How To Write A Curriculum Vitae

    curriculum vitae
  • A curriculum vitae (CV, also spelled curriculum vitæ) provides an overview of a person's life and qualifications.
  • a summary of your academic and work history
  • A written account of one's life comprising one's education, accomplishments, work experience, publications, etc.
  • A brief account of a person's education, qualifications, and previous experience, typically sent with a job application
    how to
  • (How To’s) Multi-Speed Animations
  • A how-to or a how to is an informal, often short, description of how to accomplish some specific task. A how-to is usually meant to help non-experts, may leave out details that are only important to experts, and may also be greatly simplified from an overall discussion of the topic.
  • Practical advice on a particular subject; that gives advice or instruction on a particular topic
  • Have the ability to mark coherent letters or words in this way
  • Mark (letters, words, or other symbols) on a surface, typically paper, with a pen, pencil, or similar implement
  • publish: have (one's written work) issued for publication; "How many books did Georges Simenon write?"; "She published 25 books during her long career"
  • produce a literary work; "She composed a poem"; "He wrote four novels"
  • Fill out or complete (a sheet, check, or similar) in this way
  • communicate or express by writing; "Please write to me every week"
how to write a curriculum vitae
how to write a curriculum vitae - How do
How do I write a CV?
How do I write a CV?
“How do I write a CV?” is a step-by-step guide that will help you on the road to a new job or a big promotion. The tactics, tips and techniques described in this book will prove invaluable to you and your career prospects.
This book contains the secrets of CV building that are not generally given away as free resources on the Internet or applied by using ‘wizards’ or ‘templates’.
It will easily help you to achieve the following.
• Define your professional and career objectives.
• Identify your key strengths.
• Sell yourself in the best possible light to a potential employer.
• Understand how to maximise your achievements.
• Learn about the many myths that have emerged from unreliable sources about CV writing.
• Put yourself into one short document that will be the passport to your next career move.
If you follow the simple instructions described in this step-by-step guide, you will be able to write a Curriculum Vitae that will really have a positive impact on those who read it and a positive impact on your career.

