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A newspaper looking into the creatives of The Polygon, celebrating it’s inhabitants and it’s creativity. Without The Polygon, Southampton would not be the student hub it proudly is.

Bricks are what build a foundation, a structure, something solid and meant to last. A brick is something we don’t often think of as on it’s own. It’s all the bricks combined that can create something so spectacular. We are the Bricks which create The Polygon. Okay, in a general sense, yes the literal bricks create the houses, but with out us, these houses would not be what they were. We are the foundation of the Polygon. An ever changing and adaptive location, we change the face of Southampton. Brick is a publication which celebrates The Polygon, an outlet to prove that we are the future. Musicians, Photographers, Videographers... The creatives we have are countless. The aim is to promote the local talent. Made for The Polygon, Made in The Polygon, Made by The Polygon.

4-7 One In One Out Herbivore the Medic and Benjamin Saint Interview 8-11 In The Woods KushT Interview 12-15 North To South Krang Interview 16-17 SoBless Records Introducing So Bless 18-21 Behind The Scenes Grade A Productions Interview 22-25 Fstop Garry Jones Interview 26-29 Eyes Are The Vision Emily Cross Interview 30-33 This Make Up Aprill Ross Interview 34-37 All Round Artist Josh Bryan Interview.

Love A House Is Not A Motel

At my house I’ve got no shackles You can come and look if you want to In the halls you’ll see the mantles Where the light shines dim all around you And the streets are paved with gold and if Someone asks you, you can call my name You are just a thought that someone Somewhere somehow feels you should be here And it’s so for real to touch To smell, to feel, to know where you are here And the streets are paved with gold and if Someone asks you, you can call my name You can call my name I hear you calling my name yeah all right now By the time that I’m through singing The bells from the schools of walls will be ringing More confusions, blood transfusions The news today will be the movies for tomorrow And the water’s turned to blood, and if You don’t think so Go turn on your tub And it it’s mixed with mud You’ll see it turn to gray And you can call my name I hear you call my name

Herbivore The Medic and Bejnamin Saint are two Hip-Hop producers, and longtime associates, originating from Watford. Ben, aged 21, is currently in his third year of Popular Music Production, and will soon be returning from the Polygon, to his London roots, whilst Herbivore is currently in his first year of Digital Music Production, and will soon be relocating from his halls of residence, into the Polygon. Both share a strong passion for music of all genres, however, their heaviest influence, and particular common interest is Hip Hop production. Whilst both have distinctive styles which reflect their characters, they also have a passion for collaboration, and making eachother progress in their productions.

Associates originating from Watford

Two words, soul samples. How did you become a musician, and how did you become a hip hop producer?

Top 5 Producers:

I started practicing bass guitar, and soon after two friends asked me to play bass in a band, but as time passed I realised I was listening to more Hip-Hop than any other genre. The band split and I wanted to continue creating music. Naturally, I took to the computer and started learning to use production software. Over time, my involvement with production has enforced a love for Hip-Hop.

Kanye West The Neptunes Dj Premier Q Tip Just Blaze Top 5 Albums: Low End Theory A Tribe Called Quest Late registration Kanye West Be - Common The Blueprint - Jay - Z Seeing Sounds - N*E*R*D

How would you describe your sound, and how has it developed? Two words. Soul Samples. I’ve progressed and adapted over the years of producing. I have gone from starting with more simple boom bap drums to now more modern drum programming. But the samples always defines which direction I want to take the song, and I always go for Soul.

What are your sources for inspiration as a producer? Do you look at music outside of your particular interests? I pay close attention to structure of music looking into how songs are built and what makes a song great, so when I pick up on a way in one person does something effectively, I think about how I can make my own style stronger and dynamic. I listen to a bit of everything here and there for samples, but never anything to out of the ordinary unlike some.

How do you feel being a student in Southampton has developed your sound as a producer?

What is the future of your production career? What can we expect to see soon?

Since living in Southampton my music has become more commercial as I feel hip hop in the mainstream is more foreword thinking than underground side of the genre. I think Southampton as a place has inspired me more subconiously, and I think doing my degree has made me concentrate more on the post production elements of a beat.

I’m really excited to get features on artists albums and starting impacting the genre. Start making a name for myself. Also except some work in collaboration with Good Companion, and a joint instrumental EP with Herbivore The Medic coming soon, twerking music.

How did you become a musician, and how did you become a hip hop producer? I played drums as a kid, me and some pals got a band together, playing rock music, on some Beatles type shit. After the band split I started making music in a duo. Recording mad psychedelic music in a spare room. This was when I started using Logic and I guess first started producing. As for for hiphop, well, that probably has something to do with Jaku from the Eylsian people. We went school together and he showed me a lot of music. Long story short, Herbivore The Medic came about.

How would you describe your sound, and how has it developed?

Blow trees and meditate. Top 5 Producers: Suff Daddy Kev Brown J Dilla Rjd2 The Neptunes Top 5 Albums: Ready To Die -Biggie Sgt Peppers - The Beatles LA Woman - The Doors Doggy Style - Snoop Dogg Donuts - J Dilla

I’d like to call my sound meditative music. You know, something you can chill too. I try to keep everything on a positive vibe and think I achieve that. I think that’s something I’ve always tried to evoke through my music, so I’ve brought that vibe to different genres I’ve ventured into.

