beyond nua alumni magazine
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Contents
Regulars Publisher
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Alumni news
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East Gallery NUA
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Creative spaces
06
Alumni Office Norwich University of the Arts Francis House 3-7 Redwell Street Norwich, Norfolk NR2 4SN
Cover
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Anton Hjertstedt (BA Graphic Design, 2015) www.antonhjertstedt.com
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Viewpoint
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Page turner
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Zeitgeist
58
Showcase
63
Perspectives
Lead photographer Denisa Ilie (BA Photography, 2013) www.denisailie.com
Design Paul Oldman (BA Graphic Design, 1984) www.smithltd.co.uk
Proofreading Joanna Peios www.wordetc.co.uk
Print Page Bros www.pagebros.co.uk
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Beyond connects and celebrates Norwich University of the Arts alumni from across the years. We are always keen to discover new alumni projects and successes. Stay in touch and share your news. alumni@nua.ac.uk +44 (0)1603 756288 www.nua.ac.uk/alumni
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Features 22
36
22
42
Kinfolk
A home for bright ideas
Fashion alumnae collaborate
NUA’s business incubation
with John Lewis to create
centre offers support for creative
eveningwear with an edge
26
Creative Science
start-ups and freelancers
48
Social life Beyond takes a closer look
NUA launches three new BSc degrees in Interaction
at how Instagram is being used by creatives
Design, User Experience Design and Games Development
55
Grow your own
42
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Tools of the trade Four technicians select the
clothes Graduate Amy Congdon is at the forefront of a textiles revolution
workshop equipment they can’t do without
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Cut out for success Illustrator Stacey Knights shares her working methods
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Alumni news Flipping out David Hurtado, (BA Graphic Design, 2006) has published his first book, Flipping Out: The Art of Flip Book Animation. The illustrated book guides readers through the process of creating an animated flip book, from brainstorming and storyboarding to drawing and adding colour. David works as a freelance illustrator for clients including Macmillan Publishers, Oxford University Press and the RSPB.
Clever monkey Creative Review selected Tom Abbiss Smith (BA Illustration, 2016) as ‘one to watch’ in their 2016 Talentspotting campaign. Cast into the spotlight as one of the 15 best graduate image makers of the year, Tom saw his distinctive designs on 900 digital billboards around the UK, at major railway stations, roadways and shopping centres, and was featured in the magazine’s Gradwatch.
www.davidhurtado.com
© Warner Bros
www.tomabbisssmithart.com
Paper picks Graduate-run paper cutting studio, Rhombus and Pineapple was announced winner of the Top Drawer PaperAwards S/S17 in the Engaging Print category. Emily Powell and Grace Thomson (BA Fine Art, 2011) produce bespoke designs from their studio/shop in Topsham, Devon. Their success doesn’t stop there. They’ve recently been approached to work with the Museum of Modern Art in New York, The National Theatre and BAFTA. www.rhombusandpineapple.com
BAFTA success Alumnus Stuart Craig OBE (Diploma, Art & Design, 1960) won a BAFTA award for Best Production Design for J.K Rowling’s Fantastic Beasts and Where to Find Them. Up against industry competition from La La Land and Doctor Strange, Stuart and set decorator Anna Pinnock scooped the award at the 2017 ceremony. Stuart has previously won BAFTA awards for Best Production Design for Harry Potter and the Goblet of Fire and The Elephant Man. www.fantasticbeasts.co.uk
Alumni news Next steps
Victoria Friend (BA Textiles, 2016) was snapped up by Next straight after graduation. She now works as a Trainee Print and Pattern Designer. Within her first few months working for the high street retailer, Victoria contributed to their Twilight Garden collection. www.victoriaafriend.blogspot.co.uk
Mail order Commissioned by the Royal Mail, graduate Jim Sutherland (BA Graphic Design, 1988) created six limited edition stamps celebrating the work of crime writer Agatha Christie. Hidden ‘clues’ within the images are revealed when the stamps are exposed to UV light or heat. www.studio-sutherland.co.uk
Sky high
Happisburgh days
Amy Rogers (BA Fine Art, 2 011) was one of 54 artists selected to appear on Sky Arts’ Portrait Artist of the Year 2017. Amy was one of three artists chosen to paint Raleigh Ritchie, the actor who appeared as Grey Worm in Game of Thrones. She had four hours to complete the portrait. Raleigh selected Amy’s portrait as his favourite.
Gemma Astbury (BA Photography, 2016) was awarded the title ‘Fujifilm Student Photographer of the Year 2016’ for her image of Happisburgh beach. Shot on expired Fujichrome Velvia 100 transparency film, the winning image was then cross-processed to give the effect of a dream-like haze. www.gemma-a.com
www.amy-rogers.co.uk
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Alumni news Rich ground Trainspotting
In 2017 Ellie Davison-Archer (BA Fine Art, 2016) and Georgia Turner (MA Fine Art, 2016) took part in a two-week artist residency at Dumfries House, an eighteenth century mansion in Ayrshire, Scotland. The location provided them with endless inspiration, as Ellie’s work focuses on the hidden details of found objects, whereas Georgia explores the value of deaccessioned items. At the end of the residency a piece of each graduates’ work was selected to become part of the estate’s private collection.
Freelance graphic designer Theo Inglis (BA Graphic Design, 2012) produced the creative for a new book, British Rail Designed: 1948-97 by David Lawrence. Theo is currently studying for an MA at the Royal College of Art and is a regular contributor to Grafik. www.theoinglis.co.uk
www.elliedavisonarcher.co.uk www.g-v-turner.co.uk
Snow way Inspired by Raymond Brigg’s The Snowman and The Snowdog, Jenny Leonard (BA Fine Art, 2011) brought to life Brighton Belle. Jenny handpainted the statue in conjunction with the Brighton Art Trail as part of their Snowdogs by the Sea campaign and was selected by British Airways i360 to exhibit her artwork in London Victoria station. www.jennyleonardart.com
Jason deCaires Taylor and CACT Lanzarote
Submerged As studio manager, Jessica Miles, (BA Fine Art, 2011) had a large part to play in the construction of Museo Atlántico, Europe’s first underwater sculpture museum, which has recently opened off the coast of Lanzarote. The monumental work by renowned artist, Jason deCaires Taylor features more than 300 life-sized human figures, cast in a pH-neutral cement, which is designed to attract marine life. www.underwatersculpture.com
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Campus news
Inside information NUA introduced a BA (Hons) Interior Design course in 2016, which explores the look and feel of contemporary interior architecture. The course embraces innovation, whilst supporting students to create viable and original design propositions for current markets. www.nua.ac.uk/bainteriordesign
Architectural gold Creative Science In response to growing demands within the creative industries, NUA has launched three BSc degrees in Interaction Design, User Experience Design and Games Development. The courses will open their doors to new students in September 2017. www.nua.ac.uk/creative-science Read more about our Creative Science courses on page 26.
Cross-continent
Business minded Platform (formerly known as Brainchild) was launched at NUA in 2017 to offer advice to freelancers and creative business start-ups. The series consisted of eight workshops, with local industry speakers and graduates on hand to provide support on everything from ideas generation to branding and networking. The series will run again in 2018 and is open to all NUA graduates. www.nua.ac.uk/employability
NUA has partnered with Nagaoka Institute of Design in Japan, to promote collaborative educational and research initiatives to develop staff and students from both institutions. In the future, there is potential for cross-continent exchange programmes, joint exhibitions and shared, virtual workshops. www.nagaoka-id.ac.jp/e/
Snap decision The Association for Photography in Higher Education (APHE) will be holding their annual summer conference, Human Interfaces, at NUA 19-21 July 2017. The APHE act as the representative body of photography in higher education, formulating policy and strategy to present to the government, which represents the views of the HE sector. www.aphe.ac.uk
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Boardman House, one of the University’s newest buildings, won a regional RIBA East award from The Royal Institute of British Architects in 2016. The old Sunday School building, refurbished by Hudson Architects, took first place in the Norfolk category. www.nua.ac.uk/baarchitecture/ resources/
Alumni news
Wallpaper* worthy Anton Hjertstedt (BA Graphic Design, 2015) was a Wallpaper* Graduate Pick 2016. Anton was selected on the strength of his digital 3D rendered compositions. Previously an It’s Nice That graduate, Anton’s work has been described by the online creative hub as, ‘cheeky, weird and downright rude’. www.antonhjertstedt.com
Alumni news
A step ahead Emily Leason (BA Textiles, 2016) won a competition to have her Tropical Dreams design printed on to Van Dal shoes and worn at Norwich Fashion Week 2017. The competition brief was to design a repeating print, which was judged on commercial awareness, inspiration and creativity. The design was made into 75 pairs of shoes to be sold by Van Dal and Jarrolds. www.emileatextiles.co.uk
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Forthcoming exhibitions
East Gallery NUA
6 May-22 July
‘Art Exhibition’ Hans-Peter Feldmann Artwork by the groundbreaking German artist and recipient of the prestigious Hugo Boss Prize 2010
30 August-7 October
“In Quotes” Collage and assemblage in contemporary art Featuring work by Susan Hiller, Ann-Marie James, Sharon Kivland, Linder, John Stezaker and others
18 October-4 November
NUA Collection Selected alumni work from the University’s art collection
14 November -6 January
Jerwood Drawing Prize
Showcasing work by winners of the Jerwood Charitable Foundation’s annual competition East GalleryNUA is Norwich University of the Arts’ city centre gallery space, showcasing exceptional modern and contemporary art through its curated exhibitions programme. Seascapes © Hans-Peter Feldmann
Cavendish House St Andrews Street Norwich NR2 4AE Open: Tuesday–Saturday, 12-5pm Admission: FREE Website: www.nua.ac.uk/thegallery Facebook: @galleryatnua Twitter: @eastgallerynua Instagram: @eastgallerynua beyond
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MusÊe Imaginaire, Plate 591 Š Ann-Marie James
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Creative spaces Looking for a way to enhance your creative practice? Why not consider applying for an artist residency? As NUA’s Fine Art graduates have discovered, these opportunities can be invaluable
Artist residencies are as unique as the creative minds undertaking them. Ranging from days to weeks, or even months in length and taking place anywhere from tree houses to cargo boats, as well as more readily anticipated surroundings, such as museums and galleries, these residencies are valuable grounds for artists to develop their practice, uninterrupted by the niggles of everyday life. Alongside offering constructive space for artists to experiment and become immersed in their work, they often come with precious bonuses, providing opportunities to forge new relationships and laying the foundations for collaborations. In 2016, alumni Kirstin Bicker and Henry Driver (MA Fine Art), and Jade Anderson and Becky Showell (BA Fine Art) were selected to take part in an exclusive, month-long residency at St Mary’s Works, a redundant shoe factory in the centre of Norwich. The scheme, initiated by the Sainsbury Centre for Visual Arts, was intended to give recent graduates a space in which to develop their work, reach new audiences and gain the support of arts professionals in East Anglia. The vast industrial factory space, soon to be redeveloped, was, at the time, a husk, with no running water and scant power. Nevertheless, the four graduates welcomed the chance to respond to the thought-provoking environment.
