MEDA301 | Review

My collaboration with Kate delved into domestic violence and the victim. My work fitted in due to the medium of our works through projected text. Equally our practice and themes tied into this, how I was originally wanting to work with how in media words can be lost in the never ending sea of information through the use of typography. Through type Kate wished to create a conversation with the audience by placing them in the shoes of a victim of domestic violence.

Kate and I decided to work together to try and create a piece that incorporated the use of my concept of using a small object as a place to project upon as well as her use of the giant wall behind it to project. This was to create two perspectives for conversation, mine to be “the help” and hers to be “the aggressor”.

For my research on the topic I decided to start looking up websites that offer help and support for those in need, an example is One in Three;

One in Three
http://www.oneinthree.com.au/
http://www.oneinthree.com.au/infographic

One in Three is campaign of men and women who are seeking to raise awareness of the existence and needs of male victims of family domestic violence and abuse. They work with government and non-government organisations to provide help for those being affected by domestic violence.

Through this service and others I created a script to try to be someone offering help to someone in need.


Hello? Please, can you hear me? I know it is hard to see me, but please hear my voice and see my words.

Please can you listen to me. Help is there, we are here and it can be stopped, but we need to listen, too often voices are shut out by their attackers and by media.

 

Too many times people are told it won’t happen again, and too often people are shamed. Their voices aren’t heard, but it is hard. So please listen, please try to hear me.

 

Words mean the most, to those who aren’t allowed them.


For my part of the collaboration I am really dissapointed.
This is because I wished I had put more time into working with video mapping, I didn’t push myself to keep practicing the program and incorporate it into my final work and I feel it may have let down my partner. I think now I must keep using the program and get it to work, given the chance I would like to re-do this project and make it work.
Together we worked well, we both talked consistently and spoke about the subject matter, exploring different alternatives and themes we could chase. I would definitely work with Kate again as she was indeed a great partner. We did however not see what our torturers were pushing us to do, which was a fault on our behalf, but I do hope to build upon this.

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MEDA301 | Group work, my contribution

For MEDA301 we have gone off into groups. We have been organised into similar practices based on our research. I have currently been partnered with Kate Bennett.

Kate has been exploring ideas based on domestic violence and abuse as her subject matter. Her first iteration of this took place as a large scale projection on the wall of the gallery.

Kate is wishing to play with scale of text, along with the design of text when it is scaled up so much. Her work covered a whole corner of the wall in big bold black and red sans-serif text. She is currently wishing to chase video mapping as a method of plastering the text to the wall. With this she will be able to keep it legible as it wraps around the wall. I too wish to use video mapping to wrap around the surface that I am using.

For my latest iteration I am going to be using a white box that is roughly 15x15cm as a surface to map my projection; my work will work alongside Kate’s projections. My subject matter is based on media and how voices can get easily drowned out. I am using scale primarily to show my message, however with my font choice I am going to use a serif typeface for mine. I feel using a serif typeface would work slightly better, it’s voice would come out a little bit more weary? Otherwise I have some ideas for using a sans-serif typeface, as I feel it could be seen as a calmer, quieter voice.

During my last class Kate and I presented our collaborative work and were able to hear another perspective of how they worked together. Our tutors spoke about how there is a conversation in there between the two works, their interaction and ‘fight’ for space was interesting. This is what pushed the idea of my work being a floating box, and to work offset to Kate’s. Speed and motion is something to be played with, as mine was way too slow and Kate’s was quite fast. If we can settle this motion then our works should co-operate in the space.
The message was also a big topic as we must co-operate to create a conversation. This is where our ideas on our topics came hand in hand, as my work based around text and voices held significance to Kate’s work on domestic violence.


 

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MEDA301 | A bold statement.

Over the past few weeks I have been a tad absent as I have been thinking and thinking and thinking over what my practice really is and why I am doing this. I suppose I wasn’t supposed to go into this sort of detail with it, and maybe spread it over multiple blog posts, but I’m not like that. I have been theorizing as to why text is so powerful and how it can be used in the world around us; A place where voices get drowned out by sound, and text by bright lights.

It is hard to concentrate on something so still with so many different elements drowning it’s voice out. Nowadays typography is usually seen through pixels on Apple computers with all sorts of different applications running simultaneously. In order to retain a strong resonance text must meld in different ideas and meanings, it has to be powerful in it’s expression, it’s physicality, it has to be a bold statement.

