Saturday, 20 March 2010
There is no need to be rude
Today my house mate went into White Flame in Winton and notified me of a poster they had asking about a website update. It seemed pretty simple and I had some really good ideas for improvements. However when I entered the establishment I spoke to the man in charge and tried to have a formal yet informal conversation about what exactly he wanted to change and elements he wanted their site to be updated with. I was however greeted with nothing but rudeness and no information. He was expecting me to make a whole website that was different from what he had only by guessing what he wanted. This would have been unpaid until he had made a selection process. Generally I did not like this mans approach and mannerisms and I thought it would be best simply to walk away from this situation. I could for see myself being messed about by the whole thing and from our lectures on how to deal with a client and the processes of creation I thought that this would not be the right situation for me to enter. This is a shame because I could have done something quite unique and it would have been a good opportunity.
Monday, 15 March 2010
Helpful portfolio hints from Aquent, Emma Barret
Aquents clients include apple, disney, honda, saga, orange and many more world wide companies.
Questions to get you thinking
What area you want to get into?
Who are the top 10 areas within that area?
Research magazine publishers
What brands to you admire?
Who does your work?
Thinks to make you stand out
Good use of type
Strong layout
Relevant work
Make sure you
Continue to challenge yourself by initiating projects
Enter competitions
Work on commercial pieces- use your contacts
Gain commercial savvy- go tot he printers and understand the process, cost and time frame
Join groups, networks
In terms of your cv
take your time
Attention to detail
Cv layout
Ability to handle type, space and copy
Have a 2 page limit, 1 is ideal
Make it professional-do not mistake quirky with creative
Leave out unessential detail
Keep it simple
Not times new roman or arial
Can add some colour
Needs to be a PDF
Tailor to audience
Portfolios should
Show your thinking and ideas + final product
Get them bound into books
Tailored
Research into companies before an interview
Start with your favorite piece of work and end with your favorite
Present it to a friend and get feedback
Ask for some feedback after an interview
Portfolio should be flexible
No work over 5 years
Take work samples especially if they are experimental
Up to 3 pieces of diverse subject matter can be included
Nice to show work in a more 3D manner, for example take photos of work in general every day scenarios
Questions to get you thinking
What area you want to get into?
Who are the top 10 areas within that area?
Research magazine publishers
What brands to you admire?
Who does your work?
Thinks to make you stand out
Good use of type
Strong layout
Relevant work
Make sure you
Continue to challenge yourself by initiating projects
Enter competitions
Work on commercial pieces- use your contacts
Gain commercial savvy- go tot he printers and understand the process, cost and time frame
Join groups, networks
In terms of your cv
take your time
Attention to detail
Cv layout
Ability to handle type, space and copy
Have a 2 page limit, 1 is ideal
Make it professional-do not mistake quirky with creative
Leave out unessential detail
Keep it simple
Not times new roman or arial
Can add some colour
Needs to be a PDF
Tailor to audience
Portfolios should
Show your thinking and ideas + final product
Get them bound into books
Tailored
Research into companies before an interview
Start with your favorite piece of work and end with your favorite
Present it to a friend and get feedback
Ask for some feedback after an interview
Portfolio should be flexible
No work over 5 years
Take work samples especially if they are experimental
Up to 3 pieces of diverse subject matter can be included
Nice to show work in a more 3D manner, for example take photos of work in general every day scenarios
Notes from Anna Stienburg lecture
An account of the average motions taken in producing a professional illustration.
The client will call or email
Negotiation process will take place
The client will send a brief/text
You should then write to confirm a job
Think, do some researching, create roughs
Send roughs to client and make the appropriate changes
The client will then give the go ahead
Do the art work
Send it
Send art work
Get paid
Promote self using examples from job
Helpful Hints
Build an address book of names and people who would employ you. In order to do this make note of art directors names from magazines and other media that suits your style of work.
Send emails out which are short and sweet containing your name, contact details, links and an example of your work.
When you get a phone call about a brief, make sure to consider time restraints and deadlines. Make sure to confirm their and your contact details, what the job is about and what it is for. Ask for a rough size and theme. It is also good to ask where they got herd about you so you know what areas of promotion are effective.
ALWAYS ASK FOR MORE TIME TO THINK AS NOT TO MAKE RASH DECISIONS.
Good contacts and references
Association of illustrators
2nd floor,
Back Building
150 Curtain Road
London
EC2A 3AT
Simon Stern- A rights guide to law and business practice.
