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WAKE UP!!!

2009-05-07T18:03:00.000-07:00

Aesthetica

2009-05-07T13:22:00.001-07:00

Relief from Exam Fatigue with Aesthetica for Brighton students

Weary of coursework and revision? Why not stimulate your creativity with the new issue of Aesthetica Magazine?

You won’t want to miss the next issue of Aesthetica. We profile how Boo Ritson blurs the boundaries between painting, sculpture and photography, discuss the myth of the American West with its representation through photography at MoMA, explore artists’ reactions to globalised society, and highlight the best exhibitions of the spring. Also featuring an exclusive excerpt from exciting American author Gina Ochsner (out on Granta), alongside Paul Morrison’s film exploring the life and loves of Salvador Dali, and a special Q & A session with Red or Dead’s Wayne Hemingway.

The 2009 Aesthetica Creative Works Competition is now open to entries, with students once more receiving a special 50% discount on entry fees. Aesthetica’s editor Cherie Federico is excited for seeing this year’s student entries: “The winner of last year’s art category was student photographer Jacquelyn Unpingco, I was so pleased to have discovered such an exceptional artist with a fantastic career ahead of her, so I can’t wait to see this year’s entries - there are some hugely talented students practicing in the UK today.”

Whether you’re a budding poet, fantastical story-teller, superb sculptor, or burgeoning photographer, the Aesthetica Annual provides inspiration to get creative juices flowing. Enjoy all that upcoming artists and writers have to offer with a selection of short fiction, poetry and art from the past year.

Pauline Bache
Marketing Officer
Aesthetica Magazine
PO Box 371, York YO23 1WL
(+44) 01904 527 560
pauline@aestheticamagazine.com
www.aestheticamagazine.com

ECOLOGICAL WORLD DEBT

2009-05-05T15:39:00.001-07:00

The first idea i have come up with, receder of the world.

/////\\\\\\WAKE UP CALL/////\\\\\\

2009-05-05T13:45:00.000-07:00

"Graphic Art is a powerful weapon of protest and propaganda, shock and subversion. From billboards to t-shirts, underground magazines to political posters, it's imagery can arrest, accuse, provoke and plead. Many such images have become icons of their age age."
Liz McQuiston

Brief Using Type and image design a powerful poster that relates to one of the themes listed below:

//Warning of 'Ecological World Debt'. Ecological Debt day gets earlier every year. Green Campaigners say that from October onwards, humanity will be living beyond its means, ie, if people consume more than can be renewed, the world reaches a point where its sources start to run out.

//The surveilance society. Recent figures have shown that Britain is the most spied on nation on Earth.

//Deforestation

// Arecent report has shown that british teenagers are the most violent in Europe, we also have the highest levels of teen pregnancies in the EU.

//The death of literature was recently declared by Martin Amis. 'Poetry's already completely dead. People don't want to share delicate feelings and poetry always involves you in self examination. They don't want that. They want a diluted self. Not a concentrated self".

//No vote no voice

//Child poverty

//Nutrition. Forget celebrity chefs and posh restaurants, the average British family do not eat together regularly and be bothered to eat healthy food.

//is technology destroying humanity?

Final Solution A1 Black & White poster, orientation can be either landscape or portrait.

Experiment Phot.

2009-01-25T19:57:00.001-08:00

Attempts at spontaneity come thick and heavy on a regular basis but are often too forced to produce any authentic results. On the 24th of January 2009 the gods of creation were on our sides and I partook in a mission of photographic discovery and shoot some intriguing photographs of the localities of Brighton and its surrounding neighbours. The air was freezing, the night was dark and the rain was sharp.

The first image, named ‘the sky at night’, was created in the bay found behind Peacehaven’s unkempt roads, emitting notions of drama and enhanced reality. You can almost feel energy coming out of the sky and ground. Made using an umbrella, long exposure and one soggy camera.

The photograph here was taken along the coastline of Seaford using my flash to take the picture directly out into the ocean, the extended exposure receiving light off the pebbles gave them the illusion of fools gold. The black of the night became flat like sugar paper as the flash picked up distant particles.

Among the results came this eerie photograph that may bear some simularities to a Sebastian Tellier cover or for some reason Erasure’s Blue Savannah single. The atmosphere is bizarre.

‘In this moment of beauty we found chaos’ is the description given to the photo taken from the same point at which the prior beach photo of Seaford was taken. It emotes feelings of beauty and wonder, you should be able to walk into it.

