Professional Development Portfolio by Cameron Francis Taylor

Professional Development Portfolio Portfolio, C.V. & research.

Cameron Francis Taylor N째1307119 MA Graphic Design Business & Enterprise

PDP, C.V. and portfolio introduction.

Cameron Francis Taylor

This part of my PDP is to highlight my aspirations as a graphic designer and my current skills that I have and may need to be able to get a job in my preferred area. In this I have delved into industry liasons that I have created by applying to jobs, my portfolio, C.V. and freelance work that I have completed. Along with this is analysis of my current situation and how I can get to where I want to be.

C.V.

Cameron Francis Taylor

Personal Details:

Interests:

-Term Address: 44 Frederica Road, Winton, Bournemouth, Dorset, BH9 2NA

-Running, football, rugby, painting, illustration and printing techniques.

-Home Address: 22 Honnekinberg, Kraainem 1950, Brussels, Belgium

Exhibitions:

-Date of Birth: 6th of August 1992 -Nationality: British -Gender: Male

- Group show, “Space is only noise you can see” OPEN SPACE gallery, Bournemouth, MARCH 2013. - Group show, “Tréspur”, Drop Project gallery, Bournemouth, JUNE 2013. - D&AD 2013

-Work Status: Student -Website: http://cameronftaylor.co.uk/

References:

-Mobile: 0044 7999 541 701

Available upon request.

-E-mail:

cameronfrancistaylor@gmail.com

Education: -1997-2010: Ecole Europeène de Bruxelles II, 70.2% average European Baccalaureate -2010-2013: Arts University at Bournemouth, BA(Hons) Graphic Design (2:1) -2013-2014(expected): Arts University at Bournemouth, MA Graphic Design.

Languages: -English (native proficiency). -French (professional proficiency). -Spanish (elementary proficiency).

Software skills: -Adobe Creative suite (Indesign, Illustrator, Photoshop etc) -Elementary knowledge of HTML, CSS, Java. -Processing -Linopress printing, screenprinting.

Experience/previous jobs: -Two weeks with Carr Kamasa Design, Shoreditch, London.(July 2013) -Cashier at Carrefour supermarket, Kraainem, Belgium. (August-September 2013 and AugustSeptember 2012)

Inudstry Liasons: -Wolff Olins Rejane Dal Bello (rejane.dalbello@wolfollins.com) Wolff Olins 10 Regents Wharf All Saints Street London N1 9RL United Kingdom Having been very creative with my Masters degree so far my work seems to be changing constantly and as a graphic design student I seem to find that the label of a graphic designer has allowed me all sorts of experimenaton. In March, ten other students and I were invited to visit the branding agency Wolff Olins in London. The trip serveced as an open day for students from many universities based in the creative industries with AUB, University of Brighton, RCA, Kingston University and LCC. We received a lecture on what Wolff Olins was about and how they work as large agency and deal with the work that they produce. Also included was a portfolio surgery whereby we were invited to meet some of the designers at Wolff Olins and receive critical analysis of our work. This was very interesting and inspiring and the criticism received was true and helpful. After this I was again invited up by a senior designer at Wolff Olins called Rejane Dal Bello who was interested in meeting me after a colleague of hers showed her my work. Upon this I went up and gave a show and tell of my work so far on my Masters and work that had been undertaken throughout my undergraduate study. This meeting provided more insight into how to handle oneself in a professional environment and the qualities that aren needed to obtain a job as a designer. The feedback she gave was interesting as Rejane focused more on my illustrative work than my design work and underlining that my heart layed more in this area and that my skills were stronger in illustration. With this she was hesitant to offer me a job but may still offer me a 3 month paid internship depending on how other interviews go. Rejane also mentioned how working at a design agency may suffocate my creative skills which i’m determined it won’t. I think I need more experience in a professional environment so I’m able to comprehend how the creative industry works.

