​The balance of beauty and monstrosity

With a swift start to level 5 regarding all three modules (subject, constellation, and field), studying Goddesses and Monsters, as part of the study group I decided to join for constellation, has introduced me to a new and deeper way of thinking about how I apply theory to my practice and what impact the work I design and create may have on people’s lifestyles. By gaining further knowledge to what I had learned from my constellation study groups last year, it has prepared me to think more carefully about what I want to concentrate on for my dissertation research proposal this year in preparation for my dissertation to write in my third and final year at CSAD.

Recently I completed a branding project titled ‘On Display’ as part of the subject module where I was required to create a brand identity for an exhibition I was to comprise. It was difficult to apply theory I had been given from Goddesses and Monsters to this project. I created the identity for an exhibition themed on Brutalist Architecture in London. Instead of creating a logo that could connotate glamour, I instead included connotations of construction and the monstrosity of brutalist architecture and ‘raw concrete’. I used these connotations in interesting ways in my project by transforming the image of brutalist architecture into something more delightful and pleasing to look at. By using the minimalist form of construction lines and by being influenced by Lego, I created a logo that was both beautiful, disguising the monstrous nature of brutalist architecture. This was shown through the design of the poster, wayfinding, signage, and most importantly the animated adaptation of the logo. This project was important in helping me understand how architecture could be perceived as beautiful or monstrous. It allowed me to transform something I wasn’t particularly fond of into something I really liked the design of by incorporating different styles into one identity that worked stunningly across all the visuals I had designed, and certainly the possibility for more. This combination of styles was supported perfectly by what I had learned last year in the constellation module as part of the ‘Smells Like Teen Spirit’ study group, regarding bricolage by mixing styles from different era’s together.

I now needed to take on my project for Field. The project I chose for the first term of Field was titled ‘Circle Line‘. We were required to create an experimental documentary that documented all the senses and features of nature and the surrounding landscape of Cardiff, which included a trip to Pontypridd on the train and a visit to Bethesda Chapel in Ton Pentre. Circle Line represented the journey of going to these places on the train. Instead of looking at the beauty of human beings we were looking at the beauty of the landscape and the possible pollution and monstrosity that humans have bestowed upon nature. When visiting Bethesda Chapel we were struck upon the mishmash and chaos of the objects that had been thrown to waste within the chapel. As much as it was interesting it triggered a multitude of uncomfortable thoughts concerning what lay beneath the historical items, whether it was old posters, prints, photographs, cards, broken instruments, tools, and so much more. Many of these old pieces of junk had been put back to use. a craftsman who found junk in the chapel had repurposed their use to create sculptures of animals. For example, an elephant had been made out of bicycle chains, dustbin covers for the ears and various other pieces of junk. It reminded me of what I had studied last year in Smells Like Teen Spirit, with finding new meanings and uses in objects. The benefit of producing an experimental documentary would allow me to look beyond making things so obvious to the human eye, which is what I was used to as part of my practice in most cases. The ability to create new ways of seeing things would allow me to expand my mind. By allowing abstract art and design to come together through photography, video, and sound I could see how beauty and monstrosity could mix or become neither.

For my critical essay, I have explored how photography and paintings have changed our perception of beauty and perfection over the 19th, 20th and 21st centuries and what we should deem as reliable and as true to human nature form. I decided to relate to photography because of how graphic design deals with such vast amounts of photography and film. As a hobby of mine, I feel it was suitable to discuss how my practice can change people’s lifestyles for better or for worse as technology is developing to manipulate images better than ever before or made possible. It is up to designers like myself to change the face of brands or even create new faces and new ways of seeing things.

Trailing back to Goddesses and Monsters, we learnt about where the idea of beauty and perfection has stemmed from. Primarily, the beauty of ‘ivory skin’ and traditional glamour has been derived from the tale of Pygmalion and his ivory woman. Along with further concepts and understanding of glamour, this has helped me write my critical essay. With the help of understanding how to analyse an image with concepts and theories from a range of academics, it has helped me prepare my thoughts for writing a critical and thoughtful dissertation proposal which I shall be starting to write next term. Being educated through the use of theory has taught me how to analyse and criticise my own work linking it to theories which have been made concerning glamour and the grotesque. These new theories will in future be applied to my work before analysing what I could have improved in my work. It will assist me in being critical of other people’s work. I hope I will also be able to give a new balance to beauty and monstrosity by combining the two to create a new deeper meaning in my work.


