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Yoann Hui - Design Management and Culture Today is the seventh month, the 31st week of our DPS year. I think a lot of us may start reviewing our journey (What we have experienced, changed and gain.) Especially when the submission date is getting closer and closer. Looking backwards at the first beginning, most of us were nervous but excited for getting into the real working world. We were seeking any tips and recommendations to help us to get the first job. Some of us got a smoother start, and some of us were struggling for a while. For me, I won't say my start was smooth, but I would say I was quite lucky enough. So what helped us get those offers? Is it luck? Or networks, skills, qualifications, personality or attitude? I still remember that when I received the offer from my current company. Firstly, I was grateful and surprised as it just arrived on time and released the pressure from me of facing visa cancellation (a stressful limitation for international student). My original offer was a three months long internship as a design intern working for a marketing and branding consultancy company. And my primary role is to help and enhance their works with visual impacts. Also, I am the only designer at the company, and everybody else is a consultant with different backgrounds like a business, economics, psychology, etc. I was excited and felt there a massive opportunity for me. But also sometimes, I would question myself and question why they chose me and what they want from me? As I realised, most of the works are related to graphic design, and I'm not a graphic design student but the main reason I accepted the offer because the company is a consumer research company with the human-first approach. And my primary intension in the DPS year is want to be a researcher and strategist. Also, I found it hard to work as a solo designer when there is no one else you can reference. I started losing self-confidence when it comes to meeting their expectations of works and balance my style. What does our employer want from us?  After the new year holiday, my last month internship at this company. I got a regular catch up meeting with my director, same as before checking and making sure I was doing good. But this time, he also asked about my plan. In term of do I enjoying working here and willing to stay longer. For me, yes, because I was working in a client project at that moment. I enjoyed it and learning so much, and I would like to continue at least until the project is finished. So I said yes because I felt there is so much more for me to learn and try. Also, I eager to know all the feedbacks from everyone who I have worked with during the first three months. During the time for my first three-month internship was the busiest and peak time for the company since it operated. Everyone was super busy, and company working model is super agile, I got a chance able to work with almost everyone in the company. But also, I was worrying because it was too busy that they couldn't recognise my contributions. But finally, I got an extension offer to continue working with them and the feedback about my first three months performance. Surprisedly, all the strengths of me that my colleagues appreciated are mostly interpersonal skills. According to an online article "What graduate employers really want "on a job website - REED.co.uk. It listed out four critical points that graduate employers are seeking in their ideal hire:
What do we want from our employer?  So of course employment is a two-way transaction, when we talk about what employer wants from us, then we also have something that we want from our employer. It is not just a salary. I remembered that two weeks after my staring day, I had a meeting with my mentor team (formed by a director and an associate director). Every employee has a fixed mentor team to support their developments, achievements or anything related to work to not. The main goal of this is to build up a strong connection with employee and supporting as much as they can. As I mentioned above, at the first beginning, I was not fully enjoying my work, questioning and losing self-confidence at work. So during the meeting with them, I told them I would like to get involved in client projects and learning more about strategy works and not just design works. A week after I have assigned to work on a client project which is a global repositioning project across six different markets. Because of this, I was impressed and felt them do take action of what I would like to learn rather than just listening. End of the year, the festival period is here. Because we were busy, our company ordered food from the restaurant and got delivered to the office for our Christmas lunch. It was not a fancy lunch, but everyone was so happy and enjoyed, it felt more like a family Christmas meal than a company one. After all, I found myself on the company pictures board. It's such a little thing, but it made me feel part of them and not just an intern.
In March 2020, I got invited to join our company trip to San Sebastian for celebrating the company success in 2019. During the journey, everyone has received a red card holder filled full with all the greatness of them that have recognised from other colleagues. And this is the most touching and most significant time that I have experienced in the company. It made me feel I have been appreciated and have much confidence and proud of what I'm doing. After all the experiences I have, I realised working with the projects or works you passionate about is essential for us to keep moving forward. But the key to keeping us working for the company is the recognition of you. Not just by saying but also how they take actions to engage and treat their employees. Reference:
Rolfe, A. (no date) What graduate employers really want. Available at: https://www.reed.co.uk/career-advice/what-graduate-employers-really-want/ (Accessed: 14 April 2020).
