Creative Innovation and Entrepreneurship

                                            Artelier Presents ArtBar...

Creating the Group

For the first session, we were divided into small groups of six or seven. In each group there is someone from each artistic specialism including photography, graphic design, fashion, illustration, interiors, and fine art. I am really happy with my group as individually we have a lot of creative talent and ideas that began flowing instantly. On top of this, we also get along really well as a team and each provide significant contribution.

My group includes:
Caitlyn Matthews - contemporary art
Christine Gale - graphic design
Cathie McCartan - fashion design
Damien Witkos - graphic design
Shinto Vincent - 3D/architecture
Aqeel Zadi - graphic design
Zaki Tanveer - 3D/graphics
Olivia Strettle - photography

Microsoft Team’s Meeting

We decided to meet as a group via Microsoft Teams prior to the next session. It was a way of us getting to know more about each other and what we can each bring to the group in terms of our specialisms and creative knowledge. Ahead of the session we set up a Team’s chat, email thread and a WhatsApp group chat for us to communicate easily when we may not always be face to face. At any time, we can share ideas, concerns, or questions that we may have for each other. 

Before the Team’s meeting, we agreed to each create a couple of PowerPoint slides that encapsulated our current work/recent projects, any ideas for a start-up - images/theory or business model, and lastly, to get the ball rolling and ideas flowing, we each explained in an ideal world what we would like to do if we were to each start a business or a specific area we’re interested in.

My slides:

Fig 1. Slide 1 showing previous work (Olivia Strettle, 2023)

I chose images from my recent project during my BA degree as I find that this work was the turning point for my photography interests. I love photographing human subjects on location and within a space they feel comfortable. I think these images show my skills towards controlling natural light and portraying emotions through digital imagery. 

Fig 2. Slide 2 showing photobook production (Olivia Strettle, 2023)

As I also have a huge interest in the curation of the physical photobook, I wanted to share the book I created for the project images above. I have a lot of knowledge and experience with photobook/zine making which I believe is a strong point within my creative knowledge. It would be a good skill to have within a group of multi-disciplinary creatives. 

Fig 3. Slide 3 showing studio work (Olivia Strettle, 2023)

As well as the frequent documentary style that I produce, I have also produced work in a studio setting. I really enjoy the process of product photography whether that is curating the display, styling the product or controlling the lighting. It is always beneficial to have a multitude of skill sets not only for collaborative briefs but something that is usually favoured when working within industry. 

Fig 4. Slide 4 showing current work (Olivia Strettle, 2023)

Fig 5. Slide 5 showing concept ideas (Olivia Strettle, 2023)

In the slides I wanted to include my individual skills in photography as well as what I can bring to the group. I included some current work that is mainly documentary style, looking at the home and family relationships, as well as some images of product photography to portray some diversity within my practice. 

In terms of concepts, I created a slide that included some simple brainstorming ideas that were my initial ideas as I think they could each work for all of our varied specialisms. My favourite idea which also seemed to be most popular throughout the group was a physical, immersive location that is a creative space for practitioners to showcase their work. This could be in the style of a gallery but also have a cafe area and a place for quiet working in a creative environment. This way, we are all able to showcase our practices within the space and get something out of the module individually. This concept worked really well as we could all gain some knowledge about each other but also find a common ground between it all for us to create a collaborative piece of work. 

Strettle, O. (2023). 78 at N°32.

Artsteps. (n.d.).

Session 2

The first half of today’s session was an in person lecture from Catherine as part of the enterprise team at Huddersfield University. We had an interactive think, write, and share session to gain some knowledge around group working and being able to work as team members. I gained a lot of knowledge on working as a group and how to make the most of everyone’s skills. We had a short task of writing behaviours we find unhelpful in a group, reasons why and how we can kindly address that issue to the rest of the group by still being considerate and respectful. I found this really important and relevant going forwards as group work is often most successful when everybody is considered and equal.

Fig 6. Image of groupwork session (Olivia Strettle, 2023)

After the talk with Catherine, we split back into our groups and considered the roles we would associate ourselves with. We came to the decision that we did not want to follow a hierarchy way of working and would be much more successful working collaboratively. Blurring lines between each role as we each had experience within them. Having precise roles felt very out of place considering our concept is about  combining skillsets. We did however have Cathie as the project manager and each role had approximately two or three assigned to - although, in hindsight, this was very fluid and helped out each other within multiple roles. By doing this, it allowed for us to learn new skills within roles that we may not had worked within prior to this module. I found myself connected more with communications. Working on the zine was my main role in the group but I did also work on photographing artwork, videography, and photobook curation.

The Roles:
- Visualisers
- Project Managers
- Communications 
- Technician Assistants 
- Interpretations 

We used this session to our advantage by using post it notes to write down group names that we had been individually brainstorming prior to the session. We chose two at random and had a group vote as to which we preferred. The final ones would go against each other. We quickly realised that alliteration, short one-word names and being quite ambiguous worked the best. At this point in time we are between Visionary Vault, Creative Oasis, Artelier and ArtBar.

Some names I came up with:
- Creative Hub
- The Hub
- The Space
- Inspire Gallery
- Innovation Station
- Innovate
- Vision Space
- Visionary Vault
- The Art Club
- Visual Volt

Collaborative Software’s

As this module is collaborative, it is vital to have a successful and strong plan in order for everyone’s ideas to be included with an equal amount of workload being shared throughout. Part of the early stage research was looking into several different digital software’s and weighing out the pros and cons of each.
We found that Asana worked best for us, however, it became clear that keeping track individually and meeting two or three times a week worked more successfully than digitally. We did like that Asana was accessible through a phone app, in which we could all be included.
Find our other options below:

Freeform - an endless digital whiteboard that gives your group unlimited access to an infinite whiteboard in all directions. Perfect for sketching, mind mapping and getting down initial ideas, however we noticed it wasn’t practical for our group as it is only compatible with Apple devices and not every group member has this. Also, I noticed that Freeform works best on iPads or devices with larger screens, it wouldn’t be as beneficial when using it with a laptop or mobile phone.
However, it does have a lot of choice when it comes to inserting or drawing. It supports video, photographs, links, post it notes, shapes, sketching, audio and PDF files.

Fig 7. Image of Freeform, (Apple)

Mural - allows for you to create a template when working in collaboration. Whether you are needing a table, mind map or to host a timed meeting, Mural has it. Like the others, you are able to visually collaborate and brainstorm. Although, contrasting with Apple’s Freeform, only three people can be editors within Mural when using the free version. To have an unlimited amount there is a fee of approx. $10 per month. Although, Mural does offer a student discount with unlimited editors and 25 guests to view.

Fig 8. Image of Mural, (mural)

Asana - the main goal for Asana is to keep organised and allow for collaboration to flow seamlessly. As we are in a fairly large group of eight creatives, staying organised is key. Asana offers colour coded working boards that gives priority to certain tasks and are able to see what needs more work. There is also a mobile app that everyone can access and have the ability to create Gantt charts and strategic goals.
However, unlike Mural, tasks in Asana are only able to be allocated to one person as well as often being overly complicated with having so many features. Although, it does have a free version which still allows for unlimited access and tasks.

Fig 9. Image of Asana, (asana)

Apple launches freeform: A powerful new app designed for Creative Collaboration. Apple Newsroom (United Kingdom). (2023).

Mural is a Collaborative Intelligence Company. Mural. (n.d.).

Asana. (n.d.). Manage your team's work, projects, & tasks online • asana. Asana.

Sharing Ideas

Today we met via Microsoft Teams - something we are making a regular thing in-between our timetabled university sessions on a Friday. It’s a perfect way of keeping each other up to date and making decisions as a collective. We always intend to come to the session with something we have been working on since we last met, whether that is a mood board, sketches, questions, concepts, designs or even updating the rest of the group with our current positions and who we’re incontact with.