Circle Line – research and edit

The trip to Pontypridd and Ton Pentre was extremely valuable with the recordings we collected from Rhondda Valley. The journey was just as important as collecting the footage. Getting to experience the journey many would have had to take into the valley when coal was still being mined in Wales was like traveling back in time. The whole point in the documentary was recording this journey as we saw it with our own eyes.

Before starting to edit the footage we gathered, I looked back at experimental documentaries that had informed my ideas before we took recordings from the valley. One particular and extremely influential documentary film that had informed my own ideas for our groups’ video was Feeling My Way (1997) by Jonathan Hodgson. We all liked the animated feature of the video and how the sounds created were used to inform the five senses that we all experience during our day-to-day activities and walking about on the streets. What we see in the film are reminders informed by everyday objects, such as the clanging and bashing of percussion to represent the metal bins. Maps of where the cameraman is walking are hand drawn and inputted into the film, and my favourite is the numbers and words placed into shots to represent the thoughts that go through our mind every day, such as the 9am meeting placed on the slabs of concrete on the street.

I looked back at a particular video I researched for my previous project named ‘On Display’, where I looked at how brutalist architecture was portrayed in videos and social media. The music video for ‘Month of Sundays’ by Metronomy was filmed by artist, filmmaker, and researcher, Callum Cooper. I looked at his Vimeo account for other films that he had created, of which most of them were experimental. The films below, created by Cooper, were the ones that most influenced what I filmed and photographed for our trip.

Victoria, George, Edward and Thatcher

What I like about this video is the abstract sound of what I presume is train tracks in the background to represent the recurring style of housing and flats in areas of London. The purpose of this video was to show the contrast in the appearance of wealth between these different locations in London. The video was created using almost 4000 images of residencies in the city taken between 2009 and 2010. The influence this would have on our film was the compilation of sounds that were used. In the video, what inspired me was the use of the collection of images that were included to establish the contrast of wealth across the city of London. The film by Cooper won the London International Documentary Festival “my street” Award in 2011.
Lumbering Planes
Similarly to ‘Month of Sundays’ filmed by Cooper for the band Metronomy, this film features the technique of swinging the camera to and fro. This technique used reminds me of playing in the park on the swings, presenting the viewer and reminding them of the experiences they had as an average child. We could feature these experiences within our film. The ‘Month of Sundays’ film could influence our video for the demonstrative quality of the brutalist architecture in the film which has portrayed the lyrics. I analysed more of this in my post from my previous project.
Sink or Swim
This video particularly attracted me to the showing of nature and the countryside, similar to what we were exploring in the Rhondda Valley. I like how a watertight camera is used to take us through the portals of streams, rivers, ponds, and lakes to take us to different landscape locations.
Although all these films influenced what we wanted to film in the Rhondda Valley, we wanted to focus on typography and text in our film, and how the five senses can be presented to us through the means of sound and video.
And so, we got to editing.
For our third trip, I made a brief visit to Tredegar Park in Newport. There I found various documents and picture frames which had recorded moments in time. What I found most interesting were maps of the surrounding area of Newport that I found within the house on the walls. Because this was a last minute trip, we had already edited most of the film which we were extremely happy with. The recordings from Tredegar house were too high quality to edit, due to the fact that the download speed was too slow. The recordings also didn’t fit very fluidly with the film we had edited. However, I was glad I made the trip just in case we needed more footage, and most importantly to experience the qualities of a location that had so much history.
We added the sound we had been given by the composer that had collaborated with our group. Although it had the abstract qualities we wanted to fit with the film, we found that it didn’t quite fit the pace we wanted. Luckily one of our group members was experienced with sound design and composition, so edited the sound to fit more appropriately with the film, while still using the original material.

Circle Line – through the valleys

Today we made our trip up to Pontypridd and through the Rhondda Valley into Ton Pentre to visit Bethesda Chapel. Instead of grabbing our wellies we used our walking boots considering how less mud there was to our 1st trip down on the Taff Trail.