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Jade, who explores the suggestive nature of language, was initially worried that her usual, small scale installations might be lost within the huge space. But she soon found a way to turn the factory floor to her advantage, ‘I started looking at where my work could blend in and become one with building, where text could become more physical. This led to the work becoming site specific.’
Residency schemes often encourage artists to respond to their surroundings, leading to the creation of work inspired by their new environment. Two recent BA Fine Art graduates, Anna Cox and Saskia Jonquil, were selected for the 2016 High House Residency, at the home and studios of sculptor Antony Gormley and painter Vicken Parsons. As a rural estate, High House has an abundance of natural resources, something Anna and Saskia made the most of while exploring fields and woodland to find stimulus and materials for their work. Whilst Anna was already at home using natural objects to create artwork, Saskia, who had previously made extensive use of NUA’s metal workshops for bronze casting, had to adapt more dramatically. Between them, they ended up baking tiles from clay they had excavated, heaving broken branches back to the estate to transform them into dramatic sculptures and bringing new life to dead insects by treating them as jewel-like treasures. Henry Driver, who took part in the residency at St Mary’s Works, was also offered a placement at Grove Projects in Bury St Edmunds after completing his MA Fine Art degree. During the residency he took photographs of foliage within the Grove garden before replicating and simulating them as 3D animations using CGI. He summed up why he found the experience so useful: ‘[At Grove] there are no distractions… there are no pressures of production either. I found my week in residence led to a phenomenal development of practice. I created more work and pushed myself further than I ever thought possible in a week.’
This page: (clockwise from top) Works by Becky Showell, Jade Anderson and Anna Cox Images © Nell Croose Myhill and Anna Cox Opposite page: Work and images © Anna Cox
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I was struck by how the artists responded so sensitively to the space, integrating their work into the fabric of the building Nell Croose Myhill Education Officer, Sainsbury Centre for Visual Arts
The word curation… is used a lot these days, both in and outside of the arts. There’s an interesting book by David Balzer called
Viewpoint
Curationism, which looks at this trend. The term’s appropriation has annoyed a lot of people, but I think it’s just a buzzword that will probably go out of fashion before long. It tends to be used as an alternative to ‘selected’ I think, to lend gravitas. In any case, if you look at the actual etymology of the word ‘curator’, it only describes a small part of what most curators do – so we’ve probably misappropriated the word too!
A curator
The job of a curator is important because… it’s a way of making sense of an information and image-saturated world. Strictly speaking curation means ‘to care for’, however it is generally used today to describe a way of selecting and presenting creative
Laura Dennis (MA Curation, 2014) is Visual Arts Curator at Broadway Studio and Gallery in Letchworth Garden City
works. These are critical skills, given the amount of creative outputs that are being generated at an astonishing pace. When I started my job I didn’t realise… just how useful my links with NUA would be! I now have a number of alumni collaborating with me at the Gallery – photographers, technicians, artists and arts educators. It was great to have an introduction to so many talented people whilst studying for my MA. www.broadway-letchworth.com/studio-gallery
An average day as a curator… doesn’t exist! I could be visiting an artist at their studio, giving a tour to schoolchildren, working on next year’s budget, coordinating technicians and art handlers for the next changeover of exhibitions. No two days are the same! The thing that’s unique about the gallery I work in is… that it’s a converted space, so it has a lot of little quirks. We have a long wall, over 20m in length, but there’s only about 2.5m height and very little space to step back and view the works. However this is perfect for showing a series of smaller works; our first exhibition had 30 small paintings and it was great to be able to show them together on this wall. We also have two connected spaces. One is the main gallery space, which feels quite formal. The other feels more domestic; sometimes we use it as a continuation of the exhibition, but it can also be used as a resource area with books, archival materials and video interviews.
Strictly speaking curation means ‘to care for’
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A games developer Robin Silcock (BA Games Art and Design, 2014) is co-organiser of the Norfolk Game Developers (NGD) group. She shares insights into the power of local creative networks
Some of the world’s most celebrated games started off as an idea dreamt up by a small group of passionate creators and grew from those humble beginnings. In order to capture, foster and develop great ideas into playable games you need collaboration. One way to facilitate this is through independent community groups, which offer opportunities to further creative projects. The Norfolk Game Developers (NGD) group was started in 2012 by Sam Jermy and Alastair Aitcheson, two friends trying to find people in the local area who shared their passion for games development. Independent games were on the rise and they decided that there must be others who, like them, were working on their own projects and would jump at the chance to share ideas. NGD was started to offer a friendly, monthly meet-up for seasoned developers and beginner creators alike, providing a safe space to share concepts, works in progress and to collaborate. After a year, it was clear that there was a huge appetite for games development in Norfolk and Sam and Alastair planned the first Norwich Games Expo. In 2013, they persuaded high-profile, international speakers to share their passions and knowledge with an avid audience. In 2014, I got involved in helping to run the community, too.
The doors that will open for you are endless I’ve learnt that a supportive, independent community (whether it be for illustrators or engineers) can really help your industry grow in a region. Groups can use their collective experience and passion to organise public outreach events, such as the Norwich Gaming Festival, which NGD helped to shape in its first year at The Forum in Norwich. Groups like this can benefit the whole of the local community, enabling the opportunities and resources available to them to increase.
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NGD has attracted support from the local business community, from the Norwich Business Improvement District (BID) and from the UK’s wider digital creative industry. Support has also come from the government’s Department for International Trade, which has helped to share Norfolk’s games development work with the rest of the world, and from the Department for Culture, Media and Sport, who shout about skills such as coding as part of their Digital Inclusion project for the UK. The doors that will open for you if you put in the work and seek to support and grow your local creative community are endless. The more passion you have for your practice, the more this will rub off on those around you and it is then that great things can happen. It won’t be easy, but I dare you to give it a go! www.robinblogs.com NUA is a lead education sponsor of the Norwich Gaming Festival 2017, a free, family-friendly celebration of video games held at The Forum in Norwich. The 2016 festival welcomed over 52,000 visitors to talks from industry speakers and interactive workshops. The event, now in its fourth year, was started with the support of NUA graduates. www.norwichgamingfestival.com
Page turner
Four alumni pick books that first inspired them as students and have had a lasting effect on their career
Rebecca Fulleylove BA Creative Writing, 2 010
Selected Poems Sylvia Plath, Ed. Ted Hughes
Philip Lee Harvey BA Graphic Design, 1992
As I Walked Out One Midsummer Morning Laurie Lee I’m not sure if my first copy of this book came from the University library or not, but I know that I read it for the first time as a student. As a young 18 year old leaving home for the first time, Laurie Lee’s words resonated with my own life and a want for adventure. It’s a true life tale of discovery in a foreign land. Through it, for the first time, I realised that I too could have a life of exploration. In my work as a photographer I’ve found just that, travelling to more than 120 countries over 20 years and shooting in some of the world’s most challenging destinations, from Antarctica to the Sahara desert. I’ve owned several copies of the book since then and like to leave them at airports for others to enjoy. Philip is a location photographer for clients including National Geographic, Lonely Planet and Condé Nast. www.philipleeharvey.com
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Reading Sylvia Plath at University demonstrated to me how language is truly limitless. Being at art school I was surrounded by people making physical works and images, and Plath made me realise that words are just as powerful and malleable as any other material. The only difference being that, instead of tangible things like clay, paint or film, Plath used words and clever sentence structure to visualise her experiences in new ways. Plath’s style feels synonymous with unexpected imagery and openness, and this anthology is the perfect introduction to her work, collating poems from four other collections. Her pairings of words, the metaphors and similes she effortlessly creates, and her wild perspective on the world manifests itself as raw and beautiful poetry. Plath speaks to the reader directly and the well-thumbed pages of my copy prove to be an endless source of inspiration. If you want a lesson in visualising emotions, relationships and complex situations, then read Plath and start seeing her as an image maker like no other. Rebecca is a staff writer for It’s Nice That. www.itsnicethat.com
She made me realise that words are just as powerful and malleable as any other material
Christian Bird
To this day it’s
BA Graphic Design, 2006
A Smile in the Mind: Witty Thinking in Graphic Design
my ‘go-to’ book when I need a different perspective
Beryl McAlhone and David Stuart My design lecturers introduced me to A Smile in the Mind mid-way through my studies. It is full of witty double-take design ideas like the famous arrow in the FedEx logo, or Noma Bar’s irreverent artwork. It was a huge revelation to me. To this day it’s my ‘go-to’ book when I need a different perspective. Recently updated by new co-authors Greg Quinton and Nick Asbury, it is an essential book for any creative, covering everything from design classics to contemporary digital. The original edition featured an interview with former NUA lecturer Ray Gregory and fittingly, the new addition celebrates many past and recent NUA graduates throughout. Christian is Associate Creative Director of Elmwood in New York.