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In response to the year I've had in working in industry, the ethical responsibility design carries is hard to ignore. There have been times where I have had to detach myself from the work I'm creating so I didn't feel responsible for the message I communicated. Working in Berlin for a more corporate company, this was the expected standard of working. When creating content for biased and ethically questionable newspapers, I considered the importance of working against your beliefs. This question has been discussed countless times by designers, I have decided my stance on the matter in relation to these references and acted accordingly since this role. ‘Individuals who choose to enter the field often take it for granted that the visual aspect of things can make a significant difference to the quality of life.’ Jared Davidson Left-wing biased holds an immense history in graphic design. The typographic innovations of the avant-garde work of early Soviet designers like Lissitzky have influenced generations of designers, who are unaware of the message they are spreading. I contest that as a result of this, all design is political. As a modern designer, I have pulled upon all given knowledge from those before me, to realise that the work we create is fundamentally influenced by our environment. Every aspect of our life is impacted by the political agenda of the time, and our work will reflect that. Although I understand Wim Crouwel's position on design, believing that if you align your work with your agenda you narrow your job opportunities, I respectfully disagree. By allowing designer that supports to cause to take the role, the outcome will have more meaning and understanding. Remaining neutral as a designer limits expression and life within work, it's more pleasurable to relate to a piece work than it is to visually appreciate it. In life, we make a series of choices, relating to what we feel is important. I believe that happiness is the end goal in life, and it has been said that to achieve the happiness you must help other people. I applaud designers who have gone against the norm, to create work that puts people first instead of the design. This approach will undoubtedly be the most fulfilling to be recognised for. '[The designer’s] task is on the one hand conveyance of content, without interfering in it, on the other hand, he certainly does have an inescapably private contribution. Crouwel’s fear of subjective interference leads to uniformity, causing a distinct identity to disappear.' Jan Van Toorn, 1972 The work I have created since working in Berlin has aggressively carried this notion of helping all through design. Utilizing the knowledge I gained whilst at Selfridges, I have worked more conceptually, empowering my work with meaning. A project that resonates most with this is one I worked on whilst in Berlin, exploring the ways that typography can represent unity and growth. Type Thursdays talks throughout the year developed my understanding of how type can make an impact and the role it can play in communicating a message. The typeface I designed in February was in resistance to my 2019 systems typeface, this custom lettering chooses to oppose the rigid structure that was once law. This typeface represents a dreamlike utopia where structure remains but co-exists with freedom and growth. Within any society, rules and structure should be implemented, however, freedom and fairness should take an equal space. The letters take influence from the Latin alphabet, in reference to the origins of the word ‘utopia’. These letterforms were combined with expressive marks to communicate the concept of structured societal growth and equality. From here, during COVID19 I developed more 'Utopian' typefaces to juxtapose the dystopian feel of the times. In retaliation to the message of strength being communicated as a nation, I wanted to communicate a calm message, embracing the flexibility of the time we have, rather than strength and fear.   The work I have developed over the past 6 months shows immense growth as a designer, as well as holistically as a person. I have a greater understanding of my role in the design community and what impact I want to have. I have found pleasure in working for myself, exploring ways I can please and unify people with my designs, however, I have not restricted myself to these parameters. I have experienced more direct forms of protest through design working on campaigns for justice. Designing in this way felt more pressurised, I had a larger responsibility to communicate with emergency and impact. I did adequate research into campaigns of the past, looking into why the Obama campaign resonated with the nation and how I could replicate this effect. Working towards outcomes I resonate and feel strongly about made designing less work and more play, I was excited by briefs and proud to be a part of something that inspired change.