The client will call or email
Negotiation process will take place
The client will send a brief/text
You should then write to confirm a job
Think, do some researching, create roughs
Send roughs to client and make the appropriate changes
The client will then give the go ahead
Do the art work
Send it
Send art work
Get paid
Promote self using examples from job
Helpful Hints
Build an address book of names and people who would employ you. In order to do this make note of art directors names from magazines and other media that suits your style of work.
Send emails out which are short and sweet containing your name, contact details, links and an example of your work.
When you get a phone call about a brief, make sure to consider time restraints and deadlines. Make sure to confirm their and your contact details, what the job is about and what it is for. Ask for a rough size and theme. It is also good to ask where they got herd about you so you know what areas of promotion are effective.
ALWAYS ASK FOR MORE TIME TO THINK AS NOT TO MAKE RASH DECISIONS.
Good contacts and references
Association of illustrators
2nd floor,
Back Building
150 Curtain Road
London
EC2A 3AT
Simon Stern- A rights guide to law and business practice.
Sunday, 21 February 2010
Thursday, 18 February 2010
Feedback
Emediate feedback was gained. All was very positive. The white face was the most liked, however some changes were suggested. I am now going to pursue this idea with less lines and more of a droopy face to make it look a bit more zombiefied.
Wednesday, 17 February 2010
Monday, 8 February 2010
Flyers
Yesterday I went to hand out flyers for our fundraiser at 60 million postcards. To be honest I thought it was a bit of a wasted trip. There was not even 20 flyers for 2 our us to had out. I suppose in hindsight that even if one of those people turns up and makes a purchase then it would be worth while. It just seemed a little unnecessary that's all.
Thursday, 4 February 2010
Ideas for The spies
I found this picture and this is the sort of style i want to produce the spies cover in however with more detail through the use of line, detail and intencity.
The Spies
So I had a brief chat today with one of the band members of the spies who seemed pretty open to suggestion as to what he required yet also quite particular. I was given some image to work on and develop. Firstly i was adviced to go listen to their music thoroughly and get a real vibe as to what they do. This is where i was sent to.
http://www.myspace.com/spiesuk
I was also shown some of their favorite art work which came in the form of Joy Divisions unknown pleasures album, which looks something a little like this.
I was also shown this which is there previous album cover, in order to get a further feel for their style. I was told that its was all about the minimal in the sense of drawing style and colour pallet. Black and white with maybe the introduction of one colour and lineal drawings is the vibes i get from Jamie.
In terms of subject matter I was shown this drawing and told to expand upon this concept but with that Joy Division kind of style.
In the next few days I intend to do several sketches and see how I can progress this. So lets see what happens . . . .
I have to say I am looking forward to this as it will give me an opportunity to do some work that is more suited to my illustrative/fine art style.
http://www.myspace.com/spiesuk
I was also shown some of their favorite art work which came in the form of Joy Divisions unknown pleasures album, which looks something a little like this.
I was also shown this which is there previous album cover, in order to get a further feel for their style. I was told that its was all about the minimal in the sense of drawing style and colour pallet. Black and white with maybe the introduction of one colour and lineal drawings is the vibes i get from Jamie.
In terms of subject matter I was shown this drawing and told to expand upon this concept but with that Joy Division kind of style.
In the next few days I intend to do several sketches and see how I can progress this. So lets see what happens . . . .
I have to say I am looking forward to this as it will give me an opportunity to do some work that is more suited to my illustrative/fine art style.
Wednesday, 3 February 2010
Animal Farm further thoughts
I clarified today that my prints were meeting the requirements of the brief, with some of the main organizers today. This is a pleasing result. I received an email the other day about an open screen printing workshop tomorrow, so perhaps if we are not specifically timetabled in tomorrow i would like to attend this in order to get some more prints done for the show if possible. To give my self a piece of mind. If not I would like to do it anyway because my screen printing knowledge is something I would like to further improve upon. So we shall just have to see what happens tomorrow.
Tuesday, 2 February 2010
Coda poster
A while ago I started on this coda brief and here is what I sent today. I was hoping that the design would reflect the fun side of the club, however with an intensely mysterious vibe. In doing this I think that it was possible to appeal to both children and adults. I am now currently waiting for some feedback in order to see weather it was successful or not.
This is what i said in my email
Hi Phil
I have attached a design for your Coda poster. If you like it but feel there is room for improvement please do not hesitate to put in a request for any adjustments.
Any feedback you have would be greatly received.