From Cathays train station we made our way to Pontypridd. The clicking of the train wheels on the railway tracks made for a great sound we could feature in the soundtrack for our documentary. Stopping at Pontypridd station we walked into the town centre heading towards Pontypridd museum stopping on one of the bridges along the way where the river meandered around to the left. Three rivers pass through Pontypridd; the rivers Cynon, Taff, and Rhondda. In the museum, we were presented with an array of interesting artifacts, including old metal dominoes, a wooden helmet and old train tickets. Also at the museum was a model railway of Pontypridd and a grand organ. It was at this point that we agreed with a student from RWCMD to make a team based on our ideas for the experimental documentary film. He also wanted to create abstract sounds to express the nature of different perspectives within the documentary that would show our journey to Pontypridd and Ton Pentre. We had limited time to spend at the museum, so we headed off back to Pontypridd Railway Station and took a train up to Ton Pentre.

With our cameras, camcorders and recording equipment, we journeyed through the gorgeous autumn coloured trees of the Rhondda valley. It was surprising to have found out from the museum that coal was transported to and from the docks on canals that were built before trains existed. The very first steam-powered railway journey took place near Merthyr Tydfil in 1804, along with what used to be the longest railway platform in the world being at Pontypridd Railway Station. We got off the train at Ton Pentre with a short walk to Bethesda Methodist Chapel, designed by Robert Scrivener and opened in 1887. Within the chapel was a clutter of junk and unwanted objects that were piled on top of each other around the entire ground floor of the chapel. One man had come to the chapel frequently in search of objects which he could repurpose to transform and combine with other objects to make sculptures of animals. In one sculpture he made, he used covers for dustbins to use as the ears of an elephant, along with other circular objects, including a bicycle chain. One other man we met, named Ben Teague who was also a composition student at the Royal Welsh College of Music and Drama had a wood workshop upstairs in the chapel that was originally used for Sunday school. The purpose of the wood workshop was to be able to repair the organ in the chapel in the building, so as to save money and time instead of having to pay for new parts and transport with the parts to and from Cardiff. Very many places in the Rhondda Valley are fairly difficult to get to via car, hence why they built canals and railways to transport coal.

After exploring around the chapel among the jumble of bits and bobs, we found several pieces of old and torn paper with text and images on. We took video clips and photographs of these pieces for an idea we could take forward with being able to focus on pieces of text for our experimental documentary. We also wanted to show videos of hands feeling and taking hold of objects to represent the tactile sense. We would use the sound of this feeling to express the texture of the objects. This would make for an extremely interesting and almost interactive feeling that viewers would get from the video, which would be essential in a viewing of the film, in particular, an exhibition space. The composer gathered sounds from instruments that we found, stories from people that we met, and various other sounds that we picked up along the way.

Making our way back to Pontypridd by train, we stopped for coffee and tea at a cafe owned and founded by Italians that had moved from London. Originally they had moved from Italy to Paris for a better quality of life and instead were greeted by a society that has despised the Italians. The reason for that was an Italian anarchist named Sante Geronimo Caserio had assassinated the President of France in 1894, Marie François Sadi Carnot (Headsman, 2008). Many Italians had no option but to move out of France, many migrating to London. Some families decided to move to Wales, and in particular the Rhondda Valley, to escape the fumes and pollution of London. The cafe we visited is owned by an Italian family, running for over 50 years.

We caught the train back to Cathays station in Cardiff, arriving at the busy streets and darkness of the evening setting upon us.

I was extremely pleased with the footage that we had all gathered that day. Half of the group had recorded sounds, and we all took a part in taking photos and videos on camera phones, camcorders, and my DSLR which recorded higher quality footage than the camcorder for us to use in the edit of the film. I had honed skills I never thought I’d have used before this project, which has opened me up to a range of different ways of seeing things, with different perspectives and exploring various mediums. We would use the sounds and videos we collected to create an abstract and experimental documentary film. As much as this project focused on using cameras, sound recorders, and computers, this was very much an introduction to how true legends in the film and documentary industry created their masterpieces, their films. Much to my pleasure, I had the opportunity to work with fine artists and illustrators, which forced me to think into different perspectives and types of abstraction.


Headsman (2008), 1894: Sante Geronimo Caserio, anarchist assassinViewed 23rd November 2017. <http://www.executedtoday.com/2008/08/16/1894-sante-geronimo-caserio-anarchist-assassin/&gt;


Circle Line – the beginning

With a swift start to the Explore module for year 2, I decided to pick the Circle Line project. The purpose of Circle Line is to explore the many ways in which different perspectives of a reality can be shown through an experimental documentary film. The topic we will focus on will ultimately be up to us, however, it will need to be based on the surrounding landscape and the local area of Cardiff, including the Rhondda Valley and the heart of Wales, Pontypridd. To create the documentary we will be working with composition students who study at the Royal Welsh College of Music and Drama (RWCMD). We will work with them to create a piece of music that would fit along with the themes we choose to explore in the film.

