Ethical Issues

I have chosen to talk about American Apparel’s controversial advert, although I felt both were equally shocking in their own respects I was first drawn to the American Apparel, maybe due to the focal point of the picture.

First of all, American Apparel is a very well-known North American clothing manufacturer exporting clothes in and out of America, so when this brand was thriving, this image was probably advertised largely around the world and seen by many audiences. Not only is this image unapologetically indiscreet and leaves nothing to the imagination in the creative direction of the image; but it is over sexualising women in a vulgar way, especially how they are promoting their brand name within the region which is sexualising the model in this photograph.

Even though her lady region is strategically covered by their logo it might as well not have been.  It is very clear that she has no underwear on and the position which she has assumed is a very sexually anticipated one, suggesting that sexual activity is about to occur. This suggests many things about how the ‘American Apparel’ women shopper or in that fact any women who sees this image, that the brand is promoting the sexualisation of women and not the actual clothes. And glorifying their brand over the idea that women are sex objects. The fact that none of the brands clothes apart from some very ordinary knee-high socks and a barely there top, shows that in this image they were not trying to sell their clothes. Here I feel they were trying to sell their image, and this image is the sexualisation of women.

This comes no surprise as American Apparel has a background with models which previously worked in the adult film business. So, the brand is meticulously picking their models from an industry where is this their profession to be sexualised. This immediately brings forth unattainable standards from the shoppers, the models are supposed to depict the brand and ‘who you could be’, if you wore their clothes. Models shows the type of women you want to be when you wear the clothes, and American Apparel has gone too far with their message.

They have also selected a very small audience to focus on, and have discounted the younger generation and the effects this image could have on younger children seeing this advert. Especially if they purchase the clothes or know someone who buys the clothes who is older. It leads to the question how are people supposed to view them wearing the brands clothes, if this is their message to their customers. And how the only way to be accepted or good looking is to over sexualise yourself.

Stern, C.S. (2015) American Apparel plans to launch ‘enlightening’ blog about social issues such as LGBTQ rights in a bid to revamp its controversial and overtly-sexy image. Available From: http://www.dailymail.co.uk/femail/article-3059412/American-Apparel-plans-launch-enlightening-blog-social-issues-LGBTQ-rights-bid-revamp-controversial-overtly-sexy-image.html [Accessed 21015]

‘Taste, Fashion and The French Fashion magazine’, by Sandra Miller delves into the rise of the first publicity of Fashion during the emergence of the 17^th century, by which the age of enlightenment had much influence. The Age of Enlightenment (1685-1815) was marked by the influence of new era of thinking and changed mindsets.’ Ideas of politics, philosophy and art, to name a few, needed to be challenged, and fashion was one of them. The 1700s was the rise for France in fashion and it had become ‘the fashion capitol of the world’, so of the release of Le Mercure Galant was anticipated, however not well received and was ahead of its time.

This was due to the fact fashion during the early 18^th century was only for the wealthy and elite. So, the gazette’s ideas of fashion or ‘taste’, were rejected, possibly due to the fact the sector was only limited to a small group of society and not deemed a posing enough category for debate.

However, ‘by the middle of the eighteenth century, fashionable dressing was no longer the exclusive privilege of the elite but something in which men and women of the middle class could indulge.’ Clothing became the mirror of one’s refinement, it was no longer the purposeful labourer clothes, and fashion became an art form. Which started the debate of ‘aesthetic contemplation to its subjective appreciation’. And for the magazine and others alike this took a hold a debate to what would be published and what is ‘tasteful’.

