At this stage, I still want to focus on the fact that my first draft of my dissertation is due by the end of Week 9, but I am continuing my research and looking for stories and objects.

1. Archived Industrial Images:
2. Finally Seeing SEEP:
3. To Do:
4. Group Tutorial:
   1. Development with the new direction:
   2. Appointments:
      1. Mitchell Library:
      2. GSA Archives:
5. Identity:
   1. Font:
      1. Initial selection:
      2. Font Test 2: Process of elimination
      3. Final font selection:
   2. Project Visual Plan:
6. Reflection – 8th May 2026:

Over the weekend, on my way to Edinburgh for my friend Neil’s stag do, I had a conversation with another friend of mine, Keir, whose grandfather had worked on one of the bridges we passed, who then became the bridgemaster for that same bridge and who then stopped a man from jumping off the bridge, saving his life.

I’ve asked Keir to allow me to include this story and one of his grandfather’s belongings because this is exactly the sort of thing I’m looking for: a normal man who worked his life and, during that life, stepped up to save another man’s, without wanting or needing accolades.

Through the early stages of these two stories I have so far, the photography of Robert G Taylor and now the story of Keir’s family, the throughline is one of Glasgow’s industrial past. This topic has been covered more than enough, but I want to focus on the people who made it happen.

Archived Industrial Images:

Looking through the Trove Digital Archive and searching for Clydebank now with this vision of people and Glasgows industrial past has narrowed my search, below is some images taken from the archive that caught my eye either for their artistic vision or the potential to use them within my work somewhere.

https://www.trove.scot/search?q=clydebank&page_type=Digital%20Images&viewmode=grid

With this gallery of collected archival images, I wanted to paint the visual and linguistic image of the work. I think that black-and-white images with choice colours, or full-colour images with them, will draw more attention to them, highlighting certain aspects, people, or places.

Another detail I want to point out with some of these images is the difference in scale, the relationship between the structures and the people that build them.

Finally Seeing SEEP:

It was long-awaited, as the exhibition was either closed or I was busy, but I finally got in to see it and was not disappointed by the level of multimedia output, but still by the amount of consideration and attention that went into displaying these pieces in such a way.

In such a small space, they used the space efficiently, considering the room’s height as well as the audience and eye levels. Even something as simple as elevating the projection felt like a dynamic use of the space, the spaces created by walls that made them feel like almost different rooms.

The use of light, and even multiple light sources, to either highlight or provide dynamic lighting for the exhibition itself.

When looking at the videos shown the mix of speaker audio on the larger more focused custom built rig and the personal headphone output, the only problem that I personally had with it was that one custom rig was welded metal and the other was a wooden set up for the projection stand and I understand that both are the exposed material but personally I would have liked if they both were the same material.

To Do:

Getting myself back on track.

• Keep looking for the objects and stories of the people in Glasgow and Clydebank.

At the moment, I have contacted people about stories and turned to my family and friends to try and find them as well. I have now been in contact with Barbra at the Glasgow Archives in the Mitchell Library, though, so that’s another line to follow. I am worried that I won’t find the stories I’m looking for and that this might have been too big an ask.

• Develop the exhibition that I will put on when I have these stories. How will I display the work? How will I realise the stories and objects that I have collected, with the same respect and consideration I have seen in SEEP?

I think it might be a good use of my time to get a stand in object or a collection of stand in objects that I can then start to develop with and realise so that when I do have the stories and objects I can insert them in and find out any issues or developments before I have peoples things and stories so that I might make them proud of the output and show the stories and objects respect.

• Tidy up my Design Domain digital form sculpture for TechTonic.

I won’t let it get in my way, but I would like to allocate some time to the Design Domain VR sculpture so that I may display it confidently at the exhibition. I want to tidy it up and implement some things that make it impossible to break or wander.

• Continue developing the REDACTED night.

I want to continue dedicating my weekends to REDACTED at ISO with Pav and facilitate the guys on making a great show and showcasing their talents and abilities, as well as showcasing my capabilities to those in the field.

Continue researching and writing my essay

Even though I have sent away the draft, I still want to continue working on it, writing the second half to a passable level and then once I have the feedback, redraft the essay.

• Extended Design development

Extended Design will take a back seat until semester two, once everything else is sorted and the essay is submitted then I can focus on Extended Design and give it the time it requires.

Group Tutorial:

Initially, I was worried about the group tutorial and felt like I didn’t have enough to show because I’ve got bogged down in trying to find the story and the object, but after talking about my project with Paul and the guys, helping me think less about the story and the object and more about how it’s shown, it reminds me of what Nicholas Oddy said:

It’s less about the object and what the facts are and more about the story and how it’s told.

Development with the new direction:

Below is an initial sketch and development considering the new direction for my project and how I will display the research and artefacts, with more of a focus on the soul of the story and the artistic expression of my final year, instead of being too literal, which I often struggle with when it comes to design work.

The three sketches above show the development and detachment from the usual work seen in exhibitions, and, building on that, I used exhibition displays that I felt communicated well as a starting point, and I believed that I could then.

Appointments:

Mitchell Library:

I have an appointment with the archivists at the Mitchell Library on Wednesday, the 3rd of December, to look through the most recent Glasgow Poor Relief records with a request for any stories that tie to Clydebank or industry. Under the Information Act, the records from 100 years ago are the only ones I can access, but they might still be informative.

GSA Archives:

I have also been in contact with the GSA archives and messaged them to ask them to contact Katie, whom I met when I tagged along to the year 3 scanning days at the archives, who asked me to contact her with any questions or requests for access to the archives. With the new direction I have now, I feel more confident about what to ask for, since it’s less specific or tied to the objects.

Identity:

Font:

Initial selection:

Font Test 2: Process of elimination

Final font selection:

Through the process of elimination, I decided on the font New Science Serif, as it met the requirements I had set myself for the project identity: Clean, clear, impactful, versatile, and fitting with Glasgow and Clydebank’s industrial history.

As my plan is to lean into the industrial history within this project and have a textural aspect as well, the font should be harmonious with that texture and theme.

