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42-43

Contents 04-05 06-07 08-09 10-13 14-15 16-17 18-19 20-21 22-23

Editor’s Letter

The Project The Palette

Ben Kidger

24-25

Ellie Hewins

26-27

Ronald Platt Body Piercer

28-31

Beats & All That Jazz

32-37

Neil Kelly

38-41

Music Review Tim Hecker

42-43

Boxed up

Hall Of Light

An Talla Solais

Music Review London Grammar Music Review The National

Roland PichĂŠ

24-25

38-41

26-27 With thanks to the Magazine Design team Ivi Deniffel (Management), Sarah Willmott (Layout & Design), Emma Hart (Layout & Design), Josh Morgan (Photography), Tate Abott (Writing & Photography), Sunil Sohanta (Writing & Photography).

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Editor’s Letter

In The Palette we combine photography, fine art and graphic design with in-depth interviews and a mixture of articles about contemporary issues and past influences. We also care about the service-orientated content, therefore The Palette talks about music, exhibitions, culture, films and art. The Palette speaks for strong-minded young adults who are standing at the beginning of their career but know what they want and appreciate refined distinctions. It may be like an anchor in our ever-changing lives. Taking time for handwork, thoroughly researched stories and innovative design. The Palette does not just represent the present, The Palette lives in it and maintains an attitude. Ivana Deniffel, Editor.

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The Project This term we were briefed to create a piece based on a narrative of our choice. This project was completed by all three sections of the Art & Design department. (Art & Design, Graphics and Photography). The outcome could have been a design based on narrative in general or a set narrative from the listed books on the brief, in a medium of the students choice. A lot of students’ chose to design a 3D piece, others designed a graphical

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product having a print out as a final. These all were successful in their own way and allowed us to develop our skills and knowledge within the subject area. During the project we all completed workshops to gain more skills, such as paper cut-out tasks, photography & Mac-based sessions and printing processes. We also completed tasks in our own groups before being able to decide our own brief and timetable to complete our final outcome in our own way with the help from tutors when needed.

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About The Palette Gallery 8

A student-run gallery at Canterbury College. The Palette is Canterbury College’s own student run gallery. This idea was thought up by one of the tutors (Ben Kidger), allowing the students of the Art & Design department to run their own gallery selling and previewing their work from various projects throughout the time of being there. This has been a success with the private viewing of the latest project ‘Narrative’ which each section of the department completed before the new year. The outcomes from this project varied with the media it was set in as well as the narrative choice itself. Each section had their own brief but the outcomes were fairly similar. The students were briefed to create a piece on the subject of narrative in general or on a set narrative of their choice.

This project was the first one where the students were also able to have a certain amount of time to write their own brief, allowing them to have complete freedom with the choice of media, the area they worked in and the process they took. The students also undertook the tasks set within their subject alongside their own tasks to complete their outcome to the highest standard possible. This project ran over the course of four weeks and nearly every student managed to complete the tasks and outcome within the time frame. The tutors mentioned that they loved the outcomes that were produced. Alongside the gallery viewing, this magazine has also been produced to show each term’s process of the students’ work and outcomes. This first edition is based on the gallery and narrative project itself.

The Gallery Team

There were a lot of narratives that were a 3D outcome, and others being printed onto foam board or framed for hanging on the wall.

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Ben Kidger Artist Interview Q. What’s your preferred medium? It is stone at the moment, but it used to be latex. I’ve always liked the idea of changing the nature of the material from hard to soft. I love the form of drapery, clothing, weight and tension, all that kind of thing and I think you can get that through stone. Q. What themes do you pursue? Well, I recently became quite interested in baroque themes, such as elaborate forms. Again drapery is a big thing for me and has been for a few years. But that idea of trying to change a material form from one thing to another is quite interesting I think.

Q. What do you dislike about the art world? I dislike any form of snobbery. For example, because I run a gallery I always deal with artists and feedback, and there’s massive prejudice in the art world, incredible prejudice. I’m not on about racial or sexist prejudice, but anything, especially with education. 

Q. What significance does colour play within your work?

Photography By Josh Morgan

I’m more interested in tone than colour, because with stone you are limited with the colour of it. Although you can get some beautiful blue colours if you go to Portland. I could start colouring the stone but that would be denying one of its greatest qualities.

