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Amandine Alessandra

A graphic designer who studied at LCC. her work revolves around her interest of the relationship between language to image. The first piece of work shown to us was the books with letters, all about anchorage, using a word and image to mean the same thing.

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This made me think about my own work and not to commit myself to just working with typography, or photography and drawing, but consider the possibilities of using both to enhance each other, which is what I tink most of her work is about. but work doesn’t solely rely on the words and image working for themselves her work also considers how the form of said letters can enhance the words you’re using. this led her onto her work using a quote from Lewis Carrol:

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instead of just using experimentation of letters, this uses a quote with meaning and interpretation to consider, giving a much bigger depth to her work.  this also changed the scale that she was working at to add emphasis and change meaning. The original quote was small and written down in a  book, but by aiming it bigger and changing the way its written, then to be photographed adds a lot more thought and dialogue.

referencing this to my own work illustrators tend to feel restricted to using the normal expected dynamic of putting pen to a sketch pad, but theres nothing stopping me working on  large scale if I tink it can really add something to my work.

her worked changed slight direction again and she started considering how to annotate a landscape, devising a typeface that could enhance a landscape.

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The idea behind this work was to bring attention to derelict places, draw attention to using an ethereal typeface. I really like this style of installation, as they look amazing in pictures, but installations are also so much more interesting to see in person and make it so much more interactive with the public, it helps keep people interested by what your saying, because its right in front of them.

as well as developing her own personal practice, she is also able to take a living out of her work and created her “wine reveals the truth” tablecloths, which were a success and got pickled up to be sold in selfridges, which is an amazing opportunity as it allowed her to get PR from selfridges promoting the product. this was really inspiring and reminded me that it’s not only important to work hard at your practice, but its good to consider ways your work can be commercially available as not only does it mean you have a way of using your practice it si really good for getting your name out there.

During the talk she also referenced a lot of her inspiration such as:

  • Andy Goldsworthy
  • demonstrating graphics
  • Arthur Moles portrait of president Wilson
  • Arinang, a Korean choreography work
  • the artist who tattooed the 160cm line of six people

this all led to her further work using people and typography, and it’s always good to remember how important contextualise and referencing your inspiration is,especially in my current project researching my own practice.

all that inspiration led to some of her most important work that really helped her get a name for herself which included using a coloured sleeve to make any letter or number, which she did at liverpool street station mimicking the clock with people. Looked good in photographs but also important to remember primarily and installation/live action piece of work. which led into her work with Optimus Kanguru.

This project expanded further and further including a campaign with HP, people asked to use it for occupy wall street, was able to use it for projects in other countries and was written about by people on blogs. It was really amazing to learn about how one idea, was manged to expand so much globally get lots of people interested, which is something I think everyone wants their practice to do.

All of her amazing huge body of work eventually led to her own up her own publishing company ‘Tower block Books’ which has allowed her to even start-up her own publishing company with a book she and someone else had made and designed. it was incredibly inspirational talk and she showed that from being motivated and following and developing an idea, instead of getting board of it, you can give birth to some really amazing projects and become a success, and be able to not only design something, but publish, promote, make a book.

 

 

The Poundshop

The Pound shop is an art project started in 2010, and combines creators (Sara Melin and George Wu’s) love of pound shops and great design. There was a gap in the market as design shops are always incredibly expensive,and they saw the oppurtinity to have one that is not, cheap amazing talented design, affordable for everyone. It also helped that at the time there was bad economy which meant pound shops were the ones that were really surviving . In addition to this, as they serve as pop up shops, there is minimal risk as they do not have to pay rent. Prices can also be small, and in the beginning when everything was a £1 they only took 10%, which is great for the designer too!

designers are asked to make something mass-produced, takes no more than 50p to make, and is simply an interesting piece of design, all to receive 90% of the profits. This is great for designers trying to break out as it gets their work in the shops and a chance to sell their work, which is what every artist wants. But it also benefits the shop as they can pick up new and up and coming designers and creates  a hive of interest round their business.

So far they have done 10 shops, their first being in Hoxton street where they only spent £150 on interior where they hired s architect and product designer to make an interior from cardboard boxes. To ensure they make some money back it costs £5 to participate.

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Overall, I think anyone could see its a pretty amazing business plan which is hard to fault  and it naturally grew from places like Bethnal Green all the way to Somerset house.. This was the first time they had a larger institution and it was very different, 73 designers and 11 000 products. Problems they encountered with this is the prices had to go up to make more profit, £5 and £10, and had to make a different system, where you would order what you buy. This all challenged they way you normally shopped and can be interesting for shoppers but in this case they didn’t make as much as hoped, and also had problems with people stealing and breaking things.