Project Visual Plan:

Reflection – 8th May 2026:

Before handing in, I want to look back at the whole project and reflect on each step of the process now with the hindsight that I have at the hand in date:

When revisiting weeks 9 & 10, I can start to see the beginnings of what my project is going to become, the style, the focus on the medium of photography, the focus of that photography being Glasgow and its people, as well as the idea that I would produce a museum-style display to excite and inform people of a subject that I’m interested in as well.

1. Collecting Images:
   1. Typographic History:
   2. Photographic History of Clydebank:
   3. Personal Object Stories:
2. War and Peace of a Garden Exhibition:
3. Write a brief:
4. Chat with Gillian:
5. Finding the Stories:
6. First Contact:
7. Clydebank Industry:
   1. John Brown and Company Ltd.
   2. Singer Sewing Machine:
8. Making the Questionnaire:
   1. Reflection – 8th May 2026:

Week 7 has been an independent study week, and I’ve used this time to focus on finishing the first draft of my dissertation and planning.

Collecting Images:

Typographic History:

Even from old painted signs of businesses on the wall can tell the story of people, their lives, the times they lived, the state and style of Glasgow at the time.

Photographic History of Clydebank:

A collection of archival photography from Clydebank’s history, the main draw of these is the people of Clydebank.

Personal Object Stories:

Recently I have snapped my house key, it sits in my flat as a reminder but now I have a story, emotions and a time and story in my life of the time.

War and Peace of a Garden Exhibition:

My main focus with the ‘War and Peace of a Garden Exhibition’ was the character communicated through it, I felt a greater connection just through the amount of care and attention the display and layout of the objects. The ability to do so much in such a small amount of space.

Write a brief:

Chat with Gillian:

Finding the Stories:

The main hurdle I’m facing now is that I do not have the specific stories and objects to focus my work on. As Gillian advised, I need to find the story and the objects, and then all the work and set-up I’ve done can be put to good use.

This message was also stated by Jeremy Sutton-Hibbert:

‘Just get out and do the work and it’ll all come eventually, you’ll find your way.”

Following good advice, my next step is to go out and find the stories. My only concern is that people spend a lot of time trying to find what they consider the ‘best story’. I don’t have years to search, so I’ve contacted the people who might know, on the off chance they can point me in the right direction. I have emailed:

• The Clydebank Post
• The Clydebank Post Photography Club
• Clydebank Museum and Local History & Archives
• Hub Singer Camera Club

I need to revisit the idea of crowd-sourcing these stories and objects, be that online or by making posters and then posting them around Glasgow, Clydebank, and more of West Dunbartonshire. As well as physical posters I think it will be useful to utilise the community of local groups online and in social media, after a conversation with Lil and her suggestion of the app Nextdoor and putting posts on asking for objects and inputs, or doing the same on Facebook Marketplace and asking for stories for the objects they’re selling.

First Contact:

After sending out a number of emails, I received a reply from Rab Taylor of the Hub Singer Camera Club, who let me know that his father, Robert G Taylor, was an avid photographer and that he had scanned his father’s photography from the 50’s and 60’s.

https://www.flickr.com/photos/scotwars/albums/72157626892467809/with/5857843115

Robert G Taylor:

Above is a few of the photos I’ve selected from the archive that Rab has supplied, personally these photos appealed to me the most, either for his portrait photgraphy work or even just the snap shot into the lives of life at that time.

I know these locations and streets so well, but they are also so different and alien to me, seen in this era.

I’ve emailed Rab to ask more about his father, his photography, whether there are any objects that remind him of his father, and whether he would mind that his father and the photography be included in my piece.

Clydebank Industry:

When thinking about making a poster to ask people for stories and objects, I thought that looking at two of Clydebank’s biggest historical businesses would inform my use of font and style to reflect that time.

John Brown and Company Ltd.

Singer Sewing Machine:

Making the Questionnaire:

https://docs.google.com/forms/d/1950KIxeIo0919NlAQ9BsuvcX7xjPL8Cyq3GrrmLmLtc/edit

At the moment, the questionnaire isn’t live because it asks for people’s names and contact information, so an ethics form must be completed.

I’m also working on posters and posts for the online communities on social media to ask for their input.

Reflection – 8th May 2026:

Before handing in, I want to look back at the whole project and reflect on each step of the process now with the hindsight that I have at the hand in date:

Looking back at weeks 7 & 8, I can see myself leaning more towards photography and the history of the places I grew up in, namely Clydebank and Dumbarton. Looking back after knowing that focus was on Robert Trotter later in the project, who grew up in Dumbarton, the direction I took feels clearer and more obvious, even though at this point in my project, I had no solid idea and was trusting the creative process.

1. Initial thoughts:
   1. QR Code:
      1. Idea 01:
      2. Idea 02:
   2. Chandelier:
      1. Idea 01:
      2. Possible Locations:
         1. GoMA:
         2. Nobel Peace Centre:
         3. United Nations Headquarters:
2. Start Point:
   1. Considerations:
   2. Previous Prototype Sketches:
   3. Previous Prototype Documentation:
3. Extending Design Group Tutorial Notes:
   1. Unity Models:
   2. Simplification:
4. Tutorial with Cat:
   1. Glasgow’s Sister Cities:
      1. Where in those cities?
         1. Glasgow, Scotland:
         2. Nuremberg, Germany:
         3. Dalian, China:
         4. Havana, Cuba:
         5. Turin, Italy:
         6. Lahore, Pakistan:
         7. Marseille, France:
         8. Bethlehem, Palestine:
         9. Pittsburgh, United States of America:
         10. Mykolaiv, Ukraine:
   2. Colour Schemes:
5. Pitch Document:
   1. Pitch Doc Writing:
   2. Blender Renders:
   3. Pitch Doc Version One:
   4. Extending Design Review:
   5. Blender Renders at GoMA:
   6. 2D Illustration:
      1. Jan-Dec light changing:
   7. Extended Design Feedback:
   8. Extending Design Final:
   9. Reflection:

Initial thoughts:

QR Code:

Today, the QR Code is slapped on the bottom of forms, screens, and posters with very little thought, a second thought. With this work, I want to put the QR code at the front, make it the main focus and explore the idea that it is a portal of information.

Idea 01:

With this concept, I want the footage to be just as polished as the sculpture and have the relationship between them to be clear and cohesive.

Idea 02:

Another idea is to create an interactive sculpture with spinable pieces so users can create their own QR code and see where it leads.

