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Creative Opportunities recently advertised an intriguing work placement opportunity for the Curious Confectioner, an artist who produces conceptual edible art works and accompanying art objects for exhibition, commission, contemplation and consumption.

For this particular project, he was working towards creating a sculptural installation and accompanying edible components which featured in the Experimental Food Society Spectacular. Due to the multidisciplinary nature of his practice the Curious Confectioner was interested in working with students and graduates from a variety of applied art/design practices who had a natural craft sensibility matched with an enthusiasm for applying themselves to learning new making techniques. Applicants could learn new sculpting and mould making methods as well as developing research skills and logistical problem solving.

After receiving around 20 applications, a core team of 4 assistants emerged including graduates from ceramics, illustration, theatrical costume and fine art sculpture. The team was attracted to the placement because it gave them the opportunity to learn new making techniques within an exciting and unique project. Everyone involved was encouraged to try a bit of everything and they soon found a good working dynamic that allowed each graduate to make the most of their own particular skill set.

"It was really good to work with the Curious Confectioner who was inspired and had faith in his idea. The placement was flexible which worked out really well with my other commitments and I tried to give as much of my free time off work towards the placement. Learning a new skill was the best part of the experience; I particularly enjoyed how I could transfer my skills in ceramics to sugar craft to an extent." Megah, Ceramics graduate.

The Curious Confectioner was delighted with the caliber of graduates he worked with and whole-heartedly recommends Creative Opportunities to other employers and artists. "Due to the limited budget it was invaluable to facilitate the services of recent graduates in exchange for the techniques I could teach and the experience I could offer. Over and above this it made the studio environment all the more lively and productive with a constant exchange of ideas and skills between themselves as much as from me to them."

You can see more of the Curious Confectioner's work and find out about his latest activities on his website. www.thecuriousconfectioner.com

Creative Opportunities is the specialist online jobs and work placement board for students and graduates of the University of the Arts London. Employers can advertise their vacancies free of charge as long as they fit with UK Employment legislation and our Work Placement Policy. If you would like to register a vacancy please visit the site and register your details. www.arts.ac.uk/creativeopportunities

Students and Graduates!
Did you find your next step up the career ladder through Creative Opportunities? Has a work placement we advertised given you invaluable experience? We are looking for UAL students, graduates and employers to feature on the Student Enterprise & Employability website so if you have a story you want to share, please get in touch. Email Christine at jobsonline@arts.ac.uk with the job title, company name and your UAL College and course.

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Guest blogger: Luke Cairns, Producer: Butchers Hook Video Productions

During a normal working week here at Butchers Hook Video, I've come to expect at least a dozen CV's of young people interested in breaking into the film business in the UK.

Now it is widely known that getting a break in the business is difficult, so in this article I'll attempt to address this and offer some tips I've picked up along my career from lowly runner to corporate video producer working with Fortune 500 companies.

The reason the film business is based on the "who you know" principle is simple – people senior to you (technicians/producers etc) need to be sure they know and can trust people in their employ – because mistakes can reflect badly on them.

In extreme cases – it can have a seriously detrimental effect on a career – as the business is relatively small and bad news travels fast. But equally – building a good reputation means your good name travels fast.

One of the most common pitfalls I see when I receive CVs of young people is a total lack of experience in the business. Now, this may not seem too unreasonable – as the CV comes from a person who has just left school or University with a newly minted academic qualification.

Now having the qualification is a big plus – but it will need to be supplemented with some real world experience. Thus the chicken and the egg scenario, fortunately there are some relatively straight forward ways to gain the necessary experience.

The very first step on the journey into the industry is to decide what specialism you want to take. If you want to break into a technical specialism (i.e. camera, sound, make up etc) the first essential is to have a good deal of experience with the equipment. For the auteur and post production people, the best method is to get creating and make a decent show reel as an absolute priority. For people interested in the production side of the business, a solid grasp of figures and the ability to network and schmooze is ideal!