Other than the Wolff Olins liason, I have been applying to other internship schemes and graduate opportunities. I applied to the Wieden+Kennedy scheme called ‘The Kennedys’ where you work as part of a group of 6 interns with a minimum salary, accommodation and gain experience from the design team at WK in Amsterdam. My application was unsuccessful but I wasn’t disheartened as there were a large amount of people applying for a small amount of places. I have also applied to various internships at the global desgin firm Designit in Stockholm, Copenhagen, Aarhus and London. I am indifferent about where I work geographically I think it would be interesting to see how other cultures interpret design and how open they are in terms of creating work. I think personally that an internship would benefit me greatly as I’m unsure of what I want to move forward into. I have also applied for a position at Central Saint Martins college of Art and Design, London as a junior designer. The job role suited me quite well as I had the skillset and met most of the criteria that they were asking for. Also I think working in a University environment would be interesting as a designer especially in a creative environment where people are endorsed on their ability to produce interesting and progressive work. On top of looking for work I also intend on maybe forming a personal small start up business as I have a large amount of prints that I have produced over the past 2 years that need shifting. I intend on photographing these and creating an online shop whereby these are categorised by size. This is just to see if I am able to make money as a printmaker/ illustrator in terms of freelancing. http://www.thekennedys.nl/ http://www.wolffolins.com/

Industry Liasons

Cameron Francis Taylor

Design Labratory

Designit (Munich)

In relation to the Wolff Olins interview I had with Rejane Dal Bello I obtained two other interviews with seperate agencies. One was with the Design Labratory based in Central St Martins, UAL. Design Labratory “delivers media, graphics, fashion and product consultancy for a wide range of international clients. They employ the best emerging talents in design, communication, fashion and film from the University of the Arts London, overseen by experienced creative managers.” I was personally surprised in receiving a call up for an interview as the position seemed to be for applicants who had previous experience in design agencies. The interview was interesting and quite friendly and took place with art director Boris Thuery, client services director Chris Jocelyn and graphic manager Carrie Godsiff.

More recently I have applied to a 6 month internship with branding agency Designit. Designit are a large design agency with many offices around the world (Copenhagen, Aarhus, Stockholm etc) and have a very talented team of designers who have various different backgrounds. This amounts to work which is very well rounded, easy to interact with and beautiful.

The feedback received upon my work was interesting as well as they all mentioned a strong creative thought process throughout my work but were struggling to see how this kind of thinking would prevail in a professional branding context, which was similar to the feedback received by Rejane at Wolff Olins. I showed them my print work and various graphic design projects including my FMP from last year and various mini editorial projects that have completed throughout my 4 years at university. I gathered from their feedback as well that they needed someone with the ability to apply this creative thinking in perhaps a commerical direction.

Designit Munich Steinerstrasse 15, building F D-81369 Munich Germany View on Google Maps

In the end I didn’t get the job but it was a great experience as to how to handle my self in these kind of job interviews whereby your integrity as a designer and artist is questioned and investigated. In reality I have gained work experience within a studio but I’m really looking to asert myself as part of a team over a longer period of time than 3 weeks. Design Laboratory info@designlaboratory.co.uk +44 (0)20 7514 7028 Innovation Centre Central Saint Martins University of Arts London Granary Building, 1 Granary Square London N1C 4AA http://www.designlaboratory.co.uk/

Having applied to many internships at the agency before I was pleased to receive a Skype interview with head of interaction design Kaveh Shirvel and HR and resource manager Heidi Schwaiger. I have yet to receive news regarding the position but this highlights my wanting to work abroad in different places. Working and living in different cultures interests me a lot

http://designit.com/

Illustration As mentioned previously there are people that think that it might be plausible for me to pursue a career as an illustrator instead of trying to make it as a graphic designer. As said before as well I find this claim to be interesting as it juxtaposes the main reason I chose to study graphic design at university. I want to pursue graphic design as a career because I am passionate about design and having learnt the conception, craft and process that is present within the realms of graphic design over the past 4 years I feel it necessary to try and work as a designer in a professional environment to see how I can apply my thought process and work in a commercial context. As an illustrator I find I would struggle as I have no idea how to approach it in terms of using my style to portray something someone else wants. I produce illustrative works mainly through personal enquiries into subject matters that interest me. In terms of style I take inspirtation from many artists that I have followed through growing up. In my mind I don’t want to be labeled as a an illustrator as I see it as another skill which encompasses my means as a designer. Composition and context are two things I have learnt through learning graphic design which have eventually seeped into my illustrative work but I think the cross semination between the two have eventually lead to my illustrative work being more concise and careful in creation. All in all I think I have an ability to produce artwork but I am also scared how that is perceived as my illustration work is something that is personal and that has been nurtured over many years. With graphic design it seems more ephemeral in terms of producing work as it as another vessel of being creative with an idea. In turn I can venture down into this link between two entities of my work which I usually like to keep seperate from each other but through my masters I have tried to mix the two up a bit more.

