Body Language – The Saatchi Gallery

Exhibition, Installation, Painting, Photography, sculpture, Uncategorized

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I spent the last weekend up in london and had a free day, so I did what I always do when I have a free day in London, I went to visit some galleries. I decided to start at the Saatci Gallery because I liked the look of their new exhibition, Body Language.

On arriving to the Saatchi I was annoyed by the usual things, having to pay for a guide, strange layout of the building etc… All was forgotten quickly though. The exhibition itself seems to centre on the ways people are portrayed and the ways in which we like to portray ourselves.

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Going from gallery to gallery I was confronted by the eclectic mix of styles I have come to expect from the Saatchi Gallery; ranging from humorous sculptures to vibrant paintings and haunting wooden gravestones. The thing with what’s shown at the Saachi is that, at the same time as covering a massive spectrum of ideas and processes, it still manages to hold classic roots. Painting, sculpture and photography.

Starting in gallery one and slowly trying to make my way numerically though the exhibition spaces, however difficult it may be, I found that the exhibition started somewhat lacklustre. Walls of paintings on paintings in a loose style which try to grasp as much meaning as possible. However, there were some interesting images. I came upon the work of the Japanese painter Makiko Kudo. Surreal colourful landscapes with manga style characters painted into and across them. As I looked at the images it started to remind me of being a child and loosing myself in comics and video games. Creating a fantasy world in which you can be whoever you wish. Your image is yours to create.

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I think for me the star of the show was the work of Denis Tarasov, a Russian photographer who takes images of gravestones with pictures of the deceased carved onto them. What I found so interesting about this is, when looking at each person you can get an idea of who they might have been, or at least who they wanted you to think they were. Clearly the people immortalised in expensive stones were of a certain wealth. Some graves boasted this with gold inlays and pictures of their cars and castles, and some played it down. A humble looking woman standing in front of a landscape doesn’t her wealth but rather her power as she appears taller than even mountains. All of these graves acted as a strange neo-egyptican burial tradition, leaving this world with all the things that you believe make you strong and impressive, on a plaque for everyone to see.

Tarasov’s work there was in the gallery with the installation work by Marianne Vitale which echos the photos as well as juxtaposing them. The wooden graves taken from lumberyards act as a physical memories of the factories or warehouses the wood was reclaimed from. The scarring, knocks and cuts across the timber show as battle scars and time marks from their previous lives. The humble wooden graves symbolising the previous jobs and lives offset the high quality prints of egotistical burial markers.

All in all I would say that I definitely enjoyed my visit to the Saatchi Gallery and want to thank the stewards for giving me invaluable insight to the work.

Thanks for reading.

Charlie CT

A view on Class and Education – Darcey Beau

Events, Inspirational, Video

So, with the Young Peoples festival of ideas “Class and Education” debate only a day away. I thought I’d be one to share my opinion regarding ‘class and education’ – just to get the discussion going and to share, what I think is a reasonable point of view regarding this (sometimes) sensitive subject.

I think what defines a person from a particular ‘social class’ is the people they’re around with from day one. A persons influences and inspirations comes around from what they see as role models. As the saying goes ‘you’re only as great as the people you surround yourself with’ (well, it goes something like that).

I believe this is where the issue lies in ‘class and education’. The disadvantages of the young people growing up in a ‘working class’ background means that most don’t have much to look forward too on a day to day. Young people in these situations don’t have Mummy and Daddy taking them to sunday school, whilst feeding them with a silver spoon; they are simply influenced and inspired by what they surround themselves with. In most circumstances thats the TV, or whatever may be going on around the council estate. I’m convinced if you watch enough  Jeremy Kyle, Eastenders, Only way is Essex etc, you will inspire to become those characters; and in most instances they’re not great influences with educated words of wisdom. But then again, who am I to say who does and does’t have ‘educated words of wisdom’? Alternatively, if you’re hanging around with bad influences around the estate, you’ll begin to immerse yourself in a world of ‘street politics’… and they’re more complex than the normal kind of politics.

What I’m trying to get at is, if these people are surrounding themselves around this fake reality media, and being inspired by people like Joey Essex and Amy Childs (or even Trevor on the street corner) – what will they inspire to be when they grow up? What education path will they pursue? I highly doubt after watching these programs they will immerse themselves into researching the possibilities of nuclear physics or take a career path in audiology? But what if someone was there to continually inspire? – I strongly believe the underlying result in differences surrounding ‘Class and Education’ is simply lack of educated role models and inspiration to pursue further education.