After this – the next step is to get involved with as many free projects as possible in your local area. This can help people who haven't decided what area they want to specialise in and give vital experience to everyone else.Aside from experience, the other major benefit of freebies is networking. The importance of networking to those in the industry (from producer down) can't be too emphatically emphasised. If you happen to be working as camera assistant (for example) for a DoP on a free shoot and do a great job – the chances are you will be remembered when the DoP is working on a paid job next time.

A great resource for finding jobs on low budget films in your local area is Shooting People

www.shootingpeople.co.uk

After a number of freebies – you'll have a great deal more experience and your CV will look like the kind of CV that producers want to see!

When you progress to paid shoots – here are a few minimum expectations I have for people in my employ. You need to have boundless energy and enthusiasm and stay 100% positive! A strong grasp of the technical aspects of your specialism sounds like a total given but again, need to be emphasised.

One of main ways people get into production is through the time honoured route of being a runner. Now this isn't a pretty route - they are also the most put upon and badly paid people in the business - I found it akin to slave labour! However runners are the work horses of the industry and are vital – and pay your dues (and work bloody hard!) and it pays off.

To conclude – entry to the film and video industry is tough – but very rewarding if you work hard and know how to play the game properly!

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I attended a really insightful and informative talk this afternoon in the LCC Street Lecture Theatre, as part of the University of the Arts enterprise week of events, entitled 'Get Noticed With E-Portfolios'. Presented by the Arts Thread co-founder, Alex Brownless talked from industry experience of the necessity of embracing 'anything that markets you.' Because 'you never know who's looking'. Alex stressed that where time is of the essence, if potential employers can find you quicker - all the better. 'No matter how beautiful you're website is, people aren't psychic.' And the Artsthread site is exactly that, a place for people to find you. Described as 'the world's only creative graduate network' it is an 'online community and network for students, graduates, schools, colleges and employers within the creative industries.' It is in essence an online creative portal, a one-stop-shop for the industry to approach and recruit global design graduates. And 457 graduates have so far gained jobs through the network, and there are approximately 220,000 hits every month. It also promotes skills, offering practical guides in association with the UAL initiative Arts Quest, such as interview, cv and portfolio advice from industry professionals, that are relevant to an age where digital formats for presentation are increasingly becoming the norm when applying for jobs within the creative industries.

The nicely designed site, free and completely accessible for all to join allows each user to categorise themselves and their work by country, city, college, level of study, course and specialism. Up to 10 images of work can then be showcased, including options to add both moving image and animation. There is also space for text input in order for graduates to add a brief cv for prospective employers to browse, as well as being able to add links to external sites. Alex emphasised that 'what motivates and inspires you; you're interests' are all crucial things that employers want to see. They want to see who you are and what you are about, as well as determining whether you are a likeminded person. 'Connections are everything'.

Other websites that act in a similar way include Cargo Collective, Behance Network, Art House Coop and Designers Block, and it is suggested that, by the time you graduate, you join as many online portals to showcase your work as you can. I'm certainly going to try and find some time to set up my e-portfolio on Artsthread soon!

www.Artsthread.com

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"It takes courage, guts – and a lot of knocks"

Tucked in between two rows of chairs at UAL's High Holborn site, I sit in the dark watching other students, graduates and creatives trickle in, their nervous faces lit with the pale light from the vast projector screen at the far end. They take their seats, and we wait with eager anticipation for the trade secrets to be unleashed to us from tonight's speakers.

Chaired by Andrew Senior, the evening (the first of 35 different events happening over Global Entrepreneurship Week) presents speakers Anna Hill, founder of Synapse Space Systems Ltd; Annegret Affolderbach, founder of fashion brand Choolips; Alan Dempsey founder of NEX Architecture and Gareth Howard, founder of Authoright PR. A decidedly varied mix of speakers, and refreshingly non 'UAL-y', each with very distinct outlooks on creative entrepreneurship.

