Shannyce Adamson
Moving from university life to working life is hard. DPS student Shannyce Adamson discusses this new change in pace. The magnitude of DPS hadn’t had the opportunity to settle in until I managed to secure my first internship starting 24th July. Here I was, my first full time job as an intern/junior art director. I had always presumed it was much harder to find an opportunity that would incorporate both my strengths in fashion and creative design, as fashion art direction is not necessarily a clear cut path in comparison to a lot of other professions. So, when I managed to somehow get this opportunity I was so beside myself and not sure what to expect. Never having worked full time before, I was surprised at how completely exhausting it can be, particularly mentally when you’re required to deliver one campaign idea after another. The first two months were especially hard and after a long day of idea generation and mock up designs I couldn’t even bring myself to touch my laptop or look at my phone. I’d had enough of screens, images and design. As much as I love what I do at work on a day to day basis, I have learned that it is very important to consistently keep pursuing and working on your own personal projects. This is something I have always done and is what actually enabled me to enrol at UAL in the first place as I was previously at Reading university studying BSc Biological Sciences. It is the personal projects that got me into UAL and it’s the personal projects that landed me my current work placement, the senior creative director valued the amount of work I had put in to make my ideas come to life and as I was adjusting to my new work hours, I realised that this was not an aspect of myself I was willing to let go of. I came to the realisation that I had to manage my time much better, no moment was to be idol, I had to learn (and I’m still learning) how to maximise my time in order to be able to give my best foot forward at work and still express creativity in my own way. I’ve learned that this is especially important because no matter how great a campaign idea is, the client (for valid reasons) will always tweak it slightly in order for it to fit in more with their company and their ideals because at the end of the day they’re are interested in sales and this is especially true for successful international and national fashion brands. It’s a fine line between a creative campaign on its own and a creative idea that an international company with different political structures can utilise successfully. Sometimes this can lead you to a creative slump hence the importance in making time for yourself and your projects that allow you complete creative freedom and expression. This is what I’ve found makes a great creative/art director and is also a key piece of advice that the senior creative director whom I work with was wonderful enough to share. Being originally contracted to work for only one month, I’ve been blessed enough to have the opportunity to extend my contract until the new year with an opportunity to extend further if I so wish to.
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Chloe Shields
I was under no illusion in thinking that I would be able to jump from job to job within a matter of weeks. Which meant that January and February was a tough time for me. All those doubts that I had originally had about my work and skill level came flooding back, was my work not good enough? This is something that I have always struggled with, as I’m sure most others have as well. Leaping into the deep end of the working world is a slightly terrifying yet exciting thing and it’s something that we all want to do well in. So, with these fears sitting at the back of mind I went to speak with Sarah about any upcoming opportunities that she had heard of, and to get some reassurance that I wasn’t completely failing. I ended up speaking with a student from last years DPS, who reassured me that I was doing fine and that it was perfectly normal for there to be a lull in your year out. As long as I recognised that I had had a dip, and it was time to turn things around, sending out emails upon emails to see if anything came up. My next break came in March, earning myself the position of Junior Designer at the Natural History Museum. Now, when originally planning my year out; working in a museum had never crossed my mind. At the time it was something I didn’t think I would be interested in and didn’t know much about. But, for the few weeks that I was there, it was highly enjoyable; being able to explore the museum including the areas that the public do not get to see. The building itself was, inspiration enough; with it’s incredible architecture and design, it was like something out of a Harry Potter movie. I felt that the work I was doing was important to my colleagues and although it was a short amount of time; I felt as though I was a part of the team. Similarly when I was with Ave, those that were in charge were female; showing me the potential of being high up in a design studio or even owning one. These experiences have opened up a whole load of new opportunities for me and I am excited to continue this journey. One of the biggest struggles that I found working in this sector; was the fact that a lot of the time, projects would fall through because of funding issues. You could almost complete a project and have everything prepared to be produced, but those that commissioned the project would pull the plug and all that hard work would have gone to waste. This was frustrating at times because of how much time and effort had gone into the work, it’s something that no designer likes to do; we want to see our work through to the finishing stages. On the other hand, because this industry is quite large there was always something to be getting on with which I thought was great! I was kept busy and had a variety of projects that I could dive into. The more experience I gain, the more excited I am about the future. I look forward to returning to LCC to get my degree and using the skills and knowledge that I have gained throughout this year into the projects I decide to undertake. Overall, I am happy with the position I am in at the moment. I am currently looking at different places of employment and have had a couple of interviews with potential of work. My hopes for the rest of this year, is that I continue to learn and grow as a designer, and that I continue to push myself to be the best that I can be. Stephanie Fung
