PFI

Prep For Industry

 

MODULE TITLE

 

 

PREPARATION FOR INDUSTRY

Module Code

n/a

Semester of Delivery 2
State whether module is Mandatory, Elective or Option Mandatory
Level (4/5/6/7/8) 5
Credit Points 10
Assessment Tasks & Percentage Weightings* 2 Tasks: Coursework 100%

Task 1: 40%

Task 2: 60%

Pre-Requisite Modules (if applicable)

Professional Studies. Level 5

Breakdown of Student Learning Hours by Type 30 hours class contact

35 hours tutor directed study

35 hours student directed learning

Module Leader & School Paul Clarkson, ACES
Module Banding C
Date of Original Approval June 2005
Date of Next Review

 

SECTION A: AIMS AND RATIONALE

  1. THESE ARE THE AIMS OF THIS MODULE …
  • To equip you with the knowledge and experience necessary to make informed decisions about preparing for employment within the graphic design and visual communications industry.
  • To consolidate your understanding of key issues in current design practice in the workplace.
  • To develop professional contacts initiated in the Professional Studies module.
  • To enable you to develop items of self-promotion for employment application.
  • To enable you to structure and organise a personal portfolio of work suitable for your identified career path/direction.
  1. THE REASON FOR HAVING THIS MODULE AND FOR HAVING IT AT THIS LEVEL OR POINT IN THE COURSE IS …

This module supports you through planning your applications for employment within the workplace. It prepares you for interviews and considers issues and techniques of presenting yourself and your work. The module activities encourage you to devise fruitful strategies and formats for self-promotion and will introduce a broad range of communication and presentation skills. The module introduces issues that bear on contemporary practice to develop your

knowledge of and critical thinking about your selected field/career path. The module supports you in identifying the main areas of employment and in establishing contact with key organisations and opportunities within your chosen career path locally, regionally and nationally.

Case studies, and input from course staff and/or outside practitioners and agencies will provide a realistic platform for self-determined activities. You receive guidance to focus your planning and work production to produce an individual and personal approach to employment application.

  1. BY THE END OF THE MODULE YOU WILL BE ABLE TO …
  1. Make informed decisions and draw conclusions about preparing for employment within the graphic design and visual communications industry.
  1. Summarise the essential aspects and key issues in current design practice within the workplace.
  1. Identify, access, and use professional contacts as a database for seeking employment.
  1. Produce appropriate written and visual material for use in employment applications.
  1. Prepare and present your work and yourself in an employment situation/context.
  1. Produce a personal portfolio of work suitable for entry to an identified career path/direction.
  1. Produce suitable items for self-promotion.

4         THESE ARE THE MAIN WAYS OF LEARNING AND TEACHING WHICH WILL HELP YOU TO ACHIEVE THE LEARNING OUTCOMES

The module will be taught by lectures, seminars and tutorials and through short assignments set by academic staff or visiting practitioners.

Tuition will be provided by academic staff. Student work is supported by handouts, key skills and study skills input.

The formal teaching introduces case studies, identifying issues in employment application and self-promotion. These may be related also to practical design proposals. Students discuss their draft proposals in seminars. Case studies, and input from course staff and/or outside practitioners and agencies will provide a realistic platform for self-determined activities.

Students will be expected to present themselves and their work in simulated interview situations, where feedback will be given.

Individual tutorial sessions will enable students to be effective in their gathering and assimilation of their research.

Portfolio surgeries will be provided for individual students to enable them to develop, organise and structure their design work.

This module builds on and extends in more breadth and depth some pertinent content previously addressed in the Professional Studies module.

Students are expected to devise and produce items of self-promotion. Students will also assemble a portfolio of their design work for use at interviews in response to portfolio surgeries, either by academic staff and/or design practitioners.

Student Presentations and mock interviews may be supported by video evidence as a means of feedback on performance.

Students receive guidance to focus their planning and work production to produce an individual approach to employment application.

Access, and the use of relevant databases of professional contacts, employers and organisations is essential in this module.

You will need, and will have the use of studios, computer, IT and Video recording resources for this module.

SECTION B: ASSESSMENT AND FEEDBACK

5          THIS IS HOW THE LEARNING OUTCOMES WILL BE ASSESSED

The module is assessed through two Tasks:

Task 1: Employment Application

Task 2: Self Promotion & Work Presentation

 

Task 1: Employment Application

Learning Outcomes 1 2 3 & 4                                                                         40%

Preparing for employment applications by investigation of job markets, potential opportunities, job types, their functions and requirements in terms of experience and skills. Identifying suitable companies and organisations, recruitment agencies and other professional contacts. Producing appropriate written applications.
Task 2: Self Promotion & Work Presentation  

Learning Outcomes   5 6 & 7                                                                           60%

Preparing and presenting work and self, developing a personal portfolio of work and producing suitable items of promotion.

 

6         THIS IS HOW AND AT WHAT POINT(S) YOU WILL BE GIVEN FEEDBACK ON YOUR PERFORMANCE … 

Feedback is given in individual tutorials and in portfolio surgeries.

Written feedback also will be given to the design project/assignments at the end of the module. Feedback on presentations will be provided orally, after the presentation, and then after dialogue, discussion and reflection, in written form.

7          TO ACHIEVE A PASS …

Minimum pass criteria

The following table sets out the minimum pass criteria for each learning outcome within its Task.

Task Learning Outcomes Minimum Pass Criteria
1: Employment Application Make informed decisions and draw conclusions about preparing for employment within the graphic design and visual communications industry.

 

 

Summarise the essential aspects and key issues in current design practice within the workplace.

 

 

 

 

 

 

 

Identify, access, and use professional contacts as a database for seeking employment.

 

Produce appropriate written and visual material for use in employment applications.

 

Decisions are based on mostly logical reasoning and informed personal research. Some relevant and valid evidence is given for each conclusion.

 

Summaries are reasonably concise and include most essential aspects (inclusion of non-essential aspects is minimal).   Main key issues are identified and considered in preparing for employment in the graphic design sector.

 

Main key professional contacts are identified and a basic database is evidenced.

 

Employment application material is appropriate and mostly capable of use. Main conventions of written English are followed correctly. Communications are generally clear and understandable for the particular audience. Main features of formats used correctly. Main features of language and style are suitable for purpose, topic and situation.

Task Learning Outcomes Minimum Pass Criteria
2: Self Promotion &

Work Presentation

Prepare and present your work and yourself in an employment situation/context.

Produce a personal portfolio of work suitable for entry to an identified career path/direction.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Produce suitable items for self-promotion.

 

 

 

 

 

Presentation of self exhibits some confidence and assurance. Appearance, manner, demeanour and language is appropriate for the context. Communication of main points and aspects is mostly clear and comprehensible.

Presentation of work portfolio shows some structure, logical sequencing, organisation and logical reasoning and justification for its contents. Standard of work presentation is mostly to professional standards.

 

Work portfolio is mostly well presented and set out. Work is clearly labelled and identified. Most key pieces of work are included which demonstrate a range of experiences and skills suitable for employment.

Some creativity and originality is evident.

 

Self promotion items are evident and suitable in content, format and form for the purpose and context. Items show some originality and individuality in content and presentation.

 

8.1      THESE ARE EXAMPLES OF THE CONTENT OF THE MODULE

Subjects included in this module include:

  • Planning your applications for employment within the workplace.
  • Preparation for job interviews.
  • Issues and techniques of presenting yourself and your work, communication and presentation skills.
  • Preparation and production of a portfolio for employment application.
  • Fruitful strategies and formats for self-promotion.
  • Issues that bear on contemporary practice related to selected field/career paths and employment within the workplace.
  • Identifying the main areas of employment. Establishing contact with key organisations and practitioners.

Case studies, and input from course staff and/or outside practitioners and agencies will provide a realistic platform for self-determined activities. You receive guidance to focus your planning and work production to produce an individual and personal approach to employment application.

8.2                  THESE ARE EXAMPLES OF THE MAIN LEARNING RESOURCES YOU WILL USE

You will need, and will have the use of The Learning Centre, the Internet and other external sources, course databases and direct contact with potential employers, organisations and companies.


Personal Promotion

 Background

A vitally important part of being a successful designer is the ability and need to present your self in a professional, confident and business-like way. This applies to all aspects of your dealings with clients and employers, from your telephone manner through to your personal presentation at meetings, briefings or interviews.

Frequently however, the first impression of you as a designer will be derived through written correspondence. It is essential, therefore that your personal stationery and self-promotion reflects accurately the professionalism you intend to convey.

Obviously COST is an important factor – don’t be over-ambitious – it’s the quality of idea that is paramount

and production values. Careful choice of typeface, paper, colour, layout and arrangement create an impression

or mood that acts as your personal ambassador.

Learning Tasks/Brief

You are required to produce initial design proposals for the key graphic elements of your personal promotion.

These will form the nucleus of your own personal visual identity and will eventually be applied to your personal stationery, self-promotional items and to your personal interactive website.

Your visuals should be in the appropriate colour/typeface and each concept should be presented showing how it would work, say for instance on your business card. It is not essential that facsimile items such as letterheads, business cards etc are presented but if time allows, you may wish to show how your graphic elements could be applied.

The progress of your personal promotional design work will be monitored during this Module, advice will be available on aspects of suitability in terms of professional standards, technical practicalities etc.

You will be able to produce each element appropriate to a specific reproduction process with consideration for practical and financial limitations for actual use in your personal promotion.

  • The module ‘Preparation for Industry’ specifically addresses and further develops the generation of self-promotional design and related job applications.
  • The module ‘Design in the Digital Environment will address personal website design, you may use this as part of your personal promotion, however this may not be used as part of the assessment criteria as you cannot be assessed for the same work in a different Module!

 Deadline w/c 02/05/16 (Wednesday 4th May 2.00pm)

 Mock-ups presentation visuals should be placed on Centre tables (Mac room) and digital files on the desktop hand in folder marked Prep for Industry.

Personal Stationery >>> JK Personal Stationery<<<


Personal Curriculum Vitae (C.V.)

Background

A C.V. is a detailed, informative document through which a prospective employer would gain an insight into your educational background, experience, interests, hobbies etc. prior to you attending an interview.

Learning Tasks

You are required to compile and submit a C.V. to accompany your letter of application to either a job or a work experience placement.

Evidence required for assessment

  • You should present your C.V. in a PROFESSIONAL, WELL-CONSIDERED LAYOUT – your C.V. should be attractively and clearly designed/laid-out to fit on your personal stationery, in a co-ordinated manner.
  • You should ideally present your letter TYPED ON YOUR PERSONAL STATIONERY ITSELF.
  • Careful consideration should be given to structure, alignment, use tabulation to aid a ‘speed’ reading of this document.
  • Practicality and ease of communication are considered more important than any superficial visual style.

Procedure

You should structure your C.V. to include personal information against the following headings:

Personal

Full Name

Home Address

Telephone

Email address

Website address

Contact Address (if different to above)

Contact Telephone

Date of Birth

Place of Birth

Nationality

Marital Status

Details of Driving Licence (full, clean etc)

 

Education

Date(s)

Secondary School(s) & address

GCSE: List subjects & grades

Date(s)

Secondary School or 6th Form College ‘A’ Level (with addresses)

List subjects & grades.

Date(s)

College/University & Address.

Qualification: Foundation Degree Graphic Design Hillsborough College (part of the Sheffield College) or BA Hons, Sheffield Hallam University

Date(s)

Other Academic Awards/Prizes (D&AD/ISTD)

Work Experience/Placement

Date(s) – start with latest first and work back to earliest job.

List Companies/Organisations

  • For each company give job title & brief description of duties/role/responsibilities at each company.
  • State whether Part/Full time.

Extra-Curricular Interests

  • Include active pastimes/sports/outdoor activities, cultural pursuits.
  • membership of any clubs, societies.
  • hobbies & crafts, details of competitions entered and any prizes/awards/certificates gained.
  • notable positions of responsiblility/leadership held.
  • involvement with charities/social work or caring.

Referees

  • Provide at least TWO.
  • Give full names, job titles, contact addresses & telephone numbers.
  • Ensure you seek and obtain permission before using any person as a referee.
  • Ideally one referee should vouch primarily for your work and professional qualities, the other should be capable of vouching for your personal qualities, character & personality.

 Assessment

The level of your attainment for this assignment will be determined as follows:

Basic Pass level – successful & completion of all required evidence.

Attainment beyond this level will depend upon factors such as:

Quality & depth of Research.

Clarity of understanding of the assignment’s requirements.

Degree of motivation and application.

Effectiveness of the communication of ideas/intentions in the context of the tasks addressed.

Any other factor(s) indicated/instructed at the time of briefing-in.

Deadline w/c 02/04/2016 (Wednesday 3.00pm)


I looked at a few portfolio/cv designs before starting my design, just to get some inspiration…

A  AA  AAA

b5fb577d8e9dcecc3eeafe2f408e9bd9

CV/Portfolio>>>>>Cv:Portfolio<<<<<CV/Portfolio


Job Application Email

 Background

Like any other application, contacting companies in order to secure employment needs careful and considered attention, if your application is to be successful. This is usually requested in a formal, written manner. You may also be expected to fill out an application form.

Your letter must briefly introduce you, indicate why you are writing, and reasons why you should be considered for the post. You are advised to include a short summary of your current knowledge, experience and skills. Competition is fierce and companies receive many applications for their job positions. It is essential therefore that you project yourself with clarity, assurance and professionalism and become perceived as a more desirable candidate.

You are aiming to create a very favourable impression, in order to secure employment at that company/organisation. An ‘impressive’ letter of application is therefore essential to achieving success.

Many people fail to get to the interview stage through poor applications.

The application email has to work hard for you and act as your ambassador in your absence.

Content and layout design need equal consideration – it is the total ‘package’ that makes the impression (good or bad).

Learning Tasks

You are required to submit a Job Application email in response to a typical advert (for a Junior designer), for your first employment opportunity, on leaving college.

(See attached sheet with Job Advertisement Description.)

 Evidence required for Assessment

Remember your letter should consider…

 Who

  • Try to address your email to an actual person and try to find out their actual job title.
  • Care with spelling etc.

Include any reference number/code, along with the title of the post as advertised: Junior Designer post.

Introduction

Get to the point and state clearly the purpose of your application.

Who – Introduce yourself, and briefly describe why you are applying and should be considered.

Indicate what personal qualities you have including your enthusiasm, passion, commitment and attitude.

WhyState that you would like to gain experience, working in a professional design environment, and gain a good grounding into your chosen career as a designer.

  • Be enthusiastic, indicate that you understand, respect or admire that company and its work.
  • Try to find out the type of clients they work for etc.

What – Briefly outline what skills and ‘experience’ you now have and that you can offer (areas of specialism etc. – typography, corporate identity design, publication design etc). Identify (accurately) the computer software that you are proficient in using.

  • State your possible career aspirations/direction (long term and/or short term), if known, or relevant.
  • Mention the course you have just graduated from: a Foundation Degree in GRAPHIC DESIGN and that it relates strongly to industrial needs, including Industry-set briefs.
  • Provide a CV, and enclose a promotional item or samples of work, if possible.
  • Enclose a business card.

When

State when you are able to attend an interview (or more especially when you are not able) and that you would appreciate the opportunity to meet them and show your folder of work.

How

They may want to contact you – provide a contact telephone number (your mobile number preferably) and email address for immediate contact. These details should be on your business card and on your CV.

Conclusion

Including a polite and courteous finish. End with: either ‘Yours faithfully’ (if Dear Sir/Madam)

or ‘Yours sincerely’ (if actual name is known).

An effective & clearly structured layout is considered as essential as is the informational detailing/content. Remember this should be produced in a professional and businesslike manner. Full consideration should be given to compositional organisation in terms of integrating into your personal design style and stationery. Avoid using ‘flowery’ English or long-winded sentences in order to sound posh or important.

Applications should be placed in an envelope with contact details and addressed to Katie Weston

Assessment

  • The level of your attainment for this assignment will be determined as follows:
  • Basic Pass level – successful & completion of all required evidence.
  • Attainment beyond this level will depend upon factors such as:
  • Quality & depth of Research
  • Clarity of understanding of the assignment’s requirements.
  • Degree of motivation and application.
  • Effectiveness of the communication of ideas/intentions in the context of the tasks addressed.
  • Any other factor(s) indicated/instructed at the time of briefing-in.

Reply to this advertisement

 Junior Designer

We are looking for a talented and hard working, Junior Graphic Designer to join our team of creatives.

Spot-on-

is a well established, award-winning design company, with a growing and broad client portfolio.

This is a great opportunity to make your mark and produce some exciting work.

If you are passionate about graphic design, keen to flex your muscles, and are not afraid of hard work, then we would like to hear from you.

Preferably 2 years experience.

Excellent career prospects.

Salary negotiable (please advise of current salary or if college graduate, expected salary)

 

Apply in writing to

Bruce Willis

Senior Creative,

Spot-On Design

New York House,

Westmoreland Street,

Sheffield S13BG.

Spot-On

http://www.spot-oncreative.co.uk

>>Job Letter<<<

I also sent the job letter via email, this is so I could include my website address, and CV/Portfolio.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Waterhall Gallery

Well here we are, the final project of the year… Work-based Learning 2! This is my final project of my second year foundation degree, for this project we were given 4 live briefs from three different design companies which I will get on to a little further on. Before starting my blog, I already read and made my mind up on what brief I want to purse, this brief is set by a Graphic Design company called http://www.ledgardjepson.com (barnsley). Legard have set us the task of doing a total re brand of the Waterhall Gallery in Birmingham, this project consists of a logo design, brochure, leaflets, interior work, such as inside super impositions, and finally the company want a new way finder designed for the Museum.

Just before I get to the actual brief I have chosen, I just want to go through the other briefs we had the choice between…

The first being a project called “young blood” from a company called http://www.rarecreativegroup.com …

Young Blood

Life is short, for some too short. There’s an ever-growing demand for blood donation. By donating blood, you will help save and

transform the lives of desperately ill people.

Facts about blood donation:

  • Someone needs blood every two seconds
  • Around one in every seven people entering a hospital needs a blood transfusion
  • There is usually less than a week’s supply of blood in the UK’s blood banks at any one time
  • Around one in four of us will need a blood transfusion at some point in our lives
  • One single donation can save the lives of up to three people.Research & Target markets:
  • The average donor is aged 24-44
  • The Target age group we are aiming for is 16-24
  • Research your market before designing for them (what appeals to them)
  • You are targeting those who are not currently registered.

Prime objectives:

• To give Blood donation a new lease of life

• To raise awareness of world blood donation day

• To encourage people to register and do something about it (a “call to action”).

Note: When designing anything that requires your target market to get involved then the following is good to remember:

1 Who are you talking to?
2 What are you saying?
3 Why should they be interested?
4 How do you want them to respond?

Final requirements:

  • A blog and/or pdf of research and design development showing how and why your campaign developed the way it did.
  • Createbrandingfor“worldblooddonationday”.
  • Comeupwithanadvertisingcampaign
    that encourages people to become donors. Your creative solution should have a minimum of three different visuals.And at least one of the following:
  • Leaflet
  • Handout
  • Donorcard
  • Websitehomepage
  • Storyboard for tv adverts.

The second brief is again for http://www.rarecreativegroup.com this project is all about re branding a Sheffield based festival called Tramlines…

Music to my ears

Background:

Tramlines festival, is Sheffield’s very own inner city music festival that draws over 100k people each year. The festival takes place at over 70 venues and 4 main stages in the city centre. One of the reasons for its popularity is its diverse music (rock, Indie, pop, electronic, dance, hip hop, folk, experimental, metal, reggae)

Research & Target markets:

  • Research other festivals to see how they approach branding
  • Research into what other festivals do (design wise) to stand out. Do they give you anything that could improve your festival experience?
  • The market for tramlines is vast so make sure you don’t alienate certain people/groups

Prime objectives:

• To make Tramlines look and feel like the large scale festival it has become

• To engage previous and future attendees. Final requirements:

• A blog and/or pdf of research and design development showing how and why your designs developed the way it did

• Redesign the Tramlines branding • Apply it across:

– Advertising
– Tickets or wrist bands
– Leaflet or city map or festival guide – Clothing for staff
– Stage or area signage.

• Consider how the brand would appear online, create at least one digital application using the brand, either a web page, an app, or social media.

The third brief I was contemplating with is called Yee Kwan which is an ice cream company based in Sheffield, the project was all about re branding the ice cream company, this includes, a new logo, a new diverse rang of flavours, website home page design, and one piece of print marketing promoting the brand. The brief has been set by another Sheffield based Graphic Design company called http://side-side.co.uk …

Yee Kwan Rebrand

A young and fun brand offering authentic, innovative and exciting range of ice cream and sorbet flavours to the UK ice cream industry.