On the first day of the project, we were introduced to the brief. On the brief were a range of films and readings we were given to look at to get a sense of what experimental documentaries and films are, how they are produced, and the themes, tools, and materials used within them. I read an essay by Michael Renov named ‘Away from Copying: The Art of Documentary Practice’. The purpose this essay was written was to express the many styles of documentary and how documentary tradition has been changed. Within the essay, Renov explores the many possibilities as to which possible styles can be explored. He has referred to several iconic experimental documentary films, including Stan Brackage with Wander Ring (1955), Joris Ivens with Misery in the Boring (1933), Robert Flaherty with Nanook of the North (1922), Marlon Riggs with Tongues Untied (1989), and Jonathan Hodgson’s Feeling My Way (1997). He discussed their unconventional work with analysis, allowing him to argue whether their work may or may not be considered as documentary films, however untraditional they contrast to traditional documentary films.

On that same day, we gathered our wellies and went for a short walk down the Taff Trail beside our campus; Cardiff Metropolitan University, Llandaff Campus. We walked up towards Llandaff Rowing Club and turned back towards the Cathedral to trail back to the campus. As chilly, cloudy and miserable as the weather was luckily it did not rain. The ground was soggy, several places where the grass was submerged into the saturated muddy path. We made detours down towards the riverbed, trembling with fear of falling into the river. Pebbles grated against each other under our feet keeping us from slipping as we explored the bed searching for perspectives. We took photographs and small video clips to record our adventure. By recording as much as we could in the many different perspectives we would be able to place them together to create an abstract atmosphere within the film. Using these tools and techniques would enable us to get a sense of how to create these abstract viewpoints by using photographs and videos.

Here are a selection of photos I had taken on my phone from the walk:

After returning to campus we gathered together to discuss our walk. By using post-it notes we described the different things we saw and how elements combined. I highlighted the smell of the wet vegetation known as petrichor, the grating of pebbles beneath my feet, and the crisp morning air supported by the smell of fresh trickling water.

Next, we discussed our trip to Pontypridd and the Rhondda Valley on November 24th. We mapped out where we were traveling by train from Cathays station. Half of the group would be staying in Pontypridd to go to the Rocking Stone in Pontypridd Common, and the other half of us would be traveling to Ton Pentre to visit Bethesda Chapel to meet with organist and composer Ben Teague, who is a fourth-year student at RWCMD. As well as being a student he has also been in the process of managing to restore the organ in the chapel. According to who we were interested in working with in terms of compatible ideas for the experimental documentary, we organised ourselves into groups of five or six. Our group consisted of two fine art students, one illustrator, and two graphic designers (including myself).

Our group were brought together for our ideas and communicating with each other what we wanted to explore. I knew I wanted to explore the abstract nature and possibilities in photography and video, which suited well with what the rest of the team wanted to do. We discussed how we could explore psychedelic themes, abstraction and what various perspectives we could explore. I put together a brief mindmap of ideas together to illustrate what we wanted to include in our manifesto:


On Display – Final touches

The final things left to complete on the design of the visual identity for the exhibition on brutalist architecture were wayfinding/signage and the promotional installation/spacial communication.

For the wayfinding I wanted to follow a similar style to the printed and digital ephemera I had created. I used the colour scheme and shapes that I had used within the marque to inform my decisions on the layout, style, typography, shapes, and colour that I had used in the posters. I intend to allow my ephemera and most importantly my marque influence what my signage and wayfinding will look like.

I worked directly onto a photo of one the spaces at the Hayward Gallery from an exhibition on Ana Mendieta’s work.

Link to image used: 2-Ana-Mendieta-Untitled-Facial-Hair-Transplant-1972-and-Untitled-Glass-on-Body-Imprints-1972-at-‘Ana-Mendieta-Traces’-exhibition-Hayward-Gallery-2013.jpg


I used four colours from the colours scheme to create lines that would lead from various places that would guide visitors to the exhibition. I added the photo of the Hayward Gallery by India Roper-Evans that I found to use in the ephemera and animation, as referred to in a recent post. I used the marque with the title of the exhibition on the left wall in between the lines guiding towards the exhibition, and I used the marque without the name on the right hand wall so that I could further establish the marque.

