Jex Chau - creative research practice

creative research practice professional practice 1

wing huen (jex) chau s3154087

case study

Tokujin Yoshioka is a Japanese artist and designer based in Japan.

Tokujin Yoshioka was born in Saga prefecture, Japan in 1967. The reason why he wants to become a designer is because he liked drawing and his father told him there is an occupation called “designer”, so he went on and made up his mind to become a designer in the future. And after graduating from Kuwasawa design school located in Tokyo in 1986. He worked under Shiro Kuramata for a year and Issey Miyake for four years before he went on to become a freelance designer in 1992. In five years time, he continued to explore and study design under these two design legends.

Eight years after, he established the Tokujin Yoshioka design office in 2000. Tokujin had collaborated with serval companies such as Hermes, Swarovski, Driade, Nissan, BMW, Shiseido, Moroso and etc with shop design and installation. The projects that bring him and his company to catch people awareness was a furniture called “Honey-pop” designed in 2001.

Tokujin Yoshioka

“I want to move on. ... surprise people. in a simple way.”

Tokujin Yoshioka is a designer that revolves around designing ‘things for everybody’ and bringing back the rebirth in material design.

The reason why Tokujin select material as the core of design is because he wants to explore and research how to make materials even more interesting, how colors affect the designs. He is trying to mix design with gravity and the environment in order to catch people’s attention and emotional feelings. His aim is to create something that no one has done it before.

Tokujin avoids designing in modern way and goes beyond boarders based on his interpretations. He brings in everyday materials in a combination with environment, where he can express his work in its most simple and expressive form.

In Tokujin Yoshioka’s thinking, design means life to him. He believes nowadays design is shifting from designing the shape to designing the experience and the sensations. Nature, is the inspiration that influence Tokujin, as he believe with the ever-changing expression, it is the optimum creation in existence. The beauty of nature exists only for a few moments and can never be reproduced. Literally, it becomes a piece of memory and fades away slowly.

“what is design? design is part of myself”

In Tokujin Yoshioka’s creation, we often seen his design implanted with Japanese traditions. Although he claimed that he does not intend to include them particularly, but we can see his design might have some elements of Japanese food. A role example was a creation called “Tofu”. “Tofu” is a light created in 2000 and manufactured by a company called Yamagiwa. “Tofu” has aided Tokujin Yoshioka to receive the Wallpaper Design Award in 2010, and the light itself was named in “Best Table lamp” category under the award.

“Design is really simple.”

“Tofu” has expresses the beauty of being able to physically sees and touches the light instead of through the object around it. By being able to see how the light flow through a material, which it lead us to think how lights flow or moves through air. The reason why the lamp is called “Tofu” is because Tokujin Yoshioka implants similar idea of the Japanese food culture. In Japanese food, tofu brings out its taste without any other ingredients to bring its original beauty. With this special characteristic on tofu itself, Tokujin Yoshioka got inspired and applies this name into his design, to bring out the natural beauties of “Tofu”.

TOFU, 2000

Tokujin Yoshioka’s perspectives not just designing an object for daily use for people, but he integrates beauty that what other designers has accomplished from the past. Tokujin states that “there is an important responsibility associated with making anything…if you look back in history, people originally made things only for themselves, or for their community – people whose feelings they could understand intimately. I think we’re heading back in that direction” (Yoshioka, 2006). From his perspective, he begins to develop the shape of the future of design that could head towards. By experiencing and applying it in Tokujin Yoshioka x Lexus L-finesse, Evolving Fiber Technology is an example of his work to show the relationship between mass production with simple materials. The show was held in Museo della Permanete during the Salone del Mobile di Milano, which exhibited a construction with 700km of transparent fibre. The design intention from Tokujin Yoshioka was to create a flexible feeling from solid panels and wall in the showroom.

Tokujin Yoshioka x Lexus L-finesse

As Tokujin Yoshioka design approach is to use materials in a new way of process, goes beyond the border and going through what others have accomplished, Tokujin Yoshioka has designed a chair called “Honey-pop” in 2001, the design intention was to uniting the people with the designer. The chair was build with layers of paper honeycomb, and the form will take place and shape once the body sits on the chair, eventually, it creates form of the sitter beautifully. As a result, this design piece had brought him to the next level of his career. He catches people’s awareness globally about his work and he starts to explore more deeply in this field (materials and environment) in order to aid his design researches.