Susan Gunn
www.elmwood.com
BA Fine Art, 2004
The Artist’s Handbook of Materials and Techniques Ralph Mayer I became aware of this book during my foundation year. A tutor at NUA called it ‘The Artist’s Bible’. First published in 1934, it’s an extensive technical handbook of painters’ materials. I was particularly interested in the descriptions of gesso, ‘a material applied as a coating to surfaces in order to give it the correct properties for receiving paint’. As we were encouraged to break the rules, I did. After mastering the ‘correct’ technique to apply gesso, I started to experiment. By varying the consistency I developed a unique way of applying it to a canvas, which provoked cracks and fissures. During the drying process, accidental nuances would appear in the marble-like surface. Mayer accepted that over time a ‘crackle’ may appear on the surface of old paintings but described this as, ‘entirely undesirable’. I now paint the gesso as the subject of the painting, not just a ground to receive oil paint and see this pursuit of the ‘undesirable’ as a way of embracing the flawed, and the unexpected. Susan is an award-winning fine artist. www.susangunn.co.uk
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Zeitgeist: 1989-1991 Helen Steed
Formerly Vice President of Creative at Bumble and bumble, Helen Steed (BA Graphic Design, 1991) is now VP, Creative Director at Glossier in New York. She shares memories of student life in Norwich
Fashion
Pub
By the second year I had my hair in a very short crop. Dying clothes seemed like a good idea at the time. I remember buying thermal underwear from the army surplus store and turning it pink and orange. I wore colourful headscarves too and big sweaters over leggings, or patterned baggy pants teamed with boots.
We went to The Reindeer on Dereham Road a lot. They had huge jugs of homebrew beer that we shared amongst a table. We lived on that side of town so it wasn’t far to stagger home. On ‘school nights’ it was the Red Lion on St Georges Street, a stone’s throw from NUA, where we’d have a Newcastle Brown Ale and a packet of crisps for dinner!
£ Accommodation
Work
To start, I shared a terrace with two friends on Rosebery Road. My room was the living room, which was pretty common and also weird. After that, I moved into a friend’s place on the other side of the city, realising this was the nicer end of town to live. The house was older, with more character and, coming from a council estate outside London, an original fireplace in my room was a big deal. In our final year we found a house on Winter Road. It was owned by an artist and painted in very bright, cheery colours, Mexican-style almost. It was great, especially on rainy days.
I worked in a few pubs as well as Hy’s Pizza. In my final year I covered weekends at the Belle Vue, just down the hill from our house. It had a mix of locals and students and the landlord was cool. I got good at pulling pints, using a microwave and hunting out decent songs on the jukebox.
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Inspiration The University had an amazing library that got new books in every couple of weeks. It was a great way to find out about contemporary artists and designers. We also had a fantastic cultural theory team, led by Chris Mullen. He was so passionate, an amazing teacher. We looked a lot at early typography, design and art
Food I became vegetarian around the time I started studying in Norwich but my repertoire wasn’t great. My first housemate Lisa, was a really good cook and got me out of my pasta and tinned ratatouille funk. At that time, the ‘caff’ in the cloisters made the best frothy coffees and homemade scones every morning. They went down a treat!
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movements – Russian constructivism, Dada, the Vorticists etc. I was a big Percy Wyndham Lewis fan and loved BLAST. Films were also hugely influential – Brazil, Nosferatu, The Shining! Towards the end of my degree I became very interested in systems and information design, and Richard Saul Wurman was a big
inspiration.
Politics I had a full grant, which included fees and money to cover the cost of living. It didn’t seem much at the time, but I now realise how lucky I was. Thatcher managed to cut the grants, but this didn’t come into effect until my final year. We had an all-night sit-in to protest. It was lots of fun, though sadly didn’t make much of a difference.
Music In the first year I was listening to college-type bands on mix-tape and vinyl – The Cure, Cocteau Twins, Edie Brickell – and I remember seeing the La’s, 10,000 Maniacs and BAD when they toured Norwich. I was from London so was also caught up in the Balearic/Acid House side of things back home. The Norwich Art School music scene changed quite a bit as more of the Manchester influence crept in and the parties evolved into a much more inclusive, happy, party atmosphere.
My first housemate was a really good cook and got me out of my tinned ratatouille funk Image © Tom Newton for Into the Gloss
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Kin beyond
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folk Brutalist architecture. Monochrome prints.
Exaggerated silhouettes. Hard meets soft in Urban Poetry, a limited edition evening wear collection – the result of an exclusive collaboration between graduating NUA Fashion students and the high street giant John Lewis.
This page: (clockwise from top) Fashion alumnae Yee Ki Ng, Alice Potts and Daina Ecaite Opposite and overleaf: Images Š Kin by John Lewis
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When Daina Ecaite, Yee Ki Ng and Alice Potts (BA Fashion, 2016) were in their final year of study at NUA, Course Leader for Fashion, Sue Chowles, was approached by the Head of Womenswear Design at John Lewis to work on a ‘live’ project in collaboration with the Kin by John Lewis design team. The students were provided with a basic framework, including a range of fabric types and weights to work with, colour palettes and a brand background. Before starting to develop their designs, they had to research the company, looking at its market position, target customers and visual aesthetic.
Throughout the project, Kin worked with Alice, Daina
and Yee Ki to create the dramatic, contemporary dresses, drawing on the students’ pattern cutting expertise, combined with the structure and forms that capture the brand’s modern character.
Their inspiration was diverse. Daina created dresses
reflecting her interest in the natural world. Alice’s designs were influenced by her childhood in Japan, drawing on her love for origami, whereas Yee Ki’s garments focused on clean, minimal tailoring and contemporary pattern cutting.
Alice said, ‘I really enjoyed the challenges of producing
something for a high street brand, because I had to think about the practicality of what I made, how it would be priced and whether it would actually be wearable!’
Garments in the limited edition collection featured customised swing tags, detailing the students’ inspiration
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High-profile fashion companies love to work with students because they bring infinite raw ideas, integrity, enthusiasm and passion to the design table Sue Chowles Course Leader for Fashion, NUA
was available online and across six UK stores, including Oxford Street in London
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Images Š John Lewis
The 11-piece Urban Poetry collection
up for the books, but this hair-raiser has nothing to do with Van de Graff generators, test tubes or Bunsen burners. Our three new BSc courses, in User Experience Design, Interaction Design and Games Development, are all computer-based and will combine technical elements such as coding and 2D and 3D design with a strong grounding in creative, visually orientated thinking.
Interaction Design
Creative beyond
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Games Development
NUA is embracing science. It may seem like a turn
S
Science User Experience Design
Through the eyes of professionals
Our three new degree courses are set to open to students in September 2017. After completing a shared first year, students will start to specialise. User Experience Design will focus on analysis of how people encounter digital products, drawing in elements of psychology alongside functionality and aesthetics. Interaction Design, meanwhile, will focus on the design and creation of digital interfaces, using creative coding. We already teach Games Art and Design at NUA; the Games Development course will teach students the complete end-to-end process of state-of-the-art game creation. Our campus is well kittedout to house these courses; The Ideas FactoryNUA is home to The User Story, a UX testing company, which regularly works with our students to help gather real user insights to improve digital experiences. So why branch into science? Extensive research tells us that there is a growing demand within the digital industries for tech-savvy individuals with an eye for detail and the know-how to turn focus group research into clever design. There are skill shortages in these areas, which are only predicted to get worse. At NUA, we’re dedicated to setting our students up for an ever-changing future, providing them with the flexibility and common sense to adapt to careers and technologies that may not yet exist. In fact, many of our alumni have already found their way into jobs within these sectors, despite studying with us before terms like UX and ID became common parlance in the digital industries. So what is games development? And what’s the difference between user experience and interaction design? We caught up with three graduates, who are already working in these fields, to shed some light on the matter.
Interaction Design Interaction Design Laurence Berry (MA Communication Design, 2012) Interaction Designer Government Digital Service
What is interaction design? Interaction design focuses on the details, making it easy for users to complete specific tasks. It mixes design, coding and psychology to inform decisions around building clear, easy to use interfaces. How did you get into interaction design? At NUA I became interested in the potential for technology to make positive change. On graduating I joined FutureGov, where I learnt to code in order to improve public and social care services. After three years, I wanted to focus more on design, so I moved over to the Government Digital Service, where I’m working on the Digital Marketplace and supporting user centred design across government.