Inspiration wall

2008-12-09T12:15:00.001-08:00

Inspiration – ins.pir.ra.tion

Inspiration in artistic composition refers to to an irrational and unconscious burst of creativity. Literally, the word means “breathed upon”.

If you believe Oscar Wilde, “Talent borrows, genius steals”. The problem is that when everyone is turning to the same places for influence, things get stale. We wind up drowning in a sea of me-toos.

1. Something that stimulates the human mind to creative thought or the making of art
2. Somebody or something that inspires somebody
3. The quality of being stimulated to creative thought or activity, or the manifestation of this
4. A sudden, brilliant idea
5. Divine guidance and influence on human beings
6. The drawing of air to the lungs

BRIEF
Part 1: Working individually select one of the words listed on page 2 that relates to ‘Inspiration’. Research and find a quote that refers to this word. The quote should be no longer than a sentence.

Part 2: Create, develop an image that corresponds to a different word or the same word from the list on page two.

Part 3: Produce an a2 type and image composition (either landscape or portrait orientation) that combines the two elements.

Consider clever ways of integrating type and image, visual impact, clarity of communication, dynamic cropping, processed imagery, choice of typeface, processed letterforms, sensitive / restrictive use of colour.

Do not produce a visual soup of confusion. Be mindful of the viewer, looking at the work for the first time. We are going to display the A2 posters collectively to make a wall of inspiration.

Building Blocks (1st ed.)

2008-12-03T06:27:00.001-08:00

Building Blocks (1st ed.)
Originally uploaded by The Tudor

This is my first attempt at the brief herein.

Building Blocks

Type Structutre/Examining the building blocks of typography

You will have attended a half day INDESIGN WORKSHOP in the computer suite training room. This project is to enable you to put into practice what you have learned together with other researched material.

Type is used with virtually every piece of printed or digitally displayed graphic design. Good typography may be exciting, dramatic, colourful, wacky or outrageous – however the fundamentals of typography need to be understood before it is used effectively.

Even the most avante garde artist will have developed a high level of traditional craft skills which provides discipline and structure from which experimentation may spring. Highly innovative graphic designers will invariably be excellent typographers

To provide you with a good understanding of the principles of typography, this project is about looking at the building blocks of type and the way in which type is assembled and laid out in Adobe Indesign.

1. You are asked to first write a piece of text that, in your view, explains the anatomy of a typeface, the anatomy of a paragraph of text and acts as an introduction to the subject. Minimum 300 words plus annotations. Below is a list of topics that should be included in your research and design.

Parts of type (stroke, countershape, serif, bowl, ascender, descender, baseline, x-height, body height, point size etc.)

Anatomy of a paragraph (type size, weight, style, case, indents, leading, tracking, alignment, column width and inter paragraph spacing)

If you don’t know what some of these terms mean – make sure you work it out.

2.You are asked to design an A3 informative broadsheet that visually supports your text.

The final design should be visually interesting/exciting/arresting and informative and demonstrate the following:

Your knowledge of the principles of assembling and crafting type
Your ability to inform others about the subject
“ “ “ use Adobe Indesign for creating your design

A Foot in the Door!

2008-12-02T06:39:00.000-08:00

Apologies for the long quiet, times are busy. And so a new brief for a new post. Poor analogy for you there. This one is to get you to go network, which is extremely useful. So have a read whilst I prepare some work for the next post.

Brief

Part 1
To compile a “CREATIVE INDUSTRY ARCHIVE”.
Format: A4 wide spine ring binder.

I would like you to research the most exciting / intriguing developments in the Creative Industries of Graphic Design, New Media (i.e web, cd rom design, video art and any other forms of digital media.), photography, image making, film & advertising.

Collate a diverse range of reference material, i.e: magazine / press clippings of feature articles and interviews with leading creatives, company brochures, screen grabs from websites, exhibtion catalogues / reviews etc. Collate work that inspires you, label each piece clearly i.e the creator of the work, the project, the client, medium used, date, etc.

Visit the library, scan the web, research recent directories relating to the Creative industries. Read Art & Design Journals eg: Eye, Creative review, Grafik,, Frieze, Art Monthly, Adbusters, Campaign, etc.
If possible vist the following:
-Shipleys Design Bookshop: Charing X – ICA Bookshop, the mall. – Magma.