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Q. What is your favourite colour? Blue. 11


Q. Who is your favourite artist or designer?

Ben Kidger Q. What was the first piece of work you sold? It was a commission I did for a garden in Kensington called the Constant Gardens. A woman wanted a piece of drapery around the same height of a 5 year old child but because of her limited budget I gave her a piece about 50cm and a very large plinth because I couldn’t afford to do it for the money she wanted to pay me. And that’s another problem with the art world; nobody ever has any flipping money. Q. What is your favourite piece you’ve made? I’d say my first one because I did that about 10 years ago and I don’t know whether I’ve done anything better personally. People say your last piece but I’m probably only as good as my first piece. It was very recent after graduation; graduation is a very painful thing I think. You look around and think: “s%@t what do I do now?” it’s so important to get back into it and carry on making stuff.

Q. Who do you think would win in a fight, Alberto Giacometti or Henry Moore? Possibly Henry Moore because he was from Yorkshire, he was a bit tough. Giacometti spent most of his time in Paris drinking, smoking and sleeping with prostitutes. Henry Moore was a good old fashioned gentleman.

I’ve always been interested in Alberto Giacometti, but I don’t really use his ideas in my work, apart from his surface tension. He has a wonderful treatment for the material, which is clay cast in bronze. I was much more influenced by him when I was doing my degree, it’s about the element of tension and he does it by having a man pointing. And I do it with very fragile stone, it’s that idea of tension we call tertiary form in sculpture.

Q. What started your interest in art? I’ve always been interested in making things. In my shed with my grandad I used to make boats. I remember my brother getting a Batmobile and I tried to recreate it. I remember that form really inspiring me, and I tried to recreate it for years. But I worked out I didn’t have to recreate things in an accurate way, as long as you use your own creativity or interpretation of what might be aesthetically pleasing. It’s more about the individual. Interview By Josh Morgan

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Neil Kelly

Q: How long have you been a practising artist?

Q: Who is your favourite artist?

A: I have been working from a studio in Deptford, South East London since 2004.

A: My favourite artists are the painter George Shaw for his gritty paintings of suburban England and David Shrigley for his refreshing use of humour and art to represent his world view.

Q: Where did you study art? A: I studied A-level Art here at Canterbury College under the inspirational guidance of Jon Dent. I then went to study a BA in Arts therapies and in 2003 I studied an MA in Painting at Wimbledon School of Art which is now part of the UAL.

Artist Interview

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Q: Where are you from?

Q: What got you interested in the arts?

A: Dover, but as the saying goes ‘its not where you’re from its where you’re at!’

A: It’s what I was born to do. I had always drawn from a young age. It was how I got recognition at primary school because of my ability to draw, which was handy because the only other recognition I got was for disruptive behaviour. The thing that most appealed about the arts is that the rules are undefined.

Q: What is your work about?

Q: What do you consider you greatest artistic achievment to date?

A: It’s about my love/ hate relationship with this country. It is a tongue in cheek look at my everyday and the observation I make. It looks at the mundane, the forgotten, banality and failure. Overall it’s a celebration of ‘Ordinary’

A: Being selected for the John Moores Painting Prize Exhibition and The Jerwood Drawing Prize.

Q. Outside of career what’s your greatest achievement?

Q: What is your preferred medium? A: I work in a number of mediums but my paintings are made from small tins of matt enamel model paints.

A. Having two awesome kids Alice & Art with my gorgeous and understanding partner!

Also, make criticism your friends as you will hear a lot from em! Q: Your work has attracted well known names can you tell us about this? I have been very lucky and my work has been selected by artists like Sir Peter Blake, Tracey Emin, Jason Brooks & Dexter Dalwood, but I have also got my work to people by unorthodox methods. I once gatecrashed the set of the Pirates of Caribbean film wearing a Dover Harbour Board high-vis vest to deliver a print to Johnny Depp. I guess if you’re prepared to take risks and market yourself in different ways you can expand your audience and raise your profile. Interview By Rob Black

Q: What would you say to someone who wants to get into the business? A: Never make money your sole reason to make work!!! 15


Music of 2013:

Tim Hecker - Virgins (2013) Kranky Records/Paper Bag Records I’ve never listened to a Tim Hecker album prior to his 2011 release, ‘Ravedeath, 1972’, so I’m entering the mindstate from a fan that has only heard his latter, not his salad days stuff. Albeit, don’t fret, I have indeed heard many ambient albums and for the benefit of a friend I once knew, drone. I’ve always admired these types of albums though; their creators even more and sadly they seldom procure the appreciation they should receive, besides audiophiles and Pitchfork readers anyway. But the native Canadian, hailing from Montreal comes at this with something that should not be overlooked, it’s when artists like Hecker produce albums outside of the circulating norm that have some of the lasting impact on music as an artform. Yes, it may be in minority who would wholeheartedly enjoy such an album. Anything that is generified under Ambient/Drone and people are usually turned off within the first minute of undefined, scratchy hissing that sound like nothing more than a pocket call from your grandma on the bus or from inside a washing machine or the pipes of a church organ, take your fancy. Yet what this album puts across is that music is a language, a pure, universal non verbal language that conducts itself in a manner of attributing environmental, social, terrestrial and non-terrestrial heartfelt emotions and feelings. Hecker depicts an evocative soundscape that can be set against anything that the listener feels or yearns for subjectively. Whatever you feel like, Hecker is there, helping your mind contextualize it, like an open ended storybook and once the album is in its median it unearths a bounty of wondrous delights that can be revisited time again and in that way, it succeeds.

Reflecting upon my playlists from last year, I’ve collected some of my most stand-out and treasured records of 2013 in a small review section.

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Music of 2013:

London Grammar - If You Wait (2013) Metal & Dust Recordings Ltd. I think I was on the fence about this Nottingham trio comprising of vocalist: Hannah Reid, percussionist and multi-instrumentalist Dot Major and guitarist Dan Rothman. Maybe it was because I had some preconceptions about their name, did it sound a meager bit feigned in consideration to their native Midland abode. Yet I readily didn’t hold this against them after learning that they now resided in the capital and it was the place where they recorded the album. I had fleeting encounters with them on various media yet never allowed myself to give them a proper sit down and listen. After recuperating from my prior misknowledge I wholeheartedly loved this album. I’m not going to tell you Reid’s vocals sound like Florence Welch’s or that the production is scrupulously close to ‘The xx’s’ because that seems fickle. Indeed, it is subjective but I feel vocally and production wise that the album, with its spare, atmospheric and close knit sound draw something that ‘The xx’ never could achieve. A melding of enchanting vocals especially on the characteristically slower and titular track, ‘If You Wait’ which exemplifies that wonderful vocal range. Is this their dreamy nocturnal soundscape of what one wonders to be the musical reimagination of an evening in London? Maybe a rainy one in Winter. I will add this to my list of albums to grace the evening with. Top marks indeed. 18

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Music of 2013: The National - Trouble Will Find Me (2013) 4AD/Beggars Banquet It doesn’t take a whole lot for me to be swept away by these Cincinnati, Ohio natives. One of my favourite new discoveries after 2010’s ‘High Violet’ which is still an album I often revisit. Alas, in some ways I have found that album much more memorable for its usage of multi-layered percussion and its emotional tale from vocalist, Matt Berninger. Indeed, this could be solely due to the fact that it was new to me, in all senses. A feat where a lot of bands had rubbed off mediocre.

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For front man Berninger however, what is so magical about his lyrics is how adept they become within the structure of the song. Adept and indeed ambiguous. ‘Trouble Will Find Me’ is no exception. Certainly so in the crescendo of the album, with the track, ‘Graceless’ which features the line, “There’s a science to walking through windows”. I think it is with this ambiguity that they pull off this remarkable ability to capture me. Alongside wonderfully titled songs, Berninger’s baritone vocal range and the orchestration of the percussion, bass and swooning guitar chords that The National are able to conjure such emotional power, harnessing it into something of truly sublime, organic rhetoric. In some ways it could be assumed that what Berninger portrays is a man on a path of self destruction, self loathing and of all falling victim mercilessly to being misanthropic. I’ve been told this by friends, I really have. It’s the top layer that gives this facade and to paraphrase Shrek; “An onion has layers, like Ogres do.” Truthfully, you need to go into this album with your mind wide open, Berninger propels metaphor after hyperbole and once you’re under that top layer, the album opens up as a world of poignant moments.