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Why is interaction design important to the creative industries? As more of us expect to be able to access services digitally, the demand for people who can design simple, useable experiences will continue to grow. It is hard to predict whether we’re going to be interacting with products through a screen, headset or by voice in the future, but understanding the fundamental principles of design is always going to be important. What does an interaction designer do? I use typography, layout and content to design products and services that are easy to understand and simple to use. Right now I’m working on the Digital Marketplace to design user journeys that mask the complexity of procurement laws and help the public sector work with the best tech and design companies in the private sector. This results in better services for you and me and makes sure government doesn’t waste money on large contracts that don’t solve users’ needs. Once we’ve identified and understood users’ needs, we prototype solutions to test our assumptions. If we think we’ve solved the problem it gets developed, if not we go through the process again. We’re leading in this area and share what we’ve learned with other governments around the world.
This page:
Foreground: Gold Dash, an app
Clockwise from above:
which teaches users the Highway
Screenshots from Halo Wars 2
Code, was designed for Goodyear,
(Courtesy: 343 and Creative
WIRED and Rewired State.
Assembly) and Rare Replay
Background: (top to bottom)
(Courtesy: Rare)
The Government Digital Service’s
Images © Josh Allen and Sprung Studios
Games Development
Opposite page:
Digital Marketplace advertises opportunities to work with government; Patchwork, produced for FutureGov, connects government organisations Images courtesy of Laurence Berry
Can you give us an example of a piece of really good interaction design? The best examples are where a complex task has been simplified. Google search is a good example. It is just a text input field and I think this is why they’ve done so well. The hard work happens in the background, considering the user’s search history, location, language, calendar and places they have visited to highlight the best results first. What traits does someone need to have to work as an interaction designer? A good interaction designer won’t have a big ego or assume they know the solution. To do this job, you have to be passionate about using design to solve a problem. What are the golden rules of interaction design? 1. U nderstand the problem. What are the needs you are solving? 2. K eep it simple. This is hard, but good design reduces complexity. 3. M ake it accessible. Be inclusive and consider everyone’s needs and abilities.
www.laurenceberry.com
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Games Development Josh Allen (BA Games Art and Design, 2013) Senior UX/UI Designer Splash Damage, London
What is games development? Games development is essentially games ‘building’. It’s a hugely diverse industry consisting of everything from indie, one-man bands to massive multimillion pound companies with hundreds of employees. How did you get into games development? When I started my journey into the games industry I had conflicting ideas about what I wanted to do. Like a lot of people who get into this work, I loved playing games. I also loved games art but, realising that element of the industry was oversaturated and looking to where my skills realistically lay, I found a niche and focused my career down that path. I started networking and ended up as an interaction designer.
What does a UX/UI designer in the games industry do? I create user interfaces for games. UI is the fourth wall and it is important to create an intuitive experience so players can fully enjoy the game. I start off with flow diagrams for the player journey and then create the wireframe for the layout and structure. Once I’m happy with the wireframes I develop the artwork for the interaction and place it into the game engine. What traits does someone need to have to work in games development? Good teamwork is essential as you are likely to be working in large groups to achieve the same vision. If you want to make a successful game, communication is also very important. You will need to be passionate and dedicated, whilst acknowledging the other talents around you. What are the golden rules of UX/UI design that you have to adhere to when it comes to games? 1. C reate a user centric design – your work should be intuitive and simple for the player to interact with. Try to look at it from the perspective of someone coming to it for the first time. 2. B e invisible to the player – there’s no room for ego in UI design. The best outcome you can hope for is that no one will notice your work. That’s when you know you have been successful! Why is games development important to the creative industries? Games development is one of the largest and fastest growing industries. It’s expressive, innovative, and employs people from all walks of the creative world. Literally thousands of people go into making some of the larger games.
www.japallen.co.uk
User experience improves the lives of millions of people around the world. A bold statement but a true one
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User Experience Design Amy Shore (BA Graphic Communication, 2014) Senior User Experience Consultant Foolproof
What is user experience? There isn’t a simple answer but, boiled down, UX is about the overall experience that a user has with a product, service or brand. It’s not just limited to interactions or designing an interface. It’s about every touch point, how a product works, looks, feels and the emotional outcome this has. How did you get into UX? As the cliché goes, pretty much by accident. During University I went to a talk by Foolproof, an experience design agency in Norwich and suddenly the world of UX came to light. I wrote my dissertation on UX, learning about how physical and digital experiences have a big impact on both brands and users. After I graduated, I was offered an internship at Foolproof. Things worked out and I was offered a full-time role. What does a UX Consultant do? It’s my responsibility to gather insight from users to drive design thinking. I conduct research to develop an understanding of the problems end-users face and the outcomes they expect, using methodologies such as interviews, focus groups and ethnographic research. I bring the voice of the customer into the room with the client’s objectives, ensuring that solutions meet the needs of both, and translate users’ voices back to clients and other team members (e.g. the design team) who will turn insight into evidence-based design.
Why is UX important to the creative industries? User experience puts the user at the heart of the creative process and as a result improves the lives of millions of people around the world. It’s a bold statement but a true one. Successful UX measurably increases the value a user derives from a product or a service.
Can you give us an example of a piece of really good UX design? Who doesn’t love pizza? The Domino’s e-commerce platform is a responsive site that many people reading this will have used. It’s a great example of UX design. I may be biased, as Foolproof worked on this platform, but I can’t resist! The site offers a consistent experience across mobile, tablet and desktop devices, taking into account local nuances for different markets. The interface helps users to build complex, personalised orders and ensures that you know what is expected of you at every stage. The brand remains prominent and the site has elements of gamification tied in. It’s just really nice to use, go try it… Mine is a double pepperoni, stuffed crust!
www.foolproof.co.uk
(Clockwise from above) Interactive interfaces for Transport for London, Domino’s and easyJet Images © Foolproof
User Experience Design
What are the golden rules of UX design? 1. Don’t focus on the outcome. User experience is about the whole journey, not just clicking ‘submit’ or ‘pay’ at the end. 2. Design for the user, not you. One of the biggest mistakes is thinking you know what the customer wants and designing something you think meets their needs, which actually only works for you. 3. You’re never done. UX design is a continuous process. Users’ needs and expectations change so regular feedback is key. 4. Don’t just make it work. UX design needs to go beyond being functional. It has to look and feel good to the user.
Tools of the trade
Karen Milam Moving image technician
Steadicam The Steadicam is my favourite piece of equipment in the media workshops at NUA and one of the most specialised pieces of camera kit we have. It takes quite a lot of patience and effort to master, but the shots you can get are really worth it. The first time I wore the Steadicam it felt like I was wrestling with a snake, but now I’ve managed to tame it and try to get the students to achieve that level of control too. While film students have access to the equipment we offer here, I encourage them to use the Steadicam whenever appropriate and to make sure they know how to use it, so they can concentrate on the creative, rather than functional side of things when they are on a live ‘set’ later in their careers. We want them to have as many strings to their bow as possible by the time they leave us.
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Tools of the trade
David Tudge Textiles and fashion technician (BA Textiles, 1999)
Digital weaving loom The traditional four and eight shaft weaving looms are my favourite pieces of equipment in the textiles workshop. We use these to introduce first year textile design students to weaving. With them, our students learn about patterns and techniques, and can experiment with weaving a variety of fabrics. We have three digital looms in the workshop too and these are by far the most useful pieces of equipment we have. Final year and postgraduate students love the digital looms because they are quicker to weave on and can produce more complex fabrics. Once a student tries the digital looms it can be difficult to get them back onto traditional looms – you can do so much with them! As part of my own practice, I’ve made a number of textiles items with conductive threads, to create circuits and microprocessors, which can be controlled using computer code. Some of these fabrics have been woven with fibre optics, which I can attach LED lights to, to create different mood or motion-related effects.
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Tools of the trade
James Castle 3D workshop technician
MIG welder The possibilities to create work are infinite with the range of equipment we have available in the 3D workshops. I previously worked in an artist’s foundry, producing life-sized figures, so for me the most exciting area in 3D is the bronze foundry. The single most essential piece of equipment in the metal workshop would have to be the MIG (metal insert gas) welder, however. You can make a finished sculpture three metres high in minutes with the welder and a few pounds worth of mild steel. When I work with students I tell them that, sometimes it’s good to just play with materials and not be too fixed on the final outcome. Personally, before I work on large constructions, I make maquettes (small, preliminary models) using oil clay and armature wire and every so often I come across one that I want to realise full scale. I also draw every day and I encourage NUA students to do the same. You can work through a hundred sculptures on paper in the same time it takes to produce one physically.
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Tools of the trade
Jess Copsey Printmaking technician
Relief inks I love oil-based printing ink. There is something special about it – the smell, the consistency, the way it sits on paper, the noise it makes when being rolled out – everything about it is really satisfying. Apart from when it gets on your clothes! As a practising printmaker, I like to experiment with reaction and control within the printmaking process, using simple forms to explore technical exercises. As a technician you have to work exhaustively within a process, so that you can help students wherever necessary. This sometimes makes it feel like you’re inhibiting any sense of chance within your work, so to make up for it I often try new processes and use unorthodox materials, and I love to share these experiences with students when I can.
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Image Š Jonathan Knowles
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Cut out for success Collage artist Stacey Knights (BA Illustration, 2012) has seen her career go from strength to strength since starting out as a freelancer. We caught up with her to find out more about her work.