What is your sources for inspiration as a producer? Do you look at production outside of your particular interests? I get inspired from a lot of things, but the majority of it be have been the whole heap of music I listen to, followed by ridiculous ideas and crazy shit on the internet. I always look for music with soul, and listen to the likes of Roy Hargrove, Big Mama Thortan, and Jill Scott. I also get influenced by music videos and art.

How do you feel being a student in Southampton has developed your sound as a producer?

What is the future of your production career? What can we expect to see soon?

Well seeing as it means I’ve been given 3 years to work solely on music, that means practice can make perfect. It’s also good to be surrounded by other creatives and talented individuals.

10 sack of soul is my debut EP, this will be just a little snip-it of my style. A benz of Herbivore The Medic. Check out my Soundcloud to see work with artists and colabs with producers. Blow trees and meditate.

and presence in Southampton to land himself a release for a Drum and Bass track on Terrabyte Recordings. I caught up with Pete in the woods to talk about his music and being KushT. This isn’t to say that Pete is forgetable though, infact he’s the opposite. He’s a character who entertains through both his personality and his music. Starting out DJing in places like Soul Cellar and Junk, Pete

stated getting recognised for both his ability to mix and produce. Since, Pete’s gone on to utilist his degree

Pete’s the kind of guy you meet a thousand times at party for the first time. You cross paths at that time in the evening where you’re memory fades and everything becomes a bit hazy.

A character who entertains through his personality and his music

Who is Kush-T?

I’m Pete Tate, a Digital Music student, studying at Southampton Solent . I’m a Drum and Bass DJ and producer. I’ve been mixing for about 5 or 6 years, and have been producing for about a couple of years now.

How have you recently found your way into the music industry?

I got into it by one of my mates passing my music on by chance to one of the co-founders of Terabyte Recordings, and that’s led from there, asking to get signed to a compilation album, but then we scrapped that and released a 2 track single E.P instead. That went on to get a lot more coverage than I thought it would of in it’s first month or so of release. Since then I’ve been very motivated to carry on spending time in the studio, which will hopefully lead onto more releases later this year with Audio Addict Recordings. How did you find yourself becoming a Drum and Bass DJ/Producer? I’ve always been into music, since I started teaching myself guitar, which led on to me wanting to be in a band, and then inevitably I got introduced into Drum and Bass through a few mates of mine, and it was then I was like “wow”, “sick”. I went to my first rave in London time ago, when I was about 17 or something, and mate, witnessing a sound system was like “I want to mix”. So that’s when I got myself decks, and then yeah, literally haven’t looked back. So was producing a natural progression out of that? Well that’s the thing, yeah. I’ve always been playing around with software since my time of mixing, but never really finished a track, or anywhere near to be fair. I look back and don’t even consider it as a track you see. But yeah, as well as mixing for a couple of years before Southampton, I just decided I wanted to make the tracks itself. So that’s when I got a good mate of mine to teach me his ways of producing, and kind of implement them in my own way. That’s when I found that click, and here I am. Does being a student in Southampton influence you as an artist? As an artist it’s great, especially being a part of Southampton Solent University, theirs a lot of creative people around, so it’s nice to integrate with others, and collaborate essentially. You’ve got people in so many sectors of creative subjects, if you know what I mean. Such as like Graphic Designers, Videography students, and all the rest of it. It’s just great, like, it brings more versatility into my influences for myself. Does living in The Polygon do anything to influence your work? Yeah, I’d say it’s more my taste of music and my personal influences from the past helps distinguish

my sounds, but trying to intergrate with the newer influences that I’ve got from living in The Polygon. I tried to make it my own little combination, my own cocktail.

What do you think about Southamptons music scene?

When I started first year, it was fucking sick for Drum and Bass. Every Wednesday was always a Release night, run by Gerra and Stone. Then it got to second year, and it just dipped down from there, UK Bass got quite popular, following trends and shit, so Drum and Bass just died. There was suddenly just no scene for it. It was pretty sad, but still, I feel it’s getting healthier, since last year. Bangin’ it. Release, after, Release, after Release. It just keeps improving over the years. I think the scene will come back to Southampton one day.

