What happened so far?

What happened so far?

YR21/22 – Sem1 Visual Communication 1

NAME

Nadia Sotirova Abadjieva Tala Abdelhadi Ekin Asci Dominika Badyla Anna Bielska Marijn Brussel Vivian Ziyhing Cao Alper Cekinmez Stefanos Constantinides Matei Dragomir Dominic Hughes Jotte Kuijt Irja Linnerud Zeynep Oral Lucile Prem Soliman Charlie Karolina Rusak Roland Vass Corina Vettore Gimenez Marie Lucy Vital

Poster

006 012 000 020 026 032 038 044 000 050 058 068 076 084 094 102 106 112 118

MEASURING SYSTEM

134 128 140 138 144 138 132 142 130 128 136 140 000 132 142 134 144 136 130

REPURPOSED ROOM ITEM TRACES

150 158 000 152 156 148 158 154 152 150 158 154 000 148 150 152 156 154 148

168 162 174 176 180 166 168 166 164 000 174 178 000 180 178 162 000 164 176

SPATIAL GUIDE

186 192 000 194 184 000 194 198 186 184 192 196 000 198 194 186 184 198 192

VISUAL DATABASE

202 208 000 212 214 216 218 220 222 000 224 226 000 228 230 232 000 234 236

GROUP PROJECT

264 000 268 268 252 252 240 258 240 264 252 240 240 268 258 258 000 000 264

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POS

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LUCILEABADJIEVA PREM SOLIMAN NADIA

LITEN TO YOUR ANCESTORS CREAT CONNECTION

NADIA ABADJIEVA

CREATE CONNECTION

Nowadays most of the interaction and connections we have are limited to a click on our soulless mobile phones. Communication and exchange of thoughts and feelings has become as much as an INSTA- GRAM STORY or a TWEET. The poster ‘CREAT CONNECTION’ that i’ve worked on for the past month is an appeal to all of us to slow down for a moment, giving ourselves the time and space to reach out to and understand another human soul a tad further than “WHAT’S YOUR FAVOURITE FILTER?”. The elements I’ve used when creating this poster are ones from two photographs that I took (a human eye and a goat). By merging them into one figure I was aiming to create a suspense in the audience, asking them to take a closer look to investigate

what is actually happening there. The overall image that you see on the wall is not neces- sarily something that you completely understand at your first glance, but if you look more carefully into it, you start recognising the texture of the goat’s fur and the not quite fitting there human eye. The EYE is the representation of the human soul that is very often masked and hidden deep inside each and everyone of us, and is not necessarily something that we encounter right away in our interaction with others, but is something that is worth investigating and giving our undivided attention to. Because once we get to it, it is so very mesmerising and deep that we’ll do our best to keep it near ourselves at all cost.

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LUCILEABADJIEVA PREM SOLIMAN NADIA

LITEN TOCONNECTION YOUR ANCESTORS CREATE

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LUCILEABADJIEVA PREM SOLIMAN NADIA

CREATE CONNECTION variations, October 2021

CREATE CONNECTION LITEN TO YOUR ANCESTORS

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LUCILEABADJIEVA PREM SOLIMAN NADIA

CREATE CONNECTION variation, October 2021

CREATE CONNECTION LITEN TO YOUR ANCESTORS

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LUCILE PREM SOLIMAN NADIA ABADJIEVA

CREATE CONNECTION variations, October 2021

LITEN TO YOUR ANCESTORS CREATE CONNECTION

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LUCILEABADJIEVA PREM SOLIMAN NADIA

CREATE CONNECTION variation, October 2021

LITEN TOCONNECTOIN YOUR ANCESTORS CREATE

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TALA ABDALHADI

CONSIDER THE VEINS

TALA ABDALHADI CONSIDER THE VEINS OF WHAT’S BEYOND HUMAN. While someone’s first impression to the statement might be about aliens, the artwork comes in to communicate that it is connected to plants and natural elements. It is a poster printed using the silkscreen technique. The texture and the layering give the artwork the depth of life. The main elements being the circular object in the top right and the leaf-like structure, make me wonder; how differently would we look at the nature-human relationship if humans and plants shared the same flesh composition. or do we already? Since all of what we consume and take in has nature as its source.

The artwork was born form an X-ray image of a broken hand that has been manipulated to producing this outcome. It is intriguing to contemplate on the fact that in this artwork, the plant is actually coming from a human in a way. This is not to feed the anthropocentric view as it was a spontaneous journey of experimentation. However, I do wonder what humans would do if they were the source of life in place of plants and nature. Would we act more responsibly? How hard would we try to achieve balance and justice in the ‘kingdom’?

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TALA ABDALHADI

CONSIDER THE VEINS

CONSIDER THE VEINS OF WHAT’S BEYOND HUMAN 1, 420 x 594 mm, Silkscreen on cardboard, November 15th 2021

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TALA ABDALHADI

CONSIDER THE VEINS

CONSIDER THE VEINS OF WHAT’S BEYOND HUMAN 2, 420 x 594 mm, Silkscreen on cardboard, November 15th 2021

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TALA ABDALHADI

CONSIDER THE VEINS

CONSIDER THE VEINS OF WHAT’S BEYOND HUMAN 3, 420 x 594 mm, Silkscreen on cardboard, November 15th 2021

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TALA ABDALHADI

CONSIDER THE VEINS OF WHAT’S BEYOND HUMAN 5, 420 x 594 mm, digital, 15 Nov 2021

CONSIDER THE VEINS

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TALA ABDALHADI

CONSIDER THE VEINS

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TALA ABDALHADI

LISTEN TO INDIGENOUS NATURE 2, 420 x 594 mm, digital, 15 Nov 2021 LISTEN TO INDIGENOUS NATURE 3, 420 x 594 mm, digital, 15 Nov 2021

CONSIDER THE VEINS

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TALA ABDALHADI

CONSIDER THE VEINS

CONSIDER THE VEINS OF WHAT’S BEYOND HUMAN 4, 420 x 594 mm, Digital, November 15th 2021

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DOMINIKA BADYLA

MANY WEAK UNITS MAKE STRONG UNITY

DOMINIKA BADYLA

MANY WEAK UNITS MAKE STRONG UNITY From dark space raw blocks of coldness emerge. From empty nowhere massive shapes are coming to meet in dynamic dance. Slowly they change their energies - relations aren’t fixed. Nothing is for sure.

You can feel overwhelming power of being on the edge.

Being an witness of eternal forces taking over, pressing elements to construct. This feeling isn’t something you are used to. Do you want to run? Or shall you give up?

Resistance is waning, it cannot be stopped. Surrounding changes in formations, it’s almost impossible to see how was it before. There is no before. Now is the moment of something, something from nothing – there’s no way out.

Bounds shall strengthen in tied circles. Blinding lights are flooding every matter, leaving no way out. Trust it and you will see - now is the time of us instead of me.

Now there are us.

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DOMINIKA BADYLA

MANY WEAK UNITYS MAKE STRONG UNITY, dimension, silkscreen on textile, October 2021

MANY WEAK UNITS MAKE STRONG UNITY

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DOMINIKA BADYLA

MANY WEAK UNITS MAKE STRONG UNITY

MANY WEAK UNITS MAKE STRONG UNITY version 0.1,Touch Designer & Photoshop, October 2021

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DOMINIKA BADYLA

MANY WEAK UNITS MAKE STRONG UNITY

MANY WEAK UNITS MAKE STRONG UNITY, version 0.2, Touch Designer & Photoshop, October 2021

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DOMINIKA BADYLA

MANY WEAK UNITS MAKE STRONG UNITY

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1. Washing the screen after printing 2. Goose - photo used to build posters 3. Dying black of textile used for silkscreen printing 4. Feedback loop build in Touch Designer, used to record pixels from live edited photo of goose 5. Recording from feedback loop - I’ve made a few and cutted out details for final compositions

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DOMINIKA BADYLA

MANY WEAK UNITS MAKE STRONG UNITY

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ANNA BIELSKA

FAMILIAR WITH THE UNKNOWN

ANNA BIELSKA

FAMILIAR WITH THE UNKNOWN

,,I want to be familiar with the unknown” The images are supposed to promote the mood of curiosity and feeling unfamiliar but familiar at the same time with the textures depicted. It creates a tension and the desire to explore as well as the feeling of unsettlement as if we are confronting something alien, not known to the humankind. The artist really focused of showing away the depth in 2D image what shall awake the instinctual need in the viewer to explore the textures. It makes the work tangible and intangible at the same time. The main focus element in the abstract

is the organic, almost fleshy textures, not defined lines, the shading that does not give us any concrete picture.