This can mean a lot in itself, if it is something political, or someones passion, or a plea for help. As explained in previous posts typography is the design of print media, how it is emoted and what emotions does it create. A bold statement can take on many different forms and ideas. As of today, typography is something that is used extensively to convey ideas and knowledge. It takes a lot to create a bold statement.

 

I have pondered on the idea of taking away from some works that I have been researching, reverse engineering them in a way that I am going in reverse. So often I have seen text on such a large scale that it is hard to not see it’s power and might. I have the desire to seek the small and mundane, to try and create a voice as loud as projected text on a building.

(Jenny Holzer, Sienna 2009)

However I also wish to incorporate the lighting that one gets from projection, but I wish to also see the effect written or ‘tape’ text could give (using tape to create text). Adding some physicality to text is something quite intriguing as well, as text is never truly felt from touch.
(in saying this)
How can I create a physical sensation with text, with something 2D…..

Why is scale something so powerful with text? How can something that could be microscopic hold the same meaning as something the size of a sky scraper?

How does the design of text aid or subtract from meaning? Are meanings conveyed through the design of text?

How do all of these elements interact with each other? How do you create a healthy blend? Is there a formula behind this?

Why do we place such a high meaning behind print media? And what has it entirely become in this sensory overload of digital media?

Maybe it is to go back, per say go to the origins of typography? To printing presses or further ahead to neon lights?

 

 

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MEDA301 | Assessment 2 |Out of Hand

front_chandeliere_lrg0

Front Design [Swedish, est. 2004]
Materialized Sketch of a Chandelier, 2005
Thermoplastic powder
33.9 x 31.1 x 27.68 inches
86.1 x 79 x 70.3 cm
Edition of 3


During week 5 we went to the Out of Hand: Materializing the Digital exhibition held at the Museum of Applied Arts & Sciences. This museum presents artworks exploring the ever-present role of digital manufacture in contemporary art, science, fashion, design, and architecture (Museum of Applied Arts & Sciences 2016). Within the gallery there were many works that expressed material discourse of the digital in creation and development of objects. In my exploration of the exhibition I found a work that I had a strong connection to; Prototype for Materialized Sketch of a Chandelier by FRONT Design (2005). This artwork is one of four created in the series known as Sketch Furniture, however only the Chandelier was displayed at Out of Hand.

Sketch Furniture is a series of artworks which look like fluorescent tubing, 3D printed via a process known as laser sintering (Friedman Benda 2013). Laser sintering (LS) is a type of additive manufacturing, where each section is built through successive layering of powder, fused together by laser heat (Verbelen et al. 2017). LS is more efficient than traditional methods such as injection moulding because it is faster, ultraprecise and is able to produce components with mechanical characteristics that are similar to those made by conventional methods (Kruth et al. 2003). The lighting accompanying this artwork made it seem as if it was glowing from the centre of the loopy mess of pure white material that casts an eerie shadow on the wall behind it. My first impression of Prototype for Materialized Sketch of a Chandelier was that it appears as if it was materialised from thin air, even otherworldly. There is no indication of its manmade origins, it is as if somebody has materialised their idea from nothing. Beneath the work of art is a name and description plaque and video which depicts the creation process.

Prototype for Materialized Sketch of a Chandelier (2005) is the combination of motion capture technology that records the movement of a pen that is used by the artists, and transfers them into a 3D file that generates a skeleton based upon the lines traced from the pen’s movements. This 3D file is then materialised through laser sintering; a type of 3D printing that uses a laser beam to direct ultraviolet light into a bath of liquid thermoplastic powder. This method creates a 1:1 exact replica of the artists drawing in the bath and solidifies the plastic in the path of this beam (Front Design 2005; Kruth et al. 2003; Verbelen et al. 2017). This artwork is 86.1cm high, 79cm wide and 70.3cm deep. It has been designed so that it may be hung off of a lightbulb where the bulb sits within the centre of the artwork. This element allows for the shadows of the Chandelier to create an artwork in of themselves.