There is nothing more awkward then approaching someone with an intention of getting a job. It’s seems insincere because it makes it seem like you have ulterior motives; at least that’s what I use to believe. I was volunteering at the OFFF Festival in September, with my dream motion graphic companies in the same space as me. As I listened to their talks and saw their projects, I was also waiting for good chance to chat to people from Future Deluxe, The Mill and Territory. I knew for sure that I wanted to work for a motion graphics company and these guys are renowned for it. So, with business cards at the ready, I approached them after their talks and realised many other students had the same intentions. It was uncomfortable, putting myself on the spot and trying not to sound like student lurking for an internship but I realised that it was all in my head and that the creative directors are not scary people with big job titles, in fact they are just human like me. A few months down the line, after emailing the contacts I collated from the event; I managed to secure an interview with the Mill in November. It was for a runner position, which wasn’t my ideal role but I was willing to attend the interview to see what the company was like. The interview was great, the interviewers were down to earth and I also informed them that I was looking more for a motion design intern role rather than a runner. I was particularly lucky to be in contact with a HR lady who took me to the next level. Although the initial position was to be a runner, I chatted to the HR lady on and off for 3 months via email and somehow she managed to get me into a motion design intern position. I believe it was either due to my persistence and she saw potential in me or I’m just lucky and she’s very good at persuading the Head of Design to take me in. I have been at the Mill for over a month now, and the design team said that there hasn’t been an intern in the Mill for a very long time; in fact, they mostly just take runners not interns which makes me insanely happy to know that they hired me. Most of all, I am not treated as a typical intern, producers give me work every day – I am trusted to complete work that are sent to clients. I am building my 3D skills as well as learning from other 3D masters in industry. I am very happy where I am right now and also believe that I have found somewhere I would like to work after I graduate. The work culture here is healthy and I also enjoy the work that I am given. They seem to have the balance between corporate work and creative work right and the design team are amazing to work with. All of this leads to, if I didn’t put myself out of my comfort zone and reach out to the creative director or recruiter at the event then I wouldn’t be in this position at all. Also, here's my design instagram which showcases my motion graphics projects that I do in my spare time : https://www.instagram.com/stephyfungdesign/ Toby Bennett
This year was the third time I attended an Off-Print event but the first one in which I was able to have a different insight to it as the studio I am interning at was taking part on this eighth edition of Offprint. Offprint is always great. Not only because it gathers so many people who are doing incredible printed stuff in the same place, but also because it gives us the opportunity to be able to see these objects in real life and goes without saying how different they become once you hold them. However, this offprint was different. This edition I was able to be a bit behind the scenes as I was able to attend as a participant. And obviously, by attending as a participant you are closer to what happens behind the scenes and eventually, you get to meet different people from the graphic design practice which is amazing given the fact that you are still a student. Before we had the chance to undertake the DPS year, we were often told how valuable connections are and I think this is the great and the invaluable asset of taking the DPS year. Since I moved to Paris I had the chance to meet a lot of graphic designers whose work I knew beforehand and was also introduced to some other amazing people. And being able to have a decent conversation with these people is truly amazing since the opportunities that might arise from being able to talk to them is great. The reason DPS provides with such a good experience is that it gives you the opportunity to be within this environment from a different viewpoint as you stop being only a student, which sometimes can reveal itself as an obstacle to engage in a fruitful discussion with practitioners. Considering the fact that I only arrived in Paris a month ago, I could not stress enough how being able to take part of DPS is truly unique and advantageous. The studio environment is great and there is no real sense of hierarchy either, even though it can have its downsides in some situations, it shows how comfortably my stay is being so far. It is interesting to see how in a small studio money influences the outcome. Most of the times, and even before designing anything, we need to get a quote from the printer in order to see if the plans we have work with the budget we are given. Most of the times it has a substantial weight on the process and we need to adopt a different either paper, size or even number of colours. Being able to take part in the workload and environment of a studio and to understand all the process behind production and design so early in our academic life is really advantageous. So far this experience has been incredibly unique and the opportunities arising from it will be crucial for my final year as well as the years to follow. Koar Tsinarian
