Jonathan Barnbrook

Jonathon Branbrook is a British Graphic designer and typographer from Luton. He is probably most recognised for his work on the David Bowie album Heathen, 2002. The album cover debuts his Priori typeface.

Heathen, David Bowie 2002.

This is particularly relevant as Barnbrook says his early influences came from record covers. In a interview he was asked, "What were your early design influences? What drew you to graphic design?" He replied with,

"Record covers. I was really into music when I was young. It was a form of rebellion and also a way to relate to the world. Record covers enhance your enjoyment of music, the graphics make the whole experience more meaningful in some way.

Also when I was younger I was always upset about American influence on the creative world. I wanted to look at my own culture, whether it be art, music or typography."

The answer to this question for is quite true to myself in a different sense. I used to buy old records for the album art, and I believe that nowadays less effort is put into album covers, I think that more could be done. I suppose that is was always going to happen especially with technology and record's not being the in thing. I adore the passion he clearly has for music and his own identity, the fact that he puts it into his own work means that his work is definitely more personal and something he wants to do.

Barnbrook is also popular for naming his fonts with less provocative names such as Exocet, Bastard, Prozac, Nixon and Drone. why he does this? Who knows? I quite like it for it's in your face-ness.

Bastard

About Bastard: 

"The name ‘Bastard’ for instance I thought about a lot. The typeface is a blackletter (or gothic) font. It has strong associations with Fascism. It would have been silly to ignore this, even though blackletter has a large place in the history of typography, most people would associate it with the Nazis so it was a chance to almost ‘laugh’ at that. But if you bother to look further into the name, you will know that there is a 14–15th Century form of blackletter called ‘Bastarda’ or that putting the ‘wrong font’ in a piece of letterpress setting is called ‘bastard type’. All I am trying to say is that naming a font is incredibly important – there is a tension there, which can be played with. "

Drone

Drone

"Drone is something you just don't want to hear. Drone is a religious dogma spoken at you for hours on end. Drone is the sound of impending disaster. Drone means an endless mumbling dirge. Drone is a badly proportioned font. Drone is available in two versions: 666 and 90210, both with a distinctly different feel.

Drone comes from letterforms found on the inside of Catholic churches in the Philippines. These hand written texts appeared to be copies of copies drawn with the most primitive of equipment – a stick or brush. The letterforms seemed to relate to lettering found in sixteenth and seventeenth century in England. 

The name Drone comes from the idea of meaningless dirge, thousands of pointless religious sermons preached over the years, thousands of boring inane pieces of copy set by advertising and design agencies over the years."

What inspires him?

"Q — What are your major influences?

A — My major influences are not from design or other designers, that I think would make my work tedious. My main influence is politics and philosophy and literature, through reading or just being engaged in what is going on in the world. I think its incredibly important to read, so I constantly have a number of books that I am reading. A few favourite authors would be Hermann Hesse, JG Ballard and Samuel Beckett. I am also a big fan of comedy, the way a serious situation can be commented on with humour can be better than any long political critique. I hope that people can see some humour in my work also. 

I think the type designer I most rate is Eric Gill. He worked in several disciplines and produced unique work in each area. I don’t think I am in any way as good as him but I hope that when you look at one of my typefaces it looks like my ‘handwriting’, that it could only be done by me. I think the same about Eric Gill, his lettering is a product of his mind with a singular vision which is simply beautiful. 

I think the type designer I most rate is Eric Gill. He worked in several disciplines and produced unique work in each area. I don’t think I am in any way as good as him but I hope that when you look at one of my typefaces it looks like my ‘handwriting’, that it could only be done by me. I think the same about Eric Gill, his lettering is a product of his mind with a singular vision which is simply beautiful."

"Q — Where do you get your inspiration?

A — My inspiration comes from lots of different sources. The type designer Bradbury Thompson said that to be a good typographer you must be interested in all aspects of life. I agree with this completely, typography is about cultural exchange between people, the transference of meaning between two beings and to do this you must be interested in culture, in life and be positive about it. Most good designers do not have trouble finding inspiration. As for specific areas of interests, 20th Century history and contemporary politics are a source of endless inspiration. This just comes from learning that history that we are taught at school and hear about from news etc. is in fact a very opinionated view. These interpretations and understanding of them have made me very sceptical about the idea of the truth or what is right no matter what source they come from – from politicians to advertising agencies – I think this is one of the reasons I became a typographer, it was a chance to tell the truth through printed words or at least to interject between them and the viewer. When you are graphic designer you are at the centre of putting out propaganda for somebody and it seems impossible not to question this. "

Ben Tour

I found out about Ben Tour, from looking at the key artists on David Barnes website (I love it when things flow like that). I had originally seen a piece by him, I couldn't locate who or where it was from, so I'm happy I've found it. I first saw this piece and fell in love with it. Tour is a thirty something painter and illustrator 'who has forged a successful career translating his fascination with human behavior into beautifully dense character portraits.'