Paper-Pop, 2001

“Without boundaries I want to create something that moves everyone’s feelings”

With the success brought from the “Honey-pop”, Tokujin Yoshioka had appeared in loads of article, interviews and TV show globally, and 9 design works had been collected in the MOMA since 2000. And beyond that, Tokujin Yoshioka was selected as one of “100 Japanese respected by the world” in Newsweek magazine of Japanese edition in 2007.

In addition, Tokujin presented two books in 2009 and 2010 called “Invisible Forms” which about his own design theory behind and a portfolio book called “Tokujin Yoshioka” with a collection of all his design works.

100 Japanese respected by the world, 2007

“Design fills the possibilities in life with hope” The themes that Tokujin Yoshioka mainly focuses in are transparency, minimal form, materials application and bringing the emotional feeling into design. As he said, feeling of nature would not appear again once is gone from our memory, he tried to capture the feeling and blend it into his work in order to catch audience awareness and emotional feeling. By collaborate the nature with the environment, a stronger emotional attachment will bring out from the design and its designer’s thought towards the audiences.

It is very important to capture a wide audience across all ages, especially children, because they are the future. When kids can understood the meaning deep inside a project without language and without explanation, it means that the design speaks itself and obtains everyone’s feeling. The work should explain itself without explanation, it should let the viewers’ to imagine and to interpret with the design, or designs can aid the viewers’ to bring back their childhood memories. Instead of owning a physical thing like the old days, designs should flow with nowadays, well developed society, to fill it with more spiritual thinking and emotion or feelings.

In conclusion, Tokujin Yoshioka hopes that interaction with his creations and a persons’ memory will lead to another creation. He thinks design and art is more about grabbing someone’s heart than its function. By using ordinary materials, it creates the possibilities to let people’s feelings complete the design. Let the emotion to drive our design.

Awards Mainichi Design Award, 2001 Cultural Affairs Section of Government of Japan, Encourage Prize, 2006 EVLGARI Brilliant Dreams Award, 2007 Good Design Award, 2007 Design Miami, Designer of the Year, 2007 Wallpaper Design Awards, 2008 Elle Deco International Design Awards (EDIDA), Designer of the Year, 2009 TOKYO Design & Art ENVIRONMENTAL AWARDS, Artist of the Year, 2010 A&W Architekur & Wohnen, Designer of the Year, 2011 Selecte as one of “100 Japanese respected by the world” in News week magazine (Japanese edition)

Bibliography more space, 2011, “behind the scenes with tokujin yoshioka”, from http://www.morespacemagazine.com/2011/11/10/themaking-of-waterfall-by-tokujin-yoshioka/ Osawa, J 2010, “tokujin yoshioka”, from http://www.morespacemagazine.com/2010/10/09/tokujin-yoshioka/ Yoshioka, T 2012, “news”, from http://www.tokujin.com/en/ news/all/ Shinto, Y, “tokujin yoshioka - new design process”, from http:// www.sfu.ca/italiadesign/2008/pretrip/Papers/TokujinYoshioka_ YosukeShinto.pdf Chronopoulos, G, 2011, “tokujin yoshioka”, fromhttp://www. delood.com/design/exclusive-interview-tokujin-yoshioka Maria, 2009, “interview with tokujin yoshioka”, from http:// www.mariazanolli.com/index.php/interviste/interview-withtokujin-yoshioka design boom, 2008, “tokujin yoshioka”, from http://www. designboom.com/eng/interview/yoshioka.html Niimi, R. (2006). Tokujin Yoshioka Design. Published by Phaidan Press Inc

glossary

Intellectual property (IP) - creations of mind: inventions, literary and artist works, symbols, name, images, and design used in commerce. Intellectual

property is protected by laws, to ensure the copyright is protect for commercial use. (WIPO,2012)

quotes: Did You Say “Intellectual Property”? It’s a Seductive Mirage“ (GNU, 2011)

Joint venture - Joint venture commonly referred to a joint undertaking or activity carried on through a medium other than partnership, in

simpler speaking, we can say is co-operations. Joint venture is not a investment, normally the parties need to contribute skills and money. It is a normally used in project or development that will be on going for a short period of time.

