Press Coverage

290611
http://www.winnipegfreepress.com/arts-and-life/life/style/124724584.html
The Associated Press - Sylvia Hui
Pattern of excellence: Central Saint Martins creates best of best in fashion

Feedback and Iteration

The workshops evolve with each group, group dynamics vary so much.  I always ask what I should change in their opinions, how I could do things better.  I always ask what they are most proud of at the end too, it helps me understand what exercises work the best.

Dimensionalising the workshops for the exhibition

Press coverage

270611
http://www.dailymail.co.uk/femail/article-2008750/Made-write-stuff-Students-design-pen-nib-dress-thats-right-Lady-Gagas-street.html?ito=feeds-newsxml
Mail Online - Lauren Paxman
Made of the write stuff: Students design pen nib dress that's right up Lady Gaga's street

270611
http://www.graziadaily.co.uk/fashion/archive/2011/06/27/party-beat--central-saint-martins.htm
Grazia - Kay Barron
Party Beat: A fond farewell to Central Saint Martins

Press Coverage report

I am keeping a log of all articles about CSM in the press so that we will have some warm PR contacts for the exhibition marketing.  I will update the team regularly in Google Docs.


Press Coverage report

June 2011

240611
http://fashion.telegraph.co.uk/article/TMG8596179/Central-Saint-Martins-fashion-college-bids-farewell-to-Charing-Cross-Road.html
Telegraph - Tamsin Blanchard
Central Saint Martins fashion college bids farewell to Charing Cross Road - As Central Saint Martins prepares to move from Charing Cross Road to a new building in King's Cross, we take a look at the history of the world's most famous school of fashion.

240611
http://www.guardian.co.uk/artanddesign/2011/jun/24/summer-student-shows-tomorrow-imagination-triumphs
Guardian - Jonathan Jones
This summer's degree shows: in the art of tomorrow, imagination triumphs - The most striking works at the new college shows are not just good student efforts, but powerful works of art

220611    http://www.guardian.co.uk/education/2011/jun/22/universityoftheartslondon-higher-education
Guardian - Alex Needham
It was all about self-styling - CSM alumni remember their time there

220611
http://www.guardian.co.uk/education/2011/jun/22/central-saint-martins-artists-designers?INTCMP=ILCNETTXT3788
Guardian - Alex Needham
A change of scene for Central Saint Martins - From Gilbert & George to Stella McCartney, Central Saint Martins has trained the country's coolest artists and designers, but can it retain its radical edge now it is moving out of Soho and into King's Cross?

170611
http://www.creativereview.co.uk/cr-blog/2011/june/degree-shows-2011-central-st-martins
Creative Review - Gavin Lucas
Degree Shows - CSM - Graphic Design

160611
http://www.bdonline.co.uk/comment/blogs/spatial-explorations-with-central-saint-martins/5020003.blog
The Culture Blog - Chiara Montgomerie
Spatial explorations with Central Saint Martins

100611
http://www.creativereview.co.uk/cr-blog/2011/june/central-saint-martins-move-kings-place-printing
Creative Review - Mark Sinclair
A new art school, complete with old school protest

060611
http://fashionista.com/2011/06/central-st-martins-will-never-die-an-alumnis-tearful-tribute/
Fashionista blog - Ashley Jahncke
CSM will never die: an alumni’s tearful tribute

060611
http://www.psfk.com/2011/06/artsthread-central-saint-martins-fashion-bahons-show-review.html
PSFK - Piers Fawkes
ArtsThread: Central Saint Martins Fashion BA(Hons) Show Review

050611
http://www.thenational.ae/lifestyle/fashion/central-saint-martins-is-about-people-not-a-building
The National - Julia Robson
Central Saint Martins is about people, not a building

030611
http://www.graziadaily.co.uk/fashion/archive/2011/06/03/a-fitting-tribute-to-central-saint-martins.htm
Grazia
A fitting tribute to Central Saint Martins

010611
http://fashion.telegraph.co.uk/columns/hilary-alexander/TMG8551177/High-Tech-and-Arts-and-Crafts-at-Central-Saint-Martins-Ba-Hons-Graduate-Show-2011.html
Telegraph - Hilary Alexander
High tech and arts and crafts at Central Saint Martins BA graduate show, 2011 - First prize to hand-painted rubber dresses at Central Saint Martins BA Graduate Show as CSM says goodbye to WC2 location after more than 70 years.