They source the best quality ingredients from around the globe to create their unusual flavour combinations, offering their customers exciting sensory experiences which they will remember for years to come.

They love to explore the globe for new flavours and are constantly creating new products to launch into the marketplace. They want to be the first to market and be the leading brand for exciting flavours.

Their demographic is the 25-35 year old young professionals (highly affluent, health conscious and confident in the kitchen).

The long term visions is to become an international brand, recognised around the globe to their exciting branding, brand story, stylish packaging and stand out flavours.

They are currently stocked in online supermarket Ocado, as well as many independent retailers.

Short term goals

Market their products to premium retailers such as Waitrose & Selfridges but also become a recognise brand in the mainstream market.

Long term (1-2 years)

Pitching their products to the major supermarkets (Sainsburys, Asda, Tesco & Morrisons).

Project Description

Yee Kwan would like to rebrand, and create an identity which represents which represents where they are now, and where they’re aiming for. Their current identity has remained the same since they began, and no longer portrays the correct image. They began as a ‘Taste of Asia’, and their current identity evokes Asian culture. Going forward, they want to be “Explorers of Flavour” (this is a description, not a finalised tagline) and will not be concentrating solely on Asian flavours.

Think about the most interesting, exciting flavours from different cultures across the globe. This is what Yee Kwan wants to get across – the first to market and be the leading brand for innovative flavours.

Rebrand deliverables  

  • Logo
  • Accompanying typography and brand elements – Brand elements may include illustrative or photographic style.
  • Ice cream tub packaging (x4 flavours) – Matcha Green Tea – Black Sesame Seed – Chocolate Miso – *Create a new flavour*
  • Web design – Home page – Product page
  • 1 piece of printed marketing, promoting the brand. Size/style not specified, but most commercially viable.

Waterhall Centre for Contemporary Art and Creativity – Legard Jepson

This project aims to transform the Waterhall Gallery at Birmingham Museum & Art Gallery in to thriving centre for contemporary art through a strategic partnership with Birmingham City University (BCU) and turning point west midlands (TPWM). TPWM is the regions contemporary visual arts network which is managed by BCU and funded by ACE. Through collaborative programming with BCU and TPWM, as well as their network of artists, universities and galleries across the region, the Waterfall will seek to showcase the best in performing and contemporary art, with special emphasis on work by artists with connections to Birmingham and the West Midlands. The Waterhall Gallery will aim to represent and support a broad range of artists at different stages in their careers alongside work from Birmingham’s modern and contemporary art collection.

Some flexibility will also be built in to the Waterhall’s programme to enable it to respond to other unique exhibition opportunities when they arise, such as bringing artwork by internationally renowned artists in Birmingham, helping raise its international cultural profile.

In creating a co-curated gallery space, through a strategic partnership with BCU and TPWM, the Waterfall will become more sustainable for the longer term, drawing on funding and resources from other partners as well as their very established networks and marketing resources to create a more dynamic, higher profile and better used space for contemporary art and creativity. It will also provide new opportunities to develop closer links and synergies between BCM’s collection and practicing skills

Main Deliverables –

  1. Logo – Waterhall gallery
  2. Museum Wayfinding
  3. Museum banners
  4. Exhibition Posters
  5. Leaflets
  6. Extra – any other corporate material

Key Project Targets 

  • Established a Waterhall partnership agreement with BCU (and its affiliated Turning point West Midlands network)
  • Deliver minium 3 exhibitions over year representing artists at both early and mid-career
  • Support minimum 1 artist residence each year
  • To attract 30,000 visitors in 2016/17 and 40,000 visitors in 2017/18 to the Waterhall

Target Audiences 

  • Primary: Urban Arts Eclectic – Under 35’s
  • Primary: Artists and wider arts coommunity in Birmingham and region
  • Secondary: Culture Vultures
  • Secondary: Young professionals and local businesses

I contemplated with all the briefs, and narrowed it down to two out of the four we were given… Yee Kwan and Waterhall Gallery, these two brief were more about branding, and I feel branding is a major strong point amongst my design skills. I particularly like the rebrand of the Waterhall Gallery because it offers a lot of freedom throughout the brief, also as its the last project of the year I want to play to my strengths and stand out from the rest, and I think this brief ticks all the boxes for me doing this. My aim is to make the Waterhall re brand exciting, professional, and eye catching.

IMG_7552  IMG_7553  IMG_7554  IMG_7555

Before I start my research, I thought it would be a good idea to highlight key and important words used in the brief. I’ve highlighted key points that will help me develop my artwork and designs, key points in the brief such as “Waterhall is a thriving centre for contemporary art and creativity”, “Encourage more artistic and creative responses to the collection, making it relevant for younger audiences”, and “Create a vibrant, engaging and relevant centre for contemporary art and creativity distinct from BMT’s museum offer and traditional museum visitors”. These are important elements of the brief, because it will give me a more clear understanding when it comes to designing the logo and other corporate material for the museum. It also benefits me in terms of answering the brief in a strong and positive way.

Research

For my research I will be looking in to the re brands of different museums, just to get a few ideas on what I want to produce. Im going to dig deep in to the museums (and other material) I research so I can get and understanding why they’ve used certain colours and  imagery etc, because I want my re brand to have a rational behind the design work for the Waterhall Gallery. The Waterhall Gallery brief states the gallery is a ‘thriving centre for contemporary art’ so I will do further exploration in to contemporary logos design etc just to see how I can link the branding and certain aspects of the museum. Finally I will look upon anything that will help me along the way for a professional of the Waterhall Museum. Here we go!!

coinbirmingham-museums-trust

Untitled-1

These are the current series of logo design for the Birmingham museums, created by Legard Jepson, when we were briefed in on the project, the creative director Dave insisted we incorporate the circular shape that Legard have used for their logo designs., however they are open to breaking out of the circle. The roundel design was carried through the rest of the nine museum identities to create a family feel to the brand whilst also giving each museum its own personality so they could operate independently. Each icon, typography and colour scheme are meticulously researched to ensure they were relevant to the history of each property. The colour palette and typography were also steeped in the history of the city. Baskerville was chosen as the primary font because John Baskerville had his printing works there during the 1700s and designed the Baskerville typeface in 1757. Legard also introduced supporting handwriting fonts due to the fact that Birmingham has been at the centre of the pen trade since the 19th century. The colour palette was taken from the vibrant colours used by the pre raphaelites given that Birmingham boasts the largest civic collection in the UK. The result is a brand that is relevant and embedded in the history of Britains 2nd largest city whilst being modern, contemporary and above all understandable to todays consume.

When I design my logo for the Waterhall Gallery, I want it to feature a similar layout style, So stick with the circle design, I think sticking with the circle design will give the Waterhall Gallery a more suited appearance as its linked with all the places above. I think it would be a shame to break out the circle as it wouldn’t look as if the the Waterhall logo has anything to do with the Birmingham Museum.

I like the reasoning behind each of the designs, its important that I state my reasoning being my designs. I especially like the how Legard have taken the The Anglesey Mines Halfpenny and replicated it in to a logo that is fit for purpose for the Birmingham museum logo. Also the other logos, such as Soho House and Aston Hall all have a reasoning for the design. Soho House replicates the carpet design inside of the house. The Aston Hall logo is  influenced by the wallpaper inside the of the Hall way, I like how each place has taken a feature from the building for each logo design. This is something I will consider when designing my logo’s.

 

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These screenshots are from the recent rebrand of the Philly Museum in Philadelphia. Pentagram’s Paula Scher designed a bold new identity for the Philadelphia museum of art that’s both iconic and expressive, the logo customises the letter ‘A’ in the word ‘Art’ to highlight the breadth of the museum’s remarkable collection. The new identity launched earlier this month with the unveiling of plans for a major renewal and expansion of the museum by the architect frank Gehry. Scher worked closely with the museum to develop the new identity. Philadelphians refer to the philadelphia museum of art as the ‘art museum’ and the new identity both brings art to the people and leads people to the art. ‘A’ stands for ‘Art’ in the new wordmark, which can be customised in certain instances with up to 200+ different ‘A’that represent different styles of art and works in the collection, from pop-inspired graphic letterforms to sculptural and photographic interpretations. bringing an element of playfulness to the museum’s brand identity, the mark can be modified for specific exhibitions and collections, and is endlessly adaptable. The new identity is set in the sans serif typeface Avenir, which was also used in the existing identity. The font already appears on much of the museum’s signage and in publications and other communications. The implementation of the new identity on environmental graphics and other applications will be a long process the program will roll out as construction continues over the coming decade and it was advantageous to have the new system complement existing elements as work progresses. The designers customised Avenir for the new logo, changing its weights to make it more contemporary. My opinions on the design of the re brand is really positive, I wasn’t a fan of the design at first, but it vastly grew upon me, I partially like the way the letter ‘A’ changes to highlight the breadth of the museum’s remarkable collection, it makes the logo more fun and inviting. The corporate material such as the brochures and ticket designs are rather vibrant and use brilliant typography. I think the customisation of the ‘A’ attracts and makes the museum more relevant for a younger audience, if the ‘A’ just stayed the same the branding would be very difficult to attract a more budding ordinance. This is something I can consider for the re brand of the Waterhall Gallery, as the brief states it wants to “Encourage more artistic and creative responses to the collection, making it relevant for younger audiences” this is what the Philly Museum branding does well, so well it now attracts a much larger audience than it did before.

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These screenshots are from the current rebrand of the Jewish Museum in New York. The rebrand was produced by American design firm http://www.sagmeisterwalsh.com. The Jewish Museum wanted an engaging, exciting, contemporary branding that embodied the Jewish heritage and culture of the Museum. Looking at the screen grabs above, in my opinion, Sagmeister and Walsh have succeeded in this. The reasoning behind the design of the logo and typography is because S&W researched the origins of the Star of David and discovered sacred geometry, a geometric system created from calculations using numbers considered to have spiritual significance from which they were able to create a new identity. Sacred geometry relates back to the belief that the universe was created according to a geometric plan. Historically, the system was used in the planning and construction of many religious structures, architecture, and art. The overall design that S&W have created is very flexible, which means its suitable for all audiences. They’ve created a system that can adapt based on audience or event, yet always felt unified in visual language,” Walsh says. In collaboration with the museum’s staff and leadership, the duo settled on four brand attributes they wanted the identity to reflect: Engaging, Desirable, Unexpected, and Inclusive. I personally think the design is a love hate thing, its a very punchy and vibrant design, and as I said earlier its a design that suits all audiences, the down side is it can come across as a little overpowering, on a few reviews of the design, people said the typography is sluggish and grotesque, however the rational behind the design is brilliant, It’s intelligent, powerfully communicative and great-looking! These are certain elements I would like to take in to my Museum rebrand.

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These screengrabs have been taken from the website of http://www.itsnicethat.com/news/wolff-olins-metropolitan-museum-of-art-new-york-180216. The website displays the new re brand for New York’s Metropolitan Museum, the rebrand was done by London based branding company Wolf Olins. The new look, which sees the museum name shortened to ‘The Met’ in scarlet capitals, hopes to feel more available and accessible to first-time as well as frequent visitors. It is an original drawing, a hybrid that combines and connects serif and sans serif, classical and modern letterforms. In this respect, it reflects the scope of the Museum’s collection and the inherent connections that exist within it. The difference between the corporate material design is a massive improvement, the old corporate material lacked a lot of design flair, it was very drab and boring, the new material is far more dynamic and appealing, the updated red colour and new typography plays a massive part in the improvement. I think this rebrand links up very well to the brief I have been set (Waterhall Gallery), the key factor is to attract more visitors in to the Met museum. The rebrand gives the museum a new lease of life, and the latest assistance to suggest that Met Breuer is setting a cool, modern tone for a shaggy historical institution. These are features I want to achieve amongst my design work.

Waterhall Gallery 

Visitors to Birmingham Museum and Art Gallery often ask about the origins of the exhibition spaces known as Gas Hall and Water Hall. In recognition of Museum Week I am going to explain the histories of these beautiful Victorian and Edwardian buildings.

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By the 1870s, Birmingham had reached the peak of its prosperity, and there were 33 municipal gas undertakings in the country. In 1874 the Mayor, Joseph Chamberlain, persuaded the Council to vote by a huge majority in favour of buying the companies out. An Act of Parliament in July 1875 authorised the deal and the Birmingham Corporation Gas Committee was set up.

Birmingham Council House designed by Yeoville Thomason, was built in 1874 and in 1885 an extension was added. This part of the building, although now known as the Water Hall, was originally used to house offices for the Birmingham Gas Corporation. In 1912 when the Museum Bridge Gallery extension was built it became the Water Hall and remained in use until 1972. For the city’s population it provided an impressive ground floor banking hall for Birmingham Corporation’s public water supply, with Birmingham Museum and Art Gallery on the first floor above.

In 2001 the Water Hall followed suit and opened as a new gallery exhibition hall, following a renovation supported by Birmingham City Council and European Regional Development Fund. Its Victorian interior has six fluted iron Corinthian columns and riveted iron beams. The original windows remain and light is filtered by four layers of adjustable solar louvres and blinds. It now houses Modern Art and temporary exhibitions

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After some research on the Waterhall Gallery, as well as gather loads of images, I wanted to try and replicate what I can find inside or outside the gallery to see what type of design I can use for my logo. As I’ve already stated the Legard logos for the other places associated with the Birmingham museum have all used an element form each place, such as Aston Hall which uses the wallpaper design and Soho House which replicates he carpet design. Unfortunately as the Gallery is located in Birmingham and Legard provided us with no photos, I had to go with the ones I found on the internet. What I have noticed about the Waterfall Gallery is the architecture, the outside and mainly the inside are overrun with arches, the entrance is an archway, and most of the interior is. The arches are something that personal caught my eye straight away, I also notice the floor design in the Gallery, the pattern floor is an eye catching a pattern that could easily be replicated amongst my logo. However I do like the way the Gallery features arch after arch after arch, So I think its a good idea that I base my logo on the architecture of the building, I think its an area of the Gallery that people will remember. I going to replicate the entrance of the building as its the first thing you see when you enter the Waterhall.

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Development

After some thorough research I decided it was time to start my development, as I stated in my research I want to replicate the archway entrance at the Waterhall Gallery, as I think this will be an element of the building people will remember. I will start off with a few initial sketch designs just to give myself a more clear understanding on what I want my logo to look like. Once I have finished my logo I will choose a suitable typeface that relates to the gallery. Once the logo is finished, I will focus on the Wayfinding of the Gallery, Posters, Leaflets, Signage, personal stationery and an other material I would like to include myself.

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These image are showing some of my initial concept sketches, as you can see Ive gone down the archway route, and tried to replicate the entrance of the Waterhall, but with a few little differences. Its hard to say out of the sketches which one I like the most, I know I will have a better understanding when designing them in illustrator. The sketches at the bottom are looking at how the logo will work on the other types of material, such as the way finding, leaflets, and poster designs, I think sticking with the circle is a good idea because you can do all sorts when it comes to the other material. Ive got to make sure it all communicates well, I also want it to be vibrant, engaging and relevant centre for contemporary art.

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These the logo designs that I have come up with. As I stated earlier on I am open to breaking out of the circle, so iHave done a few designs with the logo not featuring the circle. I do like all of the designs, and I think they replicate my concept sketches really well. Out of all the designs I’m swaying towards the bottom two, I personally think they are the best out of the ones I have created, Love the small logo inside the circle, I think its very clean and represents the Waterhall entrance very well. Im going to use at least five different versions of the logo I chose, the five versions will be colour coded for each floor when I create my way finding.

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The next for me is decide what typeface to use, I want a typeface the communicates well with my logo design as well as the Waterhall Gallery. I looking at using a traditional serif typeface as it is a traditional contemporary gallery I think a serif typeface will be fit for purpose. After some of my earlier research on the museum and Birmingham, I come across a typeface that originated from Birmingham called Baskerville, I personally think this would be a great typeface to use at communicates with Birmingham itself.

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The next stage is for me is to try and work out how my logo and typeface will work together in terms of the layout. If you take a look back at my sketches I orientated the typeface in different ways. I did like the first layout I did with the line surprising the logo and the type, I think that is pretty sleek layout when put in to practice. Logo layout designs…

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These are a few layout styles I looked at, on first thoughts, I personally think the bottom one is the strongest straight away, Im not saying the other two are rubbish, but the style of the layout just don’t work as well as the bottom one. Its a strong logo design that communicates with the Waterhall Gallery really well.

Final Logos –

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These are the final logo design that I have produced for the Waterhall Gallery, As you can see I’ve done 5 different colours, the five different colours will represent each floor in the gallery. Ive done two sets one normal, and one reversed out, this is mainly for when I produce my other material like posters etc. The circular design around the logo, will be featured amongst all of my material, Im warning to use the circle design to put images in to on my leaflets and posters, I will also use the circle shape for my way finding too. Ive included the images of the Legard logos, just to compare my logo with theirs, as they wanted to keep circle design to link with the other areas of the Birmingham museum. I think I’ve done pretty well emulating my logo design with theirs.

Exhibition Posters

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I looked in to a few layout styles for my poster designs, as you can see Im wanting to keep the circle design, this will be the main feature amongst the poster, the circle will feature an image replicating what the exhibition is.

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I orginally opted for a portrait layout but however I quickly decided the poster design would work a lot better in landscape, as you can see I gathered the circle design from the logos I crated and clipped an image featured in one of the many exhibitions that the Waterhall showcase, I personally think the image looks brilliant clipped inside the circle, its gives off a consistent look from my logos to my poster design. Looking more in to the consistency again, I have taken the line than surprise the logo from the tex and used it as my title… Waterhall Gallery Exhibitions, underneath the title features the exhibitions, the exhibition content all run off the same line, its rather neat and quite minimal, all in all works well. The hierarchy is well presented as well as the overall layout of the poster design. I used the same layout for the other four poster design I created…

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I like the overall final exhibition poster designs, they have a real consistency, and all feature beautifully aligned typography. I like how I’ve changed the colour of the images to fit the colour of the poster, my favourite design out of the poster is the black and white one, because it looks really slick, and will fits well with the Waterhall gallery as its known as the gallery of contemporary modern art. The inspiration for the design came from the Philadelphia Art Museum, the inspiration I took was the changing of the logo A in the word art, I love the way its changes a certain part of the logo, I’ve tried to take this on abroad in terms of doing the same with the circular shape logo i have used, as you can see on the poser designs, the imagery is clipped inside of the outer layer of the Waterhall logo I designed.

 

Mock-up – PosterMock-up – Poster

I also super imposed two of the poster designs, I wanted to see what they look like when put in to context. I found an image of a poster mock hanging from a ceiling, I used the one hanging from the ceiling because it could be replicated side the Waterhall museum with exhibitions advertisement posters hanging from the wall as you enter the Waterhall. I think the super imposition looks very realistic and professional.

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When I started my exhibition poster I looked at the exhibitions that Waterhall showcase, unfortunately they weren’t very many, so I had to make some exhibitions up, the brief didn’t really state many exhibitions the museum had to offer.

Waterhall leaflets –

For the Waterhall leaflet designs I looked at keeping the same layout style as the poster designs. I opted to keep the circular image design.

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The information on the leaflet will just be be promoting the gallery, so not much information at all, the main features of the leaflets will be the logo and the imagery, as well as the ‘for more information visit’ type on the footer of the leaflet.

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As I stated before I have opted for a similar layout design to my poster designs, the leaflets will be used to just to promote the gallery, I wanted a sleek minimalistic design, which I think I have achieved, the hierarchy is well thought about as you can see from certain screen shots above, the 3rd, 4th and 5th screenshots all show the type lining up with certain elements of the leaflet such as the image and the waterfall logo, the third screen grab showcases the end of the circle image aligning with the logo in the left hand corner of the footer, also the main body of text on the white background is aligned with the website link for the Waterhall Gallery. Originally I didn’t have the web link alining with the main body of type, but I felt the waterfall gallery text looked as if it been thrown on the design without any thought. The imagery on the screen grab above is of an exhibition the waterfall showcases called Inspire 16, the rest of the posters will feature an image from an exhibition that I find on the Waterhall website.

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These are the rest of the Waterhall leaflet designs I have come up with, again they feature the same consistency of the poster designs. I really like the overall minimal finish. So far I think I’m hitting some of the main targets on the Legard brief such as ‘Encouraging more artistic and creative responses to the collection, making it relevant for younger audiences and ‘Create a vibrant, engaging and relevant centre for contemporary art and creativity distinct from BMT’s museum offer and traditional museum visitors’ I think this because the logo and the promotional material I have created are ‘Vibrant’ and ‘engaging’ I also think it appeals to a ‘younger audience’ with the use of colour and images.