This event was brilliantly down-to-earth, from the very start Andrew Senior pointedly marked out its aims: to find ways of opening doors to nurture our creativity, consider our consumers and – importantly – how to make money. Although creative money-makers are often judged for 'selling out' or becoming corporate, speaker Anna Hill explained the reality is that 'being creative and being an entrepreneur is a complementary match. It takes courage, guts and a lot of knocks.'

Hill, the only UAL alumni on the panel, worked as an artist and designer for ten years before using the technical mediums from her art practice to generate space technologies for educational purposes, most importantly an astronaut communications device. Hill's determination and 'against all odds' attitude was inspiring: 'there's not many people man enough to do it!' Although her device was eventually unsuccessful, Hill said the lessons she learnt along the way were invaluable, but warned us: 'you have to go for a very long time with no one patting you on the back.'

Annegret Affolderbach also has a very specific business as a fashion entrepreneur, supporting communities in India and Africa to make dresses developing local skills, materials and resources: 'I'm still the teenager that wants to change the world'. Affolderbach's aims for her business would change the world if others took them on: to simply be sustainable in three ways - environmentally, economically and socially. Her secret behind entrepreneurialism? 'It's all about listening and communication – whether in personal relationships or within your business' – very wise words, which certainly ring true.

Alan Dempsey, recently voted one of the top 40 architects under 40, explained his business model for NEX architecture was to be distinctive in two ways: through how we use space, to the way we do things – specifically utilising the opportunities presented to us in changes such as the shift from the architect as skilled craftsman to using computer aided design. For students and graduates facing the current recession head on, it can look like a bleak forecast out there. However Dempsey believes that 'what's happening right now [politically/economically] is very destructive, but it's actually very exciting too' – hopefully provoking more creative and interesting solutions'.

Gareth Howard left his stable, high salary job as a lawyer to found Authoright PR – a PR company to bridge the gap between new authors and publishers. Howard explained he would hate to work with celebrity authors because 'it wouldn't be a challenge', although admitted he 'wouldn't mind writing a bill for it'.

The panel agreed that all businesses need to promote a shift from global to local resources and support, although utilising new technologies such as Skype and online communication is beneficial too. Approaching empathetic or specialist sponsors and banks is also a good way forward, as well as promoting a 'democratic' employment process and allowing individuals expression and autonomy in their own areas. Affolderbach concluded by quoting: 'For companies to succeed in the future, they need to significantly reduce their environmental impact while increasing their social and economic impact'.

The panel were asked if they chose their entrepreneurial paths for the lifestyle they provide to which they all replied: no. Alan Dempsey continued: 'You work incredibly hard for really nothing at all', while the other speakers agreed you need to be very self-sufficient but that 'entrepreneurship is an extension of creativity'. Affolderbach retained her positive attitude as her business helped resolved her aim to 'travel the world and engage in different cultures' concluding 'it's worked out quite nicely'. She advised: 'If you know what you want, build it in to your business practice'.

So take courage, trust your instincts, listen – and respond.

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Zombie Collective are Maggie Li, Joely Brammer, Frann Preston-Gannon, Alice Lickens and Rebecca Jay. SEE commissioned the 5 recent grads to each produce an image around the theme of enterprise - starting out, getting funding, networking, self-promotion and motivation. The group had a stall at Artsmart selling their work, and took time out to create some fantastic images, giving us their take on their experience of Artsmart. See their images HERE

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Featuring: Brek Taylor, Director/Producer of Tailormade Productions.
Andrea Carnavali, Writer/Director/Producer at the BBC.
Michael Please, BAFTA winning animator.
Lynne Forbes, Angel Exit Theatre Producer.

Brek Taylor was the first speaker of this event. She is a Producer and Director of Tailormade Productions, in which she works with Elizabeth Mitchell and Claire Tinsley.