Front Design is a creative group based in Sweden composed of three designers, Anna Lindgren, Charlotte von der Lancken and Sofia Lagerkvist (Front Design 2006). They collaborate to create artwork on a variety of different themes – focussing on less traditional styles. Front Design artworks often convey debates and stories about design, the materiality about it and the immateriality of it (Anna Lindgren & Sofia Lagerkvist 2017). They both share an interest in things that are unusual, magical or technological – often designing pieces which mesh traditional icons with an unusual pairing. A key example of this is their design piece Horse Lamp which imitates a traditional statue of a horse but transforms it into a lamp – a commentary on how animals are now inanimate objects in today’s society (Front Design 2006). Their goal with the Sketch Furniture series was to blend new 3D printing technology with traditional ‘sketching’, allowing the idea of design through spontaneous thought.

The purpose of Sketch Furniture (2005) was to ask a question, “Is it possible to let a first sketch become an object, to design directly onto space?” (Front Design 2016). The artists at Front Design were creating a method to materialise free hand sketches instead of the traditional process of sketching pen and paper before designing the sketch as a 3D file through a computer. This is where they sought the use of motion capture technology to trace the artists pen – therefore eliminating the use of the 2D paper surface. Through this method, Front could materialise the object created from the artist’s sketch through laser sintering without the middle steps of manipulating a design within a computer. A traditional element which would usually be sketched and designed before production is furniture. Front Design has specialised their ethics of cutting out pen and paper through the use of technology and instantaneously skips to the production component instead of the traditional design-production process.

With this combination of motion capture and rapid prototyping, Front Design could create Prototype for Materialized Sketch of a Chandelier (2005). The video clip supplied with the artwork depicts Lindgren and Lagerkvist drawing the furniture in a 3D space as several motion capture cameras track the movement of the pen. It appears as if a button is pressed on the pen which then activates the tracking within the motion capture program. As the artist draws in the air, the program traces and creates splines off the line art so that it is then printed as a solid object instead of skinny lines. This is then saved and printed as a thermoplastic 3D printed laser sinter – layer by layer.

The coming together of these different elements and materials means that Front Design was virtually able to design in the gallery they were exhibiting in. This approach to materialising the digital and taking away the material aspect of common furniture design is quite unique. Front Design’s question on if it’s possible to design directly into space inherently takes out the middle man of research and development. Equally using laser sintering as a method of materialising means they virtually take the idea right out of the artist’s mind and hand and recording it with 3D motion capture.

Installed in the Out of Hand exhibition, Prototype for Materialized Sketch of a Chandelier engages the audience in the production and final piece. From a physicality stand point, the audience can generate different perspectives on Front’s take on materialising the digital. Essences of typography and graphic design come to mind, along with aesthetic keys to the human body take shape from the movement of the plastic sculpture. The video supplied allows the audience to digest the immaterial aspects that went into the work. The video editing paints the picture that Front wanted to portray in that the designs were created directly in their space. The enchanting look of the artist’s movements seemingly building the chandelier that is on display presents their argument for their question to the audience.

Front Design generates ideas and perceptions of magic, they are drawn to it in their creative practice. In Out of Hand: Materialising the Digitality we are brought an iteration of this coming together of immaterial perceptions and material development. Prototype for Materialized Sketch of a Chandelier (2005) brings forward discourse about how we perceive the interaction between the digital and virtual worlds, and questions current design methods and ideas.
A critical component of artwork is how the world around it shapes its creation and how the artwork itself shapes the world in turn. In this way, the artists can interact with the world around them through expressing their ideas materially. Usually, this means that they will design their thoughts on pen and paper before transforming these thoughts into a material object. These objects carry the artist’s potential, the immaterial elements, however within Prototype for Materialized Sketch of a Chandelier (2005) there is discourse created from this culmination of the elements.

Front Design’s ideas derive from their fascination with magic. This motive to keep with other-worldly and intriguing design has drawn them to the path of furniture and interior design. This influence is what has shaped their design making method, by using animals, computers and machines. Horse Light (Front Design 2006) is an artwork by Front Design that expresses this conversation with magic and design that is vivid in other works. The 2.4m tall black PVC horse with functional lamp is a slightly clearer visual aid for Front Designs argument on materialising the digitality. It, much like Prototype for Materialized Sketch of a Chandelier (2005), expresses the blur between digital and virtual realities that is created from modern technologies.