In the writing, it quoted David Hume who stated that ‘the great variety of Taste, as well as of opinion which prevails in the world, is too obvious not to have fallen under every one’s observation’ (Hume 1965:3). I think at this period it had come to agreement that everyone’s view of taste, and even art that ‘Beauty is in the eyes of the beholder’. So, magazines for fashion and lifestyle became more accepted, as tasteful and things considered untasteful, could still be shared, and rather appreciate the art for whatever it is considered. However, Edmund Burke later stated that he believed that the concept of taste is ‘no more than that faculty or those faculties of the mind’ (Burke 1990: 13), this means everyone has their own preferences and their own ideals of what ‘tasteful’ and therefore become biased with their own preferences to which tasteful should be. From this Hume also acknowledged critics to have a ‘delicacy of imagination’ also showing how individuals opinions are bias.

Furthermore, James Shelly states that ‘the eighteenth-century theory of taste held the judgment of beauty to be immediate; against egoism about virtue, it held the pleasure of beauty to be disinterested’ (Shelly 2009). This tells a story that this time, held judgement by other opinions and not by the technique or context of the artwork. Overall, I feel everyone has their own opinions to what is athletically pleasing artwork and to what is not. Everyone will always have their own taste and preferences, because that is what makes everyone individual. On the contrary though, I do understand where the likes of Hume and other opinions ventured from, as they tried to solve an unsolvable predicament to what makes art successful. At the end of the day art is to the value of its beholder and that could be priceless.

Plato.stanford.edu. (2017). The Concept of the Aesthetic (Stanford Encyclopedia of Philosophy). [online] Available at: https://plato.stanford.edu/entries/aesthetic-concept/  [Accessed 22 Nov. 2017].

History.com Staff (2009). Enlightenment. Available at: http://www.history.com/topics/enlightenment  [Accessed 06 December, 2017].

Jones, J.J. (2009) The Fleeting Art: Fashion and Culture in Eighteenth Century France. St.Leo: Julia Jones

For this task I decided to look at the work of Timorous Beasties, particularly this colourful print from the Omni Splatt collection.

Omni Splatt Wallpaper – Timorous Beasties WIDTH (MM) : 520 REPEAT (MM) : 1860

Bill Jenson’s abstract paintings are widely known for their profound sense of colour and unconventional compositions. His paintings came into prominence with “the return to painting” in the late 70s and early 80s. For Jenson, a painting is only successful when the artists ‘initial impulse and his material properties harmoniously converge.’ Often inspired by Chinese poetry and Buddhism he creates landscape-like abstractions, where shape, line, and intense colour follow unpredictable yet harmonious paths.

Jenson comments, ‘Change is good for art but hard on the artist,’ there

Locus 39″×32″ oil on linen 2001-2003. Courtesy of the artist and Mary Boone Gallery

fore has never really been interested in developing and maintaining his own signature style. I personally like Jenson’s ‘free’ approach to art, and being able to produce what you feel and not be categorized is an excellent way to create more unique pieces of art; all with their own individuality.  So much so, looking more deeply into this specific painting, you can see that individuality. It has allowed Jenson to explore contrasting colours, and freely play with lines. In this painting, I can see inspiration from India through the vibrant colours; it could almost be symbolising the Indian Holi festival. In India Holi is known as the festival of colours. The festival signifies the victory of good over evil, the arrival of spring, end of winter. Therefore, the painting I feel could be symbolistic of love and hope. The rich colours providing warmth and a sense of rejoicement. However, the enjoyment of Jenson’s piece is that it can signify many things. On a second glance, I see inspiration from urban streets, stimulated by vibrant graffiti. His work looks like layered graffiti motifs, with the bright blue at the top covering the hidden messages of the yellow and red paint. His brush strokes almost mimicking that of the smooth rounded outlet of a spray canister.

Brennan, M.B. (2003) The Brooklyn Rail. Available From: https://brooklynrail.org/2003/06/artseen/jensen [Accessed 2003]

Beasties. T.M. Omni Splatt Wallpaper. Available From: http://www.timorousbeasties.com/shop/wallcoverings/1822/omni-splatt/ [Accessed 2017]

Task 9/10-Ethics

Response to Duncan Quinn advertisement

Duncan Quinn’s advertisement image used in 2008 is controversial and found disturbing by many observers. The image raises a number of social issues- particularly from the feminist theory perspective. Some of the choices made by the photographer create cause for concern in terms of morals and what the company perceives as acceptable.