For the next few weeks, I will be working remotely for ModernMatter Magazine. Conceptual growth and meaning are embedded within the core of this magazine, working with artists and designers to not only evoke emotion through imagery but to convey a deeper message. Working with others that think deeply about the meaning of their work will enrich my process and cultivate my creative direction in preparation for my final year. I am remarkably grateful for these experiences as this year has molded me into a more thoughtful and calculated designer. SARA TITILAYO LAWAL :) GRAPHIC BRANDING & IDENTITY For one of my Self Initiated Projects, I have decided to explore the impact of Graphic Design during the Civil Rights Movement. Specifically researching how striking promotional designs and visuals helped to promote social change and abolish the Jim Crow Law. I would then like to analyse and question if political graphics within the United Kingdom today still plays a pivotal role to help mend political divides within society. Based on all the research I have completed so far for this project I thought it would be a good idea to document it in a critical writing piece for one of my WOW Blogs. Therefore this entry will explore how Graphic Design influenced participation and public engagement during the CRM. The Civil Rights Movement was such an important moment in the African American struggle as it “influenced protest internationally”. Members were combining methods of protest to have a chance of living in freedom against all forms of oppression. A key element of protest was using the “mass media” to their advantage and spreading powerful messages that would relate to many African Americans who live in struggle. Political Graphics were used during the civil rights movement as they had the power to inspire an entire generation to commit to resistance for change! The Black Panther Party developed a Ten Point Programme which clearly analysed how they wanted to tackle the problem of injustice – they used visuals to express their fears and hopes. This blog will be divided in to three parts where I will begin to question:
After the assassination of Malcom X in 1965 the call for black power within the Civil Rights Movement became much more vociferous (2010, pg. 65). The Black Panther Party previously known as the Black Panther Party for Self Defense were at the forefront of this shift towards a more radical movement where black pride was based upon showing the community how to take control of their own destiny rather than degrading white citizens (2016, pg. 10). As a party they prioritized developing a strong graphic Identity which would help to “protect, liberate, nurture and educate all African Americans”, so they could spread their message through both text and visuals (2010, pg. 65). Emory Douglas; a trained graphic designer, was brought into work on the Black Panther Party News Paper alongside Eldridge Cleaver who had already begun the process of developing a “powerful visual identity” for the party (2017, pg. 62). Douglas believed that it was extremely important for the party to “further it’s struggle” through “creative self-representation” (2016). Douglas (2017, pg. 62) used the phrase “revolutionary art” to articulate his belief that like the Black Panther Party who faced many social issues “revolutionary art” and political graphics are created so everybody can deal with the present issue together. He continued to explain how it is more important that everybody can understand the “correct picture” over understanding the “correct political” explanation (2017, pg. 62). During the Civil Right Movement there was extremely low levels of exposure to literary education for African Americans leaving many illiterates therefore Douglas Graphics played a huge part in just educating the community. Bobby Seale (2016, pg. 109) explains why Douglas graphics were “very important” for the movement and the newspaper especially. He explained how he never had a vision for the Black Panther Party Newspaper to solely consist of a “sea of type on every page”, he understood the importance of imagery and believed without the visual element the paper would go “nowhere” as nobody would see it and many “grass root people” wouldn’t be able to read it (2016, pg. 109). Emory did understand this, and he knew that his job was just a matter of “getting information out”, his goal was to reflect the ten-point programme or the political concerns of the community through imagery. For Douglas (2017, pg. 62) rifles were a vocal element within many of his graphics, the rifles were a depiction of the black panther party’s agenda to exercise “their legal right to carry armed forces” in any event where they need to defend themselves against the police brutality and violence. The use of the rifle is also a visual representation of ITEM 7 in the Ten Point Programme “We want an immediate end to police brutality and murder of black people”. Douglas really appreciate the power of imagery he portrayed the police, politicians and bankers as “pigs and rats” juxtaposed against heroic black women who actually fought against these actual rats, against oppression and in stand for solidarity. Gloria explained how she believed that the newspaper was essentially the “life blood” of the black panther party, a key reason for this as they made true genuine attempts to connect with the people and community. This was a key technique they used to grow the party itself.
