Personal Professional Development ZoĂŤ Moyden
P.P.D. Things I have done this year. What I really like to do. That BIG essay: Dissertation Proposal and Research Real Jobs Other peoples’ work that could, quite potentially inspire me. Creative Imaginings of Youth and Ignorance Hello, Third year!
Things I done this
(an overview of leve
Throughout level 5 I have thought critically about how my I want my pra The natural progression started from ‘Secret life of Objects’, a project wh object that had I had made on my foundation course before starting at Le The book was a personal account of post adolescence and how storytellin fairy tales romanticise situations that later on in life we realise are not o produce misleading morals that are rarely transferable into how we live. ‘There Is No Happily ever After’ subverting the classic signing off phrase t tales where the protagonists live ‘Happily Ever After’ and the antagonists The emphasis of the ‘Happy Ending’ within my books are that the book is care, taking careful consideration into what processes to use so the book within the constraints of its covers and the story is irrelevant. This conce ferred into my Collaborative project. The content of ‘There Is No Happily given to my photographer-collaborators so they could illustrate my word I could illustrate their photographs. I also developed a skill in creating an that was based on one of my collaborators’ grandfathers handwriting. Th ful as well as a pleasurable process to learn- a process that I am more th develop in third year.
have year.
el 5 projects)
actice to evolve. here I looked at an eeds College of Art. ng, in particular only fictitious but I chose the phrase to many fairy s are thwarted. finished with k itself is enjoyed ept was transy Ever After’ was ds and in turn n original font his was successhan enthusiastic to
“There Is No Happily Ever After”. Left, Secret Life Of Objects book. Above, collaborative book “Giving It Away” with vinyl lettering.
What I really like to do. Defining my practice
During making my les certain and no proces quality each el finite p
Above, typesetting equipment. Left, exaple of binding signatures together.
the course of this year, I have discovered a passion for the processes of bookg in all aspects. Firstly, the specialist process of typesetting helped me develop ss than perfection attitude to my work which in turn made me realise that with n products, particularly design pieces, perfection and professionalism is rewarding oticeable. I have been much more diligent when undertaking projects that involve sses that require a certain element of perfectionism. The tangible and aesthetic y of books and fine quality print and materials I find is exciting- exploring why lement is aesthetically pleasing when composed in a book- a neat package, a product, a trophy will keep me engaged for a long time.
Above, cover for Penguin’s collection of famously celebrated covers. Left, Inter-book’s table at IABF.
Books ETC.
That BI essa
Dissertation proposal and res
The provisional title of my dissertation is ‘A Picture Is Worth A 1000 wo So what are words worth?’. -The main subject areas are focussed in the m terpretation of text and how books as a tool can subvert and manipulate i.e. books are traditionally read cover to cover, words are read in consec order for the reader to understand the content of the ‘text’. However ‘Tex and ‘Book’ can be seen as separate entities: text in its form can be seen a typography, sets of words with several meanings etc. and books can just sculpture or can be a tool for learning, enlightenment, enjoyment and so o
The exploration of the space around text cou be seen as being more important than the tex itself- ‘Reading is a dis tinuous and fragmenta operation’. What does space say, how does i fluence the reader/ m importantly viewer. How text can be misin terpreted in a number of different platforms? Text messages, e-mail subtitles, translation f other languages, differ ent editions of books. Above, Oulipo Compendium a key text for dissertation research
IG ay:
search
ords. misine text cutive ext’ as artbe on.
e uld e ext sconary s the it inmore
nr ? l, from r. Above, Italo Calvino’s novel from which I got the inspiration for my Dissertation
Real Jobs:
considering internships relevant to my specialized field
Internship application for curatorial position at Leeds City Art Gallery.
Examples of Art Direction companies that I could contact after graduating for opportunities and internships.
Other peoples’ work that could, quite potentially inspire me.
Left, Marian Bantjes I Wonder book. Above, Audrey Niffenegger’s illustrated book showcasing the authors artwork.
I think this point needs to be made first and foremost. The Creative Imaginings of the final Design (Interdisciplinary) students are certainly not ignorant. Yes, I agree with youthful to to assume that the work being showcased to the general public in a mere weeks’ time is i unenlightened is far from the truth.
A buzz of originality struck me upon entering the space. The large title of the exhibition explaining that this was something that the students had fought with for a good three yea to push the boundaries of every aspect of their creative child, the pinnacle of every art u degree. The final show is born. Certain pieces were displayed generically and played as lig pieces that were cleverly constructed and composed where interactivity and consideratio yet period-applicable platforms made the pieces exciting and thought provoking.
The constraints of the exhibition rooms were not adhered to for example the space in the utilised to host one of three of Beth Woollerton’s image-sound-graph pieces and Jaclyne C used a space on the internet for the technically adept visitors to enjoy. Genius.
Beth Woolerton’s collection of noises, without putting the headphones on still makes for In this I mean that the piece is unassuming and the audience will see one piece tucked awa ridor and glance. Arriving at the second, there is the possibility they will engage in the pi the earphones. ‘Oh I get it now!’ They will think. Upon the arrival of the third piece they graph and their mind will make the connection between all nine components carefully pos trate the consciousness of the viewer. Is it repetitive or is it necessary? The dispersed tr three aspects each; a picture of the sound depicted, the sound itself and a graph of the sou precisely yet scientifically on standard white paper. Everything seems very accurate, tho experiment. It is clear that the piece would fail if one of its components were not there. sound and sound installation has been blurred- we are seeing what we are hearing, similar is written. It is a comment on structure and in my opinion the way Beth has displayed he method and precision is a clearly direct association with structuralism. Aesthetically the tion of the triptych is comprehensive, just like a sound moves chronologically, the visual this process. I was reminded of the piece of music by John Cage 4’33” where there is no s the orchestra Cage has composed for so the background sound of the space encountered b the music for four minutes and thirty three seconds. In Beth’s piece however there is ‘mu of tape ripping and egg smashing, a pencil scribbling- just like the sound my keyboard is m is background noise. Elegantly yet economically packaged background music. I am interes material she uses to demonstrate what seem like artistic experiments. Like the basic noise the photographs are immediately taken and displayed without a frame. The graphs are on tacked up on the exhibition spaces’ walls. The sense of immediacy is crystal clear. Just li ing from the earphones.
l year Art and o some extent but ill informed and
faced the entrance ars in the making, undergraduates ght relief to the on of the different
e corridor was Christensen has
background music. ay along the coriece by putting on y will look at the sitioned to infilriptych involves und waves drawn ought out, like an The boundary of r to saying what er works with linear presentaaffects mirror sound made by by the listener is usic’; the sound making as I type sted also in the es that are used n plain white paper ike the sound com-
Examples of Beth Wollerton’s Sound Installations.
Creative Imaginings of Youth and Ignorance
So that is that for second year then. Over summer I shall be working on personal book projects and developing my illustration skills, focussing on drawing botany and exploring the processes used by botanical artists.
Hello, Third year!