Thanks for your time
Rosie Tallent
I kept it concise and brief so lets see what happens.
From doing this brief thus far i think i have discovered that it is possible to contain large amounts of information on one page with out it being too overbearing. This was a challenge that seemed quite daunting on initial mind mapping.
Proposition
Right today I have been asked if I would do some art work for an up and coming band based in Devon named The Spies. This is a very initial request as they are still unsure as to what design requirements they want me to attend to. I am however rather excited by this prospect and am currently awaiting a briefing.
Saturday, 30 January 2010
Theatre Orb
The other day I had a meeting with a man named Craig Norman who approached the Arts Institute with the hope of gaining a logo and an identity for his theater company. His requirements were bold and strong colours such as black/grey/blue/red. He also requires the final product to be completed by mid February. I shall be working in a group for this.
Thursday, 28 January 2010
Screen Printing
Yesterday I went to the screen printing workshop. Unfortunately Jo was ill and therefor unable to tutor us. A replacement was found and showed us a quick demonstration and then we were left to our own devices. Due to this I think my prints were not as successful as what they could have been as I could have done with some technical assistance. This however is my documentation of how I came to making some prints for the animal farm show. I will however have to reconvene with the producers of the show to make sure the prints are adequate enough or wether a one of illustration is preferred.
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Wednesday, 27 January 2010
Tate Time
INTRODUCTION
Tate and CultureLabel.com are collaborating to launch the 2010 edition of RELEASE and, this year, the hunt is on for two outstanding product designs that will be produced and sold in Tate shops, through Tate Online and at CultureLabel.com.
This is your chance to get your work into Tate and we want your imagination to run wild. The winning entry from each category will receive a cash prize of £500 plus commission on sales from 6 months in. The winning product could:
Capture the experience of Tate visitors, be they young or old, from the UK or from across the globe
Capture the impact that Tate has had on the public’s experience of galleries and its influence on the arts
Be inspired by the architecture of the buildings, such as the iconic Tate Modern, which is 10 years old in 2010
Be inspired by any of Tate galleries, which include Tate Modern, Tate Britain, Tate St Ives, Tate Liverpool and also Tate Online
Product designs must fall into two price brackets – up to £10 and up to £100.
FULL BRIEF
Design Brief / Up to £10:
This product will become a much-loved and widely recognised souvenir of any visit to a Tate gallery - the object that anyone visitor will want to take home. You might want to focus on London and Tate Modern or Tate Britain and seek to create an iconic tourist souvenir that rivals the ‘Mind the Gap T-shirt’. Or, perhaps you are more inspired by the idyllic coastal setting of Tate St Ives or the post-industrial gallery spaces of Tate Liverpool?
We want to capture the experience of someone visiting Tate – whether the magic of the first visit or the allure that keeps people coming back. Alternatively, you might seek to capture the impact that Tate has had on the public’s experience of art - transforming galleries into experiential, interactive and lifestyle spaces attracting incredibly diverse audiences.
Design Brief / Up to £100 product:
This more premium product might be the collector’s item that captures the human experience held in Tate. We still want to capture the spirit of Tate described above but this product could be a much sought after limited edition, object or accessory and would have the creative flair, artistic and design values reflecting Tate brand and the higher price point.
Additional Information:
Tate Britain is the world centre for the understanding and enjoyment of British art and works actively to promote interest in British art internationally. The displays at Tate Britain call on the greatest collection of British art in the world to present an unrivalled picture of the development of art in Britain from the time of the Tudor monarchs in the sixteenth century, to the present day.
Tate Modern is the national gallery of international modern art. The Collection comprises the national collection of British art from the year 1500 to the present day, and of international modern art. Created in the year 2000 from a disused power station in the heart of London, Tate Modern displays the national collection of international modern art. This is defined as art since 1900. International painting pre-1900 is found at the National Gallery, and sculpture at the Victoria & Albert Museum. Tate Modern includes modern British art where it contributes to the story of modern art, so major modern British artists may be found at both Tate Modern and Tate Britain.
Tate Liverpool presents displays of work from Tate collection alongside special exhibitions of modern and contemporary art. The special exhibition programme, presented on the Gallery’s fourth floor, brings together works from national and international collections, both public and private.
