MA EXPO 2012 VOLUME ONE - Nottingham Trent University

MA EXPO 2012
VOLUME ONE

IF YOU WORK
WITH YOUR HANDS
YOU ARE A LABOURER.
IF YOU WORK
WITH YOUR HANDS
AND YOUR HEAD
YOU ARE A CRAFTSMAN.
BUT IF YOU WORK
WITH YOUR HANDS,
HEAD AND HEART
YOU ARE AN ARTIST.

MA
EXPO 2012
ALL ORIGINALITY
IS REDISCOVERY
We connect. With each other, with our time, with our environment.
That is our essence. We exist in a world of flow, a state of fluxion
in which we must always look back to where we once stood to
help drive us forward. We challenge the ‘now’. We explore the
past, we imagine our future – knowing that one can never truly
exist without the other. That is our passion, that is our purpose.
We are adventurers. Together we seek answers, questions and ideas.
Our heroism is our quest for the bold, our search for the courageous.
We are everything we were, everything we are and everything we
hope to be. This is who we are…

FOREWORD
During the early part of the twentieth century, the then Nottingham Art School devised its
own badge and motto. The badge consisted of a hand, a head and a heart in golden
embroidery, set within a gold escutcheon on a black ground.
The motto stated:
‘Someone who works with their hands is a labourer, someone who works with their hands
and their head is a craftsperson, but someone who works with their hands, head and heart
is an artist.’
This statement echoed much of the arts and crafts movement that had a lasting and profound
influence on the schools of art and design in the United Kingdom.
Whilst new technology has ushered in tremendous change around the practices and theories
of art and design, the same sentiments and principles remain constant. The term artist is
always most appropriately applied to those who are able to synthesize the hands, head and
heart in the development of their art, whatever the area or specialism.
The MA Expo 2012 is a celebration of our creative postgraduate community, of truly
inter-disciplinary collaboration, and a rich diversity of subject and cultural influences.
As an internationally renowned provider of art and design education dating from 1843,
at Nottingham Trent University we are proud to showcase the highly professional and
considered work of our graduating Masters community of artists, designers and thinkers.
Carol A. Jones, Masters Academic Team Leader, School of Art & Design

CONTENTS
P10
FASHION,
KNITWEAR AND
TEXTILE DESIGN
MA Fashion Design
MA Fashion Knitwear Design
MA Textile Design and Innovation
P46
NARRATIVE AND
INTERACTIVE ARTS
MA Design For Film,
Television and Events
MA Film Practice
MA Interaction Design
MA Puppetry and Digital Animation
P88
VISUAL ARTS
MA Creative Collaborations
MA Decorative Arts
MA Fine Art
MA Photography
P124
VISUAL
COMMUNICATION
AND DESIGN
MA Branding and Identity Design
MA Graphic Design
MA Illustration
P180
MA BY REGISTERED
PROJECT OR THESIS
A diverse selection of individual Masters
projects and specialisms undertaken via
our flexible negotiated project route.

10
FASHION, KNITWEAR
AND TEXTILE DESIGN
MA FASHION DESIGN
MA FASHION KNITWEAR DESIGN
MA TEXTILE DESIGN AND INNOVATION

MA Fashion Design
12
JEE HYE
CHUNG
My Masters project involves developing my
design identity by exploring contemporary
fashion design through the radically artistic
method and spirit of avant-garde definitions.
It has been over a century since “avant-garde”
was established as a distinctive fashion style
adopted by designers defying the flow of mass
fashion trends. Avant-garde style is driven
by an innovative and experimental spirit
that constantly pursues social changes and
sensitively responds to historical, social and
cultural circumstances.
Avant-garde fashion can be defined in a
variety of styles but tends to pursue a new
style within a larger circle of pluralistic
eclecticism as it turns to a historical context of
avant-garde instead of entirely breaking away
from its own past. I intend to utilise innovative
production methods to capture this spirit in
my collection through combining traditional
processes and modern technologies.
chungjeehye@gmail.com
Image by: Jee Hye Chung (Jay),
MA Fashion Design, 2012

MA Fashion Design
14
ASATO
GOTO
I am a designer of the world. I am imbued
with knowledge of universal human nature,
experience and expression. Impregnated by
nature and nurture, genes and environment,
heritage and innovation, and cocooned by
billions of little particles of my own skin, I am an
incarnation of the diversity and detail of Planet
Earth: every skin tone and shade imaginable.
Landscape, different types of soil and kinds of
texture – borders liquidated: waters, sands, air,
people amalgamating into one truly beautiful
whole. I am also an individual: idiosyncratic,
and complex, but never classifiable, but defined
by variables, like a controlled experiment. Me is
a core, like the plant’s stem, a guiding principle,
an inherent sense of style, is my statute.
My clothing is a medium for the liberation of one’s
whole self: the pain and the pleasure, finding
perfection in a diversity of faults and beauty
through the completeness of the ephemeral.
“Beauty is truth, truth beauty, – that is all /
Ye know on earth, and all ye need to know”
John Keats
asato@gotoasato.com
www.gotoasato.com
Illustration: Spring and Summer 2013
Collection for Goto Asato
Sponsored by: Sir Paul Smith

MA Fashion Design
16
HU
NA
My project is about transforming traditional
menswear into contemporary womenswear.
Taking men’s second hand suits and shirts as
inspiration, I deconstruct and remodel them
into new pieces.
This is a new concept that encompasses the
principles of upcycling, but recognises the need to
create new fashions that are inspired by tradition.
Masculine fabrics can make women’s garments
very “wearable” and provide an interesting
alternative for professional urban dwellers.
The concept of fusing masculine and feminine
fashion reflects a woman’s role in today’s
society. My collection has been designed to
make women look feminine but powerful.
I have used classical men’s shirting and
suiting fabrics; surface manipulation has also
contributed to the collection which aims to
soften the masculine silhouette.
huna1988@gmail.com
Image: Shirtdress and new pieces of
womenswear remodelled from traditional
men’s shirt and suit.
By: Hu Na, MA Fashion Design, 2012

MA Fashion Design
18
STEPHANIE
LEUNG
The inspiration for this collection comes from
the digital and mechanical world that we live in.
The collection explores sustainable fashion and
will offer different ways to wear garments with
unisex and graphic elements.
The garments explore co-design, allowing
consumers to participate in the design process
by controlling the arrangement and styling of
the garment to individual requirements.
The collection utilises eco-friendly fabrics such
as bamboo, hemp and organic cotton jersey.
The pieces are interchangeable, encompassing
an unconventional aesthetic and concept
intended to attract customers of any age group
with a playful and fashionable mindset.
yleung08@ymail.com
www.ykslfashion.wordpress.com/
Image: Two ways to wear ‘up-side-down’ top
By: Stephanie Leung, MA Fashion Design, 2012

MA Fashion Design
20
DIYA
LI
In contemporary fashion, vintage clothing
and retro styles play a significant role and
have become an increasing part of the market.
A lot of consumers now include vintage items
in their wardrobes or wear garments that have
been inspired by past fashion eras.
The main inspiration for my collection is
Victorian fashion details such as silhouette,
fabric, colour and surface embellishment.
My garment designs combine Victorian details
with contemporary cutting and pleats, ruffles
and other decorative manipulation to create
dramatic, structured pieces.
My collection is aimed at 35-55-year-old
professional women who are elegant and
confident. My garments are designed to
complement their social status by reflecting
the unique, mature beauty of the wearer.
leediya@163.com
Image made by: Diya Li,
MA Fashion Design, 2012. Photo by Rose Lin

MA Fashion Design
22
JINXIN
LI
Sustainable fashion is not new, but creating
it presents huge challenges. My designs are
informed by no-waste pattern cutting and the
use of wasted offcuts or scraps. It is said that
15% of fabric is wasted on the manufacture
of a typical garment, and the leftover is too
small to sew anything from. My work questions
how beautiful but functional garments can be
created using no-waste approaches.
My aim is to develop my own design
methodology to create innovatively draped
and digital printed garments for a growing
consumer group, who want to live a more
sustainable, thoughtful and happy life.
Image by: Jinxin Li, MA Fashion Design, 2012

MA Fashion Design
24
XUE
LI
My work focuses on transforming the traditional
pattern of the Chinese dragon into a
contemporary textile design, which is then
applied to a collection of garments informed
by one-piece cutting. The colour palette
has been inspired by the florid shades of
Art Nouveau and the shapes informed by
ancient Grecian-style dress.
The main fabric is silk which is draped and
manipulated on the form, while diffusing the
strong graphic imagery. The collection is aimed
at the mid high end women’s casual wear
market for customers aged around 25-35 and
who are interested in garments containing
Chinese elements.
SN0349202@hotmail.com
Image by: Xue Li, MA Fasion Design, 2012

MA Fashion Design
26
JI WON
NOH
I believe design often focuses on aesthetic
appearance rather than wearer comfort, so my
collection explores the relationship between
design innovation and comfort through
development of cut, fit and fabrication.
My designs are inspired by the beauty of curves,
spirals and rhythmic lines found in nature,
such as ammonites and shells. I am also inspired
by futuristic architecture and sculpture which
feature wrapped and rounded forms. My designs
present overlapping and twisted shapes which
spiral, cling and fit closely to the body.
The fabric combines qualities of softness
with stretch, through the use of flexible and
elastic fabrics. The garments are functional
and comfortable, providing a close fit but still
allowing freedom of movement.
My target market is high-end special occasion
womenswear for 25-45-year-old professionals.
My dresses allow them to feel stylish and
confident in their own second skin.
fashionjw@hanmail.net
Image 1: Experimenting with an elastic fabric.
By: Ji Won Noh, MA Fashion Design, 2012