They also tried web shops, but because of postage costs this defeated the point of selling small items cheaply. So over all the company discovered quite a few problems, but whats quite inspiring is that they didn’t give up and mange to overcome all sorts of problems.  Their next stops was to collaborate with ‘Mother’ ad agency in 2012 this put more money into the business and they were able to set up a shop window with codes to sell their items, so it all started become more about finding alternatives to the way their  business originally worked. This escalated sand led to even more amazing opputinities at Selfridge’s in Oxford Street for bright young things. They managed to sell quite a lot but lost money due to VAT, despite that however its still pretty amazing to have your business put up in a place like that. which again, led onto more oppurtunities to Tokyo and now eventually Russia.

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After the talk I definitely feel inspired to not only just start a business but be part of this. Sara also talked about the importance of the product being a quality design product, they aren’t just cheap things to sell, they are creative people, selling to other creative people, and the best things that sell are clever, innovative and well executed, something to think about as I would one day also like to be one of their designers. It can be incredibly helpful as part of my own career as designer Sara Ferrin designed a magnetic calendar for the book which she still sells now and has been immensely popular.

I feel immensely motivated after our talk with Sara and it definitely makes you consider all the oppurtunities in the creative industry it’s not just me drawing and making work for books or galleries, there can be so much more, just by using a bit of innovation and positivity. I think it really helped to also learn about the problems they faced and all the hardship as well, as it reminds me to prepare for the worst, you can have an amazing idea but that doesnt mean its an invincible one. It clearly takes a lot of hard work and motivation. Sara has taught me a lot about not just sticking to your discipline, look outside the box and find other oppurtunities, anything that interests me within the design community and I think that’s what im going to take away with me from this talk.

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Bruno Bayley (VICE Magazine)

Bruno Bayley is a european managing director for VICE magazine, he is the main editor for the UK magazine and photo edition but helps sorts any problems in all 8 editions in europe. He has worked at the magazine for over 7 years and sen it develop and change. It started out as very relaxed and a lot of inside jokes, something not previously seen on the market. It then developed and changed into something that today is far more focused on interesting, thought-provoking content, with a few inside jokes in between. He sai himself it became about increasing quality, covering serious topics, but keeping what people loved about it before. Again, the thing I find most interesting about the magazine, is there is no competition, theres is no other publication out there like, and the fact they are free gives it another individual edge. Their target age group is 18-35 so a lot of their magazines re dropped off at universities, and once they were even banned from a uni for being too controversial, but for now I don’t think that would be the case as its widely appreciated in the art and design world.

He spoke to us about his passion for the choice of photography and how long it takes for him to select the photographers he uses. They are mainly based on submissions and sometimes photographers they get to know. Bayley talked about all the issues that you can have with doing something like magazines with stong photographic images, as the nature of it means it can sometimes be quit hard to make the best of. he spoke about how careful the consideration have to be with running order of the images, their size and colour. It’s his job to make sure every image is used to its full potential. Even though I’m not an editor of a magazine it’s still all very similar things that I have to  consider in my own work.  about making images fir together and work as a narrative. A lot of what he was saying about making text work alongside image seemed very reminiscent about what I had to think about when designing a narrative for a book.

I’ve always been a fan of the magazine and it was really great to be able to ask him some questions about the publication, vice is known as an almost controversial magazine and I asked him if he ever approved an article that he felt quite nervous about the reaction he would achieve, but to my surprise he answered by saying “people think we deliberately try to piss people off, but that’s not the case”. he said he actually becomes more concerned about the people who are being interviewed in the articles and incase they get in trouble, as often they are taking part in illegal activities and could suffer some backlash. I think this is really a good point, and proved to me that it’s a very different magazine form others, and really sets them apart from others. What stands apart for with this magazine is that even when they change they still maintain its independence and tone, developing it with more intellectual and diverse articles without losing why it was originally there, to be enjoyable. The fact it has also stayed free shows its a magazine that still continues to owe its loyalty to the reader.

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 Penelope Menodoca

 

The name of her presentation was:

The foolish freelancer – How to be happy, but not rich’

Pen is a graphic facilitator and Illustrator from new Zealand, and it was really refreshing this week to hear something about someone from my own discipline, especially someone who was really friendly and down to earth, it made the possibility of having a career as an illustrator far more in reach. However, I’d only ever briefly heard about graphic facilitation, and her ow description is someone who is “Good at representing people, you don’t have to be good at drawing, but being able to communicate with people” Looking at some of her work it all did exactly that and has even made me consider working in that field.

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The reason why she made me feel drawn to this way of working, is because although its great to make work you enjoy making, her graphic facilitation actually helps people’s, like the little girl show how she was feeling, or help people have a greater understanding of mental illnesses. Which all too often normal work doesn’t do, her work has a lot of empathy and understanding,  whilst producing clear images for everyone to understand. I feel like this line of work would have  a lot more job satisfaction than possibly others could. HOwever she doesn’t only produce this work for social care she also has government jobs too where she focuses on public engagement , bringing different backgrounds, knowledge and power together and able to communicate, something that I cannot imagine is easy. She described they key to creating good graphic facilitation is; being able to draw and write fast, easy to read and follow, accurate and true, using their true words, interactive, combine words and pictures, be specific to people.

the key thing to remember about her line of work is that she is working as a free lancer that has its ups and downs.

