Freedom Festival Research 5

Newport Folk Festival

These are some festival poster prints which I thought looked pretty cool as they have a screen printed look to them but also have a digitally created look. The imagery is very drawn looking but well drawn and well thought of. I think the colour schemes also compliment the drawn look of the poster, as a limited palette of colours has kept the image simple but affective.

Freedom Festival Research 4

Seattle Int. Film Festival Posters

THE DONUT PROJECT

The nation’s largest and most highly-attended film festival needed to attract both new and returning audience members for its 35th annual showing. To stimulate curiosity and encourage people to find the unexpected at the Seattle International Film Festival (SIFF), Seattle studio WONGDOODY created silhouettes of odd creatures and bizarre shapes and set them against jewel-toned backgrounds. Leaving a lot to the imagination, the images encouraged viewers to consider the unpredictable, much like they might find in the films screened at SIFF. A TV spot (by Digital Kitchen) and in-theatre trailer used animated sequences that feature the same surreal, silhouette-style imagery.

These posters caught my attention because the clever use of a silhouette approach to get the message across and have a relevance to the festival. In the same way, as the brief also states, I'd like to create a design that captures Freedom Festival but also references a different concept (which would be freedom),

Freedom Festival Research 3

Festival Posters

I've picked out these festival posters, when searching and looking through various different kinds, because these caught my attention most for their different styles. When looking at all four posters, they look completely different therefore I realised that I'm not someone who likes just a certain style of poster designs. I like those with vibrant colours and shapes, those with neautral colours and a more hand made approach, and also those that are rather dark with little highlights of colour every now and then.

Freedom Festival Research 2

Freedom Festival's Fire Display

I'd seen the fire displays before during Freedom Fest and was amazed by how huge and daunting but beautiful they looked. The idea I had from viewing the pictures was to simply have the sphere fire frame recreated as an image and be surrounded by text that works well with the image.

Freedom Festival Research 1

Freedom Festival Background

FREEDOM FESTIVAL

Freedom Festival is the lasting legacy of the Wilberforce 2007 campaign which celebrated the pioneering work of Hull-born MP William Wilberforce, and the bicentenary of the abolition of the slave trade in the British Empire. During 2007, Hull was at the centre of the world’s bicentennial celebrations, remembering the life and work of Hull’s most famous son.

The city commemorated with 34 weeks of events and activities, highlighting issues of slavery and emancipation that are still current today. Following this successful year, it was agreed that Wilberforce’s legacy needed to be marked and celebrated annually, and Freedom Festival was born.

Freedom Festival grew out of commemorations in Hull in 2007 of the 200th anniversary of William Wilberforce’s Act of Parliament, which abolished the slave trade in the British Empire.

William Wilberforce was born on High Street in Hull on 24th August 1759. He began his political career in 1780, becoming the Independent Member of Parliament for Yorkshire in 1784.  A few years into his career, he became involved in the movement of abolitionism, campaigning to end slavery in the UK and its colonies, and he soon became one of the leading English abolitionists. For 26 years, Wilberforce headed the parliamentary campaign against the British slave trade until the passage of the Slave Trade Act of 1807.  

Aesop's Fable Research 10

The Process For Creating Aquatint Etchings

STEPHEN MCMILLAN

I was inspired enough by McMillan's work that I decided to keep a link ('attached to STEPHEN MCMILLAN') of his work and his processes so that I could refer back if I ever intend to create aquatint etchings myself in the future. I would be able to begin learning his ways and continue to practice until I managed to create such aesthetically pleasing images like his own.

Aesop's Fable Research 9

Aquatint Etching

STEPHEN MCMILLAN

Since he received his BFA from UCSC in 1975, he has focused on creating aquatint etchings of wilderness landscapes, drawn freehand from photographs he has taken.

Stephen McMillan's aquatint etchings cause my attention instantly as I was scrolling through a large amount of aquatint etching images. The amount of detail I saw was unbelievable and I was unaware that such detail could be created using a process like aquatint etching. I aim to remember his work as influence for the future if I ever decide to create a detailed and textured image with different media and methods.

