Brand spanking new blog for my Foundation beginning in September 2016 over at

blacksabbathh.blogspot.com

This is my final decision. The design is simple - a square based prism that is made from calcium sulphate, that creates the hard stone that is known as Chalkboard. It seems like it could be a really good idea; a student each week could be dedicated to writing Art and Design on the board in large lettering with some doodle or whatever is wanted on it. It could be good for notifying the world if something good is going on up in the Art/Mount departments so it'd be good for a notice board.
The prism fits nicely in the large space in front of the mount and would look relatively professional, too. The only issue is if it rains you may have an issue with keeping the chalk on the board. It could have a light on the top of it or somewhere around it - but it may be an issue with money etc and funding from the college. I think it looks best in the black with chalkboard, because then it's interactive and we can seem like an active facility as appose to us currently seeming like we aren't even a part of RNN. 

Art and Craft movement and the life of many of the valued artists - Essay.

The huge influences for modern natural world based design work today are highly influenced due to the previous 1800 work of William Morris, John Ruskin and William De Morgan. All 3 of the artist's were mainly in the Arts and Crafts movement, which the movement originates between the years of 1880 and 1910 (which is exactly when all three of these spectacular, inspiring humans existed. 

       Firstly, William Morris was the first of the three to be a part of the Art and Crafts movement. He was born in 1834 and died in 1896; after living and working within the Victorian Era. Morris was a multi-talented individual who was an English artist, he was also a poet and and politician! Morris was incredibly creative and he produced decorative art in a an array of different forms. These forms include; textiles, furniture, wallpaper, many different styles of stained glass windows, book designs (for popular books and for not-so-popular) and also tapestry's. Morris had a highly prestigious schooling history and he earned his degree in the Exeter College within Oxford. Soon after Morris' graduation, he decided that he was going to go into the world of architecture. Architecture in the 1800's was an industry worth considering since all housing was something to be admired (unlike today's regular occurrence of the councils eye sore concreate housing.) and there was definitely money within the industry. Considering his already on going highly valued art; Morris was friends with two of the most known (within the art world) artists of that time; Edward Burne Jones and Dante Gabriel Rossetti; two Pre-Raphalite artists, who influenced Morris highly; so much so that Morris decided to give up his aspirations of becoming an architecture and decided to become a painter instead. Meanwhile Morris changing his dreams of becoming a well known architect and changing his whole life style to become one with the Pre-Raphalites - Morris met a lady and that lady is known to be 'Jane Burden.' 

         Jane Morris (formally known as 'Burnden') was born in Oxford and became the idealistic beauty for the Pre-Raphalites. Morris took a fancy to Jane and vouched to wed the somewhat beautiful lady which became a huge part of Morris' history and life in that moment. It was 1859 and Morris had met and married Jane Morris and shortly after they had built their family home known as The Red House.

          Morris commissioned The Red House (which today is looked after by the National Trust and you can visit) from his friend Phillip Webb in 1859 and around a year after the commission, both Morris and Jane moved into their new home, The Red House. Morris dreamt of the home becoming a 'Palace Of Art' long after his death, a place where his friends could decorate his walls with stories of medieval legends; and William and Jane designed almost all their own interior and decorations themselves. They spent approximately 2 years getting their house completely finished (despite moving in just after a year) when they had 2 children, Jane Alice 'Jenny' (1861) and later Mary 'May' (1862) in their 'beautiful' home. They were so happy with their results of The Red House, Morris decided to open his own art and design company. But Morris only stayed in their home until 1865, leaving the home for modern society to discover. 

       Morris later went to Iceland, leaving Rossetti and Jane to furnish their new home 'Kelmscott Manor' (1871) when Jane and Rossetti had become very close and Jane became closely attached to Rossetti and Jane had become Rossetti's favourite Muse. Morris and Jane somewhat split; when Rossetti and Jane became very fund of one another and despite Jane distancing herself from Rossetti after discovering his dependency on the drug 'Chloral Hydrate' (which at that time was taken for insomnia) she stayed very closed to Rossetti and inspired him to write poetry until his death in 1882.