(invested,2006) Creative cluster - is a key contributor to the creative economy and have a potential for wealth and job creation through the generation and

exploitation of intellectual property. (the rise of creative cluster) Impressionists - is a form of styling in art performed in 19th-century by a group of Paris-based artist. The term itself defines those artists who

used this technic to apply in art industries.

quotes: “The impressionists ignited a revolution with an explosion of color and movement.” (biography, 2012)

Creative economy - how to turn idea into money. John Howkins, a media businessman defined creative economy is a collaboration with

ideas, creativity, imagination and innovation. (creative economy)

Creative excellence - the quality of being outstanding or extremely good in creativity, with outstanding feature or quality. (andy,2012)

quotes: “Coca Cola: “from creative excellence to content excellence.” (andy,2012)

Community of practice - a process of collective learning in a shared domain with people who engage in a process. By working on activities and through experiences, including problem solving, discussion, visits and documentation, it develops community of

practice (Wenger,2006)

Grant - funds that is disbursed by Government, organization, cooperation or a foundation to the selected applicant with their

selected grant writing. in order to get sponsored or help with a specific project and require some level of compliance

and reporting. (grants) Cultural industries - industries that produce tangible or intangible artistic or creative outputs, which have a potential for wealth creation and

income generation. The products and services were produced with social and cultural meaning, by using creativity and

cultural knowledge. (aageson, 2009) quotes: “The cultural industry entails many risks” (ying,2012) Design typologies - with typologies itself, is the study or systematic classification of types that have characteristics or traits in common. Design

typologies is define as the categories in design industry. (anonymous) Cultural products - with a wide ranch of definitions, can be simplify as a product that require some level of hand crafting involved, carries

with cultural meaning and traditional skills. (kumphai, 2000) Creative product - the product’s reflecting some distinguishing signs of creativity – such as aesthetic response brought about in the ob

serves. (public social)

Sole traders - the sole business owner and trade in your own name. the owner receive all profit and has unlimited for all losses and debts.

Creative industry - a industry with their origin in individual creativity, skill and talent that have a potential for job and wealth creation

through generation, exploration and exploitation of intellectual property. (local government, 2009) Disruptive innovation - aims to fulfill the needs of the upcoming customers in the market by developing basic process in the beginning and gain

acceptance in the market gradually. (pitts)

body architect - body architect invents and builds structures around the body that re-shape the human silhouette. (mcrae) Creative research practice - is a type of research that creativity is driven by practices. It is a way to shape the own design theory and methods. By

doing this in a particular way, it can lead and guide us to establish our own vision. (spatz, 2009)

Cultural sector - is creating economic wealth through the curios of commercializing ‘cultural experience’. (leamon, 2012) copyright - is used to prevent design being use without authorization. The rights include permission to copy, publish, communicate

and perform publicly. The creator remains all the right to use of the idea or information. (Australia government, 2009)

Ethos - is defined as the fundamental spirit or character of a culture. (florida, 2002)

Creative age - is the time where creativity begins to raise, the time where creativity begins to driven us to the economic development.

(gopalakrishman, 2010)

GNP - is Gross National Product. It is a economic statistic that includes GDP and any income earned by the residents from over

seas investments, minus domestic income earned by oversea residents. (investopedia, 2012)

GDP - is Gross Domestic Product. It is an indicators used to indicate the health of a country’s economy. It represents the total

dollar value of all goods and services produced over a specific period of time. (investopedia, 2007)

Commission - is a fee which a third party would receive upon completing the task requested by the client. It can be a percentage of

the value or a fixed fee depending on the agreement. (investor glossary, 2011) Freelance designer - Freelancer designer is a self-employed designer and is not employed to a particular employer. Freelance designer may

provide contracts or agreement to the client to sign with which include estimated work, payment and time line of work

schedule. (forum, 2010)

Creative capital - is to imagine and express new possibilities through creative activity by a person, family or community. It is a way to exp

lore and experiment or brings out social awareness through launching a new product in a market. (creating quality,

2012) trademark - is a distinctive sign which identifies certain goods or services as those produced or provided by a specific person or

enterprise. (wipo, 2012) design technologist - is a technologist must possess the skills necessary not only to program an application, but to contribute to the design

itself. He must understand the principles of interaction design, human-computer interaction, motion, and many other

elements that traditionally fall to the designer. (madden, 2012)

creative strategy - is a process to attract audience with specific medium to promote or enhance a products or services. (baird, 2011)

business plan - is any plan that for business to plan ahead, allocate resources and finding for problems and opportunities. Business plan

is used mostly when starting a new business or seeking new investments in the market. (berry, 2011) serendipity - is defined as an instance of making such a discovery. (thefreedictionary) indemnity - is a protection from loss and damage claims filed by another person. (rural&general)