It also uses dynamic, diagonal and open composition to enchase the feeling of images being taken out of the context. This feeling of confusion that it arises is the key value of the work. It is supposed to convey a narrative about taming the fear of the unknown, being curious as it is the most important value needed for development of humankind. The artist wants us to keep exploring the undefined elements with our eyes.

It is supposed to captivate the instinctual response to what is unsettling and unknown.

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ANNA BIELSKA

FINAL VERSION, PRINTED on A1

FAMILIAR WITH THE UNKNOWN

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ANNA BIELSKA

FINAL VERSION, A1 on SILKSCREEN

FAMILIAR WITH THE UNKNOWN

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ANNA BIELSKA

1. PROCESS, digital and printed on A1 2. PROCESS, digital and printed on A1 3. PROCESS, digital and printed on A3

FAMILIAR WITH THE UNKNOWN

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ANNA BIELSKA

1. PROCESS, digital and printed on A3 2. PROCESS, digital and printed on A3 3. PROCESS, digital and printed on A1 4. PROCESS, digital and printed on A3 5. PROCESS, digital and printed on A1 6. PROCESS, digital and printed on A3 7. FINAL PROJECT FOR SILKSCREEN, digital

FAMILIAR WITH THE UNKNOWN

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ANNA BIELSKA

FAMILIAR WITH THE UNKNOWN

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MARIJN BRUSSEL

ZOMBIFICATION

MARIJN BRUSSEL

ZOMBIFI We recognize the shapes we see here as (parts of a) human. We can see the hairs, nose, mouth, lips and teeth. The mouths are fusing and screaming, everything is moving.

This is a composition of processes to define zombies.

The processes are the different types of exploration towards the final work. For example, visual research and experimentation around zombies, led to ideas about “life after death”, “memento mori” and “seize the day”.

It shows that initially we only associate the concept of a zombie with death, and forget about other aspects like transition, life and being.

In the final work, death, dying, life and living are present, like they were in the processes to define a zombie. But now they are present in a different form, not physical or visual, but put in by my hand which remembered the previous attempts. The work became a transition, by not showing the start or end it should leave the observer in an eternal state of being moved, stretched, pulled.

As a spectator we are involved in this transition without being a part of it. We can peacefully observe it without feeling or sharing the emotions in it. Are we looking at a snapshot in time or at something stuck, frozen in transition? What exists outside the frame? What is its destination and origin?

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MARIJN BRUSSEL

ZOMBIFICATION

ICATION

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MARIJN BRUSSEL

Interesting defect, A1, black ink silkscreen print on white paper, 2021

ZOMBIFICATION

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MARIJN BRUSSEL

First experiments, 10cm x 10cm and multiple A4, grayscale inkjet print on white paper, 2021 Joker t-shirt, 10cm x 10cm, black ink silkscreen print on white cotton t-shirt, 2021

ZOMBIFICATION

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MARIJN BRUSSEL

Red experiment, A1, black ink silkscreen print on red carton, 2021

ZOMBIFICATION

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MARIJN BRUSSEL

ZOMBIFICATION

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ZHIYING CAO ZHIYING CAO

MOREPOSSIBILITY POSSIBILITY MORE

CAO ZHIYING MORE POSSIBILITY

My artwork’s main theme is virtual reality brings more possibilities to people. The environment is very different between here and my country. People’s perspective of life and what happening here is different from the society I grow up. For example, people contribute more to women rights activities here. I want to show them what happens in different part of world that they don’t know. I hope they will be more open minded to make a choice. They can experience various future through virtual reality, which has been restricted from the reality they live in. I use multiple size of dots to represent different events happen in the future. I choose a galaxy and planet image to length them into rectangular shapes. The overall mood is relaxed and positive, looking forward into the future. I mixed green and blue co lor unevenly while I am doing the silkscreen. I wanted to create a relaxed atmosphere through the color. The dots over the rectangular image created unity through the whole picture. It shows the great amounts of possi bilities we can make by our choice. I also thinking abo

ut the existentialist thoughts: we can’t choose the fami ly we are born, and the environment surround us, howe ver we can make our own choice to change what happ en in the future.

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Title, dimension,material,date

ZHIYING CAO ZHIYING CAO

MOREPOSSIBILITY POSSIBILITY MORE

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Title, dimension,material,date

ZHIYING ZHIYINGCAO CAO

MORE MOREPOSSIBILITY POSSIBILITY

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Title, dimension,material,date

ZHIYING CAO ZHIYING CAO

MORE POSSIBILITY MORE POSSIBILITY

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ZHIYING ZHIYINGCAO CAO

MORE MOREPOSSIBILITY POSSIBILITY

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ZHIYING CAO ZHIYING CAO

MORE POSSIBILITY MORE POSSIBILITY

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ALPER ÇEKINMEZ

LONELINESS

ALPER ÇEKINMEZ LONELINESS

Artist met with loneliness for the first time at the age of 16 after losing his grandfather while he was at highschool exchange in Canada, 8000 kms away from home.

He wasn’t alone but had no one to talk to. People are working tirelessly to keep the system up and often get lost in their own buble. Artists invite people to notice the lonely ones as we need each other to stand up. And encourages lonely people by reminding them of their importance and ties to society. This artwork is a call for unity.

The shape used in the artwork is a simple part of a crane taken from it’s main body. They are stacked on each other going towards different directions with different

sizes as they represent people with different power following different ideas. They all try to keep themselves from collapsing but also keep each other and the whole structure up by nature.

While shapes are placed in a way to demonstrate this event, crane shape also adds to the idea. A crane is engineered in a way that small pieces of steel create such a strong structure that carries the heaviest loads in the constranstion zone. Also, crane operators sit high on the top and have a more distanced work life than the other workers. However, they are one of the vital elements to the construction.

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ALPER ÇEKINMEZ

LONELINESS, 60 x 90 cm, paper, 2021

LONELINESS

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ALPER ÇEKINMEZ

LONELINESS

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ALPER ÇEKINMEZ

LONELINESS

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ALPER ÇEKINMEZ

LONELINESS

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ALPER ÇEKINMEZ

LONELINESS

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MATEI DRAGOMIR

EVERYTHING’S GONNA BE FINE

MATEI DRAGOMIR

EVERYTHING’S GONNA BE FINE

Within the posters I tried to express my thoughts on witchcraft, which is one of my favourite topics to research on. I’m attracted by this subject since high school, I don’t know why, maybe because it’s more or less related to my favourite movie and books topic which is medieval stories and times. I’ve found this journey of researching this topic really interesting and fun, I gathered more knowledge about this era than I’ve expected at first.

The technique I used was airbrush on canvas, a medium which is familiar to me. While working on this project I realised that I accidentally accepted a really big chal-

lenge, I never worked on a bigger format than A2 before this. This project pushed my skills to another level, it took me more than a month and lots of patience, in total I made more than 13 poster try outs on canvas and even more on paper. Working on A1 seemed easy at first but my shapes and characters were really hard to place into a relaxed composition. While talking about the elements I’ve used I can admit that they weren’t really planned, for me they’re pretty abstract but somehow inspired by real shapes. More or less I came with them by playing around with pen or airbrush on paper.

As an final overview on this project I’m pretty happy with my results and the new luggage of new information.

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MATEI DRAGOMIR

UNTITLED 1, A1 , ESSENTIAL OIL AND AIRBRUSH ON CANVAS , 2021

EVERYTHING’S GONNA BE FINE

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MATEI DRAGOMIR

UNTITLED 2, A1 , AIRBRUSH ON PAPER , 2021

EVERYTHING’S GONNA BE FINE

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MATEI DRAGOMIR

UNTITLED 3, A1 , AIRBRUSH ON PAPER , 2021

EVERYTHING’S GONNA BE FINE

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MATEI DRAGOMIR

UNTITLED 4, A1 , ESSENTIAL OIL AND AIRBRUSH ON CANVAS , 2021

EVERYTHING’S GONNA BE FINE

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MATEI DRAGOMIR

EVERYTHING’S GONNA BE FINE

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MATEI DRAGOMIR

EVERYTHING’S GONNA BE FINE

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MATEI DRAGOMIR

EVERYTHING’S GONNA BE FINE

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DOMINIC HUGHES

STRONGER TOGETHER

DOMINIC HUGHES

STRONGER TOGETHER

The concept of revolution brings a personal connection because I am a strong advocate for freedom and human rights. My instinct brought me to mimik posters from the propaganda era in the Soviet Union. The use of geometrical shapes to convey emotion was something that I wanted to try and work with as a starting point.

on the latter . The use of the human face was important to translate the primary element that comes to my mind when I think of revolution. The use of the screen printing method also reinforced the humanistic aspect in a way because of my involvement in the process. This brought me closer to the final result.

