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These are the photographs I took of my Neil Spiller inspired work. In my work I have utilised reprographic techniques by scanning images of his work and printing them off. Because I have used images printing from different printers that vary in quality, I think it has given my work a nice variation of textures. When I photographed my piece, I used different coloured filters to achieve a variation of looks. For my final piece, I think I am going to create four different pieces that will be presented on a1 paper and manipulate them using effects in photoshop.



Here are pictures of my Niel Spiller inspired work. The first photograph is the one I started working on at college and comes from the third idea in my last post. I liked how it was going to look but I struggled with making a column in the middle and when I experimented with adding little pieces to it, like the circles, or the spikes hanging from the first platform, it didnt look at good as I had hoped. I was planning to add acetate to the back and I think that it would have photographed well, but as I was finding the design difficult to make, I decided to start on a new design at home. It is inspired by my second idea in my last post. I have included a sort of column in this one, but because it was so much smaller, it made it much easier to make as it meant it was also sturdier. I would say this one is slightly less abstract, as there are obvious hints at a building here. At college, I took some test shots using some coloured filters. I thought the photographs came out well, but decided to add some windows (not photographed here) into my design so that some light could flood in.

mixed 2 mixed 3 mixedThese are three different sketches of ideas for our project. They are all inspired by Niel Spillers Work. In the first and third idea here, I have taken inspiration from his architectural drawings of columns and in all of them, particularly in the second idea I have taken little bits from lots of different drawings to make a structure. I want to try and recreate the third idea, using photocopies of Spiller’s work on paper and acetate.

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magazine 2

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magazine 1

These are a development on the layout ideas in the post before. By using actual text and images, it allows me to see the weight of different elements on the page. I’ve tried to utilise white space to keep it feeling clean and modern. I think this process has given me a better idea of the way images can be placed on the page, but I think I need to now go on-screen to start experimenting further as it gives me more flexibility to move things around and see how different layouts would work if a picture was placed somewhere else, for example. I also feel like by trying to use white space and trying to keep everything well-balanced, I’ve tried to push everything into the middle of the page, so on InDesign I’d like to try using the whole page and maybe trying layouts that are a little less traditional.

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These are some sketches of ideas for my sculpture. They are all inspired by the work of Henry Moore in the use of abstract shapes. Almost all of them are based on relationships with people close to me, except for number two that is inspired by my passion for graphic design. The idea I like best is number six, which is the drawing in the bottom left-hand corner. I would like to recreate this in photoshop and make it appear to be carved in bronze.

My architectural movement for the magazine project is Greek Revival. I am going to use images of The Great Court of The British Museum designed originally by Robert Smirke with a recent redesign by Lord Foster, The Capitol Dome designed by Thomas Walter and The Lincoln Memorial designed by Henry Bacon. For my own choice of architecture I am going to use images of modern architecture that consists of lots of clean, geometric lines.

edit: I have decided to use different images for my article on modern architecture as these weren’t high res enough.

Digital Art is the term used to describe artistic works that use digital technology as an essential part of the creative process. Some argue that this type of work is not real art as infinate copies can be made and so there is no original. It can be entirely computer generated or can be taken from other sources such as scanned photographs or images drawn using vector graphics. 3D graphics are created through the process of designing imagery from geometric shapes or polygons to create three dimensional objects.

This piece is by Mark Wilson, one of the pioneers of digital image making. He created images like this one using digital software that he ran several times to produce a large number of images, and then drew the most successful images together. The final appearance of the piece depended on his own editing process.


This is a print showing a curved wall and is one of a series of 19 digital prints incorporating
traditional woodblock printing and digital design. It was the result of a workshop held at Wimbledon School of Art, in which the artists explored the integration of traditional woodblock printing with digital
technology. This piece really reminds me of the work of Richard Serra and shows how a sculpture could be translated into a digital format.


This is the work of graphic designer Amirali Ghasemi and is from the series Parties that shows young Iranians socialising in private homes, their faces and other exposed flesh blocked out to protect their identities and also to call attention to the subversive nature of their actions under the current
regime. Ghasemi states that depending on their contexts, his works ‘are interpreted very differently and associated with subjects such as censorship, women’s rights, the hijab, and Islam’.


Peter Kennard has used computer-aided design in his work since 2002. With the help of Kat Picton Phillips, he has produced a portfolio of 15 plates addressing the American invasion of Iraq
in 2003 and its consequences. The images are scanned composites of old war medals purchased in Camden Market, London, their ribbons severely distressed by the artists. Of the project, the artist have said, ” wrote ‘We gritted the scanner, bled on it; threw torn-up rags, flags and ribbons on it; poured oil then stamped on the stuff, burnt it and spat on the lot…In some of the images we used photographs taken with great bravery by documentary photographers in Iraq. Their commitment to keeping us informed often showed us the extreme degradations that this war has brought upon the Iraqi people.’”