Aesop's Fable Research 8

Drypoint Etching

JOHN DOUGLAS PIPER

The close attention to the crafting of a line and of an object, so central to John’s creative education and work, lends itself particularly well to the highly exacting medium of dry-point etching. John moved from drawing to dry-point printing after coming to Cambridge and, as he states, this is an unhurried process developed in the 15th-century and most suitable for the artist trained in drawing. John’s dry-point etchings focus on the theme of British wildlife, on the flora and fauna native to our isles, and he has a delightful and delicate touch when capturing the pose and poise of his subjects.

When I first came across these etchings I thought they were more like pencil drawings. The amount of detail and the use of different tones make the etchings appear realistic and almost 3D like. After coming across these images I will aim to also create a rather realistic looking etching despite my design having a cartoony look, but I will adapt my design to try and accomplish this task.

Aesop's Fable Research 7

A Beginners Guide to Drypoint

ARTISTS AND ILLUSTRATORS

On the labels of prints with scratchy, seemingly hand-drawn images, you will often see the term ‘drypoint’, but what exactly does it involve?

The process is like using a pen without the ink – literally, drawing with a dry point – to create an impression of a drawing that, when inked, can be printed from again and again.

Think of it as an etching without the acid, or engraving with an etching needle. Whistler and Picasso are two artists worth looking at for examples of this type of work. 

The soft, feathery lines of drypoint lend themselves to playful illustrations or expressive sketches, which can then produce an edition of prints. Traditionally drypoint is done on copper plates with a diamond- or carbide-tipped needle. It is then inked (as in all intaglio methods) and cleaned, leaving ink only in the crevices. The force of the printing press then squeezes out the remaining ink and the image is transferred onto the paper – this requires tremendous pressure that cannot be applied by hand (hence the necessity of a press). If you are serious about intaglio printmaking, you will want to find a studio with a press.

But before you go gallivanting into the abyss or dismissing it entirely, how about trying it at home? A DIY print can be created using drypoint card or any card that is laminated on one side (like card from a cereal box) for the plate, a nail or other sharp implement to make the drawing, and a rolling pin, bayer or hand-made palm-press to press it.

Prepare the Plate

Drypoint or intaglio printing card is available from printing shops and is simply cardboard that is laminated on one side. You can draw into ordinary mountboard instead and then varnish it with button polish before using it to print. Try something small, between A5 and A6 size, for convenience.

Transfer the Image

Plan or transfer your image onto the plate using tracing paper and a soft pencil or, if you want to keep the freshness the drawing, just grab your drawing tool and get going. You need to break the surface of the card to create the burr that will hold the ink later. And don’t forget that your image will print in reverse!

Don't Just Scratch the Surface

Experiment by using other tools to make marks in the surface. Sandpaper can create interesting textures or an impression of shading. Improvise with tools: you may have embossing or sculpture tools, sewing needles or nails lying around the house – try them all.

Scrape on the Inks

If you are using laminated card then you can ink your plate up straight away. If you use ordinary mountboard, you need to varnish it first using button polish. Scrape a thin layer of intaglio printing ink evenly across the whole plate, making sure it gets into the grooves. Blot most of it off the surface with rags or newspaper.

Print Away!

Soak a piece of heavy paper and then blot excess water. Make sure you are working on a nonslip surface (buy non-slip material or rubbery cleaning cloths). Use a clipboard to hold everything in place and layer it thus: non-slip material, plate, damp paper, newspaper and then a soft, thick fabric, e.g. felt. If you don’t have a clipboard, improvise with a bulldog clip and board. Use a rolling pin, bayer or anything that will allow you to apply pressure evenly. Peel back the paper carefully to see your print.