The concept for the spatial communication of the exhibition was largely influenced by the app I had created layouts for. Although this is a simple floor plan, the chronology and features of the exhibition are important because of how visitors can move around the space and make the most of the exhibition. Starting in the bottom left centre, the arrows guide the visitors where to move around. The history and information on the construction of the Hayward Gallery was key to the exhibition since it was going to be held within the walls of the building. It would add a personal touch for the gallery to the exhibition. With the addition of the interactive section this would allow families and children to further engage with the exhibition and brutalist architecture.

Spatial communication

I am extremely pleased with how this project has turned out. The marque has successfully reflected and sympathised for the theme of the exhibition and has worked surprisingly well across all the deliverables.

Reflecting upon my aims of this project back on my first research post at the start of the project, I discussed how I may have found this project a challenge considering how unfeeling I am on the style of brutalist architecture. Midway through the project this feeling almost changed as I combined two styles together, also known as bricolage. I combined black and white photos of the Hayward Gallery with very bright and vibrant colour. The use of colour was influenced by posters I had looked at that were created in the 1960s, to which I was very fond of. This has transformed the identity of brutalist architecture into something refreshing and sympathetic of the style. From the styles I combined, I managed to take enjoyment out of this project instead of linger in hatred and lack of productivity over the topic of brutalist architecture. In which case I feel I have learnt something extremely valuable out of working on this project that I can now apply to possible hatred over topics in projects in the future that I know for sure I can manage to work with. Indeed, this will be a project to remember.

On Display – Final ephemera

I chose a main layout for the design of the posters and paired colours together according to the colour scheme I put together for the identity of the exhibition. I added a few more details to the posters from my previous design ideas. I added the date of the marque of the Hayward Gallery that was designed by North. In my recent post I discovered that the Hayward Gallery is currently closed for essential repairs and refurbishment up until January 2018. Therefore I edited the date of the opening of the exhibition. What the Southbank Centre website also highlighted was that there is due to be a grand reopening of the gallery to mark its 50th Anniversary since being founded. I decided to include a small highlight of their 50th anniversary in the top right hand corner of each poster.

I wanted the posters to be displayed across London so I took two photos from online that showed mockups for the London Underground. The majority of posters are displayed and acknowledged by travellers when displayed in and around the transport stations.

It was important to see how the posters would sit in urban and public spaces. This is because I needed to judge the size of the posters and whether the colours would fit well within the space. It would also make for a convincing presentation to the client by establishing the visual identity of the exhibition across the city of London.

What I needed to explore next was how the marque would sit along digital ephemera. I chose to create examples of layouts for an app.

I took the design of the posters to influence the design of the app with the opening image and main menu. All the colours featured were taken from the colour scheme for the identity of the exhibition. It was important that I made both the marque of the exhibition and the Hayward Gallery visible on every page to establish the identity and the holder of the exhibition. Referring back to my recent post, the typeface for the marque of the Hayward Gallery and Southbank Centre reflected the visual identity of the building with the high contrast angular serifs.

The categories I have included on the main menu page include:

  • Brutalism in London – would feature a map of London with highlighted buildings in the style of brutalism, and information on the buildings in London
  • History – the history of Brutalism and how it came to be so popular
  • Architects – famous Brutalist architects
  • Maps – a map of London with highlighted buildings in the style of brutalism, and a floorpan of the gallery itself
  • Kids – a Gallery Hunt, City Hunt and Rawcraft

The kids section would be an extremely important part of the app. Because children occasionally have a tendency to be less engaged in reading, listening and learning about things, I felt it would be best to put together a concept of interactive games into the design of the app. Both the Gallery Hunt and City Hunt would be about finding QR codes around the gallery/city that would lead to them winning a prize if they correctly solve the riddles that come with the QR codes at the end of the hunt. With the city hunt these QR codes would be temporarily attached to or around buildings on plastic display boards. At the same time as finding these QR codes both the children and the family would be able to experience the city all on the app, therefore making the exhibition and experience family friendly and fun for all. The gallery hunt would be similar, only on a smaller scale. The QR codes would again be temporarily attached to walls within the gallery or the Southbank Centre leading them to collect a prize at the end.

Rawcraft, named after the infamous computer game Minecraft, would allow children to build and design their very own brutalist style building in the app. This concept also holds the possibility of playing a role in the interactive section of the exhibition.