I shared several mood boards with the group showing some interior plans, furniture styles, colours, and interactive gallery features that I think would be really successful in our start up business but also includes a lot of common ground that we have all been exploring in the week prior. There is a theme throughout the furniture and interior plans that correspond with an ergonomic, natural feel. With the inclusion of arches and curvature of the walls, neutral tones, and natural materials to represent the free flowing body that ties in nicely with each of our art specialisms. 

See mood boards below:

Pantone Colour of the Year 2023

What is Pantone Colour of the Year?

The Pantone Colour of the Year is an annual trend forecast that is intended to create conversations between cultures and designers (Pantone). With colour being an international language, it has the ability to connect communities from all across the globe as it is the first thing we see; from tv, magazines, social media, digital gaming, and fashion. The Colour of the Year is predominately proposed for brand redesigns and new collections for the coming year, however, is very commonly seen throughout public spaces, packaging design, entertainment, and clothing. Similar to ‘The Future 100’, Pantone Colour of the Year initiates not only lifestyle trends but the fast-flowing impact of consumerism as the colours flood our eyes from every industry.

Why are we using Viva Magenta?

As a group, we decided to use 2023’s Colour of the Year to be the colour pallet for ArtBar. Viva Magenta is described as “a joyous and optimistic celebration” (Pantone) as well as “encouraging experimentation and self-expression” (Pantone), suggesting how it is an innovative and contemporary shade, fitting perfectly within a public space based around collaborative art and hospitality. Within ArtBar, Viva Magenta will run throughout the whole space from the exterior and building design to the furniture and striking lighting features, making the space cohesive and free flowing as you interact with the place. With the concept being unconfined and ergonomic, it only felt right to use a colour that is so captivating and dominant within the physical and virtual world (Pantone). 
We felt that it was necessary to decide on a colour palette in the early stages so we all know what to work towards, being quite a large group. This way all of our individual work was cohesive and flowed with each other from logos to furniture, branding and cocktails.

Image of colour theme mood board, Olivia Strettle (2023).

Pantone. (n.d.). What is Colour of the Year? Pantone.

The Concept

As ‘Creative Innovation and Entrepreneurship’ is such a collaborative module, as a group we want to make the most of each of our strong, individual skills. We all knew that by having a group of eight experienced creatives coming together, we had to take advantage of not only the knowledge and understanding we each hold but the creative art and design facilities within the university. As we are experienced within our own specialisms, it creates a transdisciplinary project that is executed to the finest details. 

We all knew from the start that we wanted to create something new and contemporary. Rather than an iPhone application or a clothing line, we needed a concept that will be beneficial to all of us, and each get something out of the project as we are all contributing the same levels. Something that would be relevant within each of our portfolios as we have worked as a team to incorporate the skills into a final production. Keeping in mind that it needs to be something achievable within our time frame but to note that ideas can be endless within our planning. We have considered that we may produce a digital/immersive version of the space that can be viewed at any time online. This would be a more realistic execution as it would be physically impossible to build and construct the space physically due to time and costs. We are currently discussing the idea of having some physical furniture pieces and a photobook/zine alongside the viewing of the space. It will allow for people to see a physical item and flick through the pages of the zine, making it more hands on and interactive.

After multiple brainstorming sessions, mind mapping and Microsoft Teams meetings, we decided on a multi-functional, physical space that blurs the lines between art gallery and social space. Influenced by ergonomic structures and natural forms, the space will host each of our individual specialisms from the art hanging on the wall, a photobook to takeaway, curved architecture features, bold branding and even explore performance with interactive and immersive art walls.

The space will be very free flowing, connecting social areas to a bar area and gallery spaces to immersive displays. We plan to have a colour palette that corresponds with Pantone Colour of the Year 2023 - viva magenta! We each love the concept of arched walls and curved seating that is fluid and unconfined throughout the space. Having bold pieces of furniture that is not solely for relaxing but becomes the art itself, mirroring the shape and curves.

As well as the aesthetic design and architecture, we have also noted the accessibility within the space by offering stairs to upper levels but also lifts and ramps throughout - whilst maintaining the modern style. 

What will my role include?
- Creating mind maps that encapsulate all of our ideas in order to come to final decisions
- Making notes from each meeting and keeping track of timings/dates we planned specific meetings and or ideas.
- Booking, organising and leading photoshoots within the university photo studios/and or location to photograph our art work and the use of headshots for marketing.
- Editing images and sending raw copies to each individual group member.
- Researching, planning, testing and presenting photobook/zine concepts along the way in order to achieve a physical book displaying our practices.
- Working frequently with the print bureau staff at the university for zine printing and stock testing, as well as keeping the group in the loop with decisions.
- Using InDesign to create the photobook, as well as working closely with graphic designer Damien within the group to collaboratively come up with the cover designs, inside layout, and colour pallets.

Competitors & Finding the Market

As part of my research based around public spaces, I wanted to explore what already exists in terms of ArtBars concept. Whilst ArtBar aims to blur the lines between art viewing and hospitality, there is still a gap in the market for a physical version of this. Especially in the local area/North of England, I found there to be a lack of communal art spaces that are simulataniously home to a luxurious, fine dining experience - spilling out into the gallery space, allowing no confinement. 
During the research, I came across two options that are within reach of ArtBars concept, yet still leave the gap in the market to be fulfilled.

Art Galleries/museums
It is common within art museums or gallery spaces for their cafe to be completely separate, often on a different floor altogether. It’s sole purpose is to fulfil your hunger, or cure your thirst after spending the day viewing art. It completely separates the visitors from each other, with nothing catering towards leisurely viewing whilst tasting the cuisine. I find that this concept makes the viewer often feel rushed to view the art and once exited the space, the art is no longer at the forefront of your mind.
In terms of layout, gallery spaces can be quite intimidating. From the silence in the room and the imposing framed prints in a uniform configuation, you can feel out of your depth. Manchester Art Gallery is an example of a space that follows the generic ways of viewing art. Although their exhibitons are constantly being renewed and frequently encourage public involvement, I can’t help but visualise whats missing in the market. A contemporary gallery intertwined with socialising.

Fig 41. Image of Manchester Art Gallery, (visitmanchester).

Fig 42. Image of The Gallery Cafe, (manchesterartgallery).

Additionally, art viewing is regarded as an individual activity. Commonly forced to be quiet and pace slowly up and down the corridoors whilst your backpack that you cant wear, is now in your hand. It feels very clinical and non-immersive, something that ArtBar aims to erase. Art should start conversations and make you ask questions to the like-minded people around you

Gallery Opening Events
Another option that I have considered to be a close competitor for ArtBar is art gallery opening nights. When a new artist or photographer is showcasing their work is is commonly unveiled to the public via an events that encourages networking, meeting new people, building a conversation and encouraging chance meetings, but why is it only for one night?
I have found that the Open Eye Gallery in Liverpool hosts a lot of opening nights whether that is for open call guest talks or book launches. They are frequently accompanied with live music and food and drink, maintaining that social aspect whilst still viewing the art.

Fig 43. Image of exhibition opening, Jenkins (2019).

Manchester Art Gallery. Visit Manchester. (n.d.).

The Gallery Café. Manchester Art Gallery. (2023).

P-Themes. (n.d.). Make some noise! ....or not. Curina.

Jenkins, M. (2019). How to make the most out of an exhibition opening. Bluethumb Online Art Gallery - Blog.

The Curation of a Public Space

This week’s session for the ‘Creative Innovation’ module was held online via Microsoft Teams. Rowan Bailey joined at the beginning to talk about the public realm. I found it really insightful and was able to link it very easily into our current group collaboration as we are working on a public space business concept.