Emory Douglas (2017, pg.62) stated that “the ghetto itself is the gallery for the revolutionary artists drawings” therefore “by taking it out of the museum and putting it on the street with the people the revolutionary artist educates the people as they go through their daily routine.” This statement clearly explains why his graphics were so successful and were able to resonate with so many people. Emory Douglas wanted his design to relate to the people, he wasn’t creating for commission or for a museum instead for the people. His work became part of their everyday life and many relied on this as a form of education to be able to partake in politics and develop their own stance on the issue. Although visual graphics play such a statement role in the Civil Rights Movement it is essential to remember that an idea and concept is behind everything. For the black panther party, the ten-point programme was the foundation of their work. It was essentially the “dream”, an ideal that all would aim to achieve in their lifetime and has been considered to be there legacy that they will be remembered by! As shown below reads the TEN POINT PROGRAMME: “We Want Freedom. We Want Power to Determine. The Destiny of Our Black Community. We Want Full Employment for Our People. We Want an End to The Robbery by the Capitalists of Our Black Community. We Want Decent Housing Fit for The Shelter of Human Beings. We Want Education for Our People That Exposes the True Nature of This Decadent American Society. We Want Education That Teaches Us Our True History. And Our Role in The Present-Day Society. We Want All Black Men to Be Exempt from Military Service. We Want an Immediate End to Police Brutality and Murder of Black People. We Want Freedom for All Black Men Held in Federal, State, County and City Prisons and Jails. We Want All Black People When Brought to Trial to be Tried In Court by a Jury Of Their Peer Group or People From Their Black Communities, As Defined By The Constitution Of The United States. We Want Land, Bread, Housing, Education, Clothing, Justice and Peace.” War Against the Panthers, by Huey P. Newton, (1980) This manifesto holds mass amounts of power. It is the vision of freedom and a magna carta for African Americans (2016, pg.14)! Although the graphic visuals were a key element for the success of the black panther party it is essential to recognise that the foundation of success came from an educational perspective and the visuals were based on this. If it was not a ten-point programme the visuals could have been totally different. Graphic design is a “powerful tool” especially in “mass protest” due to its ability to “incite change” (2018, pg. 11). This idea was especially prevalent during the Civil Rights movement where protest graphics were used as weapons, tools for education and a medium to spread messages globally. Greenwald (2010, pg. 64) explains how the civil right movement played such a significant period of time which “influenced protest internationally”. Organisations which have been directed by oppressed groups have played a key role in fundamentally changing societies perception of how power truly functions in this world, which has led many movements to find a voice that they previously never realised that they had. During the Civil Rights Movement activists truly understood the importance of “protest design” making sure that they used the mass media to their advantage. They spread their ideas through images and “broadcasted them globally” in the hope to inspire others to join the movement. After the political repression of the Black Panther Party in the US formed the Black Liberation Army. An underground Black Power organisation that was up and running between 1970 to 1981. For the Black Liberation Army Assata Shakur become a clear symbol for “black resistance” (2010, pg. 66). In 1973 Assata was convicted of the first-degree murder of State Trooper Werner Foerster during the New Jersey Turnpike shootout! Shakur was a member of the Black Panther Party initially the when she joined the black Liberation Army she became “extremely popular in the African American Community” (2010, pg. 66). The African American community were all greatly in solidarity with her when she was on the run, many would place “Assata Shakur is Welcome Here” posters in their windows if she ever was on the run. The simple act of opening showing solidarity placing a poster which could cause much controversy really reinforces the belief that (2018 pg.11) “graphic design increases public engagement with and participation in politics”, no matter how big or small the action maybe. In conclusion, it is evident that Graphic Design played a huge role during the Civil Rights Movement in terms of spreading a message through visuals that couldn’t be communicated to everyone through text. Images bring communities together and build a united front. Not only has graphic design played a “pivotal role” in terms of responding to political movements but it has also deeply challenged, changes and dictated many political movement and milestones (2018, pg. 11). In relation to the theory of Avant Garde Theophile Thore (1991, pg.1) explains how “Art changes only through strong conviction, convictions strong enough to change society at the same time”. I believe this concept is extremely relevant to my question looking at how Graphic Design has influenced public engagement and participation in politics during the civil rights movement. If the design tells a compelling story more people will choose to listen which will therefore result into an influx in society driven changes! BIBLIOGRAPHY: DAVIS, A (2016) Freedom is a Constant Struggle Chicago, Illinois: Haymarket Books GREENWALD, D; MACPHEE, J (2010) Signs of Change Oakland California: AK PRESS GODFREY, M; Tate Modern (2017) Soul of a Nation London: Tate Publishing MCGUIGAN, J (1996) Culture and Public Sphere London: Routledge MCQUISTON, L (1993) Graphic Agitation Social and Political Graphics London: Phaidon NOCHLIN, L (1991) The Politics of Vision London: Thames and Hudson ROBERTS, L and SHAW, D (2018) Hope to Nope: Graphics and Politics London: The Design Museum SHAMES, S and SEALE, B (2016) Power to the People – The work of the Black Panthers New York: Abrams SHOLETTE, G (2017) Delirium and Resistance London: Pluto Press, FIRST EDITION Gem Praise Romano Illustration and Visual Media
When producing and creating art work, it’s so easy to get lost in your own world and just make, make, make until you’re out of breathe and can’t do it anymore; it’s easy to isolate yourself in the creative world as most if not all artists want to create work for themselves without having to rely on other people’s suggestions hovering their visions.