Her advice was straight to the point, and could be invaluable to someone looking to make his or her first film or to simply get some experience:


•Never be afraid to ask. On their last shoot, they managed to 'borrow' a water tank for a scene from Clint Eastwood. Enough said.
•Always be honest. It's okay to dress things up slightly to make them seem more attractive, but there has to be a limit. Your audience and your crew will trust you more if you are upfront and honest throughout.
•It's not always about talent; it's about personality too. A great filmmaker without people skills will find it more difficult to make their movie. Be friendly and confident.
•Follow your instinct. Sometimes, you have to trust your own judgements.
•Never give up. No matter how hard it seems. Have determination.
•Never leave anything to chance. Always be prepared and checkeverything. It will save you time in the long run.
•Have faith in your cast and crew (AND your audience!)
•Always try to enjoy the process, even when times are getting tough.
•Imagination applies to the business as well as the creative side. Sometimes you might have to think of interesting ways to get your film made.
•Don't conform.

Brek currently has a film out in theatres, "The Island" and is surely not one to miss! More information here: http://tailormadeproductions.com/

Andrea Carnavali is a man who can only be described as someone who does not look old enough to have the experience he has gained. He is a writer, producer and director at the BBC and works on art based documentaries. He worked heavily on productions such as Empire and the Seven Ages of Britain. The following advice should therefore be invaluable to anyone looking to work in the television industry:

•Have passion! You must love whatever you are doing, so that you can keep on doing it and have your passion shine through your work.
•Get involved with everything, regardless of how relevant you think it is to your career. Build sets for films at University, become a runner and make tea!
•Contact the film schools in the area and see if they need any help with anything. They are always looking for volunteers to assist on small, short films. All experience will help you in the long run.
•Talk to people. Network, attend events, email people for help, call people and start to get your name around.

Andrea moved swiftly from his general advice into some incredibly interesting secrets behind some of his productions. Most of these were to demonstrate how to achieve something polished and professional on 'The Seven Ages of Britain" without breaking the bank. A lack of money should never get in your way:

•During filming, the fog would never be the same in each shot, which could be terrible for continuity and look amateurish. So, he filmed the fog separately and superimposed it on to each shot in post-production.
•Grading: available to anyone using After Effects, Final Cut or similar, grading and editing the appearance of the film can greatly improve how interesting a film is. He made statues appear gritty and textured and made some of the shots look more moody.
•Sounds effects: Without them, the film would sound terrible, with unprofessional background noise. Andrea himself added ghostly noises, and the sounds of keys on a typewriter being tapped and overlaid on some of the titles were made using his mouth!
•And to finish…if you can't make it, fake it!! Don't believe everything you see. Sometimes you will need to be imaginative to make your film look amazing.

Lynne Forbes works at Angel Exit Theatre, as a Theatre Producer. She had trained in drama in Manchester and undertook a Masters at Goldsmiths University. The main point of advice from Lynne was to follow The Three P's:
•Passion
•Persistence
•Proactive

She explained that there is no better alternative to getting out there and getting involved with as many things as possible. Be informed of the industry you're trying to work in and get in contact with as many people as possible. Be proactive and seek out the possibilities, don't sit back and wait for them to find you.

During her career, Lynne has found that it helps to offer as many of your services for free in the early days. Put in the extra hours for little financial reward and you will be repaid eventually. She also believes that teaching and holding workshops are an important element to her success. Not only are you giving something back to the community and industry, but you can also supplement your income to help you survive while you're trying to find your big break!

Information on all of their projects and past work can be found here: http://www.angelexit.co.uk/.

Michael Please is a young animator who graduated from the Royal College of Art and Wimbledon College of Art. He very recently won a BAFTA for a short animation entitled "The Eagleman Stag" and has animated a music video for the band "TV on the Radio". Although very new to the industry, his advice resonates with similarities to the words from the much more experienced speakers of the panel.