The image shows a fully clothed man dressed in a formal suit standing upright and looking directly into the camera with a smug smirk on his face. In contrast the woman pictured in the left of the photograph is sparsely clothed wearing lace lingerie (which has sexual connotations). She is lying on the bonnet of a car with little of her face visible and is not making eye contact with the camera.

The contrast between the outfit choices for the two models is cause for conversation enough however the most distressing aspects of the image include the use of the tie (one of Duncan Quinn’s best known accessories) being used to strangle the female, held taught by the male. This shows him controlling her while she is animalised and belittled to less than human. Moreover, the unconformable position of the females hand and manner in which her head is leaning back suggests that she is not conscious giving connotations of a rape scene. If not unconscious the woman is certainly subservient to the male while he is on control which is also an unhealthy depiction of any sort of relationship.

The issue with these aspects of the image is that the violence of the man and submissiveness of the woman is not only normalised by being featured in an advertisement but is also glamorized as it is being associated with luxurious and expensive items meaning they may become aspirational.

By associating luxury items with this image the promotion of domestic abuse and rape culture, against women in particular, continues as does inequality of the sexes and oppression. As Duncan Quinn only sells to men the feature of a woman is unnecessary and unrelated to the products meaning that the women is being used simply as a sexual object. But why is she being used as a sexual object if sex and females are not related to the products being sold?

It is commonly believed that ‘sex sells’ and for this reason companies seem to think this justifies their use of imagery that normalizes rape culture violence towards women while allowing oppression and misogyny to continue. However, according to an article by the Business Insider in most cases sex does not actually sell but in most cases instead repels buyers (Business Insider, 2012).

My personal opinion of sexualisation of women in marketing is that it is sexist and damaging for women to be unduly sexualised and objectified when it is not necessary or relevant, particular when men in the same advertisement are not. This is because it reinforced the damaging idea tat women are first and foremost sexual objects. I particularly object to images, such as this by Duncan Quinn, that normalise or glamorize the mistreatment of women. That said I also do not adhere to the idea that women are not sexual at all, like men women can be sexual and enjoy sex but when they decide to be sexualised and feel sexy is their choice and they should feel empowered when doing so, rather than belittled.

Bibliography:

UGA Today (2012). Magazine trends study finds increase in advertising using sex. [online] Available at: http://news.uga.edu/releases/article/magazine-trends-study-finds-increase-in-advertisements-using-sex/ [Accessed 30 Nov. 2017].

Business Insider (2012). Do you think sex sells? Think again. [online] Available at: http://www.businessinsider.com/do-you-think-sex-sells-think-again-2012-4?IR=T [Accessed 30 Nov. 2017].

Duncanquinn.com. (2017). Duncan Quinn. [online] Available at: http://duncanquinn.com/ [Accessed 6 Dec. 2017].

ThoughtCo. (2017). What is Feminist Theory?. [online] Available at: https://www.thoughtco.com/feminist-theory-3026624 [Accessed 7 Dec. 2017].

Task 7/8- Reflective Writing

I focused on the extract named ‘Etymologies and Definitions of Fashion and Clothing’ from the book titled ‘Fashion as Communication’ written by Malcom Barnard. I chose to focus on this chapter as I find the strong mirror image of society in fashion interesting and would like to investigate it further.

The chapter gives an overview of the definition of fashion in terms of the etymology, related terms and it’s prevalence in various societal structures. The etymology of fashion was explored through the word being used as both a noun and a verb as well as the salient link to the latin root of the word fetish (suggesting fashionable items are fetishised items for consumerists).