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Roland PichĂŠ Artist Interview

Q. What themes do you pursue? A. I like to explore who I am, my identity, the truth, beauty and celebration of human biology. I tend to avoid expectations, showing a journey of life through mind and body alongside its sensual pleasures. Q. What do you dislike about the art world? A. I dislike the manipulation of cultural ignorance, the deceptions of money exchange and ways that cultures are analysed. By Tate Abbott

Q. What is your preferred medium to work in and why? A. My materials are experience, intuition, knowledge, chance and process. Q. What significance does colour play in your work? A. Colour symbolically embellishes my work, it forms equivalent experience values within my life. 22

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Student Centered

Ellie Hewins Q: What’s your preferred medium? A: The mediums I prefer using the most are paints, and non-traditional materials. I like to explore and experiment with a wide range of materials.

Q: What themes do you pursue? A: I focus mainly on marine life, and wave formation. I like focusing on the sea because I have been brought up near the sea, and I have a great passion for surfing.

Q: What do you dislike about art? A: I dislike how people judge contemporary art in a controversial way.

Q: What significance does colour play within your work? A: My work is all about colour, I express my feelings through art works, and they are always brightly coloured. This also attracts an audience and makes my work stand out from the crowd.

Q: What is the favourite piece you have made? A: One of my favourite pieces would be my book project’s outcome in year two, as it is so different compared to my previous outcomes. 24

Q: What are your plans for the future? A: I am aiming to become an artist, I want to travel the world and explore different cultures and types of art.

Q: What’s the piece’s title? A: I titled it ‘Trapped in a wave’ as it represents the isolation of being trapped under water and not being able to get up to the surface. Q: What personal interest inspired you in your final piece? A: My personal interest was based on being trapped in a wave. It came out of an interest in waves and water formations. Q: What started your interest in art? A: I have been concerned with art from a young age, I have always wanted to document things that were happening in my life by drawing them. This kind of diary has made art more personal to me.

Q: Who is your favourite artist or designer? A: One of my favourite artists is Kurt Jackon. His work is very inspirational to me as he paints landscapes from observation and his work holds many feelings.

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Q: Would you consider tattoos/piercings as public art?

Ronald Platt

A: Well, yes. We’re all living pieces of art. But then again, anything can be art. Q: How many tattoos and piercings do you have? A: I’ve got seven piercings and seventy hours of tattooing, it’s easier to say it in hours. Q: Who is your favourite artist?

Interview with a Body Piercer Q: Where are you from? A: I’m from Canterbury. Twenty-three years, born and bred. Q: What got you interested in the business? A: Probably my first love. But then it’s interesting because you could consider the butterfly 26

effect. If I wouldn’t ever have dated her, I probably would have gotten into it anyway. Because, you know, I’m not getting these modifications for her anymore. Q: How long have you been piercing for? A: I’ve been piercing for just under two years.

Q: At what age did you get your first tattoo or piercing and what was it? A: When I got my first piercing I was fifteen years old. I was kneeling down in my first loves’ bedroom, piercing my ear. And when I got my first tattoo, I was eighteen. It was of a skull, of course.

A: I like Salvador Dali but I only like specific works. A lot of tattooists paint, there are few that I am quite fond of. There are particular dot work artists that I like, such as Thomas Hooper and Gerhard Wiesbeck. Q: What do you think of the new law in Texas where they want to limit how much body art someone can get done? A: It’s pointless. If people want to get stuff done, they will. If someone wants a sex change, let him have a sex change.

If he then wants to change back, let him change back.

There are no formal qualifications. They’re not changing quick enough.

Q. What significance does colour play in your work? A. Colour symbolically embellishes my work, it forms equivalent experience values within my life.

Q: What would you say to someone who wants to get into the business? A: Don’t. I retired four days ago for a very good reason.

Q: Can I ask why? A: Yes, because of the politics of the industry. It’s terrible, people want change but they won’t change themselves. I would publicly speak out about needing change in the industry but no one would follow through with it. They would hide behind their own little cliques. Tattoists, body piercers, they’re all the same. Scratchers are now becoming more prominent; anyone can get into the industry. 27


Beats & all that Jazz One of the most momentous and controversial movements of the last hundred years was the Beat Generation, a movement that sprawled literary, art, music and a new social awareness of what youth really was and a lifestyle that questioned the pre-existing norm.