I wish to convey a feeling of curiosity, but mostly seriousness due to the important nature of the topic. For too long there have been oppressing powers that take advantage of societies, and many times people have come together to fight for what they believe in. The two opposing figures created a dialogue where on the left, the larger face looking up and forward represents the people, and the smaller face on the right, looks down

By using rectangles in an angular way, I created a dynamic feeling that brings the viewer to look forward.

This movement is a metaphor in a way that conveys a forward thinking motion. My choice to use raw canvas textile as a surface was to break away from the typical use of paper. The result of it brings interesting fluidity compared to the rigid structure of my composition.

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DOMINIC HUGHES

Silver negative, A1, Coolsingel blue 200 g/m2, 2021-10-22

STRONGER TOGETHER

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DOMINIC HUGHES

Black ink on textile, A1, raw canvas textile, 2021-11-22-05

STRONGER TOGETHER

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DOMINIC HUGHES

Mixed inks (silver & black), A1, Fabriano white 180 g/m2, 2021-10-22

STRONGER TOGETHER

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DOMINIC HUGHES

^ Found element from city walk > Poster variation 1 >> Poster variation 1

STRONGER TOGETHER

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DOMINIC HUGHES

STRONGER TOGETHER

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^^ New angle of chosen visual ^ New variations > Final chosen direction

DOMINIC HUGHES

STRONGER TOGETHER

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DOMINIC HUGHES

STRONGER TOGETHER

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^ Silk-screen setup for paper > Textile setup

DOMINIC HUGHES

STRONGER TOGETHER

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DOMINIC HUGHES

STRONGER TOGETHER

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JOTTE KUIJT

JOTTE KUIJT

DECAY//GROWTH

DECAY/ /GROWTH

I wanted to look at the themes decay, growth, change and transformation without the emotional, moral point of view and just objectively see what was happening.

Decay is often looked at as a very negative phenomenon and I wanted to change the way we look at decay and growth into just seeing transformation. If we start to do that, with an open mind and without judgement, I think it would give us a lot of room for new insights and different points of view.When you take a first look at the posters the image looks very abstract, but when you come closer and take a better look the building stones

of the poster become clear. It is built up of tiny images of lungs in different stages of lung decay. The images where the decay of the lungs has progressed the most are the darkest and make up the contrast in the poster with the healthy, white lungs. The overall image represents the texture of the decayed lungs.

I want to show that decay can also mean growth, as the eye naturally focuses on the darker parts, the ones with the most decay on the lungs. They give contrast and definition to the poster, making them important building stones of the composition.

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JOTTE KUIJT

DECAY//GROWTH

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JOTTE KUIJT

A1 silkscreen with red and purple ink on ivory paper

DECAY//GROWTH

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details of silkscreen print

JOTTE KUIJT

DECAY//GROWTH

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JOTTE KUIJT

detail of A1 silkscreen with red ink on blue paper

detail of A1 silkscreen with red ink on ivory paper

DECAY//GROWTH

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JOTTE KUIJT

DECAY//GROWTH

Illustrator file

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JOTTE KUIJT

previous poster designs, Illustrator

DECAY//GROWTH

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JOTTE KUIJT

DECAY//GROWTH

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IRJA LINNERUD

CONTINUATION

IRJA LINNERUD CONTINUATION

Life and death has been and always will be a central part of people’s lives. Death is the undebatable, inevitable last stop ending our time here on earth. Life is what we strive to maintain and prolong for as long as our bodies can handle it. You will here be presented with the thought that death is not the final form of you. While your consciousness might cease to exist there will still be parts of you that lives on in separate forms of life on earth.

In this 3 part poster series the artist takes you on a journey through worlds that have emerged from each other.

An eerie shine radiates from the centre of the object and pulls the viewer in awakening a curiosity of what is to come. The core of the worlds creates unity. Ties them together and shows their fragile dependency. One could not exist without the other.

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IRJA LINNERUD

CONTUNUATION 1, 594 x 841 mm, black ink on yellow paper, 29.10.21

CONTINUATION

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IRJA LINNERUD

CONTUNUATION 2, 594 x 841 mm, neon paint on purple paper, 29.10.21

CONTINUATION

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IRJA LINNERUD

CONTUNUATION 3, 594 x 841 mm, black ink on purple wpaper, 29.10.21

CONTINUATION

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IRJA LINNERUD

Starting image from walk, canon 700D

CONTINUATION

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IRJA LINNERUD

CONTINUATION, experiment 1, black and white CONTINUATION, experiment 2, black and white CONTINUATION, experiment 3, black and white CONTINUATION, experiment 4, black and white

CONTINUATION

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IRJA LINNERUD

Detail version 1, experiment, black and white Detail version 2, experiment, black and white

CONTINUATION

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IRJA LINNERUD

CONTINUATION final verison, 594 x 841 mm, black and white CONTINUATION bitmapped, black and white Silkscreen printing

CONTINUATION

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ZEYNEP BURCA ORAL

BEFRIEND THE UNKNOWN

ZEYNEP BURCA ORAL BEFRIEND THE UNKNOWN Discovery, and the act of approaching something alien to yourself is a difficult task as it forces the subject to both let go and hold back. The piece comes to terms with itself, and I feel that this is also a visual representation of myself coming to terms with the concept of discovery through connection. One way that I personally struggle with connection is giving too much of myself within a new connection. In a way this poster is teaching me how to be more stubborn, and confident in my own self to not let myself bleed into someone else. To not allow myself to become someone else. This ties in with the visuals as the viewer can see the two lines, two colours, negative and positive impressions of eachother not bleeding and disrupting each other, but complimenting. I can also see methods of complimenting each other to be not one of spiritual complementation but of analytical, and physical. The lines are as sharp and clear

as they can be, they interact with intention, they do not bleed into one another. I feel like the small elements of the poster that can be seen as imperfections such as this diagonal line coming from the upper right corner of the page is showing how this is an imperfect science.

The science of discovery and new connections is imperfect in the way there are always personal presuppositions interrupting the connection. The tone of the piece is very direct and intentional, as the lines are not soft in the way they meet. Another element to the piece other than the detail is that the center where the lines overlap forms a triangle. The larger shape in the center also can be seen to form a diamond that may be seen as an abstract spaceship, or UFO. The mood is quite energetic, and strict. It looks like a world with discipline, and rules, but also the energy disturbs these rules.

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ZEYNEP BURCA ORAL

BEFRIEND THE UNKNOWN

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ZEYNEP BURCA ORAL

BEFRIEND THE UNKNOWN

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ZEYNEP BURCA ORAL

BEFRIEND THE UNKNOWN

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ZEYNEP BURCA ORAL

BEFRIEND THE UNKNOWN

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ZEYNEP BURCA ORAL

BEFRIEND THE UNKNOWN

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ZEYNEP BURCA ORAL

BEFRIEND THE UNKNOWN

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ZEYNEP BURCA ORAL

BEFRIEND THE UNKNOWN

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ZEYNEP BURCA ORAL

BEFRIEND THE UNKNOWN

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ZEYNEP BURCA ORAL

BEFRIEND THE UNKNOWN

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LUCILE PREM SOLIMAN LUCILE PREM SOLIMAN

LISTEN TO YOUR ANCESTORS LITEN TO YOUR ANCESTORS

LUCILE PREM S LISTEN TO YOUR ANCESTORS For this work, the artist tried to express a connection between modern life and ancestral wisdom, expressing a feeling of depth and connection. The composition is based on individual lines which travel deeper into the center, creating a tunnel effect. The edges seem to be blurred and the center is a clear, dark spot. This also helps to create a hypnotic effect and trigger a sense of melancholy for the past experiences, and excitement for the future to come.

The artist was inspired by the mysticism in Latin cultures and theories such as the collective unconscious from C. G. Jung. His theory states that every individual is connected in a metaphysical level where we all share a collection of symbols and messages that, after being deciphered, can bring useful messages from our unconscious into our conscious state.

After presenting the work to several individuals, the majority saw an eye in the composition, which was not intentional but still expresses the same idea: the message in the end of a tunnel. The artist states that eyes are the windows to the soul and that by looking at someone straight in the eyes can express a much deeper meaning to how they feel about a specific situation or element, rather than the words they speak or the movements they mirror. The fact that the visual was perceived as an eye, automatically makes the audience into looking at the details on the poster, and yet still draw the focus to the center of the composition which is intriguing since it is the emptiest part of the whole composition.