Front Design [Swedish, est. 2004]
Horse Lamp, 2006
PVC viscose laminate shade, metal frame structure and polyester Horse
240 x 230 cm

Another artwork that holds similar ideas and debate on the subject at hand is Alfrim I (1966) that was created by artist James Turnell. It is a sculpture that uses projected light to create the visual image of a 3D cube. Turnell’s work engages with its audience by amplifying their perception creating false ideas on the physicality of the work using this technique. Alfrum I (1966) relies on perspective to express this concept, the same can be said for Prototype for Materialized Sketch of a Chandelier (2005) as Front Design uses the material aesthetic from laser sintering to create this discourse. Aesthetically they create an other-worldly phenomena, Alfrum I (1966) using lighting to distort with the audiences perspective, and Prototype for Materialized Sketch of a Chandelier (2005) using 3D motion capture and laser sintering to question the audiences perspective.

Prototype for Materialized Sketch of a Chandelier (2005) is shaped by the world around it because it is created through a modern technology. The advent of computers, motion-capture programs, wireless peripherals and cameras which can communicate flawlessly with each other allows for 3D space drawing to occur and be saved digitally. Without the 3D process of laser sintering, the artwork would not have the aesthetic that Front Design were intending. This being said, the artwork is a direct form of discourse that challenges the current mechanisms of production. What is perceived within Prototype for Materialized Sketch of a Chandelier (2005) is this potential for how we perceive our ideas. This experiment in design engages with the world around it; it develops a rift between reality and imagination. By pushing the boundaries of the gap between thoughts and the material world we live in, Front Design has created the series Sketch Furniture to illustrate that the gap is becoming smaller and smaller.

Prototype for Materialized Sketch of a Chandelier (2005) by Front Design is an artwork that engages with the idea of Materialising the Digitality. It’s engagement with 3D motion capture and laser sintering generates discourse. This argument brings the audience in to question how we perceive design and equally the boundaries between the digital and the virtual. Through the sharp movements from the artist’s hand to the silky-smooth texture of the melted thermoplastic powder, we are able to perceive Front Design’s answer to their own question;

Is it entirely possible to design directly onto space?

https://i2.wp.com/www.frontdesign.se/media/project_images/SketchFurniture_byFront_projectimage_1880.jpg

(Front Design 2016)

Bibliography

 

Anna Lindgren & Sofia Lagerkvist 2017, Front Design; about page, <http://www.frontdesign.se/about/&gt;.

Friedman Benda 2013, My Brain is in my Inkstand: Drawing as Thinking and Process, <http://www.friedmanbenda.com/museum-exhibitions/past/my-brain-is-in-my-inkstand-drawing-as-thinking-and-process/3&gt;.

Front Design 2017, Friedman Brenda, viewed 20/04/2017, <http://www.friedmanbenda.com/&gt;.

Front Design 2005, Prototype for Materialized Sketch of a Chandelier, 3 edn, 86.1 x 79 x 70.3 cm, Out of Hand: Materializing the Digital exhibition, Sculpture.

Front Design 2006, Horse Lamp, 240 x 230 cm Moooi, https://www.moooi.com/products/horse-lamp.

Front Design 2016, Sketch Furniture Performance Design Project, viewed 20/04 2017, <http://www.frontdesign.se/sketch-furniture-performance-design-project&gt;.

frontfilm 2007, Sketch Furniture by FRONT, 20/04/2017, https://www.youtube.com/watch?v=8zP1em1dg5k.

Kruth, JP, Wang, X, Laoui, T & Froyen, L 2003, ‘Lasers and materials in selective lasersintering’, Assembly Automation, vol. 23, no. 4, pp. 357-71.

Museum of Applied Arts & Sciences 2016, Out of Hand: Materialising the Digital, viewed 20/04 2017, <https://maas.museum/event/out-of-hand-materialising-the-digital/&gt;.

Spector, N 2017, James Turrell, Afrum I (White), viewed 20/04 2017, <https://www.guggenheim.org/artwork/4084&gt;.

Turrell, J 1967, Afrum I (White), dimensions variable, Projected light

Verbelen, L, Dadbakhsh, S, Van den Eynde, M, Strobbe, D, Kruth, J-P, Goderis, B & Van Puyvelde, P 2017, ‘Full Length Article: Analysis of the material properties involved in laser sintering of thermoplastic polyurethane’, Additive Manufacturing, vol. 15, pp. 12-9.