As I would like to work as a junior designer my main research into the jobs market has been into design agencies. In the beginning I was keen on applying to anywhere that would take me as I’ve never worked in the creative industry before. At the minute having researched into jobs on the “It’’s Nice That” job board and various other positions by going directly to an agency rather than through a recruitment agency I’ve found that getting replies is more difficult. Having to talk about this prospectively is difficult as I will have no real idea as to what to expect until something pops up and I begin to work as a designer. I find that salary is not really an issue as I will be looking at a fairly low wage as a junior designer. I am more excited than anything to be able to work and be supported financially by doing something I love and I know it will not be easy and it takes a lot of integrity, drive and passion to become relevant in a graphic design studio but I am more than looking forward to the challenge of learning, working and creating with a team who will be willing to have me. Through compiled research over jobs posted on Linkedin, It’sNiceThat jobsboard and mainly through google searches my starting wage should be around £14,000 - £18,000/year. With this in mind I have no real connections apart from some of the industry liasons that I have made at Wolff Olins. So getting my foot in door would have to be in line with getting a job and through obtaining this Masters it has allowed me to evolve as a creative and make me look more rounded as a designer by me investigating my practice thoroughly.

https://www.linkedin.com http://itsnicethatjobsboard.com/

Portfolio

Cameron Francis Taylor

Portfolio+C.V. Cameron Taylor

Print.

Gravity Publication.

This is a publication that was made in conjunction with my Final Major Project about gravity. The intention was to reproduce the characteristics of gravity in an everyday visual format such as a book. The format of the book is to mimic the properties of gravity, thus bringing a very abstract vision of the way we interpret gravity.

Cameron Francis Taylor.

A5. Staple bound. Printed on 90gsm recycled newspaper.

Print.

Gravity of the Situation.

The gravity of the situation is a project that revolves around the visualisation of gravity. This stemmed from an idea put forward by John Lloyd saying that “we can’t understand what we can’t see” in this category he mentioned; time, gravity, conscience and existence. These books have been formed by using each of the planets gravity. Using Isaac Newton’s universal law of gravitation we can determine our weight on other planets. I’ve used this same formula to alter the paper size, typography and layout tailoring each book to each planets individual gravity.

Cameron Francis Taylor.

8 tack bound books. 250 page workbook 245mm x 245mm tackbound.

Mural.

Cityscape

This was a mural realised in December of 2013, commisioned at a gallery in Sway, UK. The intention was to focus along a line of enquiry that I have been focusing on throughout my Masters degree that of a city without people. Having painted this city upon the walls the city is then inhabited by the people visiting the gallery, forming an interesting dialogue between the space itself and the audience.

Cameron Francis Taylor.

12m x 6m x 3m gallery space. Black emulsion.

Print.

Printwork

These are a set of Linocut prints realised mainly throughout my BA degree and has been kept as a side project along research projects undertaken throughout my Masters. The focus is again on the form of architecture relying on the idea of a city without people. This type of work is based upon the aesthetic of solitude within the modern day metropole as well.

Cameron Francis Taylor.

Various sizes: A3 and A2 prints. Printed on 300gsm Snowdon paper. Linocut.

Digital.

Deconstruct/ Construct

The authentic versus the copy, the mind versus the body and language versus speech. We deem one better than the other but in reality they differ so much so why do we see one more correct than the other? This question was answered through experimentation using open source code written by Kim Asendorf to produce these images. Through pixel sorting I have used this same idea of â&#x20AC;&#x2DC;naturalâ&#x20AC;&#x2122; categories to focus on the notion of coding and art. Creating image from word.

Cameron Francis Taylor.

Processing, open source code (Kim Asendorf) original images are all mine.

Statement of practice.

Cameron Francis Taylor

In terms of creating a portfolio of work Iâ&#x20AC;&#x2122;m happy with, I want prospective employers to understand my ability to spread myself across various fields and still produce interesting and original work. The first two pieces (Gravity publication and the Gravity of the Situation) in my portfolio are put there to give pretense that I am strong in compositional layout and can handle type correctly. The idea generation behind these two are simple and effective and are to demonstrate a contrast with the visual outcome. Following this I have put in a mural I have completed in Sway. Mixing it up a bit with pace in the portfolio I put this in to demonstrate my ability to create a space within a gallery as a visual artist not only as a designer. Following the mural I have then allowed for more visual work with my print based outcomes that have been undertaken over the past 2 years. This again is interesting as I feel this shows a different quality to that of other design work I have created. I have then decided to finish with more recent work I have created recently the coding outcomes and pixel sorting. I am unsure if this current work will stick in my portfolio and I feel I can produce stronger work which shows off my skillset in a better way but for the moment I am content with it as it shows who I really am as a creative. Furthermore I feel employement within a professional creative environment such as a graphic design agency or studio, could really enhance the way I approach an idea all the way until its final completion. I have been shaken up slightly about a career in graphic design by the notion that people think that I could make something of myself as an illustrator like Rejane Dal Bello said at Wolff Olins. This has made me question where my skills lie as a designer more than anything. I feel that through my university experience I have acquired important criteria whereby I am now able to contextualise my work as well as creating something aesthetically pleasing. The underlying feeling that I have is one more of wanting to learn more in a professional context rather than trying to prove to myself that I can become an illustrator. My more illustrative work is usually personal and is purely done recreationally and Iâ&#x20AC;&#x2122;m not concerned with intergrating it into a professional context unless I see it fit.

