It discusses some of the reasons behind a student's choice to study Graphic Design using a brief glimpse of the opportunities at UCA Epsom, and some examples of student work.
Thursday, 12 June 2014
Why do so many students elect to study graphic design?
This article was written for the Educational Section in Baseline Magazine issue 62.
It discusses some of the reasons behind a student's choice to study Graphic Design using a brief glimpse of the opportunities at UCA Epsom, and some examples of student work.
2012 TDC student curated exhibition for the Typographic Circle at JWT Ad Agency.
It discusses some of the reasons behind a student's choice to study Graphic Design using a brief glimpse of the opportunities at UCA Epsom, and some examples of student work.
8 - 18 exhibition at The V&A September 2013
8 - 18 featured Circular magazine for the Typographic Circle, designed
by Domenic Lippa, one of the Pentagram Partners. He put together the
exhibition as part of London Design Festival at the V&A this year
and some of my writing (an interview with Rick Poynor) was displayed as
part of it.
100 ideas that changed Graphic Design
This is a very good book to dip in and out of. It introduces key moments / ideas / processes in graphic design history and shows how they have developed and progressed using illustrations taken loosely from the beginning, middle and now across the last 150 years . It is good at highlighting important concepts for 1st year students. It gives a concise introduction of each topic discussed and has good pointers to further reading to help a student deepen their understanding of Graphic Design and the ideas discussed.
Graphic Design. A History
Inspriational pages
I was asked by Editor, Simon Loxley, to write an article on a book I
found inspirational for the Autumn 2012 edition of 'Ultrabold - the
Journal of St Bride Library'. I couldn't pick just one!
This is a good magazine for those with more than a passing interest in typography and the history of the printing industry. UCA Epsom should have copies in the Library.
This is a good magazine for those with more than a passing interest in typography and the history of the printing industry. UCA Epsom should have copies in the Library.
Bob Gill at the D&AD President's Lecture, The Mermaid Theatre 14.3.12
Quote of the week:
"When you get a job – say an ad for a drycleaner – many images come to mind, we all have preconceptions," Gill said. "My suggestion is to forget every image that comes to mind, forget everything you know about drycleaning.
"Instead of sitting at your computer, and looking at books, go to a drycleaner, and sit there. The way to get an interesting idea is to go to the source. Stay there until you have thought of something interesting about drycleaning. Then, listen to that idea and it will design itself."
This really made an impact with me on the night, and was also posted on the CR Blog
"When you get a job – say an ad for a drycleaner – many images come to mind, we all have preconceptions," Gill said. "My suggestion is to forget every image that comes to mind, forget everything you know about drycleaning.
"Instead of sitting at your computer, and looking at books, go to a drycleaner, and sit there. The way to get an interesting idea is to go to the source. Stay there until you have thought of something interesting about drycleaning. Then, listen to that idea and it will design itself."
This really made an impact with me on the night, and was also posted on the CR Blog
The six pillars of Steve Jobs design philosophy
http://www.fastcodesign.com/1665375/the-6-pillars-of-steve-jobss-design-philosophyhttp:
This is a link I found on LinkedIn . . . and the article is well worth reading!
With the following sub headings:
1. Craft above all; and
2, 3, and 4: Empathy, Focus, and...Impute?!
5. Friendliness.
6. Finding simplicity for the future in metaphors from the past.
How can it fail to attract one's attention and be interesting? If more creatives had a similar approach, would we be living in a very different world where more of our products would be outstanding rather than the few?
This is a link I found on LinkedIn . . . and the article is well worth reading!
With the following sub headings:
1. Craft above all; and
2, 3, and 4: Empathy, Focus, and...Impute?!
5. Friendliness.
6. Finding simplicity for the future in metaphors from the past.
How can it fail to attract one's attention and be interesting? If more creatives had a similar approach, would we be living in a very different world where more of our products would be outstanding rather than the few?
Rian Hughes talking for the Typographic Circle on the 24th November 2011
I used his logo really really big because I thought the image was unusual and could be read in different ways. Some people see birds, others see hands, what do you see?
Check out the Typographic Circle website.
How to think Creatively
Over the past hundred years, researchers have reached a surprising
degree of consensus about the predictable stages of creative thinking.
It was Betty Edwards who first pointed out to Tony Schwartz that the
stages move back and forth between right and left hemisphere dominance:
1. Saturation: Once the problem or creative challenge has been defined, the next stage of creativity is a left hemisphere activity that paradoxically requires absorbing one's self in what's already known. Any creative breakthrough inevitably rests on the shoulders of all that came before it. For a painter, that might mean studying the masters. For him, it involves reading widely and deeply, and then sorting, evaluating, organizing, outlining, and prioritizing.
2. Incubation: The second stage of creativity begins when we walk away from a problem, typically because our left hemisphere can't seem to solve it. Incubation involves mulling over information, often unconsciously. Intense exercise can be a great way to shift into right hemisphere in order to access new ideas and solutions. After writing for 90 minutes, for example, the best thing he can do to jog his brain, is take a run.
3. Illumination: Ah-ha moments — spontaneous, intuitive, unbidden — characterize the third stage of creativity. Where are you when you get your best ideas? He's guessing it's not when you're sitting at your desk, or consciously trying to think creatively. Rather it's when you've given your left hemisphere a rest, and you're doing something else, whether it's exercising, taking a shower, driving or even sleeping.