Aesop's Fable Research 6

Etching Processes

WIKI

WIKI

Drypoint is a printmaking technique of the intaglio family, in which an image is incised into a plate (or "matrix") with a hard-pointed "needle" of sharp metal or diamond point. Traditionally the plate was copper, but now acetate, zinc, or plexiglas are also commonly used. Like etching, drypoint is easier for an artist trained in drawing to master than engraving, as the technique of using the needle is closer to using a pencil than the engraver's burin.

Aquatint is an intaglio printmaking technique, a variant of etching. In intaglio printmaking, the artist makes marks on the matrix (in the case of aquatint, a copper or zinc plate) that are capable of holding ink. The inked plate is passed through aprinting press together with a sheet of paper, resulting in a transfer of the ink to the paper. This can be repeated a number of times, depending on the particular technique.

Like etching, aquatint uses the application of acid to make the marks in the metal plate. Where the engraving technique uses a needle to make lines that print in black (or whatever color ink is used), aquatint uses powdered rosin to create a tonal effect. The rosin is acid resistant and typically adhered to the plate by controlled heating. The tonal variation is controlled by the level of acid exposure over large areas, and thus the image is shaped by large sections at a time.

Another tonal technique, mezzotint, begins with a plate surface that is evenly indented so that it will carry a fairly dark tone of ink. The mezzotint plate is then smoothed and polished to make areas carry less ink and thus print a lighter shade. Alternatively, beginning with a smooth plate, areas are roughened to make them darker. Occasionally these two techniques are combined.

Aesop's Fable Research 5

Etching

REMBRANDT

Rembrandt Harmenszoon van Rijn 15 July 1606 – 4 October 1669) was a Dutch painter and etcher. He is generally considered one of the greatest painters and printmakers in European art and the most important in Dutch history. His contributions to art came in a period of great wealth and cultural achievement that historians call the Dutch Golden Age when Dutch Golden Age painting, although in many ways antithetical to the Baroque style that dominated Europe, was extremely prolific and innovative.

Rembrandt's etching are rather expressive and abstract but still identifiable. The lines appear free and loosely done but detail can be seen on the faces of the subjects. I'd refer back to and use Rembrandt's images as an influence when it comes to creating my etchings, but currently I'm thinking of taking a neat and tidy approach as my image is slightly cartoony and humorous. 

Aesop's Fable Research 4

Etchings

MARC CHAGALL

In 1927, Chagall began working on another project for Vollard, a series of etchings illustrating 'The Fables of La Fontaine'.

Chagall now foregoes the application of aqua tint and use of the rocking tool; also dry point technique is scarcely evident. Instead, he does everything by means of etching, and covers the engraved surface with stopping out varnish, a combination that makes for intensive painterly effects. The etching needle draws the most delicately ramified foliage and bush patterns, the texture of plumage and soft fur, and through shadings and cross-hatchings gives a range of tonalities, from white to a deep black. Thus each picture is the result of a long series of working stages in the course of which the pictorial design in light and dark is slowly worked out in a process comparable to the building up of the colour structure in a painting.

Although Chagall's images come across very atmospheric and textured, I'm not sure if I'm a fan of how its displaying the specific fables. At a first glance I wouldn't have guessed what the fable was straight away but after studying the individual images I was able to work them out. The etchings show great depth and I'd like to be able to show that in my etchings too. I aim to make my etchings would rather pristine and have the 'carefully done' look but also present a textured and atmospheric look.

Aesop's Fable Research 3

Etchings

FRANCIS BARLOW

All images are from Aesop's Fables with His Life: in English, French & Latin... Second edition (first published in 1666; virtually all copies of the first edition were destroyed in the great fire of London of 1666).

Francis Barlow (English, 1626 - 1704) An accomplished painter, etcher, and book illustrator, Francis Barlow was the leading bird and animal artist in 17th century England. Because of his talent for depicting animals, it is only fitting that Barlow made a contribution to the well established European tradition of Aesopic illustration with his own designs for Aesop Fables. Barlow's edition of Aesop Fables, published in 1666, is one of his most well known works. The interpretive, almost naive illustrations of creatures are skillfully rendered in physical detail and the sense of active motion. Each print includes the fable and moral in English and Latin. French text verso.