Obviously, the QR codes will need to be tested to avoid accidentally scanning anything rude.

Chandelier:

Idea 01:

At this moment, I think another possible idea would be to carry my Expressive Data project from last year forward as the extended design project.

This button will take you to this project for a more in-depth look.

During the development of that project the idea was floated that this chandelier or collection of chandeliers is more akin to a light sculpture and data visualisation, and that it would be very fitting in places such as the United Nations headquarters in New York or the Nobel Peace Centre in Oslo, so remembering this I have asked a friend of mine, Elias, who might be working with the Nobel Peace Centre in Oslo for his masters.

Possible Locations:

GoMA:

As the GoMA is well known to me, it was one of the first places I considered for Extending Design. It’s easily accessible, and the space is open and dynamic. Here, I have shown the main hall as I think it would be a space for showcasing all of the chandeliers. Still, as I write this, I remember the balcony area and how one of the chandeliers would hang down through all 3 levels, allowing an up-close look at one of them.

The GoMA would also be ideal for the QR code sculptures within the space, displayed as shown above, completely open and well-lit, with natural light flooding the space.

Nobel Peace Centre:

The Nobel Peace Centre in Oslo was initially mentioned when the project extending the Design was first undertaken, as it focuses on rewarding those who seek to bring peace and improve the well-being of mankind. I feel that a piece focusing on the beauty of the human routine would be warmly welcomed there. The Nobel Peace Centre is also no stranger to hosting art exhibitions that align with its own mission.

United Nations Headquarters:

As mentioned previously, the Nobel Peace Centre is an organisation that aims to achieve and maintain peace worldwide. As a place of work, I think the chandelier hanging in the space can be a gentle reminder of why they do what they do, to actively see a small representation of the lives they help.

Start Point:

Now that Extending DesiDesign officially started and I have had time away, I have settled on my plan and idea for it going forward. I will use my chandelier data visualisation, which will be displayed as a long-term light sculpture at one of the previously discussed locations above.

The piece will be a series of data-visualisation chandeliers that use programmed NeoPixels to display the activities of people’s day-to-day lives from around the world. A colour corresponding to the person’s recorded activities will then be displayed on their tube.

Considerations:

Off the top of my head, there are a few things I want to note so I don’t forget them:

• Light – How light is the space, with the chandeliers’ light visible during the day? How bright will the light it produces be? What colours will be used to indicate what actions? What connotations do those colours have to different cultures? Are the colours unified across each chandelier, or are they personalised for each country/region/continent represented?
• Who – Who will the chandeliers be representing? And where are they from?
• Material – What material will be used? How long will the material last? The materials need to be strong enough yet light enough to hang, and the tubes themselves must allow light to pass through.
• Construction – If this is long form and it has to hang from the ceiling for several years, it must be built to withstand the usual wear and tear of ageing.
• Run time: As the chandelier changes throughout the day, when will it start, and when will it finish? Will it be 1:1, 100% accurate, or as the organisation’s workers start their shift?

Previous Prototype Sketches:

Above are the initial sketches of the chandelier design, with a possible final version in the top right of the page. I was envisaging the final chandelier design with two levels, maybe three, with one smaller than the other, and tubes of different sizes to correspond to different humans, of course, of different shapes.

Above are the development sketches of the smaller-scale prototype, with more consideration of how the tubes might be suspended when displayed.

When considering larger versions of the chandelier, the materials and suspension techniques will be closely tied together; the heavier the material or the more tubes, the greater the support required.

Previous Prototype Documentation:

Here is some initial project documentation showing how the light system will start at white and then change to colours as activities are logged throughout the day.

Extending Design Group Tutorial Notes:

Unity Models:

I have since moved to Blender, but the initial idea was to work in Unity, build the whole scene, and then export it to a Unity VR scene.

I didn’t go with that because I didn’t give myself enough time, and because I remembered that Unity VR has trouble with multiple light sources and even more trouble with coloured light sources.

Simplification:

After my conversation with Gillian, it became clear that several questions needed to be answered, and those answers would shape the project’s future direction.

• What is the data?
• Where is the piece going?
• Who is the piece for?

I think these 3 questions are all interlinked, feeding into one another.

With the new direction, the question of the data was answered with simplification. The data I had was hard to communicate because I was tied to the idea of it being in a public or semi-public place rather than a closed-off gallery, so I had to simplify it so people could understand it at a glance, and if it’s going to be in Glasgow or anywhere else in the world, then what is the simple constant, weather.

When considering location, both in terms of the type of location and its position on the globe, it can be affected by the idea that the data is weather data. What is a meaningful location? If Glasgow, then where in Glasgow or anywhere else in Scotland? East and West? Glasgow and Edinburgh? And what building, somewhere public but open enough for people to appreciate the work. Or, combining those ideas, is a light piece in Edinburgh that shows the weather in Glasgow and vice versa.

And who is it for? This builds on the previous incarnation of the project, which is for the public/semi-public; the piece makes more sense to be seen by others rather than hidden away in a gallery. In this iteration, I’d like to either open the public’s eyes to data visualisation or the weather of Scotland.

Expanding this further, it could encompass more of Scotland and its weather, a collection of chandeliers scattered across Scotland, each showing the opposite ends of the weather, North to South, East to West.

Tutorial with Cat:

After focusing on the WIP for the most part, it’s time to get back into the swing of things and also focus on Extending Design and the studio.

After the tutorial with Cat, I had a clear idea of how to take my project further, and the most important feedback was to trust myself and make a decision rather than double-guess or overthink each step.

The four paths that developed in my notes were firstly between whether to showcase weather in the tubes of light using light and colour, such as a warm yellow for a sunny day, or to stick to a simple understood colour convention when it comes to weather, or to show time of day with either a warm glow or a deep blue.

And the second was whether the locations represented are places named Glasgow around the world, showing places where Glaswegians emigrated, or Glasgow’s official sister cities, to promote that connection and the partnership of culture and education across the globe.

After my chat with Cat, I think the power of this piece lies in its simplicity: the fewer the data options I have, the more it reveals. For example,s whether it’s day or night. For the locations, I think the more official route of Glasgow’s sister cities will give the piece more focus in terms of creative direction and add a worldwide scope.