I’m not at all suggesting that people should begin to watch educational documentaries about ‘democracy’ or read articles on ‘Money Week’ or even try to understand economics whilst balancing your life savings on the stock market. – Neither should you suddenly begin to hang out with grade A* students. However, I believe it is hugely important that people to be aware that what you see on TV is put on for entertainment purposes, and there are always better role models and influences surrounding you.

Neither am I suggesting that all ‘working class’ individuals live this lifestyle as I’m portraying, but I certainly believe a high percentage defiantly do – even if they don’t want to admit it. Most importantly, a lot of the time its not their fault. They’ve grown up around the same thing, In a sense I’m lucky to have seen this first hand, and on the flip side managed to see the other side of the spectrum. The only reason I was able to exclude myself from this lifestyle is simply down to inspiration, determination and understanding what education and career path I wanted to choose from a focused and educated view in the world of ‘reality’.

Someone who has continued to inspire me over the past year, is a spoken word artist Suli Breaks. Suli speaks from a point of view of which I am familiar with. Growing up in a certain environment and striving for that inspiration, with that core passion to inspire others:

 

@DarceyBeauuwww.darceybeau.co.uk

RWA Annual Open Exhibition – Well worth a visit!

Bristol, Exhibition, Inspirational

I visited the RWA last week, as I’m hoping to do some voluntary work with them. After meeting the volunteer co-ordinator I took a stroll around their 161st Annual Open Exhibition, and left feeling seriously inspired!

I thoroughly enjoyed the exhibition, and I’ve tried to put my finger on why that is. The diversity within the selection was incredible! Talking to a member of staff, they told me about the selection process that is carried out in order to create the exhibition. The work currently on display is about a quarter of the submissions they had this year, and every piece submitted is seen by a panel that included artists, curators and volunteers.

Also the way the exhibition has been curated played a big part in it’s impact for me and as to why I found it so inspirational. The rooms are bursting with texture and colour and shape. The walls are filled to the brim with work, and the sheer amount of work hits you upon entering. The scale of some of the pieces is really striking as well; from sculptures and huge paintings, to prints as tall as my thumb.

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Young Peoples Festival of Ideas - Social Media - at the Arnolfini

Young Peoples Festival of Ideas – Class and Education Wed 22nd

Events, Inspirational, Roundup

If you havent heard of it, Young Peoples Festival of Ideas or YPFoI for short, is a series of debates on hot topics (past events have covered Pornography and Social Media). The inspiration for the event came from the original Festival of Ideas held in Arnolfini and other venues across Bristol and we’re excited to be working with the team behind FoI and Salam Shalom to create these free events. The only thing you need to do is reserve your ticket with Arnolfini’s box office (0117 917 3200).

We’re all really looking forward to the next event on Class and Education on Wednesday the 22nd of January so we decided to find out from different YA members what all the fuss is about!

Becky:

A clash of ideas; that is what I am most looking forward to about Wednesday’s Young People’s Festival of Idea’s talk on Class and Education. Not because I like a heated debate but because often it takes somebody to challenge your opinion on something, for you to look at it from a different point of view. Discussing ideas freely and learning from each other is what YA aims to get from these open events.

Fiona:

This Wednesday’s Young People’s Festival of Ideas event is not one to be missed! The last two events have been evenings like I’ve not had before, that encourage you to think in ways you may not have before, and to think about things you perhaps haven’t considered before. This week’s event will be covering themes surrounding the necessity of university, how much of a class divide there is in the current educational system and how perhaps can we influence the education system? I’m looking forward to the atmosphere of the evening; a room full of opinionated people, all eager to share their own opinions and experiences of the education system and how class is effecting it.

Emma:

I feel the YPFoI events so far have really fulfilled our aim – to give young people a unique platform to share ideologies and philosophies, particularly amongst themselves and other generations. It not only has been cathartic for myself but I feel it has also been great for representing such diverse intellect and positive connotations of young people. If anything I feel class and education is going to be the pivotal topic where strong opinions will surface to make for an incredible debate and be a real eye opener for many, so I’ll definitely be nabbing a front row seat!