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What tools or technology do you use? My main tool will always be a craft knife. I find that actually, I’m better with a knife than I am a pencil (read into that what you like). My work has a handmade feel, so my tools are paintbrushes, sponges, anything that will create an interesting texture. The only digital application I use is Photoshop, for very small tweaks, colour adjustments and to get my work ready for printing. How did you first come to work with institutions such as the Barbican, Writers’ Centre Norwich and The Architectural Review? By being in the right place at the right time. I have a portfolio on the Association of Illustrators (AOI) website and the Barbican found me through that. It’s really important to have online portfolios. A lot of clients have found me through arts organisations, rather than my own website, because of the reputation associated with them. What are the briefs like for these high profile projects? Briefs can be really varied depending on who you’re working for. I’ve been very lucky with clients; the only strict part tends to be the dimensions and main subject of the illustration. So I can let my imagination run wild, at least until after we discuss my roughs! Describe the development of your style. How did you start working in collage? During A Level I learned to screenprint and started thinking in layers. Whilst studying for my foundation degree, I moved into painting. My style still worked in layers; I had a habit of working with thick paint to create texture, but I knew I hadn’t quite found my style. It wasn’t until the second year of my degree at NUA that I experimented with collage. A tutor suggested that I give it a go. I think they meant that I should introduce found imagery into my paintings but I decided to cut my work up instead and – ta dah!
This page: (clockwise from top) Detail from a poster produced for the Barbican; prospective cover design for Little White Lies, which came runner-up in D&AD New Blood’s Illustration category; a poster produced for the Barbican. Opposite page: An image from Stacey’s Japanese Combs series
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Do you find it difficult taking feedback from clients? I’ve never had any issues taking feedback and integrating it into my work. At the end of the day the client is paying for something so they need to be happy. Most art directors will listen to my opinion, so it’s a two-way thing, but if they have a clear idea of what they want and I haven’t quite got it right I’ll happily change the illustration. What is your favourite project to date and why? One that stands out was a project with photographer, Jonathan Knowles and art director, Emma Taylor. I created
Left: A series of ‘Norwich building’ collages Right: Stacey’s working methods Below: Stacey in her studio in Norwich
three, life size, collage geishas (head and torso). They were photographed with beautiful wooden Japanese combs, so it looked as if my paper geishas were combing their paper hair! It was a huge challenge to work to that scale, not least because as soon I came to make them, I realised that my desk was too small (my work is normally A4 or smaller) but I really enjoyed it. Describe the challenging aspects of being a professional illustrator? It can be hard to stay motivated when work isn’t coming in, so keeping a positive attitude is everything. I also find it challenging to find time to research and contact possible clients around creating work and having some kind of social life. It’s not so interesting, but the hours spent researching art directors do pay off. Another challenging thing is the paperwork (and I’m not referring to the collage kind). As every freelancer knows, it can be tricky keeping on top of accounts, contracts and invoices. Overall, my approach to design hasn’t changed too much since studying at NUA. The biggest difference is finding increased confidence. I don’t worry as much as I used to and I believe in my own ability more. I’ve also sped up my whole process, that’s what tighter deadlines will do to you!
www.staceyknightsillustration.co.uk
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Š Joakim BorÊn
A home for bright ideas The Ideas Factory N U A is a business incubation centre for start-ups and freelancers. Eighteen months since opening, it is now home to 25 businesses. We open the doors to share some of the stories inside.
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Business occupants in The Ideas Factory NUA include (bottom to top) Tee Hee (Graeme Davis and Mark Amos), A Fine Studio (Rob Skinn and Steve Kirkendall), The User Story (Laura North and Tom Haczewski), and Smith (Paul Oldman)
Copper Crayon Video and Animation Company. Est. 0000
Beth Sowersby, our Business Innovation Manager, explains the concept behind and benefits of The Ideas Factory NUA . Here at The Ideas Factory NUA we offer flexible space for graduates and freelancers to start new businesses from. Our aim is to offer more than just office space, by building a community of creatives, somewhere to work side by side with like-minded people. One the most positive things about the centre is how open our businesses are to ideas sharing and collaborations.
We currently have 25 businesses in the building including
photographers, graphic designers, illustrators, architects, developers, UX consultants, film makers and writers. Most companies are start-ups and are going through similar experiences to one another, even if they are in a slightly different field. Some chose to use the space for a short period and others have been here for about 18 months, during which time their businesses have become established and are thriving. The centre offers a programme of support, with monthly legal and finance clinics, talks on funding, marketing and regular networking events. We tailor the sessions around our businesses so if any of them are interested in a workshop on a particular area of business
A community of creatives, somewhere to work side by side with like-minded people
support they need help with, they can let us know and we will organise it.
Our central location means that this is a great spot for
clients to drop in. Having a professional meeting space allows our occupants to hold meetings in a professional environment. We work closely with local creative businesses to promote our occupants’ services.
The centre features a UX lab, which is unique to the
region. The lab offers companies the chance to test new digital products, from websites to apps or games.
Above: Beth Sowersby, Business Innovation Manager Below: Office spaces inside The Ideas Factory NUA Opposite page: Copper Crayon
www.nua.ac.uk/ideasfactory
Š Joakim BorÊn
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Businesses include:
The User Story A usability and UX consultancy run by Tom Haczewski and Laura North. Together, they work on improving experiences and designing interfaces. They offer services ranging from user experience and usability, through to digital consultancy and interaction development and run a highly-advanced
Interview
UX lab to test digital interfaces. www.theuserstory.com
Copper Crayon A Fine Studio A digital creative design agency,
Start-up film production company Copper Crayon was founded
headed up by NUA alumni Rob Skinn
by graduates Harry Elvin and Ed Scarrow (BA Film and Moving
(Diploma, Graphic Design, 2000) and
Image Production, 2015) with their friend Chris Elmer, from
Steve Kirkendall (Diploma, Graphic
the University of Leeds. They have been resident in The Ideas
Design, 1982). Happily based in The Ideas
Factory NUA since 2015, where they have received support to
Factory
formulate their business plan, develop their brand identity and
NUA
in their beloved home city
of Norwich, they make well-crafted work
grow their professional network. Beyond caught up with Harry to
that’s useful, handsome and friendly.
see how business is going, 18 months in.
Clients include Writers’ Centre Norwich and Norwich University of the Arts.
What sort of films do you make and who are your clients? We create bespoke moving image for businesses looking to
www.afinestudio.com
improve their online presence, be that a short promotional film, an infomercial or event coverage. To date, we’ve done a lot of
Smith
work for the education sector including NUA, several secondary
A mature company run by NUA alumnus,
Association of School Business Managers. We’ve also struck up
Paul Oldman (BA Graphic Design, 1984).
a healthy relationship with Norfolk Museums Service that has
Smith works mainly in branding
led to some very creatively fulfilling projects. That’s still a bit
and design for print. Smith’s clients are
confidential but will have important significance for the county’s
mainly in the educational sector as well
history. All will be revealed later in 2017!
schools, an education software company and the National
as telecomms, law, property, the arts, government and the third sector. www.smithltd.co.uk
Tee Hee
We were realistic in our expectations that not every film we were going to make would allow us to be creative
A creative animation agency aiming to make the complex simple.
How have the realities of running an independent film
With a powerful combination of voiceover,
company differed from your expectations?
text and demonstrative animation, NUA
Oddly there hasn’t been anything too startling. We were
alumni Mark Amos (MA Communication
expecting unconventional working patterns and periods of
Design, 2013) and Graeme Davis
inactivity mixed with periods of intensive work. We were realistic
(MA Communication Design, 2013) make
in our expectations that not every film we were going to make
confusing information comprehensible.
would allow us to be creative, as some clients would want
www.teehee.agency
to micro-manage. And we knew some clients would have very bad ideas that they would be hard-pressed to move away from. We also guessed that some would allow us to fly with our own ideas and opinions and would be very light-touch with us. We’ve experienced the full range already.
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How do you strike a good work/life balance? Due to the nature of film production and the unconventional working hours that come with the job, it would actually be less productive if we were very rigid with our work regime. However, we’ve found that the trick is not to afford ourselves too much flexibility, otherwise it may encourage a lackadaisical attitude. I like to think we have avoided the temptation so far! Have you been offered a project that you’d never have guessed would come your way?
Freelancers include:
Yes, out of the blue, a very well-known telecommunications company approached us to make a film about some specialist training for some of their staff. They gave us the royal treatment – putting us up in amazing hotels and taking us for lovely meals – and they are a great client to have on our CV too. How has running your own business affected the way you perceive yourselves as creatives? Other than Ed’s excessive facial hair, I’m not sure the three of us conform to how one traditionally imagines a creative person to look or be. I don’t think creativity is something beyond logic or something that some people are gifted with and others not. We have learned from our business that the hard bit really isn’t
Denisa Ilie A fashion and beauty photographer. Since graduating, Denisa Ilie (BA Photography, 2013) has been taking on commercial commissions and her work has appeared in Smith Journal and TWO. Clients include Dancys, Louise Young Cosmetics, North Polar Bear and Norwich University of the Arts. www.denisailie.com
how you create, rather it is why you create. What’s in store for Copper Crayon over the year ahead? We’ve already had several bookings and there’s been a notable increase in the sort of productions we really enjoy working on. So hopefully we can keep the fulfilling jobs rolling and get noticed and hired more often for those type of films. Our dream is to have the time, equipment and spare funds to make a short fictional piece which we can submit to festivals, something we can really focus on making the best we can, without cutting any corners.