Glasgow’s Sister Cities:

• Nuremberg, Germany -1985:One of the oldest partnerships, focusing on culture and civic cooperation, says the Glasgow City Council.
• Dalian, China -1997: Focuses on trade, port operations, and cultural exchanges.
• Havana, Cuba -2002: A partnership focusing on cultural and educational initiatives.
• Turin, Italy -since 2003: Focuses on tourism, cultural exchange, and industrial heritage.
• Lahore, Pakistan -2006: Focuses on educational and economic partnerships.
• Marseille, France -2006: Focuses on hospitality partnerships and maritime/industrial history.
• Bethlehem, Palestine -2007: Focuses on peacebuilding and cultural exchange.
• Pittsburgh, USA -2021: Focused on industrial heritage, environmental initiatives, and economic development.
• Mykolaiv, Ukraine -2024: A partnership focusing on solidarity and shared shipbuilding history.

• Nuremberg, Germany – 1 hour ahead of Glasgow.
• Dalian, China – 8 Hours ahead of Glasgow.
• Havana, Cuba – 4 hours behind Glasgow.
• Turin, Italy – 1 Hour ahead of Glasgow.
• Lahore, Pakistan – 5 Hours ahead of Glasgow.
• Marseille, France – 1 Hour ahead of Glasgow.
• Bethlehem, Palestine – 2 Hours ahead of Glasgow.
• Pittsburgh, USA – 4 Hours behind Glasgow.
• Mykolaiv, Ukraine – 2 Hours ahead of Glasgow.

9 cities mean 9 columns of light, each changing colour depending on the time of day in each city.

Even though this is prompted by a government scheme, I think it should be held in galleries or Public places in each country. Either central galleries in each town or publicly accessible buildings, government or otherwise.

Where in those cities?

Each of the galleries or museums listed below was considered for either the space they occupy or their geographical location, and the main goal of this work is to connect these cities and their people.

The images below show the exterior and interior of the gallery, where I initially imagined the piece would be hung.

Glasgow, Scotland:

The Gallery of Modern Art

The GoMA in Glasgow was chosen both for its size and its location in the centre of Glasgow, the starting point of this piece.

Nuremberg, Germany:

The Kunsthalle Nürnberg ( Art Gallery)

The Kunsthalle Nürnberg was chosen, similar to its Glasgow counterpart, for its size and location.

Dalian, China:

Dalian Modern Museum

Havana, Cuba:

Factoria Habana Art Gallery

Turin, Italy:

The Turin Civic Gallery of Modern and Contemporary Art

Lahore, Pakistan:

Alhamra Art Center

Marseille, France:

[mac] Musee d’art contemporain de la Ville de Marseille

Bethlehem, Palestine:

Dar Yusuf Nasri Jacir for Art and Research

Pittsburgh, United States of America:

Mattress Factory Contemporary Art Museum

Mykolaiv, Ukraine:

Gallery

Unlike the other selections, the single room in the ‘Gallery’ would be overpowered by the large light sculpture. At this point, I’m considering two options, where each gallery has its own version of the light sculpture, or I lean into the difference and fill this room with the piece. There are other galleries with larger spaces, but they would not be in Mykolaiv, a sister city.

Colour Schemes:

If the data is the time of day, then it can’t be either on or off because that would confuse the audience, not knowing if it’s broken or not, so still considering that I will use some sort of programmable light, then there will have to be a colour value to each stage, night, dusk/dawn and day.

The first image is a simple 3-stage colour scheme for night, sunrise/ sunset and day.

The second has transitional colours between each stage during the day.

Pitch Document:

Pitch Doc Writing:

Blender Renders:

The basic renders in Blender gave me a better idea of the piece’s size and scale, and, with some help from Marco, how the material would react to the lights. To a certain extent, I know that it will not be the exact same, but close enough for the purpose of the proposal.

Pitch Doc Version One:

Extending Design Review:

After the Extending Design review, the main points for improvement were things I think I’ve been struggling with for the entire year, assuming.

I knew the ins and outs of this project and then, without thinking, just assumed that everyone else did as well. I can often see things so clearly in my head that it seems obvious to me, but I took the feedback from Paul and Cat on board and included more images, illustrations and some of it in the situation as well as HMRA referencing.

Blender Renders at GoMA:

With a quick trip to the GoMA and some pictures, I was able to put those snapshots into Blender and render them out, gaining a better understanding of how the final render would look. As well as giving the reader a better idea of scale beforehand, the background of a void didn’t help communicate scale.

2D Illustration:

Jan-Dec light changing:

The abstract illustrations above show how the piece will change over the year, using the average of each month’s weather to assign a colour.

Extended Design Feedback:

After Cat’s detailed feedback, I went through each page and fixed the items she highlighted. Before, it was just a rush job, of me not taking the time to reread my writing and getting too focused on the images and everything else in the document. But after another late night working on it, I feel like it’s in a good place, as is this learning journal.

Extending Design Final:

Reflection:

I’ll be honest, at a point in this project, I couldn’t wait to see the end of it; it just felt like another thing on my plate, and I was envious of my colleagues who had already finished their DH&T, but after it or at some point towards the end, I’m thankful because of two things this project had taught me.

The first being my ability to ‘lock in’ and produce work when I get out of my own way. Paul talks about some people who have a ‘good eye’ for things like style, design and composition. I think I have that good eye, but I just need to trust it more.

And the second is my love and enjoyment for this style of writing and graphic design, I had fallen out of love with it in recent years and seen it as something that wasnt my main focus anymore and it doesnt have to be but it doesnt have to be ignored, and showing my fellow forth years my work and them seemingly liking it as well as asking for pointers made me sure of that passion and that I enjoy sharing it.

1. Asking the experts:
   1. Bruce Peter
   2. Nicholas Oddy:
2. Show and Tell:
   1. Thoughts after show and tell:
   2. Looking for artistic inspiration:
      1. Bruce Mclean – Pose Work for Plinths:
      2. Jim Lambie
      3. Oscar Marzaroli
      4. Peter Degnan :
3. Chat with Gillian:
4. Scottish Poetry:
   1. Glasgow:
5. More Soul Searching:
6. Show and Tell Feedback:
7. Tagging along to the Archives :
8. Jeremy Sutton-Hibbert:
9. Reflection – 8th May 2026:

Asking the experts:

Bruce Peter

Nicholas Oddy:

Show and Tell:

Thoughts after show and tell:

After ‘Show and Tell,’ I didn’t feel I had done my project justice in either my work or my presentation. I wasn’t very sure or very confident in my work in front of others because I felt like their work was better, or at least more artistic. I think I need to be less focused on design and more artistic in my practice.