propositional design - is defined as the design of objects that ask a question rather than propose a solution. (sarah Griffith design, 2011)

conceptual design - is focuses in the develop stage of a product, in order to identify the potential possibilities of a product to every user in

volve. The process involve in doing conceptual design include setting up business goal, budget and time-frame,

allocating resources, technical capabilities and others. (werby, 2008)

iterative innovation - is a method by paring familiar technologies with innovation, by finding from the old and the new to explore a new

balance point. (fisher, 2008) interdisciplinary design - is an approach for designer to explore a wide range of designs together at once. (nscad university) design anthropologist - is to understand how the process and artifacts define what it means to human, how to comprehend people with

designs that resonate with people’s experience. (adonis49, 2012) perfectionists - is a person who attempts for or achieve the highest resultes of excellence in work. (thefreedictinary)

terms of trade - is an index of the price of a country’s export in terms of its imports. (about.com, 2012) social innovation - is to create changes in under-served, underrepresented and disadvantaged communities worldwide. (ideo, 2012)

Bibliography WIPO, 2012, “what is intellectual property?”, from http://www.wipo.int/about-ip/en/ GNU operating system, 2011, from http://www.gnu.org/philosophy/not-ipr.xhtml Invested, 2006, “Investing glossary”, http://www.invested.com.au/71/joint-venture-2407/ “Chapter one: the rise of the creative cluster”, from http://portal.unesco.org/culture/en/files/40782/12705583895CIs_dev_strat_Chapter1.pdf/CIs_dev_strat_Chapter1.pdf Biography, 2012, “impressionists painters”, from http://www.biography.com/people/groups/artists/painters/art/painting/impressionists-painters/ Creative economy, “review”, from http://www.biography.com/people/groups/artists/painters/art/painting/impressionists-painters/ Andy, 2012, “Coca Cola: ‘from creative excellence to content excellence.”, from http://www.dragonflyeffect.com/blog/coca-cola-from-creative-excellence-to-content-excellence/ Wenger, E 2006, “communities of practice”, from http://www.ewenger.com/theory/index.htm “grants”, from http://en.wikipedia.org/wiki/Grant_(money) Aageson, T 2009, “What are cultural industries?”, from http://culturalentrepreneur.org/blog/what-are-cultural-industries/ Ying, H 2012, “Official call for support of the cultural industry”, from http://culturalentrepreneur.org/blog/what-are-cultural-industries/ Kumphai, P 2000, pp14 “Cultural products: definition and website evaluation”, from http://www.cs.bath.ac.uk/~cspaw/PSPD/background.html Public social private design, “background”, from http://www.cs.bath.ac.uk/~cspaw/PSPD/background.html Local government, 2009, “what are the creative industries?”, from http://www.idea.gov.uk/idk/core/page.do?pageId=11136366 Pitts, J, “what is disruptive innovation?”, from http://www.healthguidance.org/entry/11388/1/What-Is-Disruptive-Innovation.html Mcrae, L, “about”, from http://www.lucymcrae.net/about/ Spatz, B 2009, “What is creative practice?”, from http://www.healthguidance.org/entry/11388/1/What-Is-Disruptive-Innovation.html LeAmon, S 2012, Professional Practice handout week3 Australia Government, 2009, “what is copyright?”, from http://www.clrc.gov.au/www/agd/agd.nsf/Page/Copyright_Whatiscopyright Florida, R. 2002, “The rise of the creative class - and how it’s transforming work, leisure, community and everyday life”, from http://portal.unesco.org/culture/en/ files/40782/12705583895CIs_dev_strat_Chapter1.pdf/CIs_dev_strat_Chapter1.pdf Gopalakrishnan, R 2010, “the creative age is coming”, from http://www.livemint.com/2010/01/03211645/The-creative-age-is-coming.html Investopedia, 2012, “Dictionary”, from http://www.investopedia.com/terms/g/gnp.asp#axzz1q6Vt7DLK Investopedia, 2007, “Frequently Asked Question”, from http://www.investopedia.com/ask/answers/199.asp#axzz1q6Vt7DLK Investor glossary, 2011, “commission”, from http://www.investorglossary.com/commission.htm Forum: design contest, 2010, “how do you define freelance designer?”, from http://www.designcontest.com/forum/design-chat/17055-how-do-you-define-freelance-designer.html Creating quality, 2012, “the concept of creative capital”, from http://test.creatingquality.org/ToolsResourcesLibrary/ResourceDetail/tabid/93/ArticleId/184/Resource.aspx WIPO, 2012, “About Trademark”, from http://www.wipo.int/trademarks/en/trademarks.html Madden, S. 2012, “The Emergence of Design Technologists.”, from http://designmind.frogdesign.com/articles/winter/the-emergence-design-technologists.html Baird, T 2011, “creative strategy”, from http://marketingiseverywhere.com/2011/04/creative-strategy/ Berry, T 2011, “what is business plan?”, from http://articles.bplans.com/writing-a-business-plan/what-is-a-business-plan/33 “Thefreedictionary.com”, from http://www.thefreedictionary.com/serendipitously Rural & General Insurance Broking, 2008, “What does Indemnity mean?”, from http://www.ruralandgeneral.com.au/consumer-what-does-indemnity-mean.php Sarah Griffiths design, 2011, “meaning, objects and place”, from http://sarahgriffithsdesign.wordpress.com/tag/propositional-design/ Werby, O 2008, “Interfaces.com: Cognitive Tools for Product Designers”, from http://www.interfaces.com/blog/glossary/ Fisher, R 2008, “iterative innovation”, from http://logiclane.wordpress.com/2008/06/30/iterative-innovation/ NSCAD university, “interdisciplinary design”, from http://nscad.ca/en/home/academicprograms/design/interdisciplinarydesign.aspx adonis49, 2012, “Design anthropology? Why, are there designs not meant for human?”, from http://adonis49.wordpress.com/2012/02/06/design-anthropology-why-are-there-designs-not-meant-for-human/ “Thefreedictionary.com”, from http://www.thefreedictionary.com/perfectionist About.com Economics, 2012, “Terms of Trade”, from http://economics.about.com/od/economicsglossary/g/termsoftrade.htm IDEO, 2012, “Social Innovation”, from http://www.ideo.com/expertise/social-innovation/