Cold 1

I was interested in how he made it, it looks very digital, but then how did he make the splatter effect? Well it's not digital that's why! Tour paints with ink in the above piece. He often stretches to spray paint, water colour, acrylic and gloss.

Time Bomb Mural

This is an example of the use of spray paint and acrylic. I like the use of mixed media particularly when it works so well together. The way the paint has been applied creates a dripping affect, that almost makes the painting look as if it's been washed away - or being poured away. The work is incredibly emotive, even if the subject isn't the medium speaks.

In an interview Tour said:

“I would describe it as a visual diary of characters and personalities,” says the 29-year-old Toronto-born artist, in reference to his work. “My approach is different every time. But yeah, I steal parts of different things and bring them together—interesting people both real and imagined, and animals and objects that they connect with that are visually appealing. I think my most successful work has a definite mystery to it that lets the viewer interpret their own story.”

Original artwork for Omar Musa's album cover 'World goes to pieces' 2010

The above example is beautiful. The watery affect of the paint makes image have movement and flow. His style is definitely distinctive and very beautiful. The blue contrasts with the white and the red bringing out the most 'important' features. The paint looks as though it's been accidentally placed in areas, however looking at the arm makes me believe otherwise. It's as though everything is done on purpose, made to look effortless - this makes it more personal in my view. 

This is a quotation from his website that for me makes looking into his work and methods even more important to this particular brief.

"Canadian-born artist Ben Tour (b. 1977) channels a dark, often haunting sense of humanism in his work. 
His observations deftly inform his paintings, enabling him to capture the essence of a character, and then distort that view any way he desires. Frenetic lines, swaths of color, and intimate angles all convey a sense that Tour may not only be drawing inspiration from the lives of strangers he observes, but manifesting his own personal experiences as well. Ben Tour lives on the Sunshine Coast, British Columbia with his Wife and two children. "

Having read a number of interviews, I've decided that I like his personality as he's a lot more down to earth than you might expect. He leads a normal life and seems to have the same problems that a lot of people do. I think that sometimes when people become popular and start having less problems - what they do seems to become more 'perfect' and looses what it had before. I'm more interested in how he creates his work, how he gets new ideas etc. although a lot of his work is very stylised and similar - what I mean is you could easily divide his work into categories of how it's been done/what it's been done in should you want to. Below is a segment of an interview that I read that answers my question I suppose...

What are you trying to capture when making a new work? How often are you fully satisfied with your finished works?
Satisfaction for me with my art is very short lived, i tend to want to move on to the next piece in the middle of the one I'm working on. Only on a few occasions have i really loved a piece and even hung it on my own wall for very long. My art is very much about the Portrait and my subjects tend to be cold but with a unique individuality and strength. I just want to start making twice as much stuff as i make now.

For me, this is the same I start one thing- get half way through and want to start something else. Looking at his work I wonder if that's the reason people have no hair etc, it in my opinion enhances that what's removed doesn't need to be there, it isn't really the person. Portraiture is something I admire when done well, anyone can learn to draw, but it's capturing something about the person that makes a portrait truly good.

Marlene Dumas

Marlene Dumas, is someone that was recommended to me, I have no clue about her background and have only seen a snippet of her work! I love learning about people so hopefully she's not boring!


Here she is!

Marlene Dumas

"My best works are erotic displays of mental confusions (with intrusions of irrelevant information)`"

'Marlene Dumas makes paintings with no concept of the taboo. Racism, sexuality, religion, motherhood and childhood are all presented with chilling honesty. Undermining universally held belief systems, Dumas corrupts the very way images are negotiated. Stripped of the niceties of moral consolation, Marlene Dumas's work provokes unmitigated horror. She offers no comfort to the viewer, only an unnerving complicity and confusion between victims and oppressors.