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LUCILE PREM SOLIMAN LUCILE PREM SOLIMAN

LISTEN TO YOUR ANCESTORS, 59,4 x 84,1 cm., silkscreen on paper, October 2021

LISTEN TO YOUR ANCESTORS LITEN TO YOUR ANCESTORS

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LUCILE PREM PREM SOLIMAN SOLIMAN LUCILE

LISTEN TO YOUR ANCESTORS variation 1, 59,4 x 84,1 cm., digital, October 2021

LITEN TO LISTEN TOYOUR YOURANCESTORS ANCESTORS

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LUCILE PREM SOLIMAN

LISTEN TO YOUR ANCESTORS variations, 59,4 x 84,1 cm., digital, October 2021

LITEN TO LISTEN TOYOUR YOURANCESTORS ANCESTORS

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LUCILE LUCILEPREM PREMSOLIMAN SOLIMAN

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LISTEN TOYOUR YOURANCESTORS ANCESTORS LITEN TO

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1. City walk - object found under the topic of mythology

6. Ancestors - organic patterns and close up of the original element

2. First attempt - Minotaur, digital design - Aesthetic: trippy, cryptic

7. Abstraction 4 - facial elements, dark tones and sharp, linear details

3. Abstraction of Minotaur - geometrical elements and abstraction of the object from the city walk

8. Abstraction 5 - maze pattern, noise and close up of the horns from the original item

4. Abstraction 2 - linear elements and maze pattern

9. Abstraction 6 - linear elements, close up on the original element, gray scale

5. Abstraction 3 - linear elements and waves

10. Abstraction 7 - multiplication of the close up element, darker tones

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LUCILEPREM PREMSOLIMAN SOLIMAN LUCILE

LISTEN YOUR ANCESTORS LITEN TOTO YOUR ANCESTORS

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LUCILE LUCILEPREM PREMSOLIMAN SOLIMAN

LISTEN TOYOUR YOURANCESTORS ANCESTORS LITEN TO

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LUCILEPREM PREMSOLIMAN SOLIMAN LUCILE

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LISTEN YOUR ANCESTORS LITEN TOTO YOUR ANCESTORS

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9 1. Element change - variation 1 - soft, wavy, platinum 2. Element change - variation 2 - darker tones, wavy, soft 3. Element change - variation 3 - lighter tones, noise 4. Element change - variation 4 - white tones, abstraction 5. Element change - variation 5 - pixelation, flattening, 2D effect 6. Element change - variation 6 - abstraction on larger scale, minimalism 7. New element - linear pattern creating a tunnel effect 8. New element 2 - organic figure, wavy background 9. Abstraction of New Element 1 - abstracting the linear effect on the original shape and contrasting both sides of the composition

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KAROLINA RUSAK RUSAK KAROLINA

DO NOT NOT BE BE AFRAID AFRAID TO TO BE BE CURIOUS CURIOUS DO

KAROLINA RUSAK

DO NOT BE AFRAID TO BE CURIOUS Derived from a primal urge to discover, my work treats about curiosity and the way we feel about revealing what’s underneath the surface of the “known”.

Curiosity is about breaking the barrier of fear.

To see truth about a certain phenomenon we first have to overcome the dread of danger that can be lurking beneath. Personally I believe that opening up to new possibilities takes a lot of courage, time and effort. The curiosity has to be far greater that the anxiety revolving around it to actually take action and explore an alien field. But that’s how we learn and why we are so driven towards what we can’t comprehend.

Human species evolved by experimenting and exploration, that’s how every child learns basic rules of the world and scholars make breakthroughs in modern science.

To awaken one’s interest I created a shape that has been distorted, darkened and covered by seemingly translucent layer which makes it

hard to make out what the shape actually is. Is it alive? Is it an object? Is it dangerous? Can you touch it? You want to see it clearly but still you are unsure if it’s the right thing to do. You can only suppose what’s under the surface and when if you’re almost sure of what it is, you hesitate. The aesthetic of poorly made photography gives you a reason to think it’s real but what if the artist just made an interesting looking stain, or generated it in a program? You might be getting toyed with and it makes you a little frustrated, that only ignites the curiosity more. But what if it actually is a photograph of something, probably filled with meaning and symbolism and you just can’t make it out? The anxiety comes in again, you desperately try giving it meaning. In the end you’re even sure what it is, why has it been presented that way and in what way has the artist worked to come to the the final effect.

But are you really correct?

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KAROLINARUSAK RUSAK KAROLINA

DO NOT BE AFRAID TO BE CURIOUS, A1, digital final version

DONOT NOTBE BEAFRAID AFRAID TO TO BE BE CURIOUS CURIOUS DO

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KAROLINA KAROLINARUSAK RUSAK

DO NOT BE AFRAID TO BE CURIOUS, A1, yellow ink on lavender paper

DO DONOT NOTBE BEAFRAID AFRAID TO TO BE BE CURIOUS CURIOUS

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Process 1,2 and 3, A1, digital

KAROLINA KAROLINARUSAK RUSAK

DO DONOT NOTBE BEAFRAID AFRAIDTO TOBE BECURIOUS CURIOUS

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ROLAND VASS

HAZY VISION

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ROLAND VASS

HAZY VISION

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ROLAND VASS

HAZY VISION

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ROLAND VASS

HAZY VISION

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ROLAND VASS

HAZY VISION

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ROLAND VASS

HAZY VISION

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CORINA VETTORE GIMENEZ

DECONSTRUCT TO ENHANCE

CORINA VETTORE GIMENEZ

DECONSTRUCT TO ENHANCE I’ve been diving into my own inner pixels to understand myself as a whole fluctuating picture.

In the series of posters “deconstruct to enhance”, I visualize this idea.

Deconstruction: the analytic examination of something often in order to reveal its inadequacy.

I am obsessed with the understanding of every one of the pixels that make me. By decomposing myself as the basic unit of a digital image, finding the smallest part and acknowledging it, understanding why and how it got there and the part that it represents in who I am today; and very important, how it fluxes to develop a different myself through time.

From the outline of a drop of ink merging with oil, to the textures of a motherboard, I instinctively manipulated and closely observed elements to come up with an abstract representation of my construction/ deconstruction that aims to enhance.

With my work, I intend to awake the curiosity of my audience to look at their own pixels to come up with the answer for: who and why are you, you?

By getting to know all the pixels that make you, you are able to understand how the big picture is created. No need for words, just and exploration into the inner self, where you will find abstraction and incoherence. And maybe even some answers that hopefully, will enhance you.

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CORINA VETTORE GIMENEZ

DECONSTRUCT TO ENHANCE

From DECONSTRUCT TO ENHANCE series- 140x60cm print on vynil November 2021

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CORINA VETTORE GIMENEZ

From DECONSTRUCT TO ENHANCE series- 84x60cm digital version B&W November 2021

DECONSTRUCT TO ENHANCE

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CORINA VETTORE GIMENEZ

From DECONSTRUCT TO ENHANCE series- 84x60cm digital version B&W November 2021

DECONSTRUCT TO ENHANCE

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CORINA VETTORE GIMENEZ

DECONSTRUCT TO ENHANCE

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CORINA VETTORE GIMENEZ

Right page. Top 3 images: materials scanned for realization of the posters: oil and indian ink; motherboard; aluminium foil.

Middle image: fragment of poster engraved on metal with lasercut machine. Size 40 by 85cm.

Left page. Top image left: original digital version of poster printed on right page.

Top image right: a vectorize version for printing on lasercutt machine of image on the left.

DECONSTRUCT TO ENHANCE

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MARIE LUCY VITAL

SIN SATIONAL

MARIE LUCY VITAL SIN SATIONAL

Throughout my teens I found solace in being promiscuous. I found a community where I could truly be myself.

Without the shame that comes with being sexual adventurous. A place when sex was SINsational.In this Artwork I wanted to show people what the SINsation feels like for me but visually. Like a thousand suns bursting and colliding in ecstasy. An out of body experience with the release I craved so deeply.

It starts at the bottom of the piece like an earthquake that turn into a typhoon that leaves you in the middle of space. Now tell me have you experienced a release so great that the hair on the back of you neck stand

up even by the slightest flashback. I don’t what you to understand what you see but to acknowledge what you feel the SINsation. There is extreme importance in the textures that don’t quite make sense but it just works so well together. Think of every abrupt change in texture and a twitch that will leave you salivating.

In every piece I work intuitively in the hopes of the audience being able to experience if not the same but the similar pleasures that I felt while doing the research and making the piece.