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MEDA301 | Project Pitch

For our 6th week of MEDA301 we brainstormed as a class all of our project ideas and shared insight.

In my project for materialising the digital I chose to delve into typography, a key part of graphic design. Typography is the design and aesthetic of print media, which merges very well with materialising the digital as typography is something that has changed immensely ever since we started writing.


For this project we are to engage in the discourse of materials


For our class time we engaged with each other in a mass brain storm in the MCA art gallery.

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During which we were to grasp our knowledge of everything we researched and theorised about over the past 6 weeks; for my poster I spoke of typography and it’s materiality. I have been excited by the idea of working with neon lighting, a long forgotten form of typography that has become more of a niche object that one would place behind a bar. It has also become a meme finding it’s founding place in the whole vaporware aesthetic.

Image result for vaporwave neonImage result for neon art sign

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When I returned to my paper, I had a few different variants on my initial text; for context we would all go around to others sheets to add in different ideas to form discourse.


One of which (the orange text) built further onto an idea that I really wanted to explore

“Fonts are 2D, can you do something, more interesting when making it 3D than just making the letters thicker?”

“Play off the fact that so many letters are built from the same forms”

The idea of the physicality of text, how we have surpassed the days of the printing press where fonts and words were held in your hands before being printed onto paper is something that I wished to explore. This brought me back to my artwork I chose for my essay Sketch Furniture by Front Design, in which furniture was designed digitally using a pen and a 3D cad program that scanned where the pen went, creating a 3D spline that could be printed.

Bringing the audience in is something I’ve always liked to play with, and creating a code that could read peoples movements or gestures and then present their type interests me. This idea brings back the idea of the ink and quill, where typography was something quite personal, and uniquely beautiful in the various iterations of  a single persons font. Potentially exploring this kind of process could bring forth some discourse in typography.


The blue text brings forth some ideas for MVP’s which I’m curious about trying as it goes back to some original ideas that I wanted to try.

“MVP; Re purpose old neon type to create new typeface”

“MVP; Create system that translates analogue typewriter to digital signals”

The first idea is to re-purpose old neon typography in order to create a new typeface. Neon signs are something that I did have in mind to play with for this project. For this iteration I would really be playing with the space in which the work is situated, as neon signs are generally used for non-moving adverts. As it goes now for graphic design, we have LED’s in order to gain a similar effect, but also have the ability to change what is being displayed.

Potential idea is to buy some neon light kits online (cheap from ebay!!) and make some movable neon that can create different typefaces on the spot, even catering to the audience and the space.

Another idea that the blue text suggested was bringing the analogue into the digital. Re-purposing an old typewriter to create digital signals. This is MVP is something I feel I could explore the sound of words and letters (need to search up the word for this!!).

Using an arduino or similar tech I could get an input coming in from the different keys pressed on the type writer and have individual code/programs be relayed through to a projection to visualise and even hear the letters being transferred.

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MEDA301 | Week 5 | My Project

Looking back upon my research I have developed some ideas for what I wish to create for my 3rd and final assessment for MEDA301. Within the past 6 weeks I have researched about others in my field, other practitioners whom I reflect upon, what they do and how they do it, and for this blog post I’m going to build upon what I wish to reverse engineer from my theory.

Before I start I want to explain what typography is, I have spoken about it but I feel I didn’t give a concrete description of it.

When one googles ‘typography’ they are given this definition.
Typography is the style and appearance of printed matter.”

Typography is the practice of making anything printed readable.

Typography is the design of print.

A typographer is a person whom makes it their practice to design print media.

It’s very broad what print media is as this means a lot of things, which also relates to my degree as graphic design covers many different areas, it is the art of combining text and visuals to create printed matter. It takes on many shapes and forms.

From my hero Stephen Banham and also my research into typography I have developed the following idea.


My inspiration comes from a combination work from an art work I viewed at the excursion to the exhibition Out of Hand that is called Sketch Furniture by Front Design.

In this video the Swedish born design company create furniture through the use of 3D tracking and laser printing known as laser sintering. From watching the team create the furniture I was quite astounded by the visual process. I assumed (as it was hard to find out how it was actually created) that there is some code that is tracking the pen that they are using to ‘sketch’ out their creations and transform them into 3D models based on the paths. From watching this and engaging with my lecturer Jo Law I asked if there may be a possibility that this could be used for typography.