Good:

  • Fluctuating income
  • NO annual leave
  • organisations not paying invoices
  • clients changing their mind or cancelling
  • clients expectations and opinions

Bad:

  • freedom
  • variety
  • creativity
  • flexibility
  • doing work you care about
  • confidence and personal development
  • you are in control

She asked us after this about whether we would consider going freelance ourselves, something we are not asked very often in uni, and it made me think about what type of business I would like to go into, personally I decided that I was 50/50. I would like some freelance work to have that freedom but also would like to steady income from a job on the side.

After talking about her professional life she talked to us about her PhD she’s studying for and the graphic novel shes creating, for and about single mothers and absent fathers. she talked about the interview process and getting to know the people she was basing her story on. Also how it was a story personal to her and allows her to connect with her work. the people she interviewed said they wanted it to be humourous, but people s truth as they see them, allow it to connect with not just the author but the reader. This really made me think about the importance of all her work, professional and personal, they are all heartfelt ways of connecting with people and opening up and allowing outsiders understand other people’s feeling. This seem like such a fulfilling way of working and I think its something that i will consider in my practice and other people should consider too.

 

Domonic Czechovski

Today’s talk was from someone who’s profession is something we’ve never been shown before and I’ve never really thought about: a curator. He began his talk with a quote from Tim Etchells; “A message to yourself from the past when you believed in different things”. This was taken from a  hayward gallery exhibtion commission of neon lights, the hayard gallery being where he works as a curator. He said that it was statement not a question, and after viewing the talk, it sums up about his career in some way about how his opinion changed on art and how he came across his calling.

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He began by looking at what the word ‘curator’ has meant across history and it began as someone who was in charge of a collection for a museum or library, they would use their specialism to make a collection available for the public, perpetuate the work.  In the age of the romans they would look after buildings and certain places. Middle ages curators were monks who looked after souls, and life on earth and beyond.  He explained that looking after is crucial in the word. Nowadays, the role has changed, an independent role. everyone has a different take on the role, you can have curators of food, fashion, event, art etc. Not only that but artists are now taking more of a role in curation of their work. The person curating is a catalyst or bridge between artists and audience, they are there to help  people to see and engage with through collaboration. They are supporters of the artist by making the collection available, encouraging engagement. I found this all very much food for thought, as previously in university I have always curated mostly how my work has been put up, hung or arranged. But if I was going to consider having work galleries, having a curator is something I will have to deal with whether I would like it or not, I would have to trust their judgement on my work.

He explained the relationship between the curator and the artist is the main major connection in an exhibition. It is part of a process that could involve conflict, but what should happen is you both come out stronger and bring something forward as an artwork at the end of it. If I want to have a successful relationship with a curator in the future I need to have; trust, honesty, dialogue, excitement and knowledge sharing. Myself and the curator will also need to want to do it, he also explained that he as a curator has to learn from the artist, after all there would not be curators without artists. He presented the drawing below from an exhibition he saw where the curation and relationship between the artist does not go well:

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Not only is the artists and curator important, the curator has to think about the public, and how he wants to realise and propose an artwork to the public. What he has had to learn to do is consider the impact on the public and be able to make it accessible and meaningful. It’s his job to provide the tools to do that, he doesn’t want to show everything but still allow the public to have their own interpretation and choose their own stance on the work, which can sometimes differ from person to person.

He explained that curating is a process and a progress. A meaning is produced, or a value has been added. He began as by studying art history and when he came over here 10 years ago had an interest in art. He began his life in community state funded institutions with censorship, but as he grew up things became much more open and fluid. When he first viewed art in 1998 he became angry and confused about what it was so rejected it, but he discovered that he still wanted to understand and learn. Polish art at the time was called critical art, and dealt with contemporary art in a critical way.They were dealing with things that have never been dealt with before, especially in the public eye. The exhibition that first confused and angered him was this one pictured below:

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The photographer uses models with amputee limbs who are then working with each other to be supported, which creates sculptural work.He now relates this work to the term ‘relational aesthetics’, the artist is not just an artist that presents but a catalyst, a link between the work in the public which is what this artist was trying to achieve, and also the curator is doing the same thing as th artist by using someone elses work. In this talk he is really enforcing the importance of the relation between the viewer and the artists work, which he has to create, which can also be solely done by the artist.

He mentioned another artist who interested him Alina Szapoccznikow, she only created work for two decades, he recognised her work from the first illustrated magazines he had seen but was then able to see it in a show years later and see the figure from the magazine in real life. The show focused on how underappreciated the work was when it was made. The exhibition was heavy on archive and contextual materials, she worked with a lot of synthetic materials like polyester where she casted the body of her son, all whilst she was terminally ill but she continued to make work.  This all became part of her practice by casting bits of her body, lots of these things were cast around and told the story and narrative of her. This to him, and me is a really interesting archival way of curating someones work, as I feel a narrative is very important when viewing someones personal show.