The longer you work in the creative industry, the more you see group projects will arise and feedback sessions with peers you may not want to hear from. We start to get bombarded by other voices and ideas we don’t want to listen to and work with but there’s no escape. As artists they’ll also be days where we feel so alone due to reasons like; creative block, comparing ourselves to others, imposter syndrome, thoughts of ‘no one can understand me’ etc. (you guys can probably write a whole list yourselves). There are days when we just want to stay in bed and forget about creating because it’s too difficult or we’re just not feeling it. Having been through these phases and sometimes occasionally still, it’s so easy to feel distant from the creative community and feel like an outsider with everyone having their own discipline and style resulting in feelings of ‘not being good enough’ but in reality, these are just moments in our lives where we can quit or grow from. With the global season we are in now, it’s really easy to just give up and think this is the end of the world but it’s not; this will pass. Just like with everything else, the world will continue to spin and the sun will continue to shine - we just need to make the most of what we have now and work as hard as we can. Earlier this year, I signed up for a program in university which would teach me leadership skills alongside completing a live brief which was to produce an article for CEOs and managers of companies focused on diversity and inclusion in the workplace but as soon as I found this out, I wanted to quit. Going into it, I thought I would be able to produce work I could add to my portfolio but as a filmmaker and visual artist, journalism was not what I wanted to spend my time on. I stuck it out another week before making my final decision and during this session, we had to present our ideas but my group was shorthanded as there was only two of us compared to the other groups who had 4/5 members. Although I was in the smaller group, (not to brag) we ended up having the best presentation and my team mate even said to me “I probably would not have done as good as I did if I wasn’t with you, I just caught onto your vibe and I felt more at ease.” That one comment changed my whole perspective about the project, it encouraged me to stay and work hard not just for myself but for the sake of my team as I didn’t want to let them down. When my group finally finished the project, it was a weight off my shoulders, as the weeks went by I felt less enthusiastic about the project and just wanted to get it over with but when seeing all the work me and my team mates did together, it felt so empowering as it’s been a while since I finished a project. In our last session, (on Zoom), we had to share our experiences and literally, I kid you not, started my speech with “Guys, I suck” and I shared how I realised my productivity and resilience levels were really low, I explained everything that was wrong with me and what I didn’t like about myself. We then had to share feedback and I was flooded with comments of reassurance and understanding from my peers; it didn’t feel like I was being babied but I felt heard and understood - I’ve never felt this much love from my creative peers before. It was so refreshing and heartwarming showing me that I truly am not alone and there are other artists who feel exactly the way I do. I finally understood the meaning of ‘showing your weaknesses is a sign of strength’ because you aren’t afraid to show what you’re lacking in and you’re willing to put the effort to be better. Although I didn’t come out with the creative results I wanted out from this project, I learnt so much about what it means to be a good leader and the attributes they have. Looking back I now love this project, not because of what I did during it but what I learnt coming out of it as it changed my whole perspective on my position in the creative industry. By now we all have our fair share of experiences and stories to share about our year in the industry but one thing that we shouldn’t forget about and expand is our community. We should all be able to have people we trust who we surround ourselves with whom we can find inspiration and help from. Not only should we think of innovation when it comes to finding people but we should also build a healthy body of creatives around us that will encourage us when we’re not feeling so great. Like I said previously, we’ve had days that have been worse than others and they will continue to come (as that is the nature of life) but let’s not let that stop us from being the best creatives we know we are. During this pandemic, I feel the art community has come together all the more and made an effort to be united so if you haven’t yet, I would suggest to start following more creatives and reach out to them if you’re inspired by their work to start building networks and connections. I hope I speak for the rest of the DPS class of 2020 when I say this, if anyone here needs anyone to talk to about their work or just need an ear to vent to; I’m here for you, just drop me an email/DM :) [email protected] @gemarchive Audrey Chan