Dimensionalising the workshops

2011 Grad Shows

Last night I went to the Private Views at Southampton Row, it was extremely busy, so difficult to see all the exhibits and really talk to the students, but it was very exciting and inspirational.  It was daunting to see exactly how much is still left for us to do to be at the point where we have a room full of people to see our exhibition, and such polished exhibits.  As my project looks at crafting I am worried that my exhibition may have a very kitchen table feel to it, which really is not what I want.  I would like to achieve a polished exhibit which communicates clearly and effectively how I engaged with young people to help them develop their personal identities through creative critical reflection.  It still all feels very far off, but it has definitely helped me keep up my momentum, I want to be one of the students that shines. 

Another session at the Youth Club last night, very quiet only around 15 young people there, a small fight between a young girl and boy, fire works were set off outside and the police arrested one young lad, pretty standard for that area it seems.  So far none of the children have really shown an interest in getting involved in my project or anything creative, some of the much younger kids that accompany their teenage siblings are still interested in creative pursuits, but the others are more interested in just expending all their excess energy by running around.  Played a storytelling game with one young girl, which was great.  Will think about how I can bring a bit more creativity to these sessions, and prepare something for next week.

June 2011 - Last tutorial of the Summer Term

We've just had our last tutorial!  I felt like I was in a good place, as I presented my workshop ideas, updating the group on my interactions with different groups in my area, and went through my time plan for the summer break.

I discussed my worry that I hadn't yet actually carried out any workshops, and how daunting the whole experience was, although I do feel a lot better prepared since my workshop with Simon Mole.  But teenagers are scary, they are bigger than me for starters, they are loud, and hard to pin down!  The advice was basically to get on with it, which I will as I want to start back next term in the best position I can be in. 

We discussed my artefacts, and whether they were the processes I have gone through to get to this point, the workshop exercises themselves, or the t-shirts made by the respondents.  Obviously they are not the t-shirts, as I can't be judged on something other's have created.  Next I wondered about how best then I could dimensionalize the workshops for the purposes of the exhibition... luckily I have a few ideas brewing...

I was also concerned about presenting the diary, there have been numerous comments over the last few months about the preference to a hand written journal over a blog printed out.  Which I feel is a real shame, I see my blog as a very real and accurate log of my entire journey through MADS, and yes I do have a sketch book full of ideas, but it is also full of flyers I found interesting and articles I have read, which are not really needed in full. I really hope that as I have put actual written notes from my sketchbook into my blog this will be considered as a good way of combining the two. Richard said that I really must ensure that the relationship between the information gathering and reflective passages does not become disjointed. 

I have decided to use this entry as a monthly reflection also, as I seem to be flowing quite well here.  This month has yet again pushed me out of my comfort zone, meeting a lot of new people, young and old, and really having to sell myself and my workshop idea.  I have also had to take on a lot of responsibilities as part of the marketing team for the exhibition.  I have helped write a plan on how to promote the exhibition, prepared a huge PR contacts list, and really feel I am contributing to the team. 

I really hope over the summer period that my project moves into its final phase and that the workshops, and the exercises within then develop through the iterations from the young people, to create something that really helps them understand themselves better and have some positive experiences.

Then I can come back in the new term and start planning a way of dimensionalising the whole process for the final exhibition, and I have to keep remembering it's all about communication... I need to think about it being a sensory experience, and not rely on a high level of interaction or technology.  Clarity is the key, less can be more, it's all about a narrative!

I would like to work on the 650 synopsis too over the break as I can imagine it will be a process that is quite fiddly and time-consuming.  It must show and explain the genuine new knowledge that I have created in the subject area as well as for my own personal development.  The HOW will be very important, and the WHAT and WHY are kind of looking from the opposite direction now, with my conclusion hopefully fulfilling my IF.

The artefacts must be a means to an end, not the end itself, the vehicle for the research I guess.  The only problem I may have is how I actually display the evolution of my workshops in response to feedback.

I do not see the bibliography being an issue as I have been updating this regularly, although I haven't for the last few weeks, but will next week when I have some time, need to add in a few exhibitions I have been to lately, as well as the great articles I have read on teenagers and their sense of self, which have all shown that the psychology models used for them are just those of adults, there is a lot of research and numerous theories for children, but adolescents seem to have been ignored strangely enough. Surely, that teenage years are the most complex as far as personal identity is concerned!