Who’s to look out for at the moment in Southampton? In Southampton, you obviously have Gerra and Stone, who are actually pushing into the scene really well, starting off on Proximity, and as soon as they got there they were released on Dispatch. That’s pretty motivating in it’s own respects living in Southampton. Like they’ve come from here, I’ve gone to Uni year, and I’m living in similar respects to what they have. So that’s pushing me to achieve what they have. There’s also Knauf, Anthony Waring, he pretty much taught me the ways of producing. He’s smashing it at the moment, he’ll be playing out in Bournemouth next month for Metalheadz. Catch him in Room 2 back to back with Ginjah (Krang’s DnB Alias) and Joe Raygun. What’s your current situation within the industry, and what’s on the cards for Kush-T? On the cards at the moment, I’ve got numerous record labels messaging me, asking me to send them music on a regular basis, which is going to get me locking myself in the studio more and working on tune after tune. But at the same time, I want to take my time on each beat, because rushing your tunes is not the way man. You think you’ve finished your tune, put it up, come back to it a week later and think “I need that done to it, I need that done to it…”.] and there’s always going to be something that can be done better to push yourself to be better. So I’m going to take my time, and hopefully later in the year, I should be getting a few releases out.

falling around everywhere, blagging roll-ups and covered in wine

I first met Krang at a house party. A loud and obnoxious presence, falling around everywhere, blagging roll-ups and covered in wine. What made him more apparent in the room was his ginger features, and his strong northern accent. It wasn’t until he’d acknowledged he’d peaked too early on in the night that I managed to have a conversation with him more than one considering the exchange of tobacco. I’d just selected a tune, and instantly heard this drunken northern tone. To much surprise, it was a complimentary comment, and then we started talking hip hop. It’s not rare to find someone who likes hip-hop, but when you find someone into UK product, you’ve get instantly hooked into a long rant about it. There’s a Peep Show quote where Dobby says “Alcohol, facilitating the talking of shite”. And she’s right, but who’s to say talking shit is a bad thing?


Introduce yourself to those who don’t know…

What do you think to the music scene in Southampton?

So I’m Craig, aka Krang, doing a Digital Music course at Southampton Solent. Currently a first year, Well Southamptons like fucking… Well the music producing Hip Hop, Drum and Bass, and Dubstep scene down here it’s been good for some things like along with some other stuff. At the moment it’s Drum N Bass nights, like, I obviously listen to that as mostly Hip Hop, but I have a couple of things coming well, but for Hip Hop nights since I’ve been here, theres up with some Drum and Bass artists, which is not really been that many. Like there was a Klashnekoff pretty cool. night which I missed because I was at a DnB night at the same time, besides that, I haven’t got to witness that How did you get it into music? many. But Southampton does have some stuff coming up. Like there’s Split Prophets down here (disclaimer: I first off got into music through Ska, and obviously due to double booking, Split Prophets actually didn’t developed a taste in music through that, listening to play said event), err, Mouse Outfit and High Focus to all different types of music. It eventually led me to look forward to. So that will be pretty cool. listening to Hip Hop and Drum n Bass, and now that’s what I mainly listen to, well, at the moment. Does Southampton influence you as an artist? What your process for making a tune? For me, making a beat, I always start with the drums, then after that, I try to find a sample that works well with the beat. If I can’t find a fitting sample, I’ll try to re-work the beat instead, and change that round a bit more, see if that’ll work…

It would if there was way more nights. Getting to see more people doing it. Even if it was just a night like once a week where people got to play their beats while other spit bars over them or something. It’d be nice to just to have a night where people could have a few beers and do something like that. Just a load of Hip Hop heads there at one night.

How do you go about finding samples? I obviously first started off finding samples online and that. You know, digging the digi-crates. Youtube, Spotify, listening to the radio to try find new artists and looking at related links and artists all the time. Now I still do a bit of digi-digging, it’s an easy way to throw a beat together, but now I’m trying to start digging through vinyl more often. Going to charity shops and playing them through my record player to sample them. How do you produce your beats? I’ve produced most my beats through my laptop using Logic, and I’ve been using Logic most the time I’ve been producing, so it’s the software I’m used to if you know what I mean. I’ll look at other software and just think, “What the fuck”, like “How am I meant to work this?”. Anything else just looks dead alien to me. I’ve also got a Midi keyboard which you can also use for putting your beat into the sampler. Usually I put mine in straight with the audio, but some people like to put samplers in. But I think usually I can find a nice rhythm even if I’m not playing it right in. Some people like to play to the groove, but I think I can still find it when I step input it. Has digging for samples influenced your musical tastes? The music I listen to regularly has obviously helped me develop a taste for other genres, well, worked more as aid to getting into other genres. I’ve never been the type of person to stick to listening to only one genre of music. I’ll listen to most types of music unless it’s something like Hardcore. You know what I mean? I don’t like… Or like Scouse House, or Gabba, or Techno. Well actually, Technos alright, but yeah, anything unless it’s like Gabba. That I can’t stand.

Whats in the future for Krang? I’ve been working on so many beats. Like at the beginning, I was making so many beats, and just sending them out to artists being like “Ahh, do you wanna collab on a beat? Do you wanna like spray some bars on my track?”. People would say yeah, but you’d never hear anything back for ages. But recently, I’ve come to university, I’m trying to get my work done, and I’m constantly getting holla’ed by people being like “Ah bruv will you make me a beat, will you make me a beat?” And it’s just like ahhhh, man, why weren’t these people asking me like a year ago? Like obviously my beats have progressed and got a lot better than what they were when I first started, but now everyone’s asking it’s just like “Ah, chill out mate”, haha. But yeah, I should have quite a few tunes coming out real soon, and I’m thinking of putting another free E.P out, like a chilled one, some emotional hip hop. So yeah, something to chill to.