One particular phrase, of Marx, in the article struck me;

“Every day we make decisions about the social position and role of people we meet based on what they are wearing: we treat their clothes as social hieroglyphics”(Barnard, 1996)

The metaphor of clothing being like hieroglyphics I find to be a very accurate depiction of fashions place and importance within society.

Flügal put forward concept to distinguish whether clothing being worn is fashion or not, he called these modish (fashionable) or fixed clothing. He believed the difference between these types of clothing lay in their relation to time and space. For example modish clothing is widespread but changes rapidly overtime, whereas fixed clothing is in fixed places but changes very little over time. Modish clothing can be exemplified by the current trend of belts being used to pinch the waist of silhouettes that is currently featured in the 2017 AW/W collections of fashion houses globally. In contrast fixed clothing can be exemplified by the traditional Malay dress known as the ‘baju kurong’ the same style of which has been worn for generations in Malaysia and surrounding countries alone.

However, Flügal stating that the modish costume ‘predominates the western world’ (Barnard, 1996) I believe to be outdated and inaccurate. It is a location-bias statement from a western perspective that has not taken the increasingly fast speed at which the Asian market is growing into account. Seoul, South Korea is an ultimate example of a thriving leader in fashion today, as demonstrated by the coverage of 2018 Spring Fashion Week by Vogue. An article by Business Insider also confirms Asia as a growing market through Mulberry expanding to Asia and experiencing an increase in profits. These prove that modish clothing is not exclusive to the western world but is growing elsewhere.

Another criticism of Flügals theory may be that it does not take reoccurring fashion trends into account or the use of vintage clothing. For example the style of the Teddy boys in the 1950’s was partly inspired by American Stars but also used old Edwardian suits. The inspiration of American stars means that the aspect of ‘space’ can be applied as however the use of Edwardian suits from decades previously means that the teddy boy style choice, according to Flügals theory, may mean that their clothing was not modish despite it being a renowned movement in fashion today.

Despite my criticisms of Flügals theory I do believe the general concept is perceptive, interesting and generally applicable when distinguishing between modish or fixed clothing.

Bibliography:

Barnard, M. (1996). Fashion as Communication. 1st ed. London: Routledge, pp.7-24.

Vam.ac.uk. (2017). History of Fashion 1900 – 1970 – Victoria and Albert Museum. [online] Available at: http://www.vam.ac.uk/content/articles/h/history-of-fashion-1900-1970/ [Accessed 7 Dec. 2017].

Aris, G. (2007). The Power and Politics of Dress in Africa.

Pithers, E. (2017). The Autumn/Winter 2017 Trends. [online] Vogue.co.uk. Available at: http://www.vogue.co.uk/gallery/autumn-winter-2017-trends [Accessed 7 Dec. 2017].

Profits, A. (2017). Asia is turbo boosting luxury bag maker Mulberry’s profits. [online] Business Insider. Available at: http://uk.businessinsider.com/rise-in-mulberry-profits-following-asian-expansion-digital-sales-2017-6 [Accessed 7 Dec. 2017].

Vogue. (2017). The Best Street Style From Seoul Fashion Week Spring ’18. [online] Available at: https://www.vogue.com/slideshow/seoul-fashion-week-spring-2018-street-style#9 [Accessed 7 Dec. 2017].

At the start of the semester, I was a little unsure as to what to expect from the Research and Communication module as I had no previous experience of writing about fashion and design. However, as the weeks progressed I found myself actually enjoying the tasks we were given since I felt I was acquiring more in-depth knowledge of my subject that built my confidence.

The first task ‘Online resources’ helped me to familiarise myself with the library and reliable internet sources. We were asked to find a book, website and article, caption each source and write a brief summary of the research process. I chose the brand Liberty because as a textile student I was intrigued by the company’s timeless success and popularity. During the process, I learnt how research can lead to new sources of inspiration: for example, I discovered that there had been an exhibition on Liberty at the V&A, which encouraged me to be more aware of current shows and events. The second task ‘Academic Integrity’ taught me to correctly reference any quotes or imagery that I used in my work to avoid plagiarism. Although I didn’t find these tasks very interesting, they were beneficial to the extent that they enabled me to identify relevant and reliable sources of information, but I wanted to try something a little more challenging.