•Your final piece is only half of the work you have to do. To gain success, you have to publicise your work, otherwise no one will be able to see it!
•Take it to the festivals, try to get it screened on TV, and create a buzz around it.
•Always do your research. Some festivals will not show your work if it has been shown online.
•Films without language do better at foreign festivals.
•Gain industry contacts through networking. They will help you get your work out into the open and answer your questions.
•Try to win awards. Enter as many competitions as possible. Awards will give you credibility when you come to apply to the festivals.
•Choose the right platform for your work. If you display it on the right blogs and websites, other websites will want to feature your work too.

He recommends the following sites for more information and advice:
Without a Box - https://www.withoutabox.com/
Reel Port – www.reelport.com
Short Film Depot - http://www.shortfilmdepot.com/pre_index.html
Brit Films - http://www.britfilms.tv/

The overall theme of these talks is to work hard. It doesn't sound like any of the talkers achieved their success without putting in the extra effort, talking to people and learning their craft. It also shows that there is plenty of support out there for people looking for help.

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Featuring: Will Jarvis, Sunday Painters.
Michael Cubey, Bow Arts Trust.
Adriana Marques, Public Art Curator and Advisor.
Sonia Uddin and Leah Elsey, Uddin & Elsey.
Hannah Liley, Freelance Art Curator.

Will Jarvis is a member of the South London based "Sunday Painters", an arts collaboration who have recently become registered as a community enterprise. It began life as a third year project at Camberwell College of Arts, converting an area of a local pub into a space to display art. They were featured as part of Bold Tendencies 3 at the rooftop bar in Peckham and now have a permanent residence in Blenheim Grove. The collaboration has converted an old floor of offices into a fully functioning studio space and work as a close community.

Their latest exhibition is called 'Seconds'. More information can be found here:
http://www.thesundaypainter.co.uk/seconds/

Michael Cubey works at the Bow Arts Trust. The main purpose of the trust is to help artists find an appropriate space to continue making art. They also create opportunities for the artists and their communities through their extensive networks.

The Trust also operates a student graduate award, consisting of six months free studio space, culminating in an organised exhibition. They also have sixty-five flats available to artists that also function as studio space. The flats are generally discounted compared to the corresponding price to privately rent a similar space in the same area. More information about both of these items can be found on their website, (http://www.bowarts.org/) along with further information available on:

Studio Finder - http://www.artiststudiofinder.org/
London Artists Quarter http://londonsartistquarter.org/
The National Federation of Artist's Studio Providers – www.nfasp.org.uk

Adriana Marques is a Public Art Curator and advisor based in London, but with experience of curating public art all over the world. She is currently the Principal Advisor for Arts and Cultural Strategy for the Olympic Delivery Authority and was responsible for the installations at the London Fields Lido, Now and Expo Festivals in Nottingham and a number of public art publications.

Public art can be incredibly interesting and rewarding, but Adriana explains that there are a number of elements that should be considered:

1. Control – do you have control of the creativity? Or is it in the hands of the council or landowner?
2. Multiple stakeholders – to cover the costs of public installations, sometimes the costs are spread between a number of people, all of whom may want to play a part in the decision making processes.
3. You will not own the work – At the end of the day, the work will not belong to you. Consider this before you start your journey.
4. Time – Because of the extra planning considerations, and sometimes the size, these projects can take up a lot more of your time.
5. Fundraising – Who is going to pay for it? And what other costs will you have to cover i.e. public liability insurance?
6. Compromises – The increased number of people involved may mean that you have to reach a compromise on many factors of the installation.
7. Health and Safety – what extra controls will you have to put in place to secure the safety of the public?
8. Vandalism and decommissioning – the public arena is open to vandalism, and one day it was have to be taken down.

Sonia Uddin and Leah Elsey are recent graduates and have combined to form Uddin & Elsey collaborative artists. The key to their success has come from simply producing great works that engage with an audience in some way.