Since the gallery opened in 1988, Tate Liverpool has presented over 150 different exhibitions and collection displays of work by hundreds of different artists, some seen for the first time in the UK at Tate Liverpool. Major exhibitions in the past five years include Shopping: A Century of Art and Consumer Culture (2002-03), Summer of Love: Art of the Psychedelic Era (2005), Jake and Dinos Chapman: Bad Art for Bad People (2006-7), Peter Blake: A Retrospective (2007) and The Real Thing: Contemporary Art from China (2007). Tate Liverpool continues to play an active role in the Liverpool Biennial.
Tate Liverpool has an established reputation for working with, and touring exhibitions to international institutions as far afield as France, Spain, Portugal, Germany, United States, Canada, Ireland, Korea, Austria, Italy and Japan, as well as other institutions within the UK.
Tate St Ives presents modern and contemporary art, often created in or associated with Cornwall. Its location in St Ives, with dramatic views across the town and harbour to the east and Porthmeor Beach to the north, provides a unique opportunity to view work in the surroundings in which, in many cases, it was actually created. Since the late nineteenth century two 'schools' of art have grown up in west Cornwall, at Newlyn and St Ives. Before Tate St Ives opened in 1993, there had been no public gallery dedicated to the distinctive modern art of St Ives. Tate St Ives presents twentieth-century art in the context of Cornwall. At the heart of the programme of displays and activities is a body of work for which the town of St Ives is internationally known - the modernist art produced by artists associated with the town and its surrounding area from the 1920s onwards. The gallery also presents work by contemporary artists, often responding to the gallery's displays or to the broader Cornish scene. The Barbara Hepworth Museum and Sculpture Garden opened in 1976 and is part of Tate St Ives.
RULES
Tate Enterprises Ltd and CultureLabel Competition Entry Rules
The product design competition (the “Design Competition”) is organised by Tate Enterprises Limited (a wholly owned subsidiary of The Board of Trustees of the Tate Gallery) (“TEL”) in conjunction with CultureLabel Limited (“CLL”).
The Design Competition will be run online on www.CultureLabel.com/Release and opens on 15 December 2009.
The closing date for online submission of entries to the Design Competition is 23:59 on 26 February 2010.
The entry fee for the Design Competition is £5.
The Design Competition is open to entrants aged over 18.
Each person can enter multiple times, with the fee payable for each entry.
TEL will collect the personal data of all entrants (names, addresses, email and telephone numbers) for the purpose of contacting successful entrants or to discuss any legal/copyright issues about the entry. Further, entrants shall permit TEL to share the personal data with CLL. TEL and CLL shall comply with the Data Protection Act 1998 at all times.
Each entrant who submits an entry to the Design Competition represents and warrants to TEL and CLL that the submitted design is an original work, free from any third party rights, in particular that under no circumstances does it constitute, whether entirely or in parts, any infringement upon the intellectual property rights or any other rights of third parties.
Entrants must ensure that any third party copyrighted material contained in their submission has already been cleared with the relevant copyright owner.
By entering the Design Competition, all entrants shall provide TEL with an exclusive, worldwide, royalty-free licence (but not the obligation), which licence is effective from the date of submission to the Competition until 31 March 2010, to copy, distribute, publicly display by any means and in any media the entrant’s design solely in connection with the activities related to, and the promotion of the Design Competition without any further notice or any remuneration.
The winning entrants of the Design Competition shall grant TEL or CLL an exclusive, worldwide, royalty-free licence to produce a Product derived from the design, such licence to endure for the first six months after the arrival of the Product in Tate shops. TEL or CLL will consult the designer on any modification or adaptation of the Product and seek approval thereof (such approval not to be unreasonably withheld). At the end of the royalty-free period TEL will agree standard terms with the designer for the continuation of sales of the Product if mutually agreeable.
The winners of the Design Competition shall each receive £500.
TEL or CLL shall not be obliged to produce products from the designs and shall not be liable for any entrant’s loss of publicity or enhancement of reputation.
Should TEL be unable for whatever reason to make the Product CL may choose to do so under the terms of the Competition rules.
Entries to the Design Competition are made at the entrant’s own expense and neither TEL nor CultureLabel shall be liable for any costs incurred in making or submitting the entry.
By entering the Design Competition, entrants waive their moral right in the entry in favour of TEL and CLL until 31 March 2010 and permit TEL and CLL to edit the entry as necessary for publicity purposes and/or use on the Design Competition website.
TEL reserves the right to refuse any entry for any reason whatsoever in its absolute discretion.
TEL reserves the right to cancel the competition if deemed necessary at any stage.
Entries must not contain obscene or defamatory content or material.