Overall the progression I have made throughout my 4 years at University has been immense. Having acquired knowledge, skills and networking skills which have proven invaluable to the way I now see myself as a designer. I am confident in handling big ideas and explaining these ideas visually and through writing. The transformation from naive wannabee street artist into thoughtful creative is not yet complete but with the ability to work in a professional environment I think iâ&#x20AC;&#x2122;ll be more than halfway there.

Website, online presence and intentions.

Cameron Francis Taylor

I have had a professional website with my own domain name for about a year now and it’s main purpose is that of an online portfolio. It might need updating soon as I have updated it since I made it last year and I intend to keep it updated with new more relevant work. This in turn allows me not to have to rework my portfolio everytime I need to apply to a job and it has different work to my pdf portfolio too.

In terms of producing a business card with my information on I have some that I created last year (p.25) but as they correlated more to my portfolio that I produced last year I intend to change these so they link more with my more current work and create a more stripped back, direct conceited effort at branding myself as a designer.

On the following pages are a couple of screenshots of my website. Analysing this I have kept it very minimal and clean. The main idea I had in mind whilst organising my work was that of letting the work speak for itself without being interrupted too much by outlandish fonts and colours. I learnt this as my previous website was a bit much in this regard. I am happy with the content here as well I could rephotgraph some projects but for the majority of the projects I think the photos do them justice.

https://www.linkedin.com/pub/cameron-francistaylor/48/73a/498

Also along with my website I have a visual blog where more recent project work that’s being undertaken can be seen. This itself serves the same use as the website with the exception of it being more about singular pieces of work rather than whole projects. My blog is built on tumblr and my website has been built on cargo collective. The two both use CSS which is fairly simple to understand and experiemnt with in terms of getting what you want visually on your website. In terms of social media I have a twitter account where I don’t really tweet but more follow what artists and design agencies are doing. It’s an interesting way to keep upto date in real time with what some of your favourite artists, design agencies and people are doing. I also have instagram which acts as a visual blog as well in terms of me posting current work that’s being produced throughout a project rather than just a final outcome. Other platforms that I have in use are linkedin which is essentially an online C.V. that shows professional connections that you have with either people you know through university, school or work. This is very good for networking and allows prospective employers to gauge what other people have to say about you and what skills people endorse etc. http://cameronftaylor.co.uk/ (website) http://cameronftaylor.tumblr.com/ (blog)

http://instagram.com/camtaylorbxl

Cameron Francis Taylor “Website”

Cameron Francis Taylor “Blog”

Cameron Francis Taylor “Instagram + Twitter”

Freelance work/Internship work (Carr Kamasa)

Cameron Francis Taylor

Recently I’ve completed some odd jobs for various clients and mainly students across the UK. Also here is some work I completed at my time at Carr Kamasa whilst working on live briefs there. This gives an idea ofthe contrast in my work at university and potentially how it may fan out in industry. I’ve recently been working with an old school friend of mine called Ursula Artjoki on designing a new logo for Reading University Snowriders Society. This entailed keeping uptdate with requirements put forward by Ursula and adhering to what she thought best. She asked me to complete two new logos to put forward as a rebrand for RUSNO and a hoodie design. Working with Ursula was easy as we have known each other for a long period of time and as the communication levels were good and she knew what she wanted, I felt the final outcome was better because of this. Here are some examples of some build up work and the two final outcomes produced for RUSNO.In terms of freelance this was a very easy project to be a part of and the work itself was not too strenuous. As well as this I am in the process of currently working with a friend of a friend who is developing an app called “Citinite” which allows the user to see what bars, shops, clubs and restaurants are open after hours at night. For this I was asked to develop a logo relevant to this idea. The following, unfinished outcomes are on the following pages. Working with someone who I didn’t know and who had never really seen my work was interesting. I did the same as when working with Ursula and tried to keep communication levels up between him and I and the outcomes were slowly getting there. As the pseron I’m working for is currrently sitting his exams in his final year of uni he has taken a break but he was positive about the logos and the process that had been taken regarding the work being produced. Another recent project was also to design a logo for a music podcast called “Pleasure’s Guilty” revoloving around the notion of playing early disco music. This again was working with someone who I didn’t know and the client didn’t really know what they wanted so I had to produce work relevant to the aesthetic of the music that he played. I think the outcome was quite strong and is easily interchangeable with relevant artwork that the client wants to put forward.