Waterhall leaflets mock up

Way finding –

Before starting my way finding, I thought it would be a good idea to gather a few examples to just give myself a more clear understanding what way finding consist of, and how its used amongst different places…

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Here are just some very creative examples of way finding design. Ive chosen these particular 4 because they all stood out to me immediately, the simplicity and eye catching colours draw people towards the design in my opinion. I want my way finding to be very minimal to fit with the material I have already created, I don’t want to go too overboard with the design and it end up looking like something thats completely different from other promotional work. My favourite out of the ones I screen grabbed is probably the green 2, slowly followed by the blue 2, the green in particular is very appealing and stick out immediately with its powerful bright green colour, the only element I don’t like about it is the typeface thats used above the number.

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I just did a very brief sketch of what Im think of doing for my way finding design, as you can see I’m looking at the design being very minimal, again using the circle shape for the number etc, the numbers will be the main features of my way finding design.

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Here are the first stages of my second floor way finding, I was lucky enough to find a good quality image o super impose my way finding on too, the only downside about way finding is finding a mock up/image to impose it on too. As you can see on first appearance, I’ve replicated the outer circle for the Waterhall logo again, consistency is the key when branding anything! I used the vanishing point to secure the position of the floor number, even though the background image is already pretty straight forward I just wanted to make sure that its in the perfect position, the next was to add the text, whether that be the exhibitions or a toilet or a cafe sign.

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Coming up with the layout of the type was pretty straight forward, as I’ve just replicated a similar layout what I used on my other material. One thing I have noticed throughout this project is how well the Baskerville typeface works on clean minimal design, I mean the screenshot above… the typeface is just beautiful! The type is showing the exhibitions that are featured on that floor. The arrow I’ve incorporated is also a nice feature of the small layout.

Floor 2

This is the final way finding design for floor 2, I love the simplicity of the design, I relish the fact how both the number and the type work well together. I overall happy with the first out come for my way finding, the next stage is to do the exact same for the other 4 floors. I don’t exactly know how many floors the Waterhall has, but we were told just make it up, so as I did five different coloured logos, I’m going to replicate each colour for each floor, for example the black logo for floor 2 (above). Below are the rest of the way finding designs.

Floor 1

Floor 3

Floor 4

Floor 5

Im showcasing the logos underneath just to prove that I have thought about the colour scheme for each floor, and here I got the certain colours from, and why I chose them.

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Overall I am very happy with the floor way finding designs, they’re clean, sleek and very contemporary, and communicate well with the Waterhall Gallery. I decided to do a more examples of some way finding… (pictured below).

Wayfinding 2Wayfinding 3

Wayfinding 4

I added some toilet signs and exhibition information to my way finding designs just because I could, Legard stated they were open to anything on the way finding part. I particular like the Marilyn Monroe way finding imposition, its a very clean design, and works well when put in to practice. The other two way finding designs I came up with are pointing towards the toilets and cafe, I think theses two were rather important to include, as most galleries, well most that I’ve been too usually include a toilet and a cafe. However I do feel those two aren’t as strong as the rest. Overall I am very happy with my way finding designs,I think they are very fit for purpose as they emulate a part of the logo design, also the type layout is very similar to the one I used on the posters and leaflets.

Personal Stationery –

Waterhall Stationery

I decided to some extras as a part of this project, such as personal stationery, I didn’t go to overboard cause I didn’t want to end up turn this project in to a corporate Identity project. I just thought it would be a good idea to come up with a letterhead  and business card design to see how it would look when he waterfall gets rebranded. I love the letterhead and business card design I have designed, they are very clean and look very appealing, I like how the logo stands out really well when looking at it on first appearance.

Signage –

I opted to do some signage and other extra parts to the brief, the main element I wanted to find was a mock up of a gallery exterior, unfortunately I couldn’t find one in a million years, so I juts had to go with the ones I’d already found. I also did a window design which I think looks very good, works very well with the Waterhall logo. Also two sets of stamps, a website imposition and a close up embossed letterhead…

Gallery wall mock up

Paper stock

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Stamp

Website

Window 1

 

Evaluation

Well… what a bloody journey, this has definitely been one of my favourite projects of the year, despite getting the brief late… (the face). This project was my second live brief, the first one being Gripple, Legard set us a great project in my opinion, I mean to brand a museum… You won’t get many opportunities to do that. When I first received the brief (which was late), I was very annoyed at first as it didn’t state what the outcomes they wanted us to produce, however I quickly changed my mood and looked at what sort of material you need to brand a museum, obviously this started with a logo design. When coming up with the logo I was adamant to stick with the circle design, which I did, this is because  I wanted my Waterhall logo to look apart of the series of attractions the Birmingham Museum has to offer. For my logo design I replicated the entrance with a small illustration with a few tiny differences, the reason I chose an archway was because for me its something I easily remembered when looking at the images on the internet. I wanted to create an element of the gallery that people will remember after a visit there and the beautiful architecture was one of them. My other material such as leaflets, posters, way finding, stationery, and signage all consistency worked better than I thought, Im very proud with the outcomes I have achieved, If I was change an element or elements of the the museum… the first one would try more way finding layout styles, the second would with the poster design, super impose them inside the windows of the Waterhall Gallery, I did try it but it didn’t work very well so I decided against this one. When I was talking through the brief, I highlighted the main targets that I should achieve on the brief… such as “Waterhall is a thriving centre for contemporary art and creativity”“Encourage more artistic and creative responses to the collection, making it relevant for younger audiences”, and “Create a vibrant, engaging and relevant centre for contemporary art and creativity distinct from BMT’s museum offer and traditional museum visitors” I think I have definitely achieved these targets, my designs are vibrant, engaging and most importantly relevant for the the Waterhall, also I think my design work could appeal to a younger audience as I have used quite a lot of colour amongst my material. Most importantly I want to look at the module targets we get assessed on to make sure I’ve hit those too…

 

  • To provide you with opportunities and challenges to produce original design work in response to workplace-initiated design briefs, within a realistic framework and commercial context of outcomes and client needs.

 

  • To enable you to further investigate and understand the relationship of

satisfying client needs and objectives in terms of communication, market context and audience/message.

 

  • To assist you to further refine your learning programme begun in level 4 and allow you to apply, in an integrated and complete response, many of the varied skills, knowledge and experience previously gained throughout the course.

 

  • To enable the development of individual approaches in the language of aesthetics, design concepts and research methods applied to effective visual communication addressing specified objectives, targets and outcomes.

 

  • To further develop your ability to communicate ideas and designs through drawing and appropriate visualising techniques.

 

  • To enable you to develop and apply a range of study skills, work management skills and methods of working appropriate both to a graphic design foundation degree and the workplace.

 

  • BY THE END OF THE MODULE YOU WILL BE ABLE TO…

 

  1. Respond effectively to client-based and marketing/contextual needs and demands in the production of creative design concepts and proposals.

 

  1. Demonstrate competence in generating, developing, evaluating and communicating design ideas and proposals.

 

  1. Manage your time and work in the production of commercially-led design work and take responsibility for setting targets, initiating and implementing plans and activities for various specified work-related contexts or goals.

 

  1. Work competently, and with increasing confidence and independence using computer programs appropriate to professional design practice in the workplace.

 

  1. Research and gather information from varied sources including companies and organisations and other external sources and analyse, synthesise and draw appropriate conclusions from this research material.

 

  1. Reflect on and evaluate own strengths, limitations and performance and identify the impact of them in relation to own knowledge, and employability and seek, evaluate and use feedback.

 

Reading through the module targets and end module targets, I can personally say that I have hit them to a high standard, that not me being biased, just me being bothered to read the module targets before, so I kid of knew what targets to achieve. Overall I have a learnt a lot of new skills especially on photoshop and illustrator, my skills are getting better and better by very project. I’m extremely guttered this our last project of my second year foundation degree (final year) :(! I know that I have developed way more than I expected to when I first joined the course, I have had an excellent 2 years with a bunch of great and fi=un projects to go with it.

 

Feel Good Now

This module intends to develop skills and understanding necessary to successfully enter both local and national design competitions.

These competition briefs are usually set by working design practitioners and/or their clients, as commercial briefs, they present open-ended challenges that require both originality and focussed objectivity to achieve specific targets and address identified marketing conditions/contexts.

Work will focus on issues of brief selection and comprehension, the development of original and imaginative creative concepts, the appropriateness of the design concepts and ideas and presentation skills.

LEARNING OUTCOMES – BY ENGAGING SUCCESSFULLY WITH THIS MODULE
YOU WILL BE ABLE TO

  • Research, analyse and evaluate contemporary Graphic Design practice in relation to a selected
    national / international design competition brief.
  • Produce design concepts that visually communicate the identified aims & objectives of the brief.
  • Develop, refine and present design outcomes, using appropriate technologies and techniques, to a professional standard.

THESE ARE EXAMPLES OF THE CONTENT OF THE MODULE

 This module provides the opportunity to select a national/international design competition brief.

It requires…

  • A body of appropriate research written, visual or virtual.
  • A range of developmental ideas/concepts utilising a variety of appropriate techniques (drawing/digital/photographic)
  • Design solutions that visually communicate the identified objectives in a clear and structured manner, produced and presented to professional standards using appropriate imagery and content.

THESE ARE THE MAIN WAYS YOU WILL BE SUPPORTED IN YOUR LEARNING TO    ACHIEVE THESE OUTCOMES

A range of carefully selected national/international competition briefs will be offered to students.

Staff input will then include…

  • Leading discussion groups considering the design briefs.
  • Support for the research process, including support for external liaison and authoritative e-forums.
  • Tutorial support during the design concept development phase.

Aims

Develop a response with regard to the brief you have selected from those available, aims may vary however the fundamental aim is to answer the brief.

Objectives

Utilise any advertising design method, discuss and evaluate an appropriate or relevant medium.

Discuss key elements and method…requirements, perhaps deconstruct the brief and evaluate.

Procedure

Initial discussion

Select a competition project

Read the brief

Employ mind-mapping techniques

Research, analyse, evaluate

Employ ‘think time’ (sit and think) to facilitate a ‘controlled daydream’

Identify demographic (target market) with regard the brief

Write down initial ideas

Read the brief again

Work quickly (not all initial concepts are required to be in visual form)

Consider the format

Develop concepts in relation to the brief

Read the brief again

Produce design concepts for your chosen brief

Briefs I am contemplating with?

We have been given the chance to pick an advertising brief from two competitions, D& AD which is an international competition and YCN (You can now) which is an organisation for creative people to make new connections, to learn and to grow. We were given a selection of different briefs, below are a few that I am contemplating with…

D&AD Briefs

Adobe…

Adobe and the Creative Cloud are the enablers of the creative industries. And when fueled with your creativity, the Adobe tools make ideas a reality, dreams come true, and miracles happen.

The challenge is to take the existing identity for Adobe Creative Cloud, and remix and reimagine it for a youth audience. Then, devise a launch campaign that’s inspiring enough to appeal to this group.

This is an opportunity to come up with a truly creative and holistic brand campaign, across every aspect of the marketing mix, for a product that enables you to do anything. The only limit is my imagination.

Design Bridge…

Within branded packaging, the beauty category is among the most clichéd. Why do men’s personal care products look like power tools, whilst women’s remain delicate and ultra feminine?

The world has moved on. Facebook now offers 56 gender definitions for users to identify themselves with. The use of hashtags like #transisbeautiful or #effyourbeautystandards, and Charli Howard’s open letter to the fashion industry, show how conversations around beauty are changing. But beauty brands aren’t keeping up.

Create a new-to-world, accessible, mass-market beauty brand that breaks established category codes.

My brand should be a response to some of the issues with which modern, post-demographic consumers identify: Gender stereotypes, healthy body image, environmental concerns, or any other issues I feel are relevant to users of beauty products today.

 

Monotype…

Design has the power to do good, but to achieve this you need the courage to believe in what you have to say; the conviction to tell it; and the clarity to communicate it.

Monotype creates typefaces and technologies that help people tell their story—in any language, on any device, and with a clear voice.

Take a cause I believe in and use the power of type to make a difference. Design with typography to agitate, educate, and organise the world and your audience. Use typography to help people believe in my cause and its purpose; to motivate and inspire people, in a relevant way, to my cause; and above all, to make an impact.

Typography is the soapbox for your rallying cry. Used at its best, it can empower my words, evoke meaning, set tone, and inspire ideas. Without it, my message could be drowned out. Where would the students in Paris of ’68 be without their screenprinted stencil type? Where would Revolutionary Russia be without its condensed, sans serif gothics? And would Occupy have inspired the collective imagination without democratic digital design and ‘desktop publishing’? The right typeface, used in the right way, gives a cause, movement or change its true voice.

Think about: What I want to say and how you want to say it; where I should or could say it; how I might use type to improve your message, to initiate change, or to motivate and inspire.

Desperados…

Desperados is the world’s first tequila flavoured beer. Created in France in 1995 by innovative brewers, it has pioneered the “beer+” category, attracting young adults bored by other lagers and beers.

Today, Desperados continues to push boundaries, bend the rules and celebrate those who embrace their inner tequila and dial up the daring.

They are not a passive brand, and want to kick-start culture and move the world forward creatively. Party is their playground; not party as a one-time event but as a state of being: a party can happen anytime, anywhere, it just needs someone with the right attitude to kick things off. Desperados is on hand to enhance the party spirit, spicing things up with the daring edge its hint of tequila brings.

You Can Now Briefs

Orchard Pig…

Deliver Orchard Pig as the craft cider equivalent of contemporary craft beer – we want to become the Notorious P.I.G.

The challenge is to tell, inspire and engage consumers and customers with our brand and what it stands for – Bold, Mischievous, Inclusive, Rooted in Somerset. We want this to be an integrated campaign, so we are keen to see how your ‘Pig Idea’ comes to life in more than one channel or medium.

Gap…

Founded in 1969, Gap is an iconic brand deeply rooted in its rich denim heritage. Our founders Doris and Don Fisher opened the first Gap store on Ocean Avenue in San Francisco for one simple reason. Don couldn’t find a pair of jeans that fit. They never expected to transform retail but they did.

American optimism is our attitude. Casual, elevated style is our aesthetic. We believe that style comes from the individual – So you can wear Gap the way you want to.

Our roots epitomise American culture and denim-loving music muses. We believe in the beauty and power of evolution, staying true to our core while creating for what is next. We like to think of ourselves as the ‘denim experts’, continually evolving our styles, fits, technology and fabrications to offer our customers only the best.

The challenge is to create a social media campaign, which educates 25-35 year olds about the benefits of Gap denim.

There are four aspects to the Gap denim collection which make it great. Fabric and technology evolution, our commitment to social responsibility, a variety of on-trend fits and washes and our rich denim heritage.

Think about how I would visually communicate to the consumer that for these reasons, Gap is the ultimate denim destination.

The campaign should be communicated through eye catching visual content which could be utilised across all Gap social media platforms, speaking directly to our customer. The campaign will launch in September 2016, our favourite time of year to celebrate Gap denim.

Fedrigoni…

More and more of our clients request Fedrigoni papers to be sold in single sheets. The uses for these single sheets vary, but range from same day mock ups for client briefs, small art projects, wedding stationery to student work.

The Fedrigoni warehouse located in Northampton serves the majority of our customers but is not equipped to supply single sheets. So, it was decided that an established retail outlet would be best to handle this on our behalf.

The London Graphic Centre – A leading supplier of material to the art and design community is regarded as a major outlet of its kind, offering unparalleled choice from leading suppliers around the world. It is the perfect place to offer single sheets of Fedrigoni paper and other paper products including artist pads, notebooks, diaries and stationery items.

The Challenge – Don’t just create a leaflet! Think about how you can use graphic design and paper to introduce customers to our new retail space.

My campaign should do this in a clever and visual way; it might include special prints, booklets, direct mailers or other elements that put paper to great use to engage with people. I am welcome to develop non paper-based elements to support your central ideas; but we want paper to be at the heart of my thinking.

Feel Good Now…

Launched in 2001, Feel Good Drinks is a premium range of 100% natural still and sparkling drinks for adults sold in over 20,000 outlets across 15 different countries.

The brand ethos is all about Feeling Good — 100% Natural ingredients with no added nasties, giving 1 of your 5 a day with no added sugar. No added anything!

Feel Good has been marketed in the past but only had Facebook activity since summer 2014.

We want you to show us how we can spread the word about Feel Good and get more people feeling good.

We want you to re-engage 18-35 year old females with the Feel Good brand, and are very open minded as to how you go about doing it.­

We want you to spread Feel Goodness, driving awareness and inspiring people to engage with the brand and buy the product.

We want to remind and reassure the target audience that Feel Good is relevant for them, that it’s simple and honest and that it delivers against their needs of wanting healthier cleaner drinks.

This is a deliberately very open brief, and you are free to demonstrate your creative thinking in any medium or combination of media you see fit.

We are open to ideas for new campaigns such as press adds, PR, Packaging, social media, sampling, on-pack promotions, in-store engagement; concepts for grabbing people on the streets or fresh thoughts for how our bottles and packs look.

We want you to think about the moments, formats and contexts in which we can most successfully engage with our target audience.

How can I spread positivity and connect with this audience in fresh and memorable ways?

So which brief am I going to choose?

All these briefs excite me in different ways, the YCN briefs do appeal to me more however as each project is more open. The one that particularly excites me is the Feel Good brief After to much thought and consideration, I decided this was the best one for me. Its a very open brief, it states “This is a deliberately very open brief, and you are free to demonstrate your creative thinking in any medium or combination of media you see fit.” This is a big factor why I chose this one, you can do anything you want, so long as it fits with what Feel Good are wanting, which is “to re-engage 18-35 year old females with the Feel Good brand.” I think it has given me a great opportunity to show off certain skills and also offers a great creative challenge.

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Research:

Having chosen what competition brief I want to purse, the next stage for me is to research in to different types of advertising, also looking at existing healthy drink campaigns, and how they communicate with the audience. And finally how different advertisements get the word across about their product.

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Firstly I want to analyse the current advertisements for the feel good drinks brand. I personally think the are very average and certainly don’t appeal to the demographic in which they’re wanting to aim the product at. The design is too childish in my opinion, especially the top one, I did a small survey by asking a few people between the ages of 18 – 35 (females) what they thought about the advertisements, they all said the advert doesn’t appeal to them at all, one person said, ‘It looks as if its aimed at children’. I want to come up with something that is more modern and appealing towards the target market, I want to spread the feel goodness, and inspire people to engage with brand and buy the product, this where I think Feel Good are going wrong. The advertisements don’t appeal to the specific demographic, as I proved in my survey.

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Here is an print ad that caught my eye immediately. Vitamin Water is a healthy drink similar to Feel Good in terms how they want their product to be judged, which is as a tasty, healthy, nutritional drink. The reason I like this one is because of the typography used, I like the idea of catching the publics attention with rhyming, Rhyme in advertising is a powerful tool, able to make almost any piece of tedious information become unforgettable, these particular ads seem boring at first, but its the fact the way the text has been worded makes it stick your head a lot longer. If you notice on the print ad, it highlights the most important words in the text such as “Big Muscles” and “Keep Perky” and “Yawn”, I’m not sure i like this because singling out the other words, and it looks a little all over the place, I get what the ad is trying to get across though… getting straight to the point. Vitamin Water aims their product at ages between 15 and 25, and as someone who’s in that category I personally think they’ve attracted my attention in this particular advert. Its given me a few possible ideas that I can pursue with my Feel Good brief, as its a comparable product to Vitamin Water.

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Here are some more examples of solid print ads that I found helpful. The first one is for Watts Juicery, Im inspired by this one because the drink is found in the pineapple which tells us that it fully natural and organic, I think its a very clever way of representing that the drink is organic and natural. Also its very simplistic too, theres not much too the design, I found it really easy to understand why the bottle is placed in to the pineapple. Its another ad that kinda gets straight to the point which I like. None of this explanation tripe which some adverts mistakingly do. This could be a good idea for my Feel Good brief, as it states that they are “open to anything”, I could do this sort of thing for the different flavoured drinks. The second print ad is a new campaign for Fanta in Egypt, the print ad is rather similar to the first one. I think its very clever and inspiring that they’ve actually used the fruit instead of the liquid, it gives the ad more appeal. If it was just the drink, it would just be an ad that is similar to most, but the fact they’ve gone outside the box for this campaign is very good, hence why I’ve looked at this one for my research. I’d like to go outside the box for my Feel Good brief. Overall both designs are brilliant, they have both given me ideas in terms of what idea I’m going to pursue for my project.