Three years ago I applied for the Graphic and Media Design course that University of the Arts London was offering. One of the most exciting parts of this course was the Diploma in Professional Studies (DPS). It was a great opportunity between my second and third year to work in the industry and learn how real world works. During my second year DPS was an extra course for those who wanted to work between second and third year. Once a week I had to go to the university and participate into different projects. I had few opportunities to present our ideas to different companies. In addition, during this time we designed our portfolios, our business cards and CVs. This was very helpful to be fully prepared for this year we were going to spend outside the university. The final selection process included an interview. On Tuesday the 13th of June 2017 I received an email with an unconditional offer for the Diploma in Professional Studies. At the beginning I was very excited but soon I realized how hard was to find an internship. Many of the companies were not replying to the applications I was sending and this was something I had to deal with. I could understand that due to workload they have they might not be able to answer to every single person applying for one role. Soon, I got used to it and I was not taking it personally. It took me some time in order to understand how the whole system works. If you don’t experience it you don’t know how the real world works. One of my first internships was at Selfridges where I was part of a team helping with the Christmas decorations. It was very interesting experience and I learnt many new things. I was very interested to be part of the team and work behind the scene. Selfridges is an impressive department store. It is very popular in all over the world and being part of the team was a lifetime opportunity and I felt very lucky for being part of it. After that I worked for SirPlus, a men clothing brand based in London. This is small company with great potentials. I was a graphic design intern designing banners, promotional materials, newsletters and anything related with branding. The environment was surrounded with friendly people willing to help. My time at SirPlus taught me how to collaborate and how to work independently at the same time. Except my position I was also very interested about marketing and e-commerce. It is very helpful for a designer to see how people react with your creations. My manager was very helpful and she was explaining me how marketing and e-commerce works. Learning about different areas related to my job made me think how I could extend my knowledge in the fashion area. Part of the jobs I did during this year was working as a freelancer. I worked for an advertising agency called ‘The Hand’ which offered me an opportunity to design banners, newsletters, promotional and advertising materials for their clients. Freelancing is a different experience than being an intern. When you freelance you work by yourself and you need to manage your own time. Except freelancing I also worked for EVARAE a luxurious swimwear and resortwear company where I am a graphic design intern. I design swimwear labels, online and printed look books, retouch images and help with anything needed. This year I realized finding an internship is not as easy as it sounds. The whole process of applying and doing everything by myself helped me to understand how life will be after graduating from the university. At the beginning of the year I was excited and scared at the same time, I did know what to except. DPS is a great opportunity for those who want to learn, work hard and end up having working experience before they graduate from university. Tom Medlicott
The casual visitor to Berlin will be taken aback by many things that seem counter-normative in other major European cities, but designers especially will notice one thing; the prominence of fly posting. Predictably the roots of this are grounded in the club scene as formerly illegal club spaces legitimised and found themselves in a position where they could now advertise openly throughout the 1990’s. There are parallels between this and the generation of British designers that emerged from musical subcultures in the 1980’s designing posters and flyers for events up and down the country throughout the Acid House boom. Where the two differ is in their legal treatment by their respective governments. Fly posting in the UK is treated in the same legal framework as graffiti and can be charged as criminal damage. In Berlin, though not Germany as a whole, it exists in a legislative grey area and is not considered criminal damage. With no real grounds for prosecution it goes largely ignored by the authorities and in most neighbourhoods any given lamp post, electrical box or doorway will be pasted entirely with posters. From this entrepreneurial individuals and companies have made their living out of fly posting. From freelance ‘wild posters’ to companies such as Plakat kultur (Poster Culture) offering fly posting services companies and organisations are afforded access to cheap, mass