When you think of Queer sex now, I hope you get cover in goosebumps. MAuh

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MARIE LUCY VITAL

SINSATIONAL, dimension, silkscreen on paper, October 2021

SIN SATIONAL

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MARIE LUCY VITAL

LISTEN TO YOUR ANCESTORS variation 1, dimension, silkscreen on paper, October 2021

SIN SATIONAL

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MARIE LUCY VITAL

LISTEN TO YOUR ANCESTORS variation 2, dimension, silkscreen on paper, October 2021

SIN SATIONAL

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MARIE LUCY VITAL

Found Object From City Walk First 9 poster made from Imagae of City Walk

SIN SATIONAL

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MARIE LUCY VITAL

SIN SATIONAL

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MARIE LUCY VITAL

SIN SATIONAL

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MARIE LUCY VITAL

SIN SATIONAL

Silkscreen on Textile Satin Polyester Scarves

MEASU SYST

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URING TEM 127

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MEASUREMENT SYSTEM

TALA X MATEI

TALA X MATEI MEASUREMENT SYSTEM

To create a new measurement system we used finger and air volume in them. In each 1cm X 1cm X 1cm is 0.001 liters of air. An average human has 2.3 - 3.0 liters of air. We measured the logest and the shortest fingers in class and we got an average of 8cm tall. We used this information in measuring the air volume in the room.

Then we took note of the people on each corner of that room ad substracted the air-fingers unit we came up with.

Although it was a rough process of figuring the measurements out, we had fun coming up with it.

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MEASUREMENT SYSTEM

TALA X MATEI

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MEASURING SYSTEM

STEFANOS & MARIE

STEFANOS CONSTANTINIDES MARIE LUCY VITAL

MEASURING SYSTEM

Trying to find a new way of measuring, we decided to use boxes as we used boxes to measure each corner of the room, at the beggining it was a little bit sketchy but as we good use to it we could manage to do our measurements very good which was very interesting and fun.

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MEASURING SYSTEM

STEFANOS & MARIE

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MUSICAL SPACE

VIVIAN & ZEYNEP

VIVIAN CAO ZEYNEP ORAL

MUSICAL SPACE With Musical Space, Vivian and Zeynep explored the possibility of understanding a room through the speed that it took Vivian to traverse the room while listening to different genres of music. The different genres used were Pop, Classical, Trap, and Rap. An interesting observation was that during the Rap, where Vivian was listening to Cardi B. Some strange occurrences that happened was that certain walls that should have been the same length seemed shorter or longer. Perhaps due to the furniture, the measurement system can be considered flawed.

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MUSICAL SPACE

VIVIAN & ZEYNEP

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LUCILE PREM SOLIMAN MEASURING SYSTEM

NADIA &YOUR KAROLINA LITEN TO ANCESTORS

NADIA ABADJIEVA KAROLINA RUSAK

MEASURING SYSTEM

We used an alternative measuring system to identify the scale of our classroom. We measured it in time, or more specifically how much of it would it take to run across it.

LUCILE PREM SOLIMAN MEASURING SYSTEM

NADIA &YOUR KAROLINA LITEN TO ANCESTORS

00:03,85

0 0 : 0 2, 4 7

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MEASURING SYSTEM

CORINA & DOMINIC

Corina V Dominic Hughes

MEASURING SYSTEM

We chose to use the capacity of hearing of Dominic H, from the song 18HUNNA by Four Tet. Measuring with the volume levels of an Iphone 12 mini with 1 year of use in the clasroom IMD 1, KaBK. By having in mind the amount of people in the room as a varient for levels of error.

Team members Corina V Dominic Hughes

This measuring system is only possible to do once. The circunstances are so different in the sound levels, that the same result would never be achieve. For that then, is a one time measuring system.

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MEASURING SYSTEM

^^ Song used for measurement ^> Test subject ^ Part of the classroom

CORINA & DOMINIC

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MEASURING SYSTEM

MARIJN & DOMINIKA

MARIJN BRUSSEL DOMINIKA BADYLA

MEASURING SYSTEM

We measured the room using an alternative system.

By throwinf a cardboars object and measuring it’s time of flight between one wall and another we were able to map the dimensions of the room using time.

Thrown object, cardboard, 2021

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MEASURING SYSTEM

1.

3.

3. Map of room in scale, A4, black fineliner on white paper, 2021

MARIJN & DOMINIKA

2.

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MEASURING SYSTEM

EKIN ASCI

EKIN & JOTTE

JOTTE KUIJT

MEASURING SYSTEM

Together with Ekin Asci I tried to find a different way to measure the classroom then using the metric system. We were curious about how many goldfish the classroom would hold, giving them all the necessary required living spaces for fish. We were too busy doing math to draw a floorplan in the 30 minutes that we had but I did make a little visual (fishual).

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MEASURING SYSTEM

EKIN & JOTTE

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MEASURING SYSTEM

LUCILE & ALPER

LUCILE PREM S. ALPER ÇEKINMEZ

MEASURING SYSTEM

For this exercise we had to come up with a way to meassure the space where we stood in a different way than the commonly used metric system.

These measurements were used to recreate a floor plan of our working space using this new meassuring system.

After a few trials and a short brainstormins session, due to the 30 minutes limitation, we found a fan and a piece of paper laying in the corner of the room, which we decided to use to create our new meassuring system.

We were able to meassure both horizontal, and vertical lines along the space depending on the position of the fan, and using the final meassurements we implemented them on a 3D Blender model of the floorplan.

Since the fan has three different speeds, we decided to use those as indicators to meassure the distance between the fan and the piece of paper.

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MEASURING SYSTEM

LUCILE & ALPER

Floor plan as seen from the side to show the vertical measurements

Fan used to measure the space

Different strengths on the fan; numbers used to create our own measuring system

Floor plan as seen from above

Sheet of paper used to meassure the wind emmanating from the fan

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MEASURING SYSTEM

ANNA BIELSKA

ANNA & ROLAND

ROLAND VASS

mEASURING SYSTEM

For this short group assignment we were meant to come up with an unconventional, yet undiscovered measuring system. Based on results of our previous exercise, we decided to measure the room in electricity. We created a floor plan using photos from the collection of electrical outlets, combined them with found image of wires

and spiderwebs that stand for connection and proceeded to arrange them visually in a way resembling how they are arranged in the classroom. The image is meant to give us an overview of omnipresent, yet unnoticeable electrical connections and wires in the building.

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MEASURING SYSTEM

ANNA & ROLAND

REPUR ITE 146

RPOSED EM 147

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REPURPOSED ITEM

MARIJN, ZEYNEP & LUCY

MARIJN BRUSSEL X ZEYNEP ORAL X LUCY VITAL

BOLT BEAST The Bolt Beast, also called the Nut Monster by some, first appeared during the industrial revolution.

Three childern were playing in an old warehouse with nuts and bolts. Throwing them around, and playing with metal nuts, they heard a small rumbling noise coming from behind in them. The smallest child struggled to throw the nuts properly, and couldn’t play the game. Slowly the rumbling noise grew, louder and louder. Then, from nothing, a giant monster composed of nuts and bolts came, and choked the small child with the nuts and bolts untill he was no longer breather.

Later it was confirmed by several experiment the appearence of the monster was triggered by failing a

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REPURPOSED ITEM

Later it was confirmed by several experiment the appearence of the monster was triggered by failing a specific game with nuts.

MARIJN, ZEYNEP & LUCY

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REPURPOSED ITEM

LUCILE, MATEI & NADIA

LUCILE PREM SOLIMAN MATEI DRAGOMIR NADIA SOTIROVA ABADJIEVA

REPURPOSED ITEM For the purpose of this exercise we had to find an object in our working space and come up with a new prpose for this item.

After looking around the space we found a metal tube with a hole in the middle of the structure and two open ends; oce we discussed possible uses for this object, we decided to use it as a ‘‘whisper tube’’.

The new function of the object was to share secrets with someone else through an elongated structure, that way there was no record of what you said and only the people standing at the other end and the middle of the structure could hear what you whispered into the tube.

Once the ourpose was defined, we were instructed to perform the item’s new purpose.

Many people tested the functionality of the object, and shared deep secrets with each other, creating new bonds between each individual.

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REPURPOSED ITEM

LUCILE, MATEI & NADIA

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REPURPOSED ITEM

KAROLINA, DOMINIKA & STEFANOS

KAROLINA RUSAK DOMINIKA BADYLA STEFANOS CONSTANTINIDES

REPURPOSED ITEM

As a team we decided to find another use for a charger. We’ve tied Dominika to the chair to force her to stay at school and study. The charger here acts like a tie rope, binding Dominka to the chair forever and ever.