The catalyst, of course, like many movements prior, was a war. World War II - a worthy catalyst and surely a pragmatic one, an event like that changed the shape of everything. People were notably recovering from not only their own personal catastrophes that the war had caused, victims from every part of the world were in some way affected, an event that young writer and poet, Jack Kerouac had become all too aware of. As an American, he was witness to many of the reports that the media told of the horrors that were taking place in war-torn Europe.

all about it, angels?” - Jack Kerouac 28

The inception of the Beats began as early as 1948 when Kerouac, Lucien Carr, William S. Burroughs and Allen Ginsberg all met around the time Kerouac was attending Columbia University in New York City. Things began to take shape for them and therefore so did the fruition of the movement. However, they had no idea how radical their ideas and works would later become. A certain momentous and turbulent time for these young gentlemen, primarily at the start for Allen Ginsberg a Jewish writer from New Jersey.

Ginsberg, a young homosexual penned the now renowned 1955 poem, ‘Howl’, a poem that set the critics on fire for its profanity and at the time uncanny descriptions of homosexuality. Ginsberg was the press’s dream or perhaps their nightmare as homosexuality was still shunned and for such a controversial topic, indeed, it led to widespread attention. People were in disbelief, so much so that publisher, Lawrence Ferlinghetti along with his partner, Shigeyoshi “Shig” Murao, owners of the now landmark City Lights Bookstore were arrested in San Francisco in 1957 after the paperback release of ‘Howl’. The charges; obscenity. One newspaper headlined “Cops Don’t Allow No Renaissance Here.”

“I saw the best minds of my generation destroyed by madness, starving hysterical naked...” - Howl Yet, the charges were later dropped after a lengthy court case in which critics and fellow poets alike cited the poem as culturally significant. The court ruled in favour of Ginsberg, Ferlinghetti and Murao and the aftermath of this case cast light on prior publications that were controversial and indeed were banned. These books included D.H. Lawrence’s ‘Lady Chatterley’s Lover’ and Henry Miller’s ‘Tropic of Cancer’ and it was decided that under the First Amendment of the Constitution the books began circula-

tion again into the mainstream. What was it that beckoned Jack to the West coast? Was it the golden sunshine, fresh inspiration or a change of scenery? It seemed to be myriad of reasons. What seemed prominent however, was the beckoning of fellow writer, Neal Cassady, counterpart in Jack’s novel as Dean Moriarty: the wild, expressive boy that Jack so admired.

A certain momentous and turbulent time for these young gentlemen For me, however, it seems that Jack, young and listless in his New Jersey setting, did what anyone of his age would do; take off, blow town and set off hitch-hiking, on a precarious horizontal stretch across America; not necessarily always wanting to achieve his destination, yet content in his drunken haze with fellow travellers on the back of a truck driven by farmers from Minnesota. This is arguably the most far from the notion of the American Dream as you can get, yet isn’t this what the Beats were saying? To hell with the consumerism and material wealth, it’s in our hearts, our souls and above all that it’s the people we encounter or the people we hold dear to us in our lives that is the important part.The wealth really lies in the fleeting interactions that Jack/ Sal Paradise experiences during the beginnings of his life on the road. > 29


Beats & all that Jazz Road’ and all of Kerouac’s novels in this instance, is that he uses pseudonyms for his characters. Characters that are sourced from his real friends, close ones or otherwise. Carlo Marx is Allen Ginsberg, Damion is Lucien Carr, William S. Burroughs goes under Old Bull Lee , Carolyn Cassady is Evelyn and of course, Dean Moriarty is Neal Cassady. Yet why was this? Did Kerouac decide this would be the way to be without worrying that his friends fall victim to their own fictionalised antics or indeed, their very real antics. Although, this could be a way to write with ease, freely and with a style almost reminiscent of those Dada-ists and Andre Breton types that practised in the art of automatism. Yet not in the spiritual way. Well, at least not in the conventional spiritual way. The prose that he so favoured; his prose. The Beat prose. Jack couldn’t get away from the transitory fame that surrounded him post ‘On the Road’ and this caused an internal havoc for him. His friend, Lawrence Ferlinghetti told Jack to go to his cabin in Big Sur, just south of San Francisco to take some time to contemplate. There Kerouac worked on his novel, ‘Big Sur’ inspired by the natural elements around him: The ocean, the waves, the woodland and the idiosyncratic of the wilderness compared to that of the city. 30

The year was 1962, the 50s had gone and taken with them the humble beginnings of the movement. The pioneers were exploring more art-forms and indeed, Burroughs had just published ‘The Ticket that Exploded’ that same year ‘Big Sur’ was released. For Burroughs his interest in books evolved into more of a physical and tangible art-form, Seeking new and exciting media but perhaps not entirely trying to emancipate himself from the grasps of writing, yet as far as the experiments that artists devised and created way back in the 20th century none were as innovative and abstract (in regards to the written word) as his “Cut-Up” technique. With his buddy and fellow artist, Brion Gysin, they formed a method of interweaving words and sentences from various texts, juxtaposing these to form something new, something in a completely new context.