During the talk, it was clear that there are four key points that always need to be factored in when it comes to making great places for interaction, these include: Sociability, uses & activities, physical access, and comfort & public image. Sociability being how welcoming the environment is as well as being friendly, diverse, and interactive. A place where people go to specifically socialise and start conversation about the space, within the space. Uses & activities refers to the values of the space. How sustainable is it? Does it have a purpose? Does it keep people involved and is it enjoyable? Physical access would include whether or not it is within close proximity to a town centre, communal area or convenient with public transport. Are people going to access it on their route to another location? Keeping it connected and practical for all age groups. Finally, comfort and public image. I would consider this to be one of the most important as it is often an indicator whether you will return in the future. It needs to be clean, safe, and attractive but also remembering its impact on the environment. Will it be a green focus location? Is the building physically hospitable?

Fig 44. What Makes a Great Place image (Archdaily)

Each of these sub-topics focus massively on people’s needs, aspirations, desires and visions that include community participation. Curating an environment that visitors feel comfortable in, they are able to take something away from it not just physically but impacting their interaction with the public space.

Following on from this session, I looked into the theory of doughnut economics. Donut economics follows the idea of creating a sustainable development in order to have long-lasting benefits to the community. The framework is a circular diagram, that aims to create a continuous, free-flowing, productive society that improves general wellbeing, mentality and physical health of those around us by simultaneously protecting the environment in which we live in. It has been, and still is, the top priority for all businesses, however it can take years to achieve full equilibrium but small changes are necessary. In order to consider doughnut economics within ArtBar, we have reviewed each factor that plays a part.
- Creating an innovate space that is not already in the market - filling the gap to find a new audience.
- Everchanging exhibitons, encouraging customer re-visits.
- Low entrance fee’s, available to the whole family.
- Attractive to students/post-grads for open call submissions, ArtBar is a career steppingstone.
- Variety of dietry options within the bar, caters for everyone.
- Self-sufficient zine production. Low cost goes back into the production and printing.

The main area in which the doughnut theory focuses on is limiting our amount of global wastage and pollution but implementing a repair, reuse, and reduction system (Kumar, 2022). I found this to be interesting as creating a green business concept is becoming increasingly popular, due to cost of energy and the governments net-zero emissions target by 2050 (Bennett, 2022). In order for ArtBar to be 

ArchDaily. (2019). What makes a great public place? ArchDaily.

Kumar, R. (2022). What are the four main concepts of the circular economy? Times of India Blog.

Bennett, M. (2022). Why more than half of UK businesses are planning to increase spend on sustainability. The Telegraph.

Photo studio group session

I booked the studio in advance for us to get together as a group and begin to put our ideas into action. We used this time to get working on the immersive art wall installation. Within the studio, I was able to organise and set up the studio equipment for us to make the most of the time slot and take something away at the end of the session. I used my photographic skillset to manage the group collectively and direct the photoshoot.

Collectively, we wanted to test out some interactive concepts that we would have within the space using light, colour, shadows, shape, and form. I positioned two main lights without soft boxes directly in front of the white-walled background. The camera was placed onto the tripod between the lights and Caitlin was in front of the camera, slightly to the left but in front of the lights. We used coloured gel sheets over the direct light sources which projected hues of vibrancy over the wall. We found it worked much better by using multiple colours at once, this created a layered silhouette and revealed interesting shapes were the shadows converged. Where the colours mixed, it formed a darker shadow in between - something we wanted to achieve as we explore the use of line and contours. These shapes were later reconstructed into pieces of clay furniture and digitally added into ArtBar.

Fig 45. Studio behind the scenes, (Olivia Strettle, 2023).

Fig 46. Studio behind the scenes, (Olivia Strettle 2023).

Lighting Set up’s: (click to enlarge)

Fig 47. Lighting set up, (onlinelightingdiagramcreator).

Online lighting diagram creator for photographers. Online Lighting Diagram Creator - Tools for photographers. (n.d.).

Some of the outcomes:

Fig 48. Studio images,                         Fig 49. Studio images, (Olivia
(Olivia Strettle 2023).                           Strettle, 2023).

Talk with The Dean, Nic Clear

Today we had a talk with Nic Clear. He is currently the acting Dean of the University of Huddersfield as well as being head of the architecture and 3D design department. As well as this, Nic Clear has experience within multiple areas of the creative industry such as being a qualified architect, academic writer, lecturer, researcher, artist, builder, technician, filmmaker, and curator - to name a few! His talk was extremely beneficial to myself as a post-graduate student but also informative in terms of career options and creative pathways after the master’s. Clear frequently mentioned the opportunity we have to create the world we want to make and the transferable skills we are each gaining from the course. These included; chance to experiment, curate our own identity, practice development, encourage networking and having fun!

Clear spoke proudly of his past work experience including his break between undergrad and post grad in architecture. He worked as art technician- installing and unpacking large sculptures and organised a lot of the building work. Soon after graduating from now a post-graduate course he ventured more into film making and animation after being approached by past students with a floppy disk. Whilst starting his own company, he learnt several skills that he often didn’t consider at the time to be beneficial however, in hindsight it has shaped his career. Having the ability to move between creative specialisms, collaborative work,  

Fig 50. Image of research themes from Nic Clear talk, Olivia Strettle

Clear spoke passionately about a research project he is currently involved in called ‘Hypersurreal Huddersfield’. It is an immersive installation that explores locations within Huddersfield centre using 3D scanning. Focusing mainly on the Queensgate market, the project explores Hudersfield’s history 

I found this to be relevant towards the production of ArtBar as the 


Headshots for marketing

Today I shot some headshots of Cathie within the group as Christine is working on the marketing/social media side of ArtBar. As Caitlyn and Cathie lead the creative direction within the group and their work is being exhibited within the space, we wanted to create profiles of the artists that can be shared via social media to build engagement and share information on up-and-coming artists, exhibitions and performances coming to ArtBar.

We decided for Cathies headshots, to shoot them within the fashion and textiles floor of the Barbara Hepworth building as that is Cathies creative specialism. I used a Nikon D750 and the natural lighting from the floor to ceiling windows. They were shot in the morning which meant for a soft, diffused light over the subject. I framed the image with the mannequin in the background as it added context to the images of the environment we were shooting in. 

Fig 51. Screenshot of contact sheet, Olivia Strettle (2023).

I think the cropped framing portraits work best for these images as there is too much negative space within figure ....... compared to figure........ In figure.... the environment is still included by having a part of the mannequin involved, yet still focusing on Cathie. I think the lighting is strong over her face as there is no dark casted shadows or over exposure from the natural light.

Fig 52. Headshot, (Olivia Strettle,       Fig 53. Headshot, Olivia Strettle,
2023).                                                    2023).

I really enjoyed working on headshots within the group as I found that image based work, as my specialism, was not a large part of the project due to it being very heavy in graphics and 3D. Although, this was no issue to myself as I adapted my own skills and took every opportunity I could to develop new skills in order to gain something from the work. I was able to work with others in different specialism’s and understand more about graphics, 3D design and softwares such as Arduino, InDesign, Illustrator and Capture One.

360 Photography

360 photography is a photographic technique that gives the impression that an object/subject is rotating. It is commonly found within product photography as it highlights all aspects of the item as well as being evenly lit from all directions. The images are grouped together and placed within a sequence that once played are seamless. The imagery can be used as short animations or even be uploaded onto websites for advertisements. Often used with a motorised turntable, you are able to have full control over the speed and direction it rotates at. 