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REPURPOSED ITEM

KAROLINA, DOMINIKA & STEFANOS

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REPURPOSED ITEM

ALPER, CORINA & JOTTE

ALPER ÇEKINMEZ CORINA VETTORE GIMENEZ JOTTE KUIJT

REPURPOSED ITEM

For this exercise we were tasked to repurpose an object found in class. We spent most of our time considering what we can do with the trash can but then we notice there was a blown up plastic glove on the shelve, like a baloon. We wrote BOYFRIEND HAND on it using a black marker and born was our companion item.

We quickly practiced a performance where we pretended as if it is an adversite for our new product.

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REPURPOSED ITEM

ALPER, CORINA & JOTTE

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REPURPOSED ITEM

NADIA, ANNA & ROLAND

NADIA SOTIROVA ABADJIEVA ANNA BIELSKA ROLAND VASS

REPURPOSED ITEM

With the intention of repurposing an object in the classroom, we chose a wooden frame that we found there.

The wooden frame stopped being a wooden frame when one of us walked inside of it while two other people held it vertically and we started walking around like that. We gave it a purpose of a transporting machine, specifically for art students that are not capable of maintaining a mental stability. We are transporting art students with our little transporter to a place where they can rest and regain their wellness of mind as it is necessary for keeping their creative flow going.

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REPURPOSED ITEM

ALPER, CORINA & JOTTE

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REPURPOSED ITEM

TALA, ZHIYING & DOMINIC

Tala Abdelhadi Zhiying Cao Dominic Hughes

REPURPOSED

The goal of this exercise was to find an object in a room, and to give it a new function. Our group chose to use a ladder. The idea behind our repurposing was to make it into a multi-level dining table. The performance was intended to re-creating a date situation, with a full-course meal.

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REPURPOSED ITEM

^^ Drawing of the meals, pencil on cardboard ^ Technical drawing of setup

TALA, ZHIYING & DOMINIC

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ROO TRAC

OM CES 161

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ROOM TRACES

KAROLINA & TALA

KAROLINA RUSAK TALA ABDELHADI

ROOM TRACES

Tala and I tracked a rapid change happening inside of our classroom. We asked ten of our classmates to sit in a circle, gave them a single blank sheet of paper and instructed them to change the paper as fast as possi-

ble one by one without thinking about it. Most folded or crumpled it up, some tore it, one even licked it. The room was not the same after the paper’s transformation, as a little part of it was in fact “changed”.

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ROOM TRACES

KAROLINA & TALA

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ROOM TRACES

CORINA & STEFANOS

CORINA V & STEFANOS

ROOM T R A C E S By looking for what change in the room we could get inspired from, we thoght about the change that the room does on us.

The temperature is rising meanwhile more time we spend in the classroom.

We wanted to reflect how we get affected by the room and it’s inhabitants, who help raise the temperature till is so hot, we had to get (almost) naked.

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ROOM TRACES

CORINA & STEFANOS

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ROOM TRACES

MARIJN & ALPER

MARIJN BRUSSEL X ALPER ÇEKINMEZ

ROOM TRACES We visualised a transformation/change in the classroom by taking pictures of modified objects/surfaces and brushing away the additions/modifications. This can be compared to a “beauty filter”, showing the before and after.

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ROOM TRACES

MARIJN & ALPER

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LUCILETRACES PREM SOLIMAN ROOM

NADIA & VIVIAN

NADIA ABADJIEVA VIVIAN CAO

TRACING CHANGES

A PROJECT ABOUT DOCUMENTING CHANGES IN A ROOM. WE USED A WOODEN FRAME AS A STARTING POINT WHICH WAS THEN FILLED WITH RANDOM OBJECTS FOUND AROUND THE ROOM. LATER ON, WE REMOVED THE FRAME ONLY TO FIND THAT THE OBJECTS HAD CREATED ONE ON THEIR OWN.

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ROOM TRACES

NADIA & VIVIAN

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LUCILETRACES PREM SOLIMAN ROOM

TRACING CHANGES, November 2021

LITEN TO YOUR ANCESTORS NADIA & VIVIAN

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LUCILETRACES PREM SOLIMAN ROOM

TRACING CHANGES, November 2021

LITEN TO YOUR ANCESTORS NADIA & VIVIAN

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ROOM TRACES

TRACING CHANGES, November 2021

NADIA & VIVIAN

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ROOM TRACES

NADIA & VIVIAN

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ROOM TRACES

EKIN ASCI

EKIN & DOMINIC

DOMINIC HUGHES

ROOM TRACES

This exercise focused on creating a narrative, by tracking some sort of change in our classroom environment.

My teammate and I decided to document the short life of a paper airplane, from the creation process to the ultimate flight test.

While the time limit was short, we were able to make do with the little resources that we had. This experiment is fun to focus on simplifying a topic to a minimum, while still being impactful.

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ROOM TRACES

EKIN & DOMINIC

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ROOM TRACES

DOMINIKA & LUCY

ROOM TRACES

DOMINIKA BADYLA MARIE LUCY VITAL

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ROOM TRACES

DOMINIKA & LUCY

In the beginning it was quite difficult to see what we wanted to trace. We started looking around the classroom and saw a lot of empty vessels or used items and decided to find a place for them.

We removed bottles, napkins, pieces of paper and other lonely items without a home. They were empty vessel that had served their purpose and we decided to turn them into the garbage. We took a photos of the places where the wastes were and where we put them into the garbage.

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ROOM TRACES

LUCILE & JOTTE

LUCILE PREM SOLIMAN JOTTE KUIJT

ROOM TRACES

During this exercise we had to find and record traces or marks in the room which showed movement and ussage of the space.

We were instructed to document it in aproximately 10 pictures with a time limitation of 20 minutes.

A we walked around the classroom we noticed the most visible trace of change and time was human movement.

We documented this human movement by photographing out classmates working and slowly transitioning into our final presentations.

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ROOM TRACES

LUCILE & JOTTE

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ROOM TRACES

ANNA BIELSKA

ANNA & ZEYNEP

ZEYNEP ORAL

Room Traces

For this assignment we were meant to track changes in the room. To create a dynamic image, we made a gif out of photos taken by us in classroom. The photos, documented on the next page, portray the arrangement pf chairs that changes in time.

As means to reflect the sociology of group behaviour, the chairs move at first slowly towards each other. As

though the chairs are getting to know each other, and where the fit in the grand scheme of the chair order. them, after careful consideration, the chairs ‘make up their mind’, and settle in a circle formation. This final position of a circle includes every chair, no chair is above another, and they are all facing each other. Tracing the room until a final position is concluded within the social order.

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ROOM TRACES

ANNA & ZEYNEP

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SPAT GUI

TIAL IDE 183

at the a 184

SPATIAL GUIDE

NADIA, CHARLIE & STEFANOS

ANNA BIELSKA ROLAND VASS MATEI VLAD TOM

SPATIAL GUIDE

In this assignment we were tasked to make the invisible visible. We created a guided tour through our classroom. As the space we are working in everyday is also a space of our self discovery journey, we decided to make this process tangible for the rest of the students.

We put phones with their cameras on in three seperate, hidden places in our classroom, so that as someone is discovering this place, they would see their reflection in the device’s screen. We created a subtle narrative about rediscovering our identity through studying at the art academy.

art academy.

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SPATIAL GUIDE

NADIA, CHARLIE & STEFANOS

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SPATIAL GUIDE

NADIA, CHARLIE & STEFANOS

KAROLINA RUSAK NADIA ABADJIEVA STEFANOS CONSTANTINIDES

SPATIAL GUIDE

We created a museum using the space of our class room. Our museum contained three stops, all full of hidden beauty.

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SPATIAL GUIDE

NADIA, CHARLIE & STEFANOS

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SPATIAL GUIDE

SPACIAL GUIDE variation, November 2021

NADIA, CHARLIE & STEFANOS

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SPATIAL GUIDE

SPACIAL GUIDE variation, November 2021

NADIA, CHARLIE & STEFANOS

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SPATIAL GUIDE

SPACIAL GUIDE variation, November 2021

NADIA, CHARLIE & STEFANOS

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SPATIAL GUIDE

SPACIAL GUIDE variation, November 2021

NADIA, CHARLIE & STEFANOS

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SPATIAL GUIDE

TALA, MARIE & DOMINIC

TALA ABDELHADI MARIE VITAL DOMINIC HUGHES

SPATIAL GUIDE

Team members TALA ABDELHADI MARIE VITAL DOMINIC HUGHES

This group exercise was a challenge for making the invisible, visible. We were given the task to develop a guided tour of the classroom, arranging it in a way to show different angles.

We chose some undiscovered areas of the class, and gave a performance for our classmates. This was done by adding an element of suspense to our tour.