Cai:

The YPFoIs have been such an interesting experience for me. They have been entirely unique, and I’ve never seen anything like them aimed at young people in bristol. The past few topics have sparked interesting discussion between me and the people I go with, and they often raise issues that we might not have been aware of. The next talk – Class and Education – is something that is right in the forefront of my mind at the moment, and unlike the past topics, its something that young people have to actively think about – investing lots of time into researching it. I’m looking forward to seeing what issues and points are going to be raised in the third talk.

Charlie C-T:

What I think really makes the YPFoI events so special is the participation of the audience and the really interesting points everyone has to give to the debate. I feel like if people didn’t show as much enthusiasm as they do, then the event wouldn’t even be half as good as it is! What I’m most looking forward to about the Young Poeples Festival of Ideas event is hearing all of your contributions.

See you all there!

Fiona Clabon Illustration on Facebook

The Professionalism of Facebook

Drawing, Reflection

I’ve always been quite sceptical on the professionalism of Facebook. For me I’ve only ever really seen Facebook as a personal connection tool for talking to friends but recently I’ve found myself clogging up my own page and therefore my friend’s news feeds with images of my work, or projects I’m doing etc. I’ve also spoken to a lot of other artists, many of which have Facebook pages for their own practice. Both of these things ave shifted my opinion on it.. a little!

And so came about my illustration page!

Fiona Clabon Illustration on Facebook

As I said, I am still very sceptical of how having this page could help me within the arts and how professional I might or might not come across because of it. Therefore my challenge is to ensure that my illustration page is as professional as possible, as well as being engaging.

It will be interesting to see how much of a success I can make this page, and whether I remember to regularly update it or not! I think my main aim with it is to try and reach more people with my work, to get people recognising and talking about it.

Image courtesy of Off The Barrow – a great post on how to use Facebook to its advantage!

A memory of a lecturer from uni has been in the back of my head while I’ve been writing this, as I remember him saying to not spread yourself too thinly when concerning social media. He encouraged us to chose a small few platforms to promote our work from; to use a small number but to use them well. And so I hope that by beginning this Facebook Illustration page I will not be stretching myself too far. We shall see, only time can tell!

 

 

Nikon Camera| Charlie Crossley-Thorne Photography

Using Analogue Photography

Photography

Charlie Crossley-Thorne Photography

I have been going back through my old archives setting up a new website recently to get my photography on a website that I’m proud of, not just my Tumblr (not that there’s anything wrong with Tumblr). One big thing that I realised is that is that the majority of my photography that I feel proud enough of to share is done on either 35mm or medium format film.

Now I’m not condemning digital, I love how much the use of digital can free you up, in fact I use digital more than analogue. It’s when I come to produce a final product, nine times out of ten; I will choose to use film.

In this post I just want to simply highlight for me what I believe the benefits of using film over digital are.

Charlie Crossley Thorne Photography

The Film Quality

Now you are probably thinking that I’m going to get all biased and talk about the quality of the grain of the film and how nothing can reproduce it (which I do believe by the way). Well I’m not. When shooting on film, especially medium format, scanning the film properly and at a high resolution gives you a sharper and crisper image.

The limitation

When you are working with 36 images only then that puts a sort of barrier in your way. You can’t be trigger happy and waste all 36 of your photos. This limitation makes you think about each photo you are taking. These limitations also force you to think more creatively, when you are presented with obstacles you need to think of new ways of surpassing them.

Learning process

Like with the limitations, using analogue cameras makes you think more about what you are doing, thus making you learn more about what you are doing. You can’t just snap a photo (not at first anyway), you have to change settings and make sure the photo will even look like a photo.

The Darkroom

Using analogue 35mm film means you get to process the film yourself. This is the analogue counterpart of using Photoshop. For me it’s an integral part of the photographic process because of how much you can play around with different things to create cool effects. Using things like bleach or vinegar to mess with your images can look really interesting plus it feels a lot more natural than altering digital files because you can see the direct responses to your changes happen in front of you.

The Price

For the quality nothing can match its price. You can do what’s worth thousands in digital with just hundreds with film.

Other than that there is something about following in the footsteps of the great photographers. People don’t play old blues songs because they are hipster and awkward, they do it because they like to follow in the foot steps of their idols. 

Thank you for reading!

Charlie CT

all photography in this post belongs to me

Fiona Clabon illustration work at Paper Scissors Stone

Fiona Clabon at Paper Scissors Stone

Bristol, Drawing, Reflection

My Paper Scissors Stone Experience Next week will be the last week that my illustrations are being sold at Paper Scissors Stone, the pop-up shop in Quakers Friars. My work has been there since the beginning of October, and I really wanted to share my reflections of the experience, as it’s been so brilliant and I don’t want it to end!