Within ArtBar, we are planning on including some of our own artwork inside the virtual space. Specifically, Cathies fashion and textiles garments, that will be hung from the ceiling in the amphitheatre. By exploring 360 photography, I am able to capture the dress within the photo studio and have it transformed into the space. I will be working closely with Aqeel as he has experience with the software to create seamless transitions between the images in post-production.

Fig 54. Screenshot from ‘360 Product Photography using Capture One’, YouTube (2021)

As I had never worked with 360 photography before, I wanted to do some research into it before heading to the studio. I found that as it is such a hands on and physical type of photography, it was really beneficial to use video clips and tutorials explaining set ups and lighting. 
The video above titled ‘360 Product Photography using Capture One’ in particular was very useful as it went into great depth on not only shooting 360 with a turntable but the lighting set ups, software, exporting and constructing the final outcome in post-production. It also used capture one which I have recently had a lot more experience using which allowed for me to pick it up fairly quickly. I did find that this also works using Adobe Light Room, so I have been switching between the two as I gain experience on both software’s.

Although this YouTube video above was using still frames to capture in 360 and I shot on video, I found it not being too dissimilar in terms of turntable speed, lighting the object and the background and camera angles.

Some of the main points that I believe are necessary from watching the video to achieve a successful outcome are:
  • ensuring your object/subject is within the centre of the turntable to ensure a smooth, consistent turn
  • Keeping the camera and tripod in the exact same position throughout for it to be seamless
  • Create even 

YouTube. (2020). 360 Product Photography using Capture One. YouTube.

Trying out 360 Photography

I booked studio to have a go at 360 photography. Mainly to try something new, get back into the studio and for myself to gain something from the collaborative work. For the space we’re designing, it is intended to have a digital immersive ‘art wall’ that will host imagery, text, interactive features, and physical designs from ourselves. I worked closely with Cathie within the group, who specialises in fashion and textiles, to use one of her current garments she is working on for the final major project. The garment will be hung within the digital space by using 360 photography to capture it from every angle.

For the set up, it included a 360 motorized turn table placed on a wooden table that was secure and stable. The turntable was controlled very easily with a pushbutton device that could move the subject clockwise and anti-clockwise. We found that the speed was perfect as it wasn’t too fast, so the dress wasn’t viewable, but instead, the textures, shape, line, and form was able to be shown off as the studio lighting was manipulated. 
For lighting we used main lights with no attachments as I found the soft boxes were overly warm and altered the colours within the garment. This allowed for it to give the garment a feel that it was in the ‘spotlight’, similar to how it would be within a gallery space on a podium or in a display case. The lights were specifically placed to be directed onto the garment from a high up angle as well as lighting the background. We used a greenscreen within the set up as it will eventually be digitally inserted into the ArtBar environment by Zaki, Shinto and Aqeel as they work on the interiors and architecture. 
I used a Nikon D3200 and short directly onto the card as we were shooting video. 

In reflection, we had realised that using single shots instead of shooting video, it will be able to be edited within the space much easier. This something we will consider when back in the studio for the final garment.

Fig 55. Image of lighting set up, (onlinelightingdiagramcreator).

We used a greenscreen that will help with post production from Zaki and Aqeel, in order for them to manipulate the dress into the virtual space. 

Fig 56. Screenshot from 360 video (Olivia Strettle, 2023)

I think the lighting set up was really successful as the dress was lit from all angles and aided the colours and textures within the blue fabric. We chose to light it from above and below as it would follow a similar style to a gallery setting, in which the garment would sit on a podium with spotlights shining from above and underneath to focus the attention.

Fig 57. Behind the scenes studio set up (Olivia Strettle, 2023)

For the garment, we used a smaller version of the final dress. I used four lights for the set up as this allowed for an even background with little shadows. However, I found that it was almost impossible to achieve a fully smooth greenscreen due to general wear and tear on the green paper. We also found that the greenscreen was not overly wide, this was not an issue for us as we were using a smaller object, however, it is necessary to consider this prior to the photoshoot. We found that the greenscreen did not have to be perfectly straight/aligned as it was going to be removed from the final image eventually.

Fig 58. 360 GIF of Cathie McCartan’s fashion garment, Olivia Strettle (2023).

Online lighting diagram creator for photographers. Online Lighting Diagram Creator - Tools for photographers. (n.d.).

Zine Research Examples

As the physical zine was one of my main roles within the group, I felt that it was necessary to find some research examples with a variety of layouts, covers, stock, font, colours and narratives. I used ‘Village Books’ which is a company based in Leeds UK for the majority of my zine research. They are home to a multitude of photobooks, zines, graphic novels and magazines from all across the world.

Fig 62. Annotated zine cover research i, (Olivia Strettle, 2023).

Sociotype Journal #2: Makeshift: Village. Leeds, UK. Village. (2022).

Fig 63. Annotated zine cover research ii, (Olivia Strettle, 2023).

Hole & Corner Magazine #22: Family: Village. Leeds, UK. Village. (2022).

Fig 64. Annotated zine cover research iii, (Olivia Strettle, 2023).

Can you feel it? Effectuating tactility and print in the contemporary by Freek Lomme: Village. Leeds, UK. Village. (2022).

Setting up the Zine - InDesign

I will be using InDesign for the curation of the book. It is an Adobe software that I have experience using as the photobooks I have produced prior to this module, have been with InDesign. I gained my knowledge of the software from a training session during my bachelor’s degree, a reliable source in which I can trust. Additionally, I find the YouTube channel’s ‘LYH Studio’, ‘Envato Trust+’ and ‘GFXMentor’ to be exceptionally helpful as they offer free online courses with a wide range of skills from photo book layouts, use of font, creating pages, graphic design and exporting/printing tips.

View their channels here:

Fig 65. Screenshot of InDesign file, Olivia Strettle (2023)

To create the document, I set up an A4 booklet (210 x 297mm) with twenty-four facing pages. I found that twenty-four pages is a great starting point and minimum to follow, but can easily be altered by using the ‘+’ symbol in the bottom right of your page set up. When creating a booklet, the page numbers have to be a multiple of four as when folded it automatically creates four pages, the same reason as to why there is a minimum of eight. The final zine document had fifty-six pages with a wrap around laminated cover.

Fig 66. Screenshot of InDesign file, Olivia Strettle (2023)

I order for the zine to follow a magazine/catalog layout, we opted for articles wrote by group members to split up the imagery. In this case, we wrote on themes based around the body, fashion and the ergonomic design of ArtBar. Additonally, we added contact information, upcoming exhibitons, opencall submissions and social media pages as we wanted to maintain the connectivity between visitors to ArtBar and keep up the engagement.

Once I had curated the general layout of the zine, which included the bulk of the information, I then passed the file over to Damian Witkos who worked on the graphic design for each page - incorporating the viva magenta colour palette to correspond with the cocktail menu’s.
I found working on the zine to be really enjoyable as I had never worked on a book that was of this scale and included a lot of text alongside imagery. I was able to develop my current skills whilst also gaining transferable skills such as collaborative working, printing skills, adapting to a brief, editing and software skills from InDesign.

YouTube. (n.d.). Lyh Studio. YouTube.
YouTube. (n.d.). Envato tuts+. YouTube.
YouTube. (n.d.). GFXMentor. YouTube.

Zine Cover Concepts

I have been working closely with Damien Witkos within our group to come up with cover designs for a zine as Damien’s art specialism is graphics. As I have some experience within the physical photobook myself, it works really well to have someone who can focus on the visuals and colour concepts that will fit with the photographic layout, binding, stock, and the content that I will be working on. 