Illustration and Visual Media The Diploma in Professional Studies, known as DPS, is a year full of surprises, struggle, and success. I still remember the day where I attended university when the PP unit was still on. Going to the talks where people from the industry would come in and talk about their journey and their profession, how it relates closely to their passion to help and do better for a certain cause. The application for DPS was mentioned mid-December and I was pushing myself to write that application, making sure that I could get the form printed so I could get it signed off. These were one of those times where I was unsure of my decision but knew that I would regret not going forward when the opportunity has passed. I remember waiting outside the course leader’s room before I got called in. The next thing I know, I was sat down and chatted with Angela. She was approachable and was really excited for me to jump on the opportunity as she listened to me talk about my passion. So a few weeks went by, I have received the news that I was accepted into the course. I was happy yet calm, not one of those explosive emotional moments because I knew that there was something expected of me from this. Other than just ‘filling up 24 weeks’, it was the pressure to perhaps find a large company to work for or, what if I am the let-down of the bunch? What if I couldn’t fill my weeks through working? After all, so many great things were promised and this year in industry and I cannot afford to be someone that doesn’t complete it or get nothing out of it. I have been living with a lack of motivation to do anything for quite a while. After getting amazing grades for the IGCSEs, I stagnated. These few years from then on were unstimulating, there were moments that were memorable but remembering them gives me no joy. I realised the problem was that I was always uncertain. The realisation that I am about to enter the real world and soon I will have the responsibility of generating income, paying my taxes, all the ‘adulting’ to do threw me off a cliff into a muddy pool, so viscous that I am still struggling to get myself out. I am afraid to talk to others about that because they won't understand why, neither do I to be completely honest. I am very fortunate to have my family’s support in doing whatever I want and they provide my resources for me, my rent, my school fees, my daily expenses. “Why are you worried about that?”, they asked. They had it tough when growing up and their one goal is to make sure we don’t end up on the same path. I supposed it could be my personality and my need to be independent. I don’t want to be one of those children that relies on their parents for everything. I want to build something for myself, just like they have. However, there were so many things I wanted to do. There were so many things to choose from, and also money? How will I be guaranteed a stable income? These are stereotypes that I have been drilled to believe growing up Asian. I say that I know about the potential in the creative industry but it has certainly left me with a barrier that I can’t quite just leap over yet. Fast forward to now, I am two terms through with DPS. I can tell that I have grown and matured because I become someone that possesses a different outlook on life to the one 5 months ago. I still stick by my desire to become independent but I have much more of a will to do so. Working in Plant Designs have helped me found my breakthrough in both future prospects and motivation. This placement has given me an experience where I was able to earn my own salary through hard work. I woke up early every day and got to the designated location 5 mins early, worked till at least 6 in the evening and became accustomed to the working lifestyle. I met new individuals where I had bonded over the short period of time, learned how to become better at communicating my needs and how to trust the people you work with. These are lessons that I wouldn’t have learnt if I didn’t do this placement. I worked with this lovely French lady, that was only a few years older than I am, called Camille. I like to talk to people and get to know them, it helps to keep the environment friendly and it’s fun to know what other people have done before landing onto this job. She told me about going to university and studying audiology and was going to work in the profession helping companies create hearing aids and conduct testing and research on the side. Realising that wasn’t her passion, she decided to quit and gave herself a year to figure things out. During that time, she found out about gardening and was determined to learn more about it. That was when she decided to move to London with her boyfriend. As they were between jobs to