Following on from this small time freelance work is some work that I produced at my time at Carr Kamasa during July 2013. This work was on live briefs and served more as a 3rd or 4th outcome in relation to the work being produced by the other graphic designers at Carr Kamasa. The bulk of the work was produced for mainly corporate clients who had little room for experimentation so I had to stick to a certain colour palette and style throughout. First was a leaflet designed for Sonnedix who are a solar panel company and by using the grid of a solar panel the main aesthetic was derived off this as well as the brochure being legible and clear. In turn this professional work has readied me for the notion of working for professional clients and having to work continuously on a project rather than hoping that one piece of work will suffice. Constant communication and outcomes allow the work to progress more naturally between client and designer I find.

Freelance work “RUSNO”

S N O

RUSNO

2014

RU S N O 2 014

L THORENS

R U SNO 2014

L THORENS

RU S NO 2014

RU S N O 2 0 14

Freelance work â&#x20AC;&#x153;Citiniteâ&#x20AC;?

citinite.

c it in it e citinite.

citinite

Freelance work “Pleasure’s guilty”

Internship work “Sonnedix Brochure”

BOCETOS 1

Sonnedix

sonnedix S O L A R

P O W E R

P R O D U C E R

Sonnedix is a global solar Independent Power Producer (“IPP”), with a proven track record in delivering high performance cost competitive solar photovoltaic plants to the market.

Making Low Carbon Energy for the Future

“I’d put my money on the Sun and Solar Energy, what a source of Power! I hope we don’t have to wait until oil and coal run out, before we tackle that.” Thomas Edison in conversation with Henry Ford and Harvey Firestone, 1931

Twofold strategy

Company overview

Sonnedix seeks to create value for its investors with sustainable distribution and equity value creation - by investing in high quality assets with predictable cash flows and continuously building and executing upon a pipeline of new projects and M&A opportunities.

Strong capitalization and sponsorship

Sustainable distributions

Experienced and entrepeneurial management team

Predictable cash flows

High quality portfolio of assets

Prudent capital structure

Value creation

Projects under developement

M&A opportunities

Project pipeline

Grid parity and solar PV sector growth

Operating capacity (MW)

As of April 2013, Sonnedix has solar power plants in operation or under construction in 5 countries on 3 continents: Spain, Italy, France, Thailand and USA (Puerto Rico).

Target investor return on exit 20% +

1 6% in first year and 8% per annum thereafter

41.98 Mar 12 6.04 Dec 10

6.04 Mar 11

9.33 Jun 11

Month

Plant name

In addition to our core business activity of producing clean, emission free electricity, we are ‘giving-back’ to our communities by donating and installing small scale PV solar power plants at selected schools. The solar power sector is largely decentralised enabling direct access to multiple local communities.

Romilly Total capacity: 7.5 MW Operational since: July 2011 Country

EPC contractor

Aude Consists: 5.36 ground -mounted Connected to the in Feb 2011

March Ltd.

Nakhon

7.5

Thailand

CH. Karnchang Public Company

Les Mées Connected to the grid in July 2012

March

Aude

5.4

France

GES

Bordeaux Total capacity: 0.93MW Operational since: December 2011

Permitted and/or with Power Purchase Agreement: 100.6MW

July

Les Mées

2.3

France

TW Solar

August

Toul 3

24.0

France

EDF EN /Colsun1

23.5

France

EDF EN /Colsun1

Dinard Total capacity: 0.81 MW Operational since: January 2011 Iguaçu Total capacity: 0.18MW Operational since: September 2011

Case study: Toul-Rosières

Environment, education and community Building a sustainable business with a long term focus is a critical component of our strategy. We believe that assuming responsibility for the environment and the communities we operate in is strongly linked to the Company’s success.