I created a mood board and sent it over to Damien which included a brief design concept, colour palette, inclusion of line, shape, and form as well as multiple font styles that we had mentioned within group team meetings. The inclusion of ‘Pantone’s 2023 Colour of The Year’ was something that was frequently discussed as it will be not only included in the physical space but continuing it into the zine and interiors. By doing this we hope it will connect all aspects of the space together and allow for the design to be continuous, free-flowing and reflected within every area we have been working on. I specifically mentioned the importance of the use of line. As we have a focused theme of the human body and ergonomic form, including this on the zine cover will keep it connected but also be ambiguous, keeping the viewers engaged. It feels contemporary and minimalist.

Fig 74. Zine cover mood board, (Olivia Strettle 2023)

Fig 75. Zine sketches, (Olivia Strettle, 2023).

Teams Meeting

Today we met via teams for our weekly catch up outside of the university timetable. These are so helpful to have as we use the time to check in on how everyone is doing and what they’re currently working on. It also allows for us to regroup since the previous meeting and give updates on our progress. 

This week’s current stages:
Christine - working on the advertisements, marketing GIF’s and news article mock-ups. Also working on artist profiles from the headshots I am working on during the week.
Caitlyn - Creating small 3D designed furniture concepts modelled from clay. They are a physical version of what will be displayed in the virtual ArtBar.
Shinto - Working on the interior design wireframe using AutoCAD. Collaborating with Zaki and Aqeel for the art wall designs, restaurant area and general layout of the space.
Zaki - Creating the restaurant/social areas of the ArtBar using AutoCAD and Sketchup.
Aqeel - 3D designs - sketches and digital for the immersive art wall. Working closely with Zaki and Shinto for the internal design.
Cathie - Creating the final garment to be displayed virtually in the space using 360 photography.

This week I have... 
Took headshots of Cathie for Christine to work on artist profiles/marketing.
I have been working on the zine layout, cover ideas and colour palette. InDesign file has been sent to Damien for graphic design input.
Beginning to receive work from the rest of the group for the content of the zine.
Sent over my input/slides to Caitlyn for the group formative assessment on Friday.

Next week I plan to...
Get into the print bureau with Cathie to look at examples of stock and binding for the zine - finalise the design.
Take headshots of Caitlyn in the photography studio for artist profiles/marketing.
Do more research into stakeholders, audience and user groups of creative art projects.
Receive imagery of the groups practice for the zine content.
Look more into lighting a space from a photographers point of view, in contact with Shinto as he designs the internal structures and natural light access.

Fig 76. Screenshot of group Teams Meeting

Fig 77. Screenshot of group Teams meeting 

Stakeholder Research

As part of my research, I looked further into stakeholders as it is main a part of the assessment criteria. The article, ‘Get to Know the Stakeholders’ written by Shira Wolf was very informative in terms of the huge array of stakeholders that can be involved in the art world.

Fig 78. Image of stakeholder article headline, Shira Wolfe (2022).

I found the article to cover aspects of the topic that I hadn’t considered prior to the research. For example, the importance of the curators. How they are having to maintain a vast amount of knowledge on trends, aesthetics, themes and current topics in order to keep entertained and inspire the public (Wolfe, 2022). Additionally, their role has a significant impact on the organisation and flow of exhibitions, being the pinpoint for art reviews and public opinion. Allowing the work to flow from one to the next and holistically follow a theme.
The stakeholders of a public space are what keeps the business running, impacting not only the brand but the visitors and its reputation. From visitors and employees to the media and local governments, they impact the decision making and are continuously impacted by positive or negative changes (Hendricks, 2022).

ArtBar Stakeholders-
  • Types of people who come to the bar/restaurant, will be viewing the art unintentionally by being within the space and people who visit to view the art will be spending time in the restaurant etc. Mixing with a new type of person. They are immersed in the gallery space unintentionally whilst spending time in the bar. Especially with the love seat configuration, it encourages conversation.
  • Showcasing local artists and post-graduates within the art installations. Advertisement on social media/website to attract more visitors and be the host up and coming art. 
  • Visitors purchasing personalised catalogue/zine. Pick and choose from the art archive and add it to your physical catalogue. Sent to your home and be a memoir of your favourite art pieces/ArtBar visit. 
  • New monthly artists- photographers, graphic designers, fashion, 3D design, and fine art. Commissioned within the space and attracts a wide variety of diverse people.
  • Local media and governments. Not only a significant way to promote the business, but relies massivley on public opinion.

Wolfe, S. (2022). Get to know the stakeholders of the Art World. Artland Magazine.

Hendricks, A. (2022). The importance of stakeholders: Identifying and prioritizing stakeholder engagement. Simply Stakeholders.

Group Presentation Feedback: Formative Assessment

For the formative assessment, we decided on two group members, Cathie, and Caitlyn, to direct the presentation. Being a group of eight, we felt it would be much stronger if less people presented, stopping overcrowding. That way the information becomes refined and not overwhelming. Prior to the presentation, we each sent over imagery and sketches showcasing our current independent developments with a few short sentences. This was collated into a polished script along with a slideshow of our current stages.

After today’s presentation we received some feedback from Alex and Janine.

Some comments we received:
- Presentation shows personality from each of us. It isn’t ‘graphic design smoothed’ to make everything uniform. Our skills are highlighted.
- Clear display of collaboration and using our skills to our advantage.
- Less corporate feel, submissive. Democratisation. Visually specific – all following the same concept but using our own medium.
- Different registers of language gives it a personality.
- Doesn’t feel ‘smoothed’ out by one member. Branding is individual and striking, the correct balance of communicating effectively but textures of personalities peak through.
- Great example of learning objective ‘C’. Considered all types of customers and stakeholders  - online access, young artists, and post-graduates.

After the presentation, we each gave out individual feedback to each other as viewers of the presentation. We each took the time to write what we think worked well and anything we believe needs improvement on for the summative assessment. We also discussed topics that were mentioned above and if we felt that other areas needed more attention or less attention, depending on how relevant it is to the group. For example, spend less time explaining the architectural design as it is something very visual, and talk more about our concept. As our formative presentation was very last minuite due to technical issues, we took the comments and began making improvements. These include:
- Less text on the slides.
- Voice over and text does not work.
- Considered immersive experience - lighting, music and sound.

Lighting the Space

As well as the architectural interiors of a space, lighting is one of the most significant factors that contributes to making the environment welcoming, purposeful, and most importantly accessible. The lighting not only adds dimension to the space but can be used to accentuate the architectural forms of curves and shape. It also brings attention to the colours and textures, helping the internal structures and design achieve its purpose. As well as this, the consideration to lighting in an architectural setting aids the size and shape which therefore brings height and greater depth into the room. 

In the ArtBar, we want the space to feel very open, freeing, welcoming and bright. Almost mimicking the daylight of the outdoors. Designing such a creative space full of social areas and creative zones, we want visitors to feel positive and uplifted that will be assisted by the natural light and use of colour.

As a photographer, lighting is always a top priority for any photoshoot whether that’s portraiture, architectural, product or food. Without lighting, there is no outcome. Even if it is artificial studio lighting or natural window light being controlled with reflectors, it has the ability to shape the narrative and completely adjust the mood. I find that lighting shapes the project, bringing it to life and allows for you to draw attention to the finer details. Within ArtBar we aim to include as much natural light as possible in order to not feel clinical and detached.

Fig 79. Image of article title, Katie Kailus (2023).

Fig 80. Image of indoor light mimicking outdoor light, Katie Kailus (2023).