Fiona Clabon illustration work at Paper Scissors Stone

As part of the ‘deal’ with having illustrations for sale at Paper Scissors Stone we as the artists in the shop also work there. It creates a really unique customer experience for the public, and it has provided me with a great bank of information to feed from as an illustrator just starting out. Each time I’ve been working in the shop I seem to work with different artists and designers, who have all been lovely to work with and who all had something new to tell me or knew something I could learn from. The range of artists within Paper Scissors Stone is also really incredible. Some have been making things for years, for some it’s purely a hobby, and for others like me it’s a new and exciting venture!

Fiona Clabon illustration

My expectations of this experience were quite non existent really. It was something so totally brand new to me that I had no idea how it would evolve and turn out. These last few weeks especially have been so unexpected and amazing! Sales have been brilliant; I never knew the lovely people of Bristol had such a thing for coasters! Knowing that someone likes your work enough to spend their own hard earned cash on it is a pretty incredible feeling – a feeling I don’t want to end any time soon!

Fiona Clabon illustration | Paper Scissors Stone

Being part of Paper Scissors Stone has also enabled with the publicity of my work, and has led to further new creative ventures to come in the New Year which I am extremely excited about! I’ve learnt so much from the whole experience! From pricing my work, the presentation of myself right through to how to print a whole page of price labels! It has made me feel more confident about making a success of myself within the arts and has also boosted my confidence in myself and my work.

If you’d like to read more I recently did an interview with Made in Bristol, the organisers of Paper Scissors Stone.

Interview with game designer Emma Haley

Interviewing game designer Emma Haley

Games

Tell us a bit about yourself.

I’ve been interested in art and media for as long as I can remember. When I was really young, I wanted to be a photographer. I’ve always had this obsession with spaces and capturing space.  I got a 1987 Minolta SLR from my parents that I was in love with. I have albums full of forest scenes, landscapes and I always remember looking at buildings and trying to capture them from interesting angles or get really close up to little details within them.  I always wanted to see the little things that noone else noticed.  I thought my camera was special, because it was so old, so when the photographs were developed, they looked like they had been taken in another time.  There was something really profound in that for me, like I was manipulating time.  After I had my photography ‘phase’ I moved onto film making in college.  I really enjoyed that.  Instead of expressing one moment in space to the viewer I was able to tell a story by moving around.

In a way, reflecting on that makes a lot of sense why I am so interested in games now.  When I went to study games at university, it seemed like second nature to me and I didn’t think about it too much.  I had actually gone to university to do film again, but had chosen Computer Games Design as an extra module.  My first class of Computer Games Design something clicked and I walked over to the lecturer at the end and said, I want to do games full time. Now I look back, I realise that I’ve always had a connection with wanting to work with spaces, it’s just that those spaces are virtual and contained within a computer now.  I sort of feel like sometimes games are a throw back to those times I would carry my camera around a forest and try to find things that noone else saw, that I could share with other people.  Exploring a virtual environment is very much like that for me.

And the years went by, and by my third year I was fully prepared to be an environment artist which is what my final project focused on.  I ended up studying Norse architecture for my final project so I could develop concepts for a 3D environment.  That was the most fascinating thing for me at university, is that you had the resources to delve into other disciplines in order to make your ideas come to life.  I ended up staying on at University to do a Masters and studied games from a more theoretical perspective (the study of play, what is known as ‘Ludology’), whilst continuing 3d modelling on the side.  So right now I am at a point where I study and research games from a critical viewpoint, whilst also wanting to be a successful artist, I’m still learning.

Right now I am working full time at Evolution Studios.  We are a Sony company working on a launch title for the PS4.  I am not currently doing environment art here, I’m an in-house QA tester, which has allowed me to delve into all the areas of game development.  I sit with the artists though and we are always showing off our portfolios to each other!  It’s very inspiring being able to sit with such talented people everyday.

What was your big break and where would you like to see yourself in the future?