   
 Often described as an 'intellectual expressionist', Marlene Dumas blurs the boundaries between painting and drawing. Bold lines and shapes mix seamlessly with ephemeral washes and thick gestural   brushwork. By simplifying and distorting her subjects, Marlene Dumas creates intimacy through alienation. Her subjects' assertive stares suggest that her paintings aren't actually about them, but the viewer's own reaction to their perverse circumstance. With deceptive casualness, Marlene Dumas exposes the monstrous capacity belied by 'civilised' human nature. '
Patricia Ellis


I decided to read a few articles, and took out the important bits! I thought then a good place to start was to begin looking at her work.

The Cover up

This is proof that it's not what she actually paints that is so disturbing, it's the way it makes you feel. This is a way of showing a corruption of innocence, the clothes over the child's head gives an almost eerie feel, a sort of darkness - you just know what she's saying. I love this style of confrontation. It's obvious, it's blatant and no one can say it's explicit.... can they?

I decided to have a look at her website - well it was a website set up for her, she doesn't actually post anything onto it, so there was a lot of information about her work on there. I was however drawn to it, there's a stark realism about it that's so sinister. She does a lot of portraits - but none of them are happy. She has a very distinctive style about her work, it's very watery.

Models

This is a series of paintings called Models, it is here you can see the watery style, they almost blur into one another. It's the facial expressions that get me, I listened to her speak about this, the people are people she's drawn to/attracted, her friends, mentally ill and people you don't traditionally work with in the art and design industry. I love the idea of compiling a range of picture's of either different things/people that make up another person, but look in less traditional places for a starting point.

Glass Tears (for Man Ray)

This could be called an imitation of Man Ray's original photograph, however Dumas wants people to view it as a compilation of gesture's. She created the background, but applying water to the canvas in a certain way because she was looking at different ways to express tears.

Dumas appears to look a lot at young women, in an almost sexual way quite a lot. 

I really like most of the images, here's a few.

Leather boots

This to me is almost photographic, it's almost like she's refined her gestural brusk strokes, and I think it works really really well.

Suspect

This makes me feel like I'm looking at something that I really shouldn't be, another thing to notice is the colour of the skin, it's kind of grey and blue - dead looking.

Satin gloves

Silk Stockings

Candle Light

The above paintings are almost kind of fetish led, I'm quite interested in things that are slightly sexual, I have no idea why, her works quite taboo as well, that probably why I've decided that I really like her.

There's something definitely dark and dirty about Dumas' work and I'm not quite sure what it is, I just know I like it. It's almost like social realism, but of a different kind. I like it - it's ballsy, it shows things that are often swept under that carpet. I have definitely taken a lot of from looking at Dumas' work, and hopefully it'll come out in my work.

David Barnes

David Barnes is the artistic director of his brother's band 'Of Montreal', which how I discovered him! I wanted to know who designed the majority of the album cover's and it turned out it was David, and I soon discovered I loved his art. Below is an album cover by David.

Santanic Panic in the Attic

He also worked on a music video for his brother song, 'Gronlandic edit' with Nico Danger It's really unusual and a pleasure to watch!

   

On his website Barnes describes how he works:

"Artistic approach involves the practice of transforming modern concept to reveal nostalgic mood, sometimes refered to as “Oldification”. Recycled elements, faded colours, layered/collaged backgrounds, and sand~papered imagery all play a part in this process, along with the use of bold observational line and memory dissolved Rockwellian imagery. Often disregarding conventional rectangular canvases for manipulated wooden shapes to help emphasize theme and subject, I try to use art as a translation of experience and observation that derives inspiration from environment and memory."

He happens to answer all of the question that I wanted to know, without causing me hours of research for me, so I like him even more so.  I find it really interesting that he uses wood shapes, I'd like to research this further. He has provided me with a lot f thing to go on and a lot of things to think about when getting ideas for my work. A lot of people get inspiration from the environment, perhaps I could look for a more abstract environment. 

Go

I love this, it's a pice of art called go, it's childlike with the scribbled out face, but it to me seems to be quite emotional full of anguish- at a glance I think playful until I look at the bunny rabbit running and the dripping thundercloud. I love his use of mixed media, it's been painted on wood (I think) and has areas of type and it's almost like a montage.

These are some similar pieces that are done in what appears to be a similar way:

Happy

Nice Day

Don't Bother

For me there's something quite sinister about these cheerfully coloured artworks, they're almost like oxy-morons, they look at a glance the opposite to what they're saying.