Early on in their partnership, they travelled to Australia and made a video of them singing that resembled a karaoke accompaniment, including sing-along subtitles. This was then broadcast inside a 1950's style listening booth on the street, inviting people to enter the booth to sing along with the video. These events were then filmed from inside the booth. The focus of the project was on migration, and was apparently a topic close to the hearts of the participants. Combining fun, art and current affairs has clearly helped them to gather momentum early in their careers.

Other projects featured parties near railway stations in Lincoln, reminiscent of the parties that took place there decades earlier to celebrate the completion of the railway, including brass ensembles and party food. They also travelled to every twin-town of Whitstable and documented the event for a party in the town itself. These events are all blogged and display a continuous level of social engagement and a theme of celebration and parties. It is clear to me that their success has come through their commitment to their projects and their fantastic combination of imaginations.

Completing the line-up from the panel is Hannah Liley, a freelance curator. Although she works predominantly with small organisations, she states that the size and scale of a project is no measure of the success of its funding application.

Their key to its success is simply a good idea, well planned and well executed. Good fundraisers have a dynamic approach. Sometimes a little imagination and creativity is the key to finding a funder, but applications should always be honest.

Her tips for a good funding application are:

• Demonstrate clear thinking – know what you're after, what you're going to do and what you need. If you can't describe your project in two sentences, you need to rethink.
• Try to show how you will generate interest from a new audience – Can you attract an audience that aren't usually associated with the art world?
• Look for resources online – Kick Starter and Startup are two new platforms that can help to raise money.
• Apply to the Arts Council – even though they are subject to the cutbacks, they still award money and are a good place to start.
• Be aware of the caveats of your funder – large companies will want to implant their logo and branding on your work somewhere, smaller companies may only ask for a small mention.
• Do your research – get the name of the person you are writing to, research them and find out what they do. Never submit a proposal without research, as it will not be successful.
• Get a contract – ensure that every aspect is covered before you begin.
• Always be aware of your own ethics – it would be irresponsible to ask for money from an oil company for a project about sustainability.
• Break the project into clear sections – know what you need, and when.
• Set out your credibility – demonstrate how you have worked in the past to gain a trustworthy reputation.

Choose your budget levels carefully – Don't undersell your requirements, but also don't quote yourself out of the market by asking for too much.

Find out more about her work here: http://www.artquest.org.uk/projects/selfassembly.htm

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Featuring: Jeffrey Boloten, Managing Director at Artinsight
Alasdair Hopwood, Leading Contemporary Artist

Jeffrey Boloten is the Co-founder and Managing Director of Artinsight Ltd. He has a background in law and business and a Masters in Arts Management. His company offers seminars and courses to individuals and companies, collectors and art professionals, providing a top-level, unique platform to tap into independent information, expertise and contacts, to help them participate in the contemporary art market in a knowledgeable and informed way.

With such a detailed history in art and business, Jeffrey is fully aware of how arts funding is changing. He was able to digress some of his knowledge so that the new generation of artists are prepared for the new world and the current practitioners can adapt their methods and approaches to working.

Although many of the existing public funds are still available, arts funding is more and more being provided by the private sector and patrons. This does not necessarily mean that there is less money out there, but that artists will need to think outside of the box and be more proactive to find it. There are a number of schemes out there to help:

• Outset Contemporary Art Fund (http://www.outset.org.uk/)
-Funded by private patrons trustees and corporate partners.
- Developed a system of purchasing art collaboratively and donating it to museums and galleries.
-They are independent.
-Involved with developing and engaging with artist's careers, not simply a silent partner.

• All Visual Arts (http://www.allvisualarts.org/)
-Commissioning Agency.
-Engage with and promote artists.
-Located in King's Cross.

• The Collective (http://www.thecollectivefilm.com/)
-A collaboration of buyers who pool their money and resources in order to buy art.
-They support emerging contemporary artists.
-The group arrange to share the work between them and swap intermittently so that they can all enjoy what they've bought!

• Art Angel (http://www.artangel.org.uk/)
- Based in London but they work across Britain and beyond.
-They commission and produce exciting, large-scale art projects.