sector engagement

designedge TERMS AND CONDITIONS

Business terms of professional services

1

GENERAL

1.1

Terms and conditions is a tool or document to protect the company or the owner to own the rights of the intellectual property. This may include right to use or fees included in the project.

Terms and conditions are rules drafted for client to agree to abide by in order to use the services provided. These terms are usually legally binding unless in violation of local consumer protection law. Terms and conditions provide covers for a range of issues including usage of work, marketing policy, copyright, price and payments and other details.

1.2 1.3

1.4 1.5 1.6

With a clear indication of terms and condition, it can prevent confusion and protects everyone’s interests. Misleading or non-clear terms and conditions agreement may lead or tend to encounter legal problems. The company or designers can structure the terms for individual project in whatever way in order to allow us to produce the best work.

1.7

2

These terms and conditions shall be incorporated into any contract by Design Edge for the supply of goods and services, including but not limited to component parts, assembled products, labels, printed matter, folders, binders and design services including drawings, designs, artwork and electronic files for screen-based and printed media. To the extent that these terms and conditions are inconsistent with any terms and conditions relied upon by the customer, then the inconsistent terms and conditions of the customer shall be void and have no effect. The term “the goods and services” where appearing in these terms and conditions shall include those goods and services for which a price is quoted by Design Edge to the customer and shall include any plans, designs, specifications, text, images or instructions supplied by the customer.

This agreement shall be deemed to have been made in New South Wales.

The waiver by Design Edge of any term, condition or obligation of this agreement shall be deemed to be a continuing waiver of the term, condition or obligation. It will have no effect unless contained in writing signed by Design Edge.

This agreement may be terminated by Design Edge at any time by posting a written notice from Design Edge to the customer and on the posting of such notice this agreement shall be at an end.

This agreement shall not be assigned by the customer without prior written consent of Design Edge.

Design Edge shall be entitled to claim authorship for products, screen-based and printed media made wholly or substantially to our design. The client agrees to give credit where appropriate in all initial press handouts and publicity material.

We appreciate the opportunity of viewing such material before publication. The client may not without Design Edge approval use our name in connection with products, screen-based and printed media that have been altered from our design.

These Terms and Conditions of trading will remain in force until all obligations under these Terms and Conditions have been extinguished.

PRICE AND PAYMENT 2.1

2.2

2.3

2.4

The prices quoted are current at the date of quotation and are firm for 30 days from the date of the proposal. Variations after the date of quotation may be made by Design Edge to the customer’s account. Unless otherwise stated all prices are quotes excluding GST. Property in the goods shall not be passed from Design Edge to the customer until Design Edge has received payment of the goods in full from the customer, notwithstanding the goods have been delivered to the customer. Upon delivery to the customer, its servants, agents or sub-contractors the goods are at the customer’s risk. Without full payment for the goods, property ownership shall remain with Design Edge for all goods supplied.