You can’t help but be a designer, so be an artist. You’ll be a designer anyway.

Mikhail did give me a good photographer to look into who has a trio of zines of ship building on the clyde and the working, his work shows the tones and scale of the shipyards.

https://www.jeremysuttonhibbert.com/photography-books-zines-prints-scotland

Looking for artistic inspiration:

Looking to Scottish artists for artistic inspiration, I imagine if their art has been influenced by their lives in Scotland, then so will I and maybe shake something loose.

Bruce Mclean – Pose Work for Plinths:

The striking visuals of McLean contorting himself on and around the three plinths didn’t initially seem like my type of performance work, but the more I enjoy these stills, the more I appreciate them.

Jim Lambie

With Jim Lambie’s work, I just get sucked into the attention to detail, the vibrancy, and the fact that it’s informed by its surroundings. Each of his floor pieces is the way it is because of the room it’s in.

Oscar Marzaroli

Oscar Marzaroli’s photography is the kind of work that makes me jealous because I wish I had done it, the hard light and hard shadows of Glasgow and how he captured Glasgow at that time.

Peter Degnan :

Peter Degnan’s photography of The Barras, in particular, caught my eye; it’s the amount of detail and storytelling clues in his shots that really draw me in.

Chat with Gillian:

See things to their conclusion, don’t stop too early and move on to the next thing without exploring it fully.

With the typographic experimentation I had explored one tone, come reading from one poet and one style that fit those parameters, to analyse it thoroughly, I need to look into how different tones and different images add to the experience and the storytelling, how the harmonious relationship between audio, in whatever form, and the visuals tell the story.

Scottish Poetry:

Glasgow:

Sing, Poet, ’tis a merry world;
That cottage smoke is rolled and curled
In sport, that every moss
Is happy, every inch of soil;—
Before me runs a road of toil
With my grave cut across.
Sing, trailing showers and breezy downs —
I know the tragic hearts of towns.

City! I am true son of thine;
Ne’er dwelt I where great mornings shine
Around the bleating pens;
Ne’er by the rivulets I strayed,
And ne’er upon my childhood weighed
The silence of the glens.
Instead of shores where ocean beats,
I hear the ebb and flow of streets. …

Afar, one summer, I was borne;
Through golden vapours of the morn,
I heard the hills of sheep:
I trod with a wild ecstasy
The bright fringe of the living sea:
And on a ruined keep
I sat, and watched an endless plain
Blacken beneath the gloom of rain.

O fair the lightly sprinkled waste,
O’er which a laughing shower has raced!
O fair the April shoots!
O fair the woods on summer days,
While a blue hyacinthine haze
Is dreaming round the roots!
In thee, O city! I discern
Another beauty, sad and stern.

Draw thy fierce streams of blinding ore,
Smite on a thousand anvils, roar
Down to the harbour-bars;
Smoulder in smoky sunsets, flare
On rainy nights, while street and square
Lie empty to the stars.
From terrace proud to alley base,
I know thee as my mother’s face.

When sunset bathes thee in his gold,
In wreaths of bronze thy sides are rolled,
Thy smoke is dusty fire;
And from the glory round thee poured,
A sunbeam like an angel’s sword
Shivers upon a spire.
Thus have I watched thee, Terror! Dream!
While the blue Night crept up the stream…

But all these sights and sounds are strange;
Then wherefore from thee should I range?
Thou hast my kith and kin;
My childhood, youth, and manhood brave;
Thou hast that unforgotten grave
Within thy central din.
A sacredness of love and death
Dwells in thy noise and smoky breath.

Glasgow

It was so fine we lingered there for hours.
The long broad streets shone strongly after rain.
Sunset blinded the tremble of the crane
we watched from, dazed the heliport-towers.
The mile-high buildings flashed, flushed, greyed, went dark,
greyed, flushed, flashed, chameleons under flak
of cloud and sun. The last far thunder-sack
ripped and spilled its grumble. Ziggurat-stark,
a power-house reflected in the lead
of the old twilight river leapt alive
lit up at every window, and a boat
of students rowed past, slid from black to red
into the blaze. But where will they arrive
with all, boat, city, earth, like them, afloat?

Clydegrad

As fast as Glasgow burned its theatres to the ground
it built them back again – we couldn’t do
without our plays and tunes, we need a dance
and song to keep us going. This gaff’s given us
the lot: couthie comics, rude rhymes, romance,
camp and catchphrase, flicks (with music), Ali Baba’s
thieves, diverse monsters (Mary Shelley’s, Columba’s),
wafting Rhine Maidens, our very own Marie Loftus,
a masked ball, a harlequinade, a circus,
Dan Leno’s Orlando Dando, Henry Irving,
and Sarah Bernhardt for one matinée only –
not to mention the sensational telly
(One O’Clock Gang still daft in the memory).

Whatever walls come down, go up, go round,
this magic box holds all, swirling, birling
in the waiting darkness the works shine through.

The Theatre Royal’s Gorgeous Transformation to the Hall of a Thousand Lights

Out of this ugliness may come
some day, so beautiful a flower
that men will wonder at that hour,
remembering smoke and flowerless slum,
and ask ,
glimpsing the agony
of the slaves who wrestle to be free
‘But why were all the poets dumb?’

Glasgow Street

More Soul Searching:

What is at the heart of this? What is the soul of it?

During the weekend, I again had another breakthrough and a meaningful conversation. With Lexie, I discussed what I loved, but I didn’t really have an answer beyond design. I have always loved it, and I practice design thinking, streamlining interactions and processes even when I was working a retail job in Dunelm in Clydebank:

In the bulb section for years, it was a mess, no one could find out where the correct bulb was and staff couldn’t accurately count or stock these bulbs because of that mess, there was no system in place and anything that anyone tried over the years make technical sense because of the barcode on them or the stock levels and how often the had to be restocked but they didn’t consider how people actually thought, so inspired by all those design books I read, Don Norman obviously, I designed a system that within groups of fittings, from left to right, as we read in the west, went from smallest wattage to largest and then again from left to right prioritised the most common light temperature to the least (warm to cool). The customer could come up and, by process of elimination, identify the type of fitting, the wattage they needed, and the colour of light they wanted.