I am still trying to get the music and theatre workshops underway too, I have been contacting a number of people, as well as existing groups, to see if I can observe the work they currently do, to see if I can work with some existing programs.  The reason I would like to also get these underway and test them with the young people in my local area is that I feel young people should have access to activities that excite them, and through this we can really work on the key themes of identity and commmunity.  They are difficult topics, and through something young people are passionate about, I feel we can really investigate them. 

Dimensionalising the workshops

Marketing Budget

Today I started drafting a budget for the marketing department for the exhibition, still missing a lot of information, but by collaborating with all the other teams, we should be able to collate the information soon. 

Musical Theatre Workshops

I have been talking to a number of my neighbours teenage daughters, about their interests, and the kind of workshops that they would like to get involved in.  As I had thought they confirmed their main loves being music, dancing and singing.  I spoke to their dance teacher in their Secondary School and an actress about some ideas for workshops along these lines and what already exists.  There are numerous after school clubs that cater to these interests, although they do not use the skills to help young people understand their sense of self or reflect on themselves, their families and communities.  Also, these clubs are usually quite expensive, most of the young people in my area are not from families that can afford such a weekly expense.  I am now working on some improvisation ideas and exercises using drama therapy principles, working off a wonderful book I read some time ago: Impro: Improvisation and the Theatre, by Keith Johnstone.  The techniques in the book come from years of work encouraging spontaneity and originality in actors as well as in schools and colleges.  In fact, Johnstone has some wonderful stories about young people in schools and colleges and how he has worked with them tohelp them understand more about themselves and what they can achieve.  When I first read this book I was totally enthralled,  I would love to be a part of something that could help young people feel confident and inspired, and to get them engaged in vibrant activities together and with other members of their communities. 

Promotion Plan for Exhibition

7.8 Promotion

The key will be to direct as much traffic as possible to a well-designed and thought-out website, which will engage the visitor, provide information and encourage them to not only attend our exhibition but discuss it online and offline, thereby encouraging others to attend. 

The following are the channels to be used and the collateral required to achieve this.  All of our communications must be in line with brand guidelines and cannot begin without these and without the key messages from the curatorial team. 

Channels and Collateral

7.8.1. Website: Discuss with curatorial team, in essence this should be the main hub for our promotional campaign.

7.8.2. Social Media: free services that can be used easily and creatively to drive traffic to the website - be aware that users of some social networking sites will not want to be forced to join other sites, and hence they must only be directed towards the website.  References on social media sites, whether they be images or links, should lead back to the website.

7.8.2.1. Facebook: Create a page that everyone in the cohort must join: each person has an average of 130 friends, everyone must ask their contacts to like the Facebook page.  It must be updated each day with images from each member of the cohort, videos and photos of the studio being built, exhibition set up, artefact creation etc.  All images must be tagged with the appropriate names, so that more of their contacts see the updates.

7.8.2.2. Twitter: Create an account, use the formulist tool to follow appropriate people, a percentage of whom will follow us.  Twitter has a large professional audience, as well as members of the community local to Kings Cross. All members of the cohort are to follow the Twitter account, and again ask their contacts to do so.  The Twitter account should have links that lead people to the website, where followers could perhaps get sneak-peaks of our progress as individuals and as a cohort.  During the exhibition there should be a live Twitter feed, conversation should be started by the cohort to encourage others to tweet about the experiences. 

7.8.2.3. Linked-In: Create a Linked-In group, again, all the cohort should join and encourage their contacts to join.  From the contact lists we are creating we can send messages inviting appropriate professionals to join our group. Discussion groups on Linked-In should be developed. 

7.8.2.4. Blogs: Key bloggers in our field are more important than traditional journalists and have very loyal followers.  Bloggers should be sent personalised correspondence about the exhibition, as well as VIP invitations to the private view. Marketing team to collate a list of key bloggers.

7.8.2.5. Viral/You tube: Are any of the cohort already creating videos for the project? Do we have any videographers? Discuss with PM group. 

7.8.3. DM email campaign – we must be wary of the opt-in issue with email marketing.  A solution to this is that when we drive the traffic to the website through the method above, visitors are encouraged to sign up to our newsletter, they can provide merely an email address and profession, this will then automatically build up a contact list of people who have already shown an interest in our work.  Once we have this list we can send out updates and promotions to our network.  I would not however send out more than once fortnightly emails, and again these must be within brand guidelines and on message. 