Barlow seems to make the lines of the characters and foreground rather strong which takes away the subtlety that is usually the main attraction when creating an etching. Fine lines usually clot when it comes to etching but Barlow has avoided this through the openness of his lines. His etchings are extremely detailed and present great texture and shading which I will be hoping to achieve when creating my etchings.

Aesop's Fable Research 2

The Mischievous Dog

WIKI

The story concerns a dog that bites the legs of others. Its master therefore ties a bell around its neck to warn people. The dog, thinking the bell is a reward, shows it off in the streets until an older dog reminds him that the bell is not a reward but a sign of disgrace. Victorian editors of the fables supplied the moral that 'notoriety is often mistaken for fame'.

TALES WITH MORALS

A Dog used to run up quietly to the heels of those he met, and to bite them without notice. His master sometimes suspended a bell about his neck, that he might give notice of his presence wherever he went, and sometimes he fastened a chain about his neck, to which was attached a heavy clog, so that he could not be so quick at biting people's heels.

The Dog grew proud of his bell and clog, and went with them all over the marketplace. An old hound said to him: "Why do you make such an exhibition of yourself? That bell and clog that you carry are not, believe me, orders of merit, but, on the contrary, marks of disgrace, a public notice to all men to avoid you as an ill mannered dog."

I chose this fable as it has always been one of my favourites, and the quote 'notoriety is often mistaken for frame' is a strong and cleverly thought quote which I've always admired. I always thought this fable applied to our dog - Nige, who when he was a puppy would go around the living room in circles nipping at everyone's feet almost as though it was a game of Russian roulette

Aesop's Fable Research 1

Aesop's Fables

WIKI

• The Ant and the Grasshopper
• The Ape and the Fox
• The Ass and his Masters
• The Ass and the Pig
• The Ass Carrying an Image
• The Ass in the Lion's Skin
• The Astrologer who Fell into a Well
• The Bird-catcher and the Blackbird
• The Bear and the Travelers
• The Beaver
• The Belly and the Other Members
• The Bird in Borrowed Feathers
• The Boy Who Cried Wolf
• The Cat and the Mice
• The Cock and the Jewel
• The Cock, the Dog and the Fox
• The Crow and the Pitcher
• The Crow and the Sheep
• The Crow and the Snake
• The Deer without a Heart
• The Dog and its Reflection
• The Dog and the Wolf
• The Dove and the Ant
• The Farmer and the Stork
• The Farmer and the Viper
• The Fir and the Bramble
• The Fisherman and the Little Fish
• The Fowler and the Snake
• The Fox and the Crow
• The Fox and the Grapes
• The Fox and the Mask
• The Fox and the Sick Lion
• The Fox and the Stork
• The Fox and the Weasel
• The Fox and the Woodman
• The Frog and the Mouse
• The Frog and the Ox
• The Frogs and the Sun
• The Frogs Who Desired a King
• The Goat and the Vine
• The Goose that Laid the Golden Eggs
• Hercules and the Wagoner
• The Honest Woodcutter
• The Horse and the Donkey
• The Lion and the Fox
• The Lion and the Mouse
• The Lion's Share
• The Lion, the Bear and the Fox
• The Man with two Mistresses
• The Mischievous Dog
• The Miser and his Gold
• The Mountain in Labour
• The Mouse and the Oyster
• The North Wind and the Sun
• The Oak and the Reed
• The Old Man and Death
• The Old Woman and the Doctor
• The Rose and the Amaranth
• The Satyr and the Traveller
• The Sick Kite
• The Snake and the Crab
• The Snake and the Farmer
• The Snake in the Thorn Bush
• The Tortoise and the Birds
• The Tortoise and the Hare
• Town Mouse and Country Mouse
• The Travellers and the Plane Tree
• The Trees and the Bramble
• The Trumpeter Taken Captive
• The Two Pots
• Venus and the Cat
• The Walnut Tree
• Washing the Ethiopian white
• The Wolf and the Crane
• The Wolf and the Lamb
• The Woodcutter and the Trees
• The Young Man and the Swallow

Magazine Research 34

Larkin Poem

A place cannot produce poems,

It can only not prevent them,

And Hull is good at that,

For Hull has its own sudden elegances.