When compiling this archive, have a professional attitude! Consoder ways of classifying, ordering, indexing and referring the collated material.

Part 2: Forging Links
Create your own Database of contacts in the Creative industry. This will evolve into your professional network. A resource that over time will provide access to information, career development opps, support, technical knowledge and influence.

Networks don’t just happen, they require time.

Spend time identifying the areas of the creative industry that you are most interested in. Map out / list everyone you have met that is part of the creative industry. Define their area of specialism, update contact numbers and addresses regularly. Nurture your database, keep in regular contact with the important members of your Network. Add each new person of interest you meet to your database of contacts. If you have your own computer try and utilise one of the database software packages that are available.

Forge links with junior designers / creative’s at the companies that interest you. These people are more accessible than big cheese and will help to get the all important ‘foot in the door’.

(Zeegan, L & Taylor, P . 2008)

The METRO remade

2008-11-21T16:28:00.000-08:00

If you find a special 'different' Metro on the train, or one in Tate Britain, and it took you here, send us a picture, prove it, and we'll give you a prize. We'll then put it on this blog and explain it.

Also, this is a site that will teach you the basics of type. You need to know. http://dev.skynerve.com/typography/

Lt G

Let there be LIGHT

2008-11-15T15:45:00.001-08:00

Let there be LIGHT
Originally uploaded by The Tudor

Over the last two weeks we have undertaken a photgraphy project. Laborious although there was a silver lining...

We were put into groups of Graphic Design/Illustration and asked to complete the included brief (always in red). The displayed image was made using basic tungston lighting in our studio taken with a nikon d40. I was attempting a narrative style using a tin wind up soldier. With some cropping, this is the result.

Give the brief a go if you have enough time. I bought my d60 half way through this project and it is siick. Just putting it out there (like a geezer called gary).

Introduction: "It's amazing the way light can play tricks with your eyes, if you let it"

It is true that we are blind to many wavelengths of light. This makes it important to use instruments that can detect different wavelengths of light to help us to study the Earth and the Universe.

However, since visible light is the part of the electromagnetic spectrum that our eyes can see, our whole world is orientated around it. And many instruments that detect visible light can see farther and more clearly than our eyes could alone. That is why we use satellites to look at the Earth, and telescopes to look at the Sky!

Objectives:
-Reflecting and consolidating experimentations with light.
-Selection and evaluating final outcomes.
-Good time management.

Brief Part 2:
Leading on from the photographic day we require each group to produce;

1. Documentation of the day / consider presentation
2. A3 contact sheet of 12 images of your selected object that displays the range of exploration. Two shots from each.
2,1. Utilising Level 1 studio lights.
2,3. Utilising photography studio lights.
2,4. In the room (152)
2,5. Window / natural light
2,6. Torch / mobile light
3. Selected images on CD / memory stick for digital seminar.
4. Select 2 most successful for print

Chelsea so far

2008-11-09T16:14:00.000-08:00

This is my first post on 'The Hadron Collider'. I will be posting work which is set for the Chelsea College or Art and Design, Graphic Design Communication BA (hons) course. I am excited to contribute and can see this site becoming an helpful resource for people wanting to compare courses, maybe before applying for a graphics degree. For that reason I'll just sum up my experiences so far, a month in, as a catch up.

The course at Chelsea has around 50 students on it and is run on the all-in-one campus of Chelsea Art College, which is in pimlico on the river thames, opposite MI5. The fact that the course runs at an art college is one of it's virtues. as strange things seem to happen. like the ping pong table which recently appeared in the middle of our parade ground...

___________________________

I am a bit behind on posting briefs so consider this a catch up.

so far after a month on the course we have been asked to:

-Design a budget chicken shop (1 hour)
-Make a human alphabet for the register (1 hour)
-Give a presentation about a marked area on a map and inspire the audience (3 days)
-Write a song about a typeface. (1 day)
-Design and build a drawing machine (3 weeks)
-Design 50 logo's which symbolise something that inspires you (3 days)
-Another 50 developments of the best of the previous logos (3 days)
-Use the photographic studio to recreate an iconic photo. replacing yourself with the icon.(1 day)
-Make a 3D wooden version of an helvetica letter and discard it. take a photo as proof. (1 month)
-Create a fanzine of thyself.(4 weeks)

All the above briefs seem to sort of overlap into a meld of always having something to be getting on with.