bless so





Hyperian #1 ScHoolboy Q - Studio Ft BJ The Chicago Kid Esta - ycarT Mr. Carmack - Simpler JRust #1 Congi - Leaps & Bounds The Astronotes - Eve J-Louis - June Frank Ocean - NOVACANE (LAKIM Remix) Hyperian #2 Kendrick Lamar - Bitch Don’t Kill My Vibe Fwdslxsh - Away Eminem - Superman Nicky Maclaren - Y So SRS? JRust #2 Tres Horas - Sango Troy Gunner - Headlights Koreless - Away VIP Da-P - The Hamptons

Hyperian #3

Tajan X Fwdslxh - Beautiful (Esta Edit.) Esta - WhateverUNeed (Ft. JBird) Sivey - Cause & Effect JRust #3 Chase & Status - Lost & Not Found B. Visible - Wild Koreless - 4D Geode Ft. Earl T & C Tivey - Phi Trashbat - Shine Jet Life - 1st Place

Hyperian #4

Louis Futon - Shoulda Known (GANZ Remix) Great Dane - Yeezy 813Beats - Crying Flute Kendrick Lamar - A.D.H.D Mr. Carmack - Ones (Ft. Kaytranada) Esta - Baddie$ Unknown - Unknown Stray - Matchsticks Musiq Soulchild - Just Friends Anthony Hamilton - Cornbread, Fish & Collard Greens (Sivey Remix) JRust #4 Jay Osokata - It’s Like That B. Visible - Catch The Jazzual Suspects - This Beat A Tribe Called Quest - Sucka Nigga Big L Ft. Fat Joe - The Enemy Reks - Mr Nobody Calibre - Steptoe So Bless Records is a new record label to come out of Southampton, started by The Polygon’s own producers J-Rust and Hyperian. The up and coming label is an exciting start up, with a lot of releases and podcasts to be released soon. The two producers and best friends have a fresh view on the music scene, and want to show off the latest sounds in music to everyone. Hyperian is an artist known for creating beats which evoke both hip hop and nu wave sound, featuring himself and emcee, along with the likes of other local talent such as 4Bz. Jack is more prominent online for his strong mixes, and a frequent house party DJ. The label has currently been seeking exposure through Solent’s Radio Sonar, and have been releasing a mix bi-weekly through their soundcloud. The current mixes includes the sounds of Kendrick Lamar, Sango Koreless, Chord Marauders, Big L, Melé, B.Visible, A Tribe Called Quest, and plenty more to get your ears around. Watch this space for SoBless. There’s a lot in the pipeline.

Hyperian #5

Melé - DMX Eminem - Infinite JRust #5 Blackout - L.O.V.E (Hamilton Remix) Unknown - Unknown DRS - Soul Remember Ft. Dub Phizix & Fox Kendrick Lamar - Sing About Me B. Visible - Sunset Kanye West - Drive Slow Ft. Paul Wall, GLC & T.I

Hyperian #6

Unknown - Unknown Jay Rock - Say Wassup (Ft. Black Hippy) Boboe - Drift Hyperian - Hard Enough Roy Davis JR - Gabriel Kendrick Lamar - Blow My High El. Train - Tear It Up Hyperian - Hash & Scented Candles (Ft. 4Bs)

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Grade A Productions is a film company with their feet deep in the film industry even before graduating. The growing company have produced everything from promotional videos, music videos, and more recently short film, not only around the Southampton area, but up and down the country. With a strong passion for videography, paired with attention to detail, it’s is clear to see why Grade A Productions are becoming a commendable company at such an early age. The following is an interview with George Dent, part of the Grade A team, to find out more about the past, present, and future of the company.

A strong passion for videography paired with attention to detail

Well I tend to take on the directorial role but hop on and off of camera and have been known to light bash. Reece tends to take on sound and lighting and Putnam normally mans the camera. But we all float about and take up whatever needs doing. We work well as a team but only because we work so well on our own.

So on these shoots, who does what?

Like surprised, impressed, whatever. They see 3 young boys and we’ve been told we’re hard to read. But always come up with the goods…the high quality goods.

Shocked? In what way?

Errm, well…inspiration wise, I think we influence each other. We were all on the same University course, but have very different influences. I think coming from videoing clubs and electronic music, we developed a style that we’ve transferred into these new corporate clients. It makes us new and exciting for these regimented companies; they see our past work, worry that it’s too contemporary and are shocked with the outcome.

Understandable. When you’re out on shoots then, do you ever draw from inspirations; personal or work wise?

Quite a bit. We’ve done a few promo videos for nights round here, and videoed the likes of Roska, Mosca, Eliphino, Rodigan and big daddy Loefah. They were all sick nights, and sick to shoot. We’ve just started pushing corporate clients into video contracts and just finished the fourth video for Hillier Nurseries, with a few new clients on the horizon, which we’ll keep shtum about just in case we jinx it.

What have you done, video wise, so far?

We’re a visual media production company, currently based in Southampton. There’s 3 of us; Two Georges and a Reece. And we’ve been Grade A for like 3 years now.

So, you’re Grade A Productions? Who are you and what do you do?