make a living for themselves, they found a place in Plant Designs. I was stunned at first, how could you just throw away 3-4 years of education so easily? How could you just leave everything behind, throw yourself out there and just ‘see what happens’? Aren’t you scared? “I was, but I wasn’t enjoying audiology and I really wanted to try something new.” Hearing those words and knowing that she is doing fine made me feel assured about what I am doing. I don’t need to know the path forwards look like, I don’t need it to be crystal clear. All I needed was the resolve and determination to keep myself afloat. The future may be scary but if she can survive and find her true passion after abandoning 3 years of education, I know I can too. I’m on the right path, I can feel it. There is just so much to do that I couldn’t choose. Putting effort and practice into what I like, and what I’m passionate, is all that matters because that muddy pool doesn't feel as viscous anymore and I’m ready climb up again. I would like to put here a disclaimer: The pictures used for Screen Printing A and Screen Printing in four Colours do not belong to me, I just used the screen given to me by technicians. The Brief: Over the course of the month, I will be attending as many workshops as I can to accumulate as much knowledge as I can. I plant to go to the orb website each day and subscribe to relevant workshops and relocate the knowledge and experience in a blog post. This brief is focused on the experience and knowledge of different practices. Experience was an eventful project. I learnt a lot throughout these weeks. I have attended eight workshops: Preparing files for printing, which included Litho, Riso and Screen printing; Blender: Introduction; Screen printing: Part A, B, Four colour (CMYK); After Effect: Introduction; Coptic Binding: Introduction and last but not least Screen Printing with Paper stencils. In the computer-based workshops I learnt that I have some difficulties understanding more complicated software. Blender was the one I had the most difficulties in, I could not understand half of what the teacher was explaining. After Effect was similarly complicated but somehow I am confident that I will learn the basics soon enough, in the future I will practice more of what I can do with the software. The computer base workshop I had less difficulties in was ‘how to create files for printing’, this workshop was the one I understood more as I am more familiar with photoshop, and I chose to do it as I was planning to be able to create imaginary that would be suitable for screen printing. {See pictures: Axel Half Tone, CMYK, Image 3.}    Shifting the focus on what I learnt in the screen printing workshops, these are the classes which I attended the most in this project, at first it was because I did not have the chance to sign up for something else, but it changed rather quickly. I did once again the Part A and B as I have done this only on my first year and a lot of the memories got foggy other time, it was fun and important for me to learn again the basics of screen printing and how to create a screen. {See picture: Screen Printing A.}  The CMYK screen printing workshop was the one I enjoyed doing most, I have a good reason for it: I do not have much strength in my arms to push the ink through the screen unfortunately, but I have noticed that with the smaller print section I was given for this workshop it was different. I felt quite comfortable in the knowledge this technique could be experimental. I definitely need more practice as I am messy and not precise with my registrations. {See picture: Screen Printing CMYK.}  Last but not least, the paper stencil screen printing. This technique made clear the flaw of my upper body strength. The prints could have been better. On a higher note this was the most experimental of all the workshops I have done, and the most satisfying to do. {See picture: Screen Printing Paper Stencil.}  Book binding is my favourite workshop and the one I took more interest in, I was glad to have learnt a new way of Coptic bind. The only problem I have encounter was the precision on folding paper quickly, even if I did bookbinding quite a lot during my final year of College in my spare time, that did not change. Another downside was the thread I was using during the workshop, I kept breaking it or have to cut it slightly to thread it in the needle. On the other hand, I am good at sawing the pages together when I get in the rhythm. I got excited, so much so, that I am considering using the paper I bought to keep creating sketchbooks using this technique. {See Picture: Book Binding}  Overall, this experience was eye opening: it made quite clear what I was good at, what made me excited to keep doing and what would be interesting to keep doing in the future.
The downside of this project mainly consist on my ability to post on the blog. I had a hard time expressing what we had done and post them on time. |