The lectures at Chelsea are pretty good too. every week our tutor frank gives us a post-sarcastic drivel of information about modernism, modernity, deconstructivism and everything that happened in-between. and there are some pretty good guest lecturers. and one that really pissed me off...

last Thursday Anna Gerber came and gave a talk. She authored the beautifully made "All messed up" and the first half of her lecture was a typornographic dream. however half way through i started to realise that the entire body of her work consisted of the formula Design work BY a Designer FOR designers ABOUT design. I found this motion rather cannibalistic. and by the end of the talk was quite agitated.

After I raised my observation with Anna she did come clean that she was getting sick of doing this kind of self indulgent work, though accompanied by a resentful grimace, which was perhaps provoked by a friend sitting next to me, who was sporadically saying "Gerber burger".

To her credit some of her designfordesignersbydesignersaboutdesign work has pointed at getting graphic designers to think more carefully about how to be "green".

If you are after a few burgers of Gerber articles on the said subject are in the current and 2 forthcoming Creative Review's

Though an intelectual meal the Burger don't expect any kind of objectivity, (I'm guessing if you've read this far you may not care about that).

I was especially bemused by the "I'm not stupid enough to think that graphic design can change the world." line. I'm not suggesting that we all learn In-Design so we can Kern the Evil and Cut the Poverty before Cropping the food and 'Ctrl>V' pasting the love but I disagree with condemning the some of the most visionary and creative readerships to a life of client's and recycling.

I have higher aspirations for the design breed.

"Design is a plan for action" - Brian Collins.

Empirically our craft is just a power which can impact other people to ACT, whether that is to go and buy a car, take out insurance or perhaps promote social progress?

The characteristics which group us are merely our creative spirits and the tool we use (design) to harness that spirit.

What we do with that power is ours to decide but I would never rule out changing the world as an option, or an imperative!

Jed, Graphic Design Communication, Chelsea College of Art and Design

Cold War Modern

2008-11-03T11:29:00.000-08:00

Sorry to double post but everyone needs to check out this exhibition. Serious all star line-up of Corbusier, Superstudio, Archigram, Arata Isozaki and IBM educational films so you know you are getting the good stuff. They are also playing Superstudio's 5-minute "supersurface" which, after a year of unsuccessful googling torrent sites I finally got to see and nearly wept. Amazing also that so much of this incredible and progressive work has got that underlying tension that it could all kick off at any minute, a kind of vibe that only comes through a time of world-world collective crises. Maybe the credit crunch will kick start a new wave of amazing design ? (half joke)

Cold War Design

Camberwell UAL Jack Latham

"Now everyone go and make a listening pyramid"

2008-11-03T10:33:00.001-08:00

I just finished taking part in a certain "educational-multimedia-collaboration-installation" (not my words) conducted between UAL students and a certain multimedia and interactive design collective in a warehouse somewhere in central London. I'm grateful for the oppurtunity and will resist needlessly flaming the people involved but suffice to say it was a complete waste of time. What was sold to myself and my classmates as an amazing oppurtunity to collaborate with innovative proffesionals in the design/media field turned out to be a week long office team-building session, complete with A3 newsprint, overuse of the term "brainstorm" and a couple of fuck-off boxes of boardmarkers.

We were told we would be working in an exciting, creative, cross-age environment where anything could happen and was to be encouraged, and I had visions of building lo-fi, spontaeneous structures and drawing on the walls. No. Anyone familiar with the episode of The Office where the team are given a day-long seminar on how to function better as a working collective need only replace the office setting with a beautiful (and hugely misused) warehouse and you get the idea. The age gap between us and the collective members (when they decided to show up) was pretty enforced and for a project meant to be inspired by modern urban living we spent a whole lot of time talking about how, as "young creatives" we could solve problems for the potential and omni-present Client. Add to the mix that the one "proffesional" we had contact with all week, after all the designers abandoned ship, was a corporate group consellor (a friend summed this title up as a needless job title for a needless job. Corporations-downsize!!!) who had a fondness of using phrases like "collective idea circle" "communication doorways" and "listening pyramid".