MA Fashion Design
28
SEJDA
INAL
Erasmus Exchange student from
Mimar Sian University, Istanbul, Turkey.
My project is inspired by urban life and
its components such as buildings, streets,
pavements and tiles. It is an interesting way
to look at the city and think about blocks and
geometric shapes which are such an integral
and enduring element of urban architecture.
This collection investigates industrial fashion
production methods using several textile
surfaces, fibres and fabrics. The aim is to
create contemporary womenswear which
encompasses experimental and innovative
approaches by integrating manmade
geometrics with organic naturals.
I have been inspired by my short time in
Nottingham; the life of the city and reminders of
the lace industry have influenced my collection.
My garments combine details such as stained
washes, lace prints and burnt effects, creating
a synthesis between colours, materials and
structures inspired by the built environment.
sejdainal@gmail.com
www.sejdainal.blogspot.com
Image: Fashion illustration and printed fabrics
By: Sejda Inal, MA Fashion Design, 2012

MA Fashion Design
30
BING-CHI
WONG
My work investigates interactive elements
and natural beauty in sustainable fashion.
The aim of this project is to increase the
possibility of fashion design by making clothing
that can reflect the wearer’s emotions.
People can personally create and interact
with their garments, and at the same time
make a contribution to sustainable living.
Based on my concept, I have designed a
collection of interactive garments which are
reversible, adjustable and multi-purpose.
The inspiration comes from objects in nature
such as insect wings and plant textures.
Using the technologies of dyeing and screen
printing, I have created organic, delicate
surface pattern designs on cotton fabrics.
The resulting collection of printed, interactive
garments has been designed for women’s
ready-to-wear, spring / summer 2013.
The pieces encourage people to interact with
their clothes and hopefully cherish them more.
oxalis426@hotmail.com
Image by: Bing-Chi Wong,
MA Fashion Design, 2012

MA Fashion Design
32
ZOE
WRIGHT
My MA collection is a reinterpretation of
early 1960s Mod style, using research into
fashion and social movements of the time and
combining these with tailored sharp shapes.
I have designed separates that convey
the essence of past youth movements in a
contemporary way. The collection is aimed at
Mod revivalists aged 18-40 with a lifestyle that
co-exists alongside a passion for vintage 1960s
fashion, music and design. They will be an avid
participator in scooter rallies and Mod nights
up and down the country.
“A real Mod does not choose to be a Mod, they
discover they are a Mod. It is not just a fashion
statement; it is the way you feel and act and
express yourself. Mod is in the soul.”
Amy in I’m One: 21st Century Mods by Horst A
Friedrichs, 2009
Image by: Zoe Wright, MA Fashion Design,
2012

MA Fashion Design
34
XIJIE
ZUO (ZORRO)
My project combines architecture and paper
folding as inspiration for designer womenswear.
My aim is to explore how using an architectural
silhouette can accentuate a woman’s curves.
The pieces are designed by engineering the
garment around the natural shape of the
female form. This is achieved using a combination
of 2D and 3D approaches including origami-style
folding, surface manipulation and geometric
pattern cutting.
My dresses are fabricated using textile qualities
that are suitable for folding and creating
sculptural forms, such as paper composite
Tyvek, bamboo, cotton and silk organdie.
This collection is based on the concept of the
“little black dress” and is designed to be worn
by independent professional women looking
for a statement piece.
zorro2yuki@yahoo.cn
Image by: Xijie Zuo, MA Fashion Design, 2012

MA Fashion Knitwear Design
36
SARAH
BURTON
“Bodywear” is the foundation for this collision
of functional and decorative ideals. Drawing
inspiration from the circus and performing arts,
the humble leotard is transformed into something
of a “showpiece” through the unusual application
of knitted techniques and embellishment,
simultaneously exploring the practical and
decorative requirements of performance-wear.
The end result is avant-garde “costume fashion”
that is decidedly unusual and oddly appealing.
Targeting imaginative individuals, the core
pieces are experimental, sophisticated and
somewhat theatrical. Exploiting characteristics
aimed at enhancing wearer confidence, the
range of highly adaptable garments and
accessories will attract an indefinable audience.
Ornate detailing is combined with modern
shapes and an antique finish to create
timeless, opulent designs. By applying intricate
handcrafted techniques and processes to
garments conventionally seen as fashion
“basics” a playful yet elaborate balance
is achieved. With an emphasis placed on
embellishment and decoration the resulting
aesthetic is baroque, whimsical and timeless.
sarahburton86@hotmail.com
Special thanks to Sir Paul Smith for The Paul
Smith Scholarship Award 2011/12
Images: 1, 3, 4, 6 and 7 by Sarah Burton,
MA Fashion Knitwear, 2012
Image 2: Trapeze artist Erma Ward by HA
Atwell Studio, 1940
Image 5: Vintage photograph, Showgirl
Costume with Panniers by Alfred Cheney
Johnston, 1925

MA Fashion Knitwear Design
38
JONIE
WORTON
Bob and John are two ordinary men with two
extraordinary lives – they helped to make me!
As my Granddads they also share more than
me in common, the love of a good jumper.
The designs for Bob and John’s Knitwear
are inspired by the proud British tradition of
jumper wearing together with the uniforms of
Japanese workmen. Key influences from both
contexts include the knitted construction and
workmanship involved in crafting a piece of
knitwear, vibrancy of colour and details within
Japanese workwear.
Bob and John’s Knitwear takes the predictable
male jumper and explores the boundaries of
colour and function. By changing the sleeves
you are unzipping the possibilities, becoming
your own designer and transforming the look to
your individual tastes.
bobandjohnknitwear@gmail.com
www.bobandjohnknitwear.blogspot.co.uk
Image: unzipped
By: Jonie Worton,
MA Fashion Knitwear Design, 2012
Special thanks to Paul Smith for the Scholarship
Award 2011/12
Yarn sponsorship: Novetex Textiles Limited
Zip sponsorship: Thomas Firth (Leicester) and
Jones and Co (Nottingham Ltd)

MA Textile Design and Innovation
40
KIRSTY
HARTE
“When we describe a process, or make out an
invoice, or photograph a tree, we create models;
without them we would know nothing of reality
and would be animals. Abstract pictures are
fictive models, because they make visible a
reality that we can neither see nor describe,
but whose existence we can postulate.”
Gerhard Richter, 1982
My practice explores the importance of
preserving historical church artwork through
contemporary textile design. By using my
own photographs and drawings of dramatic
ornate interior architecture, I manipulate
the images to create graphic surface prints.
The resulting abstract printed textiles are
a reinterpretation of the often forgotten
treasures that exist within our culture.
The opulence of the artworks is reflected
through the use of traditional and digital
printing processes which emphasise the
fragmented beauty of stained glass, ornate
carvings and mosaics. A new mood is created,
playing with fluidity and rhythm which aims
to retain a sense of the spiritual inherent in
the original work. Imagery is then applied in a
fashion context, highlighting the female form.
kirstyharte@hotmail.co.uk
www.kirstyharte.co.uk
Image by: Kirsty Harte,
MA Textile Design and Innovation, 2012

MA Textile Design and Innovation
42
JENNIFER
VALENTINE
I am inspired by artists including Pieter Bruegel,
George Stubbs and Susan Rothenberg,
whose paintings honour animals.
I live in a county famous for farming and
have been observing and drawing cattle.
The male calves (one Latin translation is
vitellus, the name of my project) that I draw,
live for five days and are then sent for slaughter.
I use cotton and stitch to make limb-like casts
which I then dip into fine china clay and glaze.
This results in a bone-like quality. The work is a
eulogy to the animals.
jennifervalenti@hotmail.com
Image by: Jennifer Valentine,
MA Textile Design and Innovation, 2012

MA Textile Design and Innovation
44
HYUN JUNG
YUN
This project explores the concept of well-being
through the creation of textiles inspired by nature.
My work is focused on transferring nature into
the home by incorporating various textures
from plants using a combination of traditional
and digital materials and processes.
Imagery is created by photographing and
scanning petals and plants, playing digitally
with layering and blurring. Digital printing and
laser cutting are utilised with traditional Korean
paper, hanji, which is made from the paper
mulberry tree, known for its healing properties.
The home plays an important role in our
emotional well-being and yet the interior
space is often disconnected from nature.
My work aims to reinforce the importance
of nature in our everyday lives, using organic
subject matter through 2D and 3D elements
within textile designs that are crafted in layers
of colour and texture. The compositions feature
foliage and fauna in subtle shapes and tone,
designed to enhance the mood and form of
a room.
cocory282@gmail.com
www.hyunjungyun.com
Image: Home Foliage
By: Hyun Jung Yun, MA Textile design and
Innovation, 2012

46
NARRATIVE AND
INTERACTIVE ARTS
MA DESIGN FOR FILM, TELEVISION AND EVENTS
MA FILM PRACTICE
MA INTERACTION DESIGN
MA PUPPETRY AND DIGITAL ANIMATION

MA Design for Film, Television and Events
48
YI-HSUAN
CHEN
For me, seeing a performance, no matter if
it’s a movie or play, is a kind of adventure.
I sit in the auditorium and experience the story
with the performers. In this adventure I am
passive, all I need to do is sit, listen and watch.
If we change the way of experiencing the
performance, what will happen?
My research is centred on letting audiences
have different experiences from the typical
performance. I expect the audience to
move around, not just sit doing nothing.
Therefore I decided to design the sets for
a site specific performance in a park using
a famous Chinese opera.
I hope that through my design, people can
have an adventure in this secret garden.
s951827@gmail.com
Image by: Yi-Hsuan Chen,
MA Design for Film, Television and Events, 2012