This is an observational line drawing

This is an observational line drawing, I absolutely adore the way he has captured the moving, and how it's shaky like in a car journey. David Barnes has become an instant little gem, and find I would love to keep a secret he makes me want to go out and paint! His website also includes a range of links, where I assume he gets inspiration. I am mainly interested in the collage effect he has used and the emotional side, it makes you think and almost plays with you mind.

Ed Fella

I've decided that I actually love Ed Fella, so how can I not include him in my research? I've only ever looked at his work and admired I have never bothered to contextualise him before, I hope that my opinion still remains the same.
I first decided to look at his website which is just a work of art in itself, here is a screenshot:

Homepage of Ed Fella's website

Ed Fella is an artist is an artist, educator and graphic designer whose work has had an important influence on contemporary typography.

• Bulk of his career he was a commercial artist
• Highly personal work 
• Handmade fonts/Old technologies
• Prefers to disturb, distort and distract rather than creating order, balancing and creating order.
• Found Art

"I am interested in graphic design as art"

This is a page from his book, 'Letters on America,' where he took polaroids of urban typography in across America whilst travelling. I think the reason I love this is because it's appropriately red, white and blue. I would like to do something like this, even if I choose to take pictures of something else and use them at a later date. Below is another example taken form the same book.

Although Ed Fella is no longer practising as designer/illustrator anymore, he still continues to work and will probably always do so. The thing that originally caught my eye about his work was the fluency and vibrancy of it.

Other work, work that I love

Easy over ease

Eye Candy

Jazz at the Fox

One of the things i love about Fella's work is the technical brilliance of it, it looks like it took hours! Not only that but it's also so visually stimulating, it makes you feel happy. It's like it's been made to give you the same feeling flowers in Supermarkets are. I love his style because it can't be copied, and again I am very interested in creating things by hand, and perhaps experimenting with things that are already available to me.

Jenny Saville

Jenny Saville is an artist that I have previously looked at again and again and again, she is a painter from Cambridge as well as one of the YBA's (Young British Artists). She is most well known or her paintings of naked women, and her controversial album cover for The Manic Street Preachers.

"I'm not painting disgusting, big women. I'm painting women who've been made to think they're big and disgusting, who imagine their thighs go on forever....I haven't had liposuction myself but I did fall for that body wrap thing where they promise four inches off or your money back."

Torso 2

The main recurrent theme throughout her work is how women are depicted in the media, her work is generally a reaction against that. Above in Torso 2 is a classic example of Saville's work, here the piece woman has transformed into a piece of hanging meat. She's describing how women fell in her work, and how they are treated. A lot of the women she paints are overweight and she uses special camera angles to exaggerate the size (usually taking photo's from below). Another thing she does is paint on massive canvas and uses household paint, so the actually painting seems sort of overwhelming because of the scale. In the painting below it shows the use of camera angles as well as the marks on the contours of the body, where a surgeon would draw lines.

Plan

"Jenny Saville’s monumental paintings wallow in the glory of expansiveness. Jenny Saville is a real painter’s painter. She constructs painting with the weighty heft of sculpture. Her exaggerated nudes point up, with an agonizing frankness, the disparity between the way women are perceived and the way that they feel about their bodies. One of the most striking aspects of Jenny Saville’s work is the sheer physicality of it. Jenny Saville paints skin with all the subtlety of a Swedish massage; violent, painful, bruising, bone crunching."

Closed contact No.8

In the above painting, it is Jenny Saville herself pressed against glass. I completely adore this, she looks in pain, it's unusual and it makes you look twice. Saville has created a niche almost for overweight women in a society that today is obsessed with appearance and beauty. I love how a passion for something she believe's in is the driving force behind her work.

Here are some other examples of her work that I particularly like:

Branded

I love this because it is full of emotion, the woman's face is almost hidden, the camera angle is there and the woman is holding onto her flesh, which is what a lot of women and men do when they look in the mirror and see spare flesh. I also love how words have been scraped away from the top layer of paint.

Fulcrum

This is just marvellous, again she is saying that people are used and portrayed like pieces of meat, it's so unusual and uncommon to see things like this become popular.

I completely adore Saville's work and why she does it, although I know that the way the media depicts women and makes women feel is very real and many women are affected by it, I am not one of those women. I would love to create something I am passionate about, and spread the word. She is generally painting feelings, how people have made these women feel, I could also look at how other people feel about certain things cause by other's, I could focus on words.