Any default in payment by the customer shall entitle Design Edge to cease any further work being carried out by Design Edge on behalf of the customer and the customer shall be liable to pay to Design Edge the value of any work carried out and all materials provided Design Edge to the date of cessation of the work.

Orders entered upon Design Edge books cannot be cancelled without Design Edge prior written consent and upon cancellation the customer shall indemnify Design Edge against loss.

Design Edge shall be entitled in the event of the customer’s bankruptcy or 1/4

evidence of rumination model

gallery commission Gallery commission is a fee that is paid by the designer or the owner of the art piece to the gallery for providing sales service on behalf them. The range of the fee starts from 25% to 40% or more on the consigned work.

licensing agreement There are there common license with intellectual property, exclusive, solo and non-exclusive license. By applying license to intellectual property, it gives the right to use but not own the copyright, patent, trademark, design, technology or specific marketing skills to their advantage. Agreement is drafted to indicate the intellectual property can be use for defined purpose, in defined territory, for an agreed period of time.

evidence of rumination model

SAMPLE JOINT VENTURE AGREEMENT

J OI NT VE NT U RE AG RE EM E NT

joint venture agreement Joint venture commonly referred to a joint undertaking or activity carried on through a medium other than partnership, in simpler speaking, we can say is co-operations. Joint venture is not a investment, normally the parties need to contribute skills and money. It is a normally used in project or development that will be on going for a short period of time.

THIS JOINT VENTURE AGREEMENT is made the

day of

200X

BET W EE N :

and

and

(together, the “P a rt ic ipa n t s” )

fee for service / hour & day rate

REC I T A LS A. The Participants have agreed to join together as a joint venture to conduct and operate (name) of

Fee or payment rate can be calculated by working hours, days or per project basis. Rates can be paid based on project scheduled with percentage. Designers or the company may engage consultants to assist with the project to delivery the best result to the client. Additional fees or charges may apply if specialist consultants assist with the projects. The rates charged by specialist do not include in the basic fees.

the Business B. The Participants have agreed to record their respective rights, duties and obligations with and the terms and conditions of the Joint Venture by this Agreement.

OP E R AT I V E P ART 1.

DE FI NI T I O NS A N D I NT ERP RET AT I O N 1.1.

In this Agreement including the Recitals unless the context otherwise requires the following terms shall have the following meanings: “ A gre em e n t ” means this Agreement including the schedules and annexures as amended from time to time; “ B oa rd ” – Clause 3.1; “ B oa rd M em b er s” – Clause 3.2; 1

Created by Peter English, Surry Partners Lawyers, for the Australian Design Unit www.surrypartners.com.au © Surry Partners Lawyers 2009

evidence of rumination model

exhibition/gallery agreement exhibition or gallery agreement is used to inform and accept the terms of use the gallery to exhibit the intellectual property. In the agreement, it includes exhibition date, cost, insurance, delivery instruction, copyright and others detail. This agreement is drafted by the exhibition or the gallery committees for the artist or designer to agree the terms and condition in exhibiting in their space.

Exhibition Contract This is an agreement between: Artist name: …………………………………………….………

Exhibition Contract

Macleay Valley Community Art Gallery 5 Kinchela Address Street, Gladstone NSW 2440 and telephone:

……………………………………………………………………………………

This is an agreement between ……………………………………………………………………………………

1. Artists name:…………………………………………….………………………………….. ………….………………………………………………………...........................

Address and telephone:………………………………………………………………………… ……………………………………………………………………………………………….… and ACRO Gallery, 536 Sandgate Road, Clayfield, Queensland, 4011.

This is an agreement between 2. Artist Name:……………………………………….................................................................

Address and telephone: ………………………………………………………….……………..

1. Exhibition Dates ………………………………………………………………………………….……………….

3. This is an agreement between.

The dates of the Exhibition will be: 2. Artist Name:……………………………………….................................................................

Address and telephone: ………………………………………………………….……………..

From…………………………..until………………………… after which the ………………………………………………………………………………………………….. artist will remove from the gallery any unsold work or possessions. and MV Gallery Committee.

1. Exhibition Dates 2. Gallery Hire cost.

From…………………………..until………………………… after which the artist will remove from the gallery any unsold work or possessions.