Yeah, we think so. We won’t know for sure until we get the base edit done, and really see if anything needs reshooting, but really happy with it so far. It was a special project for me because it was my directorial debut and the first short film I had written. Also, my two best friends were in the leading roles. My mate Alex is doing quite well for himself, and has moved up a lot

So I’ve been seeing a few pictures here and there on Facebook of your time spent filming your short film. Tell me about that, how’s it all going? Have you finished yet?

Yeah it does it does. We work to a daily rate which pays the bills. But we are affordable, and competitive.

So you seem quite busy, must be paying quite well?

in the acting world after starting off in Skins. My mate Yoshi has always been a favourite artist of mine, because she sings as well as acts and was perfect for the role. It was nice to actually get something done together.

What’s the film about?

It’s about love and loss, and the importance of specific moments. It introduces a dying man in a retirement home whose only visitor is the daily routine of a young nurse. The film then jumps back to the day the man, Alex, regretted for the whole of his life. He was on his way to propose to the girl he was courting, but gets sidetracked by a beautiful busker, played by Yoshi. They spend the afternoon together and in that small amount of time, she starts pulling Alex out of his character and changing him for the good, as he starts loosening up and losing the straight edge and rigid character he once had. The busker leaves and he is left with a dilemma, to follow up his engagement plans or to contact and hold out for this unnamed stranger. He chooses the former, marries the girlfriend and regrets his decision his whole life. Back to present day again, he’s dying and he thinks Yoshi’s character has come back one last time. He slips away and it turns out to be the burse on the daily routine. It’s quite sad really.

Sounds it. Any inspiration for that story? None for the story really. I just wanted to tackle the idea of a ‘romance’ in a different way, and it kind of turned into a tragedy. I like the story though. When we came to film it, we found we were quite dependent on the works of Jean-Luc Godard with films like Breathless and Vivre Sa Vie. They all incorporated long one shot takes which we used heavily in our film. So, bringing it back to Grade A, what’s the next step? You’re limited right? Post University plans? Well, we recently pitched for some start up funding through the Uni and actually got a lot more than we’d anticipated. They said usually they issue grants of up to £2000 per business, but we ended up getting triple that. We were so gassed, so I guess the next step is to buy all the equipment we’ve been dribbling over for years. Anything in particular? There’s a new Panasonic DSLR that’s coming out that shoots 4K video which looks ridiculous. We’ve been using a RED Scarlett quite a lot recently but they are way out of our price range. We want a motorized slider as well, and a few lenses probably. We’ll still have plenty left over but we’ll probably be smart and use them for running costs and keeping our business account active. All sounds very exciting for you lot, thank you for your time.

Garry Jones 22 BA Photography 3rd Year

How did you get into Photography? Was it a conscious decision, or did it come naturally? I got into photography by taking my first digital camera up the local skate park at around the age of 14, just taking terrible photos of friends doing ollies. But I decided I wanted to take it further so studied it for GCSE and that’s where I properly found my passion for photography when I got introduced to the darkroom, that’s where I feel my true passion for photography started. How have your skills and style developed as a photographer since being at University? Before I came to university my photography projects didn’t really have any

substance to them they didn’t have a narrative to them, I just used to take nice photos of either skateboarding, festivals or raves. Now I seem to have a split between my art practice where my photos have a meaning and have been worked and developed for months like my series called “Spots” where I looked at architecture that is being used for a different purpose that it was originally designed for. The other half I would have to call it my editorial practice as all the photos are very much of headline DJ’s in clubs that I’m trying to get published or help move me in the direction of magazine style work. Another development since being at university is collaborating with amazing make up artists and stylists that

put together incredible shoots that I instantly want to be involved in, but before uni I really hated being in the studio but due to these highly creative people they have helped me change my opinion and shooting style in that sense.

How would describe your aesthetic?

I would say it’s a look into most things urban but that sounds really cheesy. The reason I say it is because of my influences from underground music and skateboarding. Maybe to put it another way it’s a documentation of hobbies and lifestyle.

Garry Jones is a constant delight to collaborate with and work along side. His consistent enthusiasm and progression is something I’ve seen transpire over the 3 years of his attendance at Southampton Solent. From even before knowing him, he was instantly on the night club scene, as being a photographer, along side promoting and often DJing, as his alias F-stop, at clubs like Junk and Soul Cellar. So subconsciously I’ve listened to him play out, looked at his photos, and been persuaded to be a part of it all. But nightclub photography is not Garry’s only ability in his field of work. His work ranges from skateboarding and portraiture work, to then go onto assist a plethora of fashion and make up shootings, meddling with a completely different industry. Garry has been integral to this newspaper, with his photographic assistance. I’m glad to announce he will soon be exhibiting work in the John Hansard gallery soon, and that won’t be all we see of him in the future.

Both! I love film I’d probably say I prefer working with film because of the slower process and the amount of care that get put into each photo weather it be shot 35mm, 120 or 5x4. I love the option of being able to go to the darkroom and print photos properly and have total control. Saying that I shoot a lot of digital,

Film or Digital?