Suffolk Punch Press NUA graduate and commercial illustrator Adam Avery (BA Illustration, 2011) uses bold shapes and colourful composition to illustrate complex stories and issues. His clients include The Guardian, CNN, The International New York Times, i-D and WRAP. www.thesuffolkpunchpress.com
www.coppercrayon.co.uk
Hodman Productions A digital animation company run by Mike Cutting (BA Animation, 2015). Mike’s collaborative film, Lucid Dream won Best Promotional Campaign at Sunrise 2015 hosted by dittoTV. His client list includes Creative Arts East and Greenpeace. He has recently collaborated with Griib Design, another business based in The Ideas Factory NUA . www.hodman.wixsite.com
Word etc A writing and editorial service for print and online media run by Joanna Peios. From copywriting and research to editing and production, she regularly proofreads and copy-edits for NUA’s publications. www.wordetc.co.uk
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Freelancers in the Hatchery include (left to right) Stephen Charman, Word etc (Joanna Peios), Suffolk Punch Press (Adam Avery), Eastkin Creative (Tim Hyland, BA Film and Moving Image Production, 2013), Denisa Ilie, Hodman Productions (Mike Cutting) and Griib Design (Andy Griib)
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Social li fe Is Instagram the perfect social media platform? beyond
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We think so. As a purely visual medium, it’s an ideal place for creatives to find inspiration, follow trends, forge new connections, engage a wider audience with your work and – fingers crossed – gain commissions. We spoke to four very different NUA alumni to find out how they’ve made the platform work for them.
Building a brand Fiona Burrage FdA, Graphic Design, 2006
You’ve built the Nor-Folk brand up from a single Instagram feed. Can you tell us more about this journey? It started when my son was born and I began sharing photos of him online, with no real agenda. Being at home full-time I started to observe how people used Instagram as a business tool for promotional purposes. First, we launched our branded tote bags on Etsy and people following our journey started to buy them. Next, we launched our ‘Wonder Years’ tees. To secure stockists, I posted one photo on Instagram and asked people to tag stores they’d like to see our pieces in. Before we knew it, we had eight stockists across the world and several thousand pounds to put into production. By the end of 2016, we’d amassed more than 70 stockists across the world.
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Do you feel that the story you tell through Instagram makes your brand more appealing? I hope so. I like to take the everyday and, often, the very simple and position it in the most beautiful and purist way possible. I’m drawn to considered compositions and this is no doubt as a result of my design background. As a graphic designer, I never put anything on a page that isn’t completely necessary, so I apply this thinking and logic when I compose a picture.
@ nor_folk
Fiona is creative director of Nor-Folk, a journey of designing a simpler life. She also co-runs The Click Design Consultants with her husband and fellow NUA alumnus, Bobby Burrage (BA Graphic Design, 2002). They have recently collaborated with Adnams, MADE.com
You started off as a graphic designer, have since launched a fashion and lifestyle business and found a passion for photography along the way. Do you think your success on Instagram has turned you into a bit of a Jack (or Jane!) of all trades? I’ve definitely described myself as that before. And of course there are all the unglamorous things I do, too; paying invoices, managing cash flow, warehouse logistics, website updates. Managing all parts of the business has enabled me to get a real understanding of my strengths and weaknesses. How do you go about showing off your brand in new and interesting ways? That is definitely a challenge. Now I’m moving Nor-Folk in a new direction I’m keeping my feed fresh with collaborations. When it comes to my feed, I always think what would interest me? I am inspired by how other creatives work, so this year I will be sharing how I work with other brands with the view to engage and inspire my followers.
and IKEA.
Fiona’s favourite feeds
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@apieceofcake82 Deborah’s styling and curation appears effortless. She’s able to put together a photo that appears relaxed but inspirational – that is a very difficult skill.
@local_milk Look at her feed and there will be no reason for to me to explain why I like it. Not only is she an incredible stylist and photographer, she’s a very intelligent businesswoman too.
Creating a stand out image Aaron Tilley BA Graphic Design, 2001
Aaron is a still-life photographer. His clients include GQ, Elle, Kinfolk, The Guardian, Vogue, Bally, Adidas and Google.
@ aaron_tilley
How do you ensure that each of your images tells a story? Simplicity is best. You can add more and more to an image, but often it becomes over-complicated. Usually, I find stripping it back to the original idea is more impactful. If an image is too complex, the idea within it can become less immediate, or lost all together. Can you tell us about the groundwork that goes on in order to create one of your photographs? After brainstorming ideas to come up with a strong narrative, I often collaborate with skilled set designers to bring projects to life. We work together to find a way of representing my ideas visually, using textures, props, materials, colours and composition. For me, it’s very important to share sketches or layouts before we get into the studio, so everyone is on the same page. Some photographers prefer to work more spontaneously, making decisions and adapting elements on set as they go. It’s just a different method of working.
Aaron’s favourite feeds
In our image-driven world, it’s a real skill to be able to create a photograph that stays with someone. What is the quality that makes your work stand out? I always try to make my work relatable. If people connect with an image, it often resonates and sticks with them. You can make an image relatable by using familiar items and placing them completely out of context, or by taking an everyday situation and using it to create something unexpected. Visually, I try to keep my work refined and sophisticated. How do you retain your style when working for a client with its own distinctive brand? Sometimes it’s tricky to retain your identity when producing commercial work, but the key is to have a strong visual style. If you have that, you have a greater chance of being commissioned for a brief that’s the right fit. Art buyers at advertising agencies select artists according to their aesthetic and if they think the artist can bring something unique to a brief.
@charlottelovely She and I have worked on a few fun projects together. She injects cheeky personality into inanimate objects in such a charming way.
@jean_jullien He’s the master of turning a simple idea into a witty piece of work. Aesthetically, his work is so recognisable that it has become iconic.
Going behind the scenes Polly Fern
You often use Instagram to share glimpses of half-painted ceramics, or items going into the kiln. Why do you think people are intrigued to see your working processes? A lot of Instagram users are creatives, seeking inspiration or comparing techniques. I guess that being an illustrator and ceramicist isn’t the most conventional profession, so that’s partly why people enjoy finding out about what I do. Most ceramics are mass-produced, so it’s interesting to share how the making process works. The same goes for an illustration in a magazine; you may see the final result, but you don’t see the process behind it and how it’s actually all hand painted elements, rendered together in Photoshop.
BA Illustration, 2015
@ pollyfern
How does the reality of your profession compare to the picture you share through Instagram? Instagram gives snippets, but doesn’t actually show how many hours go into a piece of work. There are lots of things I don’t post about, such as the amount of time that goes into admin or the frustration of kiln firings not going to plan! Your audience largely views your work by digital means, yet the items you produce are carefully handmade and tactile. What are your thoughts on this dichotomy? I enjoy seeing the work I make on a screen. It brings another dimension to what I do and I find myself experimenting in different ways, playing with objects to assemble and photograph. I do think it is a whole other experience when you actually pick up my ceramics though, and you can feel the variety in texture from the resist.
Polly is an illustrator, ceramicist and canary keeper based in Norwich. She illustrates a monthly travel feature for Homes & Antiques.
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How do you go about showing your daily routine in fresh, interesting ways? I don’t think about it too much. New work automatically results in new pictures. Sometimes I feel stale with something I’m making and I find that taking photographs makes me look at it in a new light, which can help develop fresh ideas. Some of your most popular posts include photographs of your canaries on the loose in your studio. Tell us more about them. Do they act as an inspiration? I have always kept birds but when I started to work from home I thought canaries would make great companions. They aren’t known to be tame but we developed an attachment. I love the history of canaries in Norwich. I have discovered some interesting stories about canary keepers, which have definitely informed my work!
Polly’s favourite feeds @eugenieredmount She’s a stylist living in France. I adore the colour, composition and texture within her pictures.
@designfortoday Joe has an amazing collection of mid century lithography, and collaborates with illustrators and artists to create beautiful publications.
@theroundwindow I love seeing a kiln being used in a different way, in this case to make beautiful, hand-painted stained glass windows.
Keeping a digital sketchbook Phil Carter BA Graphic Design, 1977
@ canarycarlo
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Your Instagram feed is a glorious mix of oddities that you’ve spotted out and about. What makes you stop to take a picture of something? For me, the thrill about being involved in the visual arts is that it isn’t a nine to five occupation but a lifetimes’ compulsion to observe the world. That I choose to record special moments with my phone is just an alternative to the more conventional sketchbook or use of found ephemera, collected to become collages, that I also employ. They all have their place in my copious pockets but the beauty of the phone is its immediacy and practicality. I used to carry a 35mm camera everywhere but the phone really is a blessing.
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Do you use Instagram in a similar way to a physical sketchbook? Yes, apart from recording ‘the moment’ I use the images I put up on Instagram as references for creating paintings and collages, as well as prompts to use for future design projects. Does the act of sharing of your sketchbooks digitally give you an incentive to keep on producing work? I’d be lying not to reveal that the number of likes that these exploratory images get does help me decide whether to develop a drawing into a painting or collage. Ultimately the choice is mine but it’s interesting to see how people respond. The thing that constantly amazes me is that, if I post a drawing from a sketchbook, the number of people liking it will be far greater than any photograph. I can only put this down to the fact that when a rougher, handmade
image appears it strikes a chord with our primeval instincts. After all, with an almost monotonous feed of photographs of fried breakfasts and sunsets, a hand-rendered image is bound to stand out, no matter how competent! How has your work changed since the arrival of social media? For me, the biggest pleasure is the sense of community and sharing. I recently had a Canadian painter start following me and, having seen her work, have now struck up a rapport to share ideas and work. How would that have ever happened in a pre-Instagram world?