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The show that he described as defining he identity as a possible curator was ‘After The wall’ 1999/2000. It dealt with work that was being created behind an iron curtain. Whilst the iron curtain was up Poland was in the periphery and England in the center, the work in the emotion tried to address this. He felt lucky to have seen this exhibition as it was how he discovered his role as a possible curator, he discovered the notion of context to the work and how it important it is. When presenting the work to a largely western audience, should it have more context or the work left independent from it? One of the curators from this exhibition said that she did not learn the contexts through the work but by looking at the history itself, her concern was to just find good works of art, and it so happened that the historical context was similar. This is really important in my own work as the work I create context also lies in the environment and time and history its made, which can often be forgotten.

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he also mentioned his interest in spaces and how when he was looking at studying art history he visited New York, Washington, and visited the Hirshorn Museum. He noticed it was a completely different space to display artwork. The shape of the building dictated the way the exhibition worked, along corridor open plan, it was something different to him, not like any other museums. For me, unless you are a creator, it’s easier to forget about the details of the space you are using and just focus on the artwork itself rather than the space it is in. As a curator I can learn that you become more aware of this.

He also viewed a another exhibition the ‘Binnale’ which began at bottom of street and ended at the cemetery, much like a book, or a walk through life. They even reopened buildings for the event, the audience witnessed a day in the life along the street. He believes this was a stong, but risky move. As they also reopened a former jewish school and the meaning was overpowering in the space. This way of exhibiting work made him think extremely differently about the alternative ways of thinking and using a space.

His first proper curation was when he became involved with the Barbican Gallery. The curve was turned into an art space, where they commissioned artists to use the challenging curved shape. he proposed the work of Kusmiroski who turned the space into a WWII bunker. The area was actually heavily bombed in the year so the context was extremely relevant. the artists used many different materials to create the space, and was so meticulous with detail that is passed off as very real and created a reality that did not exist. As a curator he was with him through every stage and had to build up a lot fo trust with the artists despite lots of missed deadlines there were able to pull off a successful show.

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It was really interesting getting to know a curator for the first time and see his thoughts and processes on to how he ended up with the career he has. It’s also a career that can be easily forgotten but he really iterated the importance of it and everything he has to think about. I learnt a lot from him and especially his thought so not pinning down his curating to one style but instead working intuitively to depending on the space and the work, having a theoretical sense when it comes to style but not a physical one.

 

Nathaniel Giratis

This week we met Nathaniel, head of design strategy, smart design. Product and concept design is again something I’ve never really looked at but can obviously be linked to lots of different things, like illustration.

He explained how design is about people, not things,  design with meaning. In addition mentioned the quote ‘ we have many products and services in our lives, but only a few are meaningful’, which to me stands out as what his company is about.Good design has the ability to brings people and organisations together. Their company is extremely successful and they have just moved to london but have offices in new york, san francisco and Barcelona.  They have run for 35 years and created an impact throughout the world. His role personally is head of strategy, his responsibility includes figuring out what is the plan, what are they doing and how are they going to get there. WHen starting a project it is essential he considers:

desirability what he wants to explore.

feasibility

viability.

Secondly, what are insights? he explained insights come from going deep into the issue at hand. understanding people and their everyday lives. With  focus groups you only gain superficial information, if you want to go deeper, don’t make them go out their home, go to theirs.This can be known as ethnography, gaining a deeper texture to what daily lives are like. You might not see something you otherwise assumed. Instead of watching people not watching, engage in conversation. They engage them in the design process by bringing sketchbook and getting them involved and seeing their ideas.  This results in changing how you think about something, see a new perspective and new answers to a question. Although he is referring to product design I can also elate this to my own practice by considering alternative of fitting a brief by talking about who is involved and what they want from me.

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Why do the insights matter? He showed us an example of how people wanted to go from huge camcorders, to something portable, that could be carried around and send everything a lot quicker. This led to the flip camera, robust and high quality output which had few features as possible, this took off. The company did amazingly well from it because they did their research right and found out exactly what the customer wanted. This grounded a whole family of products and became the no1 selling camcorder in the world. It was then sold to Cisco who purchased it for $590 million. This showed the success of working with what the people want and finding the correct desires to focus on, which can lead to business success.

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Their design company also learnt how to leapfrog competition. Ford was in negative position, wanted to create  hybrid to compete with prius so approached them. What they were asked to design was a LCD panel information display. They helped designed the smartgauge, it could be read in perhifial vision and the aim of it was to reduce visual demand and attention. Den Formossa, smart design founder, helped create a more glanceable and less attention grabbing by using an LCD

It’s design was designed  to give feedback, in a fun way using game theory, if you stop fast, the leaves would fall off, but if you have steady pace the leaves would grow back, which couldn’t have been possible before a digital dashboard. This showed the drivers how well they were using gas mileage and saved them 200 more gallons per year. This was not because of the car engine etc, they learned how to be better drivers and let them be the hybrid drivers. They were buying 25% less petrol, which picked up and helped it become 2010 car of the year. This shows that by using a little ingenuity and trying something different with a thoughtful, individual process they were able to create a successful design and help Ford out.