advertising with an audience of millions. The city itself exists to benefit from it as well as the colourful and rugged streetscape left behind by the weekly decay and replenishment of the posters lends itself to the ‘poor but sexy’ image Berlin has sold itself on for so long. The effect of this is well documented, not least by designer Patrick Thomas in his successful instagram account Berlin Street Graphics. Designers benefit, the city benefits, organisations benefit, everyone benefits. Ja? Nein. A walk around some of the most popular fly posting spots will likely disappoint most designers. One would assume that such a competitive design environment with relatively little legal kickback would breed a high calibre of design and an excellent platform for emerging designers but, with a few notable exceptions; Ruben Mata’s work for OHM club, the in house team at the Volksbuehne Theatre and Vanja Golubovic / Onlab’s work for techno institution Tresor, the standard of work is decidedly poor. At worst though this is irksome to those that take an interest in it and does not have any bearing on the overall scene. A far greater threat has come from the expansion of designated advertising space available in the city. Previously wild posting and corporate advertising had co-existed fairly easily - fly posting in designated advertising spaces was seen as taboo, conformist and disrespectful by wild posters and advertisers had largely reciprocated this by distancing themselves from the guerrilla marketing tactics of the posters. However with a greater number of these spaces being made available to big companies to purchase, fly posters are increasingly marginalised and have found their guerrilla marketing tactics diminished by corporate imitation. This reached a climax when two historic pieces of graffiti overlooking the site of the former Berlin Wall in Prenzlauer Berg were painted over by Nike and Fanta as part of their respective World Cup advertising campaigns. The desecration of a social statement by big companies attempting to appear youthful and in touch had brought about a major realisation. What was once the preserve of political radicals, creatives and entrepreneurs was now a platform to sell shoes, apps and sunglasses. Predictably this saturation of advertising has gone the way of the billboard and the pop-up; people are simply tuning it out. This would be especially disappoint as it hugely diversifies the urban tapestry and streetscape in a city that, with a few exceptions, is not the most architecturally enthralling. Fly posting is a deeply ingrained part of Berlin’s visual culture and is intrinsically linked to the city’s musical and anti capitalist values but it faces a far greater threat than being wiped out…being rendered meaningless. Elisa Czerwenka has upped sticks at the start of her DPS journey. Here she reflects on the idea of home, and what that means to her in this time of transit.
I grew up in a fairly small town called Salzburg in Austria. You might have heard about it because of its beautiful landscape, sound of music clichés or mozart balls (and other desserts, we have way too many good ones). For me however, Salzburg was never more than just this: Home. Simply put: the place where life happens, the place where my family is, where my friends are, and where my own bed is. As a child I never questioned this. Home was not a concept for me, it was a place and one place only. As I reached the end of school, my life was about to change drastically. My ambitions for the future grew and so did my horizon of all the places the world has to offer. I was curious about other languages and cultures. When I was 18 I made my decision: I’m moving abroad to study in London. Without knowing anyone there, I wanted to challenge myself and build a new life in a new town. I chose London. I remember the first time I went there on my own, moving day. The moment the plane landed I felt only one thing. Excitement. To my surprise, I didn’t feel sad for leaving Salzburg, I was ready for something new. And I am glad I took this step, as hard as it was. In the past two years, London has become a new focus of my life. I have made many friends there and met amazing people. I have grown as a creative and as a person. I have learned what it means to be a foreigner and how to be an adult (work in progress). After a year I casually began to refer to London as my “second home” when talking to friends. No big deal, I needed to give it some kind of name. And then it happened. I was on holiday with some friends from Austria. I mentioned flying back to London after the holiday and called it “flying back home”. My friends just looked at me and said “wait, what do you mean by ‘home’? We thought you were flying back to London?” …“Yeah, I am”. Silence. Somehow they were confused. And so was I. I didn’t just call this fairly new city I moved to my “home”? Freudian slip? For the first time in my life, “home” was not just that one place it always was. I had this other place that I felt comfortable in, accepted, safe and understood. I had gained another home. And somehow that was scary. I almost felt like it was a betrayal of the place I grew up in. To my family and friends that were still there. I felt like there couldn’t be another home, or that I would lose one home if I had another. Can I have two homes? Is that allowed? Who says what home means anyways? I feel like most of my life my definition of home was based on the definition that was used for a very long time. “The place where one lives permanently” like it’s described in the Oxford Dictionary. This is simple, as long as you don’t leave your birthplace. Many people simply don’t have a permanent home. Often times people choose to go abroad to university or like many