I’d probably say my main creative drive is to take photos, even though I’ve been taking photos for a while now the main reason I still pick up my camera is because I just simply wanna shooting photos of whatever it maybe, Make up shoots, sports, architecture anything as long as I’m enjoying photographing the subject I don’t care. Since being at uni you meet a lot of creative people who also motivate you through their own ideas and concepts to the point you want to get involved.

What’s your main creative drive?

As you could probably already guess skateboarding is a big influence in my photography. Not just the sport itself but the people involved, also the videos and in general the skateboard lifestyle. Another influence would have to be my love of music and DJ’ing, I have a huge passion for Drum and Bass which pushed me to take photos in clubs and document DnB nights.

What are your influences as a photographer outside of photography?

Being heavily influence by skateboarding my whole life has always made me look at skateboard photographers more than anything else. Fred Mortagne aka French Fred is a photographer that I truly admire he work bucks the trend of most skate photographers, he mainly used black and white 35mm film to shoot all of his photos even for ads in mags. Mike Blabac again is amazing his self titled book is like looking through the ages of skateboarding, documenting Stevie Williams at love park and Danny Way doing the mega ramp its full of skate history. Lewis Baltz is a photographer that I mainly look at when doing research for uni work, he works with architecture in a way that I find interesting and can relate back to my own work, drawing inspiration.

What photographers do you look at in particular, and why?

What is your approach to capturing an idea?

The projects for uni I shoot are quite conceptual but you never have to read to deep into my ideas, they are normal trying to open peoples minds to other peoples way of thinking.

What are your current projects?

Current project is called Chains where I’ve moved away from looking at architecture and now focusing on natural landscapes that are going to be affected by HS2 the high speed railway running from London to Birmingham. The project is a documentation of the landscapes withing the Warwickshire area where I grew up. This project is quite political but I’m not trying to take sides weather it right or wrong to build this railway, just simply making sure the area is documented if it does happen.

What’s in the future for Garry Jones?

At the moment I have a few big things going on over the summer. I will be going to Nass festival representing London based magazine Trapped. Also be going to Outlook photographing one of the biggest artist stages out there. Then the big life decision of what to do after university!

When I’m working in a club taking photos my relationship with my subjects is always good, everyone is friendly to the photographer in the club normally. Meeting headline DJ’s is always interesting if you photograph them a couple of times and they remember your name is always cool, like Frankee and Basher from Ram Records after photographing them a few times had a really funny night with them at Junk when Andy C was playing and got completely hammered behind the decks. As far as other relationships go I photograph my friends a lot so its like I’ve been documenting the past three years of all our lives together. In general I think I normally get on with my models and subjects just gotta have a laugh with them and be sound.

How is your relationship as a photographer with your models and subjects?

Of course it is, the polygon is a one huge social network of creative people, and most the people I know are in their third year so people now are having some amazing ideas which they want help with so its so easy to collaborate with them and produce amazing work, if I didn’t live in The Polygon I wouldn’t of met these people. I think as well living in The Polygon is such a relaxed student life style that you can really do whatever you want, which is the best thing about uni. Having this free time to be totally creative and peruse ideas and goals.

Is living in The Polygon influential on your work?

My Digital equipment consists of a Nikon D800, Nikon 50mm f1.4, Nikon 10.5mm f2.8 fisheye, Sigma 70-200mm f2.8, Metz 48-af flash times by 3 for portable lighting set ups. My film equipment has my favourite camera which is my Bronica ETRS-I medium format camera with grip and Polaroid back. Nikon EM 35mm and a range of other cheap 35mm cameras.

What equipment do you use?

at least an event at a club a week so I’m always shooting digital. It is a less stressful way of shooting not having to worry about everything, but even talking about digital now I find it hard to say anything interesting about it because I guess I’m not that passionate about it.

I caught up with Emily between her busy schedule to talk about her photographic experience and her creative process. Supporting this is a range of Emily’s material from Uni projects past and present.

Beauty is in the eye of the beholder, but if the beholder has a camera in their hand, then they can share this expression with everyone. Someone capable of achieving this is Emily Cross, an up and coming Fashion Photographer at Southampton Solent. Emily shows a lot of promise and hope for both her own career, and the future of fashion photography. Although only starting her journey into the real world, she is a character driven by talent and determination, and has a long road ahead of her.

s Cros y l i Em y raph g o t 0 2 ho ion P Fash r ea 3rd y

A quote about some fashion shit that makes sense *

How did you get into Photography? Was it a conscious decision, or did it come naturally? I actually didn’t realise it was fashion photography I loved until I was about 16, where I had plastered my bedroom walls floor to ceiling with fashion editorial tear sheets of all sorts. I realised it was not just the clothes and the models I particularly liked about an image, but more so the element of interesting fashion combined with beautiful photographical technique and compositions. So I would call this an unconscious decision. I then began recreating photographs I loved and soon enough I had a passion for it, where I wanted to show my creative ability to sell fashion clothes in a visually engaging way.