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American Express also worked with them, when they discovered another  credit card had taken over number one spot and was based on the website. Their original website had a lot of things going on at once. The front page of a website was not controlled by one person which made people’s experiences of the page not focused. This they had to go deep and co-creating, explore what a better experience is, cut up the website, group it and rearrange. The customer details were most important, the company’s stuff was not.  Users didn’t have a problem with all the information, but had a point of view of what was theirs and what was american express. As a result the website became a lot more about the person, your name, easy to read information, you can find it, information is priorities, got number one rating back. Another success sorry from going deep into what the customer needs from the service.

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He taught us a lot about what they do and whats caused them so much profit and success as a company but he also spoke about what we can take away from this as practitioners ourselves, who all have to work with briefs and clients. This is the advice he gave us:

– Leave a studio, imagine the person’s world, getting out of your own context and comfort zone, instead empathise, create work inspired by their lives, as it’s happening.

– Talk to people and engage, don’t hold ideas when their new, get people to challenge your ideas,going to come up with a much richer result.

– Ask good questions, open, that doesn’t lead people, don’t ask which one do you like the most as they might not like any. Or even might like more than one, think about what you want to learn.

– Prototype fast and cheap, don’t be precious with preliminary designs, sketches are just sketches, the faster you can prototype the faster you can learn.

– collaborate, better ideas when you join and share.

 

Even though \i’m not working in the field of product design I could learn a lot from Nathaniel about how to engage with clients and briefs, and think outside the box to create something individual working to a client or customers needs, in order to create something they really want. All of the ideas about deeper insights I think could really help how I approach an illustration brief.

 

Mark Roy- People of print

Mark studied at Brighton university, he started by being interested in screen printing but eventually founded a passion for printing.

When he  graduated he created an A0 print with work on front, cv on back, which he then mailed  out to lots of people. This seems like a really good idea to get people noticing his work whilst seeing qualifications, but able to grab people’s attention at the same time. I actually really like this way of printing and can see myself doing something similar myself. It seems a practical cost saving way of sending portfolios, and allows it to be all in one place.

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His first commission was for the band Crystal Castles, they got in touch and asked to use it and he gave them the permission to do so, as long as he got credited.It then tuned out they were using it for all sorts of merchandise, which they hadn’t asked permission for. The  AOI helped write a legal letter to get a lot of money from them as it was incredibly unfair, and illegal. We as artists own the rights for our work and we have the responsibility to take it seriously, seeing as we own the rights to everything we produce. It was helpful to hear about this and the next steps he took as the very same thing could happen to us some day and the issue should be dealt with correctly.

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His personal work, worked with CMYK and half tones. By  working with these colours he was able to get a lot of different colours and shades, just from a small colour pool. These actually caused some really striking effects. He didn’t explain much about what the images meant or what they were for but they were striking all the same and th playful use of colour causes for an interesting image.

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He went on to produce a zine called bloody Nora, again printed in A0. This was for fun and included lots of artwork. collating everything into and making something someone can buy. This seems to be one of those simple things that can be so easily done by myself and others, you just need to have the motivation to do it. To see that this is where he started, compared to where he’s ended up now shows that evene a small zine can lead onto something larger.

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He found a printing duo from San Francisco  (pictured below) which made amazing psychedelic prints, he asked to work with them and gain some experience and he did so. He mentioned that it helps to say, I am coming to said country, rather than can I and gives you a better chance of them saying yes, which is very handy to note for the future!

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It was this experience that made him realise he wanted to move further forward with people of print, even though he was receiving commissions, people of print was more about getting his favourite printmakers together and doing events to celebrate printmaking. He got in contact with ‘Mother Drucker’ who used a disused swimming pool and set up a print studio inside it. They made a C M series, and received sponsors but did it for free, then the suppliers received 50% of the sales.This was really successful and inspired him to start making his own events with people of print.

His next steps were to hire out a pub that charge £3 entry, which paid for the price of the venue. They showcase a video of the printing. This evening was a success and actually enabled them to go to ‘Pick me up’. Their set up included printed t-shirts which they sold, lots of activities, lino cut, wood print press. Again, this was a huge success and were able to get commissions for lots of other vents such as a friends gallery were they sold prints in London. This then led on to asked to make a print workshop in Levis’ where they would be printing with Anthony Borall, the premise being members of the public could tweet in a saying which they would then make up into prints. Being during the Olympics they received a huge amount of exposure for the team. Which even more exposure allowed them to do screen printing in the V&A museum as a three-hour job for MasterCard and this was only because they were noticed from previous events. This route of success is really inspiring me as an illustrator as it all sounds like amazing opportunities that were achieved just by going for it .

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The following project was much more of a humanitarian one. This was for rugs that were fair trade and 18×18 in size, and designed by 18 different designers who worked in pixels, similar to designing a screen print. These rugs were then hand dyed and sold in the design museum where the profits went back to orphans.