of us DPS students, for internships and work. Right now, I’m living in Berlin for the duration of my internship. I love this city and feel more inspired than ever. I don’t know if it’s the people I have met, the things I have learned here or the wonderful architecture and art I’m surrounded with. I feel at home. So what do I say when someone asks me where my home is? I think my answer is still evolving. It will always be. I stopped trying to find one right answer for such a personal concept that I don’t even understand myself. But I don’t have to. Everyone has their own definition of home. For some, this might be where their parents are or it could be the feeling of laying in the arms of a loved one. It could be where they know how to use the kitchen, where they can be themselves without judgment or wherever their phone connects to the wifi automatically. I don’t mind having more than one home. I’m only 20. I think I have space in my heart for more. Where is your home? What does home feel like to you? Sarah Wilson, an Art Director on her DPS year, examines the culture of free work and unpaid ‘internships’
In 2015 there were 21,000 unpaid interns in the UK, most of these unpaid interns were based in London. As the years have gone on I can only imagine the numbers have done nothing but increase and with it getting harder and harder to find a job in London the amount of experience we have has never mattered more. When I first started looking for internships I was more concerned about finding something I enjoyed and something that would look good on my CV more than finding something that paid well, although a nice pay check at the end of every month would be an ideal situation I knew that it wasn’t something that was guaranteed and not something I should prioritise. So when I applied for an online men’s fashion publication that I had followed for a while and they showed interest in hiring me, money wasn’t even on my mind when I accepted the position At first it was great, almost fun. I could wake up at 3pm and work from my bed and still make deadlines. It wasn’t until I was asked to work on some merchandising for them that I started to have a problem with not being paid. I hadn’t really learnt much at this point, it was mostly just layout work and all of a sudden all of my time was consumed with researching (which looked a lot like online shopping) and generating ideas for t-shirts and hoodies. When I first started sending over ideas it was good to get positive feedback and exciting to think that these designs would be exposed and hopefully owned by their followers, which is a lot of people, but now I think it’s bullshit. There is a big difference between taking on an intern to help out with some work that will not only benefit you but the intern as well by giving them some work to put in their portfolio and taking on an intern, not crediting their work and not paying them for work that you’re going to make a lot of profit from. I have realised that when it comes to your employer selling your work for profit there is in fact a price you can put on experience, and that is 10%. Artists and designers not being paid for their work seems to be a recurring topic with companies like Zara being accused of copying independent etsy shops work and even Sainsbury’s, a company with a £26billion turnaround, asking for artists to work for free. Once I knew what topic I was going to write about for this blog post I started to do some research and came across this website that was put together by Jessica Hische, a designer and author from the States, that highlights the internal questions we may ask ourselves when we’re told “we don’t have a budget” or asked “can you do it for free?” and will guide you to a yes or no answer as to whether you should do it or not. http://www.shouldiworkforfree.com/ I also found these illustrations by Emmie Tsumura who was commissioned by Format Magazine to “Imagine the faces of people who want you to work for exposure” to support their article that focused on creative being asked to work for free to gain exposure. Alexander Robertson
It’s easy to get caught up with the possibilities of the future as a youth of today because of the amount of technology at our disposal. Generations below us will grow up with these technologies for years to come, thus will continue to develop and innovate. Presently we are witnessing artificial intelligence to become more integrated into the existing systems and networks already available to us. I can’t help but be interested in how this may affect my life and career in the future. so I guess this blog post is a way of me trying to understand it. Creativity: The use of imagination or original ideas to create something; inventiveness. (Google, 2018) Right now it doesn’t seem possible for a computer to be creative at a level which can compete with the great artists, designers and entrepreneurs of today, after all it was the humans who invented computers in the first place, and that took a bit of creativity…right? You could say that creativity can be regarded as one of the most humanistic traits we have over other species on this planet. For example, in the opening scene of Stanley Kubrick’s 2001 A Space Odyssey made in 1968. We see Kubrick depict ‘the dawn of man’ and what could be considered to be the dawn of creativity in this single clip: The Dawn of Man If you haven’t already seen 2001 A Space Odyssey, you need to. It’s important to remember where we all come from, and the millions of generations which built this world to be what it is today. In order to really appreciate what we have, and be creative with what we have in order to progress. There are many examples of computers being programmed in a way which could be considered to be creative. Harold