7.8.4. Newspapers and magazines – target magazines, arts supplements and appropriate journalists with the aim of receiving media coverage.  Once we have the necessary information from the curatorial team we can build a compelling message.  PR through this channel must be properly targeted and professionally handled. 

7.8.5. Posters/flyers – are we looking after the design and printing of these or are the curatorial team? Promotion-wise, all of our topline contacts need to receive a flyer in the post (or postcard or stickers).  Posters should be displayed around the university and in any other relevant retailers who will allow us to display them.  All the cohort who work should ask to display posters at their workplace.  Please note a mail out is an extremely expensive tool, we can reach far more people using our social media tools effectively. 

7.8.6. Exhibition Collateral – this includes Signage (curatorial?), Catalogues (curatorial), Branded items (sponsorship?) and Stickers/Postcards.  Stickers and postcards are extremely effective; they can be made interesting enough to keep them from being trashed.  Stickers are applied in visible locations to attract the interest and attention of our target audience.  Stickers are seen as more interesting than posters and flyers.  If people find our stickers attractive and interesting; they will instantly apply them to any kind of surface they see. 

Key elements we can’t do without:

Website

Social Media

Catalogue: Curatorial have said they will deal with this.

Posters/Flyers

Common factors: All communication must be on message, set by the themes from the curatorial team.  All communication should also be within brand identity set by the curatorial team.  Press Releases must be used for as many channels as possible.  Everything should be quality-checked.  The marketing team is responsible for constantly researching, finding and writing engaging stories about the cohort, the exhibition and our general progress, as well as sourcing images and footage to support them. 

7.8.2 Advertising Strategy

If we can get free advertising than it's worth it. The only magazine worth paying for an advertisement could be Creative Review. I have secured us a 20% discount, but feel the prices are still out of our league.  I am happy to push for more discount nearer the time, as if the have some space left in an addition we could get a good deal. 

Final display ideas...

I was thinking of vacuum packing each t-shirt to protect them physically and to represent the protection needed for fragile and developing identities.  Perhaps connect them together with the necessary nutritional inputs they need to develop like in hydroponic gardening. 

I also like the idea of using Luggage Tags with the details and descriptor of those that made the T-shirts. 

I have also been thinking about giving each participant a building block with a sticker on it so that they can annotate it about the experience of being involved in the Graffi-tee project. 

Tracey Emin: Love is What You Want

Today I went to the Tracey Emin retrospective at the Hayward Gallery and was pleasantly surprised.  A lot of it related to the journey I am on through MADS and with my personal artwork outside of this course.  Over the years I have collected a lot of work that could displayed in a similar way, I wouldn't necessarily say I was an artist, but I think all creative people collect, annotate and report on all aspects of their daily lives.  There weren't really any good examples I could use to demonstrate the dimensionalisation of my workshops. 

Graffi-tee workshop plan 1

Marsha of Hold out your hand has very kindly agreed to get involved in the project, I can't wait to see her ideas, she wants to use items from her friends to create her Graffi-tee. 

Last night around 50 young people turned up to the youth club session, it was amazing to see the space so full and it so busy, however, these sessions are just for the young people to let down their hair, and my workshops would need a quieter environment, with more structure, so really not sure this is going to work.

Chloe of Hatastic has agreed to help with the Graffi-tee project, can't wait to see her interpretation of the project. 

Musical Workshops

Simon Mole's rapping workshops are amazing, and they have really inspired me to develop my musical workshops.  I think these could appeal to another group of young people...

I need to try and get the buy in from people like Simon, as I do not have the skills myself to run such a workshop. 

Empty Shops Network - Workshop 24

I had a wonderfully productive and inspiring day with the guys from Workshop 24.  The day started with Words work together with Simon Mole.  'A poetic exploration of the use of language, lyrics and literature to give communities a voice'.  Simon took us through an actual workshop he has done with teenagers, and helped us develop practical skills to use with local communities and get creative ourselves. 

After this I had a one-to-one session with Dan Thompson, founder of the Empty Shops Network and author of the Empty Shop Toolkit, which I found invaluable. 

Finally I ended the day with Social Media wiz Daniel O'Neill who gave me a number of exciting ideas to use in the marketing of the final exhibition. 