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This led onto a similar project in Kenya, were he went over there with his team to make handmade paper in a print studio they se up.  They brought with them a mini screen and already prepped artwork. They then taught the people how to print and were able to sell them giving the money back to the people in Kenya. Projects like this are really inspiring and you think about being able to use design to help others, rather than just furthering your own career. Anyone can do something that is worthwhile to charity.

Moving on from that side of People of Print, they also made a book to collate everything they create. Printers can be incredibly expensive, so, they made a proposal to show to book companies. They made a plan of structures, pages, vision, background of artists, examples of work, and general mock ups. This led to a digital render of what it may look like, Thames and Hudson got back to them and the book will be out in April. He explained the sorts of problems they had with working with a larger publisher, as they created a lot of creative and practical restrictions, they were not allowed different colour types, all of it had to be black, when curating they also had to choose what the publisher would want also. In the book however they manged to include sagmeister as you are able to download all of his work from his website at 300dpi, this is specifically for press use, which was useful for them. By Marcroy talking about the ups and downs of making a book and working with publishers he really highlighted how fun it can be, but also a lot of work as well, so I think it is definitely something to think about in the future but not for now.

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The difficulties they had with the book stemmed the idea of wanting to produce something that was entirely their’s, and this is how ‘Print isn’t Dead’ was created. They have worked on the book for two years, but for this project they knew exactly what they wanted to do and went to a different printer. Also made a kickstarter which aimed to make £6500 to start off the magazine. The Famous Felix Dennis took control of this operation and stopped the printers from going under. The proposal for the kickstarter, outlined what would be given back in return, backers received a magazine and a sticker, they couldn’t afford to give away much more. The ended up getting sponsored by an ink company which created a interest around them and their magazine. This showed us that by creating a clear vision they could make a well rounded proposal which was successful and the magazine, Print isn’t dead does extremely well.

The idea of the magazine was to promote people who use print in their work and change it up, they are always using independent typefaces  and an independent type foundry for each issue, making it a very independent publication, made by printmakers for the promotion and enjoyment of printmakers. The first issue as more of a directory of print makers and the second about doing everything for themselves, which was obviously very inspiring for us to think about. He also mentioned the importance of their social media for their followers and people interested to talk about their work.

I really loved hearing about the progress of the ‘People of Print company’ and it was really striking to me and memorable to hear about how they started and what they were able to leads to from that. marcroy was defintely able to inspire do it for yourself attitude, and proved it doesn’t happen unless you go out there and do it for yourself.

 

YCN

YCN stands for: “you can now” and has been about since 2001. Jenny who spoke to us is an events manager who organises their shop events and student awards. They explained YCN is a creative network that helps members connect with new opportunities and ideas. They also value and congratulate creativity through their awards programme which is open to professionals as well as students. For example they are currently running their Pan Macmillian brief to redesign the cover for the well-known story Alice in Wonderland. The job is to collate the entries and then send it on to the brand, they look for fresh ideas and creative solutions. The awards ceremonies allow the winners and entrants to have a great networking opportunity. YCN also offer a great range of internships, through competitions and the jobs section on the website. They also have a ‘You Can Now’ Magazine which includes in-depth interviews with new talent, photography, illustration with a different title and theme per issue, their website also has daily digital publishing to look at. I really like the sound of this company and it has made me think about all of the other career opportunities in the creative network, that are focused around creativity, but not necessarily the creating side of it.

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Jenny talked about their breadth of interesting calender events such as Micheal Wolf who works for the branding agency behind the olympic logo, as well as lots of other experts in the industry who come to YCN and share their experiences. This sounds similar to our industry Friday, which is incredibly rewarding so its nice to know I can still attend events such as this once I graduate also.

Doris works as a creative producer in the talent team. The talent team can be viewed as portfolios in the talent section of the website. It’s her job to keep it updated and fresh. The membership to be part of this costs £120 a year, but it includes half price events, discounts in the shop, the magazine 4 times a year, help to young creatives, advice on portfolios, help with costing, they are pointed in the direction of the right companies, help look after projects. She also showed us some of the favourite members which are showcased on the website, this included Sam Glyn who only signed up a few weeks ago, but he is presented on the website as he represents the company well.

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By being part of this talent section Doris can suggest and provide them the opportunity to work with big brands when approached by them, examples include: River Island, Google, ITV, Adidas, Samsung and Transport for London. When this has happened and their talent team has made work for a client, for example when one of them worked for vitamin water, they were there to make sure he was paid well as his image wasn’t just going to be used once it could be posted everywhere. The Talent team really interests me and makes me consider the benefits as an illustrator to be part of this community and especially how it can benefit me when I’m just starting out.

Top tips from YCN:

 

share your work – behance, instagram, twitter. have work out there, if they can see it they will come to you

love what you do , do what you love. obvious when heart and soul is put into it. will always be best

be nice, friendly, people will remember you

be proactive: you are responsible for creative career, go to events and exhibitions, carry on personal work, contact clients, keep informed.

present yourself well. to keep you remembered.