People are slow to leave it,

Quick to return,

And there are others,

Who come for a year or two, and stay a lifetime.

Sensing that they have found a city,

That is in the world,

Yet sufficiently on the edge of it,

To have a different resonance.  – Phillip Larkin

Let me tell you something about this city, all of us, we’re all just passing through, and we’ve all been here forever. Those who came, those who stayed, those who never returned. Times turn, seasons change. We’ve waited and we’ve watched. But we’ve always been here, we’ve always listened. Because there is a different resonance here, it comes from the river, and the land, and the sky. It’s our place, all of us, this city belongs to everyone. And you know when it’s your time, and it’s out time. Listen we are Hull. The golden rules of Hull: Don’t pretend that you’re something you’re not. Don’t go thinking that you’re better than anybody else. Or that anybody else is better than you. Don’t shout about it, get on with it. We are Hull. We’ve found our voice again. Our rules are meant to be broken, because that’s how things get done. All of us, everybody, we are Hull. The past is ours, the future is ours. It’s our time again, and this city belongs to everyone. This space is ours, this life is ours, the Wolds are ours, the rivers are ours, the roads are ours, the bridges are ours. We are Hull. We’re all visitors, and we’ve all been here forever. We’ve got the mightiest river, and the biggest sky, and there’s a resonance again. We love this city, we’re proud of this place, and we want you to love it too, and this city belongs to everyone. Come here and you’ll feel it, that end of the line sense of freedom. Say yes to Hull, say yes to freedom.

This is what I've typed up after listening to the Hull City of Culture video, ready to give to Eve to put into its designated space with a relevant font that will match the rest of the magazine. I've proof read the entire text to double check everything is correct and have also had the help of a few other people who have also checked it for me for reassurance.

Magazine Research 33

Interview With Local Band 1
Le Bete Blooms

Taslima Tarafdar

Hey guys, I'm an illustration student currently doing a project on making my own magazine, so I plan to include a double page spread about local bands and was hoping you could answer a few questions for me? No worries if you can't. I'll leave my questions here for you if you're available to answer them...
What's the name of your band? What's the origin of that name?
Have you changed the band's name before?
What genre of music do you consider your work to be? Who are
your major influences?
How long have you all known each other? How did you meet?
When did you form your band? What inspired you to make music together?
Do you have a record label? Are you a member of any music organizations?
Where have you performed? Do you have any upcoming shows?
Which songs do you perform most frequently? Do you ever play any covers? Do you have a set play list?
Who writes your songs? What are the main themes or topics for most of your songs? Do you think these topics will change over time?
Could you briefly describe the music-making process? (What job roles each member has in making the music)
What are your rehearsals generally like? Do you have a set time each week in which you practice or are rehearsals more spontaneous?
How has your music evolved since you first began playing music together?
What has been your biggest challenge as a band?
What's your ultimate goal for your band? (Fame and fortune, etc)
What advice do you have for people who want to form their own bands?
Is there anyone you'd like to acknowledge for their help and support?
Any last words?
Don't have to answer them all, can be as brief as you like, don't want to hassle you too much...
THANK YOU!