• The Contemporary Arts Society (http://www.contemporaryartsociety.org/)
-Acquire new and contemporary art and supply them to 64 member galleries and museums.
-They organise an annual art award.

• Artprojx (http://www.artprojx.com/)
-More focussed on videos and screenings.
-Engage with new and emerging young filmmakers.

• Parasol Unit (http://www.parasol-unit.org/)
-A not-for-profit charity
-They develop relationships between the individual artist and the foundation.

• The Zabludowicz Collection (http://www.zabludowiczcollection.com/)
- Presents exhibitions of collection works and new commissions by artists at their site near Camden.
- It runs a varied programme includes group and solo exhibitions, commissions, residencies, the Zabludowicz Collection Curatorial Open and Testing Ground, an annual initiative for higher education in the arts and curating.
- It also has an active publishing arm and dynamic programme of free public events, ranging from talks and performances by artists and academics to community-based festivals and youth and adult education.

Along with contacting these, both Alasdair and Jeffrey recommend speaking to the Arts Council for help and advice. There are also many, many trust and art foundations that are keen to get involved with artists, the Arts Council may be able to help source these. An artist's ability to network is going to become incredibly important. Talking to people, being confident in approaching visitors to galleries and knowing the right questions to ask will all help to procure new funding, so don't be afraid to ask!

Alasdair also recommends teaching as not only a way to supplement your income while you're trying to secure funding, but also opens up many new opportunities. It is not a compromise; it is a hugely valuable experience to all involved. Try to get representation too, as an agent or representative will know more about the finer details of funding and will have many more contacts.

It will also help to start building relationships with galleries. Attend as many events as possible and talk to the curators and organisers. Every chance to talk to someone could open up a new possibility to you, so always be nice to everyone you meet and never judge someone by his or her appearance!

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This talk was held by:

Laura North - Speaking Out
Hannah Clements - Creative Careers

This talk was about public speaking and networking. Both which I am trying to get better at. After introducing themselves, they both announced that this talk was interactive (to my horror). It's pretty much my pet peeve. Forced situations where your forced to speak, forced to wave the list goes on...

However, this in fact was a pleasant experience. After a long day of being slumped a tiny chair, the chance to speak to one another was actually really fun. We were asked to simply turn to our neighbour and talk about ourselves, whilst the other listened and vice versa. A few steps later we were talking about ourselves to a group of 8. A step later we had to approach strangers. Without us knowing, we were networking and public speaking (on a smaller scale).

Most people in the room raised their hand when asked if they were nervous about public speaking. I doubt however if those people in the room realised that they were doing public speaking when in their groups because I certainly didn't.

I found this talk really invigorating, it made me feel that networking was something that could come quite naturally to me, and although public speaking can still send me into a trembling mess, removing the label "public speaking" seems like a good start to solving my problem. It was definitely once of my favourite talks of the whole event.

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The speakers for this talk were:
Emma-Jayne Parkes & Viviane Jaeger -Squid
Reem Kanj - Fast Five Fabulous

This particular talk was more of a panel discussion. We as an audience were able to openly ask questions which gave the talk a more relaxed feel almost immediately. What I think made a difference was the chosen speakers were all UAL alumni of what only seemed around 2 years? It gave me the feeling of reassurance of there is space for me and us as (soon to be) graduates and we can make our own mark or illuminate marks of others.

The talk began with a simple introduction as to what they do as creatives in the industry, and how they got there. The emphasis upon presenting and public speaking was heavy, which made it easy to keep the conversations from going off in a tangent. The speakers gave us great tips and techniques as to how to give a great presentation and in fact how to present yourself. We were advised to think about ourselves and the presentation as a whole.

Some of the tips I found extremely useful were:

* Speak loudly. Be stern.
* Let your personality show through.
* Be open.
* Take your time.
* Smile.

I found the panel discussion scenario really good. It made me feel comfortable, and almost on the same level as the speakers? I even almost asked a question. Almost.

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