I would say I have not had my big break yet.  So far this has been a really long journey for me, from that moment where I wanted to be a photographer to now.  I feel like I’ve come a really long way, but I have not had that great epiphany yet.  I think it’s probably very difficult for people to know when they’ve *made it*.  Or maybe that’s just because I’m still quite young.  However, I broke into the industry through Twitter mostly.  It has been an immensely useful tool for me to network.  I got offered my first ‘contract’ through a friend I had made on Twitter who knew someone with a new company and some rather whacky ideas about what kind of game he wanted to make.  After that it was odd contracts here and there to do some 3D work.  I’ve been very lucky with the opportunities I’ve been given, but a lot of that has come from making an effort in online communities and putting myself out there.  I got a lot of attention on Twitter during my Masters because I made a text based game that could be played through Twitter.

My future is blurry.  I’m at the age now where I’m bursting with ideas but I don’t have the ability to carry them out because I’m trying to make a living and I’m scared of taking a risk.  I feel like I’m at a transitional period in my life, and it’s all still quite confusing and a bit scary.  Right now I’m taking things as they come, and trying to improve my portfolio, skills and contacts as much as I can.  I try to give myself as much food for thought by talking to people and going to events.  In my idealism, I’d love to be creative director of my own company, and working with talented and inspiring people, although I already work with a lot of them!  I have mid-20s blues, where I feel sometimes that I’m not doing enough towards my dreams.  I am quite content right now in the work that I do with Evolution Studios and the work I did at Traveller’s Tales, and I feel very proud to work here.  But sometimes feeling content is not such a good thing for personal development.

What do you enjoy most about making video games?

Developing video games is an ongoing process.  Making personal video games as I have done in the past, if you are working for yourself, then you can make changes until you are happy.  I’ll give you an example, when I was creating a text based game for twitter, I was able to create an area, play through it, and then make a decision on what options the player could have, I could change what things the player could see and have access to so that I could express what I wanted to the player.  With video games it’s always been about implementing an idea, testing it, and then changing it to what is desired.  So I suppose the most interesting part of video game development is prototyping ideas and playing around with that.  Because it’s a digital medium you can really do that so quickly and easily, or at least it’s getting easier to see changes you make on the fly.  Change a bit of code or script, or change a piece of the environment to have more fauna, or less, or move a rock a little to the left.  In reality, you should lock down ideas at some point and start to manage the project, but bouncing ideas and playing around is really enjoyable to me.  You can be innovative at any stage of game development but at that stage it feels more playful and loose.

Also as a games QA tester, we see a lot of bugs. Sometimes these bugs can be hilarious so that is really fun.

Emma Haley game design

How important is it to be a “perfectionist” when it comes to designing a game and its environment?

It really depends on your idea of perfection.  For me, a game becomes perfect when the sum of it’s parts come together harmoniously.  Some of my favourite games (which I believe to be perfect – Journey is one of them) have been crafted in such a way that you never notice anything out of place, everything feels seamless, and as a player you are just guided through this world and sometimes, your mind allows you to be completely taken with that world.  I think for games, immersion is perfection.  If you can achieve a connection with a player through your environment and hold onto that connection, that is perfection.  For me, games are not just about what I design, it’s also what the player contributes, what they give to the world.  They are the person walking around, examining the little nooks and crannies, becoming curious and poking around corners.  You have to remember that when you’re designing a game, you are designing a space.  Even if it is a 2D game, or a text based game.  You are creating an imaginary space that contains a story to be told, a world to explore, strategies to be unravelled.  That world doesn’t come to life until the player participates in that space and contributes their own effort into it.  In that sense, I often see the player as an author of that world too, and so I sometimes think that games are a conversation between designer and player.

As an environment artist, it’s all about realising the designer’s vision for them.  You have to understand and communicate with the designer on what their world is like, what is their world telling the player.  So I don’t think it’s important to be a perfectionist in that sense, but instead you need to be a very good listener and communicator, and be able to visualise and interpret ideas.

If you are working for someone, then you would expect them to be more picky than you about the work you create.  In my experience, it’s been that I’ve been far too critical on myself and they’ve been very pleased with the work.  I don’t always think being a perfectionist is a good thing, it means you have expectations and with that comes let downs.  I know that I have felt really disappointed in a piece of work once it’s finished, and that’s because I’ve been too worried that it’s not perfect.  If you are contributing a piece of 3D work to a game, it can be the prettiest and most beautiful 3D asset in the entire game, but if it doesn’t harmonise with the rest of the game, if it doesn’t sit right, then how can it be perfect?  It’s really about all the parts coming together.

If you are making a game yourself, it’s probably impossible to look at individual items in your world and be fussy about them.  If you are making a game, its a good idea to step back and take a look at the whole picture.  And this is true for all mediums I am certain.  Focus on individual little details and it won’t necerssarily work in the end.