Michael Perry

I instantly fell in love with a book called, 'Handjob: A catalog of type.' On my latest assignment.

"In Hand Job, graphic designer and hand typographer Michael Perry curates a selection of work from fifty outstanding designers, illustrators, and typographers, who integrate hand-drawn type into their designs. Each entry is shaped entirely by the artist’s hand and unique process, including the unplanned “accidents"of line, color, and craft. In addition to exhibiting a spectrum of styles and approaches, Hand Job also includes photographs of found type and artists’ studios to give readers a stronger understanding of what goes into creating hand-drawn type."

I didn't really get to use it much in the actual work I was producing but the book itself is wonderfully full of various types of typography. It was so inspiring, it made me want to produce a million and one different letters all in my own way.  Much of his work is produced by hand, and this is something I can relate to, but generally because I'm not very good with a computer. The fact that his work is hand drawn adds a quality to the work that is somewhat diluted today, as computer's are the thing to use - apparently. In the book are a range of typographies that are designed by individuals, which is helpful to me, as it showed me a wide range of other designers work. In my work I would love to produce something that is had drawn that could stand up against something computer generated and hopefully win. I think some of the work is absolutely beautiful and shows that the hand can be better that the computer. 


I love just going on to Perry's website and looking through his work, he has so much work as he believes that creating loads is an important part of the creative process.

I wasn't at all interested in typography until I found him, I thought it was too much about straight lines, and I think his work shows it can be fun and personal.

I love these pages that he does, they show I range of ideas - this is something I would like to do more in my work...experiment. The experiments almost become little works of art themselves, no longer type but art. "Most days, Perry can be found working away in his Brooklyn-based studio, ceaselessly creating new typefaces and sundry graphics and exercising his belief in the transformative power of making things." 

I love this photo off Perry's website, it's not necessarily what he's showing in the painting, it's everything that surrounds him, his clothes, the vibrancy and all the work in the background. He is by far the most inspiring person for me at the moment.

On his website he says he did a '100 nudes drawing session' where he and artist Josh Cochran 'held a marathon of nude drawings. Over the course of 2 days we drew over 30 people and compiled over 300 drawings.' This more me only emphasises his need to compile a lot of work, not necessarily quickly but he certainly does a lot of it and this allows him to get a wide range of ideas and find ideas that work and one's that don't, and because he has so many, who says he can't use them again elsewhere?

David Carson

I've decided that David Carson will be a great starting point in my work as he is known to break rules, and he's also very popular - even to those not in the know how which is uncommon. I am hoping that by looking at his work and where he gets his ideas from will also enable me to use his techniques, and create my own distinctive style as opposed to mimicking his layouts or something similar.

"Who is the audience, what is that audience's visual language, what type of things are they seeing?"

So who is David Carson?
 Carson was a celebrity surfer before taking part in a three week workshop for Graphics in Switzerland, so he doesn't know all the rules, but that's perhaps makes his work so uniques, he doesn't break the rules on purpose he does what feels and looks right to him. He is inspired by the his environment he says, '

 "My environment influences me. I'm always taking photo's & I believe things I see and experience influence my work. Not directly, but indirectly in some shape or colour or something that registers. The ocean has always played a big part in my life... I'm always scanning the environment I'm in, and I'm sure it ends up in the work."

He also believes that the work should be almost personal to the designer as that makes improves it. This is something I completely agree with, I think personal work always turns out better as it means something. Carson says,

"I think it's really important that designers put themselves into the work. No one else has your background, upbringing, life experiences, and if you can put a bit of that into the work, two things will happen: you'll enjoy the work more, and you'll do your best work. Otherwise we don't really need designers - anyone can but the same programs and learn to do 'reasonable safe' design."

• Environment 
• Personal context
• The audience
• Reading everything about the project
• Marshall MuLuchan's dictum: "Medium is the message"
• "I paint with type and image, in a way I hope the message of the words hits people on an emotional, gut level." 

 When asked about his process he said, 

"Even if you have no process, that is your process." 

So I don't think there's much chance of my stealing his way of working in a hurry. Despite this, I am pleased that he also thinks that the personal context of a designer improves work. 


His work.

His work is sometimes frowned upon for not being so legible and easy to read, but in my personal opinion that makes it more interesting, it's makes you want to work out what it does say.