MA Design for Film, Television and Events
50
CHRIS
MASON
The theme for my project is nature and how
the natural world can be adapted to create
magical landscapes and imaginative worlds
in film set design.
The project investigates how current
practitioners in the film industry incorporate
nature into their designs and how different
techniques can be used for adaptation, such as
context, colour, shape, structure, environment,
light, ecology, biology etc.
The main bulk of the work is in the form of set
designs and concept visuals based on the book
The Magician’s Nephew by CS Lewis. One of
the core themes running through the design is
“Clockpunk”, which when combined with nature
creates an industrial-organic fusion style.
chris.mason90@googlemail.com
www.chrismason90.blogspot.com
www.behance.net/chris_mason
Image: Fantasy-adapted water lettuce
By: Chris Mason,
MA Design for Film, Television and Events, 2012

MA Design for Film, Television and Events
52
LYDIA
TAI
My current theme investigates the psychological
aspects behind a design when designing for a
contained space; exploring the different design
aspects that contribute to the final “look” of a
space, and / or product.
The audience, seemingly deciding their own
experience when viewing my work, will in fact
be subconsciously deciding based on what I,
as a designer, want them to experience.
I do this by manipulating the design to
subconsciously affect their choices.
My work combines traditional theatrical aspects
and holographic imaging, linking together
traditional techniques with new-age technology.
lydiatai@me.com
http://lydiatai.blogspot.com/?m=1
Image: Time and Space
By: Lydia Tai,
MA Design for Film, Television and Events, 2012

MA Design for Film, Television and Events
54
XIAONAN
ZHU
My research concerns the combining of futuristic
and historical settings. In particular, I’m asking
the question: how can the combination of
futuristic and historical settings and styles be
used in the design of a science fiction film?
Due to my background I’m mixing both
Western and Asian architectural styles to
produce an individual and unique combination.
For the practice element of my MA, I have
chosen to design a dystopian city from the
novel Cloud Atlas. My main influences are old
Asia, steampunk and futuristic styles.
uutczxn@hotmail.com
Image by: Xianan Zhu,
MA Design for Film, Television and Events, 2012

MA Film Practice
56
CHUANXIU
NIU
The use of non-linear narrative and the hero’s
journey are clearly shown in computer games
and Hollywood films.
Audiences like non-linear narrative films with
a heroic story. One example is 12 Monkeys,
which uses a messy narrative in a story about
going back to the past to save the future.
It could be said that the use of non-linear
narrative to show a heroic story has increased
slowly (Zhong and Shu, 2003). New media,
such as the Internet and mobile phones,
have led the way to the creation of more short
films, which have become part of mainstream
culture. (Rea and Irving, 2010).
Therefore, the aim of my research is to find out
how to apply the hero’s journey theory to a
short non-linear film.
Rea, W. P., & Irving, K. D. (2010). Producing and
Directing the Short Film and Video (4th ed.).
Oxford: Focal Press.
Zhong, Y., & Shu, Q. (2003). Video Tutorial.
Changsha: Hunan Normal University Press.
niuchuanxiu476@sina.com
www.eileenniu.blogspot.co.uk/
Image by: Chuanxiu Niu,
MA Film Practice, 2012

MA Film Practice
58
XIAOCHEN
PENG
I am an international student from China
with an interest in filmmaking. I like to watch
unusual films with unusual stories such as Pulp
Fiction and Inception.
The films I’m particularly interested in have a
non-linear structure. A successful film with a
non-linear structure normally has both a good
story and a carefully created timeline. In order
to understand non-linear structure, my research
looked at the methods of constructing a
non-linear film and how to apply them.
After making my own non-linear short film,
I researched the turning point in a film,
and how it combines with a non-linear
structure to create narrative within a story.
Image by: Xiaochen Peng,
MA Film Practice, 2012

MA Film Practice
60
JEM
TALBOT
The Database Cinema project seeks to
transform the cinematic experience.
Simultaneously drawing on long-established
filmmaking traditions and contemporary
interactive practices, I am confronting the
convention of passivity in film presentation.
Using real-time video-processing software
I am able to construct emergent rather than
predetermined narratives on the fly, instructed
by audience interaction.
The audience is asked to navigate their
way through the narrative from a variety
of character perspectives and situations.
Accompanied by a musician arranging a
live improvised score in response to the
visual content, each performance of the
film is discernibly different from the last,
allowing the narrative to live, breath and
evolve over continual performances.
lastleftproductions@gmail.com
www.jemtalbot.co.uk
Image by: Jem Talbot,
MA Film Practice, 2012

MA Film Practice
62
ALEXANDRA
WAIN
I have developed my filmmaking techniques
by creating raw but imaginative music videos.
My MA has focused on new, cutting-edge
ways in which music video is viewed and
shared across the world.
I have developed various interactive concepts
which help connect musicians and the fans,
creating excitement and promoting musicians
across the globe.
In order to do this I have gained more of an
understanding of how human beings interact
with the material world, and discovered how
to create similar connections in the virtual one.
alexandra.wain@live.com
www.vimeo.com/alexandrawain
www.youtube.com/wearethebadger
Image: Still from The Golden Troubadours’
Sunshine Eyes music video By: Alexandra Wain,
MA Film Practice, 2012

MA Film Practice
64
QIANZHI
XUE
I really want to be a narrative film director and
this project, thanks to the research and creative
practice, will help me achieve this. The course
has really improved my ability to tell stories
using fictional characters.
My research is concerned with the skill of
character design. I’m focusing my studies on
Wong Kar-wai and Ang Lee’s films, as well as
other directors. I am studying the methods
they use to design characters in their work.
Based on what I have learned, I’ve shot a short
narrative film and written a brief paper to explore
my ideas about Wong Kar-wai’s characters.
Image by: Qianzhi Xue,
MA Film Practice, 2012

MA Film Practice
66
YUCHEN
YANG
My subject of study is micromovie narratology.
With the development of new technology,
consumption of entertainment has increased.
People are increasingly watching films on
the Internet, mobile phones and other new
media devices. These media are ideal for short,
“micromovies”, which are easy to access and
fast to watch. Micromovies are very popular
now, especially in China.
My research focuses on analysing unique
micromovie narratives in order to create my
own micromovies.
cynthiayangyuchen@126.com
www.cynthiayangyuchen.wordpress.com
Image by: Yuchen Yang,
MA Film Practice, 2012

MA Interaction Design
68
WILLIAM ROBERT
BARTON
My current work is an investigation into the
changing state of Web design due to the influx
of Internet-enabled mobile devices. It explores
the conflict between portability and exquisite
design control.
The focus of my practice builds on responsive
Web design informed by traditional graphic
design theory.
My work combines aspects of HTML5 and CSS3
and uses Javascript for graceful degradation
and cross-browser compatibility.
will@wbarton.co.uk
www.postgrad.wbarton.co.uk
Image by: William Robert Barton,
MA Interaction Design, 2012

MA Interaction Design
70
ILONA
BENI
This project focuses on interactive story books
for children aged five to six years old.
Using the latest Web developments, it explores
the possibilities for online environments to target
children’s emotions and cognition. The story
takes the form of an interactive flip book primarily
intended for touch devices such as tablets.
All characters and page illustrations are original
and self-designed.
anolibb@gmail.com
www.iebeni.co.uk
Image: Example pages from the Shooting Star
interactive flip book
By: Ilona Beni,
MA Interaction Design, 2012

MA Interaction Design
72
KAI-CHU
WU
My MA project ranges from an iPad music app
to an interactive sound installation.
The final work aims to enhance a personalised
experience of a public event through interactive
sound design and smart textiles.
Based on my solid computer science background,
I am enthusiastic about trying various kinds of
latest technologies. I am keen to use my skills,
knowledge and experience as a guitarist to
explore the possibilities between design, sound
and technologies.
In a sense, I would like to title myself as a
new-media artist or interactive sound artist.
pandatea.evil@gmail.com
www.cargocollective.com/kai-design/
Image: Sound Spectrum _.01. A digital art to
visualise my view of sound and music
By: Kai-Chu Wu, MA Interaction Design, 2012

MA Puppetry and Digital Animation
74
ANNA
CAETANO
My research focuses on the emotions,
expressions and body language of 3D
characters through non-verbal animation.
I began by exploring references and inspiration
in the form of literate media, such as Richard
Williams’ The Animator’s Survival Kit, and
Animation Tips and Tricks by Shawn Kelly.
I also looked at the works of other practitioners
via websites like CartoonBrew.
Based on this research, I created a series of
animation experiments with 3D characters
I built myself. My aim was to explore the
technical movements and emotional actions
for a believable performance.
I primarily used the 3D software Autodesk 3Ds
Max and the video-editing software Premier
Pro to produce these short films.
anna-caetano@hotmail.com
www.annalucilia.blogspot.co.uk
Image: Girl and Boy, experimentation
characters
By: Anna Caetano, MA Puppetry and Digital
Animation, 2012

MA Puppetry and Digital Animation
76
ALEX
CARD
I have been exploring the pencil mark in 3D
environments, blending together both hand-drawn
and digital animation, without losing the energetic,
“scribbly” nature of my original drawings.
I have experimented with several different
techniques and worked with a variety of
software while trying to create a handmade
feel to computer animation.
Winner of a D&AD yellow pencil.
alex@ringroadsupermarkets.com
www.ringroadsupermarkets.com
Image: A Face
By: Alex Card, MA Puppetry and Digital
Animation, 2012

MA Puppetry and Digital Animation
78
YANGZIYU
LIU
My project explores what elements influence
3D character performance in order to create
a funny or humorous performance.
The research covered 3D character design,
story design and a character’s performance
in digital animation, using animation software
MAYA2012.
There are two parts to my final work:
an animatic storyboard and the final 3D
animation. The story concerns a girl with a
magic eraser, which represents her ambition,
wishes and curiosity.
danna4055@msn.com
www.amy-flavi.blogspot.co.uk
Image by: Yangziyu Liu,
MA Puppetry and Digital Animation, 2012