Why am I waxing on about how proud I am of the design of this bulb selection in a retail store that I don’t even work at anymore? Because I loved doing it, and I loved how much easier and simpler it made a small section of people’s lives — and yes, the store’s employees were very thankful —but no customer considered what system was in place or who had done it.

Design is the heart of it.

And with the soul, when I was younger, I didn’t really have much nostalgia for anything, as all young children of that age do. Still, when I was a teenager, I think at 16, just before my exams, I had a house fire and a lot of the things from my childhood, memories, heirlooms from people that had passed went up in flames due to a poorly designed old extractor fan in the toilet, it had went through the walls and up into the the loft and anything the fire didn’t get the water damage from the firefighters seen to it. I didn’t think it had affected me, but to this day, that smell puts me on edge. But not until recently did I realise that, after that, I long for the things I took for granted; I collect things; I don’t throw out things I should; I put so much importance on the objects in our lives and on the objects that people give us or leave to us. And the added fuel to the fire, horrible pun, my memory is horrible until I have something that triggers those memories, a sight, a smell, the texture of an object in my hand. To remember the things I’ve done and the people in my life, I have objects that transport me back to those moments in perfect detail.

The soul of it is the objects and heirlooms that remind me of my life and the people, places, and experiences in it.

I was distancing myself beforehand, but I should embrace it.

Show and Tell Feedback:

Show & Tell 21.10.25

This is a good start. You reflected on previous work to find a direction for YR4. Although a bit unfocused to start, you have found your topic: museum exhibitions, storytelling engagement, and communication. ‘Museology’ is a cross-disciplinary field within cultural heritage and museums that has become more visitor-focused in its communication of cultural and scientific heritage. Visitors now expect interactive media, immersive installations and themed galleries to bring heritage/history to life.

You have already carried out some research in this field, but perhaps you could be more forensic about what each company you’ve researched does well. This may help you identify how to bring this to your own work, e.g., film, motion sensing, interaction, 2D animation, etc.  

You have decided to use the town of Clydebank (its stories, history, and people) to build your project. The town has rich historical resources, objects and a wider thematic context.

Write yourself a ‘Digital Exhibit Brief’ for this project — specify a venue (e.g. a gallery in the V&A Dundee or Burrell) and/or format. You should include details on the work’s proposed materials, scale, and technical requirements. This would provide you with a framework for your creative response. You intend to make a collection of objects that tell the story of your chosen theme (Clydebank, Shipbuilding in Clydebank, Singer, etc.). You then decide what shape this takes.

Links:

Inese Verebe — https://ineseverebeixd.wordpress.com/year-4/

Matthew Trainer — https://readymag.website/u2746679248/mattrose/

Seep Exhibition, Reid Gallery — https://www.instagram.com/p/DP3gbJaiIBM/

Action for next Show & Tell:

• Continue to add to your Learning Journal. Consider categorisation, perhaps use Weeks – Week1-2, Week 3-4, etc. or months. Perhaps add subheadings to identify changes in direction/additional topics, artist influences, technical developments, etc.
• Write yourself a brief.
• Create 2 or 3 studies using your preferred medium, 2D animation, photography, AR, or interaction. Push each of the studies as far as you can and see where that takes you before moving on to the next

Tagging along to the Archives :

I emailed the archives and heard nothing back, so when I heard that Sean and Lexie were going to meet Neil to do some scanning of their object for their project, I tagged along on the off chance that I would gain some knowledge and as well as learning more about how to scan in objects and stitching together the photographed images, I also got into contact with Katie In the archives that was so helpful and that if I needed anything or had any question to contact her.

So not a waste of time at all.

Jeremy Sutton-Hibbert:

Initially, one of my photographic inspirations, Sutton Hibbert’s, was so appealing that I ordered a 3-set of his photography zines and also contacted him on the off chance to seek guidance, and he very promptly responded.

Reflection – 8th May 2026:

Before handing in, I want to look back at the whole project and reflect on each step of the process now with the hindsight that I have at the hand in date:

Looking through weeks 5 & 6, I can see the passion for others’ work and the throughline of Scotland and Scottishness within my work and inspiration, as well as my love and appreciation for photography and how that has then gone on to influence me and my creative decisions, as seen in my selection of Robert Trotter and his photography work in Glasgow.

1. My Aim:
2. Chat with Gillian:
   1. Intl Conference:
   2. Looking at more studios:
      1. Pentagram:
      2. D8:
3. Typographical Motion Graphics:
4. Looking to Clydebank:
   1. Home Made Russia:
   2. Billy Connolly reads Norman MacCaig:
   3. Typographic Output:
   4. Billy Connolly reads Norman MacCaig:
5. Reflection – 8th May 2026:

My Aim:

Last week, I was unsure of what I was doing and found myself getting into a bit of a funk. I wasn’t sure why until I took some much-needed time away to spend with my family and watch Scotland beat Belarus 2-1 at Hampden. But as I was sitting there getting a bit too swept up in a game of football, I don’t usually follow, I realised a few things, firstly, how much I loved the motion graphics of the Scottish Football team and how I couldn’t take my eyes off it and that I wanted to do something like that, I wanted to work for somewhere that did something like that.

And secondly, when I was enjoying the shared experience with my family and 50,000 other people, it hit me why I initially wanted to do the stories of people, because we are who we are by the lives we have, the stories we experience and tell, and the stories we share with others are essential. Today, we are more technologically advanced than ever before, but the art of communication, of spoken word and of telling stories in informal, spontaneous settings is dying out.

Chat with Gillian:

Listen to Bridgeton:

https://player.bfi.org.uk/free/film/watch-listen-to-bridgeton-2017-online

With ‘Listen to Bridgeton’, the story being told is such a personal one, of one man helping another through the language and structure of vintage bus restoration. This documentary has the exact same elements I would love to create: a personal, touching story, honesty, and even the beauty of the spoken testimonies and footage of the warehouse.