 

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These are more examples of solid print ads, the are for a company called Izze. Ive chosen to look at this particular piece of advertising because its unique, and I’ve ever seen anything like it before. I was automatically intrigued when I first saw these poster designs. The best way to communicate the pure ingredients is simply to show the them. And The tagline “You’ll love what’s inside” makes so much sense as it gives a clear indication whats inside you as a person. It gives people a much clearer idea whats actually in the drink. It also enables people to connect with the brand more. http://www.vermilion.com/clients/izze-beverages/full-view#4

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Here is another example of brilliant advertising. These poster ads are for a vegetable juice drink called Bramhults. I’ve chosen to talk about these ads because again they are clever and well thought about. The idea for these ads are brilliant, I love how each bottle flavour is buried in soil, this is trying to tell us that Bramhults juice drinks are 100% nutritious, with no added flavours. This is probably one of my favourite ads because its a simple idea that just works perfectly with the product. This print advert has given a few ideas that I can use for the Feel Good brief, maybe using something similar to this as Feel Good have similar flavours.

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These are some further examples of fine advertising. These print ads are for a company called Pierre Martinet which is a vegetable smoothie drink, situating from France. I’ve chosen to talk about this one because it caught my eye immediately. Yes the ads are rather similar to the last ones I looked at, but I find these ones more appealing, I love the way the vegetables are built up to form some sort of cocktail, however I’m not sure on why the company have pursued in a cocktail drink shape for the imagery, the only idea I can think of is the fact you can enjoy the vegetable drink as much as a cocktail maybe? And the fact Pierre Martinet have used this particular imagery tells me that their product isn’t aimed at children, but more younger/older adults. Overall I am really like this ad because its given me some ideas to take in to my designs, Feel Good and Pierre Martinet are a rather similar product, in terms of the drink being healthy, I think it would be a good idea for me to showcase whats in the drink, rather than showing the bottle on its own.

Further Research examples of print ads that I found helpful and clever…

These are just some more print ads that I found useful in terms of ideas wise. However they’re not really related to the product I will be advertising, but I do think they are extremely creative hence why I have chosen to showcase them on my blog.

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Ideas and Concepts

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After researching a few existing drink print ads I started to jot a few ideas down to get my advertising brain in gear, I also did brainstorming just to give me some solutions on how I am going to construct an idea. I came up with a few basic ideas to start with, such as updating Feel Goods recent bottle design, I thought this would be a great idea as the brief states “We are open to fresh thoughts for how our bottles and packs look”, the current bottle designs are very plain and very average, my idea was to just revamp and make it look better in terms of appearance, however this idea wasn’t very strong so I moved on to the next one. The second idea I contemplated with is to show the actual ingrediants that goes in to the drink, the design would feature a bottle, and inside would be the fruit instead of the liquid. A little similar to the IZZE idea that I researched, this idea would show the 100% natural goodness of the drink, however this idea desert suit all of the brief, as it states they are looking to “re engage 18 – 35 year olds with the Feel Good   brand.” Me and my tutor had a talk a we evidently came up with what I think are two pretty strong ideas. The first idea is all about taking strap lines from other drink brands such as Red Bull (Gives you wings) and White Tiger (Slim energy drink) and manipulating them to fit within the feel good brand, I would create typographic print ads that would say for e.g “You don’t need wings to feel good” and “You don’t need to be thin to feel good” the idea is to use other companies strap lines to Feel Goods advantage. The second idea is all about re engaging the target market (18-35 year olds) more. I will create poster ads that will consist of problems 18-35 year old women go though, the aim is to change a negative in to a positive. The ads will feature problems such as a bad hair day, acne attack, and wardrobe malfunction etc… The ad will say something like “bad hair day? Try Feel Good” then towards the bottom of the page the ad will also include the “100% natural” and more key elements that Feel Good include in their drinks. Once I have completed the 5 – 10 posters I will super impose them on to ad shells and billboards etc. I will also impose them in to womens magazines and promote them on social media, such as Facebook and Twitter. Out of the two strong ideas, I personally think the second one is the better because its more fit for purpose, it also seems to answer the brief more in comparison to the other idea. It answers the brief in terms of re engaging 18-35 year olds, core information – 100% Natural. Never any added sugar, (1 of your 5 a Day), 100% Natural Ingredients. No artificial colours, flavours, preservatives.

family-guy-chris  family-guy-sarah-palin  family-guy-peter

Now I know what idea I am going to pursue with, I thought it would be a good idea to look at certain poster ads that turn a negative in to a positive which is what I am doing for my Feel Good advertising. I think its good to look at other poster ads that have a similar meaning behind it to the ones i will be creating, it basically just gives me more of an idea how other posters such as these go about the layout, style, type, imagery etc. These particular posters are advertising a program called Family Guy… “When we were creating a brand new outdoor campaign for Family Guy we thought ‘What better endorsement of America’s most dysfunctional animated series than the scornful words of its arch enemies’. We couldn’t think of a better reason to watch it.” So its basically using negative comments from the programs ‘enemies’ to create a positive. It makes you want to watch the show. One element I find very good is the choice of imagery, if you read the negative comment then compare it with the image, they connect really well, for examples the “its made by cruel, cold hearted people” and then the image is of the family really happy and close together. I personally think these posters have a great reasoning behind the design, it will help me in terms how I want to lay my type and imagery out and how I can get the message across.

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Here are some more examples of negative to positive advertising. These billboard ads are for a place called ‘The Boys and Girls Club’ which is a place to keep kids off of the streets and causing trouble. “For the longest time, the Boys & Girls Club has been known as “The positive place for kids.” Which got us thinking, “okay, then what’s a negative place?” Then it just came down to figuring out a simple, graphic solution to go from the negative to the positive.” Again a similar idea to the one I am pursuing, I love this one because its all about getting kids off the streets, and all about being positive so I love how thief introduced the negative parts of the billboard ad, the ad is basically saying this is where the kids ‘could’ be doing if the club didn’t exist, this where the negative imagery turns in to a positive. The imagery for the billboards ads are very much fit for purpose and work well with the overall minimalistic design.

Looking at these poster ads has given me more confidence in terms of how I want my design to look, they’ve also helped in terms of how to get the message across, especially the ones about turning a negative in to positive. Lets get started!!!

Development:

After finding some solid research examples similar to the Feel Good brand, I started to focus on developing my Feel Good poster ads. The first stage I need to do is come up with at least 4 – 10 problems that 18 – 35 year old women go through commonly as the brief states there main aim is to “re engage” that specific target market to towards the Feel Good brand. I jotted some some examples of common problems women in that age range usually come across. To help me out on this part a little a I asked a few girls in my class what common problems that usually have. Below are a few that were mentioned and a few that I thought of myself…

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Women Problems that I surveyed…

Bad hair day 

Acne attack

Wardrobe malfunction

Makeup mishap

Bad skin

Weight problems

Sleepless nights 

Stress

Hangovers

Broken nails 

After having surveyed around 7 different people I chose from a list which “women problems’ would suit my poster ad designs. After deep thought and consideration  I narrowed the options above down to 4…

Bad hair day 

Acne attack

Stress

Makeup Mishap

When researching in to everyday women problems the ones above were the ones that cropped up the most. One I had chosen my poster ad titles, I started to to think what Images I could use for each one. I headed over to a website called Shutterstock where I collected 4 suitable high quality images. the reason I want high quality is because the image will be one of the main features of my poster ads, its also got to be clear because a bad pixelated image won’t get the message across to the target market.

Screen Shot 2016-02-25 at 18.02.43I looked at around 30 images before narrowing it down 4. The images that I have chosen (pictured below) will work best each one of my poster ads.

Bad hair day image –

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Acne attack image –

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Stress image –

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Makeup mishap image –

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Overall I am very happy with the images I have chosen, I personally think they serve each poster ad really well, they’re clear and are easy to understand. If you notice, each image consists of a middle aged woman, this is because the brief wants to re-engage 18 – 35 year olds with the Feel Good brand. One problem I had was the fact the backgrounds were a little different, but I just slightly adjusted them to make them look part of the same ad.

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The images above are showcasing what I am wanting my poster ads to look similar too. The 2 images on the left are my concept sketch designs, I want the poster ads to be rather minimal like the ones on the right. The text will be rather minimal too for example… ‘Bad hair day? Don’t worry try feel good!’ the poster will also feature the feel good logo. I think its good to get inspiration from research because it helps you strive towards what type of style you want to pursue with. The next stage is to put my poster images in to practice and start experimenting with the different fonts, the type should fit with the feel good logo as well as the image.

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Here are just a few screenshot examples of me experimenting with different type and layout designs. As you can see the layout looks okay, but the type is very dower, it doesn’t work with the overall layout design. However I do like the layout of the design, its rather minimal which is what I am wanting, also the wording is good too… ‘Feeling stressed? Don’t worry try Feel Good!’ the inclusion of the “natural goodness” underneath the main type is also a good feature. I just think its a case of finding the right typeface which can be a pain in the backside. Needs to be more clean and punchy!

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After further developing my print ad a little further, I came across a typeface called Veneer, I found this type very bold and punchy, it also had a similar grunge texture to the feel good logo, I purchased the typeface off a website called https://www.myfonts.com/fonts/yellow-design/veneer/  . Once I had purchased the font I applied it to the print ad, which as you can see brought the whole poster ad to life a lot more. I love how the typeface works so well with the imagery, the only downside is it doesn’t have lowercase letters, but thats not to bad as it it looks very appealing in all bold capitals. Below are a couple more experiments with the layout design below…

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Here are free more about developments for my print ad. As you can see these poster experiments are a huge improvement on the first ones I did, these designs are more up to scratch with what I wanted. The bottom screenshot is the final design that I am going to pursue with because its the most attractive to look at and I think its the one that gets the message across to better, I asked a few women aged around 19 -32 what they thought of the poster ad,  as well as the idea, and they all said they found the poster very clean and easy to understand, the only negative comment I got was make the smaller text (100% natural goodness) bigger, but for me and others said also that it looks better in small letters. If you noticed also, I have changed the feel good text to a red colour as its the main type I want to get across to the demographic. The red also links up to the logo, so when people look at the ad they will know what feel good represents.

Stressed print ad

Above is the completed poster (1/4) for one of my feel good ads, as you notice its very punchy and settles well with my idea with turning a negative in to a positive. As this is the first time I’ve seen the poster in detail, I personally think the overall design is really professional, I particularly like the link between the feel good logo and the typography as grungy effect . Looking more in to the typography, I think the hierarchy is presented well as a final outcome. I like the lines that separate the sets of type, I originally wasn’t going to put them in, but I think it makes the typography align better. The inspiration for the type layout came from the poster below, I particularly liked thistle of it and wanted to use something similar on my poster designs. I personally think I’ve done this very well.

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Another element of the design I forgot to mention is the fact that I followed the layout design I used on my sketches, this just indicates that I started off  sketching some layout ideas out before going straight on to the mac. The layout is specifically inspired from my sketch designs.

Stressed print adBad hair day poster adMakeup mishap poster ad  Acne Attack poster ad

Here are the other final three poster ads for the Feel Good brand… (Bad hair day), (Make mishap) and (acne attack). I’m overly pleased with how the posters have turned out, they have a attractive consistent appeal, they all work very well together, and you can very easily tell that they’re linked together. Not only did the brief say they wanted to reengage 18-35 year olds wit the brand, they also wanted something that was alluring and eye catching, without being big headed I can quite easily say I’ve done both. It’s a good idea backed up by a minimal punchy design, which ticks all the boxes. To make the poster seem a little more realistic, I am going to put them in to practice, by super imposing them on to billboards and and social media networks, such as a tweet and Facebook post.

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I found a few mock ups on a website called http://store.mockupzone.com/product/outdoor-advertising-mock-up/ which gives out free good quality mocks ups.

Billboard ad

As you can see the posters look so much fresher in context. They look eye catching, fresh, and professional which is 100% what I was wanting to achieve from the start of this project. The next stage is to impose the poster designs on to a social media interaction, such as a tweet and Facebook post from the Feel Good company, this will just look as if Feel Good are promoting the posters to people who like, and follow feel good. Its also good to do this as theyre are millions of people on social media, so just about anyone can see it. This is where the ‘engage with the audience’ comes in to play.

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These are the templates that I will be using of my social media poster impositions. As you can see I will be using Facebook and Twitter, as they are the most used social media interaction sites in the world.

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Here are the super impositions, I think they are imposed very well, and look very realistic. Both impositions were really easy to do, all I had to do was erase the original content and create a new post. I also changed the likes on the Facebook post, so it looks as if the post has gone rather viral and people have a clear understanding what the poster is about, and what sort of market its aiming at. As well as the Facebook post, the twitter tweet is good too, I like how I’ve added the #feelgood because hashtags on Twitter is where people get noticed, so adding this is good because it can be seen by millions of people. Now I am happy with my impositions, I will also apply them both to some sort of content, for example.. super imposing them a phone and iPad mock up etc.

facebook and twitter impositions

Again as you can see the just like the posters, the impositions look a million times better put in to context. Its just a great way to bring a piece of work to life, also the image that I’ve chosen does help a lot also, I got the image off Shutterstock again, I just wanted a clean simple image that suited its purpose in making the impositions look clean, minimal, professional, and realistic.

Evaluation

Well, what can I say, another incredible journey! I must an enjoyable journey. Personally the reason why it was an enjoyable journey was because of the brief I chose. I contemplated with a lot of briefs, especially the D&AD ones, but the Feel Good brief for me felt perfect as it was so wide open, it stated they were open to anything. I know I answered the brief because I came up with an idea that will re engage 18 – 35 year olds! The idea was solemnly based on taking an everyday women problem and turning it in to a positive… as you can see on my poster designs, for example Bad hair day? (the negative women problem) don’t worry try feel good! (the positive). Another sign that I have answered the brief is the fact Feel Good wanted have an appealing and eye catching design, and also be punchy and fresh, which I think my poster ads do.

Overall I am really ecstatic with my design work, I keep getting more and more confident by each day, and projects like Advertising have really helped my creative side that I didn’t particular think was my strongest area (maybe I’m wrong?).

If you want to look at this project on my website then feel free to click the link below!

http://graphicsjakek.co.uk.gridhosted.co.uk/portfolio/feel-good/

 

Personal Statement

I am a passionate and rhapsodic individual keen to make an impact in the graphic design industry. Graphics is a burning passion of mine. I get utterly immersed and embroiled which makes it even more gratifying. I relish all things design, especially branding and typography I am eager to further this and myself creatively. I seek to produce well executed conceptual design with a focus on typography and an attention to detail. I am an engrossed and passionate person that explores inspiration from everywhere and I aspire to reflect this in the work I produce. I am a very efficient person that can work productively in a team. I am always ambitious to learn new skills and techniques to improve my work as well as tackling a new and diverse range of projects.

Personal Professional Development

Are you a professional

Are you a professional, how you look, talk, write, act and work determines whether you are a professional or an amateur. Society does not emphasise the importance of professionalism, so people tend to believe that amateur work is normal.

Professionalism

Professionalism is not a straightforward concept to define. As a number of commentators have noted, the word “profession” is today, almost synonymous with occupation: the term professional is now applied to a wide range of individuals such as footballers and cricketers and sports personalities. Seeking to identify the essential nature of professions by examining what existing professions do.

  1. The professional has skills or expertise proceeding from a broad knowledge base.
  1. The professional provides a service based on a special relationship with those whom he or she serves.   This relationship involves a special attitude of beneficence tempered with integrity. This includes fairness, honesty and a bond based on legal and ethical rights and duties authorised by the professional institution and legalised by public esteem.
  1. To the extent that the public recognises the authority of the professional, he or she has the social function of speaking out on broad matters of public policy and justice.
  1. Professionals must be independent of the influence of the State or commerce.
  1. The professional should be educated rather than trained. This means having a wide cognitive perspective, seeing the place of his or her skills within that perspective and continuing to develop this knowledge and skills within a frame work of values.
  1. A professional should have legitimised authority. If a profession is to have credibility in the eyes of the general public, it must be widely recognised as independent, disciplined by its professional association, actively expanding its knowledge base and concerned with the education of its members. If it is widely recognised as satisfying these conditions, then it will possess moral as well as legal legitimacy, and its pronouncements will be listened to with respect.

 

Definitions of Professionalism:

Many organisations have a “code of ethics”, and what they require for entry into their organization and how to remain in good standing. Some of these codes are quite detailed and make strong emphasis on their particular area or expertise, for example, journalists emphasise the use of credible sources and protecting their identities.

Another area of inquiry that will allow a student of this subject to define concepts of professionalism may be inferred from guarantees. But these are inferences only. The idea behind a guarantee is that the person offering the guarantee is accountable to the extent of damages that will be compensated.

One thing these sources hold in common, implicit or explicit, is the idea of accountability—those who are members of these organizations or professions are held accountable for what they do.

For Graphic Design and design related industries professionalism could be demonstrated by the following:

Attitude & Demeanour

Ethics, Morals & Responsibilities

Code of Conduct

Application Letters/CVs (see Module: Preparation for Industry)

Dealing with Clients

Client meetings & eliciting a brief/re-briefing, contracts/Terms & Conditions

Financial Management

Fees

Determining an hourly rate

Costing & Budgets

Commissioning & Sub-contracting work

Freelance Design

Studio Practices & Procedures

Health & Safety

Copyright & IP (Intellectual Property)

Time & Work Management

Timesheets, job handling & workflow, schedules & deadlines

Professional Bodies

ICOGRADA/D&AD/ISTD/CSD/Typographic Circle

 

Task Sheet

 

Professional Design Practice                               Name:  Jake Kempton

 

Is Design a Profession or a Trade?

This is a tough question in all honesty, because its can be either a profession or a trade. When I think of a trade or tradesmen, I think of someone who is in the plumbing or construction industry, or someone who is good with their hands. This is where I think design can be classed as a trade, where someone is good with their hands, I mean you can be good with your hans when you’re a designer, such as skills like illustration, software etc. However I do think design is also a profession. A ‘profession’ is a paid occupation, especially one that involves prolonged training and a formal qualification… which is process you follow when becoming a designer, but again, for some jobs you need prolonged training and some sort of qualification, such as a plumber and a construction worker. So the answer to the question is simply both, design is a trade as well as a profession in my opinion.

What are the KEY differences between a Designer and an Artist?

The end product –

Artists and designers both create visual products, to put it simply. Artists however, create eyecandy to be consumed by the end user. The actual painting or illustration is created with intention to be the final result of the artist’s vision. Whether this comes to the market as a book illustration, a canvas for a gallery, a framed work to be hung in a house, or a mural, the artwork is the final product of consumption. Designers create beautiful images as a form of communication and are one small step within a production pipeline. A designer will use renderings, sketches, models and other means to communicate their design to a team of people who all work together to create a consumable end product. The end product may be a video game, movie, lawnmower, laptop, backpack or piece of furniture. The designer’s initial sketches, renderings or mock-ups are not intended to be seen by the consumer, but rather to explain their design solution to those who will help bring the design to fruition.

Problem Solving –

Everyone solves problems one way or another. In most cases, an artist’s problem to solve is that they have an idea or vision and want to share it with others. He or she creates a piece of artwork and the problem is solved. Designers are often approached with a client’s ‘problem’ which he or she then solves for. For example: a company wants to increase sales of a product they’ve sold for years. The designer’s job then turns into several smaller problems that must convince the (potential) consumer that this product is better than one he or she already owns. The designer could chose to freshen up the form, improve ergonomics, leverage a different production method that lowers cost and, why not incorporate a new feature? Maybe the end result is a modern product that folds up to save space, is more comfortable to use and even costs the consumer less money than the last one he or she bought before. Designers solve problems for clients and consumers.

Level of craftsmanship –

Craftsmanship is a term used to describe the skill used to create a product. Artists are craftspeople because without a high level of craftsmanship, their work would not stand apart from a novice’s. Often, an artist’s craftsmanship increases over time and therefore increases the value of a painting created by him or her. A designer’s craft is in communication and solving design problems quickly and elegantly. A designer need not a high level of craftsmanship to ‘sell’ the ideas the way an artist may, but nobody can argue, the higher the craftsmanship, the more valuable the designer.

How people interact with it –

The interactions people have with artists’ work are often very passive and visual. Unless it’s an installation or sculpture, the interactions are often quite minimal.Interaction however, is a very big part of design. Most designers create solutions to common problems by designing products that people interact with often. Whether it’s furniture, tools, electronics, clothing, kitchenware, or cars, all of these products are designed with the end user in mind. Before a design can be dubbed successful, it needs to address a number of issues, one of the most important being interaction.

The functions they serve –

What function does artwork serve? It’s used as a visual stimulation, as decoration or storytelling most often. Products brought to life by designers need to serve a function to be successful.’Functional design’ is a term often used to say ‘this product functions in a way to address a specific need’. If the most beautiful can opener was designed with a high-tech, fancy, ultra-light carbon fibre material, it may be ‘designed’, but it may not be functional. The material may not be durable or sharp enough to open a can with and if it’s 100 times more expensive than the conventional can opener, it may prove impossible to sell as a consumer good. In this case, rather than being a product, the ultra-sleek carbon fiber can opener would likely be considered a piece of artwork as it would serve to make a statement, and to be observed – not used to open cans. And in all likelihood, it would not be mass-produced, which brings me to my final point.