MA Puppetry and Digital Animation
80
HANNAH
PURDY
“The only real valuable thing is intuition.”
Albert Einstein
My process has been practice-led and fluid.
I found that I developed as I went along and
incorporated opportunities as they arose,
working on a variety of projects. These included
character designing for The Magician’s Nephew,
a stop-motion with ceramics, comedy graphics,
2D animated films and music videos. I create
work by trusting my own instincts, documenting
my transformation from actor to animator.
I combined my experience as a performer with
my love of art and have looked to streamline
the development of the creative process from
concept through to completion. Central to my
research has been exploring the idea of the
animator / puppeteer as the actor, in relation
to production design and evolution; and the
concept of character. Is the animator the actor
of the 21st Century?
Character design studies have enabled me to
exploit the different, cross-disciplinary ways
in which people create pieces of art. I am
particularly interested in original and fantastic
narratives in modern British culture.
Working alone or collaboratively with a wide
variety of practitioners and using mixed
techniques, both digital and analogue, have
helped me gain a deep understanding of the
production design process as well as a broad
skill set.
Image by: Hannah Purdy,
MA Puppetry and Digital Animation, 2012

MA Puppetry and Digital Animation
82
ELISZA PERESSONI
RIBEIRO
My project investigates the possibilities of
using puppetry and Laban movement analysis
[a system for describing and visualising
human movement] to teach body mechanics
to animators.
Through the creation of a workshop called
Animators in Motion: understanding body,
weight and movement, I explain why bodies
move the way they do and how body parts
are related to each other to enable motion.
The goal is to give to animators a clear
understanding of body motion and,
consequently, facilitate their work.
The workshop has a strong practical approach
and the animators are invited to try out the
principles of movements by using their own
bodies and the puppets.
eliszapr@hotmail.com
www.animatorsinmotion.wordpress.com
Image by: Elisza Peressoni Ribeiro,
MA Puppetry and Digital Animation, 2012

MA Puppetry and Digital Animation
84
IMOGEN
TAFFS
My current practice looks into anthropomorphism
and object emphasis in 3D animation,
in particular, finding the absolute perfect
combination of both elements.
I am particularly focused on performance
techniques and weighting of animated objects,
and how this affects the believability of a
performance. I am particularly influenced by the
works of Pixar and Disney, but I’ve conducted
my own experimentation to reach new
conclusions and formulate my own techniques.
imogen_grace@hotmail.co.uk
www.imogentaffs.co.uk
Image: Wake Up. 3D anthropomorphic lamps
By: Imogen Taffs,
MA Puppetry and Digital Animation, 2012

MA Puppetry and Digital Animation
86
DANIEL
THIELE
During my final year of undergraduate study
at NTU, I researched the affect a character’s
motions have on the way an audience perceive
that character within the narrative.
Both my tutor and I agreed that the research
project was not as solid and as conclusive as
I had initially hoped. Therefore, I chose the MA
to further my understanding within this area
of animation and develop my skills.
The course explores the art of puppetry, and
it was interesting to see new perspectives and
approaches that can be applied to animation.
During the MA I have really developed as a
character animator, with each piece getting
stronger and stronger. I have managed to refine
my technique through constructive feedback
and support from my peers and tutors, creating
a sustainable and effective work flow.
I look forward to I look forward to I look forward to .
dannythiele@hotmail.co.uk
www.dannythiele.blogspot.com
Image by Daniel Thiele,
MA Puppetry and Digital Animation, 2012

88
VISUAL
ARTS
MA CREATIVE COLLABORATIONS
MA DECORATIVE ARTS
MA FINE ART
MA PHOTOGRAPHY

MA Creative Collaborations
90
ALEX
McKENZIE
Since brass, nor stone, nor earth, nor boundless sea,
But sad mortality o’er-sways their power, How with
this rage shall beauty hold a plea, Whose action is
no stronger than a flower?
From William Shakespeare’s Sonnet 65.
My MA – a course entitled An exploration
of poetry as a visual form – had the aim of
exploring the ways artists and poets have used
poetry as a form of visual art.
From this exploration I intend, via my Poetry
Seen project, to use poetic texts to create
pieces of visual art (in various manifest
forms: projections; embroidered and printed
display banners; stencil art, etc.) with the
express intention of engaging individuals and
communities in original and innovative acts
of reading. The aim is to encourage people
who might not necessarily seek out poetry
to engage with that particular art form.
endlesslyalex@yahoo.co.uk
www.poetryseen.jimdo.com
Image: Cowslips, Lambley, Nottinghamshire
By Alex McKenzie,
MA Creative Collaborations, April 2011

MA Decorative Arts
92
LOUISE
HALL
“…designers and artists established an
aesthetic of fragmentation, disruption and
displacement… the look promoted ragged
edges, irregular hemlines, crinkled fabrics and
ill-fitting layers.”
Cher Potter, Future Beauty: 30 Years of
Japanese Fashion
Deconstruction is the theme behind this
range of porcelain lighting and decorative or
functional interior accessories. Inspired by clay
and fabric materiality, this collection questions
interactions within the interior environment,
as well as the different responses and reactions
this evokes within the viewer.
The pieces show the fragility and unpredictability
of porcelain. Subverting traditional methods of
production, by deconstructing the constructed,
has resulted in a range of distorted, manipulated
and beaten forms.
lou.hall@live.co.uk
www.louhalldesigns.blogspot.com
Image: Torn
By: Louise Hall, MA Decorative Arts, 2012

MA Decorative Arts
94
JESSICA
LAMB
My aim is to create handmade, unique
cast-glass pieces inspired by colour, form and
process. Focusing on these elements my work
explores how to modify and manipulate each
piece using different techniques to enhance
the aesthetic properties of kiln-formed glass.
To develop my pieces I use inclusions such
as copper wires, foils and oxides to introduce
colour and fluidity, which also emphasises the
material and exterior qualities. Experimentation
with kiln settings, moulds and polishing effects
have influenced the creative process.
I aspire for my work to be seen as precious – a
keepsake; something that you would not easily
discard and that you would want to hold on to.
jess_l1989@hotmail.co.uk
www.jesslambglass.com
Image by: Jessica Lamb,
MA Decorative Arts, 2012

MA Fine Art
96
LAURENCE
CLIFFE
Working with sound, open source hardware
and software, radio broadcasting and custom
digital processing techniques, my practice
seeks to explore the relationships between
art, society and technology.
Informed and influenced by fields including
cybernetics, artificial intelligence and
science fiction, my work exploits emerging
and near obsolete technologies to create
indeterminate installation and performance
environments. These aim to act as both a
celebration and critique of our information
age and consumer culture.
This is often achieved through the
technology’s inherent and induced failings,
malfunction and repetitive misuse, realising
hidden or traditionally avoided generative
and degenerative site-specific content.
www.lozcliffe.com
Image from: Codec 2011
By: Laurence Cliffe,
MA Fine Art, 2011

MA Fine Art
98
LAUREN
O’GRADY
Borrowing from languages already established
in cinematography, model making, folklore,
history, science fiction, modern sculpture,
architecture, landscape painting and
museology, I fabricate scenarios and artefacts.
They are familiar to the point of unfamiliarity;
imagery compiled and accumulated from
memory. They capture a moment in object
form, future relics of past events, commenting
on the collector and the collected.
I navigate a world of contradictions,
weaving narratives, implying unusual or
phenomenological events. I try to understand
my own aspirations and limitations by looking
at shared experiences, fears and concerns: social,
economic, environmental and political. I create
varying plains and facets of reality and fiction.
laurenogrady@hotmail.com
Image: Location One
By: Lauren O’Grady,
MA Fine Art, 2012

MA Photography
100
ADEEBA
AMIRY
Adjusting and adapting to strange novel
surroundings is a challenging, multi-dimensional
process. The trials to cope and deal with failure
all echo deep within your soul.
This project is an exploration into the inner
battles that occur when trying to adjust,
to cope and most importantly to live,
when everything and everyone around
you is a complete stranger.
My project, Adaptation, employs photography
and moving imagery to reflect my adjustment
to alien and new environments.
adeeba@amiryinternational.com
adeebaamiry.wordpress.com
Image: Adjusting
By: Adeeba Amiry,
MA Photography, 2012

MA Photography
102
LYNN DAKIN
BALL
Archers Wood is a body of work that focuses
on the timelessness of the woodland landscape
where field archery takes place.
To give the viewer access to the woodland
I chose to create moving still images using
video as the medium.
The audience may take time to experience
the space and absorb the atmosphere of the
woodland, to see it change in tiny ways: the
gentle movements of the wind in the leaves,
the subtle shift of shadows on the canopy or
the indigenous creatures passing by oblivious
to our attention.
The timelessness of the space enables us to
transport ourselves; to stand and enjoy the
solitude of a place that is in a time whenever
your mind can envisage it to be: primitive man
hunting for survival, a medieval outlaw poaching
the king’s deer, a Tudor longbowman off to
practise at the butts before going to war, gentry
on horseback hunting the stag for sport or the
21st Century archer at a simulated shoot.
Field archery has changed and shifted in its
style and intent over the centuries, but its
venues still remain the same.
LCB673@hotmail.com
www.elsie-bee.com
Image: Archers Wood I
By: Lynn Dakin Ball,
MA Photography, 2012

MA Photography
104
GREY
CHEN
In the beginning there was light…
Since its beginnings over 170 years ago,
the very nature of photography has been to
capture light. This capturing of light, of freezing
an instant for eternity, is what inspires me to
make photographs.
My project, Making Small Things Tremendous,
considers John Szarkowski’s claim that lasting
images in the history of photography have
dealt with aspects of everyday lives. It explores
the process of closely and quietly observing
light, in the hope of finding something magical
and delicate from my daily surroundings.
… and the light was good.
greychen@aol.com
www.greychen.com
Image: Dust
By: Grey Chen,
MA Photography, 2012