There will be two overall winners. The decisions of the judging panel are final and no correspondence or discussion will be entered into.
This competition is not open to employees or freelance contractors of Tate, Tate Enterprises Limited, The Board of Trustees of the Tate Gallery, CultureLabel Limited or any person directly or indirectly involved with running the competition.
TEL or CLL may require the winning entrants to participate in post competition publicity.
By entering the Design Competition all entrants are deemed to have accepted the rules, which is a condition of entry.
Tate and CultureLabel.com are collaborating to launch the 2010 edition of RELEASE and, this year, the hunt is on for two outstanding product designs that will be produced and sold in Tate shops, through Tate Online and at CultureLabel.com.
This is your chance to get your work into Tate and we want your imagination to run wild. The winning entry from each category will receive a cash prize of £500 plus commission on sales from 6 months in. The winning product could:
Capture the experience of Tate visitors, be they young or old, from the UK or from across the globe
Capture the impact that Tate has had on the public’s experience of galleries and its influence on the arts
Be inspired by the architecture of the buildings, such as the iconic Tate Modern, which is 10 years old in 2010
Be inspired by any of Tate galleries, which include Tate Modern, Tate Britain, Tate St Ives, Tate Liverpool and also Tate Online
Product designs must fall into two price brackets – up to £10 and up to £100.
FULL BRIEF
Design Brief / Up to £10:
This product will become a much-loved and widely recognised souvenir of any visit to a Tate gallery - the object that anyone visitor will want to take home. You might want to focus on London and Tate Modern or Tate Britain and seek to create an iconic tourist souvenir that rivals the ‘Mind the Gap T-shirt’. Or, perhaps you are more inspired by the idyllic coastal setting of Tate St Ives or the post-industrial gallery spaces of Tate Liverpool?
We want to capture the experience of someone visiting Tate – whether the magic of the first visit or the allure that keeps people coming back. Alternatively, you might seek to capture the impact that Tate has had on the public’s experience of art - transforming galleries into experiential, interactive and lifestyle spaces attracting incredibly diverse audiences.
Design Brief / Up to £100 product:
This more premium product might be the collector’s item that captures the human experience held in Tate. We still want to capture the spirit of Tate described above but this product could be a much sought after limited edition, object or accessory and would have the creative flair, artistic and design values reflecting Tate brand and the higher price point.
Additional Information:
Tate Britain is the world centre for the understanding and enjoyment of British art and works actively to promote interest in British art internationally. The displays at Tate Britain call on the greatest collection of British art in the world to present an unrivalled picture of the development of art in Britain from the time of the Tudor monarchs in the sixteenth century, to the present day.
Tate Modern is the national gallery of international modern art. The Collection comprises the national collection of British art from the year 1500 to the present day, and of international modern art. Created in the year 2000 from a disused power station in the heart of London, Tate Modern displays the national collection of international modern art. This is defined as art since 1900. International painting pre-1900 is found at the National Gallery, and sculpture at the Victoria & Albert Museum. Tate Modern includes modern British art where it contributes to the story of modern art, so major modern British artists may be found at both Tate Modern and Tate Britain.
Tate Liverpool presents displays of work from Tate collection alongside special exhibitions of modern and contemporary art. The special exhibition programme, presented on the Gallery’s fourth floor, brings together works from national and international collections, both public and private.
Since the gallery opened in 1988, Tate Liverpool has presented over 150 different exhibitions and collection displays of work by hundreds of different artists, some seen for the first time in the UK at Tate Liverpool. Major exhibitions in the past five years include Shopping: A Century of Art and Consumer Culture (2002-03), Summer of Love: Art of the Psychedelic Era (2005), Jake and Dinos Chapman: Bad Art for Bad People (2006-7), Peter Blake: A Retrospective (2007) and The Real Thing: Contemporary Art from China (2007). Tate Liverpool continues to play an active role in the Liverpool Biennial.
Tate Liverpool has an established reputation for working with, and touring exhibitions to international institutions as far afield as France, Spain, Portugal, Germany, United States, Canada, Ireland, Korea, Austria, Italy and Japan, as well as other institutions within the UK.