Notes from the day follow:

- use games to build up the skills towards the main session, make it feel like you never stop playing games
- develop different activities that all linked together
- use different senses
- variety to ensure young people don't get bored
- develop ways to ensure the young people realise what they are good at
- at the end discuss what they feel proud of

Workshop should include:

Warm-up exercise
Skills build exercise
Main Activity

Main aim of workshop:

Help young people visually represent their hopes, dreams and aspirations through creating a T-shirt  that allows them to externally represent and develop their sense of self and personal identity. 

Simon gives the young people a rhyming palette to help them with their poetry, perhaps I could give them images, words and materials, to help them build a picture, like the identity mind maps I have. 

Build their confidence so that they feel can suggest things to you...
....I feel really chilled...
... find a material that feels like that...
.... e.g. smooth and cold...

Consider their past, present and future. 

Asset Maps - see Simon's mapping exercise, plot on the map where they have spoken to an interesting character, or someone that has inspired them...

Sound Collage - A word they use to describe themselves.  1, 2, 3 game... replace the number with words in groups of 3, count to 4, and the 4th can become a clap or a click of fingers. 

Draw a 30 second picture of themselves on a post it note, show it to the group so everyone can see how everyone sees themselves differently.

Physical multiple choice can be used as another interactive game. 

Key sections of the Curriculum that relate to my project

Personal identities: Understanding the factors that contribute to personal identities is essential if students are to accept and value themselves and develop confidence and self-esteem, maintain their mental/emotional health, make the most of their attributes and abilities, and celebrate achievements. Having a positive sense of personal identity helps students feel confident about roles and responsibilities and about making a positive contribution to society. Students should reflect on how a positive sense of personal identity relates to healthy lifestyles and relationships and consider in more depth its relationship with the concept of diversity. This links with citizenship and religious education, in particular when students consider diversity in local, national and global contexts.

Relationships: Understanding relationships and the skills associated with forming, maintaining and ending them is fundamental to personal wellbeing. At key stage 4 students explore this concept in more depth and consider how to exercise responsibility as they deal with the pressures and emotional challenges involved in a wider range of relationships that are becoming more complex.


Diversity: This concept links with both personal identities and relationships. When students consider their attitude and behaviour towards diversity, they should identify similarities as well as differences between people. Learning to empathise with others helps students accommodate difference in their lives and accept their responsibility to challenge prejudice and discrimination wherever it is encountered. At key stage 4 students explore in more depth personal assumptions about people different from themselves and consider the power dynamics of prejudice.

Skills and processes: The SEAL skills have much in common with these key processes, and much of the language is similar. For example, the SEAL skills of self-awareness and managing feelings are important for critical reflection; motivation is an important dimension of decision-making; and empathy, social skills and managing feelings are required for developing relationships and working with others. Schools will wish to plan use of the SEAL materials and their teaching of the personal wellbeing programme of study so that students have a coherent learning experience.

Critical reflection: This involves thinking in depth about increasingly challenging issues, ideas and experiences, questioning assumptions and connecting learning with real-life plans, behaviour and experiences. For example, ‘How does what I have learnt impact on my values?’, ‘Is the basis for my assumptions valid?’, ‘How effective are my strategies for achieving my goals?’ and ‘How can I take responsibility for my behaviour and its impact on others?’. Critical reflection can help students develop self-awareness, enabling them to consider how they think and feel to choose their behaviour, plan their learning and build positive relationships.

Values: Exploring topical and real-life social and moral dilemmas provides the context for exploring complex and conflicting values. Reflecting on how this impacts on personal values and re-evaluating them is important
at this stage.

The National Curriculum and my workshop

I have been reading the National Curriculum to see what curriculum points my workshops will cover, and 

really I feel that they are core to a number of the aims and values stated:

Aims

The National Curriculum has three aims. It should enable all young people to become:

• successful learners who enjoy learning, make progress and achieve
• confident individuals who are able to live safe, healthy and fulfilling lives
• responsible citizens who make a positive contribution to society.

These aims should inform all aspects of teaching and learning and be the starting point for curriculum design.

Values

The curriculum should reflect values in our society that promote personal development, equality of opportunity, economic wellbeing, a healthy and just democracy, and a sustainable future.

These values should relate to:

• ourselves, as individuals capable of spiritual, moral, social, intellectual and physical growth and development
• our relationships, as fundamental to the development and fulfilment of happy and healthy lives, and to the good of the community
• our society, which is shaped by the contributions of a diverse range of people, cultures and heritages
• our environment, as the basis of life and a source of wonder and inspiration that needs to be protected.