So for the movement, it didn’t so much shuffle quietly out of the door and into oblivion as it may have done yet it stuck quite considerably in the minds of the young that it inspired, melding into the nascent hippy subculture of the mid 1960s, uniting not just on the basis of acceptance of a new counter culture but uniting in the understanding that both cultures yielded the same thoughts and philosophies; an ouroboros of one moment in time to the next, the full circle.

A surge of popularity to the Beats was nationwide and in turn inspired many would-be writers and poets of their own merit to seek the warmth in the bosom of the West Coast. Yet, it wouldn’t be until that year, 1957, (the year that ‘On The Road’ was released) that popularized not only the Beat Generation but also lauded Jack Kerouac as a new-found literary celebrity and figurehead for the inspired to find their own asphalt christened roads and to seek out this tangible and vibrant wanderlust for themselves. “I am not ashamed to wear the crucifix of my Lord. It is because I am Beat, that is, I believe in beatitude and that God so loved the world that he gave his own begotten son to it. . . . So you people don’t believe in God. So you’re all big smart know-it-all Marxists and Freudians, hey? Why don’t you come back in a million years and tell me.

50s had gone and taken them with the humble beggings Yet, how is Burroughs’ and Gysin’s technique anything more than just gibberish; does it allow for new freedom of thought and are we open to new interpretations of something that we may have never even known was there? I like to think that this tech-

Photography By: Lalo Borja

> What is noteworthy about ‘On the

nique, this new format, challenges our preconception of the written word and is something to be admired. Certainly it is something that should perk our literary interests from today’s modern media mendacity, stimulating contemporary artists to elaborate on this, to transcribe or to simply homage; forming a jittering, charismatic discovery in the way we form sentence structures and prose.

