagined”, which inspired me to create a public space, that would draw people and enable them to enjoy and connect with it. Hence, I came up with an idea to create a sustainable “solar bus stop”.
I realised how many people use public transport nowadays and after many centuries people will still use it. So I decide to improve it and create a place, where people could find it flexible to use. I also looked up architecture and art works. I found a couple inspired books, about small design with big ideas. I was incredibly inspired how many small designs can be complex, but at the same time quite simple. I also found out about “Jinhua Architecture Park”, which inspired me the most.
I’m originally from Kazakhstan, aktau city, which is located by the Caspian. It’s a small city, however gracefully combines of beauty of the sea and desert. I’ve always drawn my inspiration from the nature. The same thing I like about Bournemouth. The area and feeling is quite similar with my hometown, which is inspires me a lot. It also does not make me feel that I’m far away from my hometown.”
"I decided to create a costume from the 1980's film, Labyrinth - because I always watched it as a child..." Georgina Hoare
Foundation – Costume Pathway
“I have loved working at the Arts Uni, because they always gave me the freedom to do what interested me.
I decided to create a costume from the 1980′s film, Labyrinth because I always watched it as a child. It’s been amazing working on a project that I have a personal connection with, even though sewing all the feathers on the front nearly killed me!”
"Having lived in Africa all my life, I realise the need for professionals with specific skills in the field of the built environment, interior design and interior architecture." Julia Mulders
Foundation – 3D Art / Craft / Design pathway
“Having lived in Africa all my life, I realise the need for professionals with specific skills in the field of the built environment, interior design and interior architecture. For example to create infrastructure and housing that is sustainable, affordable and aesthetically pleasing.
While globally the population is rapidly increasing, in the African context especially, I see this as an essential part of progress and it is imperative that we get it right. Relevant design is not superfluous in any way; it has a defined purpose, one that is functional and creates better lifestyles for all in the process.”
"During my recent stay in Cambodia I developed a special interest in their Khmer history and got fascinated by the beauty, shapes and colours of their Angkorian architecture". Lynn Sungurtekin
Foundation – Fashion Pathway
“The aim of my project was to tell a story through a garment inspired by social and political issues in Cambodia as well as the Khmer architecture.
During my recent stay in Cambodia I developed a special interest in their Khmer history and got fascinated by the beauty, shapes and colours of their Angkorian architecture.”
"I look at technology’s impact on communication, to punctuation and concealed messages - provoking the audience to read between the lines" - Giulia Tognoli
Foundation – Graphic Design Pathway
“My work aims to explore and comment upon misunderstandings in language through interactive design. I produced a conceptual graphic art piece that studies a variety of aspects encompassing this concept: from technology’s impact on communication, to punctuation and concealed messages, provoking the audience to read between the lines.
Using methods such as the laser cutter and using typography as a tool for communication, my intention is to dynamically engage with the audience by forcing them to become a fundamental part of the work.”
"Delving back into my childhood fascination of dinosaurs was definitely a very interesting and sometimes comical experience!" - Ellen Hall
Foundation – Illustration Pathway
“I loved creating the book and designing all the quirky creatures inside it. Delving back into my childhood fascination of dinosaurs was definitely a very interesting and sometimes comical experience!”
"I wanted the viewers to question about their own identity and realize that right thoughts and actions determine their future self, thus identity." Angela Kim
Foundation — Fine Art Pathway
“My project is on “Identity”. After exploring range of perspectives on the topic, the work conveys my opinion towards it.
It is made out of many different colours and sizes of human shaped keys, lasercut and arranged in a circular format, presenting many unique individuals in the world. The key figures shows the idea of ‘you create your own life’ as possessing a key for the door lock means you are in control of locking and unlocking the door; the door as the metaphor for new life and opportunity.
The use of generic human figure presents people of the world. The idea of creating one’s own life is similar to the idea of existentialism but in a positive way. I was inspired by portraiture works of Cindy Sherman and Nikki S. Lee, where they presented themselves in many different characters. Combined with other researches such as narcissism and individualism, I thought that each person is capable of controlling their life.
Therefore through my work, I wanted the viewers to question about their own identity and realize that right thoughts and actions determine their future self, thus identity.”
"I came to realise the fictional ideas of a future where man and robot live together are no longer a distant fantasy, but increasingly becoming a reality." Marina Renee-Cemmick
Foundation — Fine Art Pathway
“During this final major project I have challenged myself to explore questions that examine aspects of man: humanity, what it is to be human and the ever-developing relationship between man, science, religion and technology, to consider where our boundaries lie.
Through a vast body of scientific research, artists, articles, film and novels that underpin my work, I came to realise the fictional ideas of a future where man and robot live together are no longer a distant fantasy, but increasingly becoming a reality. This lead me to question, how far will we go to creating new, improved versions of ourselves? Although these question seem daunting and frankly terrifying, they have drawn me closer to understanding the incredible complexity of the human form; our capabilities, emotions, ideas, dreams – aspects that can never be recreated.
I intended to experimented with a vast range of materials and found means to exhibit these experiments. The cycle begins central, at the top with the symbol of the mother, mother earth. Clockwise each individual box reveals a different aspect of man and the relationships between the natural and the industrial, energy and electricity, presenting the time line of each up to the current day. It ends without answers but presents the fingertips of man and robot almost touching, almost connecting, almost one.
There are many underlying concepts to my piece that touch on all aspects of humanity, a reflection of society today. I aimed to ask questions, make others questions and take a moment to embrace our culture, human desires and ideas of progress, yet retain a sense of forewarning. Taking great inspiration from Mary Shelley’s novel ‘Frankenstein’ my piece is riddled with quotes that explore the difficulties and problems of creating life through scientific discovery and technological advancements.
I hope to make people think and question, raise debate and spark interest. Throughout this project I have challenged myself on many levels, and learned a great deal, pushing my concepts and abilities, yet barely grazing the surface of the vast unanswerable question of “What makes us Human?”