The following are other more specific areas of the curriculum I feel I will be addressing: 

Key concepts of Personal wellbeing key stage 3 and 4

There are a number of key concepts that underpin the study of personal wellbeing. Pupils need to understand these concepts in order to deepen and broaden their knowledge, skills and understanding.

1.1 Personal identities

1.      Understanding that identity is affected by a range of factors, including a positive sense of self

2.      Recognising that the way in which personal qualities, attitudes, skills and achievements are evaluated affects confidence and self-esteem

3.      Understanding that self-esteem can change with personal circumstances, such as those associated with family and friendships, achievements and employment.

1.2 Healthy lifestyles

1.      Recognising that healthy lifestyles, and the wellbeing of self and others, depend on information and making responsible choices

2.      Understanding that physical, mental, sexual and emotional health affect our ability to lead fulfilling lives, and that there is help and support available when they are threatened

3.      Dealing with growth and change as normal parts of growing up.

1.3 Risk

1.      Understanding risk in both positive and negative terms and understanding that individuals need to manage risk to themselves and others in a range of situations

2.      Appreciating that pressure can be used positively or negatively to influence others in situations involving risk

3.      Developing the confidence to try new ideas and face challenges safely, individually and in groups.

1.4 Relationships

1.      Understanding that relationships affect everything we do in our lives and that relationship skills have to be learnt and practised

2.      Understanding that people have multiple roles and responsibilities in society and that making positive relationships and contributing to groups, teams and communities is important

3.      Understanding that relationships can cause strong feelings and emotions.

1.5 Diversity

1.      Appreciating that, in our communities, there are similarities as well as differences between people of different race, religion, culture, ability or disability, gender, age or sexual orientation

2.      Understanding that all forms of prejudice and discrimination must be challenged at every level in our lives.

Citizenship key stage 3 and 4 – programme of study

1.3 Identities and diversity: living together in the UK

1. Appreciating that identities are complex, can change over time and are informed by different understandings of what it means to be a citizen in the UK.
2. Exploring the diverse national, regional, ethnic and religious cultures, groups and communities in the UK and the connections between them.
3. Considering the interconnections between the UK and the rest of Europe and the wider world.
4. Exploring community cohesion and the different forces that bring about change in communities over time.

 Key concepts of Art and design key stage 3 and 4

There are a number of key concepts that underpin the study of art, craft and design. Pupils need to understand these concepts in order to deepen and broaden their knowledge, skills and understanding.

1.1 Creativity

5. Producing imaginative images, artefacts and other outcomes that are both original and of value.                      
6. Exploring and experimenting with ideas, materials, tools and techniques.                 
7. Taking risks and learning from mistakes.

1.2 Competence

1. Investigating, analysing, designing, making, reflecting and evaluating effectively.         
2. Making informed choices about media, techniques and processes.

1.3 Cultural understanding

1. Engaging with a range of images and artefacts from different contexts, recognising the varied characteristics of different cultures and using them to inform their creating and making. 
2. Understanding the role of the artist, craftsperson and designer in a range of cultures, times and contexts.

1.4 Critical understanding

1. Exploring visual, tactile and other sensory qualities of their own and others’ work.
2. Engaging with ideas, images and artefacts, and identifying how values and meanings are conveyed.            
3. Developing their own views and expressing reasoned judgements.                
4. Analysing and reflecting on work from diverse contexts.

Key processes of Art and design key stage 3 and 4

2 Key processes

These are the essential skills and processes in art, craft and design that pupils need to learn to make progress.

2.1 Explore and create

Pupils should be able to:

1.      develop ideas and intentions by working from first-hand observation, experience, inspiration, imagination and other sources            

2.      investigate how to express and realise ideas using formal elements and the qualities of a range of media

3.      make purposeful images and artefacts, selecting from a range of materials, techniques and processes

4.      draw to express perception and invention, to communicate feelings, experiences and ideas, and for pleasure 

5.      explore and develop ideas using sketchbooks, journals and other appropriate strategies.

2.2 Understand and evaluate

Pupils should be able to:

1.      use research and investigative skills appropriate to art, craft and design    

2.      appreciate how codes and conventions are used to convey ideas and meanings in and between different cultures and contexts              

3.      reflect on and evaluate their own and others’ work, adapting and refining their own images and artefacts at all stages of the creative process                 

4.      analyse, select and question critically, making reasoned choices when developing personal work        

5.      develop ideas and intentions when creating images and artefacts

6.      organise and present their own material and information in appropriate forms.