     Despite the issues with Jane and Rossetti, Morris created furniture, table wear, soft furnishings and wallpapers - the name of the company was 'Morris, Marshall, Fulkner and co.' All the types of Art and Crafts/Designs that they created were hand created and were one of a kind. By the 1860's, Morris had decided he had a degree of infatuation with wallpaper where he soon decided to put all his focus within that area of design! Due to William Morris' love with the Natural World, all his wallpapers were concentrated around nature and some of these that he created around the natural world are Morris' strongest work. Despite his love with the current company, Morris had decided that his focus on wallpaper needed a new company, a company completely dedicated to his work - this is when, in 1875, Morris created the company known as 'Morris & co.' However, until recent time's, we were unaware that Morris' wallpaper's were toxic due to them containing asbestos and many people have said to have been killed due to the over expose to said poison. 

       Due to his multi-creativity, Morris was huge poet of his time. Morris' work was highly influenced by Icelandic Saga's, where Morris typically visited (Iceland.) In the 1890's, Morris published various beautifully illustrated books just before his death in 1896; His doctor stated that during his lifetime, Morris had carried out the work of 10 men.

       Ruskin, William Morris' friend, had a somewhat similar yet very different life to Morris. Ruskin was born in 1819, in London and was the son of a very prosperous business man (John James Ruskin) and he was an only child. Ruskin in his early years was very inspired by his fathers passion over art due to him being an Art collector - which inflicted a focus on romanticism. Ruskin's mother inspired his later self by being a highly religious lady and teaching young Ruskin to read the bible, front to back and it obvious his parents had a huge influence on his future as a painter and writer. 

       As a child, Ruskin travelled a lot which gave him the perfect opportunity to first handily study plants and nature in general; therefore having a huge impact on his artwork. Ruskin was known to keep a notebook at hand at all times which contained various observational drawings of maps and nature that he'd seen whilst on his little travels. During 1843, Ruskin published what became the first volume of 'Modern Painters'. In this work he argued about the superiority of the modern landscape painters over the so-called Old Masters of the post-Renaissance period. This first volume became extremely popular, where Ruskin decided to create four more volumes over a 17 year period which were of equal popularity and contained emphasised symbolism in art, which was expressed through nature. Ruskin, very much like Morris, had a passion for architecture. John Ruskin was very interested in the Gothic vival, where he later published the 'Seven Lamps of Architecture' - Detailing the seven moral categories that Ruskin considered vital to all architecture; sacrifice, truth, power, beauty, life, memory and obedience. As an artist, Ruskin exhibited his watercolour work, in the United States and England; his work was subject around botanical art, geological and architecture. 

       During Ruskin's personal life, despite him having a huge love for travelling and studying his surroundings, Ruskin was firstly engaged to a lady named Effie Gray in 1847. It was because of Effie Gray, that Ruskin wrote his only fairy-tale story 'The King of the Golden River." A year after (1848) Ruskin and Gray got married, however their marriage was not a happy one. They later annulled. When Ruskin was nearly 39, Ruskin fell in love with a 10 year old girl; which once turning 18 years old, Ruskin proposed to Rose La Touche, however she demanded he wait until she had became 21 years of age before it becoming an official engagement. Rose La Touche later rejected Ruskin and soon after became very ill - where she later died from a very long illness. This was one of the main reason's for Ruskin's deterioration of mental health. Ruskin later died in 1900, aged 80, from Influenza.

      William De Morgan, like Morris, was one of the most important artists within the Arts and Craft movement. He was born on 16th November 1839, into a very intellectual family. Morgan's father, 'Augustus De Morgan' was the first professor of maths at the brand new and just founded University College London and he was a very important figure within that time for the history of that subject. William De Morgan's mother, 'Sofia Elizabeth Frend', was a vital figure for woman's suffrage and was a fellow campaigner along side Elizabeth Fry. Morgan was very supported by his family and was very supported by them for his artwork and his aspirations to become an artist. 