For the next task ‘Visual Research’ we had to choose a designer and identify at least ten references that influenced their work, then write a short analysis of one selected image. I chose to learn more about the textile artist Clarissa Hulse: her colourful and flamboyant style appealed to me and as she’s a contemporary designer, I thought that I could use social media platforms to support my research. I struggled a bit with this task, possibly because I wasn’t satisfied with the relevance of the images I’d used. I concluded that my choice of designer had limited the range of available sources and had I researched a more celebrated brand the work would have been easier. The analysis, however, was more interesting as I love deconstructing designers’ work and acquiring a more informed knowledge of the piece.

The ‘Reflective writing’ task was a little more time-consuming but perhaps the most interesting topic we were given. Sanda Miller’s chapter on “Taste, Fashion and the French fashion Magazine” included a lot of background history that I was previously unaware of, and so appreciated all the more! I thoroughly enjoyed this task as it presented many interesting issues and concepts. But I felt I had too much to say and my writing perhaps suffered for it. If I had focused on one or two specific ideas from the text, my analysis would have been clearer and more structured.

The most recent task we were given, ‘Ethical issues’, I found the most difficult to write about. I feel very strongly about this topic and struggled to keep my analysis relevant and objective. It definitely enhanced my awareness of contemporary issues whilst underlining the ethical responsibility of designers who have a very public role in society.

Throughout this module, I have learnt to communicate my ideas in an academic context by practising self-expression in a more structured manner. In my studio practice, I have come to appreciate the library as a rich and reliable source of information. I also hope to use the research skills I have acquired to gain a more extensive knowledge of the industry in which I hope to work.

I have always been fascinated with fashion and how it relates to its time. So when I saw the ‘Wearing Propaganda’ book, I was intrigued. The book contained lots of useful pictures and different types of references to the different propaganda fashion in the UK, Japan and the United States. I found this interesting because all these countries listed had their own propaganda. It shows how even at this time, (1921-1949) fashion was increasingly becoming a very important symbol, especially for women at the time; and being accepted for the advertisement of political propaganda.

Atkins, J.M.A., and Dower J.W.D (2005) Wearing Propaganda: Textiles on the Home Front in Japan, Britain, and the United States, 1931-1945. New York: Yale University Press

I wanted to consider more detail about propaganda and found this very interesting website about Propaganda Scarves. What really interested me was the fact these scarves were produced during WWII depicting ‘militaristic iconography, patriotic flags and maps’ and then sold to profit the war effort. It was very fascinating to know that something a trivial as selling scarves could help the war effort, and it showed every means of raising money was accepted. Paired with the fact the prints took a much needed ‘jolly’ twist on the what was a gruesome war.

Alfiesantiques (2014) Propaganda Scarves. Available From: http://alfiesantiques.blogspot.co.uk/2014/01/propaganda-scarves.html [Accessed 24 January 2014]

Finally, I found this newspaper article about the famous ‘Women Also Serve’, which was a political milestone for the acceptance as women as capable workers. And how the efforts of women helped drive the war to success. The article explains simple things that women could do to help the efforts, including something as simple as mending soldier’s clothes.

The Australian Women’s Weekly (1939) Women Also Serve. The Australian Women’s Weekly, 30 December, 30-31.