Size (MW)

41.98 Jun 12

29.12 Dec 11

Construction: 25.5MW

Social responsibility and sustainability

28.19 Sep 11

Istres Total capacity: 23.5MW Connected to the grid in September 2012

Operational/mechanically complete: 91.8MW

December Istres

Toul 3 Total capacity: 24.0MW Connected to the grid in August 2012

68.28 Sep 12

In addition Sonnedix is evaluating development and acquisition opportunities in current and selected new geographic markets, such as Chile, South Africa and Japan.

Target annual yield 8%

We have solar power plants operating in Spain, Italy, France and Thailand France 91.78 Dec 12

Europe’s largest operating solar PV park1 Our local communities are important for our success, and we are committed to being involved in and supporting them.

The 115MW Toul-Rosières solar PV park located near Nancy in northeast France was built using close to 1.5 million solar panels to produce enough electricity to power 60,000 homes. The site consists of three separate ground-mounted PV groupings of which Sonnedix owns 24MW (Toul 3). Situated on a former NATO airbase, the project saw the rehabilitation of about 370 hectares of unusable land and involved large-scale remediation, including removal of over 8,000 tons of contaminated soil.

Sonnedix is committed to building a renewable energy company with a long term focus and is ideally positioned to benefit from changes in environmental policy and regulation to cilmate change. At our plants around the world we aim to create employment opportunities for the local communities during the construction period and beyond.

Toul-Rosières France: 24MW / 115 MW

4 5 6

1 Q3 2011

Q4 2011

Project cost

€88.5m Equity invested

€16.0m EBITDA

€8.3m

Q1 2012

Q2 2012

2 – April 2012: BOD approves Toul project; President Sarkozy visits Toul park 3 – May 2012: €18m raised from Partners 4 – June and July 2012: Due Diligence performed 5 – June 2012: Transaction signed 6 – June 2012: HSH agrees to provide long-term financing 7 – July 2012: Connection 8 – Sept 2012: Financial closing

At the time of connection.

Q3 2012

Development / acquisition progress 1 – September 2011: EDF EN and Sonnedix discuss Toul opportunity

Italy

Thailand Lazio Total capacity: 5.99MW Operational since: August 2011 Abruzzo Total capacity: 5.19MW Operational since: August 2011 Ottobiano Total capacity: 4.28MW Connected to the grid in July 2010 Vittoria Total capacity: 1.94MW Operational since: May 2011

Spain

Nakhon Consists: 7.5MW ground-mounted facility Connected to the grid in March 2012 Chaing Rai Consists: 9.5 MW ground-mounted facility Connected to the grid, in phases, between January and March 2013 Minurbi Consists: 3.0MW roof top facility Operational by the end of 2013

Puerto Rico

Soria Total capacity: 1.35MW Operational since: April 2011

Oriana Status: 65.6MW ground-mounted facility Expected to be operational in early 2014

Pinos Puente Total capacity: 1.79MW Sonnedix owns 8 of the 15 SPVs for a total capacity of 0.95MW Operational since: April 2010

Salinas Status: 16.0MW ground-mounted facility Issuance of full notice to proceed pending

PDP: Overview of C.V., portfolio and porfessional practice

Cameron Francis Taylor

This unit has helped me discover the importance of documenting, critiquing and analysing relevant work that will influence how I progress in a professional environment. I am strong at documenting progress and analysing work but I think I need to enhance my ability in boiling down this information into a short and clear statement rather than having to delve so deep to justify a piece of work. In terms of analytical discourse relating to my professional practice it has allowed me to really think about how to apporach future job opportunities. This Masters course has taught me the importance of independant learning and work. Being self sufficient is dependant on the idea of applying yourself to a brief in order to succeed in the production of work. Reassesing and evaluating my portfolio and C.V. was also an eye opener as well as these are probably the main vessels by which you will obtain a job. I hope by seeing the progression from unit to unit through SP1, SP2 and eventually the masters project, a clear line of thought and method of working becomes apparent. This and the contrast with how I would like to progress within a professional context will become interesting. As a designer I have acquired a broad set of skills which have lead me to become a very adaptable creative.

PDP C.V.: Bibliography

Cameron Francis Taylor

Websites http://www.tumblr.com/ http://cargocollective.com/ http://instagram.com/ https://www.linkedin.com/ http://www.designlaboratory.co.uk/ http://designit.com/ http://itsnicethatjobsboard.com/ http://www.thekennedys.nl/ http://www.wolffolins.com/