       At the age of 20, William De Morgan became a pupil at the Royal Academy Schools; however he was extremely disillusioned by the establishment; where he met William Morris and due to Morris; met the circle of the Pre-Raphalites. Shortly after the meeting with Morris and the Pre-Raphalites, De Morgan became highly interested in pottery and ceramics; by 1872 it was mainly only focused on ceramics. Despite not having any insight into becoming a potter or ceramic artist - De Morgan picked the interest up after his vague interest in stain glass but it mainly became a focus after meeting Morris and having Morris as a huge influence to his artwork (especially considering both were highly interested into the natural world.) De Morgan set up a small workshop in his home where he could comfortably exercise his ability to become a decorative artist, which De Morgan continued in his home until he moved his workshop to a small warehouse named 'Merton Abbey' in London, 1882 - 1888 and then in Fulham 1888 - 1898. 

       William Morris and William De Morgan collaborated for many years after William Morris was not very successful in the ceramics business. Due to De Morgan's shift in aspirations, De Morgans soon took on the responsibility of the tile side of the company! It was only after meeting Morris and his Pre-Raphalite friend Burnes, that he had become vastly interested in the industry of ceramics. Still at the beginning of his career and experimentation with ceramic making, De Morgan was commissioned by a man named Fredrick Leighton to install a various amount of multicultural tiles which he collected in his home form on his travels, into the 'Arab' hall of his house that had be designed by an architecture known as George Aitchenson. This was a huge influence on De Morgans work with the rich turquoise colourings which later he carried on through his career. De Morgans work took a turn for the best between the years of 1882 and 1890 when William De Morgan was commissioned by P&O (a ship company) to decorate tiles for 12 new liners, where De Morgan cleverly depicted landscapes, countries and cities that P&O had visited, onto his tiles that he created. After this commission, De Morgan ended up designing many more decorative tiles for several other ships too; which is one of the main reasons De Morgan kept the consistency of the regular turquoise colourings. 

       Towards the end of De Morgans life, his designs had become past their time and considered a little old fashioned. Until 1904, William De Morgan and his friend who was an architect, carried on working but his ill health and the shift in the art world, lead De Morgan to spend most of his later days in Florence, Italy, with his wife. Despite the large popularity of De Morgans work and the vast praise by the Avant-Garde movement of the time; he never bought in a large income. There were many other sides to De Morgan’s talents; he designed and made pottery kilns and equipment; sketched ideas for grinding mills and sieves to be used in his workshops; was a knowledgeable chemist; worked on a new gearing system for bikes; and developed his own telegraph codes. However, his lasting legacy is his ceramics and the De Morgan Foundation is fortunate in owning a large collection of the finest examples of his work. 

       William De Morgan died in 1917, in London of trench fever and was buried in Brookwood Cemetery. Many people praise De Morgan for his warmth and his beautiful energy; which he used to create his career as a novelist, ceramic artist, potter, inventor and designer. 

       The Art and Craft movement was created by the previously described within this essay; William Morris. The movement was created for those to sell their decorative designs and goods that they had created - but sadly had the reverse effect when eventually it had become a rarity to hold such goods unless you were somebody of money. Visually, the aesthetic of the art and craft movement had vast similarities to the Art Nouveou movement and shared the founding of Bauhaus and modernism. 

       The Art and Craft movement was known by it's style. The styles were typically hand made, giving it that personal touch that you could only have one of, creating a higher demand for individuality. The other concept would have been that it would have simple forms; typically with little ornamentation. The fabrics and construction from materials is usually focused on the beauty of the material; the way that it feels and how natural it was. The most common materials for the Art and Crafts movement to use would be pewter and copper; often with a hammered finish. The actual design for the Art and Craft movement to use, would be natural world designs consisting of stylised flowers, allegories from the bible and literature, upside down hearts and Celtic motifs. 