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Boxed Up

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Gallery Selection

Anish Rai Art and Design BTEC ED L3 Year 2

Annaliese Irven Photography BTEC ED L3 Year 2

Tate Abbott Art and Design BTEC ED L3 Year 2

Saskia Weatherley Art & Design BTEC ED L3 Year 2

Sam Vassiliou Art and Design BTEC ED L3 Year 2

Amber Vallacott Photography BTEC ED L3 Year 2

Book Project

Transcription Project

Book Project

Book Project

Book Project

Book Project

Final Outcome

Final Outcome

Final Outcome

Love The Path You Make

Final Outcome

Final Outcome

Ed Ford Art and Design BTEC ED L3 Year 2

Kelly Dobbs Photography BTEC ED L3 Year 1

Josh Morgan Photography BTEC ED L3 Year 2

Sam Lort Photography BTEC ED L3 Year 2

Ed Kemp Photography BTEC ED L3 Year 2

Emily Dickinson Art and Design BTEC ED L3 Year 2

Book Project

Portrait Project

Book Project

Book Project

Transcription Project

Book Project

Final Outcome

Final Outcome

Final Outcome

Final Outcome

Final Outcome

Final Outcome

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Boxed Up

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Gallery Selection

Karen Millar Art and Design BTEC ED L3 Year 1

Jessica Fall Photography BTEC ED L3 Year 2

Jade King Art and Design BTEC ED L3 Year 2

Lucy Askew Art and Design BTEC ED L3 Year 2

Liberty Harrison Photography BTEC ED L3 Year 2

Lydia Baker Photography BTEC ED L3 Year 2

Body Project

Book Project Outcome

Book Project

Book Project

Book Project

Book Project

Final Outcome

Pinhole Photography

Final Outcome

Final Outcome

Final Outcome

Final Outcome

Kathy Goldsack Art and Design BTEC ED L3 Year 2

Loui Short Photography BTEC ED L3 Year 2

Ellie Hewins Art and Design BTEC ED L3 Year 2

Kahimbi Liaso Art and Design BTEC ED L3 Year 2

Andrew Groombridge Graphic Design BTEC ED L3 Year 2

Emma Hart Graphic Design BTEC ED L3 Year 2

Book Project

Book Project

Book Project

Book Project

Narrative Book Project

Narrative Book Project

Final Outcome

Final Outcome

Final Outcome

Final Outcome

Story of the Pritt Stick

The Ugly Duckling

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Boxed Up

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Gallery Selection

Hannah Clarke Art and Design BTEC ED L3 Year 2

Anna Hamilton Art and Design BTEC ED L3 Year 1

Ivana Deniffel Art and Design BTEC ED L3 Year 2

Aaron Anderson Photography BTEC ED L3 Year 1

Robert McBride Graphic Design BTEC ED L3 Year 2

George Whatley Graphic Design BTEC ED L3 Year 2

Book Project

Body Project

Book Project

Portrait Assignment

Narrative Book Project

Narrative Book Project

Final Outcome

Final Outcome

Final Outcome

Final Outcome

War of the Worlds

Final outcome

Oliver Phillips Graphic Design BTEC ED L3 Year 2

Jonathan Hollands Graphic Design BTEC ED L3 Year 2

Joe Elam Graphic Design BTEC ED L3 Year 2

Sarah Willmott Graphic Design BTEC ED L3 Year 2

Emily Dickinson Art and Design BTEC ED L3 Year 2

Beth Holness Photography BTEC ED L3 Year 2

Narrative Book Project

Narrative Book Project

Narrative Book Project

Narrative Book Project

Book Project

Transcription Project

‘Ring a Roses’

The Cash Machine

The Raven

Princess & The Pea

Final Outcome

Final Outcome

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Hall of Light 38

A dream is a figment of your imagination or an illusion of what you perceive as reality

Light is Power, light is Graceful, light is Hope, all the photons, electrons and all the particles are governed by this source of power, but a graceful master can control this power: the Director of Photography. This is not a skill one can talk about but simply experience. I cannot tell you what a D.O.P does, but I can tell you to think of them as a doctor of film. If a film is sick they are always ready to cure the problem. The Director of Photography or Cinematographer is a visual artist he/she paints the director’s vision using light framing and color. In the picture above I’ve emulated the warmth you feel when you’re at home, by adding a warm filter. Another thing you’ll notice is this picture looks like something you’d see in your dreams, The ‘Bokeh’ a Japanese word for blur, allows me to guide your eyes to focus on a particular part of the image, in this case the wheat in the centre of the frame.

As well as framing and lighting one must think of colour and their subject. What is the lighting? What is the story? And, what is your message? Do you want to create fear, but at the same time beautify. In this picture we all know the spider is the main focus, but what about its web? What does it tell us about this spider? For example the picture above, you can apply the same questions to the spider. I find beauty alone cannot tell a story, conflict drives a story. It drives our very being, where there is pain there is peace, however where there is peace there is war, Hot and Cold. As a cinematographer you are always going to be in conflict, you want to create a style that’s your own.

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Hall of Light

Light is knowledge, the father of world and the mother of life, but like all that is good, it too has a darker side. I can’t teach you a visual craft but I can tell you how it works in ‘my’ mind and that of many an artist. I hope you have enjoyed this philosophical talk in the insight of a Cinematographer, Director of Photography or the doctor of film. I leave you with this quote.

Photography By: Lweendo Emmanuel Ndawana

Creating this style takes time and practice, but is also reflective of who you are as a person. What drives you? What do you believe and where do you come from? All this will help shape your pictures, because you know yourself better than anyone else.

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To me it’s a philosophical journey into the unknown to discover and question why. Without asking we will never get anywhere, we must keep dreaming, and remember its okay to fail, because you’re not going to get it right the first time. There is a thin line between talent and skill, I for one strongly believe it’s a skill that has grown in time, you can almost say it was born in me.

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An Talla Solais (The Hall Of Light) situated in Ullapool, in the north west coast of Scotland is a fast up and coming hot spot for artists around the world, hosting a wide range of exhibitions of contemporary art. Community-led they are well resourced with local guest tutors from all backgrounds including sculpting, bookmaking, printing and stained glass construction. They also run renowned master classes and courses to enable people to connect with art in a stunningly inspiring landscape. Also offering studio spaces for intensive submersion into artistic process they cater to a wide audience. Their current artist in residence is Alex Stevenson, a UK artist known for his beautiful visual creations. He strives to produce diverse outcomes that are analytical, witty and intriguing.

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Canterbury College, New Dover Rd, Canterbury, Kent CT1 3AJ. Tel. 01227 811286 http://cantcol.wix.com/palettegallery


The Palette Gallery Mag v.01