Emma Haley game design | Inteview

You mentioned earlier that there’s a huge element of playing around with things until you get them “right”. I understand there’s some element of perfectionism but can being too much of a perfectionist can mean never finishing a game/never being satisfied?

Yes, I really think it depends on your ideas of perfectionism.  In my eyes, perfectionism can get to the point where you are messing around with the tiny details, like moving the rock around a bit too much.  Sometimes the vision could end up getting lost amongst attempting to focus too much on the very minor details.  A good idea of perfectionism is communicating visually what the designer asked of you.  If you are working with someone and have a perfectionist designer asking you to work too much on the tiny details, it can end up feeling demanding and tiresome, especially when you are satisfied that you’ve replicated what the designer asked for.  So it’s about compromise, as an artist.  And about being adaptable.  And not losing yourself and the vision  in obsessing too much over the tiniest details.  Just remember the bigger picture!

Emma Haley game design

Do you feel like video games receive enough credit as ‘art’? Do you feel they deserve a recognition in art galleries?

This was a really thought provoking question for me.  I think there are problems with games as art.  This has been an ongoing discussion since the 80s, where Mary Ann Buckles attempted to prove to her peers that text based games could be taken seriously as literature and they scoffed at her.  Yes, I believe games can be credited as art if they allow themselves to be opened up to discussion and criticism.  I think some games are still very immature in their delivery, and very shallow in the themes they present.  I’ve seen it where people who criticise games get silenced, and there’s a rhetoric still going around that if someone .  But that’s only with individual games or developers.  There is a huge amount of what I would consider ‘art games’ that are really interested in opening up discussions about what games can be.  The potential has always been there for games, its just how you make use of the medium to express ideas and connect with the player.

On the flip side, there are art games which are just not taken notice of because they are not marketed or sold at retail.  A lot of games I have played recently that circle around on the internet are beautiful and interesting.  However the problem might be that they are being exhibited quite freely on the internet in game communities but not exhibited in public spaces where people who might not be interested in games can investigate and learn that there are games that don’t follow typical conventions, that they can be innovative, thought provoking and very often, emotionally moving.  So several things need to happen before we see that.  It would be amazing to see these games exhibited and I hope we can move forward and get them there.

Interview with game designer Emma Haley

Finally, do you have any last messages for anyone aspiring to get involved in the video game industry?

Anyone can do it.

There are several options for you if you want to get into the games industry.  First of all ask yourself, what is it you’re interested in doing?  If you’re not sure of that, then that’s perfectly okay.  Even though I’m an environment artist at heart I have dabbled in a variety of things related to games, you do not need to feel limited to one skill.  The beauty of technology today means that there are so many free resources for you to get started.  If you want to try out 3D modelling, I suggest Blender which is a free program with all the tools you need to create 3D assets for games.  Sculptris is a free 3D sculpting software which allows you to sculpt models in 3D.  The most important thing you need is passion.  Whatever it is you want to do, work at it and work very hard.  The games industry is not bothered if you have been to university or not – some of the most successful people I know have not been to university, but they have worked very hard at improving their skills, getting feedback off others and adapting.  If you go to university, then that’s great.  It means you’ll get access to resources such as assistance from lecturers, access to a variety of software you need to create games and books in the library.  Being at university means you’ll be with peers who are interested in the same field as you, which means you might be able to do collaborative projects easier.  However, outside of university there are tons of options for you.  Get involved in the mod community online, start going to game development events to meet people, get on Twitter and start interacting with the community.  The beauty of game development is that you can do it in the comfort of your own home and you can meet people doing the same thing online.

At the end of the day, if you have passion, you work hard, you can take criticism and adapt your work to suit needs, these are the key skills of being a game developer.  The rest will come naturally after experimenting and making mistakes.  Everybody makes mistakes, or takes great falls.  After my first year of university I thought I had flunked it all and that I was useless.  I carried on, despite my desire to want to quit, and now I can tell people that you can take falls, and you are allowed to fail.  It’s up to you to come back from failure and learn from it.  Failure and mistakes are never an end-game, it is a turning point.

More importantly, the game industry needs you and your creativity and imagination so that we can all grow together.

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Follow Emma Haley on twitter here.

Sections of this interview are featured in the second issue of Young Arnolfini’s zine. You can grab a copy from designated locations around Bristol now!