Tate St Ives presents modern and contemporary art, often created in or associated with Cornwall. Its location in St Ives, with dramatic views across the town and harbour to the east and Porthmeor Beach to the north, provides a unique opportunity to view work in the surroundings in which, in many cases, it was actually created. Since the late nineteenth century two 'schools' of art have grown up in west Cornwall, at Newlyn and St Ives. Before Tate St Ives opened in 1993, there had been no public gallery dedicated to the distinctive modern art of St Ives. Tate St Ives presents twentieth-century art in the context of Cornwall. At the heart of the programme of displays and activities is a body of work for which the town of St Ives is internationally known - the modernist art produced by artists associated with the town and its surrounding area from the 1920s onwards. The gallery also presents work by contemporary artists, often responding to the gallery's displays or to the broader Cornish scene. The Barbara Hepworth Museum and Sculpture Garden opened in 1976 and is part of Tate St Ives.
RULES
Tate Enterprises Ltd and CultureLabel Competition Entry Rules
The product design competition (the “Design Competition”) is organised by Tate Enterprises Limited (a wholly owned subsidiary of The Board of Trustees of the Tate Gallery) (“TEL”) in conjunction with CultureLabel Limited (“CLL”).
The Design Competition will be run online on www.CultureLabel.com/Release and opens on 15 December 2009.
The closing date for online submission of entries to the Design Competition is 23:59 on 26 February 2010.
The entry fee for the Design Competition is £5.
The Design Competition is open to entrants aged over 18.
Each person can enter multiple times, with the fee payable for each entry.
TEL will collect the personal data of all entrants (names, addresses, email and telephone numbers) for the purpose of contacting successful entrants or to discuss any legal/copyright issues about the entry. Further, entrants shall permit TEL to share the personal data with CLL. TEL and CLL shall comply with the Data Protection Act 1998 at all times.
Each entrant who submits an entry to the Design Competition represents and warrants to TEL and CLL that the submitted design is an original work, free from any third party rights, in particular that under no circumstances does it constitute, whether entirely or in parts, any infringement upon the intellectual property rights or any other rights of third parties.
Entrants must ensure that any third party copyrighted material contained in their submission has already been cleared with the relevant copyright owner.
By entering the Design Competition, all entrants shall provide TEL with an exclusive, worldwide, royalty-free licence (but not the obligation), which licence is effective from the date of submission to the Competition until 31 March 2010, to copy, distribute, publicly display by any means and in any media the entrant’s design solely in connection with the activities related to, and the promotion of the Design Competition without any further notice or any remuneration.
The winning entrants of the Design Competition shall grant TEL or CLL an exclusive, worldwide, royalty-free licence to produce a Product derived from the design, such licence to endure for the first six months after the arrival of the Product in Tate shops. TEL or CLL will consult the designer on any modification or adaptation of the Product and seek approval thereof (such approval not to be unreasonably withheld). At the end of the royalty-free period TEL will agree standard terms with the designer for the continuation of sales of the Product if mutually agreeable.
The winners of the Design Competition shall each receive £500.
TEL or CLL shall not be obliged to produce products from the designs and shall not be liable for any entrant’s loss of publicity or enhancement of reputation.
Should TEL be unable for whatever reason to make the Product CL may choose to do so under the terms of the Competition rules.
Entries to the Design Competition are made at the entrant’s own expense and neither TEL nor CultureLabel shall be liable for any costs incurred in making or submitting the entry.
By entering the Design Competition, entrants waive their moral right in the entry in favour of TEL and CLL until 31 March 2010 and permit TEL and CLL to edit the entry as necessary for publicity purposes and/or use on the Design Competition website.
TEL reserves the right to refuse any entry for any reason whatsoever in its absolute discretion.
TEL reserves the right to cancel the competition if deemed necessary at any stage.
Entries must not contain obscene or defamatory content or material.
There will be two overall winners. The decisions of the judging panel are final and no correspondence or discussion will be entered into.
This competition is not open to employees or freelance contractors of Tate, Tate Enterprises Limited, The Board of Trustees of the Tate Gallery, CultureLabel Limited or any person directly or indirectly involved with running the competition.
TEL or CLL may require the winning entrants to participate in post competition publicity.
By entering the Design Competition all entrants are deemed to have accepted the rules, which is a condition of entry.