La Bête Blooms

What's the name of your band? What's the origin of that name?
La bête blooms, it's a mix of words I had on a page when I was 18 and strung together
What genre of music do you consider your work to be? Who are
your major influences?
Our lazy answer is just to say post punk. Our background's in music are all pretty weird and separate but the Pixies are a band we all agree on.
How long have you all known each other? How did you meet?
The lineup's chopped and changed a bit since we first started. I met our drummer at college studying music, then pretty much met the others over the course of two years at music nights around Hull.
When did you form your band? What inspired you to make music together?
We formed when I was 19 (in 2010). At first it was kind of a charity for the others to step in and help me do my stupid thing, but over time it became a collective creative effort.
Do you have a record label? Are you a member of any music organizations?
We've not worked with anyone but ourselves and other bands really. We've never approached or been approached by any label, despite the fact we have friends who run great local independent record labels of their own. The three places that will always feel like home to us are The Warren (where Stew Baxter has always been supportive of us) The Sesh (a night ran by Mak Page who is the founder of Humber Street Sesh) and the Adelphi (where we first started and who gave us our first opportunities to play).
Where have you performed? Do you have any upcoming shows?
We've performed in Sheffield, Leeds, London, York and Hull over the past year or so. We have a show in Leeds at The Library on April 12th.
Which songs do you perform most frequently?
We have two singles online called 'Home' and 'Sigh Away' they are in and out of our set at the moment. The rest are entirely new and have been written in the past 4 months. We record an E.P of stuff hopefully before summer.
Who writes your songs? What are the main themes or topics for most of your songs? Do you think these topics will change over time?
I write the songs and then bring them to everyone to add their own parts to them.
Friends and family like to poke fun at me for writing such depressing lyrics, it's kind of my thing haha. But more recently they've become more optimistic, and less centred around me which is probably refreshing for everyone!
What has been your biggest challenge as a band?
The biggest challenge by far for us, is to continue being productive despite the fact that our guitarist beckie and keyboard player Louisa are both students down south. Our drummer James is also in a band called the Colour Line who frequently tour the UK. It can be pretty tough to get anything done!
What's your ultimate goal for your band?
The band gives us a platform to be creative together and I'm grateful that it still exists after three years.
To be able to be self employed as a musician, to tour and release material which can be my main income would be an absolute dream, but we're realistic and know the chances of that are very slim. For now the ultimate goal is for the songs to be heard by as many people as possible
What advice do you have for people who want to form their own bands?
The trickiest bit is to get going. When I first started I knew I was terrible at guitar and couldn't really sing. Nothing's really changed in that aspect but I know I've played some great gigs and recorded songs I'm really proud of, achieving a whole lot more on a personal level then if I'd have stayed at home and decided I didn't want to play a crappy open mic on a Friday night.
The Sesh at The Linnet and lark is a great place to meet people within Hull who play music. Promoters, musicians, photographers are there every week on a Tuesday night and can help you get started. And if you're struggling to get people to join a band, visit the Adelphi on a Monday night, it's a free entry music night and countless musicians have met and started bands thanks to it. Recording songs and playing gigs will cost you a lot of money and sometimes you can travel 100 odd miles and play to nobody. But then there's always that one gig which is amazing and makes you want to keep going. If you love music and want to form a band, get on with it

Hope that's okay Taslima, thanks for including us and let us know if you post the magazine online, we'll happily share it about.
All the best

Daniel

La bête blooms x

Taslima Tarafdar
Aww wow! Great detailed answers! Thank you so much and of course I will, thank you so much for helping me out!

Magazine Research 32

I asked friends for a bit of help and input when it came to 'Hull Grub' which would be an extra feature in the magazine if any would be needed. This way I was able to have a bit of the public relate to the magazine feature and make it personal to the people of Hull.

Magazine Research 31

Land Of Green Ginger

These are some pictures I found when searching for 'Land of green ginger'. I thought to make the cover relate more to the name of the magazine I could include some aspects found around the area. However I think I would have to make a visit myself and collect some visuals to have a clearer idea of what the area is actually like and if there any interesting artefacts that I could use to create my cover.