MA Photography
106
TIM
COLLINS
This project is an assertive evaluation of
landscape photography, highlighting the factor
of scale and the part it plays with both the picture
and the viewer.
Using traditional and digital photographic
techniques together with specialised optics,
my work explores conventional landscapes
alongside ordinary fragments in extraordinary
finite detail.
My work challenges the traditional view
that photography is a science or an art,
demonstrating that it can be both.
timcollinsphoto@me.com
Image: Landscape
By: Tim Collins,
MA Photography, 2012

MA Photography
108
SHISI
HUANG (CISSY)
My project is an exploration of the relationship
between photography and therapy. It stems
from a single emotion: depression.
My photography aims to seek personal selfadjustment
and achieve self-awareness through
connecting self-portraiture and “empty shots”,
which illustrate subtle-to-complex emotions.
I use both analogue and digital media
alongside mixed photographic effects, to show
emotional metaphors and personal narratives.
My work employs two opposing poles of
photography: recording the real world and
bringing out my inner one.
278971156@qq.com
shisihuang.wordpress.com
Image: Freefalling
By: Shisi Huang (Cissy),
MA Photography, 2012

MA Photography
110
WEIXI
LIN
Mobile phone photography is a contemporary
and convenient style of photography. With a
vast array of camera software available, I find
it a great way of capturing the small details in
our daily lives.
This project, Inadvertently, stems from my
fascination with travel, colour and detail.
I photograph daily life and concentrate on the
small details that often go unnoticed: light
reflecting off a shiny object, people rushing
for their train, colours merging in the morning
rush hour – all captivating detail that makes
me happy.
Life is wonderful, what’s your colour today?
Lwx516@hotmail.com
www.flickr.com/photos/roselin516/
Image: Travelling
By: Weixi Lin,
MA Photography, 2012

MA Photography
112
YINFEI
SHEN
This project explores my role as “director”
in the construction of the image and the
process of performance.
Using Chinese cinema as an influence,
I have focused on staged encounters and
scenarios to recreate personal experiences
of the already seen or the merely imagined.
This raises questions of obsession, sensuality,
desire and curiosity.
I am inspired by everyday life and my own
experiences, and I translate this by directing the
model in front of the camera. Every photograph
within this body of work expresses an
independent story investigating the connection
between the subject and their surroundings.
I work digitally as this allows me instant feedback
and control, and I also utilise postproduction
techniques to perfect my images.
fiona_syf@hotmail.com
Image: Shaving
By: Yinfei Shen, MA Photography, 2012

MA Photography
114
ZIQIAN
WANG
My work investigates how the photographic
subject is presented, and questions the boundary
between the real world and the subconscious.
Drawing upon theories of representation
informed by semiotics and psychoanalysis,
this project is an exploration into the
composition of reality, combining various
techniques of expression by the photographic
study of performance art.
Some thoughts seemingly exist in dreams and
yet could imperceptibly influence our minds
and behaviour. Sensible decisions that we
trust could originate from unacknowledged
pre-sentiment or perception. The representation
of fragments of life encourages the viewer to
identify through the scenes I produce.
pisciskay@gmail.com
Image: Dream
By: Ziqian Wang,
MA Photography, 2012

MA Photography
116
LI
XIE
My photographic work creates narratives
that emphasise the unique and varied
characteristics of womanhood, engaging the
viewer beyond the simple gaze.
I use the medium of self-portraiture to challenge
the fashion industry’s representation of woman,
going beyond the glitz and glamour that colours
that practice. My images engage with the pain,
frustration and underlying threats that permeate
our contemporary culture.
The pictures are predominately constructed in
a domestic environment, like scenes from a
soap opera, and therefore are also about the
half-seen men that inhabit my characters’ world.
yomika.88@163.com
Image: Young Woman 2012
By: Li Xie, MA Photography, 2012

MA Photography
118
OUKAI
YANG
Epoch is a collection of discarded objects of
functionality and technology found within
charity shops that were once used within a
domestic space.
Using a large format camera to simply record
their exquisite detail, history, and place in time,
and using traditional dark room techniques,
I invite the audience to engage with notions
of memory and to reconstruct narratives that
remain hidden.
nail.yang@hotmail.com
Image: Selena
By: Oukai Yang,
MA Photography, 2012

MA Photography
120
XINYI
YANG (SHARON)
Urbanisation is a new phenomenon in China,
which has spurred my interest in the city.
Each city has its own cultural outlook, yet China
neglects the socio-historical architecture while
focusing on developing cities. Therefore, cities
in China look more or less the same.
My project, British Cityscapes, investigates
traditional aspects of the city, such as urban
historic spots that encompass the behaviour
of people and places.
I am fascinated with British cities because they
are modern and yet at the same time preserve
their culture very well. Each British city is unique
while retaining its cultural identity.
sharon-xyy@hotmail.com
Image by: Xinyi Yang,
MA Photography, 2012

MA Photography
122
YANFEI
ZHU
How do we experience this world?
By looking, listening, smelling, tasting, touching.
The ubiquitous nature of photography has
created a visually saturated world where we have
become detached and imagery is now mundane.
My research investigated the concept of
narrative, exploring the relationship between
audience and photographer. The research
culminates in a body of work that creates
a multi-sensory experience for the viewer,
utilising installation as stimulus for the senses.
faye6063@gmail.com
Image: Spring
By: Yanfei Zhu,
MA Photography, 2012

124
VISUAL
COMMUNICATION
AND DESIGN
MA BRANDING AND IDENTITY DESIGN
MA GRAPHIC DESIGN
MA ILLUSTRATION

MA Branding and Identity Design
126
MOHAMMED
ABBAS
Yumi Ice Cream Parlour is based in Hyson Green,
Nottingham, in the heart of a multicultural
community. The location is growing fast as
a tourist attraction and a place for families.
The project aim is to develop a new brand
identity for Yumi and an innovative packaging
system, which protects the ice cream for eat-in or
take-away customers. The research investigates
the motivating passion of eating ice cream,
enabling the creation of a new market or trend
for artistic, unique ice cream experiences.
My work combines packaging design, visual
and textual messages, and an appropriate
tone of voice, as well as marketing and
advertising strategies.
mr.m.abbas@hotmail.co.uk
Image by: Mohammed Abbas, MA Branding
and Identity Design, 2012

MA Branding and Identity Design
128
OPALUWAH
AKOR
My project looks at the effect of branding
in Africa, using Nigeria as a case study.
The difference in the culture and lifestyle of
Africans makes the concepts of branding work
differently than in the West. Therefore an
investigation into why some brands fail and
what can be done to help them, along with
creating a framework for new brands, is the
focus of my research.
To back up my research I am working on a
brand called Oct 1st, which is the national
holiday for Nigeria. This brand reflects the
joy of Nigerians in their country, hence the
theme Celebrating Nigeria.
omachile@yahoo.com
www.designedbyos.com
Image by: Opaluwah Akor,
MA Branding and Identity Design, 2012

MA Branding and Identity Design
130
AUGUSTO
ARDUINI AND
GIUDITTA
BRUSADELLI
We are working on the creation and design
identity of a coffeehouse chain for Italian
university students. The aim is to connect
students from different universities and cities.
We identified our own personal branding
design process after analysing the context of
the project and the main branding theories.
The research and development focuses on
sensory branding as an effective and innovative
tool in experiential marketing. It includes
the activation of the five senses and all the
emotions, cognitive perceptions, relationships
and interactivity in the relationship between
business and customer.
Furthermore, online and offline services have
been designed to create an experience focused
on connections, inspiration and dynamism.
augusto.arduini@gmail.com
giuditta.brusadelli@gmail.com
Image: Italian coffee
By A Arduini, G Brusadelli, MA Branding and
Identity Design, 2012

MA Branding and Identity Design
132
CECILIA
BEZZONE
The research work I have developed is for a
location-specific project. The central idea is for
a unique style of café in the Italian city of Turin,
closely related to a specific group of citizens.
The connected branding concept is about the
promotion of territorial value through local
products, customs and flavours.
The methodology followed is “think local,
act global”. Through this project, the aim is
to find a way to combine local flavour with
modern facilities from a worldwide landscape.
Sustainability is a constant consideration – the
ability to sustain a product from the economic,
social and environmental perspectives.
The language used is linked to the local
vocabulary; to exalt the dialect as a trait
d’union [link] between modern generations
and the territory itself.
Therefore, the final goal is the creation of a
new business whose core values are territorial
awareness and sustainability.
cecilia.bezzone@gmail.com
Image: Working on the colour palette, sugar
paper
By: Cecilia Bezzone,
MA Branding and Identity Design, 2012

MA Branding and Identity Design
134
GIANLUCA
CRUDELE
My project investigates the role of
communication and design applied to the
institution of a government.
I’m working on a brand identity for the province
of Barletta Andria Trani, a small region of
ten towns in the south of Italy. Branding and
communication are important tools for improving
the quality of services offered to citizens and,
consequently, people’s quality of life.
The project has been developed following a
process of context analysis, brand strategy,
graphic design and touch-points with the
audience. My personal learning outcomes
involve gaining expertise as both a brand
consultant and graphic designer.
info@gianlucacrudele.com
www.gianlucacrudele.com
Image by: Gianluca Crudele,
MA Branding and Identity Design

MA Branding and Identity Design
136
COSTIN
OANE
I have been researching local radio stations for
a rebranding campaign for Magic FM, which
includes logo, website design, brochures, flyers,
posters and guerrilla marketing ads. I have
worked closely with the company to create a fully
functional campaign that they may benefit from.
costin.oane@gmail.com
www.brohouse.ro
Image by: Costin Oane,
MA Branding and Identity Design, 2012