The article by Katie Kailus titled ‘Why Lighting is The Most Important Design Feature’ explores the impact lighting has on mood. Being able to influence the emotions you hold just by whether it is lit with warm or cold, bright, or dim. It also explores how it can affect us positively and negatively depending on how intense the light is. For example, the difference between having fluorescent office lit beams or natural skylights built into the ceiling, the latter allows for a smooth transition from the exterior to interior (Kailus, 2023).
I found the article to be beneficial when it comes to considering the placement of the art work and considering how to light each area of the space, understanding that not everywhere in ArtBar needs to follow the same lighting set ups. Perhaps having a more low-lit area for the interactive art wall due to the inclusion of coloured light, projections and shadows. In comparison to the framed art work hung along the walls. Additionally, I found this article to be helpful in terms of lighting the garments for the 360 photography. I gained a better understanding on the impact lighting has and how it can be manipulated to .....................

Kailus, K. (2023). Mood changers: Lighting design 101 - why lighting is the most important design feature. Insights.

In-Person Meeting Notes 

Today we met at 4:15pm on campus to finalise some concepts and share what we have each been working on since we last met. Starting off with the internal structure plans from Shinto, we were able to visualise the layout in terms of scale, art placement and make some final decisions. We spoke a lot about the colour scheme as at this current stage the digital drawings are all white and how this will tie in with the zine cover and marketing colour palette. Pantone’s 2023 colour of the year, Viva Magenta, is included within a lot of our marketing and photobook although we feel that having the whole space in the shade of pink, might be overwhelming and not feel inspiring. It was a group decision to make the bar/restaurant area follow the magenta colour scheme, but the rest of the interiors to only have hints of the colour such as on the patterns on the seating or within the artwork itself. 

Another aspect of the project we discussed was flooring. As we plan to use a lot of colour lighting, projections, and mirror, we felt it was too much to then also have reflective hard flooring. We came up with the idea of using carpet in the immersive areas as it will feel more cosy, welcoming, and relaxing within the ArtBar. We also spoke about creating patterns using the marketing colour schemes to create prints on the carpet - Shinto is working on getting a carpet sample to potentially show within our summative presentation in the new few weeks.

Fig 81. Colour Scheme for ArtBar (Christine Gale, 2023)

Additionally, we looked at the zine cover that Damian had been working on. We narrowed down the options and finalised the cover - this felt really relieving to all of us as we had been unsure on design and layout for the past few weeks. I have since received this cover and has been placed into the zine InDesign document I have been curating to showcase our work. As well as this, I came to the meeting with some content ideas and InDesign documents for the zine. 

The Zine Cover

Once a mock-up of the cover design had been created by Damian within the group. I gave some feedback in terms of text placement and scale. I really liked the use of line and shape that makes up the majority of the cover - something I included within the mood board previously. The colour palette works well as it follows the Pantone 2023 colour of the year but is not overly pink and still has a contemporary feel to it. I did think that the tones could be brightened a little more as they were quite dull upon a test print. Also, we agreed that the text on the cover seemed too much and would perhaps be more successful if placed on the back of the book or on the first inside page as a foreword.

Fig 82. Annotated cover mock up 1, (Olivia Strettle).
Cover designed by Damian Witkos.

After several meetings discussing the strengths and weaknesses of the cover, Damian created an updated version that seemed to fit our theme more. It has gained a new level of depth with the layered, overlapping lines and font variety within the logo. I am also really happy with the descriptive text placement being on the back cover and shorter, quick-reading information on the front. It allows the cover to be visually balanced with the use of white writing at the top, supported with a smaller piece on the bottom right-hand side. It also makes it more engaging being vertical as it encourages the viewer to physically interact with the book. 

As of right now, we are happy with mock up 2 as the final cover but may re-think the ‘BAR’ font once it comes to printing as it is not very obvious compared to ‘ART’.

Fig 83. Annotated cover mock up 2, (Olivia Strettle).
Cover designed by Damian Witkos.

The Print

I find the process of bookmaking to be really enjoyable. It is very hands on and transforms the digital into physical. It is something you can interact with, feel the stock textures, be immersed within the fragrance of the pages, and visualise the content.

Myself and Damian Witkos took advantage of the equipment and expert knowledge within the university’s print bureau. I found this to be much more beneficial to my own practice rather than using an external printing company as I can ask questions, try it for myself and make mistakes to learn from. We used several machines, most of which I had never used before such as a thermal binder, manual guillotine, and laminating machine. By using the machines myself, I was able to improve on my own skills within book production, something I would like to continue with post-university.

In order to be time efficient, we found it was most productive to maintain a production line within the bureau. Once the final document was approved by the group, we began by printing only the inside pages, each set of four pages were saddle stitched by the digital press printer. The inside stock was ‘Standard Stock’ at 100gsm. This has just enough weight for it to be easy to flick through and had a subtle sheen, without being overly glossy or thick. Once all of the inside pages for the nine zines were printed, we moved onto the binding. Each spine was taped to be secure and then placed into the thermal binder. After this we moved onto printing the cover. For this stock we used ‘Lumi Silk’ at 150gsm and was later laminated to provide a glossy finish and enhance the rich colour tones. The cover was glued onto the spine and the whole zine was then guillotined to ensure consistency and uniformity.

Fig 84. Images taken during zine         Fig 85. Images taken during zine
production, (Olivia Strettle, 2023).        production, (Olivia Strettle, 2023).

Benefits of having a flowing production line:
- Time efficient
- Constancy throughout. Uniform size, scale, and quality. If part of a collection or set, you want them to be cohesive and all identical. Printing separate can cause for human error.
- Reduce cost. Final book is only printed when document is tested/approved.

Fig 86. Image of cover production, Olivia Strettle (2023)

Fig 87. Image of zines before guillotine, Olivia Strettle (2023).

My Experiences

Over the past several months, I have gained and developed numerous skills that I was not so confident with prior to group collaboration. ‘Creative Innovation and Entrepreneurship’ has allowed for me to have an insight into real industry situations, when collaborating with other specialisms is expected. We have each contributed our individual knowledge, experience, and skills, but when it comes to problem solving and collaboration, this has been a team effort.

Some main skills I have learnt:
- Communication skills. This was one of the most important part of group work. We ensured we were all in frequent contact with each other via group chats, email threads and multiple weekly meetings. I found this particularly beneficial to my own practice as I built my confidence in talking about my own ideas and concepts.

- Problem solving. When working with several people in a group, it is vital for everyone to have their turn at speaking and presenting their opinions. We ensured we all listened to each of our voices and respected our views. If something was not working well or did not fit with our concept, we would find a new way of being inclusive and seeing it from a different perspective.

- I developed my own skills within photography by trying out 360 photography for the first time. This was an area that I had no experience with prior to this module, however I found it to be extremely interesting and enjoyable. It has deepened my knowledge within photography and have gained a new skill that can be adapted to product photography, fashion, advertising and even still life.

How it will benefit my research area/future in industry:

- Explored new areas of photography including 360. Can be adapted to multiple areas within the subject.

- Continued my interest for the physical photobook. I worked on the curation of the gallery magazine/catalogue using InDesign. Also collaborated with Damian within the group for a graphic design insight. Learnt a lot about font, colour schemes and image placement.

- Shot video within the studio for immersive art wall. Gained experience on moving image that is adapted into other university modules. Overall, I widened my skill range, this is more favourable within industry – knowledge on multiple areas.

- The overarching theme with ArtBar looked at the body/people. Able to relate this to my own practice – the inclusion of my current project hung within the gallery space. Collaboration skills that are common in industry. Working hands on with multiple practitioners all from various areas within the creative world.

Group Limitations

Bar design/communication.
This week, we struggled quite a lot with communication efforts as we are getting closer to the final presentation and stress levels are rising. After multiple attempts of collectively agreeing on the bar area, it was never being presented to us/given any updates and was following its only separate colour pallet from ArtBar. This was making the space non-cohesive and appeared to have no communication skills. The bar area was redesigned by another member very last minute – we feel that the final version was a much more of a representation of ArtBar and visually achieved our goals.