How have your skills and style developed as a photographer since being at University? When I began at Uni, I thought I knew it all in a way, and I soon realised there is so much to be taught, even in a creative course. I had my own preferred style, and favourite photographers, but throughout my degree my photographic skills have improved so much that I would now say my style has changed with improved technical skills. I am now more versatile with what kind of narrative and purpose the shoot entails, where as before university, I only enjoyed shooting straight-up, gritty, grunge-like photography. I have now become more interested in high fashion/commercial fashion photography as well, and there is also the incentive where there is a lot more money to be earned in this sector! How would describe your aesthetic? I would say my personal aesthetic relies on always having an interesting and meaningful story behind the shoot. I don’t think I can put my finger on any one particular distinctive trait that my Photography portrays, except some people have said it has What a raw/gritty edge to it, where you can really photographers feel the essence and mood of the story do you look at behind the shoot. It is the most important in particular, and thing to me, to be able to translate why? the feelings that I am feeling about something in I look at a range of particular, to the fashion photographers viewer. for inspiration because looking at a diverse group to broaden my mind. I particularly like the work of female American photographer Cass Bird. Her work is touching and raw, yet captivating at the same time. She often finds beauty in the ugly, which is what makes it so admirable. Keeping the element of reality often helps images translate and appeal to people more. When I want to photograph something with more of a bazaar narrative, I tend to look at

Photographers such as Tim Walker. He has a remarkable distinctive style, incorporating extravagant and often dreamlike aspects. What are your influences as a photographer ? I love meeting intriguing looking people, not just the typically beautiful, but also extraordinary. It is much more useful to me as a photographer, to capture something rare and unique, and share it with the world.

What’s your main creative drive? I would say what spurs me on is always wanting to achieve the next goal. Once I have produced something I am proud of, I slowly become bored of that something, and then I want to do something bigger and better. Social media these days means you can remain constantly in the loop with the latest ads and editorials shot by your favourite photographers, this means I am constantly storing inspiration in my head for my next project subconsciously. But I think creative drive comes naturally to a person; you cannot pretend to have drive for something you are not truly mad about already. Film or Digital? Digital. I tried film at college a few times and never had the patience to wait for them to develop etc. Now I feel fashion photography has no real market for film, so I stick to what is efficient and applied in the industry. What equipment do you use? I use a Cannon 5D Mark 2 camera, it is amazing for what I do right now. I also love using a 70-200mm F 2.8 lens for doing Street Style photographs; it captures a beautiful depth of field. When I shoot in the studios, I always tether my camera up to a computer to instantly see the shots as I take them. This is something really useful to do, so you can monitor your images, and more quickly pick up of things you do not like. Is living in The Polygon influential on your work? Where there are so many creatives living in the same area, it’s really encouraging in a way - its nice to be amongst so many talented people that really love what they do. I think The Polygon area is a great place to bounce off your own peers, and network with other creatives alike. Where it is such a youthful area with a great vibe, I think it influences the choices that you make from a day to day basis, therefore contributing to the creative choices you make How is your relationship as a photographer with your models and subjects? I always like to know a bit of background info on the person I am about to shoot, and I always keep an open mind and positive outlook on the person and the shoot. Prejudged thoughts about a model or subject can lead you to doubting yourself or the models ability before you have even started. I am always friendly and positive when I first meet them; this helps to let them feel comfortable around me (which is extremely important). I then explain the motif behind the shoot, and what I want from them mood wise, and pose wise. I tend to do a lot of directing however, this is good to achieve exactly what I want from an image, without wasting my time or the models. I have learnt that its important to compliment your subject a lot, especially when you particularly like something they are giving off through a pose or whatever - this often helps them give even more.

What is your approach to capturing an idea? (do you show this clearly or approach this more conceptually?) I like capturing an idea quite conceptually, through a subtle story that builds up in an editorial, or styling and prop use that points towards a message you want to portray. Capturing an idea is all about the model selection being in keeping with the topic, as well as the necessary styling and makeup. Most importantly however, it is choosing how you want to translate the idea to your viewer. I usually spend time creating visual moodboards, where I then establish my approach.

What are your current projects? Currently I am the fashion photographer for a Publication called Third Floor. It is a muse for creatives, where fashion photography editorials are combined with written articles and features. It is part of my Final Major Project at university too, which is amazing because I get to take away a magazine filled with my own editorials in to show at interviews. It is also sold and published in industry so will it look good hopefully! What’s in the future for Emily Cross? My aim is to assist a successful fashion photographer after graduating. This is to gain some industry experience in the real world! I think it would be amazing to see what its like to work as a freelance photographer, and learn the tricks of the trade. I can see that its not going to be an easy career by no means, so assisting to start off will do me great I think.

s l Ros April esign D r i a H 23 Up & e k a M ear 3rd Y

Aprill Ross is a make up student in her final year at Southampton Solent, who shows a surge of talent and determination in her work. For the length I’ve know her, I never seen her not busy with a shoot her, or a project there. Here, Aprill takes us through a selection of her favourite projects, and takes us through their concept and final aesthetical outcome.