MA Branding and Identity Design
138
HORIA
OANE
My project aims to promote Bran Castle,
claimed to be the home of the vampire,
Count Dracula. The castle is one of the most
spectacular fortifications in Transylvania,
Romania. It’s a mysterious and controversial
place and is marketed as the home of the
titular character in Bram Stoker’s Dracula.
The Dracula legend as he created it, and as it
has been portrayed in films and television shows,
may be a compound of various influences.
Many people have interpreted the cult of
vampires in many ways, some emphasising
the primal and ancient instinct of the ungodly,
while others have used vampires as tools to
introduce generic horror and gore.
oane.horia@gmail.com
www.brohouse.ro
Image by: Horia Oane,
MA Branding and Identity Design, 2012

MA Graphic Design
140
JENNIE
ADAMS
Throughout my MA project I have explored
the reasons for how and why children’s picture
books have changed, in terms of both story and
illustration styles.
I have focused particularly on fairytales, reflecting
on my research to create an original story that
meets the demands of today’s audience.
My drawing style is quite traditional; therefore
I have experimented with mixed media
illustration to give my style a different edge
that may be received more favourably.
jennieadams45@hotmail.com
www.jennieadams.tumblr.com
Image: Mixed media fairytale forest scene
By: Jennie Adams,
MA Graphic Design, 2012

MA Graphic Design
142
JIE
CHEN
My current theme is the branding of a Victorian
afternoon tearoom in China. Tea was discovered
in China and has an important role in the
country’s culture (Ling, 2010). Chinese people
always drink green tea and the Chinese culture
of tea drinking has always been very different
to British culture.
The British afternoon tearoom has a traditional
atmosphere, with gentle background music
and an abundant selection of cakes. It is very
attractive to me because it is different from the
Chinese teashop. I would like Chinese people to
enjoy the British afternoon tea culture without
needing to go to the UK.
My project needs to use traditional methods
of expression, so I am researching the
typography, packaging and advertising style of
the Victorian era. In order to finish this project
properly, I am also researching Victorianstyle
tearooms in Britain now, such as Betty’s
tearoom in York, and the Wisely tearoom in
London. My work combines traditional visual
art with modern technology using a modern
way to exhibit traditional style.
Image by: Jie Chen,
MA Graphic Design, 2012

MA Graphic Design
144
IOANNIS
ERMEIDIS
My project is an investigation of Mediterranean
organic food brands, the creation of a new
brand and the realisation of a variety of
designs and packaging proposals.
The aim is to provide audiences in various
non-Mediterranean countries with an
understanding of the values and benefits
of this product category.
My process focuses on how to combine a
brand logo and layout that are appealing
to the consumer’s eye, but also differentiate
themselves from existing similar products.
Communicating the historical values,
as well as the fine ecological quality of
Mediterranean products through an
elegant design proposal, is my final goal.
My work incorporates ideas and patterns
based on Fair Trade and export products,
with preference to matching textures,
typefaces and designs, referring to more
modern and simple aesthetics.
johnermidis@hotmail.com
johnermidis@yahoo.com
Image by: Ioannis Ermeidis,
MA Graphic Design, 2012

MA Graphic Design
146
ZHIXIANG
HE (ALLEN)
My project is to create the brand and identity
for a no-alcohol dance club. The club would
mainly sell vegetable and fruit juice. In the juice
club, people can enjoy different events, music,
freshly made juice and meeting friends without
drinking alcohol.
The brand’s audience is mainly teenagers and
young people. Therefore, it needs to be the
best “cool” place where they can meet friends
and party.
One of the challenges is to design an identity,
and also to investigate teenagers’ hobbies,
slang and lifestyle.
This juice club project is a combination of music,
dance, games and juice. The brand idea is to use
special characteristics to communicate with the
audience, and also to encourage young people
to adapt to a no-alcohol, healthy lifestyle.
zhixiang_he@yahoo.cn
Image: Dash Club logo idea
By: Allen He,
MA Graphic Design, 2012

MA Graphic Design
148
ILSE
CHRISTIANSEN
My topic is an investigation of the visual
dimension of finance, exploring this field
with graphic design and data visualisation.
The audience is informed about the definition of
finance and why we could have a financial crisis.
My work combines stop-motion animations
with posters and other material, linking together
traditional technique with modern technology.
christiansen.if@gmail.com
www.cargocollective.com/imosta
Image by: Ilse Christiansen,
MA Graphic Design, 2012

MA Graphic Design
150
GEORGE
KARSA
My project explores the power of advertising.
The fact that Nottingham Trent University’s
sports team has recently moved up into the
BUCS [British Universities & Colleges Sport]
top 20 rankings, has provided inspiration to
re-brand the department to celebrate its success.
University sport is a unification of people
from different standards and disciplines,
all with the same passion and love for sport.
With better coverage of sport, and the inclusion
of participants at all levels, awareness can be
raised for the future.
My work proposes that the University
takes advantage of the success of the past,
with the desire of the present, to encourage
participation in the future. This will include a
better brand identity and advertising campaign
using modern techniques and technologies.
george_karsa@hotmail.co.uk
Image: Nottingham Trent Men’s Football
3rd Team, BUCS Conference Trophy Winners.
Together, Against All Odds
By: George Karsa, MA Graphic Design, 2012

MA Graphic Design
152
CONSTANTINOS
KOKKINOPOULOS
My task is to find ways to promote the
typefaces of the Parachute typographic agency
in more interesting and innovative ways.
To make the promotion more interesting I am
designing material which the audience can
interact with, either physically or in a thoughtprovoking
way.
Interaction is one of the basic functions in
the whole project; in this way it makes it
more personal, challenging, significant and
playful. Practical outcomes will include posters,
postcards, interactive direct mail and T-shirts.
These items will be linked by always showing
the typefaces in a positive way. Because
ultimately buying the font is the main goal,
attractive typographic treatment and a strong
concept are equally important.
mplinki2004@hotmail.com
Image: Typographic posters
By: Constantinos Kokkinopoulos,
MA Graphic Design, 2012

MA Graphic Design
154
XI
PENG
My project is about the use of illustrations
and visual language to help people to release
themselves from stress.
The audience is people who get stressed from
their normal daily lives, or who are experiencing
bad times.
My work will be a series of small books that are
easy to carry. There will be several characters,
which will show that when life goes wrong,
happiness can return in many ways.
pengcassie@gmail.com
www.cassiepeng.blogspot.com
Image by: Xi Peng, MA Graphic Design, 2012

MA Graphic Design
156
YIFEI
SHAO
My project is designing typefaces for the
Chinese traffic system, which includes Chinese
characters and English letters.
The target audience is Chinese communities
and the government. My design can be really
useful and make a contribution to society; in
addition people will be benefit from it.
Legibility is the key point of my design, and it
is also what I want to achieve. My typefaces
are designed in a strict way, which is based
on a geometric framework and combines
mathematical knowledge.
402706671@qq.com
Image by: Yifei Shao, MA Graphic Design, 2012

MA Graphic Design
158
PENG
SUN
This project is to build a brand for the
bookstore of the future. My concept is based
on the Information Revolution. It is a digital
reading for books. My work will explore the
future visual style of a bookstore and design
the branding. The results will demonstrate and
explore the process and methodology to create
a successful brand in the digital era.
sunpeng86@yeah.net
Image by: Peng Sun, MA Graphic Design, 2012

MA Graphic Design
160
RUI
TAO
I would like to develop graphic formats
to explain musical language from a new
perspective. Specifically, as shapes and formats
can correctly express the abstract language of
music, I shall try to import this musical visionary
concept on the graphic design, with a series of
musical scores and CDs.
This project will emphasise how an organic
combination of art, design and material will
factor in the product packing design. Some of
my CDs will be used for the album of the China
Beijing Baidi Accordion Orchestra. The use of
special material CDs and pictures will discuss
how to perform different styles of music.
bunengfangqi@hotmail.com
Image by: Rui Tao, MA Graphic Design, 2012

MA Illustration
162
JENNA LEE
ALLDREAD
I’m currently looking at a narrative exploration
of the fairytale and the ongoing relevance of its
moral guidance in the modern world.
I hope to produce a contemporary, heavily
illustrated story book and accompanying
animation that will be relevant today. I chose
this because I’m interested in psychology,
philosophy and metaphors within illustrations,
as well as the importance of the moral teachings
of fairytales in today’s society. I’m also inspired
by narratives and the written word.
jennaleealldread@gmail.com
www.jennaleealldread.com
Image by: Jenna Lee Alldread,
MA Illustration, 2012

MA Illustration
164
JEANNE
BORNET
My project is to create a collection of short comic
books which portray several stories from different
witnesses of the war in Algeria (1954-1962).
Commemorating the 50th anniversary of the
end of this war, my purpose is to translate the
testimonials of parents or grandparents who
lived through it in an interesting, pedagogical
and lighter way for teenagers.
jeanne.bornet@gmail.com
www.behance.net/jeannebornet/frame
Image by: Jeanne Bornet, MA Illustration, 2012

MA Illustration
166
HSIN-JUNG
LEE
The main objective of my project is to
communicate the culture and history of a
city: Kyoto. It is an ancient city in Japan and
the government keeps its historic architecture
very well. Besides architecture, Kyoto has also
preserved traditional culture, such as dress,
food and symbols.
However, during different periods, the city
has seen some aspects of culture disappear
and new ones take their place. Every change
stands for the growth of Kyoto in different eras.
Consequently, I will apply the characteristics of
every generation into depicting the change and
growth of Kyoto.
The final product is expected to be a pop-up
book, which will celebrate Kyoto’s culture and
history. Due to its characteristics, a pop-up
book is an interesting and appropriate way
to appeal to audiences’ imaginations and
communicate my concepts and ideas.
flowerbow@gmail.com
www.boowlee.blogspot.co.uk
Image: Kyoto, with pop-up
By: Hsin-Jung Lee, MA Illustration, 2012