I enjoy looking at his work, because it is so very unique, especially when it comes to looking at what is around today. It can't be copied, it is inspiring in itself.

The layout here for me is just beautiful. It's simple and complicated, bold and delicate and it's so visually pleasing to the eye. The use of the grey is subtle and hardly noticeable it's a touch I like, it stops it being plain.

  When looking as Carson's work, his name is a common theme - perhaps to stop the the fakers. However I am more interested in the composition of the letters here - something says they shouldn't work together so well but they do. Sideways, backwards, faded and bold - yet tother the mix is so readable.

When I go to generate ideas, I will look at the environment I am in, and perhaps use the shapes of the the room I am in to produce lettering. I will also be able to look at my own context, something that means a lot to me and influence my work in that way. Carson is someone I am constantly exposed to because of his status in  the world of design, so I am always looking at his work, or work that is inspired by his. 


In the words of others:
"he changed the public face of graphic design" -newsweek
"the art director of the era" creative review london
"the most important work coming out of america" american center for design
"the most influential graphic designer of our times" surfrider foundation, july '09
"He significantly influenced a generation to embrace typography as an expressive medium"- steven heller 2010

The responses to my question!

These are just some of the responses to my question:

• Kiyohiko Azuma       
• Stanley Kubrik
• Research
• Kappa Mikey
• Surroundings
• Marilyn Manson
• Franks Miller
• Shapes
• Manga
• My head
• Fails in life
• Knowledge
• Comics in the Washington Post 
• Richard Long and Christo
• Nick Cave
• Andy Goldsworthy
• Andrew Kaiko
• Van Gogh 
• Pacing around my room
• Thinking
• Abstract
• Going on long walks with my dog 
• A theme
• Roger Walters
• All images
• Other artwork
• Looking out the window
• Expressions
• Cartoons I watched
• Good Music 
• Nature show
• Stuff that happened
• Basic rules for composition, perspective, shading and lighting, balance etc.
• Artists who encourage you to find inspiration within your own intuition

I am very pleased with the response, and as it's online people will continue to reply. I can hopefully use some of the things that inspire other people to inspire myself. One reply asked me what inspires me? I think that I am looking for new inspiration as opposed things that already inspire me, otherwise my work will surely continue to be the same? 

Stealing from anyone creative?

Looking at the work of others doesn't just mean looking at the work they have produced, but also how they got to the final outcome. I decided a good place to start would be with other people, whether in the industry or not, who enjoy making/creating anything, even if they aren't famous or supported by millions they too must have some still have a thought process and be inspired. I decided the easiest way to get a broad range of answers was to ask anonymously online using 'Yahoo Answers,' a website where you can ask and answer questions, and put it into a category. I chose to put my question into 'Arts & Humanities.'

  My question:

"I would like to know who inspires you?
How you begin thinking about ideas - where do they come from?
Do you use any critical theories/concepts in your work?
I'm doing a project and need to look at artists way of thinking, and who says you need to be a big name to be creative? So I'm asking on here."

The acid test!

THE BEGINNING!
I first received this and was given a research task, to look at other creative people and how they come up with solutions. This will provide me hopefully with a range of ideas that I can develop, try out and hopefully give me a choice.


LZ103
'You are on the WRONG TRACK if you find an artist/designer/maker, write up a summary of their life, context and work, and then do a piece in the "in the style of".
Do you think they developed their distinctive work by doing that?


Jim Jarmusch's Golden Rules
Nothing is original, steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, lights and shadows. Select only things to steal from, which speak directly to your soul. If you do this, your work (and theft) will be authenticity is invaluable; originality is non-existent. And don't bother concealing your thievery- celebrate it if you feel like it. 
In any case, always remember what Jean-Luc Godard said:
"It's not where you take things from- it's where you take them to."
Jarmusch,J.(2004) Jim Jarmusch's Golden Rules. MovieMaker Magazine.'


In order to pass I need to achieve all of these learning outcomes.
'Learning outcomes:
1. Research historical and contemporary approaches to creative issues to inform and develop ideas.
2. Research, analyse and evaluate specific information in order to develop creative solutions.
3. Adapt and use appropriate practical methods and skills for creative production.
4. Solve problems through the application of appropriate practical, theoretical and technical skills and understanding.
5. Deploy appropriate practical methods and skills in the realisation and presentation of the project.'