Sugar Tower (SchimmelMuseum)

Hamburg . 1994 . 445 x 96 x 96 cm

Wood, glass, sugar, food and acrylic paint

I found this interesting art installation in a book by Dieter Ross called Unique pieces. I chose this because of the interesting use of materials used to create this piece; the incorporation of food items such a sugar in an art installation intrigued me. In the description, it tells you its displayed in SchimmelMusuem; Upon heading to the Museums website I find that this Museum brings two floors of Dieter Ross installations to life. I believe this gave his work more of an experience to see and a proper setting to house his installations. The building is described as ‘somewhat mouldy’, and with its slightly worn, damp walls’. The piece I am looking at was from the ‘Sugar Kitchen’ room, however annoyingly on this website there is no explanation about what the sugar kitchens purpose was and why it was created. It just had details about how the little sugar statues were created, which is not what I wanted to know. Apart from a brief description in the Foundation section of the website which stated ‘individual pieces on show to represent each of his creative phases but also their individual mode of presentation’. The mystery behind his work and the museum really intrigued me, especially since Dieter Roth’s most consistent art forms was printing and binding books, which is completely different to his textural almost completely unexpected and random art installations. Upon further looking for more information about the artist I stumbled across another Museum website which housed another of his installations called Hauser & Wirth.

Self Tower(Schimmelmuseum) Hamburg · (Idea: 1969) 1994 · 740 x 77,5 x 77,5 cm Chocolate casts of portrait heads of D. R. as an old man, between sheets of glass, held together by steel supports

‘Fueled by artistic restlessness, Roth’s wildly experimental approach to drawing, printing, and book making eventually found its way into ambitious large-scale sculptural installations’ and ‘shared by the father and son artmaking team, that includes furniture, books, and an array of personal items reflecting not just the Roths’ practice but a defining philosophy in which art and daily life are indivisible. In seeking to pulverize traditional boundaries, Dieter Roth elevated the processes by which things happen, embracing accidents, mutations, and accretions of detail over time.’ So now I start to have an understanding of what his installations in the Schimmel Museum might be about, however it is still very loose.

I decided to revisit the original book for more information about his art installations. Interestingly I found out his introduction of more complex materials such as sausa

Dieter Roth, Zuckerturm (Sugar Tower) (1994-2013)

ge, cheese and this case sugar; was to introduce a fourth dimension to his work – ‘his works were left to age and decompose, two characteristics diametrically opposed to conventional ideas surrounding works of art. In a section called The Dieter Roth Foundation’s Schimmel Museum, I find my answer. The Selbstturm (Sugar Tower), consists of self-portrait busts, recreating a sculpture from 1968, ‘at that time Roth Parodied James Joyce’s A Portrait of the Artist as a Young Man, by portraying himself, then aged 38, as an old man. The towers were described to be arranged in almost military formation, and upon first glance quite menacing.

I look on Spark note to get a brief over view of the book, to see if I can find out anything else; it was genuinely about the life story of a catholic boy and his life struggles, sins and family and about him trying to find wings to become an artist. This leads me to believe that Dieter Roth, maybe was atheist or didn’t like the ‘dreamlike’ approach James Joyce had on being able to become and artist. You could almost argue that Dieter Roth’s sugar statue and even the whole of the Schimmel Museum was an act against the genuine ‘pretty’ artist, and using time and decay was his retaliation to the boundaries of what art can be. And that being an artist wasn’t as simple as ‘finding wings’ and being a in a dreamland, it was a competitive industry and career and required thinking out of the box; which he most certainly did with his Sugar Tower and the whole of the Schimmel Museum.

For this task, I have decided to further look into the chapter form the book ‘fashion as communication’ by Malcom Barnard. After reading through both of the texts a few times I thought it best for to continue with Bernard’s as I personally found it easier to understand and more interesting.

Barnard starts the chapter entitled ‘Etymologies and definitions of fashion and clothing’ by explaining the meaning of the word etymology, that it “is concerned with the origins and development of the meaning of words” (Bernard:  1966). And going on to say that origin of the word ‘fashion’ comes from the Latin word “factico, which means to make or to do”.