Referring back to my initial research into colour in 1960s design, I think it has successfully influenced how my printed and digital ephemera has turned out. I am pleased I did not bring forward the psychedelic style of the typography used in the two posters designed by Wes Wilson. I think it would have made it look illegible and entirely irrelevant to brutalist architecture.

On Display – Ephemera and gallery space research

For my ephemera I wanted to use black and white photos of brutalist architecture with the contrast of vibrant colour reflective of 1960s design so that it would be clear that I wanted to highlight how most buildings built in that style were built in that period. Although I was basing the exhibition on buildings in London in Great Britain, I did not want to use the colours of the Union Jack flag because this would make the identity too cliche. It also wouldn’t make a good establishment for the identity of the exhibition.

By getting feedback on my recent work, people had also mentioned that the lemon yellow colour I used for the marque didn’t contrast very well with the white background. It also made it illegible and too bright to look at. Instead of changing the animation immediately, I decided to look at starting to create ephemera to get a feeling for how it would sit against a black and white photo of a brutalist building for the background.

I chose a photo taken by India Roper-Evans of the Hayward Gallery in Southbank Centre, London. I had taken it from the official Southbank Centre website.



I took an element from this photo and chose to use it for a poster. I came up with several ideas for the design. By using the colour scheme I had created I also added two strips of colour in to add interest and make the poster more eye-catching. By adding these strips it would also make it easier for the perspectival marque to sit into the poster alongside 2D horizontal text. I changed the size of the text and the coloured strips, and experimented with the layout. Other posters I could create that would be similar to this would feature the strips in different colours according to the colour scheme I made for the identity and possibly changing the size of them as well. What I noticed as well was they represented the line pattern you see at the top of the cuboid in the marque. This is extremely important as it establishes the identity, further accounts for the texture of concrete in the background photo, and makes it flashy and eye-catching.

I also decided I wanted the exhibition to be held at the Hayward Gallery in Southbank Centre, London. Since the photo I was using as a background for the poster was of the gallery building I thought it was suitable. The Southbank Centre is directly opposite the National Theatre which is a building in the Brutalist style which would make it easy for visitors to explore Brutalist buildings in and around central London.

Screen Shot 2017-11-05 at 20.04.05

The Hayward gallery has been closed for essential repair and refurbishment since 2015 and will be opening in January 2018. With it also being the gallery’s 50th Anniversary of being founded in 1968, I made the opening date of the gallery for mid January to make for a special re-opening.

I conducted some research into the visual identity redesigned for the Southbank Centre. An article from It’s Nice That discusses and interviews the designers on their choices and why the redesign has been so successful as a visual identity. This was necessary research I had to make before adding the logo of the Hayward Gallery to the poster.

The design agency North worked with the Southbank Centre in-house design team to redesign the visual identity, logotype, design framework and typographic expression for the institution. The visual identity would be delivered upon signage, tickets, posters, and the website.

The Southbank Centre is Europe’s largest culture and arts centre. Similarly to the marque I have created for the exhibition, the rebrand has used yellow as the core colour to help it ‘stand out’ in the culture and art and design sectors. As you can see, the colour that I have decided to use is a much lighter and brighter yellow than the burnt yellow that the designers have used for the rebranding.

What I like about the rebranding of the Southbank Centre is how contemporary and reflective it is of the centre itself, where it holds music, culture, art and design events. I like how the marque sits across multiple deliverables including the website. The typeface used is visually references the design of the iconic brutalist style building through the serifs of the letters, the angles of them, and high contrast. The font used is a customised version of the Noe Display font by type foundry Schick Toikka. It successfully establishes the centre from other similar venues.

What I needed to do now was change the background of the animated logo so that there would be a higher contrast between the white and lemon yellow. I took the image I used for the background of the poster and added it to the animation.

This was a much lengthier process than I had expected. I needed to take out the white background of the illustrator files I had used for the animation. In order to keep the animation less complex I also took out over half of the building blocks made to build up the cuboid. I then needed to create new illustrator files to create 2D squares facing either direction. I also decided to change the ending slightly so that the cuboid would move to the side the reveal the name of the exhibition.

I was very pleased with how the animation turned out. Although I quite liked how the colours were used in the design of the last animation with the colour building blocks, I don’t think most of the colours I would use would stand out against the black and white background, especially with the greens, blue, red, and purple.