The ACRO Gallery hire fee is $300 per week, paid in advance. Artists may

open the gallery on ALL days if required but will organise Staff or volunteers to 2. Gallery Hire cost. the Artists Gallerymay at all times The Macleay Valley Community Art Gallery hire fee is $120attend per week. open the when it is opened. The Gallery will not be left gallery on additional days to Thursday to Sunday if required. open, nor unlocked, on any occasion when the artist/s or their nominated person is absent from it.

3. Insurance The gallery does not accept any responsibility for the loss, damage or theft of consigned 3. Insurance works during the duration of the contract.

4. Delivery, Installation and Pick-up of Works The gallery does not accept any responsibility for the loss, damage or theft of The responsibility for the cost of packing, insurance, installation and transport and from consigned workstoduring the duration of the contract. Artists will arrange their the Gallery of artworks will be borne by the artist/s. Once a sold is picked uptheir by thework against loss, damage or theft. ownwork insurance over buyer, it becomes their responsibility.

Costs for insurance and postage of sold artworks are to be borne by the buyer.

Page 1 of 4 ACRO Gallery Exhibition Contract 5. Sales Artist/s are responsible for all monies taken for sale of artworks.

Kempsey Shire Council Merchant Card facility available, please tick if required YES/NO

6. Cleaning Exhibiting artists are responsible for the cleaning and professional presentation of the Gallery during their exhibition. Both the kitchen and bathroom area are to be kept tidy.

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CONFIDENTIALITY AGREEMENT “Recipient”

“Disclosing Party” and

Name: …………………………………….…….

Name: ………………………………….……….

Company: …………………………………….…

Company: ……………………………….………

Address: ………………………………………… ……………………………….…………

Address: ………………………………………… …………………………………………

“The Project” is as described hereunder: Project Title:

designer-recipient confidentiality agreement This agreement is used for any party who needs to protect confidential information. It is a protection to yourself when expose your concept or art piece towards a third party to prevent them to copy the design or shape after reviewing it by the client, manufacturers or others.

……………………………………………………………………………………………………………..……………

Brief Description: ……………………………………………………………………………………………………………………….. ……………………………………………………………………………………………………………………………………………..

“Confidential Information” means confidential technical, commercial or information of the Disclosing Party (whether oral, written or pictorial) of, or relating directly to the Project and does not exclude information which: (i) (ii) (iii)

was in the public domain, or in the Recipient’s possession prior to the date of this agreement; comes into the public domain after the date of this agreement; is supplied to the Recipient by another party who is under no obligation of confidence to the Disclosing Party.

TERMS OF AGREEMENT 1.

2.

3.

4.

5.

6.

The Recipient acknowledges that the Confidential Information provided or conveyed to it concerning the Project is made available by the Disclosing Party for the purpose of considering, advising on, and/or evaluating the Project.

The Recipient undertakes that it will not use the Confidential Information so provided for any other purpose than as stated in Clause 1 above without the consent of the Disclosing Party.

The Recipient undertakes that it will not disclose the Confidential Information provided to any other party, nor publish, use, reproduce or copy the Confidential Information, or allow it to be published, used, reproduced or copied by any other party without the prior consent of the Disclosing Part except: (i) as necessary for the purpose outlined in Clause 1 but with Disclosing Party’s consent. (ii) as required by law with Disclosing Party’s knowledge. (iii) as permitted otherwise by the Disclosing Party.

The Recipient undertakes to maintain effective security measures to protect the Confidential Information from unauthorised access, use or disclosure.

On the request of the Disclosing Party the Recipient undertakes to deliver up all the Confidential Information provided by the Disclosing Party with 14 days (fourteen days).

The Recipient acknowledges that any breach of the terms and conditions of this agreement may result in legal action.

AUTHORISATION

Date: __________

Recipient

Disclosing Party

……………………………………

Name (Printed)

………………………………………………………

Name (Printed)

………………………………………………………

Signature

………………………………………………………

Signature

grant application Grant application is a way to find funding from the organization to support the projects. Funding was provided to the applicants to develop new skills, undertake residencies and fellowships, and access domestic and international market.

CV / biography a specific CV of this industries indicating that how much experience, awards and connection in this industries. let the CV speaks itself by listing all the awards and participation in this field.