MA Illustration
168
YUHAN
LIN
Children love to play games around the table
with the rest of the family. My project –
an interactive book – combines this kind
of pastime along with storytelling, illustration
and new ideas about interactivity.
The project encourages children to be more
active in reading books. They can also have
more interaction with other children or their
families while they play the games.
The interactive book will be more attractive
to families and children, so they can all play
together and make reading more enjoyable.
linyuhan19521030@gmail.com
Image by: Yuhan Lin, MA Illustration, 2012

MA Illustration
170
SIYU
MENG
My project is an illustrated children’s story
book about a panda and his experience of the
Chinese traditional calendar of 24 solar terms.
The ancient Chinese farmers used this calendar
to count the days and understand seasonal
changes. Today, many Chinese people treasure
this old tradition.
The interactive book follows the panda’s
journey and educates children about nature
and Chinese culture.
During the project I explored ways to combine
Chinese papercut patterns and lace patterns
with drawings, creating imagery that looks
beautiful and special.
mengsiyu114@gmail.com
www.sherrymengsiyu.blogspot.co.uk
Image by: Siyu Meng, MA Illustration, 2012

MA Illustration
172
ANNA
MILTIADOU
My project is about Greece under crisis.
Through a campaign I want to promote the
situation in Greece to other Europeans who are
surely losing faith about rescuing the country
from the economic crisis.
For communicating my message I used the
12 Olympian Gods in stop-motion video and
a protest kit, consisting of posters, stickers,
postcards and T-shirts.
anna_miltiadou@hotmail.com
Image by: Anna Miltiadou,
MA Illustration, 2012

MA Illustration
174
APRIL ELIZABETH
VARNS
My project is to reacquaint children with early
19th Century toys through poetry, illustration
and paper engineering, all brought together as
a children’s book.
My aim is to find out why ten carefully selected,
once much-loved toys have not been handed
down through generations. These toys have
been locked away in museums but still have so
much potential and so much joy to bring
to children today.
april_illustrations@hotmail.co.uk
www.aprilillustrations.blogspot.com
Image by: April Elizabeth Varns,
MA Illustration, 2012

MA Illustration
176
CHEN
ZHANG
My project involves creating a gift book
about love and traditional Chinese wedding
culture. Weddings play an important role in
Chinese culture.
The gift book will share some special aspects
of this culture and some good feelings and
thoughts in a sweet relationship with illustration.
I hope the audience will enjoy the book,
and will have an interest in traditional
Chinese weddings.
My illustrations combine paper craft art
with photographic technology, presenting
a traditional Chinese painting style in a
sophisticated visual way.
ivy_419@sina.com
Image: You bring joy to my life
By: Chen Zhang, MA Illustration, 2012

MA Illustration
178
MINGZHE
ZHANG
My project is to create an illustrated story book
of the Chinese fantasy novel Flowers in the
Mirror, written by Li Ruzhen in 1827 during the
Qing dynasty. I want to investigate new styles
of interpreting the book.
I have selected a few well-known chapters from
the original 100, blending Chinese painting
style with ideas about comics and pop-up
books. This creates links between traditional
techniques and modern technologies.
lovezmz@msn.com
Image by: Mingzhe Zhang,
MA Illustration, 2012

180
MA BY REGISTERED
PROJECT OR THESIS
A DIVERSE SELECTION OF INDIVIDUAL PROJECTS
AND SPECIALISMS UNDERTAKEN VIA OUR
FLEXIBLE NEGOTIATED PROJECT ROUTE.

MA Photography by Registered Project or Thesis
182
LAURA
ALLEN
“Nature she changeth all, compelleth all to
transformation.”
‘Origins of vegetable and animal life’ in
On the Nature of Things, Titus Lucretius Carus
For this MA project I have undertaken a
photographic study of plants in various forms,
exploring their lifecycles from flower to seed.
For some time as a keen gardener I have
observed seeds and plants with fascination, often
noticing easily overlooked intricate details. I
decided to extend my curiosity for these objects
and it seemed natural to me to examine them
through photography.
I chose to photograph in a studio space with
a traditional film plate camera. This process
results in a methodical image capture that
is conducive to reflective thinking, in which
looking slows down and allows meditation on
nature and its forms and function. As a result
there is time to seek out connections and
explore microscopic worlds.
The resulting photographs allow us to engage
in questioning, exploring and sharing an
intimate hidden world made available by
mechanical means.
smartwallart@yahoo.co.uk
www.lauraallenphotography.co.uk
Image by: Laura Allen,
MA Photography RPT Part-Time, 2012

MA Fine Art by Registered Project or Thesis
184
BRENDA
BAXTER
“I recover my calm by living the metaphors of the
ocean. We all know the big city is a clamorous
sea… one hears the ceaseless murmur of flood
and tide. So I make a sincere image out of these
hackneyed ones, an image that is as much my
own as though I myself invented it...”
Gaston Bachelard, The Poetics of Space (1958)
The project Island of Buildings is a response
to a cluster of buildings - some empty and
dilapidated, some inhabited - that are situated
on an island in a city centre.
The boundaries and geographical contours
of this island, together with the transitory
nature of its population, are experienced as an
imaginary island. The practice of photography,
drawing and writing provides the means to
document and investigate the differences
between the two islands, and to establish
a metaphorical relationship between two
worlds that are both real and imaginary,
using projections and installations.
brenda.baxter@ntlworld.com
www.brendabaxter.co.uk
Image: Island of Buildings
By Brenda Baxter,
MA Fine Art RPT Part-Time, 2012

MA Photography by Registered Project or Thesis
186
JOHNNY
BURRELL
This project explores the links between
masculinity, uniforms and role models.
The primary dream of many young boys is to
become a ‘man’ who wears a uniform, whether
it is civil, military or sporting. The question is
where does this desire originate? This ambition
does not end with boyhood; many of the
dreams and aspirations in our adult lives
manifest themselves from subconscious origins.
Contemporary society is infatuated with identity,
and personal and social identity have become
big business and an aggressive media tool.
Throughout this project I have researched,
through photography, the psychology of
identity and the definition and significance
of man and masculinity.
These images aim to provide the viewer with an
insight into the dreams of boys, their perceptions
of man and uniform, the role models themselves
and the adult reality that is left.
johnny@johnnyburrell.co.uk
www.johnnyburrell.co.uk
Image: Policeman
By: Johnny Burrell,
MA Photography RPT Part-Time, 2012

MA Fashion and Textiles by Registered Project or Thesis
188
CHARLY
CALPIN
The boundaries between fashion and art are
constantly being blurred; I started my journey
by exploring this.
Music and synaesthesia, the experience of sight
and sound becoming combined, inspired the
shapes in the garments and prints. My work is
about making connections between fashion,
music and art to produce something relatable.
I aim to show fashion through art installation
to create an emotive experience for the viewer,
while also making saleable limited edition
ready-to-wear garments. My garments are
made for the woman that craves the unique.
My clothing represents a clean contemporary
silhouette with an alternative edge.
info@handclothing.co.uk
www.handclothing.co.uk
Image: Pink dress
By: © Rob Gissing, 2012

MA Fashion and Textiles by Registered Project or Thesis
190
LUCY
DAVISON
Born out of an obsession of having too
much stuff and far too many things,
I am investigating the process of creating
beautifully crafted fabrics and products that
have longevity and a sense of sentiment.
The lace archive at NTU has been invaluable
in developing my visual research. Patterns have
been created using lace imagery as inspiration.
Craft and technology feature largely in my work
and the patterns are applied to leather, polyester
canvas, silk and velvet using digital printing.
Fabrics are manipulated using laser cutting
technology to cut and etch away surfaces,
creating an unexpected lace-like quality.
In contrast to working as a textile designer,
I work tacitly with felt and different fibres to
create a layered, textured cloth. I enjoy the
juxtaposition of different processes that result
in opposing outcomes; the felt process being
totally original and handmade and the
print inspired by the handmade approaches.
The intended applications for the fabrics are
for interior environments and used as lighting,
wallpaper or upholstery fabrics with the objective
being to readopt the ideology of heirlooms.
“Have nothing in your house that you do not
know to be useful, or believe to be beautiful”
William Morris
lucy_davison@hotmail.co.uk
http://lucydstuffandthings.blogspot.co.uk
Image left: Wallpaper by Lucy Davison
Photography: Tom Martin.
Styling: Samantha Barker. Model: Rose Davison
Image right: Light Details by Lucy Davison

MA Graphic Design by Registered Project or Thesis
192
JONATHAN
HAMILTON
While motion graphics is a relatively new
subject, I’m interested in how its influences
appear to be rooted far earlier in time.
Many of the methods used during the birth
of photography and cinema in the 1870s and
1890s appear to be directly linked to modern
motion graphics methods.
These represent key moments in motion graphics
history not only with the links between innovative
invention and practice, but also with the
development of the subject’s visual language.
This early turn-of-the-century work has a direct
relationship to contemporary motion graphics
and in some ways has something to teach us
about modern innovation. We think we are
really modern but are we?
Some of these key moments in innovation and
visual language have been explored through a
series of animation tests. These tests form part
of the sequence Olympic Heroes Animation,
a visually experimental, rich sequence with
each hero created using animation methods
from the period within a contemporary context.
jonhamilton@me.com
www.vimeo.com/user7516430/videos
Image: Olympic Heroes
By: Jonathan Hamilton,
MA Graphic Design RPT Part-Time, 2012