Phil’s favourite feeds @johnnyfoxrocks A constant feed of wonderful, found type. An inspiration!
@christopherbrownlino An exhaustive output of beautiful illustrations, showing that craft is alive and kicking.
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@cit.ron Any image of an ancient Citroën 2CV always cheers me up and makes my day.
Phil has been a designer in his own practice for over 30 years. He founded Carter Wong with fellow NUA alumnus, Philip Wong (BA Graphic Design, 1977), where he worked with clients including Formula 1, Unilever and Cypressa. He now runs Carter Studio with his son.
A whole new world is rapidly opening up to designers. Biofabrication, or design with living cells, is offering a swathe of complex, bioengineered materials to play with. The 21st century, it seems, is going to be all about biotechnology.
Grow your own clothes
At Biofabricate* 2016, adidas launched Futurecraft Biofabric – the world’s first performance shoe made from Biosteel® Fibre (a 100% biodegradable design made from silk biopolymers). *Biofabricate is the annual summit for the emerging world of grown materials. www.biofabricate.co
Amy Congdon (BA Contemporary Textile Practices, 2009) is at the forefront of this rapidly expanding industry. Having gained a strong grounding in traditional textile design at NUA, she undertook an MA in Textile Futures in London. It was there that her practice started to move towards the ambitious grounds of biofabrication. Inspired by the idea of applying tissue engineering to the commercial fashion industry, she produced her own speculative Biological Atelier collections. The work imagined a future for haute couture in the year 2080, where fashion is grown not made: imagine bone polka dots fabricated in vitro, or pearls set into place during the growth process. After that, Amy began frequenting the labs at the Tissue Engineering & Biophotonics Group at Kings College London, synthesising living cells to explore the possibility of creating new materials.
Image courtesy: adidas/Hannah Hlavacek
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Amy has since relocated to Brooklyn, New York. Modern Meadow, the pioneering company that she now works for, seems to be a step ahead of the rest of us, already inhabiting the future. The company’s mission is to produce the world’s first commercially viable, biofabricated leather materials. Made from collagen – the most common protein in the world – the material is animal-free, yet can be attributed performance features that you just can’t get from the hide of animal. Imagine an organic fabric with all the strength of crocodile skin, but the suppleness of a lamb. In the world Modern Meadow inhabits, that kind of hybrid is far from impossible. Biotechnology has sustainability ingrained within its ethos. Modern Meadow boasts that, compared to traditional leather production, their methods reduce waste by up to 80%. Lab-grown leather avoids being a co-product of the meat industry and can be produced in specific sizes and shapes, thereby minimising waste. It relies on far lower quantities of land, water, energy and chemicals than standard materials and is more consistent; it doesn’t have defects, such as the scars or discolourations that sometimes affect real leather. So how is this new material made? In short, the process uses the latest tools of biotechnology to engineer cells to produce collagen. The collagen is assembled and undergoes a simplified tanning process to create biofabricated leather materials. Big names are already keen to test the viability of these new materials. At Biofabricate 2016, an annual summit for ‘the emerging world of grown materials’, adidas launched the world’s first biofabricated shoe, a 100% biodegradable design made from silk biopolymers. Amy said, ‘That was a total game changer in terms of these new materials going mainstream! For a world-leading brand to be working with biofabricated materials demonstrates the potential they have. Where they lead, others will follow.’
Imagine leaving your house in the morning and pulling on a jacket that has been grown in a lab. Sounds futuristic, but the reality might not be as far off as it seems
Similarly, North Face recently worked with Japanese company, Spiber to produce a prototype called the Moon Parka, which is spun out of synthetic spider silk. Modern Meadow are keeping quiet about their own business partners, but have stated that they are working with a small number of companies to manufacture products at a pilot scale. They are initially focussing on luxury goods, but can foresee a move into other areas such as automotive and furniture in the future. Once established, they plan to manufacture lower-cost products that can be made more widely available. There’s still a long way to go, but biofabricated materials seem set to become commonplace. Right now, the focus is on
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Opposite page: North Face’s Moon Parka is spun from synthetic spider silk
Above: An image from Amy’s Biological Atelier collection, imagining biofabricated haute couture in 2080 Right: Spools of synthetic spider silk
recreating luxury, animal-based textiles such as leather, silk and ivory. There is naturally less appetite for recreating plant-based materials like cotton. Cheaply produced commodity fibres are not easy to compete with in terms of costs. Amy said, ‘There is also a question of quantity; we consume these materials in vast amounts. Biofabrication isn’t going to be able to replace that overnight and I’m not sure that should be the only end goal, as we then fall into the trap of trying to fit into existing consumer models and vindicating throw away habits. The entire textile industry is the second largest polluter on the planet.’ As exciting as all this is, isn’t it just a little too ‘Frankenstein’s monster’ for comfort? Would you really want to wear an item of clothing that has been grown in a Petri dish? Throughout history, textiles have been the result of traditional techniques such as weaving, spinning, dyeing and sewing. Surely wearing clothes that have been grown in a lab will change your emotional response to the end product? Amy said, ‘I think the vast majority of consumers have already become very disconnected from how things are made. By communicating and opening up the potential of biofabrication to a wider audience, my hope is that this brings back an emotional response to our textiles. ‘The lab’ can seem like a sterile place, but in reality it’s an incredibly hands on environment. There is as much skill in biofabricating a material as there is in any other craft. It’s what my own work is about – bringing traditional textile skills into the tissue engineering laboratory.’
www.amycongdon.com
Showcase A selection of alumni work
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Georgie Bennett (BA Illustration, 2014) www.georgieillustration.co.uk Images: The Folio Society
Billy Clark (BA Graphic Design, 2010) www.billyclark.org
Delia Peel (Diploma, Art & Design, 1993) www.thornbackandpeel.co.uk
Karim Skalli (BA Photography, 2016) www.karimskalli.com
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Photography: Kate Anglestein, Graphic Design: Katie Scally (BA Graphic Design, 2012)
Rachel Kurdynowska (BA Fine Art, 2012) www.eastonpottery.com
Siobahn Palmer (BA Surface Design, 2012) www.siobahnpalmer.co.uk
Matthew Callaby (BA Graphic Design, 2013) www.igthebook.co.uk
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© TOA Ewout Huibers
Joe Cruz (BA Graphic Design, 2010) www.jcruz.co.uk
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Peter Middleton (Diploma, Art & Design, 2002) www.notesonblindness.co.uk
Millie Woodcock (BA Animation, 2013) www.milliewoodcock.com
Melissa Pierce Murray (MA Fine Art, 2015) www.melissapmurray.wordpress.com
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Seamless The invisible line between fashion and marketing Harriet Posner
Perspectives Members of NUA’s academic community share views on their creative industry
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World builders
Marketing is a stimulating and exciting discipline that bridges the gap between the intangibilities of fashion and the concrete realities of business; connecting the commercial goals and value system of a corporation and its brands with the personal ideals, desires and actual needs of consumers. You could say that fashion is, by its very nature, a marketing tool with promotion inherent in its substance and spirit – part of its DNA. The very word fashion offers us an invitation to dream; it can transport us from the mundane, to a glossy world of models and catwalk fantasies. Fashion’s arcane and mystical processes can transform mere clothes into season’s must haves and can just as mysteriously make perfectly serviceable garments appear wrong or out of date. This magical realm is a place where shapes become silhouettes, a colour transmutes from brown into glamorous mocha and a simple sheath of black fabric becomes a little black dress. It is hardly surprising that fashion appears so seductive, when so much media coverage is dedicated to reporting the more glamorous aspects of the industry, such as the designer shows and celebrity culture. And let’s not forget the fashion magazines packed with glossy adverts promoting a rich assortment of luxury fashion, accessories and perfume.
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Shapes become silhouettes, brown becomes mocha
Image-led
and a simple sheath of fabric becomes a little black dress So, on one hand, we can view fashion as a complex cultural phenomenon; but we need to be careful not to let this obscure the fact that fashion is also an intricate, interconnected world of global manufacture, retail and commerce. The scope of the industry is immense. It extends from the agricultural, chemical and fibre industries that produce and supply the raw materials for textile manufacturing, through to the more glamorous world of styling, art direction, photography, advertising, PR and social media. Marketing operates at every level of this fashion system. It is as relevant to couture, luxury designer brands as it is to independent niche labels or to the mass-market and volume apparel businesses. Marketing is the common denominator that ties it all together.
Harriet is Course Leader for BA Fashion Communication and Promotion. This is an adapted extract from her book, Marketing Fashion: Strategy, Branding and Promotion.