Zine Deadlines
I had set a deadline for the 8th March, in which by this date I expected all imagery/text/work to be sent to me to be included within the zine. I needed several weeks to work on the InDesign file, collaborate with Damian Witkos, and printing time ahead of the presentation. Every group member was aware of this and was reminded often. Work that I didn’t receive from some members was not included within the zine, assuming they did not want to be included in it. Once printed, there were some comments about missing certain people out, however not once had we received anything within the 2-3 week time frame prior to the deadline. Deadlines are set within tasks for a purpose, they keep you on track, keep a form of structure and are put in place for everyone to be aware of. The zine ended up being re-done to fit in extra members last minute, however, I don’t think this would have happened in an industry setting.

Group Illness
We were missing a vital group member for a few weeks during this module due to illness. Although completely out of their control, it did have an impact on the rest of the group, but we all worked collectively to pick up other people’s workload. Due to the absence, furniture designs, immersive art wall video and text for the zine was all delayed, however we did manage to get it all completed by working together and adapting our skills to other areas.

Formative Presentation
Our formative presentation did not go to plan. It was extremely last minute due to technical issues and was not a successful representation of ArtBar. We aimed to have walkthrough footage of the space, however due to long renderings this was not achieved. Although this happened, we found that it made the summative presentation so much clearer, concise, and positively surprising! It meant that we worked twice as hard over that week in time for the summative in order for us to gain back the success.

Final Presentation

For the summative presentation of ArtBar, we played a pre-recorded ‘podcast style’ tour of the space. As we were creating such an immersive and innovative public space, we wanted the viewers to feel as though they were inside ArtBar. To aid this, we took advantage of the coloured lighting on the ceiling within the create lab. It was perfectly set up to change colours and correspond with the tour video - changing as you entered a new area and matching with the colours of the art.
See the lighting set up below!

Fig 88. Image of lighting set up for presentation, Olivia Strettle (2023).

The video began with an external view of ArtBar. Showcasing public interaction whilst the voiceover described our collective aim - blurring the lines between art viewing and hospitality. 

Fig 89. Screenshot from ArtBar Presentation, Group work (2023)

Once inside, there was a panoramic view of the space, letting the audience visualise the space collectively. With voiceovers from this month’s artists, the video moved across the 15 metre long wall space to showcase the current work on display. The furniture within ArtBar is made up of adjacent loveseats, intended to trigger conversation and welcome chance meetings. Pick a cocktail from the bar and relax on the couches that bleed out into the social space, whilst viewing the artwork!

Fig 90. Screenshot from ArtBar Presentation, Group work (2023)

Fig 91. Screenshot from ArtBar Presentation, Group work (2023)

The bar area was showcased by intertwining between tables and moving past the furniture designs that Caitlyn Matthews had designed. Yet again, the Pantone Colour of the Year, Viva Magenta, is encapsulated within all areas of the interior. Aqeels artwork is spread across the walls of the bar, created using Arduino software - the shapes and colours change and flow as visitors walk past, triggering the sensors.

Fig 92. Screenshot from ArtBar Presentation, Group work (2023)

After presenting the interactive art wall, social media, zine, food/cocktail menus as well as this month’s fashion exhibition on the amphitheatre steps, the presentation moves onto vital stakeholders and open call entries. Open call is encouraged within all areas from mixology to cuisine, art work and post-graduate exhibitions.

Fig 93. Screenshot from ArtBar Presentation, Group work (2023)

Within ArtBar there is no element of statis within the hybrid business model, due to the constant renewal of art and inclusivity using VR software to view across the world.

                                    -----------APPENDIX ----------

360 Photography Trial

Today I went into the photography studio from 9:15-10:45am to work on 360 photography. I wanted to gain more experience using the turntable and lighting set up as we get closer to photographing the final garment for the virtual display.

Prior to the session, I worked out that we would require twenty-four single images for the transitions be smooth as it is edited together within the space. To achieve this, I sectioned the turntable into four separate quadrants and then placed a further five pieces of tape within the four marks - this meant for a total of twenty-four visible indicators of when to take the image. The turntable was then controlled by the right and left rotation switches on the plug-in remote. This was adjusted by Aqeel as I was photographing the garment. The first piece of tap was aligned with the camera and then a photograph was taken, then rotated to the next and another photograph taken. This was repeated until the dress completed a 360 and was photographed from every point.

The lighting was placed directly onto the greenscreen to ensure no shadows were falling onto the screen. We made sure the background was smooth and had as little creases/rips as this would make it difficult for the background to be changed within the ArtBar by removing the greenscreen and placing it virtually into the space.

Fig 94. 360 turntable sketch, Olivia Strettle (2023).

Fig 95. Contact sheet of 360 images, Olivia Strettle (2023).

Visiting the Print Bureau

Today I visited the print bureau within university as I wanted to get some advice in terms of printing timeframes, costs, design layout, stock binding and file types for printing. It was really helpful as I had gained some knowledge on areas I hadn’t considered, and all my questions were answered.

Some information we received:
- Printing the cover with selected gloss areas requires multiple printers - may be too long for our timescale. First the cover is printed using digital printer and then realigned under UV printer for gloss over specific lettering. This has to be very accurate to the millimetre as the gloss will not be aligned with the text.
- Another option that is more achievable within our timescale is using the digital press printer with the heat turned up. This creates a sheen and can be selected to just be over the lettering.  
- Furthermore, we could have solely the logo printed onto acetate. This would then be wrapped around the cover, adding texture and dimension. It would align with the logo on the cover and create a sleeve. This could be stapled on or adhered using a glue strip the width of the spine.
- Front and back covers need to be separate files. They need to have a bleed and enough allowance for the spine.

I looked at some examples of photobooks and magazines within the bureau that were all varied from size, stock, texture, price, content and thickness.

Fig 96. Print Bureau zine examples     Fig 97.  Print Bureau zine examples
(Olivia Strettle, 2023)                            (Olivia Strettle, 2023)

At this current stage, we are considering using spot UV varnish for the ArtBar logo on the zine cover. However, after speaking to the print bureau staff, it is a very precise job especially when needing to produce multiple copies. It requires extreme accuracy and a lot of time in order for it to be of a high quality and good enough shine for it to be noticable. Another option was using clear film that could be hand-cut to the logo and then forced together using the heatpress machine. This option can be quite intricate due to hand cutting out the logo with a craft knife and will most definitely have an impact on the overall uniformity of the zines. The option we are most considering is to use a card stock and laminate to create the gloss finish. This would make the whole cover glossy, however I think this option will feel more high quality, long lasting, uniform and comparable to a magazine rather than a more filmsy booklet.

Zine Content with InDesign

Once receiving art work and pieces of writing from the rest of the group, I began to curate the content of the zine/photobook using InDesign. In order for the zine to be not only visually engaging but also informative, we decided to include topics based around the body and natural form in the style of a magazine/article. We felt that this would be a more casual, informal way of getting the relevant information across but still being visually appealing and easy to read. I split the book into sections using the pages tab in the right-hand window and allocated approximately three to four spreads per person. I inputted the imagery, text and drawings in a way that felt cohesive by placing strong visual work at the beginning, more refined wider context nearer the end and placing articles and research in between.

After looking into brochure and zine layout, especially for art galleries, exhibitions and hospitality, it is clear that advertising the space is a huge part of it as well as contact information and keeping the viewers up to date on what’s to come within next month’s issue.

Fig 98. Screenshot of zine InDesign document, Olivia Strettle (2023)

The article pages within the zine are accompanied with imagery. This works well at splitting up the writing and keeping the viewer engaged. I think the placement of text works well as it diverts attention to both pages - making it more enjoyable and easy to read.