Personal website: clear, easy to use, keep it brief, if sending work to clients, a few sentences, short and sweet. clean, images are clear. dont put entire university work, put what you want to be known for. clear about how to contact, good about me section, support by good social media. friendly emails. (This in particular is really good information to remember for my website for the Present and Promote Unit)

 

Out of all the industry friday talk I have found YCN’s the most helpful, not just because of the opportunities of being part of the talent team but it has also made me consider a career in the creative industry. I also love the sounds of Doris’ job and find myself really motivated to research further into that career, I’m really interested in the idea of looking through talent to find whats successful and helping companies select something that could work for them.

 

 

London Centre for Book Arts – Simon Goode

London Centre for Book Arts (LCBA) is an artist-run, open-access resource and education centre dedicated to book arts and self-publishing. Located in central london, Simon being the creator and owner of the establishment. They are open access and run classes and educational programmes. I’ve met Simon before and he taught us bookbinding and printing, which is the focus of the educational programmes. Here is also a useful diagram which defines the term ‘Book Arts’:

 

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Simon explained to us that book arts have been around for years but Ed Ruscha was the first to create an artists book. He created 1000 copies  which he sold. Usign the formula of democratic multiple, make them cheap as possbile and give out to as many as possible. See example of work below.

 

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Another example book artist example is Tauba Auerbach.  This was called the RGB series an a 3D interpretation of the photoshop colour picker, I’ve seen examples of it been show in galleries before with someone moving the colourful full bleed pages. Incredibly interesting to watch and interesting to see something traditionally seen on a screen, in a physical form. Alongside this in the picture below is Granite, the reproduction of a stone, again full bleed image of a scanned block of granite sliced numerous time to make up the number of pages.  These are the most interesting examples of book art for me as they really experiment with the materiality, and they become sculptural and precious. FullSizeRender[2]

Goode also mentioned Ian Hamilton, a poet who created the Wild Hawthorne Press, a small press publication who made a lot of visual poetry, this would be really intriguing to look into especially as im looking at creating work for poetry in my FMP.

Sisiter Cortia Kent (work pictured below) also had a huge involvement with print, press and book arts, she worked as a fine art educator and as I can see made some really interesting work .

 

 

FullSizeRender[3]Simon also spoke about his own education, he has a degree in BOOK Arts, which sadly no longer runs due to lack of demand. He visited america where there is still book art studios all over, which he visited learned and gathered information on how to start one, here in the UK, which he consequentially did! Some of the places he visited included; Printed matter, Baltimore print studios and Chicago centre for book arts, which the London centre is closely modelled on. Once it became started he was able to collaborate with other printers such as Nous Vous, and practitioners such as Dante Carlos and Esme Winter. He explained it’s not only good for the creative process to collaborate but also gives the centre another reason for purpose as they can work closely and help them develop ideas, alongside their educational work.

I really enjoyed this talk on book arts from Goode, and it was really helpful to have a chat on the end about how to create my own books for my FMP. Although I’m not studying towards book arts I do think I have an obivous interest and influence on my work and I think illustrators work with them very closely, as they best way yo show their work in the traditional book form, which is a lot to do with my final major project idea.

 

The Bristish Fashion Council – India Usher

This week we had a talk from India Usher, form the british fashion council. I don’t think her career has any direct links to my career, but it can be useful finding out about the industry. Usher is the education coordinator for the British Fashion Council, which is a non-profit organisation, promoting and celebrating british fashion talent.

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I also learnt that they are the ones in control of the big key fashion events, which really helped me understand the importance of what they do, and their global appeal.  Below is their mission statement which derive from five main pillars, which are designed to influence their values and ambition.  IMG_0198

Again, although relevant to the fashion industry could still be important to any create industry to do all of those things.As cordinator of their education sector she explained that they have BFC colleges council where 30 universities have a membership and can enter competitions and attend seminars.

She mentioned a lot in her presentation about internships and employability in the fashion industry, many of the places not being applicable to people outside of fashion. But a few that did seem to be interesting or of help, were monster jobs and the UAL page where student jobs, careers and internship are listed. Hopefully I can have a look and find something of interest. Again she spoke about tips for gaining fashion jobs, but some I think my be applicable to myself, as it’s till within a design industry and I can’t imagine it changes a great deal, see below:

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Overall, it was interesting to hear about fashion industry, I don’t think tis for me, but what I mostly gained was some useful tips about what to do when applying.