Now I recently learned that part of the shortcomings with the project had to do with the last-minute drop-out of some pretty high-profile corporate sponsers who were meant to provide equipment for us to work with but this doesn't excuse the fact that the whole project was a cynical ploy to generate arts funds for said collective by giving it a thinly disguised "educational" slant where instead of playing an important role in the creative process, the students where simply props. But this hints at a bigger problem, all through the week, even when I felt that our group idea was going somewhere and enjoying working with complete strangers, the cold hand of something deeply cynical was constantly touching my shoulder. Whether we like it or not, we are deeply stigmatised type of young person right now, one called a "young creative" and for better or worse, there are people out there who would like to milk us. Anyway long story short I missed my deadline for a (arguably more important) college brief and now I don't trust anything involving the words "amazing" and "oppurtunity".

Camberwell UAL Jack Latham

Places to GO! (Returns)

2008-10-29T04:01:00.001-07:00

Ok so here is the second round of places to visit but don't forget to look back to the old list further down the page.

- Francis Bacon, one great painter. Worth a look. At Tate Britain until 4th January 2009 / Daily - 10am-6pm / £10.50.

- Robin Rhode: Who saw who - Performance, photographic and drawn. Put it nearer the beginning of your list. At the Hayward, Southbank Centre until 7th Dec / Daily - 10am-6pm / £6

- Gerhard Richter: 4900 Colours - Version 11+ - Arrangements of bright monochrome squares at Serpentine, Kensington Gardens until 16th Nov / Daily - 10am-6pm / FREE

www.serpentinegallery.org

- Retrospective - One

Kemistry Gallery, 43 Charlotte Road, London, EC2A 3PD

The only Uk independent Gallery dedicated to exhibiting graphic design.

Mon-fri 9.30am-6pm / sat 11am-4pm / FREE

www.kemistrygallery.co.uk

That shall keep you going

Graphic Design - Brighton University - Luke-Tudor Griffiths

Intro to Letterforms pt. 1 (Brighton brief)

2008-10-22T17:32:00.001-07:00

Brief
We want you to take notice of the letterforms around you - immerse yourselves. Then we would like you to select, at least,one interesting example of a letterform from your surroundings. Your example could either be one letter or a number.

Your example might be printed, carved, cast, a shop sign, stained glass windows. It might be permanent or ephemeral, feel free to use photography, drawings, rubbings, or any other choice of media appropriate to the recording of your letterform.
Your example might be a real, properly constructed, letterform. 'Mactastic' typo ripped from a style magazine, or photocopied from a CD cover at the last minute will not be acceptable. Remember - with regard to to lettering Brighton is exciting as anywhere on the planet. But please, no graffiti, tagging, club flyers, or anything related to 'youth culture' or current 'fashion'. Widen your terms of reference.

Requirement
Present your letterform/s professionally mounted onto a3 landscape board . Accompany it with a maximum of 100 words of explanatory text. (This brief contains four times that number). Tell us about the lettering: medium, location, colour, purpose, date, dimensions. What sort of lettering is it, does it have serifs or shadows. Is it in relief, flat, incuse, roman, Italic, script, decorative. Caps, minuscules, U/lc? What material is it on? Is it printed? If so by which method? If it is several words, do they range, are they justified, centred, or 'free fall'? The purpose of this project is to familiarise you with letterforms and with the terminology used to describe them.

Reference
In addition to the reading list in your student handbook, you should find the folling titles interesting with regard to the sort of everyday lettering with which your environment abounds.

Signs: Lettering in the Environment
by Phil Baines and Catherine Dixon. Published by Laurence King, London 2002
The English Lettering Tradition
by Alan Bartram. Published by Lund Humphries, London 1986
Words and Buildings
by Jock Kinneir, Published by The Architectural Press, London 1980
Lettering in Architecture
by Alan Bartram. Published by Lund Humphries, London 1975
Signs in Action
by James Sutton. Published by Studio Vista/Reinhold, London 1965
Lettering on Buildings
by Nicolette Gray. Published by The Architectural Press, London 1960

Type1
Originally uploaded by The Tudor

Graphic Design - Brighton University - Luke-Tudor Griffiths

Design Cities

2008-10-19T11:56:00.000-07:00

"Ok I went to design cities yesterday and didn't think that much of it, I would have taken a whole load of photos for it if they allowed cameras. One good thing about this however is the fact that they have my typewriter, an Olivetti Valentine. The Alan Aldridge section of the gallery was fresh but you don't gain much. This may be my own opinion however, so it is written in purple. I will do a more complete review of this very soon."

I am also afraid I didn't get a chance to visit either Frieze or Zoo Art Fairs. If anyone went I'd love to hear your opinion on it.