Lights Out:

https://www.chrisleslie.com/portfolio/lights-out/

It was once again the spoken testimony of people who actually lived in the flats, sharing their stories and describing it as a palace when it was new, with the beautiful footage of the flats themselves before their demolition. We often look at things, perceive them as we initially do, and don’t change our opinion until shown otherwise or given a look at the same place, object or time through someone else’s lens.

Intl Conference:

Home

If I do love graphic design, motion graphics, and creative direction, then it would make the most sense to attend a conference to see the front-runners in the field and look to them for a goal and inspiration.

Looking at more studios:

Initially, I was looking at Interaction Design studios last week, but as I mentioned earlier, I think motion graphics will likely be a significant part of it. No matter the outcome, I want to consider the typography, identity, and graphics of the piece.

Pentagram:

https://www.pentagram.com/

As with the previous studios, I want to look deeper and think of what works and what doesn’t, in an ploy to improve myself and with Pentagram, that is obviously a legacy brand, their work is obviously great and feels like the front runners in a modern yet feasible motion graphics and graphic design work, but the product design work follows that same methods but I believe that when in a different creative practice like product design, that must have its own style and more of a focus on form instead of flat aethetics.

D8:

D8 is a studio that I have recently enjoyed without even knowing it. After reviewing their projects, I was surprised to discover numerous design campaigns I was familiar with and enjoyed, all originating from a single studio. They consistently delivered a modern, vibrant style that has recently caught my attention and held it. My only concern is the longevity of this style, and I’m sure they will adapt with the times as they have in the past, but their most recent work already feels very “of its time”.

Applying that to my own work:

I see the style of these studios as two sides of the same coin: a new, modern style that’s cool and controlled, and another that’s more vibrant and punchy. My initial takeaway is that locking myself into one style is a quick way to go stale. I should be constantly developing and changing, both in my style and in my life, rather than being locked into one thing and turning away from everything else. Secondly, whether it’s cool and sleek or loud and punchy, the soul put into the project is evident.

Typographical Motion Graphics:

After my chat with Gillian and enjoying the typographical motion graphics of the Scotland game, I thought this might be an interesting avenue to explore. Given how moving and engaging the documentaries were, I realised I could create something equally moving with simple imagery and audio.

Foggie Bummer:

The foggie bummer video packs so much character and soul into such a short time. The energy and speed of the text on the screen carry through that same energy.

Looking to Clydebank:

In Clydebank, a local Facebook page is where locals share updates about the area, its current events, and its history. While it’s mostly filled with traffic updates and lost keys looking for owners, it occasionally offers hints at the town’s rich history.

A Bankie Lad by Iain Ingram:

Wi a Jaurie a Peerie and a Tuppeny pie by Adam McNaughton:

Home Made Russia:

Billy Connolly reads Norman MacCaig:

The extracted audio:

Typographic Output:

Giving consideration to the timing, the inflexion, their voices, the relationship between the two men and the imagery that these poems describe and trigger in your mind, while still not taking away from the writing. Less is more.

The height difference between the two can be seen in the placement of the text and the font itself, one for the man who gives Billy the poem, one for Billy when he’s having a conversation and then another for when he shifts his voice, when he starts performing the poem, the font changes again to reflect that accordingly.

As well as the placement changing, the back-and-forth is simply seen as that: two words appearing as speech bubbles would, but when the poem is performed, they move down the screen like they would on a page.

Billy Connolly reads Norman MacCaig:

Looking at all the Scottish poetry and the motion graphics, and inspired by ‘Foggie Bummer’, I wanted to explore it myself in After Effects. I’m not sure if I’ll take this any further, but I think I have to do something. If I make something, then it’s at least a step in any direction.

Reflection – 8th May 2026:

Before handing in, I want to look back at the whole project and reflect on each step of the process now with the hindsight that I have at the hand in date:

Looking back at weeks 3 & 4, the takeaway was the focus on motion graphics, which, from exploration, I found that I appreciated each aspect of it and felt that I had confidence with typefaces, timing and an eye for composition that, up until that point, I hadn’t properly explored, even though I had always had a fondness for it.

Looking back now, I can see that the confidence I had in it helped me with the speed at which I produced work during the second semester, but it also meant I didn’t have to think about it too hard, and my documentation and rationalisation suffered. I realised I have a tendency to assume that if I know something, others do as well.

1. Design Proposal :
   1. Design Proposal Notes :
   2. What am I exploring? :
   3. Who is this for? :
   4. Who influenced me? :
      1. Bruno Munari:
      2. Dieter Rams:
      3. Don Norman:
      4. John Berger:
   5. What personally interests me (about the topic)? :
   6. How will I realise it? :
2. Design Proposal :
3. DH&T Notes and Extended Design:
4. Gallery Visit Notes :
5. Mark Making :
   1. Notes on my walk:
   2. Tutorial With Cat:
   3. Chat with Cat :
6. Display Ideas :
7. Research:
8. Primary Research:
   1. Tenement House :
9. Secondary Research:
   1. ISO Design:
   2. Ammonite:
   3. Squint/Opera:
   4. EventComm:
   5. CassonMann:
   6. MB Studios:
   7. Personal Note/Reminder:
10. Reflection – 8th May 2026:

Design Proposal :

In all honesty, I’m unsure what the year ahead holds. I’m not sure what I’m going to produce. At this moment, I have ideas of what I might look into and what my work might follow.

I have the edges of the puzzle, but I have no idea what the middle of the picture is, and I don’t have the picture of the box.

I have been thinking about the project throughout the summer, but as life always does, other things took up my time or got in the way.

Firstly, I’ll go through the questions posed to us by the Proposal Overview and try to answer them as honestly and instinctively as possible.

Design Proposal Notes :

What am I exploring? :

I think through one way or another, I’ve been mainly drawn to the relationship between humans and technology from a young age, driven by my own relationship with technology, but more recently and more broadly, it’s the multiple relationships within my career: design/art and its creator; the piece and the audience and even the designer and user or the artist and the viewer.

I look back to previous work that I think touches on these themes unknowingly:

Who is this for? :

When I consider my work and who it is for I would like to be able to say something deep and thoughtful or that I think of a group to focus on, that would overall benefit my project, but in all honesty I want to be able to reach the widest group of people possible, when I consider who my work is for I want to consider my friends, my family, those I admire, respect and wish to impress.