4. Verification: In the final stage of creativity, the left hemisphere reasserts its dominance. This stage is about challenging and testing the creative breakthrough you've had. Scientists do this in a laboratory. Painters do it on a canvas. Writers do it by translating a vision into words.
The first key to intentionally nurturing our creativity is to understand how it works. he's found the stages often unfold in unpredictable sequence, and wrap back on one another. Still, keeping them in mind lets him know where he is in the creative process, and how to get to where he needs to go.
Ultimately, the highest creativity depends on making frequent waves — learning to engage the whole brain by moving flexibly and intentionally between the right and left hemisphere, activity and rest, effort and letting go. That's also a pretty good prescription for how to live.
Check out Tony Schwartz's link for the full text.
1. Saturation: Once the problem or creative challenge has been defined, the next stage of creativity is a left hemisphere activity that paradoxically requires absorbing one's self in what's already known. Any creative breakthrough inevitably rests on the shoulders of all that came before it. For a painter, that might mean studying the masters. For him, it involves reading widely and deeply, and then sorting, evaluating, organizing, outlining, and prioritizing.
2. Incubation: The second stage of creativity begins when we walk away from a problem, typically because our left hemisphere can't seem to solve it. Incubation involves mulling over information, often unconsciously. Intense exercise can be a great way to shift into right hemisphere in order to access new ideas and solutions. After writing for 90 minutes, for example, the best thing he can do to jog his brain, is take a run.
3. Illumination: Ah-ha moments — spontaneous, intuitive, unbidden — characterize the third stage of creativity. Where are you when you get your best ideas? He's guessing it's not when you're sitting at your desk, or consciously trying to think creatively. Rather it's when you've given your left hemisphere a rest, and you're doing something else, whether it's exercising, taking a shower, driving or even sleeping.
4. Verification: In the final stage of creativity, the left hemisphere reasserts its dominance. This stage is about challenging and testing the creative breakthrough you've had. Scientists do this in a laboratory. Painters do it on a canvas. Writers do it by translating a vision into words.
The first key to intentionally nurturing our creativity is to understand how it works. he's found the stages often unfold in unpredictable sequence, and wrap back on one another. Still, keeping them in mind lets him know where he is in the creative process, and how to get to where he needs to go.
Ultimately, the highest creativity depends on making frequent waves — learning to engage the whole brain by moving flexibly and intentionally between the right and left hemisphere, activity and rest, effort and letting go. That's also a pretty good prescription for how to live.
Check out Tony Schwartz's link for the full text.
Just my Type
Failure is not what you think it is!
Introduction
Welcome to my personal blog which has moved from gd.soci.io! For those who don't know me here is a little bit of my history:
After graduation I worked in Industry as a Graphic Designer for a consultancy for 10 years.
I then went to work as In-House Designer at Croydon College where I set up and ran the Practice Studio, connecting students with clients and live jobs while also earning money for the department by completing client work.
I eventually came to realise I liked teaching and completed a PGCE in 2 years (part-time) while also working full-time and freelancing. Followed by an MA Art & Design in Education 6 years later.
I work at Epsom as First year tutor on the Graphic Design Course. In the past I have organised many of the Workshops delivered across all three years; competition and live briefs; conduct Personal Development Portfolio (PDP) tutorials to all year groups; delivered work placement and Design Investigation to 2nd years and taken students on many Studio Visits around London.
I have always been interested in the gap between education and industry, remembering clearly how scared and ‘green’ I was when I first graduated!
I work voluntarily for the Typographic Circle (and have been their Treasurer for too many years now!), putting on talks by Industry for Industry in London; and I also get visiting speakers for Epsom.
I am a Member of the Chartered Society of Designers (MCSD); Member of the Design & Art Directors (D&AD); Fellow of the Higher Education Academy (FHEA); Member of the Wynkyn de Worde Society; and, a Friend of St Bride Printing Library.
After graduation I worked in Industry as a Graphic Designer for a consultancy for 10 years.
I then went to work as In-House Designer at Croydon College where I set up and ran the Practice Studio, connecting students with clients and live jobs while also earning money for the department by completing client work.
I eventually came to realise I liked teaching and completed a PGCE in 2 years (part-time) while also working full-time and freelancing. Followed by an MA Art & Design in Education 6 years later.
I work at Epsom as First year tutor on the Graphic Design Course. In the past I have organised many of the Workshops delivered across all three years; competition and live briefs; conduct Personal Development Portfolio (PDP) tutorials to all year groups; delivered work placement and Design Investigation to 2nd years and taken students on many Studio Visits around London.
I have always been interested in the gap between education and industry, remembering clearly how scared and ‘green’ I was when I first graduated!
I work voluntarily for the Typographic Circle (and have been their Treasurer for too many years now!), putting on talks by Industry for Industry in London; and I also get visiting speakers for Epsom.
I am a Member of the Chartered Society of Designers (MCSD); Member of the Design & Art Directors (D&AD); Fellow of the Higher Education Academy (FHEA); Member of the Wynkyn de Worde Society; and, a Friend of St Bride Printing Library.
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