A little into the chapter he starts to talk about the relation and difference between the words adornment, dress, clothing and fashion and how at least one of these words will related to the other. I found this exceptionally interesting as it then made me think about what the definitions of each mean to me. Usually I would consider the words ‘clothing’ and ‘fashion’ to be very similar but as Bernard explains “not all fashion is clothing” (Bernard:  1966) I completely agree. Fashion is about much more than just clothes and worn garments, it is an art form, and as everyone knows art is shown through many different ways whether it be painting, sculpting or composing. This all links back with the original statement of the origins of fashion, that its more than just an industry or carrier, it is movement and accomplishment.

Another section of the chapter I found quite compelling was under Fashion and anti-fashion where he examines a claim from the sociologist George Simmel. In this he claims that without both the desire to be a part of a social group and to be individual at the same time ‘Fashion’ would not exist. “The first of these tendency’s is the need for union and the second is the need for isolation.” (Simmel 1971:  295) I think what Simmel is trying to say is that without the influence of others in a ‘social group’ an individual’s style would not evolve, ceasing the need for fashion. However, if the style of all the individuals of the group has morphed into one of the same it poses the same problem. Fashion becomes unnecessary. Without the push society and social groups have on the individual person to be ‘different’ and ‘push boundary’s’ we would be uninspired to create fashion.

To further my research into this statement I found a quote from Mark Tungate in the book ‘Fashion brands’ which he sates “What you choose to wear or not to wear has become a political statement” (Tungate:  2008) I feel this brings what Simmel is saying into modern day as it true that once you have asserted yourself into a social group, that group may be part of a bigger fashion ‘movement’ whether it be ‘goth’, ‘punk’ or more commonly these days ‘hipster’ or ‘indie’. In turn, these larger sub groups carry political association of freedom of dress.

Bibliography:

I have to admit that when I found out we had a Research and Communication module I wasn’t particularly thrilled about it, as writing has never been one of my strengths. For this last task I will be analysing my experience from all previous exercises. Notwithstanding, I have to say that although not every part was enjoyable, it definitely broadened my knowledge and encouraged my own self-discovery.

The module started with Task 1 and 2: Online Resources. I got particularly invested in the research of this first writing and was glad to use a book somehow. I found it such a pleasurable feeling when I was able to link past knowledge and new one together. It was like all the information was just sinking in and I didn’t even have to intentionally learn it.

For my second piece of writing: Academic Integrity, I searched one of my favourite artists, Yayoi Kusama. Something I thought would help, however, I was feeling completely uninspired and my research felt quite vague. Nothing, not even websites or books were supporting my thoughts. For this reason, I decided to look for more dynamic and visual sources of information such as videos. These were told first-hand by the artist and were very useful.

Task 5 and 6 was all about Visual Research. I was surprised to find out that this time I was enjoying myself. I guess that thanks to the experience from previous tasks I started finding which process helped me best to potentiate my skills. Instead the mood board was slightly challenging, as a tactile person, having to create a computerised version supposed an added difficulty.

The following exercise was Reflective writing something that required academic reading. This one was definitely the most time-consuming and difficult. I needed to constantly push it aside to let the ideas sink in. For instance, there was so much to talk about and so many complex concepts that it was hard to select and keep the work count to only 500 words.

 My “final” task, number 9 and 10 was Ethical Issues.  This was the only task I found myself looking forward to write. I am genuinely concerned about this topic and it was a wonderful experience to be able to know more about it. I was so pleased to find myself using words with quite precise meanings. Not all the time, however, did I have the exact word in mind, so I, likewise, searched for extra synonyms or word definitions to make sure that the text were varied and fluid.

Writing, in my opinion, is complicated but it is essential to be able to communicate our thoughts through this media. Although I learnt a lot, I realise still how many online sources I used. Something I believe must be improved. On the other hand, I absolutely loved the creative freedom we where given. Improving in this aspect is all about practise and dedication and this has showed me that the harder I push myself, the greater things I am able to produce.