Additional Links business terms & conditions

http://www.designedge.com.au/documents/Design_Edge-Terms_and_Conditions.pdf http://www.fridaymedia.com.au/terms/ http://www.australiandesignunit.com/wp-content/uploads/SampleTermsandConditions.pdf

gallery commission

http://www.theartvault.com.au/Applications/artworkconsignment.pdf http://www.artworkers.org/pdf/Fact_Sheets/consignment_agreement.pdf

licensing agreement

http://www.artsconnectinc.com.au/copyright-agreement.html

joint venture agreement

http://www.australiandesignunit.com/wp-content/uploads/Sample%20JV%20agreement.pdf

fee for service

http://designfeecalculator.com/

exhibition/gallery agreement

http://www.kempsey.nsw.gov.au/pdfs11/mvgallery-contract.pdf http://www.acro.com.au/Reports/Exhibition%20Contract.pdf

designer-recipient confidentiality agreement

http://www.deeporangedesign.com.au/downloads/DOD_NDA%20-%20%20standard.pdf http://www.bremenpies.net.au/Conf%20Agreement.pdf

grant application

http://www.jumpmentoring.com.au/ http://www.australiacouncil.gov.au/grants http://www.visualarts.net.au/grants

CV/biography

http://www.designingfuture.org/CV_Nivarna.pdf http://ellesheriff.com/biography/

reshaping the workplace and disturbing capacity

Nowadays, technology is part of our living. It helps us to organise and communicate in a more easy way. With the aid by some tools and resources that is available on the web, it guide and lead us to expand our knowledge and explore the infinity.

With the help of these tools, we can share our thoughts and find connection such as employee, manufacturing, specialists in no time.

The tools that we use can be put into different categories, such as media, collaboration, searching, socialising and others.

media tool Youtube and Vimeo are media tools. With media tool, we can demonstrate how our product or service works to the public globally. It is the easiest way for users to understand how it works without actually using it.

collaboration tool Email like Google or Hotmail, and collaboration tool like Dropbox, mediafire, or issuu, they are useful to designers to communicate and update their client as soon as possible in the easiest way and forms of communication. It enables to work more efficiently as these tools are user friendly with their simple and easy understanding interface.

email google mail - a email service with 7+ Gb of storage available provided by google hotmail - a email service provided by microsoft

collaboration tool Dropbox - a online web storage system that is accessable from different platform of electronics to share files at anywhere easily mediafire - a simplest cloud storage service for business or individuals to store, back up or share files with others issuu - an online web publication tool for viewing digitally uploaded materials, such as portfolio, books, magazine and others

researching tool Researching is always a must do task for a designer. We will use search engine such as Google Scholar to search article for references or inspiration. We use Material ConneXion to check what’s the new material in nowadays and Wikipedia to find out the general idea of a terms or a product. With these tools, the contents in their web are actually come from another website, so in this case, we can keep exploring deeply by jumping through website to website. researching tool Google scholar - provide search of scholarly literature across many disciplines and sources Wikipedia - a free encyclopedia built collaboratively using wiki software. (Creative Commons Attribution-ShareAlike License).

Material Connexion - a global materials consultancy with the world’s library of advanced, innovative and sustainable materials and processes.

socialising tool Socialising tool help us to communicate to our friends, clients or manufacturer wherever they located. Blog is one of the example in socialising tool. Blog is used to post updates of the recent projects that we are working in, to attract people awareness or influences to our project, in order to create opportunities.

Facebook and twitter is place for us to promote a product or services, or to spread a message quickly worldwide.

Skype and msn are the tools for us to communicate with clients or manufacturers. With the aid of video calling and voice calling, we can spend less time to travel around and concentrate to the project to achieve the excellent outcome. socialising tool wordpress -free and open source blogging tool facebook -a social utility that connects people with friends and others who work, study and live around them. twitter - instantly connect to what’s most important to you. skype - make internet calls for free with Skype msn - an instant messaging client created by Microsoft

self-promoting tool In order to promote yourself globally, we can create an online resume or profile for others to get to know and approach us.

These tools such as Linked In and Coroflot, it provides a platform for us to create our profile online with our portfolio attached. self-promoting tool Linked In - Manage your professional identity. Build and engage with your professional network. Access knowledge, insights and opportunities.

Coroflot - Coroflot helps creative professionals gain exposure and make connections to jobs and opportunities with design-driven companies worldwide.

demonstration a viewable version of this creative research practice booklet is available online in issue. so it can be view and download globally by the public. http://issuu.com/jex.chau/docs/jex_book_creative_research_practice

thank you.