How its produced –

Artwork is often created to be sold as originals for a sum of money that is representative of the amount of effort and hours put into it by the artist. Design is usually created with mass-production in mind. Whether it’s a consumable product, an application, graphics, or interiors, the number of pieces that will need to be produced plays a big role on how something is designed. A designer will often keep this in mind as a product becomes more complex. Automated production processes should be used to reduce labor costs. Designers tend to try to reduce production costs and consider the entire life of a product (from concept to consumption to disposal) and integrate features to be more consumer and earth-friendly.

 

Key attributes of a Professional:

Appearance

A professional is neat in appearance. Be sure to meet or even exceed the requirements of your company’s dress code, and pay special attention to your appearance when meeting with prospects or clients.

 

Demeanour

Your demeanor should exude confidence but not cockiness. Be polite and well-spoken whether you’re interacting with customers, superiors or co-workers. You need to keep your calm, even during tense situations.

Reliability

As a professional, you will be counted on to find a way to get the job done. Responding to people promptly and following through on promises in a timely manner is also important, as this demonstrates reliability.

Competence

Professionals strive to become experts in their field, which sets them apart from the rest of the pack. This can mean continuing your education by taking courses, attending seminars and attaining any related professional designations.

 

Ethics

Professionals such as doctors, lawyers and public accountants must adhere to a strict code of ethics. Even if your company or industry doesn’t have a written code, you should display ethical behavior at all times.

 

Maintaining Your Poise

A professional must maintain his poise even when facing a difficult situation. For example, if a colleague or client treats you in a belligerent manner, you should not resort to the same type of behavior.

 

Phone Etiquette

Your phone etiquette is also an important component of professional behavior. This means identifying yourself by your full name, company and title when you place a call. Be sure not to dominate the conversation and listen intently to the other party.

 

Written Correspondence

During written correspondence, keep your letters brief and to the point. Your tone should be polite and formal without being “stuffy.” This also applies to email correspondence.

 

Organisational Skills

A professional can quickly and easily find what is needed. Your work area should be neat and organized, and your briefcase should contain only what is needed for your appointment or presentation.

 

Accountability

Professionals are accountable for their actions at all times. If you make a mistake, own up to it and try to fix it if possible. Don’t try to place the blame on a colleague. If your company made the mistake, take responsibility and work to resolve the issue.

 

 

Are any of the following Professions (Highlight in red as appropriate)

 

MARKET TRADER     DOCTOR     LORRY DRIVER     CHEF     DESIGNER          JOINER

POP MUSICIAN     SOLICITOR     ACCOUNTANT     SOLDIER     FLORIST             PLUMBER

FOOTBALLER     TEACHER     LAWYER     ARCHITECT     NURSE     ENGINEER

 

Occupations are categorised by an ABC rating system Category A could be Lawyers/Solicitors, category C2 semi skilled

 

Where do you see yourself at the present time (please highlight red)

 

A          B          C1        C2        D          E

 

Where do you see yourself WHEN QUALIFIED (please highlight red)

 

A          B          C1        C2        D          E

 

What starting salary (per annum/year) would you expect as a Junior Designer

  1. In the North of England – £15,000 – £20,000    
  2. In the South East of England – £18,000 – £25,000

 

Personal Promotion

Background

A vitally important part of being a successful designer is the ability and need to present your self in a professional, confident and business-like way. This applies to all aspects of your dealings with clients and employers, from your telephone manner through to your personal presentation at meetings, briefings or interviews.

Frequently however, the first impression of you as a designer will be derived through written correspondence. It is essential, therefore that your personal stationery and self-promotion reflects accurately the professionalism you intend to convey.

Obviously COST is an important factor – don’t be over-ambitious – it’s the quality of idea that is paramount

and production values. Careful choice of typeface, paper, colour, layout and arrangement create an impression

or mood that acts as your personal ambassador.

Learning Tasks/Brief

You are required to produce initial design proposals for the key graphic elements of your personal promotion.

These will form the nucleus of your own personal visual identity and will eventually be applied to your personal stationery, self-promotional items and to your personal interactive website.

Your visuals should be in the appropriate colour/typeface and each concept should be presented showing how it would work, say for instance on your business card. It is not essential that facsimile items such as letterheads, business cards etc are presented but if time allows, you may wish to show how your graphic elements could be applied.

The progress of your personal promotional design work will be monitored during this Module, advice will be available on aspects of suitability in terms of professional standards, technical practicalities etc.

You will be able to produce each element appropriate to a specific reproduction process with consideration for practical and financial limitations for actual use in your personal promotion.

  • The module ‘Preparation for Industry’ specifically addresses and further develops the generation of self-promotional design and related job applications.

 

  • The module ‘Design in the Digital Environment will address personal website design, you may use this as part of your personal promotion, however this may not be used as part of the assessment criteria as you cannot be assessed for the same work in a different Module!

Personal Stationery >>> JK Personal Stationery<<<

Consultancy Fees and Contracts

  • Advertising Agreements
  • Affiliate Agreements
  • Consultancy Contracts
  • Domain Name Contracts
  • E-commerce Terms &Conditions
  • Email Notices
  • Hosting & Maintenance Agreements
  • Intellectual Property Assignments and Licences
  • Non-Disclosure Agreements
  • Privacy Policies
  • Services Contracts
  • Software Contracts
  • Web Design Agreements
  • Web Development Agreements
  • Web Marketing Agreements
  • Website Terms of Use
  • Templates
  • Editing
  • Guarantees
  • Privacy Policy
  • Terms of Use
  • Web Consultancy Agreement

 

Online Catalogue | Consultancy Contracts | Web Consultancy Agreement

Web Consultancy Agreement

A web consultancy agreement template is designed to regulate the legal relationship between a web services company and a consultant employed by the web services company to provide development or other website-related services to the company.

This consultancy agreement precedent contains two alternative intellectual property clauses.

The first alternative is an assignment of all new and existing intellectual property rights in the work produced by the consultant. The second alternatively is a licence of the intellectual property in the work produced by the consultant. The particulars of the project can be detailed in the Schedule to the consultancy agreement.

The agreement should be signed by both parties.

The template is drafted to protect the interests of the web services company, rather than the consultant. If you are looking for a pro-consultant document, you should consider a web consultancy terms and conditions template.

The template includes the following provisions:

(1) Definitions and interpretation

(2) Engagement

(3) Duties of the Consultant

(4) Acceptance

(5) Fees

(6) Intellectual Property Rights

(7) Warranties

(8) Non solicitation

(9) Liability

(10) Data protection

(11) Termination

(12) Status of Consultant

(13) Confidentiality and publicity

(14) General

  1. Web Design Agreement (pro-designer)
  2. Web Maintenance Agreement
  3. Web Services Terms

 

How to Buy – It is easy to buy legal templates from a website.

As soon as you have submitted payment, they will send you an email containing hyperlinks to your templates. All you need to do is add the templates you would like to buy to your shopping cart by clicking the “Add to cart” button, proceed to the checkout. Once you have filled in your details and confirmed that there are no errors in your order, you will be transferred to the Sage Pay website to submit payment securely.

They accept payment, via Sage Pay, using any of the credit and debit cards shown. You can also pay via PayPal (the option to do so appears on the Sage Pay website).

Print Quotation Request Email

Background

It is customary for designers to elicit a quotation for print work to be undertaken, in advance to ensure that not only is the price/cost acceptable but also to ensure that the printer and the designer have a mutual understanding of the requirements and constraints of the job. This is usually requested in a formal, written manner and a written response is essential if confusion or misunderstanding is to be avoided. This lack of clear communication could lead to a breakdown of a professional business relationship between the two parties. It is therefore wise to obtain AT LEAST THREE Print Quotations – for comparison.

Remember, the cheapest in cost may also be the poorest in quality…generally you get what you pay for.

However for this task you are required to submit one print quote request.

 Learning Tasks

You are required to submit a Print Quotation Request (as an email) please print the email out and hand in on the deadline (see individual brief) to obtain a meaningful print quotation from a printer for the printing of your personal stationery.

 Evidence required for Assessment:

A comprehensively detailed and complete print Quotation Request Letter/email

  • Remember your enquiry should include…

 

  • Introduction – state that what you require is a full breakdown in writing, plus all costs, including VAT,

not just the final figure, given over the telephone.

  • Latest date print quote required (when you want the quote)

 

  • Actual Deadline for the finished print work.

 

  • Delivery details (will you collect, or do you require the printer deliver, at a cost)

 

  • Contact telephone number (for queries, advising when ready for collection)

 

  • Will you or the printer supply the paper – ask for quotes to cover both possibilities.

 

  • The form in which you will supply the final artwork.

 

  • Breakdown of all items required to be printed. (letterhead, business card, comp slip)

 

For each item list:

 

  • Quantity required. (You may also wish to ask for a ‘run on’ price as well).

 

  • Finished Printed/Trim size (in millimetres), state any bleed allowance to be provided.

 

  • Paper/stock/substrate – give specification (and provide actual sample or similar if possible).

Include: paper colour/texture/finish, category, weight (gsm).

 

  • Inks – number required, Pantone Colour or other reference numbers. Ask the printer if they have the ink in stock or whether you would have to pay for a special order/batch.

 

  • Any special effects/finishing – Blind embossing/UV varnishing/Foil blocking/Die-cutting (the printer you liaise with will contact a Print finishing Company and charge you for this service)

 

  • Trimming requirements (Leaving untrimmed and eventually trimmed by you is often the cheaper option).     Also will you be providing, as artwork, several versions of any item ganged together- known as, for example,   “4 up to view” etc. (Business cards, usually).

 

  • Include a polite and courteous ending, thanking for their help & consideration.

 

NB An effective & clearly structured layout is considered as essential as is the informational detailing/content. Remember that your letter should be produced in a professional and businesslike manner, if you wish to get respectful and efficient treatment, and a quality job.

 

Assessment

The level of your attainment for this assignment will be determined as follows:

Completion of all required evidence.

Quality & depth of Research

Clarity of understanding of assignment’s requirements

Degree of motivation and application

Scheme of Work

See attached sheet for details particular to this assignment.

In this assignment you will address the following Learning Outcome:

Critically analyse & evaluate, then make and justify decisions about print and production processes and in the selection of appropriate technologies and techniques for the production and reproduction of design work proposals.

Print quote >>> Print quote <<<

Print Processes

Background

This Module will introduce you to the relationship of the need to work within the constraints of cost, the impact of choice of materials, type of print process, method of preparation etc. and will complement course modules at level 5 requiring creative yet practical design outcomes and extend your knowledge of the totality of the design process from concept to eventual end user.

In an industrial context, designers invariably work in relation to specific production methods. A thorough working knowledge of methods of print production, and their limitations is essential

Brief

Research, discuss, compare and contrast the main advantages & disadvantages of major printing process utilised by contemporary graphic designers. You will be given a print process from the following list to research and present:

 

  • Offset Lithography
  • Gravure
  • Flexography
  • Die-cutting
  • Full colour reproduction
  • Printing faults and causes
  • Letterpress
  • Print finishing
  • Papers/stock
  • Line and halftone
  • Imposition
  • Screen Printing
  • Proofing (picture and text)
  • Foil blocking
  • Lamination
  • Embossing

 

You may set out your findings as a table/chart or in essay form, a presentation of your given research category will be made to the group/staff, you are required to print your category of print processes before the presentation and give a copy to each member of the group/staff, for inclusion in a Research File.

Write as much as you think necessary but remember the quality of information is more important than sheer quantity of words.

Your findings must be presented in a professional manner, typed, and carefully spell-checked.

A brief explanation of the process method (with supporting diagrams/links to YouTube) is required and any print problems that may occur.

Presentations to group/staff begin W/c 16/11/15 – W/c 30/11/15

Completed assignments and research file should be submitted for assessment at the end of this Module.

Presentation research file >>>Die cutting PPD<<<

Presentation Notes >>>Die cutting PPD<<<

Placement Application Request Email

Background

Like any other application, contacting companies in order to secure a placement for work experience needs careful and considered attention, if your application is to be successful. This is usually requested in a formal, written manner.

Your email should briefly state what you require, and when.

You are advised to give a short summary of your current, knowledge, experience and skills.

Companies receive application requests from all levels, including schoolchildren. It is essential that you project yourself as more advanced and professional (and hence, more useful) and indicate that you can offer more than just ‘attending to observe’. As a design trainee on an advanced course, in your final year, you are capable of making a valuable contribution as part of a team.

Once on placement, you may then be given actual design work to undertake, which could then be added to your folder of work. With the right choice of placement, students from this course have been able to create an impression, this has eventually lead to employment at that company.

Careful selection of appropriate companies with an impressive email application are essential to achieving success, this will be accompanied by pdf’s of recent work or web URL. Some companies will usually then ask you to attend an interview

 Learning Tasks

You are required to submit a placement application email (for reference and spell check, combined with any relevant information you may wish to include in your application) initially to paul.clarkson@sheffcol.ac.uk

Please print the placement application letter and add it to your Professional studies research file

Once this has been agreed you may select 10 – 15 Design companies and forward or tailor your email specifically to them.

 Evidence required for Assessment

Include the following:

Address your letter to an actual person and find out their actual job title remember, if name not known then: Dear Sir/Madam

Get to the point and state clearly the purpose of your letter – that you require a period of work placement.

Give dates (if necessary, alternative dates) for when you need (or prefer) the placement.

State how long you need the placement, usually 1-2 weeks maximum.

Introduce yourself and briefly describe the course on which you are studying – Foundation Degree Graphic Design at Hillsborough College. (part of the Sheffield College) this COURSE relates strongly to industrial needs, including any freelance work or live briefs or competition briefs.

Briefly describe what skills and ‘experience’ you now have and that you can offer (areas of specialism) the computer software that you are proficient in using, state your career aspirations.

Provide a CV, and enclose a promotional item or samples of work if possible.

State that you wish to experience a professional design environment and gain an insight into your chosen career.

Find out the type of clients they work for.

State that you wish to visit or attend an interview and you would appreciate the opportunity to show your portfolio of work.

Suggest your availability times, dates.

 Include a polite and courteous finish… either Yours faithfully (Dear Sir/Madam) or Yours sincerely (if name is known)

 Check spelling!

An effective & clearly structured layout is considered as essential as is the informational detailing/content. Remember this should be produced in a professional and businesslike manner. Full consideration should be given to compositional organisation in terms of integrating into your personal design style and stationery.

 If a placement is offered by a company you must ensure that your coursework and assessment are not placed in jeopardy, please consult with your tutor(s) for advice and /or permission. It may be more convenient to undertake your placements at half term.

 Easter or during the summer after you have left the course, and before you start in a full-time job.

Placement Request >>>Placement Request<<<

Fee Letter

Fee Letter (email)

Background

Assuming that a designer has just recently attended a comprehensive briefing session/meeting with a client to discuss the requirements of a design job that the client wishes to produce, designers generally then follow up this meeting and submit an email to the client, detailing your design fees, for their full approval, before any work commences. (Please print this for assessment)

This correspondence should, therefore, present a clear breakdown of the proposed charges/fees against what actually will be done by the designer. It is also good practice to include a ‘restatement of the brief’ indicating precisely what the designer thinks is expected of him/her in design and print terms, outlining the tasks dates and stages involved as well as identifying the actual items/formats to be considered.

The email could form the basis of a legally binding contract and needs to be worded with care indicating all requirements, dates, fees etc… It will help to avoid possible confusion, misunderstanding and argument at this (and any other) stage in the relationship with the client.

Brief

You are required to submit a re-brief & fee email (the cost of design work produced by you and any additional costs incurred) to a given client (see below) to act as a basis of understanding of the requirements of an imaginary previous meeting to qualify what is required in order to indicate your proposed fees/charges for the work to be undertaken.

You are charging for design work only so assume photographs/illustrations are provided.

Evidence required for Assessment

You should email your intended fees for only the design to paul.clarkson@sheffcol.ac.uk

You are required to submit a re-brief & fees for the following:

  • Job title: The Robert Opie Collection at the National Museum of Advertising & Packaging
  • 12pp A4 brochure plus 4pp cover (pp = printed pages)
  • Printed full-colour throughout
  • Includes photography and illustration
  • Covers to be heavier weight stock to inside section

Client

Mr J Statham

The National Museum of Advertising & Packaging

The Albert Warehouse

Gloucester Docks

Gloucester

GL1 2EH

Remember your email should include:

  • Introduction
  • Restatement of the brief
  • Fees
  • Special Clauses/Conditions
  • Conclusion

Assessment

The level of your attainment for this assignment will be determined as follows:

  • Basic Pass level – successful & completion of all required evidence
  • Attainment beyond this level will depend upon factors such as:
  • Quality & depth of Research
  • Clarity of understanding of the assignment’s requirements.
  • Degree of motivation and application
  • Effectiveness of the communication of ideas/intentions in the context
  • of the tasks addressed
  • Any other factor(s) indicated/instructed at the time of briefing-in

Fee Letter >>>Fee letter<<<

Calculating an Hourly Rate

Working as a designer involves selling your ability and experience in the form of the time it takes to complete all aspects of a design project. An hourly rate is a common method of determining design fees, whereby the time taken to undertake the project is multiplied by the hourly rate. Determining a realistic cost for an hour of design time is important in calculating suitable design fees. One designer’s hourly rate may be double or half that of another, depending on experience, financial needs and the demands on the designer’s time.

Often a (freelance) designer may actually spend only HALF the available work time in actually designing.

The rest of his time is involved with administration including client meetings, liaison with printers, print bureaux, suppliers, job-progress… to cover the cost of these non-chargeable activities, the Hourly Rate determined below could, in reality, be doubled.

Below is a method of determining an hourly rate based on an average working day and available working days per year.

Hourly Rate example

Gross Annual Salary required                                                                  £25,000

Overheads:                                                                                                   £13,000

(Rent, telephone, utilities, insurance, transport, equipment, stock, postage)

A        Gross annual income required                            £38,000

Total available working days per year                                                     230 days

(Total days per year, less allowances for weekends, holidays, sickness etc)

Multiply average working hours per day                                                  6 hours

(Average working day of 8 hours, less time taken for admin and lunch break)

 

B        Total number of working hours per year            1380 hours

To calculate the hourly rate, divide A by B = 38,000 divided by 1380 = £27.53

 Therefore, hourly rate   =   £28.00 per hour

This final hourly rate could be doubled, if non-design activities are to be considered.

Timesheet’s & costing out services

It is essential to keep a record of the time spent on any particular task carried out within a design   company. Time is directly related to money and a designer/design company could have one or more fixed chargeable rates, i.e. the rate/s would be charged to the customer.

The rate/s will also vary from one company to another and individuals and are determined by many factors, the hourly rate/s are also essential for estimating design fees.

In most design companies different activities are charged at a different hourly rate, for instance, travel to and from a client should be charged, but not necessarily at the same rate as the concept work (creative) or artwork (technical production).

The Timesheet

This will indicate the job, customer and activity, together with the time spent competing the task. This may involve several individuals within the design company, each allocated and responsible for a certain activity. The total job will normally be coded as a job number for easy reference and accounting purposes.

The planner/job bag

Used as a reference or visual display in the company, almost like a year planner, dates, times, (often large scale on a wall) used as a means of keeping together and viewing all necessary and relevant information, who’s working on what, deadlines, (that often change due to client demands) client meetings and other essential information.

Dividing up the day

The normal working day is usually divided up as follows:

  • 8.00am or 9.00am (some companies operate on flexible time) to 12 noon – 1.00pm (Lunch)

5.00pm (or later) = 8 hrs approx per day, however this may vary.

  • 5 days per week = 40 hours (may vary, usually more)

Each hour, or more spent on the following activities should be recorded, with an indication of each activity this depends on whether it is the start of a new design project (usually companies are working on a variety of projects with different deadlines and timescales)

  • Client meeting, discussion, overview, client needs, planning, strategy, time constraints.
  • Research (telephone calls, emailing, liaison (photographers, illustrators, models, contributors)
  • Ideas/concept (typography, photography, illustration, film, other)
  • Visualising, initial thoughts/concepts, followed by discussion (relevance and fitness for purpose)
  • Client meeting (progress check)
  • Design implementation
  • Promotional aspects (billboard, adshel, magazine, newspaper, poster, TV, a mix)
  • Client meeting (progress check)
  • Lliaison with printers on behalf of the client)

A simple system of codes for the above activities could be:

1 – C/M 1     2 – R     3 – I      4 – V     5 – C     6 – D      7 – P          8 – C/M 2     9 – L

 

 

 

Contextual Studies 2

The Brief

This is the second year of our contextual studies module, the brief states we have too, expand my knowledge and understanding of the cultural history and critical debate which informs current thought about creative practice. I will be given the opportunity to develop skills in critical analysis, research methodologies and formulating, developing and presenting coherent arguments following academic conventions. I will be given help and instruction in how to improve my research and presentation skills and techniques throughout the Module.