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Pencil point
World builders
The political potential of illustration
Architects and VFX designers started out as physical model makers and illustrators. Today, both industries have made the transition to drawing digitally, using similar software to create hugely detailed virtual environments. VFX Course Leader Saint Walker (SW) and Senior Lecturer in Architecture Jonathan Ellis-Miller (JEM) talk about a collaborative project they are running for students from both their disciplines
Toby Morison
Just over a year ago, myself and three other illustrators were commissioned by Save The Children to make a body of work to support its campaign highlighting the plight of Syrian refugee children in Europe. Using illustration was a new approach for Save The Children and demonstrated their faith that the form could engage the attention of an audience in new, powerful ways. A year later I found myself making an editorial image responding to the Trump administration’s travel ban. If previously, for Save The Children, I’d felt that I was making images to prick the conscience of a compassion-fatigued middle class, now I felt as if I was trying to articulate a sense of global consternation. But can illustration do more than wait to be commissioned by the liberal press? With the prevalence of social media there has never been a more opportune time to make self-initiated responses for wide dissemination. NGOs vitally need imagery to support their messages. Can illustration, whose roots are in social and political commentary, reclaim the aspiration of provocation and agitation? In the past 25 years, as capitalism and consumerism have dominated western society, illustration has largely become a visual accompaniment to lifestyle editorial, annual reports, packaging for myriad products or the provider of colouring-in balm and distraction. Illustration can be more than this. It has the opportunity to be at the vanguard of commentary and protest. There are signs this is happening.
Can illustration, whose roots are in social and political commentary, reclaim the aspiration of provocation and agitation? Jean Jullien, the French illustrator, responded immediately to the Charlie Hebdo and Bataclan atrocities, and his iconic images spoke to people in a way which transcended language. This can be the power of illustration. Recently The New Yorker, whose covers have hitherto been largely apolitical, has run a series of searingly political images. One of the great defining characteristics of illustration is that it is an outward looking form. Illustration notices things in the world. It can augment the written word but also supplant it, in its pithiness and universality. Whilst illustration will always have a role in offering an escape from reality, in creating alluring imagery, it will be guilty of neglecting its full potential if it does not also respond to injustice and intolerance in the world today.
Toby is a Lecturer in Illustration and freelance illustrator. His clients include the Crafts Council magazine, Art Quarterly, RIBA Journal, The Guardian, The New Yorker and Time.
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Can you give us an insight into how architecture and VFX complement one another? SW I’ve been thinking about the similarities between the
two disciplines. There is similar software being used and there are similar production values, particularly in terms of 3D software. But we can’t forget, that goes across the board. 3D is also prevalent in animation, interior design, graphics and other fields. With VFX and Architecture there are more acute similarities, for instance, ideas of simulation and visualisation. Fundamentally, we’re both world builders. The difference is what those worlds are built for. VFX is very much entertainment-based but with architecture, it’s usually a real world situation and there are restrictions that don’t apply within the world of fantasy. JEM Architects used to work with physical models to represent reality, but now we use Building Information Modelling (BIM). When we’re working on a building, we will now actually design it as a 3D virtual model. Our processes are similar to the world of VFX, but we tend to go a level deeper. We use layering to show where the pipes will go, how the structure will fit together. SW VFX is not based around realism, it’s based around photorealism. As a VFX artist you have to understand how to manipulate the viewer into believing something. We fool the eye by managing the way we cut and frame film and mimic how the lens sees things. This is where all those traditional art school values come out. In order to produce CGIs, you have to know where the light’s coming from, how it’s bouncing off or on to the building. You might put a bit of blur on it to give a sense of focus; all those traditional elements of cinematography are important to make it convincing. You’re running a collaborative project between second year architecture and VFX students at NUA. Can you tell me more? SW At NUA the second year is based around the idea of
collaboration. It would be very easy for VFX to collaborate with Animation or Games but we thought there was more of a challenge in coming together with Architecture for seven days of intensive workshopping. The idea is to enable modelling around the theme of ‘rewilding’. We want students to think
about what might happen to buildings if they were abandoned. What would happen if we left the doors of St Georges open, say and a flock of wild geese came in and lived there for 30 years? How would they alter the building? What effects would insects or rot have over 100 years? JEM It’s encouraging them to see things in a different way. The architecture students will explore how the building might deteriorate and the VFX students will develop the visuals. SW It could be seen that architecture is about permanence. Generally, you build something in the hope that it will be there for generations. To look at time in a different way is kind of exciting. JEM It’s interesting to look at buildings that have been around for hundreds of years and examine the patina of time. Algae, fungi, lichens grow on them. With a lot of the buildings that we make now we have to work out how we’re going to keep them looking shiny and new. They are not allowed to age or weather because that’s not the modern way. So, in rewilding these buildings, we want our students to take a step back to look at how materials degrade. SW It’s also applying the fantasy side of VFX to something real. Students seem to love the idea of post-apocalyptic imagery. When they make a scene it always features a ruin with some ivy over the top; of course there’s far more that would happen over a period of time! So rather than creating a romantic view of a ruin, here they will need to do in-depth research into what actually happens.
What would happen if we left the doors of St Georges open and a flock of wild geese came in?
Businesses are currently crying out for technically-minded creatives. We’ve introduced three BSc courses at NUA, for students who have strong computer-based skills and an eye for design. Is this mix going to be more important in the future? JEM We all require high levels of technical competence these
days. Operating complex computer programmes effectively is no mean feat, particularly with architecture and VFX. We want people to make models and produce drawings, of course, but they also need to gain technical acuity. SW And patience. There’s a huge amount of iteration required to render something in 3D. It’s not just about learning the tech, there’s that thing of trial and error, building and rebuilding prototypes. Does this go back to what you said about the usefulness of an art school background? SW Yes, exactly. If you ask a new student to design a bridge in
3D they’d create a simplistic structure, but in the end it’s nothing like a bridge. If you take them to look at a real structure, as I did – I took my students to the flyover on Magdalen Street in Norwich – and you get them to take visual references, they suddenly start to see that it was entirely different to how they’d imagined. We have this assumption in our head that we know what something looks like. But you have to go and collect references and pick out the scuffs and marks on pillars or the cracks in concrete in order to truly depict something that fools the eye. You can only discover all that from going out and looking, by being good observers with an eye for detail.
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Image-led The authenticity of contemporary photography Gretchen Geraets
Images have an accelerating presence in our everyday lives. We consume an increasing number of them and they, in turn, consume us. We have not looked back since the iPhone turned the camera back on us. The snapshot proliferates our daily lives and it has infected the aesthetic of commercial imagery. The snapshot suggests casualness, capturing what is ready-to-hand, and in that sense can claim to present an ‘authentic’ view on reality. Yet we have long become accustomed to images of intense consideration, care and nursing, and even more so expect it in the spectrum of advertising, with the result that our own response to images is strongly mediated. Advertising fetishises, guiding us to our desired image of self, extending or narrowing the limits of acceptability. In a frenzy, we collect, curate and reproduce the images of advertising in our social media streams to claim self-identity. We want to provoke, test the limits that apply, and exercise a certain control over this very instability. Reposting, reproducing, reimaging – in this way we configure and reconfigure our identities. We each assume an individual stance through the curation of our lives, expressed in images that are intimate and mass produced. Yet, in this way we also conform to images. Images contort self-expectations and our sense of linear time. Through them, we control how we image ourselves publicly, perpetually striving to seem fresh and new. Informed by advertising, images dominate our lives. In his book Ways of Seeing, John Berger wrote of advertising images laying claim to the renewing moment, evoking desire for our future potential. As advertising images appear on social feeds amongst all other images, sensitively mimicking the style of the snapshot image, they cleverly affect a further sense of authenticity. Images proliferate, recurring as similitudes. The images that we take as individuals have adopted and try to mimic the space previously inhabited by advertising. Paul Arden, previous ECD of Saatchi & Saatchi, claims 90% of inspiration in advertising is derived from the advertising industry itself. Images derive from images and this influence runs in all directions. It is uncanny to recall times past when we feared the camera and would have revolted against being subject to ongoing surveillance and its supposed inducement of feelings of paranoia. Now, however, our anxiety increases if we are not being imaged enough. We crave for and seek public acceptance. Like me! Love me! This is the power of images.
Gretchen is a Lecturer in Photography and artist. She has co-founded artist-led spaces in Australia and New Zealand and worked as a photographer for clients including BMW, Volkswagen, Lexus and Nokia.
NUA Events Diary 2017 For more information about any of these events email: alumni@nua.ac.uk
BA Degree Show Private View
Monday 26 June, 6-8.30pm NUA campus
BA Degree Show Tuesday 27 June -Wednesday 5 July, 10am-7pm* NUA campus
Telephone
+44(0)1603 756288 Email
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Norwich University of the Arts Alumni
Teachers’ Day: Information Advice & Guidance
Postgraduate Open Day
Thursday 29 June 10am -4pm
Teachers’ Day: Innovations at NUA
New Designers Illustration
Thursday 13 July, 3 -5.30pm NUA campus
Thursday 13 July 9.45am -5.30pm
* Except Saturday 1 July, 10am6pm, Sunday 2 July, 11am-4pm, Wednesday 5 July, 10am-4pm
Thursday 6 -Saturday 8 July, 10 am-8pm Business Design Centre, London, N1
New Designers
D&AD New Blood
Textile Design
Graphics
Friday 14 July, 4-7.30pm Curzon Soho, London
Thursday 29 June -Saturday 1 July, 10am-8pm Business Design Centre, London, N1
Wednesday 5 -Thursday 6 July, Old Truman Brewery, London
MA Degree Show
Free Range Photography
Thursday 29 June-Monday 3 July Old Truman Brewery, London
Free Range Fine Art
Thursday 6 - Monday 10 July Old Truman Brewery, London
Develop: Brighton Games
Tuesday 11Thursday 13 July 9.30am- 6pm Brighton
Film & Animation Screening
Friday 1 - Wednesday 6 September, NUA campus
Postgraduate Open Day Saturday 2 September, 12-3pm NUA campus