       The most common influences for the Art and Craft's movement would have been from people who focused their art on the particular style. However, the most specifically recognised influences for the movement art; Medieval styles (The Gothic Revival led by AN Pugin.); socialism (the ideas of John Ruskin and Marx, especially the dehumanising effects of the industrialisation); The orient (the pared down quality of Japanese art). Most of the people who were within the movement were commonly known for their creativity within multi-media artworks and many different materials. The most common names known for this movement are; William Morris who set up his own company with the fellow artists called Morris, Marshall and Faulkner & co. in 1861 (later just Morris & Co) which produced everything from Furniture, textiles to jewellery and wallpaper. There was William De Morgan, who concentrated on mainly tiles but also had a vast array of glass and pottery also. CFA Voysey, who were centred around wallpaper, textiles and silver wear; along side that was Richard Norman Shaw who was a well known architect. 

       In conclusion; it has been said that *quote* -

 "Because craftsmen took pleasure in their work, the Middle Ages was a period of greatness in the art of the common people" 

-'Designer, artist, philosopher and political activist William Morris'-

and that our design would definitely not be where it is today if we did not have the Art and Craft movement.

Neon Sign Experiment

This is a common Las Vegas Sign. I like the idea of having a neon sign that would grab people's attention about the art department. I decided to use a similar format by using a general neon word generator and super imposing it onto a photo of the mount. I like that the Las Vegas sign is very bright and if I was to do something similar to this for example; passes by in their cars would immidately see it as they pass by.  

This is it super imposed within the photo. It doesn't look overly good because it's only a quick super imposition onto the photo for it to be an example of where it could be situated; but the idea would be good. However, it would be very expensive to buy and for it to be constantly lit and that's something that places such as Las Vegas don't have to worry about since they're mega multi billionaires and we're run by like just over min wage workers and I highly doubt that the government would fund such a huge project.

Not in order - Self explanatory sketchbook work

Sketches for the Square Based Pyramid

This was a potential idea. I was considering putting some form of lights inside of the s.b.p so it would light up at nice. However, this amount of lights wouldn't be cheap, may cause a distracting amount of light since its next to a road and it could potentially be a safetry hazard.

A simple design to try out what it could look like with the light about the S.B.P. I like it, I think it looks quite pleasant and could have multiple forms of symbolism behind it.

The reasoning behind the lightbulb and some contemplations.

Upside down; but the placing of the s.b.p could be here. That way it would be bang smack in front of the buildings, everybody would know that it's there and it would also be incredibly visual for the people in car's passing by the college.

How I could fit the S.B.P onto something if possible. But after deep contemplation of visual asethetics and durability, I think that this S.B.P would look best firmly on the ground.

Colour contemplation and other potentials.

Shape reconsidering but after the contemplation of what shape, the S.B.P sounds like a much more suited idea and would look a lot better. However, if it was influenced by the balls in the centre of Sheffield (the big silver ones attached to the floor with water coming off them) It would be interesting! However, for this specific project I think the S.B.P is a much better and well suited idea.

OUSIDE POST

This is my favourite idea as of yet. A simple design that will grab people's attention for the actual college art department. It could be a nice gold sold block, something similar to a hollow metal square based pyramid and it could be really shiny. I like the idea of it having a lightbulb on the top (they're easily bought from somewhere such as Argos or B&Q) and it being lit during the night. It could also instigate people to think that we are intellectual beings despite the stereotype of art being an easy subject. 

Despite liking the gold idea because it stands out, it could be a good idea to have a black one that is actually a chalk or black board. This way it's interactive and every week we could have a different student draw on it and have (appropriate of course) drawings on the square based pyramid. This way it's interactive and people could see how interactively positive the Art students are. 