I am to extend last years blog by researching on the context of “NOW” with the aim of presenting your findings in terms of a formal academic Essay.

Possible themes:

Globalisation, Emergent technologies, The new world order, The information age…..Follow your passions and think of what I need to know to really understand that field. The key thing is for the topic to be meaningful and current.

The following notes run through some of the key elements common to a proposal They also provide you with a series of headings for possible sections. It is better to break the proposal up into discrete elements so that both you and your tutor have a clear sense of what it is you are proposing to do. You may not know clear and complete answers to these questions. Proposals will evolve and be developed further during your study. What needs to be demonstrated is your understanding that the research you are undertaking has clear potential to be realistic, worthwhile and achievable.

My proposal should consist of a

  1. A working title of the topic area

(This should do more than convey the key words associated with the proposed research. A clear title is crucial. Often a snappy title and explanatory subtitle is of use. E.G.”I’m with the band” –an exploration of the relationships between visual artists and musicians).

  1. General overview of area.

(This should take the form of a brief outline of the general area of study, enabling you to…

2.1

identify the discipline(s) within which your study falls. E.G. “An exploration of the collaborations between artists and scientists and the resulting current trends in data representation.” This lies in two discrete bodies of knowledge

2.2

demonstrate your own experience, competencies, skill sets, that will assist your investment in your chosen area.

2.3

Articulate the potential contribution to new knowledge in the chosen field of research (e.g. explanations of what gaps, limitations or areas that have not been covered adequately from your initial reading of the literature. How might new audiences be engaged. How may this research inform your career trajectory. How might you test a claim).

2.4      articulate what you hope to contribute to the field by covering these gaps and doing research in the particular area. What is it for?

2.5      clearly state your research objectives

  1. Identification of the relevant literature/artworks/artists/practices

In this section, you should develop your proposal to …

3.1      demonstrate that you are aware of the debates and issues raised in relevant bodies of literature

3.2      make references to key articles and texts/artworks/artists/practices/ debates. Where do you fit into the constellation of thought and practices. show that you appreciate their relevance to your research area. locate your research objectives within contemporary literature and practice in the wider field.

  1. Key research questions

What are the key questions within your niche area?

But of course that invites the following question: what makes a question a good (research) question?

It is not so general that it cannot be answered without risk of even greater generality

It is not so ‘narrow’ that it is unable to sustain or lead to any analytic depth

It must be motivated by a genuine need to know – a desire to find something out (it must be important to you).

It must be genuinely informative, that is, able to generate new knowledge: and that means it must also be motivated by the academic field to which it is addressed a contribution to, not a restatement of the research of others.

It is focussed on a problem that has a clearly identified rationale

4.1. List your key questions.

  1. Methodology

5.1      What are the methodological tools available to you?

5.2      You need to show some understanding of which would be suitable for your research. It may be that active qualitative methods, such as the analysis of interviews, studio experimentation, field experiments etc is appropriate, you may be combining methodologies.

Specify and justify the approach you feel will be most appropriate.

  1. Bibliography

 

Chosen theme – Research Proposal – Whats right for the time?

This is probably the easiest part of the project, “Follow your passions” I need to think of what I need to know to really understand that field. The key thing is for the topic to be meaningful and current. I love anything that is clean, simplistic, and beautiful to look at. This were I stumbled upon minimal/simplistic design, minimal/simplistic design is an area that I have discovered a burning passion for, I began being interested in minimalistic design at the start of my first year foundation degree at university, I use minimalism a lot in my research and more importantly in quite a lot of the work that I produce. Minimalism appealed to me because it tends towards the use of whitespace, better typography, grid layouts, and less colour, which are all areas I like to use in my design work. Its purpose is to make the content stand out and be the focal point. From a visual standpoint, minimalist design is calming and bring the mind down to the basics. For the research part of the brief I will start to look at the history of minimalism, and the different types of minimalism, such as minimalistic design and architecture, as well as minimal art and visual art etc. I will also look in to minimalistic designers, artists, architects. Further will consist of minimalism as a whole, and what I mean by that is not just design and architecture, more about how it impacted different places etc. Finally I will question whether its still as popular as it used to be.

Relevant Resources

Research Objectives

  • Look in to different types of minimalism – history of minimalism
  • Compare past and present minimalists?
  • Is it appropriate for today?
  • Why is it approaching the end of its time?
  • How has it evolved throughout the years, and what impact did have in the 1950’s – 70’s?

Essay opener – mini thesis

“This is a personal essay that will look into how minimalism has evolved, and why it still plays a major part in modern society”

Research

What is minimalism exactly? The Oxford Dictionary defines it as: The use of the fewest and barest essentials or elements, as in the arts, literature, or design. I came across minimalism In my first year foundation degree in Graphic Design as I stated above. My favourite element of design is minimalism, more or less everything that involves minimalism catches my eye immediately. Sol LeWitt, Yuta Takahashi, and Carl Barenbrug are minimalist designer/artists that I take a lot of inspiration from, I will analysis these artists in further detail further in to my research.

Beautiful clean design never fails to pull my attention, whether it’s a design, architecture or a photograph.

Where did Minimalism come from?

Minimalist design is one of the most significant design movements of the 20th century and early 21st century. It isn’t the flashiest, or the most popular, but it arguably penetrated more fields than almost any other art or design trend. Everything from user interfaces, to hardware designs, to cars, to films and games, to the web and visual designs of today – all those fields and more were influenced by minimalism.

Contrary to what you might think, minimalism was never inspired by poverty and austerity. In fact, it’s frequently considered a style of the super-rich. It is simple in form and function, devoid of pointless decorations, yet expensive. You would never say minimalism is a cheap option. Formally, minimalism is 1960s and 1970s invention. However, De Stijl and traditional Japanese design could be considered predecessors of minimalism.

Like with anything in life, minimalist design was influenced by certain things that came before it. Specifically, what influenced minimalist design was:

  1. The De Stijl art movement
  2. Architects like Van Der Rohe
  3. Traditional Japanese design

The De Stijl Movement

The De Stijl art movement had just one goal: To make art that was as simple and as basic as possible. They wanted to distill art to a level of almost scientific precision and perfection. As a result, composition and balance played a huge part in their work, making the De Stijl art movement fairly influential in the next few decades of modern design and modern architecture.

De Stijl pushed for simplicity and abstraction by reducing designs only to its essential form and colour, sticking to only:

  • Horizontal and vertical lines
  • Rectangular forms
  • Primary values white, black, and grey
  • Primary colours blue, red, and yellow

In addition to that, many of the elements or layers don’t intersect, letting each of them to be independent and not covered or interfered by other elements.

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You’ve probably seen De Stijl paintings before, perhaps by Piet Mondrian or Theo van Doesburg. Those paintings are easily recognisable by their squares, rectangles, and limited colours primary colours only, for the most part (pictured above).

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Above are some photos I took from Moma gallery in New York, they feature three examples of De Stijl paintings by an unknown artist. Sadly the gallery didn’t specify who created the paintings, however I thought it was a great opportunity to add some primary research to my blog.

Van Der Rohe

Ludwig Mies van der Rohe was a German architect who’s considered a pioneer of modern architecture, and his architectural style during post-World War I laid the groundwork for minimalist design.

Seagram Building, New York –

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Barcelona Pavilion, Barcelona –

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Indeed, city skylines from New York to Spain own much to Mies van der Rohe work.

Van der Rohe aimed for simplicity and clarity and his trademark approaches are:

  • The use of modern construction materials like steel and plate glass
  • The reduction of structural frameworks to a minimum
  • The inclusion of lots of open space

Van der Rohe adopted the motto “Less is more” to describe his aesthetic tactic of arranging the necessary components of a building to create an impression of extreme simplicity, he drafted every element and detail to serve multiple visual and functional purposes; for example, designing a floor to also serve as the radiator, or a massive fireplace to also house the bathroom. Van der Rohe’s principles are still in use today, not only in architecture but in design as well.

Traditional Japanese Design

Traditional Japanese design with its simplicity and clean forms is considered another predecessor of minimalism. This is a reflection of Japanese culture itself where simplicity has long been prized, and all that’s not essential to the functionality of a thing is not included in its design. Most of Japanese aesthetics and ideals value simplicity stemming from the Zen philosophy of impermanence and imperfection.

Zen concepts of simplicity transmit the ideas of freedom and essence of living. Simplicity is not only aesthetic value, it has a moral perception that looks into the nature of truth and reveals the inner qualities of materials and objects for the essence.

Zen concepts of simplicity transmit the ideas of freedom and essence of living. Simplicity is not only aesthetic value, it has a moral perception that looks into the nature of truth and reveals the inner qualities of materials and objects for the essence. For example, the dry rock garden in Ryoanji temple demonstrates the concepts of simplicity and the essentiality from the considered setting of a few stones and a huge empty space. Ryoanji, attributed by some scholars to the famous landscape painter and monk Soami, is believed to have oringinally used the concept of shakkei in its design, in which background landscape is incorporated into the composition of the garden.

Apprentice monk rakes the garden at Ryoanji, a Zen temple in Kyoto.  The rock and sand garden embodies Japanese aesthetics-nature at its simplest, art at  its most refined. Japan  Rock garden

The rock and sand garden embodies Japanese aesthetics – nature and at its simplest, art at its most refined.

The list of heroes of minimalism across arts (architecture, painting, music, design) is long. Some of the more prominent minimalists include Buckminster Fuller, Dieter Rams, Donald Judd, John McCracken, Agnes Martin, Dan Flavin, Robert Morris, Anne Truitt, Frank Stella.

Minimalist Architecture

The roots of minimalism in architecture are often traced back to the mid to late 1950s. The movement was a reaction to new styles of architecture and lifestyle that was being cultivated in the United States. Although minimalsim art has its roots in America, minimalist architecture was born elsewhere. Northern Europe, particularly Scandinavia, and Japan (as I already stated above) are important in the history of minimalist design, and in fact, these places continue to be among the biggest embracers of minimalism.

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Minimalist architects use space as a design feature in and of itself. Instead of trying to fill space with features, they create designs in which the empty space is as carefully thought out and used as everything they add to the room. Basic shapes and straight, clean lines are also important techniques used in minimalist design, as is playing around with different kinds of lighting. The outcome is elegant but without being fussy.

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One common criticism of minimalism in architecture is that it is aesthetically cold and that it creates an unwelcoming home environment. However people who advocate minimalist architecture argue that in fact minimalism is more welcoming than more baroque styles of design. They say that taking the “less is more” approach creates a relaxing, calming environment free of all of the clutter that demands attention in more baroque design styles. Obviously in reality it all comes down to a substantial taste. Some prefer imposing architecture while some prefer simple and clean styles.The principles of minimalism can be applied poorly, which can indeed be stark, but properly employed, minimalism can be elegant and inviting. A few good examples of elegant and inviting minimalism are pictures above which are from my recent trip to New York. (My own photos). The first image is of an apartment which was designed by American architect Neil Denari. The second image is of a clean office building that is in the centre of New York, unfortunatley I am unsure of the name and the architect. The third image is a of the New One World Trade Centre which was recently finished in 2014, and was designed by architect David Childs. The building is a clear visual of a modern minimalistic building that is ‘elegant and inviting’.

A few important architects working in the field of minimalist design include:

  • Lugdwig Mies van der Rohe
  • Buckminster Fuller
  • Dieter Rams
  • Luis Barragan
  • John Pawson
  • Eduardo Souto de Mouro
  • Alvar Siza
  • Yoshi Tanigushi
  • Peter Zumthor
  • Richard Gluckman

 

Minimalist Photography

Sometimes in the world of photography, less is more. Minimalist photographers know that sometimes it’s important to focus solely on one particular subject, rather than overwhelm the viewer with tons of color and pattern and information. While there are plenty of successful photographers who take “busy” photographs, photographers on the other end of the spectrum including Hiroshi Sugimoto and Hans Hiltermann are successful for completely different reasons. When dealing with minimalism, it’s important to understand the relationship between subject and viewer, texture and pattern, and light and shadow.

Hiroshi Sugimoto

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Born in Japan in 1948, Hiroshi Sugimoto is most than just a photographer. Through different bodies of work he has shown many different interests, including minimalistic dioramas, wax portraits and photographing early photographic negatives. His photography tends to blur the lines between painting, illustration, photography, and architecture. From seascapes to natural history dioramas, there’s something about Sugimoto’s photographs that resonates with viewers. Like Kenna, Sugimoto only photographs in black and white. He prints all of his images himself with a great understanding of silver print, creating images with unbelievably beautiful tones of black, white and grey.

Hans Hiltermann

YOU  minimalissimo-hans-hiltermann-you-3  YOU

Hans Hiltermann is a Dutch photographer who was born in 1960. He began his career in photography as an advertising photographer, where he spent his time creating elaborate and artificial scenes used to sell a product. After years of creating these scenes, he finally decided to take his photography in a different direction; instead of spending his time creating elaborate photographs, he decided to figure out what he could say with the minimum amount of visual information. Hiltermann takes realistic portraits of people, all looking straight into the camera. Looking at the stripped back appearance and energy of his models. No make-up and an intense gaze is the base content of ‘YOU’. “What a beautiful concept. I think this explains the work perfectly however that leaves me in a predicament – I am not exactly sure what to add to it. Perhaps that is the beauty of minimalism – it is to the point with little room to stray from the intended message.”

YOU

No makeup, no jewelry, no hairdo, no visible clothing, no preference. No smile, no seduction. No reaction. What’s left is a person without a facade. Someone who has completely left his guard down. There is nothing between you.This is amplified by the amazingly detailed, realistic photography. Every little detail is exposed no hiding.

YOU

 

Minimalist Music

In music, the minimalist movement was, like minimal art, a reaction against a then current form, with composers rejecting many of the dry intellectual complexities and the emotional sterility of serial music and other modern forms. Generally, minimalist compositions tend to emphasise simplicity in melodic line and harmonic progression, to stress repetition and rhythmic patterns, and to reduce historical or expressive reference. The use of electronic instruments is common in minimalist music, as are influences from Asia and Africa. Among prominent minimalist composers are Philip Glass, Steve Reich, Terry Riley, La Monte Young, and John Adams.

Phillip Glass 

The American composer Philip Glass continues to have a tremendous impact on contemporary music. His brand of music is often described, much to his chagrin, as minimalism. Glass’s music and his approach to creating it are thoroughly modern, even revolutionary, making him one of the most provocative, commercially successful, and controversial composers of his generation.

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With minimalism, Philip Glass invented a new kind of music that attracted an enormous group of people who had never listened to classical music before and, in some cases, who still only listen to his form of it.

Steve Reich

Reich was a leading composer of minimalism in the 1960s and 1970s, Reich continued to expand his compositional resources to achieve striking expressiveness in his vocal pieces in the 1980s. His music, although very complex, was completely accessible.

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One of the foremost composers of minimalism, Steve Reich was the creator of “phase” and “pulse” music, both of which rely on the gradual alteration of repetitive rhythmic patterns to create subtle changes in musical texture. Concerned with the manipulation of aural perception, he directed the listener to focus on one of the many rhythmic patterns occurring concurrently in his music by reinforcing one pattern through changes in dynamics and timbre.

Minimalist Painting

Like the minimalist sculptors, minimalist painters strived to create objects with presence, which can be seen at their basic physical appearance and appreciated at face value. Minimalist paintings are usually precise and ‘hard-edged’, referring to the abrupt transitions between color areas. They incorporate geometric forms, often in repetitive patterns, resulting in flat, two-dimensional space. Colour areas are generally of one solid, unvarying colour. Colors were normally unmixed, coming straight from the tube. The colour palette is often limited.

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Hyena Stomp 1962 by Frank Stella born 1936

Through this use of only line, solid colour, geometric forms and shaped canvas, the minimalist artists combined paint and canvas in such a way that the two became inseparable.

Well-know minimalist painters from the 1960′s and 1970′s:

  • Ellsworth Kelly
  • Kenneth Noland
  • Robert Ryman
  • Frank Stella
  • Robert Mangold
  • Kazimir Malevich
  • Anthony Carol
  • Robert Ryman
  • Piet Mondrian
  • Ad Reinhardt
  • Josef Albers

 

Piet Mondrian

Piet Mondrian, one of the founders of the Dutch modern movement De Stijl, is recognized for the purity of his abstractions and methodical practice by which he arrived at them. He radically simplified the elements of his paintings to reflect what he saw as the spiritual order underlying the visible world, creating a clear, universal aesthetic language within his canvases. In his best known paintings from the 1920s, Mondrian reduced his shapes to lines and rectangles and his palette to fundamental basics pushing past references to the outside world toward pure abstraction. His use of asymmetrical balance and a simplified pictorial vocabulary were crucial in the development of modern art, and his iconic abstract works remain influential in design and familiar in popular culture to this day.

inspired_bei_mondrian_by_manshonyagger-d35kfou

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Mondrian’s style can be seen in the developments of the Minimalists of the late 1960s, who also opted for reduced forms and a pared down palette. Not only influential within modern art, Mondrian’s far-reaching impact can be seen across all aspects of modern and postmodern culture, from Yves Saint Laurent’s color-blocking in his Mondrian day dress, to the use of Mondrian’s Neo-Plastic style and palette by the rock band the White Stripes for the cover of their 2000 album, De Stijl, as well as his name as the moniker for three hotels, the “Mondrian” hotel in New York, Los Angeles, and Miami.

Josef Albers 

The ‘grandfather’ of Minimalism, Josef Albers was a prolific painter, printmaker, designer, and teacher who illuminated the importance of astute perception and restrained expression. Formerly a teacher at the Bauhaus in Germany, Albers profoundly influenced twentieth-century American art as a teacher at Black Mountain College and Yale University. His famous color course took a radical approach to the application of color in art and design. Rejecting traditional theory, Albers stressed that colour is inherently unstable and dependent on its relationship to adjacent colors. He taught his students, many of whom later became influential artists in their own right to trust their vision and use colour in experimental ways.

Albers-photo-and-work  images

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Albers believed that removing all evidence of individual expression creates a more powerful visual impact. In Homage to the Square (pictured above)Albers constructs a subjective experience for the viewer, who perceives each shade of saturated red ink in relation to its adjoining colours. It is an endless exercise of subtle comparison.

Essay Structure – 

After some extensive research in to minimalism, I started to think about, how I could write my essay, and touch up on the points and research I have already come across. So I started to put together an essay structure…

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The structure features the points I am going to conclude in ‘whats right for the time’ these are the different sections I will be talking about. Our tutor said it would be a good idea to set out a structure of 10 different sections of 300 words, which overall makes 3,000. This juts makes it easier for writing my essay. However I went for a little change as I am having 8 different sections…

  • Intro Essay – What’s right for the time
  • Methodology
  • Key works / minimalist designers 
  • How has minimalism affected the 20th century
  • How has minimalist design changed overtime 
  • Influences on my work 
  • Conclusion
  • Bibliography

Each section will feature around 375 words per section, however this could vary on the sections I write about, so it may not be the same amount of words for each section of my essay. (The bibliography sections does not count as words for the essay)

Here we go!

Essay

Intro Essay – What’s right for the time

“This is a personal essay that will look into how minimalism has evolved, and why it still plays a major part in modern society”

I am establishing a chunk of research to create a brochure/book on ‘whats right for the time’ – in minimalism.  Minimalism is one of the most well know pieces of contemporary art in the mid to late 20th century, we still live in a world where minimalism plays a huge part in everyday life as well as design. By looking in to various sources I hope to produce a minimalist book that will feed you with information about why minimalism still plays a major part in todays modern society. I will conduct critical analysis on the brief history of minimalism, and look in to the people who inspired the movement.  I will also research in to the key works of minimalist artists – evaluating what influence their work had on the 21st century.

Its only ever so recently I have started to take a real passion for minimal design, I never really noticed what it was or even paid attention to what it is. However, over the past year or so minimal design has played quite a large part in the work I produce as well as the research I gather.  The purpose of minimal design is to make the content stand out and be the focal point.  From a visual standpoint, minimalist design is calming and brings the mind down to the basics. As minimal design has had a big influence on me over this past year, I want to analyse why it still plays a major part in todays modern society and compare todays minimal design with 20th century where it was a popular and ‘cool’ movement. In this essay I will talk about why minimal design is still as popular as it used to be. What I mean by that is, what role does it play now? What has todays design taken from the 60’s and 70’s minimal design? How has the 21st century implicated minimalism from the 20th century? Although I don’t know the ‘specific’ answer to why minimalism is still massive of part of the world today, I will discuss my own opinions on how its evolved throughout the years, and explore the different minimalist artists and founders to look upon the impact they made in the 60’s 70’s, and how they’ve influenced present society.  I will also investigate the current (today) minimalists, and the impact they currently have on the 21st century, and compare them with the 20th century minimalists.