MA Designed Environment by Registered Project or Thesis
194
HAN A
LEE
My studies have predominantly focused on the
growing need for more flexible living spaces.
Generally in the past housing was designed and
built depending on users’ current styles, needs
and economic conditions. As time progressed
existing houses had to be sub-divided and altered
due to underlying socio-economic conditions,
which in many cases make the spaces less
efficient and comfortable.
My proposal is to develop a model for new-build
modular housing, which allows the user to
manipulate their living spaces to accommodate
their changing lifestyle.
For example, a young couple with a small
income require very little space. In time,
however, they can expand as they start a
family, increasing the space with each child.
When after many years their children leave,
they are able to easily reduce space without
having to leave their family home.
togodwa@naver.com
Image: Design of home
By: Han A Lee,
MA Designed Environment RPT Full Time, 2012

MA Fashion and Textiles by Registered Project or Thesis
196
NICKI
MERRALL
Starting with a love of nature, a scientific
background and knowledge of traditional
garment construction developed through hand
knit practice, I focused on two natural patterns.
I transferred ideas to machine knit and
established the possibilities and parameters of
my designs through a methodical approach
that would be inefficient to replicate by hand.
In doing so I have developed a craft-based
methodology for working on fully computerised
flat-bed knitting machines, manipulating
knit-CAD software to create three-dimensional
structures not originally intended to be
produced on these machines.
Having made prototypes using a traditional
yarn, I have worked within the constraints of a
technical yarn and exploited the properties of
the fabric to create three-dimensional structures
that have a potential use in light installations.
“Whatever the medium, craft practice is at the
core of the making process. It is a combination
of hand, mind and eye – the technical mastery
of tools, materials, aesthetic sensibility and
design skills.”
Max Fraser, Lab-Craft Curator, 2010
nickimerrall@btinternet.com
Image: Knitted Flower
By Nicki Merrall,
MA Fashion and Textiles RPT Part-Time, 2012

MA Fashion and Textiles by Registered Project or Thesis
198
FIONA
MILLS
My work is focused on zero-waste pattern
cutting. Using creative pattern cutting as a
design tool, I aim to establish if control of
a design is possible through the zero-waste
pattern cutting process.
I am exploring my design handwriting within
this technique, and creating garments of
different silhouettes to those currently in
the upper end of the womenswear market.
While developing the designs of these
garments and retaining the silhouettes,
I aim to show the diversity of the technique
through the different design approaches.
fionabamills@yahoo.co.uk
Image: No-waste jacket toile
By: Fiona Mills,
MA Fashion and Textiles RPT Part-Time, 2012

MA Fine Art by Registered Project or Thesis
200
CRAIG
PEDLEY
Craig is a man who works at my work. He also
plays handball. He’s an artist and that, and he
is undertaking an MA in some sort of art.
He did a piece of work about archipelagos using
data from a database called Banner. It was
various shapes and colours at certain intervals in
front of a white background. It must have been
good because they used it for a cover on an
exhibition. He also carries books around to draw
in like an artist would.
He once drew a picture of me and him on
the computer. He also got upset once when
I instructed him to “do some art”.
Image: Untitled (after Niobe – Red Dot)
By: Craig Pedley,
MA Fine Art RPT Part-Time, 2012

MA Fine Art by Registered Project or Thesis
202
CARL
ROBINSON
My current practice explores the creation of
photographic images that have subliminal
connotations of sexuality and power.
The images attempt to subvert expectations
through playing on photography’s seeming
indexicality as a denoter of “truth”, where
a confident reading of what is presented is
possibly undermined.
The work draws on elements of a visual
language taken from classical western
European painting, particularly in its heightened
seductively appealing look. There is an attempt
to disrupt the solidity of this aesthetic through
engaging visual complexities that may lead to
multiple and unstable connotations.
It is intended that such instabilities are part of
a larger heterogeneous whole that presents
multiple forms of sexual identification and
desire. It is the balancing of this aesthetic,
describing what is a clearly readable image
on one level coupled with potential layers of
significance, that aims to bring tension and
dynamism to the work.
c.robinson@derby.ac.uk
Image: Dexter and James
By Carl Robinson,
MA Fine Art RPT Part-Time, 2012

MA Fashion and Textiles by Registered Project or Thesis
204
NAOMI
SCARLETT
This thesis-based research project investigates
advances in performance sportswear
and textiles with emphasis on protection,
particularly in the snow sports sector.
The project also investigates the influence
that this niche market has had on fashion
and vice versa; an aspect of the research
already disseminated as a published academic
paper: Fashion Beyond Borders from the
Iffti Education Conference in Jaipur, India in
March 2012. ‘.’
The investigation considers how sportswear
giants Nike, Adidas and Puma and fabric
manufacturers Everest Textiles (Taiwan) are
leading sustainable production, and how
these companies are overcoming the many
ethical issues encountered by manufacturing
advanced sportswear products in Asia and
South America.
The core element of the study is an
exploration of the need for protection to
be integrated within snowsports apparel,
which has been informed through
collaboration with Roxy / Quiksilver and
UK Armourwear manufacturers Forcefield.
scarlett.63@hotmail.com
Sponsorship and image by: Forcefield
Armourwear (Davies Odell Ltd)
Thanks to: Roxy / Quiksilver and Everest Textiles
for their support with this project.

MA Photography by Registered Project or Thesis
206
HILARY
SHEDEL
“Critically ill persons need talk that recognises
all that they are experiencing. They need to talk
not only for themselves, but also for those who
are not yet ill.”
AW Frank, At The Will of The Body,1991
The aim of this project is to step back from
my career as a professional photographer and
use autobiographical material to inform and
widen my practice without the constraints of a
commercial brief, exploring issues of personal
history and trauma.
Until now I was unaware that recording
myself was a thread running through my life.
I have consistently made self-portraits at
times of trauma, so in an unconscious way I
have been using the camera as a therapeutic
tool. However, having produced hundreds of
conventional photographs I have now moved
from this familiar way of expressing myself,
to creating self-portraits in different forms.
Like an archeologist, I have been unearthing
artifacts from my history: these artifacts reveal
a more complete picture to the audience.
This project has helped me to make the
transition from feeling like an anonymous,
powerless patient in an institutionalised
atmosphere, to once again having a voice
and being able to reclaim my identity.
hilaryshedel@me.com
www.hilaryshedel.com
Image: These are my things
By: Hilary Shedel,
MA Photography RPT Part-Time, 2012

MA Photography by Registered Project or Thesis
208
CRISTINA
SIMCEA
My project is a personal, subjective account of
the cyclic transformation of cities. I refer to that
as “cadence of decadence”.
The words are attributed multiple connotations
in relation to my work. The repetition of
sounds helps give the phrase a rhythmic
quality which is associated with the changes
within urban environments.
“Cadence” suggests a pattern in these
transformations, a repetitive, continuous
character to them. “Decadence” takes the
meaning of decay in relation to buildings and,
on a broader spectrum, makes reference to the
culture-ideology of today’s consumerism and
how it affects cities’ architectures.
“Cadence of decadence” or “rhythm of
decay” refers to the sociological, economic,
political and cultural aspects that shape
urban environments. In terms of my
methodology, I am acting as a flâneuse,
walking the city to experience it.
My encounters are then presented as
personal accounts of different interpretations
on place. Looking at cities as palimpsests –
of buildings, people, space and time – I aim
to explore the interactions between these
layers of the urban environments.
cristina_simcea@hotmail.com
www.darkturnip.com
Image: Yellow Harvest of the Copper Orchard
By: Cristina Simcea,
MA Photography RPT Part-Time, 2011

MA Fine Art by Registered Project or Thesis
210
JANET
WOOTTON
Art in Walls explores the potential to create
fine art from recycled and organic materials for
integration during the construction and refit
of sustainable buildings. This multidisciplinary
project crosses the boundaries of product
design, architecture, decorative arts and fine art,
both in terms of materials and artistic disciplines.
Connectivity is a key theme as the finished art
links walls and other structures. Inspiration
comes from substructures, such as cabling,
pipes and other networks. A career in the
communications business is reflected in my
response to make art with a message, be it
about sustainability or corporate branding but
without compromise to its aesthetics.
A highlight of the MA has been a collaborative
project with students and staff at the Bluecoat
Academy, which is undergoing a major
refurbishment. A 1.8-metre art installation,
capturing the creative, multicultural and spiritual
elements of the school, will be embedded in the
walls of its new reception area.
“I see beauty and that is all.”
Alberto Burri,
pioneer of the Arte Povera movement
janet.wootton@ntlworld.com
www.janetwootton.com
Image: Connections
By: Janet Wootton,
MA Fine Art RPT Part-Time, 2012.

We gratefully acknowledge the help and support of the many individuals, organisations and institutions
who have collaborated with students and staff across the postgraduate subject areas in the School of
Art & Design and the School of Architecture, Design and the Built Environment during the course of the
past year, and in preparation for the MA Expo 2012.
Further contact details relating to featured students and their work are available on request.
Please email: art.pg-queries@ntu.ac.uk
Catalogue Design: Together Agency (www.togetheragency.co.uk)
Print: Hickling and Squires (www.hickling-squires.co.uk)
Thinking about postgraduate study in a creative subject area, changing career, developing an idea or
just interested in finding out more about what we do?
We offer an inspirational range of one-year postgraduate courses designed to tailor individual interest
and development. Many subjects can also be studied on a flexible part-time, two-year basis.
For all further information, or simply an informal discussion with one of our subject experts for advice
and guidance on individual creative aspirations :
School of Art & Design
Bonington building
Dryden Street
Nottingham
NG1 4GG
United Kingdom
Tel: +44 (0)115 848 8433
Email: art.pg-queries@ntu.ac.uk
www.ntu.ac.uk/art-pgcourses
This publication can be made available in alternative formats.
© Nottingham Trent University and may not be reproduced or transmitted in any form in whole or in part without the prior
written consent of Nottingham Trent University.
7312a/07/12

MA
EXPO 2012
VOLUME ONE
Fashion, Knitwear and Textile Design
Narrative and Interactive Arts
Visual Arts
Visual Communication and Design
MA by Registered Project or Thesis
www.ntu.ac.uk/maexpo