Live Drawing Session 8

So this week I went back to using the stick for life drawing and I found I dint do as well as I did the first time however this was an improvement on my recent life drawing sessions. which is positive and moving in the right direction.

After the holidays i will continue to use the stick and will try and use the easel and draw in pencil and other forms of media and see if i can produce any portfolio work.

University Of Lincoln Open Day

University of Lincoln 

College of arts

- School of Architecture and Design 

               -BA (Hons) Graphic Design

Attendance - group work presentations

Critical thinking 

Up to date macs and creative cloud softwares 

End of year shows - exhibition 

External speakers 

National student survey 2015 in design subjects - Lincoln 3rd in the uk 

95% with in 6 months get graduate jobs

Not in charted society of designers 

Barry Tullett - typographic type 

 2 briefs every six weeks ranges in topics 

end of year exhibitions - D&AD New Blood Show, new designers, free range 

Graduation in Lincoln Cathedral 

Graduates return, portfolio mentoring lectures! Networking together 

280 UCAS points required 100 in art and design subject - interview / portfolio 

Portfolio Advice - University of Lincoln

Guidance Notes for Creating an Effective Portfolio for Interview

1. Appreciate that your preparation for interview has already started. Work that is conducted in the studio or classroom is essentially potential work for the portfolio
2. Conduct appropriate research into courses. There is a need to understand the difference between disciplines and to really appreciate what it is that you are applying to. Find out what the programme you are interested in has done
3. It is necessary to try and ensure that you have a suitable portfolio for the interview and to make sure that your work can be represented professionally. Appreciate that different disciplines often have different requirements regarding the size of a portfolio
4. Think about the journey that you have to take to your interview and if you should perhaps consider travelling the day before. Think also about the route you are going to take. Large portfolios can be very difficult to manoeuvre onto a bus or taxi and are very difficult on a train or underground
5. Aim to arrive in good time and compose yourself before going to the reception
6. Think about a couple of questions that you might want to ask at the interview and remember that it is a two-way process. Although you might not get the opportunity to ask any questions you have prepared it is worthwhile having some ready.
7. Think about what you are going to wear for the interview and what impression you want to make. First impressions are important and it is often good to carefully consider this aspect
8. Appreciate that different institutions have different interview arrangements and there is nothing wrong in contacting an institution in advance to ask the format of the interview. Different approaches might mean that you are going to present or talk through your portfolio, but you may find that your portfolio is viewed without you being present
9. In preparing the portfolio, institutions are very aware of the different formats that are used by A level students, National Diploma students, Foundation or similar. A-Level students often have a project to present, whilst National Diploma students and Foundation may have a varied body of work to show
   It is always a good idea to try and include some work that you have generated without instruction, something that demonstrates your enthusiasm and commitment
10. A portfolio needs to inform and be creative but it is not necessary to overload it. A range of work perhaps demonstrating diverse abilities is a useful approach
11. It is often the case that you are ‘judged’ by your worst piece of work, work which you feel is acceptable to be in the portfolio. Be careful to ensure that all the work says what you want it to say
12. A poor opening page or a poor final page in a portfolio must be avoided. It is often the case that a portfolio is opened and a discussion takes place before looking at the work or a discussion takes place after the last page. If the portfolio remains open and there is poor work on show it can be detrimental
13. Know how to open a portfolio. It may sound simple but open a portfolio the wrong way can be unsettling and can even make the work fall out unexpectedly. A simple sticker or marker on the top right corner on the outside of the portfolio will ensure that you always align it correctly before opening
14. As a portfolio may be viewed without the interviewee being present it is perhaps worth considering putting in a brief abstract or summary of what the project is
15. In addition to work in the portfolio sleeves it is advisable to include an example of some contextual work ie an essay or report on a design movement or artist and also to include sketchbooks providing that they are demonstrating ability and creativity.
    
    If you work hard and think logically and sensibly you will probably succeed in whatever it is that you want to do.

BA (Hons) Graphic Design

• Enthusiasm for the subject; evidence of a real interest in visual communication
• Evidence of the ability to visually explore and speculate; sketchbooks, worksheets, developmental ideas and draft versions of finished pieces
• Abilities with a variety of media, materials and creative processes. This could include; traditional visual and digital media, film, photography and writing
• Organisation; clearly ordered work demonstrating care and attention to detail, with evidence of supporting process where necessary.

Nottingham Trent University - Portfolio Advice

I've got a lot of work to do!!

D&AD Design Inspiration

First I looked At Different Adobe Creative Cloud Identities  created by Adobe and other Designers

D&AD Adobe Brief - The Inside Scoop

Adobe brief writer, Craig Oldham (Office of Craig Oldham) gives you a ready, steady, go.

1. Why should people be excited by this brief?

It being a campaign brief, it’s pretty open, and open briefs always yield some good shit. It’s a chance to really run with your ideas, see where they can go, limited only by your own imagination really.

2. What are the dangers/pitfalls entrants could fall into while responding to this brief?

Try not to get bogged down in endless reinterpretation. The re-definition should always come from a place of meaning to the brand. Whether that’s in the exploration of it’s software, or more conceptual, it has to have a degree of relevance. Without that, you could fall into the trap of just playing with something for the sake of it.

3. No freebies, but give us a pointer. Where would you start?

I’d find what I think is the best thing about the brand, and start there. In other words, start by finding your opinion.

Insight From Your Client

Want insider information on your client's brief? Watch this space. We have an exclusive interview with the brand coming very soon.

Contextual Studies - What I'm getting out of it

Over the weeks of contextual I have found that looking into the different eras of the art and design history I have found that I can look at different types of art movements such as dada and bauhaus for example. Although the main subject areas might not be graphic design however I have noticed that the different movements of art and design have influenced graphic design today and the different techniques used within graphic design (typography. Looking at René Magritte work for example has influenced the advertisement, logos ect 

The Son of Man

Rene Magritte influenced advertisement for a Volkswagen. Still used within advertisement today 

The false Mirror was the influence for the CBS logo 

DADA has influenced typography and Photo Montage

From the Contextual research this allows me to see how graphic design has developed and how I can use the contextual references within my own work.

Looking into how the course I'm currently studying (Art and Design Foundation) and how it os based on the Bauhaus Manifesto