Coda Brief
JOIN CODA’S NEW CARNIVAL PERCUSSION BAND
WORKSHOPS IN DRUMMING AND PERCUSSION FOR ALL AGES AND ABILITIES EVERY WEEK
YOU MAY HAVE TAKEN PART IN A WORKSHOP IN YOUR SCHOOL OR WOULD LIKE TO TRY DRUMMING AND TO MAKE SOME NOISE
NOW YOU CAN COME ALONG AND JOIN OUR NEW CARNIVAL PERCUSSION BAND, LEARN NEW MUSICAL SKILLS AND TAKE PART IN LOCAL CARNIVALS AND FESTIVALS
NO EXPERIENCE NECESSARY
CHILDREN AGED 8 AND ABOVE AND ADULTS WELCOME
EVERY WEDNESDAY
STARTING 3RD MARCH 2010
5PM TO 6PM
THE PHOENIX CHILDRENS CENTRE
CULVER ROAD, NEW MILTON BH25 6SY
£1 PER PERSON
FOR MORE INFORMATION AND TO TELL US YOU ARE COMING PLEASE CALL CODA ON 01425 276 161 OR EMAIL HYPERLINK "mailto:CONTACT@CODA.ORG.UK" CONTACT@CODA.ORG.UK
WWW,CODA,ORG.UK
LOGOS – CODA, HAMPSHIRE, NEW FOREST, DORSET
WORKSHOPS IN DRUMMING AND PERCUSSION FOR ALL AGES AND ABILITIES EVERY WEEK
YOU MAY HAVE TAKEN PART IN A WORKSHOP IN YOUR SCHOOL OR WOULD LIKE TO TRY DRUMMING AND TO MAKE SOME NOISE
NOW YOU CAN COME ALONG AND JOIN OUR NEW CARNIVAL PERCUSSION BAND, LEARN NEW MUSICAL SKILLS AND TAKE PART IN LOCAL CARNIVALS AND FESTIVALS
NO EXPERIENCE NECESSARY
CHILDREN AGED 8 AND ABOVE AND ADULTS WELCOME
EVERY WEDNESDAY
STARTING 3RD MARCH 2010
5PM TO 6PM
THE PHOENIX CHILDRENS CENTRE
CULVER ROAD, NEW MILTON BH25 6SY
£1 PER PERSON
FOR MORE INFORMATION AND TO TELL US YOU ARE COMING PLEASE CALL CODA ON 01425 276 161 OR EMAIL HYPERLINK "mailto:CONTACT@CODA.ORG.UK" CONTACT@CODA.ORG.UK
WWW,CODA,ORG.UK
LOGOS – CODA, HAMPSHIRE, NEW FOREST, DORSET
Tuesday, 26 January 2010
http://www.visualcommunication.org/rosie_tallent/
Right so I have finally constructed my website, which is the title link. I think the site as a whole is a good reflection on my personality and as a first attempt of creating such a thing, is a functional success. It has been tested on several browsers and works so I can't really fault it. My only regret is the that I have two images that can not enlarge because my computer crashed and I lost some important files. This could not have been predicted and was unfortunately timed as my backup files failed too. This does not however spoil the over all effect in my eyes.
If at a later date I wanted to expand and make my site grow further, I would like to add further additions to my rooms, maybe some flash moving objects and more art work. I could also make my rooms change with in the seasons to add interest and get people coming back. For example the addition of some Christmas decorations in December and so on. In terms of my home page there is plenty of room to add more sections. I would like to make another room to contain some photographs I have taken at some point.
If at a later date I wanted to expand and make my site grow further, I would like to add further additions to my rooms, maybe some flash moving objects and more art work. I could also make my rooms change with in the seasons to add interest and get people coming back. For example the addition of some Christmas decorations in December and so on. In terms of my home page there is plenty of room to add more sections. I would like to make another room to contain some photographs I have taken at some point.
Animal Farm Progression
So the other day I was given the option to screen print my cat riding the penny farthing. I decided to take this opportunity with open arms as I have yet to experience this form of printmaking. It has been a medium that I have been wanting to experiment with for some time now.
Firstly I watched this Youtube clip in order to get a grasp on the technique.
http://www.youtube.com/watch?v=Ee_8IMx0uMo
I then had to decide weather I wanted to use one or more colors. I decided that I wanted to use black for the drawing and a background color that I am yet to decide on. Ideally I would like to print my work upon brown paper but I shall have to enquirer whether this will fit in with the briefing requirements.
Each color has to be printed using a different screen so I had to divide my image up into layers, using black where I want the color to be. Therefore the picture displayed is for my background color.
I am going to partake in a screen printing workshop tomorrow so will let you know how I get on. If it does not come out to a high enough standard then i shall simply create my image as an illustration.
Monday, 25 January 2010
Midnight Millionaires Publication.