The idea that we can create our own font out of thin air arose to mind, using a similar setup to create each individual letters taking out the middle man of pen and paper by bringing it directly to the digital. This also brought up the idea of engineering the digital to the analogue.

This made me think of ways to generate a 3D printed font, creating each individual letter with a 3D printer to bring back the letterpress; an early graphic design typographical machine that would print type from blocks to paper. I was able to research an already existing work, the font A23D (source: https://www.creativereview.co.uk/a2-new-north-press-3d-printed-letterpress-font/). I wonder if there is some way that I can re-engineer this, how can I design the style and appearance of this print media.

Building onto this I also tossed up the idea of actually printing out my theory into 3D. What I mean is writing up my blog post’s ect ect and then printing them onto slabs. I don’t know how strongly I feel to this sort of idea, so it is just a quick shot at some more 3D designs.

I want to work with bringing the imaginary into reality, the digital to the analogue and I feel i have a lot of motion with the storytelling capabilities of typography.

It is just finding that quick spark, possibly using neon lighting? Bringing back the picturesque views of late night cities filled with classic neon signs. How it has made a re-emergence in design and aesthetic, how can this be re-engineered? I have always loved working with code, so I have pathways to generate the digital however how do I make that a reality?

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MEDA 301 | Week 4 | Making Opportunity

Week 4 Research opportunities – what are the opportunities available to you in your field? And how may you tap into these opportunities?

How an industry works:

  • What are its hierarchies?
  • Who reports to who?
  • Where does you desired position fit in?
  • What steps have people taken to arrive at your desired position?

What does your practice’s industry look like? How is it classed?

What does the hierarchy of Graphic design look like? Typically it starts with the Head of Design or a Lead Designer. The Head will allocate work to their team based on their skills, per say a client needs a 3D advert created so of course you are going to need a digital artist or someone who specializes in 3D typography.

You then have heads of specific areas, per say you may have some artists that lead in Photoshop and use it extremely well so you will have a head of this team. They will sort out jobs to the other artists under their wing. This leads onto artists. For graphic design there is a lot of versatility, of course you will have people who specialise and become practitioners in print media or digital, or even 3D imagery.

Exercise 1: Plan your apprenticeship

I have done 2 apprenticeships so far so I already have my foot in the door in the graphic design industry.Despite both opportunities being labelled ‘graphic design’ interns, they were both drastically different in what they required and what lessons I learned from experiencing them.

My first one was at Felix, the creative group that works alongside Foxtel to help create their advertisements and anything brand related. My second one was at Lendlease which is a property and infrastructure company, in which I worked with the advertising team.

Now on paper both jobs were under the same description however were in two entirely different environments. Felix is a creative group comprised of a team with different skill sets. Being a creative group there is a lot of freedom within the team on how to approach work in saying this when clients brought in jobs the workers had just as much of a say on how the task was to be completed. Brand guidelines still were to be followed however there was a lot of freedom in the creation of work. Here I was able to stretch my wings and have my say in the creation of some jobs. I was able to work on the re-design of the Felix brand and even had my design chosen as the top 4.

Lendlease is very different in this aspect as it is a corporate identity. This meant that there were very strict guidelines to follow, every job was to scream “Lendlease”. There was still the option of offering different ideas on how to approach the design, but it did have to retain the strict guidelines. That being said I actually had the most fun here, I was able to work in a brand new environment that I didn’t know much about and I was assigned many tasks that kept me very busy.

Mentors and how can they help you?

Two mentors that I know and have;

Daniel Evans, Head of Design at Felix, my boss when I interned at Foxtel

Pino Sellaro, Head of Design at Lendlease, my boss when I interned at Lendlease

These are my main two mentors that I can think of off the top of my head, my bosses and friends. I worked alongside Daniel and Pino during my internship and they taught me a lot about graphic design as a job, but both seemed to speak of it as a hobby in a way. They taught me a lot of techniques on how to do jobs more effectively and how to imagine better, how to get the ideas out of my head and onto the paper or computer in front of me.

For this task I need to get in contact with them, so I’m going to drop in hopefully during my break in week 7 to see how they are going, but to also learn a bit more about them as that was something I neglected when I was doing my internship.

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