Who influenced me? :

I was initially trying to think of less clichéd or obvious picks for artists and designers who inspire me and my work, but I believe that, for this year and my work going forward, honesty is the best policy.

Shown in my notes above and the images and links below are artists, designers, and thinkers who came to my mind when initially considering the question, producers of work, writing and methodology that I find myself revisiting time and time again.

Bruno Munari:

https://www.moma.org/artists/4163-bruno-munari#works

Dieter Rams:

View at Medium.com

Don Norman:

https://www.interaction-design.org/literature/topics/don-norman?srsltid=AfmBOoq1GMr9zS9Xdt1RJ1RarkIBswzJGFxCDd2fEj19VqVIEltihV12

John Berger:

What personally interests me (about the topic)? :

For as long as I can remember, I’ve had an interest in technology, and there has always been fear-mongering about every aspect of it. I believe that this fear and anxiety are from a lack of knowledge or from a lack of positive experiences with that technology.

Without sacrificing the quality or professionalism of my work, I wish to imbue it with a levity that will welcome others to interact with and enjoy it, ideally helping to relax any worries people may have about technology and to explore the relationships previously mentioned.

How will I realise it? :

From my first time in Interaction Design, I was drawn to and fascinated by the idea of the physical world and the digital world interconnected, intermingling. The relationship of digital artwork and physical viewers/ participants, that something in the intangible digital space could be influenced by the physical world or vice versa.

To realise this relationship between the two spaces, as well as the relationships discussed above, I’ll consider using technology that works within those spaces, be that projection mapping and a Kinect to allow human input into the projection, or something with VR and AR. I will be looking at whatever technology makes these connections possible.

As previously stated, I am unsure of where this year may take me, but as I’ve learned from previous self-studies and evaluations, I have a better outcome if I trust the process and do not jump to the end destination. I will trust the process.

Design Proposal :

DH&T Notes and Extended Design:

Gallery Visit Notes :

Mark Making :

I was sitting, going a bit mad, overthinking things, but not actually doing anything, so I gave myself a shake and thought that I needed to do something, anything.

“They were frozen by possibilities”

This quote was looping round in my head over and over again until I realised that I was the same and for some reason I had a high-vis slap bracelet in my possession, so with a marker and bad handwriting, I made a tool/symbolic gesture to shake me out of it and to remind me that those possibilities are with me, not against me.

Notes on my walk:

Tutorial With Cat:

Chat with Cat :

Display Ideas :

It is very early for this sort of thing, but when discussing it with Cat and considering possible ways to realise this project, I had a few ideas and thought it would be better to get them down on paper than to have them rattling around my head.

The research and its findings will drive these outcomes. I want to display an option that is most harmonious with the object being displayed.

Research:

At this point in the process, I need to research a few things:

1. Research the theme that I want to look into, I want to focus on the history and the people of Glasgow and bring those stories to life with my work, so the first thing is to find these people, their stories and the objects that carry these stories, whether that be secondary research or going out myself to find these people or these stories. Mikhail suggested that I make a poster asking people for their objects and stories.
2. I also want to do primary research in exhibitions, displays and museums, see how the experts do it and then build on from that. How do these places tell stories? How do they explore the work and highlight aspects of each object, artefact, and piece? Being there myself will give me a better understanding and a better feel for the space.
3. Secondary research will be the final method, as I am one man and I do actually need to start making at some point, and it will obviously allow me a wider reach, allowing me to find pieces that have been taken down or stories from people no longer with us.

Primary Research:

Tenement House :

To get the ball rolling with research, I wanted to look at how it’s already being done. If I can start from a good place, then I’ll surpass that easily throughout the year.

As it’s just around the corner from the Barnes Building, I thought a lunchtime well spent would be going round to the Tenement House to observe and document their immersive experience.

Secondary Research:

With my initial secondary research, I wish to look at studios that produce exciting, interactive or technical work that tell the story, spark excitement and use technology as I would like to: sleek, cool, almost invisibly. Using the technology as a vehicle for the story.

ISO Design:

Home

From ISO, I want to take their work on screens and motion graphics, as well as their composition and consideration for the user.

Ammonite:

https://www.ammonite.ltd/

The work that Ammonite has done in theatre is what really grabbed my attention, their use in perspective and doing so much in a relatively constrained space, as I will also be working within a constrained space, using the space as effectively as possible is the name of the game.

Squint/Opera:

https://www.squintopera.com/results/

What really grabbed me in Squint/Opera’s exhibitions is their use of the larger space and their sense of scale in each job, from the small table displays to the huge monolithic structures and how they both tie together.

EventComm:

https://eventcomm.com/

EventComm uses their screens and displays in a way that I want to try to replicate, much like ISO and the work they have collaborated on. The screens are not just screens for the sake of it; they are highlights of details and visual storytelling.

CassonMann:

https://www.cassonmann.com/

Seen in the displays above is the same sense of fun or awe that I’d love to bring a touch of to my work; the levity is not just obvious, but even in more serious displays, there is still a palatable light tone.

MB Studios:

https://www.studiomb.co.uk/

The screenshots above show the power of lighting and highlighting, with that intentionality between light and darkness, and I’d love to capture that same attention in my own work.

Personal Note/Reminder:

• ISO – Consider the displays and how people are to interact.
• Ammonite – Small Spaces | The small spaces that you have to work with, use them wisely and efficiently.
• Squint/Opera – Large Spaces | Use the space properly, do not be afraid to take up the space, use the height, use the space.
• Event – Screens and displays are not just to be thrown in; use them sparingly and focus, highlight, inform, and subvert how people always see screens.
• CassonMann – Light, levity and yet still meaningful and deep, palatable.
• MB Studios – The power of light and darkness, how the tone changes with the light used and how the eye follows that light.

Reflection – 8th May 2026:

Before handing in, I want to look back at the whole project and reflect on each step of the process now with the hindsight that I have at the hand in date:

Looking back at weeks 1 & 2, I can clearly see the start of the project and how my process and research informed the rest of the project in parts. Looking at the interaction design studios, I appreciated informed the direction that my process then took to follow in that style of project.