Methodology

The best ways in which I can conduct my research are conducting analysis on research studies, and important books including Everything That Remains (http://www.theminimalists.com/etr/), As a Decade Fades (http://www.theminimalists.com/aadf/), Live a Meaningful Life (https://raymanchester.wordpress.com/2013/12/11/minimalism-live-a-meaningful-life/)(Books). And finding other information from sources using the internet.

The main body of my research will feature on how the minimal design movement progressed through the 60’s and 70’s through to today, this will back up my reasoning behind why its still a popular and prominent in the 21st century. I should also maybe look into the different works that minimalists have created certain works that have played a big influence on other artists. 

Some key people and mediums I have identified and want to look into further are:

  • Frank Stella.
  • Piet Monderin & Dan Flavin.
  • The roots into minimalism.
  • Key works about minimalistic design.
  • Early minimalism inspirations.
  • Why minimalism is still popular today.

Its a very interesting subject and its something that could be scrutinzed indefinitely but not only do I have a word count to stick to but I don’t want my final book design outcome to become too repetitive and declarative with too much information and put off the reader. My book/brochure should be smooth to achieve without getting thwarted with too much deep absorption, I want my guide to be easy to follow and straight forward to read for everyone, I don’t want the information to overload the reader with too much material. I firmly believe I have chosen a good list of people and mediums to look into to argue my point, but however it could change as I manage my research and find new possible routes that I might go down. 

What is minimalism? Brief indication

The Minimalist design movement is one of the most significant design movements of the 20th century and early 21st century. It isn’t the flashiest, or the most popular, but it arguably penetrated more fields than almost any other art or design trend. Everything from user interfaces, to hardware designs, to cars, to films and games, to the web and visual designs of today all those fields and more were influenced by minimalism. The focus on simplicity spilled over into painting, interior design, fashion, and music. That’s how the following were formed and are now commonplace: minimal painting, minimal music, the minimalism school of composing, and so forth. Painter Frank Stella was quoted as saying, ‘What you see is what you see’. Minimal art in particular especially grew in the 1960s in America. Minimalism is not, in itself, the most popular artistic trend. However, it is nonetheless a major twentieth century movement that continues to inspire and influence the majority of creative activities today, particularly in the field of design. In fact, the history of minimalism and design are intimately linked. Minimalism strips away the unneeded to focus on the essential. This is a philosophy often shared by designers, whose job is to create within the dictates of form and function. An intellectual closeness that explains why, more than ever before, minimalism has established itself as a dominant trend in the world of design, irrespective of the field of application: architecture, interior design, and graphics.

Key works / minimalist designers 

Minimalists wanted their viewer to experience their work without the distractions of composition, theme, and other elements of traditional work. The medium and materials of the work was its reality, and was what Minimalist artists wanted to portray. The basis being on a works presence, the materials used were not intended to symbolise anything else. The work strived to evoke a response from the viewer in terms of the relationship between the various elements of the work. Minimalist artists rejected the idea that art should reflect the personal expression of its creator. There was a lack of emotion and subconscious decision-making in minimalist art, hiding the presence and feelings of the artists. Rather, the artists believed that the viewers personal reaction to the object was of higher importance, and thus strove to eliminate the presence of the creator in their work

Minimalism questioned the nature of art and its place in society. However some people deemed Minimalist art to be unapproachable and empty, others saw the revolutionary concept and strong affect that minimalist theory had on post-modern art.

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Key works and influences on minimalism are artists such as  Frank Stella who was the first painter and print maker associated with the minimalist style. Stella’s work in the late 1950s and early 1960s followed his belief that a painting was nothing more than flat surface with paint on it. This philosophy is evident in his painting titled “Die Fahne Hoch” The painting was made by dividing the canvas into equal parts from each edge.  His purpose in applying an emotional title to this work of abstract geometry was to challenge the idea of meaning. This piece is housed in the Whitney Museum of American Art.

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Piet Mondrain’s composition of Red, Blue, Yellow and White, was made before the official start of the minimalist art moment in the late 1950s. It is the beginning of the non figurative style of painting that grows into the minimalist movement. This painting contains the geometric forms, lack of depth and fields of colour associated with minimalism.

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Dan Flavin was an American artist and pioneer of Minimalism, best known for his seminal installations of light fixtures. Flavin’s work consists of few materials colour, light, and space. What he managed to do with these seemingly simple elements has amounted to an important and lasting legacy that changed the course of 20th century art. His dedication to simple forms, use of industrial materials, and symbolic meaning had a profound impact on the Minimalist generation of artists, notably including Donald Judd and Sol LeWitt. Key works include, “Sail 1986”, “untitled (to Barnett Newman) two, 1971”, “Untitled (for you Leo, in long respect and affection) 4, 1978”, “untitled (To Pat and Bob Rohm), 1969” “The Diagonal of May 25, 1963” Flavin’s legacy is less about his work as a significant Minimalist artist than it is in his ability to look beyond the movement. More directly, Flavin’s experiments paved the way for other light artists, including Robert Irwin and James Turrell.

How has minimalism affected the 20th century

Minimalism played a massive part in the 20th century, however it it was influenced by things that came before it… Among them,  Ludwig Mies van der Rohe who was one of the first prominent architects to utilise minimal design principles. He was sustained by the availability of the materials post World War I, such as concrete, glass, and steel, minimalism took root. The De Stijl art movement, which began in the Netherlands in 1917 and lasted until around the 1930s. The movement aimed for simplicity, reducing designs to their essential forms. Buckminster Fuller, another prominent twentieth century architect and inventor, designed domes using simple geometric shapes that still look modern today.

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While the focus on simplicity began with architecture, it soon spilled over into art, interior design, and even fashion and music.

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Minimalism has entered virtually every corner of life and is apparent all around us from the sleek designs of the iPhones we use to the cars we drive, to the Internet and visual designs we see and interact with every day. While the focus on simplicity began with architecture, it soon spilled over into art, interior design, and even fashion and music. Although minimalist art reached its peak during the 1960s and 1970s, its principles still have a huge impact on virtually every level of society. As one example, minimalism has carried over into the digital realm and is an increasingly important part of web design today.

How has minimalist design changed overtime 

Ever since the days of Van Der Rohe, Frank Stella, and Donald Judd, minimalism has changed massively in terms of the way its being presented and showcased. Obviously the minimalist movement played a massive part in the 60’s and 70’s, but stalled around the later 20th century, however I think its still as popular as ever, what I’m trying to say its not as noticed as it used to be, but deep down its a massive part of everyday design, as well as life. In the mid 20th century, minimalists such as the ones I mentioned above, didn’t have materials such as phones, computers, the internet etc. We have implicated minimal design in to technology itself, elements such as iPhones, Mac’s, and iPads all use clean minimal design. Web design is a key component on how far minimal design has come, at the beginning in the mid 21st century, echoes of the minimalist art movement began to appear in web interfaces: larger swaths of negative space, lower amounts of content, and restricted colour palettes. Google is often credited as the pioneer of minimalist web interfaces. Google has prioritised simplicity and austerity in its interfaces ever since its beta offering in the 1990s. Now minimalist design principles are now showing up in new and unexpected places: e-commerce sites, online publications, and even educational sites are adopting minimalist trends and strategies. This just shows how much minimal design has changed since the early to mid 20th, even though its rather unnoticeable.

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Why it’s still playing a part today

Near enough everywhere you turn, another designer is realising a piece of work, or even a project displaying  minimalist design style. The focus on white space, simplicity, and beautiful typography is exhilarating, and its a great preference for a number of designs, and design projects. I think this could be one of the main logics why minimalist is still popular/playing a major part in todays modern society.

However the minimalist trend is not brand new as we already know. Minimalism has been around almost as long as design itself. It’s a style that goes back-and-forth, but always remains as one of the classic styles, making it a design choice that almost always works.

The minimalist designs of the current period aren’t that much different than in many other eras. The identifier is often how minimalism is used with other trends. So right now you are likely to see a minimalist framework with elements of flat design or with a video or with a full screen header or with card style elements. Actual minimalist concepts don’t really change all that much. Many designers, regardless of the time period, often create projects mainly using white and black colour schemes, lots of space especially for the borders and around the central image, and sans serif typography. That’s not to say these are requirements of minimalist design, but they are quite common attributes, regardless of time period.

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What we are really seeing with minimalism right now is a specific focus on one bit of content, without competition from other elements. This could be a photo, logo or simple block of text. Elements such as navigation or contact information or footers are almost hidden in the design. Designers are also beginning to incorporate animations into website designs using minimalism. While this can be tricky the animations must be subtle it can draw a beautiful connection between classical and modern design.

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The other major minimalism trend is text size. Designers are opting for dramatic sizing super small or big lettering with stack backgrounds and simple images. The high contrast is great for creating focus in a simple structure and attention on the ‘right’ content within the design.

Influences on my work 

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This investigation has had a massive influence on the work I produce, I mean I hardly knew about about minimalism a few years ago, but ever since coming across it I’ve always looked to incorporate the style in to the work I produce. As a student who is studying Graphic Design I have been inspired by the certain present minimalists, such as Mike Joyce, Neville Brody, Emile Ruder and Saul Bass. Saul Bass having quite a large influence on the work I produce, his visually simple but impactfull poster designs are the contrary of minimalism and the “less is more” school of design thought in which original typography and graphics are the basis of the artwork. His high contrast, action-packed movie poster designs of the 1960’s are particular works of art that people use as examples of high art movie posters. The resurgence of his unique illustrative style that was based in strong concept and idea is apparent in many of the posters we are seeing in 2016.

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Minimal design does not only have an influence on myself but on others too, Apple for example a massive worldwide multinational technology company, they use clean minimal design amongst their products and designs, the Apple Mac is a minimal product as well as iPads and iPhones, Apple have taken minimalism to whole new level with their minimal products and designs.

Conclusion

Minimalism is one of the design trends that just never gets old. The simplicity of it makes minimalism easy to incorporate into a number of other styles and trends. It is classic and classy. It works with and emphasises  many different types of content. Minimalist design will continue to take over website, app and print design. It will evolve and change as design preferences always do, but the roots of the technique will remain. This investigation, answers a few of my questions on why minimalism is still appraise for today, but not all of them. Like I said at the start of the the essay I will not know the ‘specific’ answer to the question, and I still don’t know the exact reason why, I mean its such a popular trend today its hard to say one specific reason why! Throughout the investigation I have talked about the key influences as well as most importantly suggesting ‘whats right for the time’ or in other words is minimalism still as popular/plays a major part in today modern society. I personally think from the study and reasons I have given, I have come up with solid solutions on analysing ‘whats right for the time’.

Bibliography

 
 
 
 
 
 
 
 
 
 
 
 
 
 http://www.factmag.com/2010/02/01/a-brief-history-of-minimalism/
Images
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Books
 
 

Graphics & The Branding Language

Well here it is, the first official project of my second year… Graphics & The Branding Language. For the project I have been asked to create a Rough Guide City Brand 2016, Rough Guides is a leading publisher of travel and reference information known for its…‘tell it like it is’ attitude, accurate, up-to-date content and informed contemporary writing. In the summer of 1981 a small group of writers set about creating their own guidebook series; a series that aimed to combine a journalistic approach to description with a practical approach to travellers’ needs.

Rough Guides is as much a travel content provider as it is a publisher of guidebooks. The guides themselves – distributed worldwide by the Penguin group – cover more than 200 destinations around the globe. Rough Guides have also migrated to digital platforms with the launch of Rough Guides city guides for iOS, Android and Windows platforms, interactive e-books and downloadable guide chapters. You can even pick up Rough Guides inspirational apps, like the stunning World Lens travel photography app, Trip Lens, a unique sharing and documenting app, plus the award-winning Rough Roads game, which has had over 12 million plays to date.

These days you can get Rough Guides great travel advice anyway you want it.

  • Travel guides to more than 200 worldwide destinations
  • Dictionary phrasebooks for 18 major languages
  • Full colour inspirational guides such as Make the Most of Your Time on Earth
  • Travel Specials including First-Time guides and Travel with Babies and Young Children
  • Music guides running the gamut from Opera to Elvis
  • Reference books on topics as diverse as Climate Change and the Titanic
  • Pop culture reference books on topics as diverse as Social Media and Shakespeare
  • Rough Guides eBooks from our across the travel and reference range
  • Apps for travel inspiration

Increasingly in the 21 Century cities and urban regions compete with other destinations for attention with regard to tourism (visitors, shopping, events, fashion, music etc)

Globalisation has encouraged visitors to expand their horizons and embrace new diverse cultures, it directly affects all cities and urban settlements where people live, work, visit, drink, eat, socialise, entertain and shop.

The Brief

I am expected to investigate, research and analyse the marketing context for the product/brand by utilising Word press to record and annotate the subject of branding in general and specifically about my Rough Guide City Brand 2016.

The above information should then become part of my report and evaluation, compiled and written to support your marketing design proposals for the promotion of my Rough Guide City Brand. The report should also include reasons justifying my design decisions in response to my marketing analysis to brand my ‘chosen’ city for Rough Guide City Brand 2016.

Include how I’ve have considered the graphic elements of colour, shape form, typeface, visual impact, style, layout and mood. Also the main terminology, elements and definitions of branding, including explanations of terms such as the brand, brand image, awareness, brand recognition and recall, brand preference, brand equity, ethos and any other relevant terms.

Specific Requirements –

  • A contemporary, modern/retro logo* or logotype for your chosen Rough Guide (New York NY is also known as The Big Apple) with a coordinated colour scheme to represent the City, it’s brand values and possibly cultural origins.
  • A promotional brochure or magazine if preferred, (any size, colour and format) incorporating a mission statement or proposition to form part of the Rough Guide City Brand 2016. (comprising of a cover and at least 4 double page spreads)
  • Double page spreads and content could relate to sections within the City or suggested top 5 or top 10 ‘must see destinations’ – galleries, museums, walking tours, dining, attractions or similar visitor information and destinations.
  • Advertising and promotion: poster(s), billboard (digital or print) postcards or flyers promoting your chosen City to accompany the Rough Guide brochure.

Further developments –

Environmental application of the visual style of the City could incorporate the following

  • Banners, street furniture, ambient graphics or a mural
  • Further examples of double page spreads
  • Alternative covers for another City to show a corporate flavour

What City am I going to choose?

A City Brand is its promise of value, a promise that needs to be keptIts purpose is to inform, clarify and challenge people’s views, I am acquired to choose a city from the following list (typed below) that my tutor has given me and brand it for the forthcoming Rough Guide City Brand 2016, a guide that’s going to last at least 3 – 5 years.

Amsterdam –

Hotels – Restaurants – Anne Frank House – Magere Brug – Dam Square – Rijksmuseum – Van Gogh Museum

Berlin –

Hotels – Restaurants – Brandenburger Tor – Checkpoint Charlie – Pergamon Museum – Berlin Wall – Unter den Linden

Lisbon –

Hotels – Restaurants – Sintra – Belem tower – Cascais – Estoril – Alfama – Bairro Alto

London –

Hotels – Restaurants – Shard – Buckingham Palace – Battersea Power Station – Tower of London – Big Ben

Moscow –

Hotels – Restaurants – Kremlin – Tretyakov Gallery – Gorky Park – Ostankino – Pushkin – Lenin Mausoleum

New York –

Hotels – Restaurants – Empire State Building – Rockefeller Center – Statue of Liberty – Ellis Island – Grand Central – MOMA

Paris –

Hotels – Restaurants – Arc de Triomphe – Eiffel Tower – Louvre – Pompidou Centre – Catacombs – (Disneyland Paris?)

Reykjavik –

Hotels – Restaurants – Hallgrímskirkja – Blue Lagoon – Harpa – Tiu Droppar – Settlement Exhibition

Rome –

Hotels – Restaurants – Colosseum – Roman Forum – Fontana di Trevi – Piazza del Campidoglio – Trastevere – Pantheon

Tokyo –

Tokyo tower – Tachikawa – Asakusa – Mt.Fuji – Meiji Jingu Shrine – Ginza – Senso-ji – Ghibli Museum

Venice –

Hotels – Restaurants – Piazza San Marco – Palazzo Ducale – Bridge of Sighs – Burano – Rialto Bridge – Grand Canal

A City brand may become organic and become expressive – similarities can be drawn in areas such as culture, ethos, graphic design, typography, advertising, photography, music, fashion, film, art, architecture, many other aspects are crucial to brand a City.

I opted to write more possible cities that weren’t included on the list because the brief states we can choose any city we want. My list below includes…

Athens –

Hotels – Restaurants – Panathenaic Stadium – Monastiraki – Plaka – Acropolis -Syntagma Square – Kolonaki

Barcelona –

Hotels – Restaurants – Nou Camp – Sagrat Cor – Sagrada Familia – Acropolis -Syntagma Square – Arc De Triomf

Bern –

Hotels – Restaurants – Zytlogge – Nydeggkirche – kindlifresserbrunnen – Moossee – Swiss Alpine Museum – Egelsee – Bern Minister

Bilboa –

Hotels – Restaurants – Plaza Nueva – Zubizuru – Iberdrola Tower – Pagasarri -Teatro Arriaga – Basilica of Begona- Parque Europa – Mount Artxanda

Budapest – 

Hotels – Restaurants – Chain Bridge –  Buda Castle – Matthias Church – Margaret Island – Palace of Arts – City Park – House of Terror – National Theatre

Cape Town – 

Hotels – Restaurants – Table Mountain – Boulder Beach – Cape of Good Hope – Table Bay – District Six – Cape Town Stadium – Robben Island – Kogelberg

Dubai –

Hotels – Restaurants – Burj Khalifa – The World – Palm Island – Ski Dubai -Jumeirah Mosque – Deira Island – The Universe – F1-X Dubai

Hong Kong –

Hotels – Restaurants – Victoria Peak – Lamma Island – Man Mo Temple – Ngong Ping 360 – City Gallery  – Sharp Island – High West – Sharp Peak

Madrid –

Hotels – Restaurants – Santiago Bernabeu – El Rasto – Temple of Debod – Parque Warner Madrid – Plaza Mayor Madrid – Royal Palace of Madrid – Palacio De Cristal – Casa De Campo

Malaga –

Hotels – Restaurants – Costa Del Sol – Tivoli World – Alcazaba – Gibralfaro -Guadalhorce River – La Rosaleda Stadium – Palacio De La Aduana – Picasso Museum

Rio De Janiero –

Hotels – Restaurants – Christ the Redeemer – Corcovado – Ipanema – Maracana Stadium – Arpoador – Leblon – Museum of Life – Catete Palace – Guaratiba

San Francisco –

Hotels – Restaurants – Golden Gate Bridge – Alcatraz Island – Chinatown – Union Square – Fishermans Warf – Angel Island – Crissy Field – Ocean Beach – Marin Headlines

Toronto –

Hotels – Restaurants – Toronto Island – CN Tower – Rodgers Centre – High Park – Fort York – Queens Quay – Casa Lama – Brookfield Place – Toronto Zoo

Brand Report

After researching thoroughly in to different cities I narrowed it down to three possible locations, Madrid, Berlin, and Melbourne, these were my favourite cities that I looked in too. The best in my opinion is Berlin, which is going to be the city I create my rough guide city 2016 on. Berlin is a city of culture, design, architecture, and science. Berlin is currently recognised as a world city of culture and creative industries. Despite its flamboyant atmosphere and creative background, Berlin isn’t even in the top 25 destinations to visit. My challenge is to change peoples perceptions and focus on the attractions and appeal Berlin has to offer. I plan to attract creative young people/students ages 20-29, seen as Berlin is one of the most creative/design cities in the world,  I should be able to get designers attention by focusing on Galleries, Buildings and Architecture. I will produce a top 10 attractions guide to Berlin, I will also incorporate German design features in to my design such as bold sleek typography overlapping images, and a bauhaus like type of style. I will also create banners and posters, that will promote the rough guide, and posters that will advertise certain exhibitions of the galleries that I will include in my rough guide. I will finally design three other alternative covers for other cities to show a corporate flavour.