Tools to display your data visually

I have found a couple of ways to map research data visually. 

Gapminder
Google Fusion Tables

Draft Exhibition Marketing and PR Plan

More of a brain dump at the moment, but wanted to make sure I got all my ideas down in one place...

Marketing plan

Objectives

• What products and/or services will we be exhibiting? 
• What do we want to accomplish at this show? 
• What image do we want to project? Key message(s) to be projected. 
• Who do we want there?
• How many people do we want there and when?

Strategies

What resources do we need to achieve our objectives?

- advertising and public relations

- a direct mail campaign

- an email marketing campaign

- setting up a website

Tactics

Which elements of the marketing mix are most appropriate? Which weapons in the marketing armoury should you be using?
Set out the detailed action plan including the time frame for all elements?

Channels and Collaterol

Posters/flyers

Catalogue

Newspapers and magazines

Website

DM email campaign – be careful of opt in issue

Linked In

Facebook

Twitter

Blogs

Viral/You tube?

Branded items

Stickers/Postcards?

Signage

Experiential element

Speakers

Workshops

Debate

Brown bag lunch – people bring their own lunches in for a midday talk

Bar

Cake and Cocktails

Band

DJ – late night opening

Family day/School days in quiet times, could create a factsheet/activity sheet/competition for them

Depending on the theme curatorial come up with other acts or activities might be suitable for private view, like storytelling they had this at the British Museum, it was amazing. 

Live twitter feed on a screen for feedback as people go round the show, start conversations ourselves, also could encourage people to come on second and third days

Linked In – open questions for debate

Blank postcards, people can write and draw messages and leave them behind for a feedback wall

Timescales

Promotion machine to begin 6 weeks before exhibition

Printing 2 weeks before this

Media Space around the same time?

Decide on staff/team over next few weeks

Receive theme/concept from curatorial

Receive brand guidelines for curatorial

Budget

Key costs we can’t do without:

Posters/Flyers

Catalogue

DM

Website

Social Media

Relevant contacts from Despina

PR and Marketing - Main contact is Lee Widdows, l.widdows@csm.art.ac.uk, Ext 9312

Sending out invites - when sending out invites to the show we should consult with:

- Clare Hendren (PA to the Dean)

- Colin Buttimer (PR)

- Peter Cleak (Lethaby)

Promotion

List exhibition on:

Uni website, CSM and UAL

Ecca website?

Arts jobs website

Creative Review site/blog?

http://www.artlyst.com – London Art Network

Amelia’s magazine

Maybe even timeout?

axisweb.org

degreeart.com

a-n.co.uk.

Send flyers to design and innovation agencies?

http://www.design-agency.com/UK/London/

We an easily create a list or find contacts online

PR Contacts

Must be able to get some from the uni, will also log onto Gorkana and build up a list of relevant contacts in excel.  

Press Release Template

Format

·         Date – when the news release is issued

·         Contact details – should appear at the end of the release and provide appropriate contact details

·         Notice of photo-opportunity – if a news release is an invitation to photographer to attend a photo-opportunity, type NOTICE OF PHOTO OPPORTUNITY above the heading, could use this for launch night

·         Heading – should be bold, centred, and a maximum of three lines deep; make it relevant to the release and snappy as it is the one element of the release which will always be read

·         Body text – in keeping with brand guidelines from curatorial, arranged in short paragraphs without sub-headings

·         Continued or end – bottom of first page must inform journalist whether there is more on a following page (in which case put /Cont’d … at bottom right hand corner) or if the body text has come to an end (in which case put -Ends- at bottom centred)

·         Notes to editors – convention whereby extra background information is supplied to journalists.  These vary in purpose and content can include an explanation of what the organisation is and does, informing the journalist of an opportunity for an interview with a spokesperson, etc.

Style and the 5 Ws 

The first ten seconds of a journalist’s time

When a journalist receives your release, they will scan the organisation’s name, the headline, and perhaps the first paragraph, in under ten seconds. Your headline must be attractive and tell the story. The first paragraph or ‘intro’ should contain the famous 5Ws of the story:

·         Who

·         What

·         Where

·         When

·         Why

The intro should be short and snappy – never longer than 50 words. Subsequent paragraphs should expand on the five aspects of the five Ws.  Quotes should be as short and as punchy as possible. They should be as ‘self-contained’ as possible to avoid severe editing by journalists.