Graphic Design - Brighton University - Luke-Tudor Griffiths

Berry

2008-10-17T16:07:00.000-07:00

Looking for something random and have something impressive to say? Watch this man live and get tickets from this bunch of stars

*****

Graphic Design - Brighton University - Luke-Tudor Griffiths

Spatial Awareness

2008-10-16T16:25:00.001-07:00

spatial awareness
Originally uploaded by The Tudor

So we received a project to explore spatial awareness recently to explore the use of simple shapes to create powerful emotions. Here is the brief.

Objectives
To enhance the understanding of spatial awareness within the visual plane. To formulate strong, confident visual statements in a simple and direct manner. To explore a visual language with minimal iconography.

Brief
Using the following symbols below express different emotions compositionally. Utilising: cropping, scale, repetition, overlapping, intersection, negative / positive and empty space, etc....

Format
A3

Important
Do thumbnail sketches before commiting your solutions to a3. One emotion per A3 page. Be inventive. Name the relevant emotion on the reverse side of the paper (bottom right corner). Explore as many emotions as you can.

Graphic Design - Brighton University - Luke-Tudor Griffiths

Things to BUY!

2008-10-16T06:36:00.000-07:00

If you really enjoy good screen printing check the site of Tyler Stout. I was shown his stuff by a friend (Tony Scud). He basically remakes posters for cult films in an amazing way. You can buy his posters at small prices and sell them for loads later. www.tstout.com

Places to GO!

2008-10-15T04:52:00.000-07:00

OK before we start make sure you visit time out to recieve a two for one art pass and download it now. You will be able to use this at the Design Museum, V&A, Hayward & Zoo art fair. It runs out on 31st Oct so hurry up. Be sure to consult back to this post over the next days as i shall be adding to this. I apologise for the stealing of events from the research list @ Brighton.

- To start with at the Design Museum currently there is a exhibition named "Design Cities", where you can see a witness a huge array of iconic architecture. www.designmuseum.org - It costs £6.50 - It is open 10am 'til 6pm - 28 Butlers Wharf, Shad Thames, London SE1 2YD

- Andy Warhol "Other Voices, Other Rooms" @ the Hayward, Southbank Centre, LDN SE1 - £6.00 - open everyday until Jan 18th 10am - 6pm.

- Frieze Art Fair work from contemporary galleries in over 150 countries - Regents Park - 16/19 Oct - Daily - £10 - www.friezeartfair.com

- Small Publishers Fair, worth a look, and a journey, you will meet famous people, - Red Lion Square, London WC1R 4RL - 24/25 Octs - 11am/7pm - free!
www.rgap.co.uk/spf.php

Cartographers of Intrigue (Brighton brief)

2008-10-15T04:33:00.001-07:00

Final: Map / North Lanes Landscape - OPEN
Originally uploaded by The Tudor

BRIEF: The two year groups are divided into groups of six map makers. (Three illustrators & three graphic designers).

Part 1. The collation of information

Each group is assigned a specific Brighton map reference or location. The group will then investigate the area to obtain a diverse range of information.

Take photographs, make sketches, jot down notes, record conversations.

Interview inhabitants and passers by. You are limited to five questions per individual.

Some suggestions:
Observe - localised ephemera, gossip and the word of mouth, historical facts, key focal points, commerce, recreation, local news stories, advertising, urban decay, urban renewal, atmosphere and mood, place names and signage, surfaces, boundaries and limits, architectural layers, viewpoints and perspectives, back alleys, twitching curtains, discarded objects, social interaction and time.

Part 2. The organisation of content.

Final application format is A1.
Orientation: either landscape or portrait, 2 dimensional or 3 dimensional.

FORMAT / SPECIFICATIONS

Utilise an array of mixed media. Challenge you preconception of what defines a map. Be inventive, take creative risks.

IMPORTANT

Consider the information hierachy - do not produce a visual soup of wallpaper. Remember the viewer / reader of the map.

2008-10-15T04:25:00.000-07:00

Ok, so first decent group project at Brighton Uni yesterday and I have uploaded all work onto flickr. Thought it may be useful to people applying for 2009.

Have also discovered a really good source for recorded lectures including one by Neville Brody. I know he is boring and out of date but the chances are he is more famous and richer than you, so it's worth seeing. We're here to make money ultimately, this isn't art, it is graphic design. Anyway, the links are below. Enjoy. Cliche.

- Previous post for work
- This link for Neville Brody http://www.esad.pt/personalviews/