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SPATIAL GUIDE

^^ Drawing of the meals, pencil on cardboard ^ Technical drawing of setup

TALA, MARIE & DOMINIC

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SPATIAL GUIDE

LUCILE, ZHIYING & DOMINIKA

LUCILE PREM SOLIMAN ZHIYING CAO DOMINIKA BADYLA

SPATIAL GUIDE In this exercise we decided to raise awareness about colour relativism. The same colour depending on lightning conditions, angle and perspective of looking is perceived differently.

We invited classmates to look at the pink poster in three ways: first at the highest point on the wall after keeping their eyes on light bulbs for a minute; next they could discover it through a long metal pipe; and finally we guided them to the darkest place we’ve found – under the storage shelves.

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SPATIAL GUIDE

LUCILE, ZHIYING & DOMINIKA

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SPATIAL GUIDE

JOTTE KUIJT

JOTTE,

SPATIAL GUIDE

For the last assignment we had to develop a guided tour through the classroom about specific angles and/ or spatial arrangement. Making the Invisible Visible.

We did a performance kind of like a garage sale, we gave everyone fictional money to bid on mystery boxes (making the invisible visible) and it was a lot of fun!

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SPATIAL GUIDE

JOTTE,

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SPATIAL GUIDE

ALPER, ZEYNEP & CORINA

ALPER ÇEKINMEZ ZEYNEP BURÇAK ORAL CORINA VETTORE GIMENEZ

SPATIAL GUIDE

For this exercise we have been tasked to make a short guided tour inside the classroom that highlights some new areas, get viewers to discover new ways of looking to the classroom. Our team went ahead with first showing two unique areas that aren’t seen everyday and then invited the participant to close their eyes and listen. Highlight the importance of sound and how it is important about describing the envioriment.

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SPATIAL GUIDE

ALPER, ZEYNEP & CORINA

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VISU DATAB

UAL BASE 201

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VISUAL DATABASE

NADIA ABADJIEVA

NADIA ABADJIEVA VISUAL DATABASE

VISUAL DATABASE FROM A ROOM. CABLES.

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VISUAL DATABASE

NADIA ABADJIEVA

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VISUAL DATABASE

VISUAL DATABASE variations, November 2021

NADIA ABADJIEVA

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VISUAL DATABASE

VISUAL DATABASE variations, November 2021

NADIA ABADJIEVA

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VISUAL DATABASE

VISUAL DATABASE variations, November 2021

NADIA ABADJIEVA

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VISUAL DATABASE

VISUAL DATABASE variations, November 2021

NADIA ABADJIEVA

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VISUAL DATABASE

TALA ABDALHADI

TALA ABDALHADI SMILING VISUAL DATABASE For the visual database assignment, I wanted to have fun searching for a specific thing in the classroom. For that reason, I chose to look for circular shapes, holes and screws that form eyes and smiling faces on the objects. Finding them in interesting corners was a really enjoyable pro-cess.

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VISUAL DATABASE

TALA ABDALHADI

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VISUAL DATABASE

TALA ABDALHADI

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VISUAL DATABASE

TALA ABDALHADI

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VISUAL DATABASE

DOMINIKA BADYLA

DOMINIKA BADYLA

VISUAL DATABASE 1.

2.

During this excersise I documented ten different corners I’ve found in the classroom. I focused on outside corners. Some of them were permanent part of the room (walls corner, windowsill, sink) and some were there temporarly (tables, pedestal).

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VISUAL DATABASE

DOMINIKA BADYLA

1. table 2. table 3. windowsil 4. sink 5. walls 6. pedestal 7. metal shelf 8. fuse box 9. socket 10. rail

5.

7.

9.

6.

8.

10.

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VISUAL DATABASE

ANNA BIELSKA

ANNA BIELSKA

VISUAL DATABASE

For creating visual database of one visual phenomena in the classroom, i chose to create collection of electrical outlets in our room as it is a significant part of our study to have access to electricity.

I collected the photos and edited them onto a nice background to give it some surreal context. There are many electrical outlets in the classroom so for documenting it i chose ones that appeared the most interesting to me. Some of them are painted over, scratched or just old so i tried to explore their different textures and present every single type of it.

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VISUAL DATABASE

ANNA BIELSKA

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VISUAL DATABASE

MARIJN BRUSSEL

MARIJN BRUSSEL

ME TALLIC VISUAL DA TABASE I made a visuak database of metallic/shiny objects.

This idea came from the way shaders are rendered in virtual engines, where shinyness is a parameter for every object.

Saw, metal, 2021

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VISUAL DATABASE

Closet, aluminium, 2021 Water tap, aluminium, 2021 Clip, metal, 2021 Whiteboard edge, aluminium, 2021

MARIJN BRUSSEL

11

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ZHIYING CAO

VISUAL DATABASE

VIVIAN CAO

Vivian Cao

VISUAL DATABASE

This project is to create a visual database about one specific thing in the classroom and doucument it. I choose things make of iron.

12

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ZHIYING CAO

VISUAL DATABASE

VIVIAN CAO

ALPER ÇEKINMEZ

220

VISUAL DATABASE

ALPER ÇEKINMEZ

VISUAL DATABASE

We have been tasked to find 10 objects that create some visiual connection with each other. For example; material, shape, color.

I have done two groups to be safe incase someone else had the same idea as mine. Holes and wood with a piece of metal going through. In the end, I choose to stick with holes which was my first idea anyway.

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VISUAL DATABASE - HOLES

VISUAL DATABASE

ALPER ÇEKINMEZ

222STEFANOS CONSTANTINIDES VISUAL DATABASE

STEFANOS CONSTANTINIDES

Stefanos constantinides visual database

For my creation of a visual database i decided to go with colour, as i choose colour yellow as i good inspired by my banana, so i searched the class for objects or images with a yello colour and i was amazed on how much stuff i found which where yellow, i was amazed because before my creation of visual database i didnt notice at all objects with yellow colours so this visual daatabase made me undestand how many thinks we walk by everyday without noticing them.

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visual database

VISUAL DATABASE

stefanos constantinides.

STEFANOS CONSTANTINIDES

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VISUAL DATABASE

DOMINIC HUGHES

DOMINIC HUGHES

VISUAL DATABASE

The idea of this exercise was to choose one object, and to create a visual database about it. The limitation was to find it in the classroom within a short timeframe. I chose a screw as an object and found it in many places, some were predictable, some more unconventional.

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VISUAL DATABASE

DOMINIC HUGHES

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VISUAL DATABASE

JOTTE KUIJT

JOTTE KUIJT

VISUAL DATABASE

This assignment was to create a visual database about one specific thing in the classroom and to make at least 10 pictures of this specific topic. I chose stripes and lines.

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VISUAL DATABASE

JOTTE KUIJT

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ZEYNEP BURCA ORAL

ZEYNEP ZEYNEP BURCA BURCA ORAL ORAL 228

VISUAL DATABASE

ZEYNEP BURCA ORAL

VISUAL VISUAL DATABASE DATABASE In order to create mymy own visual database, In order to create own visual database,I had I hadchosen chosenthe the element of texture.

I specfically was looking for textures that element of texture. I specfically was looking for textures that looked fluffy, though youwould wouldwant wanttotohug hugor or looked softsoft andand fluffy, asas though you pet the object. I tried to look for more unconvetionally fulffy petobjects, the object.

I tried to look for more unconvetionally fulffy such as the dry soil, or bubbling plastics I found. objects, such as the dry soil, or bubbling plastics I found.

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VISUAL DATABASE

ZEYNEPDOCUMENTATION BURCA ORAL VISCOM

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VISUAL DATABASE

LUCILE PREM SOLIMAN

LUCILE PREM SOLIMAN

VISUAL DATABASE

For this exercise we had to walk around our working space and, with a limitation of twenty minutes, find a selection of at least 10 objects with one common characteristic and create a visual database to present what we found.

As I walked around the space I noticed that there were several objects which had a rectangular outline, so I documented a small collection of those elongated, geomerical shapes, which you can visualize in the next page.

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VISUAL DATABASE - rectangles

VISUAL DATABASE

LUCILE PREM SOLIMAN

KAROLINA RUSAK

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VISUAL DATABASE

KAROLINA RUSAK

VISUAL DATABASE FOLLOWING THE PROCESS Observation of my workspace led to some interesting conclusions. For instance: “who did such a sloppy job repainting this classroom, getting messier each time?”. The relation of plastic finish and paint covering it shows lack of precision we put into caring about public spaces. Different splashes, stains and scratches create patterns of visual neglect.

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VISUAL DATABASE

White paint on sockets, walls and switches

KAROLINA RUSAK

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VISUAL DATABASE

CORINA V

CORINA V

VISUAL DATABASE

I focused on the inside of elements around the classroom. It interested me to look for possible objects that are able to have something inside of them, visible or not visible. While strting taking the pictures I noticed the repetition of the circular shape, so I intentionally looked for more. It was a 20 minutes action of taking the pictures.