Cohen, former artist and Professor at the University of San Diego started working on a creative art programme called AARON in 1973. By the 90’s ARRON was able to situate objects or people in 3D space in the and could paint in colour. It’s worth mentioning too that ARRON paints, not with pixels but with real paint on canvas. Richard Moss writes about ARRON in an article for New Atlas. ‘Cohen never showed AARON any images, but rather taught his robot with lists of object/body elements and the relationships between them. Fundamental rules, essentially, that allow a robot that has never seen a human or a chair or flower to nevertheless paint something that looks like an abstract representation of those things’. (Moss, 2015) So the programme has to be given directions as to what it’s painting and the appropriate restraints which can be put in place in order for it to perform, but it interprets it though the physicality of a paint brush enables the characteristics of creativity to be visible. Therefore this could be regarded as a computer being creative. Painting of pigment on paper by artificially intelligent painter AARON (2004) More recent developments of Ai was demonstrated with the 3,000 year old game Go. In 2017 Googles artificial intelligence system actually won against the raining world champion Ke Jie. In Go, players take turns placing stones on a 19-by-19 grid, competing to take control of the most territory. ‘It is considered to be one of the world’s most complex games, and is much more challenging for computers than chess.’ (BBC, 2017) Google used an Ai named ‘AlphaGo’ to play against opponents and learn from every move the opposition and itself. Prof Cristianini from the University of Bristol said: ”We should focus on the good things that we can get out of them and be careful not to create situations in which we put ourselves in direct competition with machines.” But this was more a test than anything, the gaming platform is a good starting point for artificial intelligence as the algorithms could be adapted to other fields, such as health care and scientific research. But what’s really interesting about this is the fact that the Ai had taught itself how to play by playing the game, it had adapted itself to be successful against the opulent. Alpha Go demonstrated that artificial intelligence is capable of being a logically conscious ‘tool’. In the past, all of our tools have been passive. From the tools which hunter gatherers used to the iPhone, our tools only do something with our explicit direction, we are in control. But now it’s possible to enable the computer to explore a process itself by learning and adapting to define the ultimate end-product using data, this is called generative design. And it’s already starting to be used in the automotive industry. Car company Hack Rod and computer programmers Autodesk teamed up to produce the worlds first generatively designed car chassis…designed by a computer programme. Their project started with attaching sensors to a prototype car chassis and driving it round a track for a week. Daniel Terdiman, a San Francisco-based technology journalist wrote about the design process in an article for The Fast Company: ‘The plan has been to take all the data from this automotive nervous system and plug it into Autodesk’s Dreamcatcher, a generative design software system that takes input of design objectives–including types of materials, functional goals, methods of manufacturing, performance criteria, and even cost limits–and spits out numerous design alternatives to satisfy all those requirements. For Mickey and Mouse, the result was a new vehicle chassis design based on all the collected data. Intended to maximise driving performance and efficiency, it could never have been designed by humans.’ (Terdiman, 2017) Generative design could be considered to be artificial intelligence being creative, it’s generating a design; it’s being innovative in the way it solves a problem through data. And this system doesn’t necessarily have to be confined to physical products, it can be replicated to physical or social problems too, as long as theres an objective and source of data there are no limits. For example transport App City Mapper recently launched a new service called Smart-bus. It uses a system similar to a bus but it’s a 9 seater van, there aren’t any permanent stops and but you book it from your phone. It uses collected data to map the quickest route, sticking to a specific network of roads in order for it to be accessible for other passengers heading in similar directions. Connecting the passengers through the data and using Ai to direct the bus drivers to the passengers. With the increase in the amount of data we produce today, the possibilities are unimadingable as to what an Ai could do with it. ‘The data volumes are exploding, more data has been created in the past two years than in the entire previous history of the human race.’ ( Forbes, 2015) So, the way I see this is that artificial intelligence offers a platform for creative people to use as a tool instead of it undertaking what we would consider to be creative on a more human level. Instead this data to be creatively used by an Ai to then help solve problems to be the best they can be to enable progression. We’re at the dawn of it right now, like the scene in 2001 Space Odyssey but it’s not a bone being smashed up but generative artificial intelligence. ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Reading list: http://psych.utoronto.ca/users/reingold/courses/ai/cache/ai_creativity.html http://psych.utoronto.ca/users/reingold/courses/ai/cache/creativity_article,_v2.html https://newatlas.com/creative-ai-algorithmic-art-painting-fool-aaron/36106/ http://www.bbc.co.uk/news/technology-40042581 |