Magazine Research 30

Hull Scenery

For my cover of the magazine I've decided to focus on scenery from Hull which make Hull what it is today. Therefore I've looked at the most popular areas and the people from Hull and outsiders would easily get a glimpse of and recognise. Here I've made a collection of rather impressive and strong images that I've come across when searching for 'Kingston Upon Hull scenery'. I intend to create some designs for possible front covers using these images as my influences.

Magazine Research 29

Interview With Local Band 2

FELONY

Taslima Tarafdar

Hey guys, as discussed with Sam, I'm an illustration student currently doing a project on making my own magazine, so I plan to include a double page spread about local bands and was hoping you could answer a few questions for me?

What's the name of your band? What's the origin of that name? Have you changed the band's name before?

What genre of music do you consider your work to be? Who are your major influences?

How long have you all known each other? How did you meet?

When did you form your band? What inspired you to make music together?

Do you have a record label? Are you a member of any music organizations?

Where have you performed? Do you have any upcoming shows?

Which songs do you perform most frequently? Do you ever play any covers? Do you have a set play list?

Who writes your songs? What are the main themes or topics for most of your songs? Do you think these topics will change over time?

Could you briefly describe the music-making process? (What job roles each member has in making the music)

What are your rehearsals generally like? Do you have a set time each week in which you practice or are rehearsals more spontaneous?

How has your music evolved since you first began playing music together?

What has been your biggest challenge as a band?

What's your ultimate goal for your band? (Fame and fortune, etc)

What advice do you have for people who want to form their own bands?

Is there anyone you'd like to acknowledge for their help and support?

Any last words?

Don't have to answer them all, can be as brief as you like, don't want to hassle you guys too much!

THANK YOU!

Felony

Hi, I'll send you the answers to these tomorrow Marc

Taslima Tarafdar

thank youuuuuuu! much appreciated!

Felony

What's the name of your band? What's the origin of that name? Have you changed the band's name before?

Our band's name is Felony. I'm not entirely sure of its origin, but I know it took a while to come up with. We thought about names for a long time, but nothing clicked until one day the word came to me and I loved it.

What genre of music do you consider your work to be? Who are your major influences?

If I had to choose one, it would be rock. 'Melodic grunge rock' is how we describe ourselves usually. Major influences include The Beatles, Arctic Monkeys, Queens of the Stone Age, Nirvana.

How long have you all known each other? How did you meet?

I'm the only remaining member of the original line-up. Danny joined in late 2011 and Sam in summer 2012. We all first met at college.

When did you form your band? What inspired you to make music together?

2010. Me and another friend, Nick, formed as a two-piece. I liked the idea of the simplicity, but after a few months realised the extra possibilities with bass were too attractive.

Do you have a record label? Are you a member of any music organizations?

No.

Where have you performed? Do you have any upcoming shows?

We've supported a few bands we like personally, like Nine Black Alps. We love getting to do that, as well as the summer festivals in our hometown of Hull. Last year, we also performed at Galtres Festival which was brilliant.

Which songs do you perform most frequently? Do you ever play any covers? Do you have a set play list?

Yes we do, but we change it every few months. We usually close our set with a heavy version of The Beatles' Come Together.

Who writes your songs? What are the main themes or topics for most of your songs? Do you think these topics will change over time?

It has usually been down to me to write the songs, but in the last year or so, Sam has been able to add his own songs to the mix. I suppose that's brought about a bit of friendly competition which has probably helped improve the output.

Could you briefly describe the music-making process? (What job roles each member has in making the music).

Sam and I tend to take a finished or half-completed song to a rehearsal and show it to Danny. The three of us will then work out the best structure and add any nuances.

What are your rehearsals generally like? Do you have a set time each week in which you practice or are rehearsals more spontaneous?

They're not 'spontaneous', they're booked well beforehand. But we do not have time set aside each week in which we always practice.

How has your music evolved since you first began playing music together?

The lyrics make sense.

What has been your biggest challenge as a band?

I've recently moved two hours north to Newcastle. We are managing to continue working together quite well so far.

Taslima Tarafdar

Great answers! Thank you so much for your help!