This is an example on the square based pyramid. I used a simple design on photoshop to super impose onto the super imposed square based pyramid to give an example of what it'd look like with a doodle by a student on it. To create this effect I found a bog standard design on google, used the rubber and auto select tool to get rid of the excess black sections to leave a white looking black board doodle left for the example.

This is how it'd look with a doodle on it. I like it and I like the idea of it being consistently interactive and it.

This was the example.

Universities

Brighton Illustration BA (hons)
Brighton Grand Parade campus
Entry requirements - DDM/(non specified grade) Foundation Diploma

At interview
You need to be highly motivated and well prepared as we normally interview over 170 applicants. In the interviews we expect applicants to show evidence of:

• Drawing ability and use of sketch books or worksheets
• Imagination and visual awareness through enthusiasm for images (collected work)
• Evidence of independence and initiative in work produced
• Being able to articulate ideas and problem solve
• Have an understanding of the historical contexts of subjects
• Openness to having work critically judged and developing critical judgment
• Varied interests in general subjects
• Skills in making objects

Manchester School Of Art BA (hons) Illustration with Animation

Entry requirements - DMM/ Merit in Foundation 

Embracing the handmade and the digital, you have access to life drawing, book binding, etching, screen-printing, typesetting, workshops in sound and edit, Photoshop, InDesign, Premiere Pro, After Effects and Dragonframe.

Design in context and professional practice are introduced through national competitions and industry led ‘live’ briefs.

Leeds School Of Art

The Entry Requirements can't be found on their site so I'm not sure. 

This challenging and exciting BA (Hons) Illustration degree has developed out of the extremely successful illustration stream within our BA (Hons) Graphic Design degree and has quickly become a popular choice for those who are serious about becoming a professional illustrator.

Sheffield Hallam University
Entry Requirements - 112 UCAS points (64 of which must come from BTEC)

This course teaches you to understand both the historical and contemporary context for illustration practice. You graduate with an understanding of what illustration has been, what it is now, and are encouraged to explore what it will be in the future.



I am currently still in the process of looking for more and more universities! I don't want to end up at Sheff because that's too close to home and I wanna adventure and try a new place! 

Work Experience

Work experience I have completed whilst being on my course:
I have been doing my normal job over at the Ashley, Worksop. I work there a few days a week for extra money and I usually am on deserts which allows me to be creative and enjoy what I'm doing. I do work to a spec, almost like working to a brief - and I have a time limit too which is a bit like how it is in real life with a brief and a deadline day for said customer. The deserts can be complex, hard to do and sometimes you have to run to get more ingredients/food and you're almost up to the time limit on 4 tables and Michelle of 4 kids who works at Tesco is stressing because she wants to leave and she still hasn't had here fudge cake and 4 Kid Mania Sundays (which the kids are gunna throw all over the table anyway.) For example of like 3 out of 184839749 I have to create (and remember how too), I took some sneaky photo's of my most photogenic recent deserts!

Fudge Cake: 22 seconds in the microwave, cream or ice cream, sprinkles and choc sauce.

Big Candy Mania: 4 Chocolate scoops, 4 Vanilla, smarties and malteesers in the middle. Cream on top, smarties and 5 malteesers, broken cookie (around 1 whole one), 2 twixes and chocolate sauce.

Pizza: Microwave 55 seconds on the paper on a plate, then take onto wooden board, smarties, marshmellows, choc and toffee sauce on top of 3 vanilla scoops.

 

Strawberry Mirangue: Cream, the mirangue, summer fruits (made by frozen fruit, strawberry sauce and raspberry).

Actual CV

Here's my CV. I currently work at The Ashley Worksop - which is just a pub/resturant. I applied for the job by their application form that you get in the place and I have been there a while. This is the CV I handed in with their application form and has got me many of previous jobs! It's quite an in depth CV but I have been told that, that sometime's can be a good thing. I use an app to create my CV because it's best and quickest way (personally) to complete one.