Danny Gregory, An Illustrated Journey
Danny Gregory, An Illustrated Journey
This 272-page paperback is almost identical in size and format to Gregory’s earlier 2008 book entitled “An Illustrated Life”. But is different on several counts. You’re not buying a re-write of the first book. First of all, the 40+ artists featured are different from the earlier book (a mere handful are the same) and secondly, it’s easier to read, with the artist’s own ‘natural’ voice coming through. Thirdly, rather than journaling in general, this is about travel journals, so it moves beyond what I call “Object Drawing” or creating vignettes based around the people and objects that pass through our lives, but in documenting journey, what it means to document place or location, given the natural wanderlust or inner explorer that it is fundamental to many of us. Some like Giorgio Morandi stayed at home and never moved beyond his studio; another of my heroes, Euan Uglow, did the same. But that’s not the “natural” condition in which many of us live and create. Most artists, given the choice, would like to leave home. I constantly dip into his previous book both to get inspiration and to reinforce validation. What shocked (and delighted) me originally about the book was that the text read, rather clunkily, like case studies in Obsessive Compulsive Disorder. Content-wise, the contributing artists all seemed to be enormously hung up on creating their own superstitions or routines around their journaling and sketching ("I never do this…", "I always do that…"). Text-wise, it read very much like answers to pre-set questions. Just like the case studies in the book, I too was developing and had developed my own irrational phobias, setting “limits” for myself just like a parent quarantining or setting parameter’s for his or her child’s behavior. Endless potential and enthusiasm is one thing, but most of us need a (self-imposed) discipline to stay on The Path, especially since we are largely teaching ourselves how to ‘see’ and create. What the two books have in common is they both display Danny Gregory’s own penchant for a querky, cartoonish, irreverent style, loose flowing penmanship with bright enthusiastic colour and dry wit, mainly in the manner in which Gregory himself sketches and journals. That said, he overcomes, in both books, his own personal aesthetic by including a very wide range of artistic styles. It’s the broad sweep of personal styles which keeps me coming back for more. I particularly like the fact that Gregory replicates the global nature of the illustration/design/art work-worlds today beyond just a token one or two non-Western contributors. We need to continue this trend by looking for precedents in non-Western travel journaling such as Hiroshige, for example. We all “like” artists who work in the same style as ourselves – that’s justifiable and understandable. But both books have thrown up for me new artists whose work I’ve either never seen before or who’ve only been shadowy figures in the background. A mark of success for both books is (a) whether you are on-message and drawing every day and (b) rushing to the Net to find out more about individual artists. The advertising exec in Gregory would like this: you need to have 'bought the product', not just 'seen the ad'. The first message I’ve absolutely “got” (not just from Gregory’s books but in particular from Veronica Lawlor who features in the second book). In the case of (b), I absolutely love Peter Cusack’s biro work (though I could never myself personally draw commuters as he does) and Simonetta Capecchi (I’ve been on a panorama jag ever since reading how she operates). Butch Belair’s work in that book, too, keeps me nourished in the area of watercolor painting. That I don’t like more of the work in the first book is a reflection of my own personal taste; they work in a cartoon-illustration style that I’m simply personally ‘ not in to’. That’s okay, because the text is a constant font of knowledge as I make my own experiments with technique and media. In terms of this recent book, I identify most strongly with the work of Ian Sidaway (his focus on composition and lack of text), with artists like Nina Johansson and Will Freeborn providing me with inspiration watercolour-wise. But, as in the first book, it’s the text which shines through most vividly for me. I’m either surprised by what other artists do or I either nod sagely “Yes, I’ve discovered that to be true too!”. Concepts of “travel” and “journey” The primacy of overseas travel, international travel, travel ‘abroad’ is always going to be a given. We’ve fetishized tourism to such a degree these days that it’s hard to swim against that particular tide. And it goes beyond just eschewing international resorts where one can sit in splendid cultural isolation, being served food and drink by the natives but otherwise seeing, talking, relaxing with one’s own. Everyone acknowledges that sketching on holiday creates a different pace, like swapping a fast car for a pushbik
Lee Cunnington Tat
Lee Cunnington Tat
This is my response for the Hand Tattooing assignment. The initial idea of this is to display aspects of my personal life and to show some interests of mine. Starting off in the centre of the hand, I have clearly emphasised who I am, where I live, what I like to do and who my family are. These topics are displayed in colours such as blue and white (my favourite colours) not only that they are easy to display on a skin coloured canvas. For fonts I chose the special Jamiroquai font for major aspects of myself, as for precise information I used Verdana and Arial for posher styles like a Curriculum Vitae to display my education. The black text surrounding the central palm of my hand and on the fingers are StarVader and Jamiroquai fonts. These emphasise bitesized facts about my personal interests such as music styles instead of writing full statements. It easily fills the gaps, using the space given causing no limit to what I can write keeping with the specification of 30-45 degree angles. The colour styles used help centralize what really matters inside the palm of the hand. The Sky background displays my urge to learn how to fly an aircraft someday. I've always wanted to be a pilot just as a hobby when I grow old. Again I have been patriotic like in the Digital Signature by involving Red White and Blues throughout the tatooing to show my patriotism for my home country.
how to write a curriculum vitae
How to write a German CV
The CV - Curriculum Vitae, or resumé - in Germany is written and presented considerably different to the way it is done in English speaking countries.

Not only does it have to be written in German and is called a "Lebenslauf", but there are some major differences that anyone applying for a job in Germany should be aware of.

"How to write a German CV" is a 50-page step-by-step guide which takes you through each of the sections of the CV in turn, and tells you what you should include in a German CV, and what you should leave it.

It contains tips on formatting and printing your CV and an insight into the type of things that German employers are looking for.