This project was given to us in our second year. It was slightly frustrating, as I had already done a project inspired by tribal makeup! I decided to steer away from the most obvious tribes from which I drew inspiration in my previous project. I chose to research into the Inuit. They aren’t typically known for wearing makeup so I chose to reference their life styles and living habitat. Inuits would often tattoo their faces with thin lines. For the first image I chose to draw the lines with red. An inuit’s diet would mainly consist of eating raw meat, I wanted the red to represent this and of course the white represents their living environment.

The brief for this project was to create two images for the makeup brand Illamasqua. We could take inspiration from anything. Illamasqua are known for creating very avant-garde makeup looks alongside their more wearable beauty looks so we had to create one of each. I took inspiration

from statues and temples that have been forgotten about and abandoned. I loved how nature would be taking over and how temples and beautiful statues become covered by moss and ivy.

This project was one of the first projects of Uni. We had to design a makeup that was our own interpretation of ‘Club Culture” makeup. We were originally inspired by the new romantics of the 80s as this was when ‘Club Culture’ was born. From this we could go anywhere and take inspiration from anything. I decided to research into Tribal make up. I loved how Tribal makeup tended to be quite simple but bold, and I also loved the way that their makeup would crack and how the texture of skin could be emphasised by the materials that are used as paint. I also came across a tribe that painted their faces like skulls with large white marks on their cheeks to look like teeth. This is how I came to create this image.

Josh Bryan 22 Fine Art 3rd Year

Josh Bryan is an artist of many qualities. He’s a character with the eyes to find beauty or interest out of the mundane and the familiar. His style is in explainable as he tackles projects from all sorts of angles. Working on small illustrations,

photographic pieces and public installations, it’s not surprising to see Josh already start to gain some recognition. Josh is a big blogger, and has a swarm of followers. Out of this, Josh gained particular acknowledgment for his geometrical portraits of a mixture of celebrities. Commissioned as screen prints, not only has Josh got his foot in the trading door, but also managed to get his illustrations tattooed on people round the world.

Introduce yourself… I’m Josh Bryan, I’m a 22 year old artist from Southampton. As an artist of many different disciplines, why did you chose to study Fine Art at Southampton Solent? I wanted to experiment within different medias and have the freedom to flow between them in a much wider variety than maybe a more specific course. How do you think your choice has effected your path as an artist? Has it had a great influence on your creative evolution? I’d like to think it’s kept my artistic compass well balanced, I prefer to wander between ideas adding naturally, using a process driven work ethic to unravel my concepts naturally. How would you describe yourself as an artist? Fluid. Sometimes it can have a lot of momentum and I can only seem to go in the right direction, yet other times find myself stuck circling one idea constantly. What artists do you look at for inspiration? Currently I’ve been looking at a lot of work that works with space, light and shape, so artists like Olafur Eliasson, Anish Kapoor and John Claude & Christo. As a big blogger, do you think this has helped heighten your influences? Absolutely, I’m constantly strolling through blogs looking for anything that can spark off any ideas, whether it just be a colour palette or a grander project, just having access to such a wide variety of references can only assist in my creative process.

Do you find inspiration from anything outside of art and creative industries?

What’s in the future for Josh Bryan?

Yes, it’s cliché but inspiration can come from anywhere. There are aspects of every day life that have place in my work. I often use the juxtaposition of chance naturally occurring elements along side industrial, machine like processes and structure.

After university I’m looking to move out of Southampton and save up to leave the UK, eventually travelling as much as I can. I will continue my practice after I’ve left university, where ever I might end up, but I think my illustration will take up a large part of my time but as I’ve always been interested in pursuing it independently but never felt I had the time or concentration I’ll have without education taking up a large part of my life anymore

What’s your main creative drive? I have a genuine passion for the whole process of creating something entirely from an idea, questioning the end product and planting new ideas from those findings and conclusions. The sheer potential available is drive enough really. You’ve recently had some commissioned pieces, how did these come about? I keep a Tumblr blog that has been a huge part of getting my work out to a larger audience. I’ve been extremely fortunate any all have come through my work being shared on the Internet. What are your current projects you’re working on? I’m currently working on my degree show project, working with everyday objects and creating abstract light projection, experimenting with refracting and using light to draw. Is living in Southampton as a student influential on your work? I’ve only lived in the centre of Southampton for a few years now compared to just on it’s outskirts, but I’m always looking for inspiration from everywhere. Last year I collaborated with Niamh Donoghue on a site-specific installation at The Weigh House on French Street, using 3,000 plastic bags.

Brick would like to thank all who participated in the project. Without your contribution, this would have not been such an enjoyable process. Thank you. Design/Writing/Photography: James Willsher Additional Photography: Garry Jones One In One Out Music: Ben Vovrosh Benajmin Saint In The Woods Music: Peter Tate North To South Music: Kraig Beadle So Bless Record Music: Henry Prior Jack Herron Behind The Scenes Film: Grade A Productions Fstop Photography: Garry Jones Eyes Are The Vision Fashion Photography: Emily Cross This Make Up Make Up Design: Aprill Ross All Round Artist Fine Art: Josh Bryan

BRICK : Issue One  

A newspaper looking at the students in The Polygon, Southampton.

BRICK : Issue One  

A newspaper looking at the students in The Polygon, Southampton.