Concetta Gallo

Gallo has an BA in ceramic from Bath and a MA in textiles from the Royal college of art. She has worked for many big interior and home goods producers. IN 2001 she joined with HAbitat to a plate selling range called ‘Conchetta Range’, this did amazingly well and still does now, it was also shown in lots of Interior magazines which gave her great publicity and press, it has even led to another range being sold in Argos. (Range pictured below)

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When working for Habitat she was working as a freelancer and the imagery she used for this range was all based on collages that she experimented with as a designer which transpired well into ceramic ware. Whilst working for habitat she continued to create many more items such as this Jane Eyre mirror:

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She continued to make many products such as figurine and even some children’s homeware:

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I feel extremely interested in Concetta’s homeware and I think it’s because of the very illustrative style of her work. When I normally think about homeware I think simple basic shapes but her work often holds a certain narrative with engaging imagery. After this designing she went on to work at UOB for some years and then got picked up by Topshop who wanted to branch out to creating homeware. She worked there for a year before the project got dropped. However some of her at least were able to be used for Xmas gifts (pictures below)

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Again its nice to see the design side behind homeware, as I find it easy to forget that these jobs can be available to illustrators. After Topshop home did not lift off, she moved to George, who previously had no home section but were looking to branch out. This meant not only leaving London but Taking design to a huge population. She taught us that this job takes a lot of trend work for the mass market, and working out and predicting what the mass market are going to want to buy. This all has to be done a year in advance and be there to convince buyers and merchandisers that this is what the public want. This means making mood boards of imagery associated with the trend that’s being created (see below).

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This can include a wide range of imagery such as, seen the bottom left corner an artwork from Binale. But also, fashion collections and food. She also builds these trends from visiting places and reading magazines. These trend boards are a way to allow the designers to show what they want, and give confidence to the buyers decisions, a flavour of whats to come. This is a skill that I think I can see reflected in the visual imagery I collate in my research file, which gives me and idea and direction of what my work will end up being like. Talking from her experience at George she mentioned that you can’t overlap themes, they need to be seperate as to not confuse the buyer, something worth remembering if I seek a career in design.

Again, if I look into a career as a designer she explained its important to remember to understand sales, and how that impacts designers and the buyers/merchandisers decisions in choosing your work.

For a particular project it was really great to hear that she worked with a freelance illustrator, Amelie Roberts where she was able to take on the role of an art director and collaborator to envision a print and get it to work . It became her vision but Roberts would create it. Either of these roles would be something I’m interested in myself.

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She mentioned that a lot of trends they designed that they really loved, but actually had to really push for buyers and merchandisers to accept.  Or ones that do really well and they have to re-develop to continue the sales, for example Rivela (see below).

FullSizeRender[3] IMG_0282Due to the success it had to change and evolve, this particular one turned into sailors and hula girls, the illustrations created by Jacklyn Bisset. She explained that when she moved to George, she really pushed the brand forward, with 12 stories and 2 high season design collections a year. After all her work there, she has decided to move to M&S, a more up-market brand, slightly different from george in terms of product quality.

When she applied for this job she noted that before she ould get it she was required to create a a whole new project, just to see her capability of the job. This is just a reminded, that even if you are higher up you can still always be required to work for free.

it was really interesting to the career timeline and design process of a homeware designer, as its something I’ve never witnessed before, it was also especially interesting to see links within illustration, and the possibility of another career direction for myself.

Kate Lyddon

Kate is a London based artist with specialisms in painting drawing and sculpture. She studied a BA at Canterbury in painting and printmaking . She noted that at the Canterbury university all of her tutors teaching was very archaic in their teaching methods, a huge focus on drawing from life or still life. This was mostly responsible to a large amount of them being taught by Euan Eglow. After this she se spent time being an artists in residence at Camberwell, which she explained was great for being able to have facilities to be able to make whatever work she wanted to. I found this really interesting and inspired me to have a similar approach after my own graduation. After completing her residence she went on to study in Sweden at their Royal institute of art, enrolled on a programme for artists for professional development. During this time she learnt about contemporary art which was able to influence her painting topic and theme, to be more radical. She learnt a lot about painting which took her to o an MA in painting at Chelsea school of art in 2006. This really contextualised her work and find a vision of what she was trying to do.

One of her tutors from Chelsea then went on to recommend her to a gallery owner which led to her first solo show in London. This how included Figurative painting  with an corporation of objects.

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She explained that the basic resin for her working is due to an interest in human figure which stems into looking at human behaviours, psychology, relationships and an expression of psychological angst. These themes with in painting and sculpture form partly physical and conceptual vision of the way she sees these things.

In her pantings she in using acrylic but mixed with lots of different mediums to give the quality of an oil painting. In 2010 her work took more of a focus towards sculpture, one of her first pieces being a glazed ceramic with added expanding foam.

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Lyddon said that lots of people refer to her work as grotesque but she prefers her work to be seen as uncanny, reflections of psychological drama. Her work is also autobiographical from events in her life, which she doesn’t  explain to the viewer and eels its unnecessary to do so, which I find interesting as it adds a sense of mystery to the work, some of which is very conceptual and hard to read. She also used text in her paintings, some of which she regrets now as it is autobiographical but accepts that the work just becomes a product of its time.

it was really interesting to hear all bout her work and the links she makes between points in her life to her work. She also showed a really wide range of ways of working which is quite impressive, and a skill I would also like to be able to possess, and i think a lot of that comes from her huge amount of educational background.

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