Fig 99. Screenshot of zine InDesign document, Olivia Strettle (2023)

Using full bleed images within photobooks lets you direct the viewer to the area of significance. I found that this pencil drawing image by Cathie McCartan worked really well alongside the text. The monochrome and hand drawn sketch

Fig 100. Screenshot of zine InDesign document, Olivia Strettle (2023)

Fig 101. Screenshot of zine InDesign document, Olivia Strettle (2023)

Figure List -

Fig 1. Slide 1 showing previous work, (Olivia Strettle, 2023).
Fig 2. Slide 2 showing photo book production, (Olivia Strettle, 2023).
Fig 3. Slide 3 showing studio work, (Olivia Strettle, 2023).
Fig 4. Slide 4 showing current work, (Olivia Strettle, 2023).
Fig 5. Slide 5 showing concept ideas, (Olivia Strettle, 2023)
Fig 6. Image of groupwork session, (Olivia Strettle, 2023).
Fig 7. Image of Freeform, (apple).
Fig 8. Image of Mural, (mural).
Fig 9. Image of Asana, (asana).
Fig 10. Interior image by Esa Kapila, (architonic).
Fig 11. Interior image, (leibal).
Fig 12. Interior image, seating (thespaces).
Fig 13. Image of colour shadow, (tate).
Fig 14. Immersive space, (notabenevisual).
Fig 15. Mannequin table, Martin Miller ‘Metromorphosis’ (downstairsgallery).
Fig 16. Mannequin lamp, (trendir).
Fig 17. Image of seating design, (behance).
Fig 18. Image of wood seating, (behance).
Fig 19. Curved seating by Atdhe Mulla, (anooi).
Fig 20. Hammock seating, (homeworlddesign).
Fig 21. Tapa modular seating, (genesys).
Fig 22. Window seating, (digsdigs).
Fig 23. Chobani Café, (workingnotworking).
Fig 24. Conversation seating, Karim Rashid, (contemporist).
Fig 25. Cocktail bar, KSh Design Bureau, (amazingarchitecture).
Fig 26. Seating concept, (contemporist).
Fig 27. Seating concept, Dion Robeson, (australianinteriordesignawards).
Fig 28. Biophilic design, (anooi).
Fig 29. Doorway concepts, (utiledesign).
Fig 30. Interior image, (retaildesignblog).
Fig 31. Cocktail bar, KSh Design Bureau, (amazingarchitecture).
Fig 32. Locket’s, (frankhickman).
Fig 33. The Made Thought store, (dezeen).
Fig 34. WHAT MADE ME public installation, (behance).
Fig 35. Pixel painting, (behance).
Fig 36. Samsung installation, (deezen).
Fig 37. Yayoi Kusama: ‘An Explosion of Stickers’, (trebuchetmagazine).
Fig 38. Rhizomatic Grid, Pierre L’Excellent, (archdaily).
Fig 39. LULU Bar, Francisco Nogueira, (archdaily).
Fig 40. Wonder Exhibition, Renwick Gallery, (rosalovesdc).
Fig 41. Image of Manchester Art Gallery, (visitmanchester).
Fig 42. Image of The Gallery Cafe, (manchesterartgallery).
Fig 43. Image of exhibition opening, (Jenkins, 2019).
Fig 44. What Makes a Great Place image, (archdaily).
Fig 45. Studio behind the scenes, (Olivia Strettle 2023).
Fig 46. Studio behind the scenes, (Olivia Strettle 2023).
Fig 47. Lighting set up, (onlinelightingdiagramcreator).
Fig 48. Studio images, (Olivia Strettle, 2023).
Fig 49. Studio images, (Olivia Strettle, 2023).
Fig 50. Image of research themes from Nic Clear talk, (Olivia Strettle, 2023).
Fig 51. Screenshot of contact sheet, (Olivia Strettle, 2023).
Fig 52. Headshot, (Olivia Strettle, 2023).
Fig 53. Headshot, (Olivia Strettle, 2023).
Fig 54. Screenshot from ‘360 Product Photography using Capture One’. (YouTube, 2021).
Fig 55. Image of lighting set up, (onlinelightingdiagramcreator).
Fig 56. Screenshot from 360 video, (Olivia Strettle, 2023).
Fig 57. Behind the scenes studio set up, (Olivia Strettle, 2023).
Fig 58. 360 GIF of Cathie McCartan’s fashion garment, (Olivia Strettle, 2023).
Fig 59. Image of ‘Sociotype Journal #2 Makeshift (Village books).
Fig 60. Image of ‘Hole & Corner #22 Family, (village books).
Fig 61. Image of ‘Can you Feel it? Effectuating tactility and print in the contemporary Freek Lomme, (village books).
Fig 62. Annotated zine cover research i, (Olivia Strettle, 2023).
Fig 63. Annotated zine cover research ii, (Olivia Strettle, 2023).
Fig 64. Annotated zine cover research iii, (Olivia Strettle, 2023).
Fig 65. Screenshot of InDesign file, (Olivia Strettle, 2023).
Fig 66. Screenshot of InDesign file, (Olivia Strettle, 2023).
Fig 67. Tatline Neue Poster, (behance).
Fig 68. ‘Architecture Sans Frontières’, (Stefan Björklund)
Fig 69. One Plus One zine cover, (dandad).
Fig 70. Visual Identity zine, (ludovicballand).
Fig 71. Visual communication’ zine cover, (wallpaper).
Fig 72. ‘Poster collection’ Quim Marin Studio, (behance).
Fig 73. Gagosian – Avedon: Women 2013 zine, (graphicthoughtfacility).
Fig 74. Zine cover mood board, (Olivia Strettle 2023)
Fig 75. Zine sketches, (Olivia Strettle, 2023).
Fig 76. Screenshot of group Teams meeting
Fig 77. Screenshot of group Teams meeting
Fig 78. Image of stakeholder article headline, Shira Wolfe (2022).
Fig 79. Image of article title, Katie Kailus (2023).
Fig 80. Image of indoor light mimicking outdoor light, Katie Kailus (2023).
Fig 81. Colour Scheme for ArtBar (Christine Gale, 2023)
Fig 82. Annotated cover mock up 1, (Olivia Strettle, 2023).
Cover designed by Damian Witkos.
Fig 83. Annotated cover mock up 2, (Olivia Strettle, 2023).
Cover designed by Damian Witkos.
Fig 84. Images taken during zine production, (Olivia Strettle, 2023).
Fig 85. Images taken during zine production, (Olivia Strettle, 2023).
Fig 86. Image of cover production, (Olivia Strettle, 2023).
Fig 87. Images of zine before guillotine, (Olivia Strettle, 2023).
Fig 88. Image of lighting set up for presentation, Olivia Strettle (2023).
Fig 89. Screenshot from ArtBar Presentation, Group work (2023)
Fig 90. Screenshot from ArtBar Presentation, Group work (2023)
Fig 91. Screenshot from ArtBar Presentation, Group work (2023)
Fig 92. Screenshot from ArtBar Presentation, Group work (2023)
Fig 93. Screenshot from ArtBar Presentation, Group work (2023)
Fig 94. 360 turntable sketch, (Olivia Strettle, 2023).
Fig 95. Contact sheet of 360 images, (Olivia Strettle, 2023).
Fig 96. Print bureau zine examples, (Olivia Strettle, 2023).
Fig 97. Print bureau zine examples, (Olivia Strettle, 2023).
Fig 98. Screenshot of InDesign document, (Olivia Strettle, 2023).
Fig 99. Screenshot of InDesign document, (Olivia Strettle, 2023).
Fig 100. Screenshot of InDesign document, (Olivia Strettle, 2023).
Fig 101. Screenshot of InDesign document, (Olivia Strettle, 2023).

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