A while ago I did a drawing for a small magazine based in Bournemouth. Here is the final publicized results plus the contence page displaying my name. On reflection if I had known that it was simply just going to be my art work on one page I may have approached things slightly differently as there is a lot of negative space. I think I just presumed there would be more writing and that the illustrations would work around that, just like a normal magazine. I perhaps would have included a background of a study or something or maybee even just a simple coulour and some text, just to liven it up a bit. This however may have detracted away from the drawing but is good to consider.
From this I can learn to always go back to the client so that you can get the results that are most pleasing for you as an artist and them as a publisher. This was however the first of these magazines and i think its destination was rather unknown in terms of presentation. This was a fun little live brief and I would like to participate given the opportunity once more.
Thursday, 21 January 2010
Evaluating Web Design
This project has been a total rocky road for me. Reliance upon technology is not the way I generally choose to work because I do not tend to have a great relationship with computers. This is due to my lack of knowledge and understanding of the processes involved to create a final product. I am obviously trying to work towards changing this, and am learning more and more every day but it is a long and intense process. I think for this I have done well in my achievements and am pleased with the overall results.
When I herd about this project I was slightly dubious about how I was going to achieve the final results. However I tried to think of the whole process as a challenge and a good opportunity to expand my knowledge.
I really enjoyed the design element of this project. It is difficult to portray yourself as a person and what you stand for through the use of design with out using large amounts of typography. This challenge I set for myself I think I very much achieved as I believe good design should be able to speak for its self with out additional justification. My work tends to be sensitive and lineal which I hope is conveyed with in my design as I wanted it to compliment the portfolio work.I am also extremely influenced by my surroundings and so therefore incorporated elements of my working environment in order to add depth and interest to my drawings. The style of the rooms also conveys my traditional ways through the introduction of old and ornate furniture.
When it came to the point of production, I had to decide weather to use Flash or Dreamweaver. I debated this for some time but decided to use Dreamweaver in order to gain a new skill. In doing this it probably did take me longer than if I had used Flash or Flash Catalyst for that matter but it was more about challenging the unknown so that i could use my new skill in the world of work. Dreamweaver as a program proved to be extremely temperamental and was prone to causing me great confusion. I did however get an overwhelming sense of achievement every time I managed to do the smallest thing right.Upon reflection I believe this project has made me a better designer because of the intense planning and consideration that needs to be put in place for things to run smoothly.
When I herd about this project I was slightly dubious about how I was going to achieve the final results. However I tried to think of the whole process as a challenge and a good opportunity to expand my knowledge.
I really enjoyed the design element of this project. It is difficult to portray yourself as a person and what you stand for through the use of design with out using large amounts of typography. This challenge I set for myself I think I very much achieved as I believe good design should be able to speak for its self with out additional justification. My work tends to be sensitive and lineal which I hope is conveyed with in my design as I wanted it to compliment the portfolio work.I am also extremely influenced by my surroundings and so therefore incorporated elements of my working environment in order to add depth and interest to my drawings. The style of the rooms also conveys my traditional ways through the introduction of old and ornate furniture.
When it came to the point of production, I had to decide weather to use Flash or Dreamweaver. I debated this for some time but decided to use Dreamweaver in order to gain a new skill. In doing this it probably did take me longer than if I had used Flash or Flash Catalyst for that matter but it was more about challenging the unknown so that i could use my new skill in the world of work. Dreamweaver as a program proved to be extremely temperamental and was prone to causing me great confusion. I did however get an overwhelming sense of achievement every time I managed to do the smallest thing right.Upon reflection I believe this project has made me a better designer because of the intense planning and consideration that needs to be put in place for things to run smoothly.
Wednesday, 20 January 2010
Over complication
Like most things I seem to do, I now know why I am having sooo many difficulties with Dreamweaver. It is the fact that I am over complicating things beyond belief. I still don't know why the method I was taking to create my website was not working for me, but I know slicing up my images differently and making links was by far a more productive + efficient route. I do feel slightly let down by the amount of times I had to ask for help in order to gain the assistance I needed because I feel that it reduced everything to the ultimate last minute rush, which I despise doing.
Friday, 8 January 2010
Great News
Whilst on my placement last year at Curwin Print studio in Cambridge, I got on really well with the staff members and the tasks they set me to. They said that I was always welcome back, which was a very flattering and respectable offer. The studio itself has recently began to offer a long printing course with a qualification at the end in printmaking. They have since offered me a place on this course which I shall commence this Septmeber. This result pleases me no end as I wish to gain further experience and technical skills in an area of work I love.
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