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VISUAL DATABASE

CORINA V

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VISUAL DATABASE

LUCY MARIE VITAL

LUCY MARIE VITAL VISUAL DATABASE Here I created a visual data base of lost file around the classroom. Poster that has been discarded and left behind. I though thte empty space in the center was quiet interesting. I liked that some of them were see through and some were just “fillied” with darkness.

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VISUAL DATABASE

LUCY MARIE VITAL

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GRO PROJ

OUP JECT 239

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IRJA LINNERUD

CONTINUATION

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IRJA LINNERUD

CONTINUATION

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MINIMA MUNDI

MINIMA MUNDI

In Minima Mundi started from the prompt of making the invisible visible. It is inspired by the hidden microbes that make up the world we live in. We wanted to flip the scene and let the viewer enter the world of the microbes.

and metal. On the top lie layers of plastic with different materials inside. We used gel, paint, ink and oil to create a visual that is associated with bacteria and microbes, because of the green colours and small air bubbles that occurred as well.

In this installation the viewer hears the conversations of the small organisms all around and gets to change the structure of the petri dish. Since bacteria and microbes get transferred by human touch a lot, we wanted to make a tangible work where bacteria and microbes actually move around, even if you don’t see it.

The installation works very connecting, as people play together to change the structure of the visuals. It allows you to get emerged in creating these visuals, and because of the dark surroundings and the soundscape all of your attention goes to that action.

The soundscape is partly created using actuals sounds of microbes communicating with one another. The interactive part of the work, the table, is made out of wood

This installation triggers connection, immersion, engagement and interaction. We welcome you in to the smallest world, in minima mundi.

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IN MINIMA MUNDI

MINIMA MUNDI

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MINIMA MUNDI

Visual inspiration, Stefanos experiment with ink Tryput of ink trapped in plastic detail Tryout of black ink, plastic melted together on teh sides Still of black paint and hairgel mixed together and moved to reveal text

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MINIMA MUNDI

Experiment with blue and white hair gel in green plastic Experiment with red paint and hair gel in see through plastic Experiment with hairgel and blue ink in geen plastic over light

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Mock-up of initial idea Detail of floor in mock-up

MINIMA MUNDI

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MINIMA MUNDI

Sketch for building of table Inspiration for soundscape piece Skech of lights under tabletop

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MINIMA MUNDI

Table: metal structure Table: with wooden parts Lights being added to the plexiglas Hotgunning plastic together for the interactive top part

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MINIMA MUNDI

Table: with plexiglas top Table: complete, with metal frame around Details from the table

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MINIMA MUNDI

Close up of final product A soundscape was added for an immersive effect The object triggered interaction and conversation

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MINIMA MUNDI

Group participants: Stephanos Constantinides, Zhiying Cao, Irja Linnerud, Jotte Kuijt

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TWISTED HANDSHALE

Marijn Brussel Anna Bielska Dominic Hughes

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TWISTED HANDSHALE

For this project we put our focus on the screw and the idea of deconstructing an object. The concept of screw itself means connection of every sort, thats where the idea for the form of interaction we wanted to create was taken from. We crafted a physical mechanism that leads to digital response on the projection.

The mechanism itself, covered with a neat, black wooden stand with handcrafted screw heads installed gives us a hint what to interact with. We created our own screwdrivers as well, redefining the concept of those objects to something that does not necessarily have its usual, industrial use but takes on the purpose of connection through interaction. The screwdrivers have hands as handles to give the user the experience of human, almost interpersonal interaction, making the use of our in-

stallation slightly weird and unsettling. While the person interacting with this installation picks up the tool and plays around twisting the screw heads, the projection of the 3d model of the screw changes its form and texture to the extent of it not resembling a screw anymore.

The background sounds change its pitch with the screw model as well. The physical, visual and sound components are meant to create a fully immersive experience that will awaken curiosity and desire to play around with the form. We pose a question ,,to what extent can you modify shape and material of certain object for it to remain being the object?” that is to be answered by the viewers of our installation.

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TWISTED HANDSHALE

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TWISTED HANDSHALE

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TWISTED HANDSHALE

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TWISTED HANDSHALE

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INTERCONNECTED

LUCILE PREM SOLIMAN ALPER ÇEKINMEZ CHARLIE RUSAK

CONNECTE

Everything organic and living transfers power.

We made the artificial, dead materials come to life with our magic of progress. We were designed to become gods to our electrical advances as well as their worshippers.

Each day we put faith in our creations which we depend on without analyzing their true nature - In a constant state between a dead object of steel and a live creature of entertainment and enjoyment, technology exists in a co-dependent relationship with us.

We feed it energy and it feeds us pleasure in a never ending cycle as we adapt our lives to the infinite comfort.

We use energy, we create it and we are energy. Wear the Gloves of Interconnections and become one with the dimension of electric flow. Feel your internal environment merge with your vibrating surroundings as you explore your environment in a new, improved way. One glove goes inwards and the other one connects you to the outside.

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INTERCONNECTED

TOUCH

ED

ENERGY

SENSATIONS

With our new creation we wish to create an intriguing experience for our users; we want to experiment with ways in which we can use technology to make the invisible, visible.

By wearing the gloves we want people to take a break from reality, and interact with their surroundings. We wish that by wearing the ‘heart’ glove, people will be aware of themselves, and the life that flows through them, and as we press the ‘outside’ glove against a non-living, vibrating object we are able to create the illusion of life emmanating from it.

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INTERCONNECTED

FINAL VERSION OF THE PROTOTYPE

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INTERCONNECTED

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INTERCONNECTED

3D model of the printed stethoscope

PROCESS AND SKETCHES

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INTERCONNECTED

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INTERCONNECTED

MATEI DRAGOMIR NADIA SOTIROVA ABADJIEVA LUCY MARIE

NOSTALGIA TENT

With the nostalgia tent we wanted to create a cozy comfortable environment. One where people could interact and work together to achieve a common goal. The concept of the game came from us wanting to create bonds with people who we otherwise wouldn’t interact with.

We set a timer to create some urgency so that they could actually work together to beat the clock.

The tent was lit with a soft warm lamp at its centre to evoke feelings of happiness, optimism and energy. Trying to mimic the childlike emotions with the colourful game made with simplicity for the player’s enjoyment.

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INTERCONNECTED

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INTERCONNECTED

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INTERCONNECTED

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LUCILE PREM SOLIMAN

LITEN TO YOUR ANCESTORS

DOMINKA EKIN ZEYNEP

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LUCILE PREM SOLIMAN

A BADYLA ASCI P ORAL

LITEN TO YOUR ANCESTORS

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ILLUMINATING CRUMBS OF AN ENDLESS TRAIL

INSPERATION

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ILLUMINATING CRUMBS OF AN ENDLESS TRAIL

A darkness can help one illuminate senses that were previously locked, and unused. Perhaps through experimentation of the senses and modulation of the surroundings, we can unlock a whole new sense of space. Illuminating Breadcrumbs of an Endless Trail invites the audience to attempt to explore a room in pure darkness. If the audience member dares to move through the space, their courage is rewarded with a breadcrumb of light, to explore further. Though to receive this guidance of light, there needs to be an initial period of exploration around the room, by touching the walls. Once they are confidant in having explored the room fully, they must draw their path around the room, without the aid of a floor plan.

To make this possible, we have set up three Arduino devices in different corners of the room. Once the audience finds a button and presses it, a light is illuminated across the room. This light has another button underneath it, and follows the same logic. This method of sending the audience across the room and back and forth tries to create a sense of infinity. As though the path they are on is endless.

Some challenges that our group encountered was mainly technical. Due to our amateur knowledge of electronics, there were some things that we could not fix in time for our presentation. Though we learnt a lot about planning and adapting. For example, we had planed to use conductive paint to make the experience of searching the triggers more tactile and intuitive. Sadly, it did not work, so instead we had to opt for buttons. Though we had these challenges, our team effort, and resilience kept us going, and we learnt many skills that we didn’t have before.

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ILLUMINATING CRUMBS OF AN ENDLESS TRAIL

PROCESS

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ILLUMINATING CRUMBS OF AN ENDLESS TRAIL

PROCESS

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ILLUMINATING CRUMBS OF AN ENDLESS TRAIL

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ILLUMINATING CRUMBS OF AN ENDLESS TRAIL

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ILLUMINATING CRUMBS OF AN ENDLESS TRAIL

FINAL

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ILLUMINATING CRUMBS OF AN ENDLESS TRAIL