Here is a list of attractions that I’m thinking of including in my rough city travel guide 2016…

Galleries –

  • Berlinische Galerie
  • Hamburger Bahnhof
  • Pool Gallery
  • Me Collectors Room
  • East Side Gallery
  • Johann König
  • KW Institute for Contemporary Art
  • Circleculture Gallery

Museums –

  • Bauhaus Archives – Museum of Design
  • Museum Berggruen
  • Topography of Terror
  • Allied Museum
  • The Berlin Wall Memorial
  • Pergamon Museum
  • Palace Of Tears
  • Classic Remise Berlin

Restaurants –

  • Papilles
  • Frenc Heartcrafted Goods
  • Heising
  • Flaminia
  • Soy
  • Trattoria La Terrazza
  • Villa Rodizio
  • Marjellchen
  • Hackethals
  • Gestern
  • Restaurant Jungfernmuhle

Nightlife –

  • Tresor
  • Felix
  • Club der Visionaere
  • B-Flat
  • KitKat Klub
  • Club Moscau
  • Adagio
  • SchwuZ
  • Pearl Bar
  • Watergate
  • Matrix Club

Architecture –

  • Berlin Philharmonic
  • Museum Island
  • Reichstag Building
  • Olympic Stadium
  • Gendarmenmarkt
  • Galeries Lafayette
  • Jewish Museum
  • Television Tower
  • DZ Bank Building
  • Sony Center
  • Konzerthaus
  • Bundeskanzleramt
  • SANDEMANs NEW Berlin Tours

Hotels –

  • Nohow Berlin
  • Michelberger Hotel
  • Radisson Blu Hotel
  • Adina
  • Das Stue
  • Hotel Crown Plaza
  • Swissotel Berlin
  • Mandala
  • Steigenberger
  • Hotel Otto
  • Pestana Hotel

Cafe’s –

  • Moo Cafe
  • Belleville
  • Cafe Sizzle
  • Vinaggio
  • Schwarzes
  • Fassbender & Rausch
  • Oliv Cafe
  • Cafe Bleibtreu
  • Krone Kitchen & Coffee
  • Antipodes
  • Cafe Rosenrot
  • Cafe Tasso
  • Luftbrucke Cafe
  • Hard Rock Cafe

Research

For my research I will firstly look at different travel guide/brochure guides, and secondly delving in to the German graphic design work/style. Looking in to different travel brochure guides will help me gain inspiration when designing my guide, I will look in to the different layout designs, typefaces, and image placement. I think it will be good to also look at how different travel guides are fit for purpose, and what I mean by that is, does it sell to the right target audience, this is something that I want to achieve greatly when design my travel guide to Berlin. I will also look in to German graphic design, this will help me gather more influence when designing my guide/brochure, I will look in to what type of design German graphic designers use, such as typefaces, colour, and layout design. I think its important that I look at german graphic design as my guide/brochure is aimed at creative young people/students, I want make my designs as creative as possible so I can sell the city of Berlin to my target audience.

Travel Guide/Brochure research…

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These are the rough guides to Berlin, found on roughguides.com. Ive chosen to research these rough guide brochures because these are the original rough guides to Berlin. Upon first impressions the design isn’t good by all means, its very out dated in my opinion, the aim of a front cover should be to grab your audience’s attention by creating an emotional connection, a want to read or explore what lies within your brochure, which this design lacks. With how outdated the designs are, you’d think the brochures are aimed at middle/older aged people, as a young person myself I would not take one look at this brochure because it doesn’t appeal to me. If I had to pick an element of the travel guide/brochures I liked it would have to be the imagery, again not a brilliant aspect but, I like the way the image just fills the front of the cover. Overall the design is too obsolete for me personally, it needs to become more engaging so it can be perceived.

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These two screenshots include information about two cities, Berlin and Amsterdam, I’ve chosen these two because, I like the clean design style, especially the Amsterdam one, the orange opacity drop links very well with the photography in the background. I like the sans serif typeface thats used, I think the light grey coloured type works a lot better than black in my opinion. The front cover design lacks so much quality in my opinion, its very tedious, and the typography is not legible in the slightest. I personally think this lets the overall guide/brochure design down, it doesn’t draw me in to read the brochure. Overall I think the design is okay, wouldn’t say its brilliant, in other words, it could be vastly improved.

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This travel guide is designed around Melbourne Australia, I wanted to analyse this one because, its got certain design features that I like. The front cover design is something caught my eye, I like the use of white space, in general the design looks simpler in terms of it being pretty plain but interesting at the same time. I like how the infographic skyline of Melbourne runs along the bottom of the front cover. I think the orange infographic works well with the green text, it doesn’t overpower the design too much, and neither colours is too bright either which can sometimes be off putting. Looking at the other images, the travel brochure design is very consistent, it uses the same thin sans serif font on the inside for the big bold text, and the serif font for the smaller text, just like the front cover does, also inside features the same colours orange and green, with the exception of a few more. The demographic for this travel guide is tough to analyse because the website in which I found the images on said its a ‘locals’ guide to Melbourne, which more or less means people who live there. However I would still say its fit for purpose because the guide allows users to explore one neighborhood at a time – letting them customise their itinerary to their leisure. By focusing on some smaller, lesser- known places, the travel guide allows users to discover hidden treasures that other guidebooks don’t reveal.. this is possibly an area that I could take in to consideration when designing my travel guide.

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Here are some more travel brochures that I found on uk.pintrest.com, Ive chosen to research these because, I love the type of style that has been used on each one, its unique, sleek, and enticing, the dazzling colours and patterns draw me in immediately which is good because its something that I want to achieve amongst my travel brochure/guide. I love how each cover is consistent, interns of the how each design looks, the same colour texture is utilised throughout making each cover compatible with each other. The typography varies quite a lot, and what I mean by that is, some of them us sans serif and other use serif fonts, I particularly like the London, and Paris one because I think the placement as well as font fit well with overall design. This type of style would work well as a rough guide front cover in my opinion because its eye catching, modern, creative, and stylish. The only downside about these cover designs are that they aren’t real publications, I’d love to see how the design would continue through the content. Overall I think these guide covers are beautifully designed, they are something that I could take in to consideration when I design my rough city guide to Berlin.

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This is a brochure/travel guide to New York that I found on uk.pintrest.com, I picked this particular one because I love the traditional yet modern appeal to it. Consistency is a major part on why I like the design, the black and white imagery and orange acuity drops are used throughout the whole guide/brochure. The circular images are a cordial feature, it gives the images a more efficient look, a great example of this is the fourth photo along, the images that are cropped off the page look brilliant, as well as the overlapping orange opacity drops, in my opinion this page is very alluring. The photography is one of the strongest elements of this design, the beautiful landscape captures of New York feature regularly, the best way to appeal to an audience is to make the images as enticing as possible, which the images do, a good example of this is image three which features a wonderful composition shot of the empire state building. I think using close up and angled shots would work great on my travel guide design, its something that I may take in to consideration. A semi bold sans serif font is used for the cover and main sub headings, the type is slightly expanded spacing between letters to give a clean, easy-to-read feel. One element of the brochure that I’d change would be the front cover, I’d personally like to see a more ‘wow’ factor, its a little tedious, and doesn’t catch my eye straight away. The main text is easily is easily legible, the kerning and leading are pretty much nailed on. Overall the travel guide/brochure is very good, the design features and typography all link up well.

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Here is another inspiring travel guide, this travel guide is based around the city of Auckland New Zealand. This is a beautiful design, the logo and the front cover design are just brilliant I love the rough card texture thats used, it looks really professional. The die cut is an elegant feature of the design, its rather unique as not many people tend to use die cuts on brochure designs. Its a fairly simplistic, yet minimal design, there isn’t too much going on so all the information isn’t too dense. I like the use of negative space on the sixth image, one thing that white space is great at doing is providing readers with a journey around the page. Too much information can sometimes be off-putting to a reader. I cherish the way the travel guide repeats the same navy blue colour throughout, this helps develop the organisation and strengthens the unity of the guide/brochure. One of the cons of this design is the fifth image, the first picture consists of a open page on the brochure, I think the text on the page is too cluttered, with the use of white space on the left hand side, I think the   four columns would be better aligned centrally. Like the last travel guide I looked at this one features some landscape photography, again this is good because its one of the best ways to appeal to an audience is to make the images as engaging as possible, a good example of this is the fourth image. Overall I think the design is very  inviting. Clean, modern, sophisticated, and fresh would be many words I would describe the brochure.

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This travel guide/brochure is called The Berlin Design Guide which is a practical manual for all those who want to explore Berlin’s creative aspects, whether they are newcomers or locals. It’s a city guide and designer directory rolled into one, highlighting contemporary developments in the built environment, design, art and fashion and joining the dots between them to paint a colourful picture not only of the city itself but also the dynamics that are at play within it. Im very happy that I found this because, this guide/brochure has a very similar demographic to my rough travel guide, also its for the city of Berlin which is good too. My first impressions of the cover of the guide/brochure design is rather positive, I commend the simplicity of the cover, the yellow base links up well with the background image, the bold serif helvetica like font is aligned well, I like the how the words design and Berlin are directly aligned with each other. The infographics for the facts and static’s is a great creative fete of the guide/brochure, I think its good that they’ve done something creative instead of just putting the facts and statistics in to a paragraph of text. The maps that are pictured throughout the guide/brochure are also in infographics form, I thinks its great that its a consistent feature throughout. The font that is used for the cover design, is used for the main sub headings for the inside of the guide/brochure design; consistency strengthens the unity of the brochure. The header and the footer are aligned and positioned well, also going back to the sub headings, the type is well kerned and easily legible. The type hierarchy has been thought out to give each part of type, from headlines to captions, a specific visual role, although I wonder if the size has been exaggerated in order to create that desperately needed hierarchy. Overall I think the travel guide/brochure is fit for purpose, it has the right design elements such as the bright colours, big images, and infographic designs, I think it appeals to the target market of creative people, however it does help when the title of the brochure/guide is called “The Berlin Design Guide”. I think I will take some inspiration from this travel guide/brochure in to my design, such as the simplistic front cover, and the bold sans serif fonts.

German Graphic Design research…

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Here are three screenshot examples of german graphic design. I found these images on a website called “design made in Germany” its a website that consist of design inspiration created in Germany. I picked up on these three because I love the duotone typography thats features on the designs, I’m a massive fan of duotone type because its bold, colourful, and most importantly it stands out, these type of elements feature on quite a lot of german design, especially the bauhaus designs, a lot of the bauhaus posters are made up of bright colours, also bright colours mixed with black and white imagery, which has a great effect on some posters.

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These are some more examples of german graphic design work. They all have a simplistic approach, I especially think the first and third one are very strong examples of quality pieces of graphic design, I love the crisp bold typography, its really eye catching. Theres loads of images showing how sleek german typography is on most designs, here is a website with some excellent references on this website > http://www.designmadeingermany.de. They both have a really strong hierarchy, which is obviously what I want to achieve on my outcomes. As for the second image, I have mixed opinions, first of all i think the typography is great, I like the way its being presented, however its flaw is its not legible at all, I’m not 100% sure what it actually says.

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These images are what I found on Pinterest, I love all three of these images, they are beautifully designed, simplistic, and are not too overcrowded with text etc. The first one, which is pretty hard to see; This is the close up image https://www.behance.net/gallery/Det-gAr-bra-a-fanzine/397680 you can tell straight away that its german because obvious the language, but the design is very bauhaus like, with its black and white imagery and its overlapping opacity drops,  think the overall design is great, one downfall is i dot like the typography towards the back of the brochure design. The second brochure is built around being clean and simple, I adore the use of negative space, I think it works well on any design especially this one, I like how the word ‘Hoyanger’ overlaps the image, its adds that extra quality, its little design features such as that, that make a design look more effective. The last image again like the first I look at has design features very analogous to bauhaus design, the image manipulation and overlapping opacity drops, above are three screen grabs of bauhaus design, I just wanted to compare how similar the designs are with the Berlin Fashionweek poster.

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Here are some more images found on Pinterest, I think all three designs are beautifully presented, the best design out of the three is the second one, the typography is brilliant, its sleek, and rather striking with the sharp sliced cut that deforms the text, ‘Graphic Dialogue’ is strongly aligned together, I like how the text at the bottom of the page runs off the straight slice, overall its a fantastic piece of typography. The third image I like because of the type again, I love the ’02’ font, its it fits well with the minimalistic design, again the use of negative space lifts the design to give it a modern appearance. The first design, is a brochure cover for a museum based in Germany, I like this designs because it relates very well to german design with the black and white imagery and overlapping opacity drops, however I’m not a fan of the font, its not very smooth and doesn’t fit with the design in my opinion.

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Here are three more examples of german design, the first image is a bauhaus poster, I like this main because of the colourful overlapping shapes, duotone colours work well on any design, its eye catching and effective. I also like the bold sans serif text too, its smooth, and works attractively with the overall design. The second one is a bauhaus typography poster that I found on ‘design made in Germany’, its quite similar to the ‘graphic dialogue’ one I looked at, it has similar feats such as the sharp slice that cut through the type, this is a great feature and gives the design a more contemporary presence, the only flaw is I can’t really make out what it says, however this could also be an advantage, because it gets people to look at the design, and get them thinking about what it actually says. The last one is a German graphic design magazine called Novum, they have loads of other design cover, but this one stood out the most for me with its striking red and white colour, the black and white horse falls well with the red and white zig zag pattern. Simplify is another reason why I like the design, theres not much going on which is good because you don’t want a design cluttered with text and images.

Berlin City Research

Berlin Culture

Berlin is recognised as a world city of culture and creative industries. Numerous cultural institutions, many of which enjoy international reputation are representing the diverse heritage of the city. Many young people, cultural entrepreneurs and international artists continue to settle in the city. Berlin has established itself as a popular entertainment center in Europe.The expanding cultural role of Berlin was underscored by the relocation of the Universal Music Group who decided to move their European headquarters and main studios to the banks of the River Spree. The city has a very diverse art scene and is home to over 700 art galleries. In 2005, Berlin was awarded the title “City of Design” by UNESCO.

Creative Industries 

Industries that do business in the creative arts and entertainment are an important and sizable sector of the economy of Berlin. The creative arts sector comprises music, film, advertising, architecture, art, design, fashion, performing arts, publishing, R&D, software, TV, radio, and video games. Around 22,600 creative enterprises, predominantly SMEs, generated over 18,6 billion Euro in total revenue. Berlin’s creative industries have contributed an estimated 20% of Berlin’s gross domestic product in 2005.

Architecture

Berlin’s architecture combines elements from almost all periods and all styles. Emblematic of Berlin, the Brandenburg Gate is a renowned landmark in the city. There the world-famous boulevard Unter den Linden begins. Walking along and making small detours from this avenue one can catch a glimpse of the State Opera House, admire the Hedwig’s Cathedral or take a closer look at the collections of the Old Museum, which reveal a microcosm of cultural excellence. Berlin landmarks, such as the Gendarmenmarkt and the French and German Cathedral (including the Schauspielhaus), are the highest examples of the city’s Classicist architecture. The list of significant structures goes further with the Sanssouci Palace in Potsdam, where one can find the famous terraces designed by Knobelsdorff, as well as the Neues Palais and Orangerie. From among the numerous monuments of Berlin, one of the most famous is the Schiller statue, which reminds the visitors of the city’s powerful literary tradition. Important collections of art can be found at the monumental Pergamon Museum, whose building resembles an ancient temple. Since the reunification of 1989, you can get there by a boat-ride on the Spree River (which passes by the Reichstagsgebäude – government buildings) or on foot, strolling through the historic inner city. Although much of the great art collections of former Berlin suffered the consequences of World War II, many paintings were saved stored in salt mines.

Museums and galleries

Berlin is currently at the leading edge of the global contemporary art scene. There are over 600 art galleries in the city. It is estimated that 6,000 to 7,000 artists live in the city, with a quarter of them being from outside Germany. The beginnings of the modern boom in Berlin’s art scene were during the 1990s. In 1995, a Berlin art fair, Art Forum Berlin, was first held. The Berlin Biennale for contemporary artists, held every June, began in 1998. Galleries have grown steadily in number since then. Galleries and artists’ residences are mostly found in the neighbourhoods in Mitte, Kreuzberg, Wedding, and Charlottenburg.erlin is home to 153 museums. The ensemble on the Museum Island is a UNESCO World Heritage Site and is situated in the northern part of the Spree Island between the Spree and the Kupfergraben. As early as 1841, it was designated a “district dedicated to art and antiquities” by royal decree. Subsequently, the Altes Museum in the Lustgarten displaying the bust of Queen Nefertiti,the Neues Museum, Alte Nationalgalerie, Pergamon Museum, and Bode Museum were built there. While these buildings once housed distinct collections, the names of the buildings no longer necessarily correspond to the names of their collections.

Berlin Thoughts 

Reseaching the City of Berlin I have come to find that one thing that stands out is strong culture and quality of life. Berlin is rich in culture, design, architecture, and recreation. Their current brand is certainly very strong, the brand has been campaigned to showcase Berlin’s virtues and promote the city’s image as a creative, innovative and value-generating place to live and work, this is great for people who want to relocate and live in Berlin, but does it attract tourists? As I’ve stated before, Berlin is one of the most creative cities in the world, but its not even in the top 25 tourists attractions in the world, I want to change peoples perceptions by focusing on whats more important to tourists, especially people who suit my demographic, which is creative students/people ages 20-29, I personally think Berlin should embrace its culture a little more and focus on what’s important, and what will attract ‘tourists’ in my opinion, they are more interested in restaurants & bars, museums and galleries, parks and resorts, open spaces, famous buildings and attractions and places to relax.

Mission Statement

My mission is to realise Berlin as a city for innovation, creativity and culture, inflamed by the assortment of its culture, and not forgetting its people, to enhance the Berlin’s competitive position by concentrating on galleries, museums, parks, architecture, design and quality of living.

Overall looking in to the branding, culture, and attractions of Berlin, has given me a clear idea of what type of brand style I want to use on my Rough Guide, advertising posters, and application. Researching  german graphic design has helped me a lot because its driven me to a certain type of style what I want my design to look like, as I said in my brand report I want to use sleek typography and overlapping images. I will now start to mind map my ides and get on with designing my rough travel guide to Berlin as well as other promotional material. Lets do this!

Development

I will produce a rough guide brochure that feature the top ten 10 attractions of Berlin. I will also produce posters, and an application that will feature along side the rough guide brochure. I will start off by brainstorming some features that will be used in my rough guide, such as colour, layout, and type etc. Also I will come up with a new rough guides logo, which will also feature throughout the guide.

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After researching a different varieties of rough guides, and brochure designs, I started to brainstorm some of the key elements of my brochure design, I started to focus on the colours, layout, an typeface I wanted to use. I firstly looked at what colour scheme, the brochure and the whole brand style will be. I did some research before deciding, because I originally wanted you choose and light blue colour, but I wanted to use the colour that originally represents Berlin, which I found out is the colour red (Berlin flag above). So the colour that will feature on my design is red, as its fit for purpose because, its the colour of the city I want to brand. The layout will consist of big numbers, minimalistic design, and a duo tone style. I will be choose the typeface carefully, because it will be a big feature on my design work, the type has to look sleek and professional when displayed.

I want to use a crisp sans serif typeface that will give my design work a positive feel and appearance. I selected a few that would suit my design, and be also fit for purpose. My favourite out of the ones I chose is ‘Din’ because its a very modern typeface, its a typeface that I personally don’t see vert often when I’m looking for design inspiration. Its also fit for purpose for me, because I wanted a crisp, tidy, and sleek typeface, ‘Din’ offers all three in my opinion. I was originally going to use ‘Helvetica’ but I think its a typeface thats overused on many pieces of design work, its a brilliant typeface but I think ‘Din’ is little more quirky than ‘Helvetica’.

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Here are some of my logos sketches and designs, that will feature on my rough guide. I want a clean and attractive logo, as this will feature on my rough guide cover. I wanted to combine the words rough guide and Berlin, so its fits with the brochure more appropriately. As you can see from my sketches I like the idea of using hyphens on my logotype, Ive seen this on logos in the past, and they all looked really elegant on display. The digital version that I produced, look really suitable, I experimented with the weight of the typeface, I originally was going to use a regular/thin (Din) type but it didn’t have the same impact as the bold type. The logo that I did eventually choose which is pictured above is the strongest in my opinion, Its a logo that will work well with my front cover design, I’m going to make my guide consistent by using the hyphen type style on my sub heading in my guide. The logo will not be focused on too much as this is not a corporate identity module, therefore it should be incorporated in my guide, and should not become the main focus of this module.

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I also had to come up with my own rough guides logo, which will feature on my brochure. Again I don’t want to focus too much on the rough guides logo because Berlin is the main focus. I kept my logo design clean and simple. The circle represents planet earth, as rough guides is as much a travel’ content provider as it is a publisher of guidebooks.

What attractions are going to feature in my Rough Guide?

After some extensive research earlier on, I have chosen 10 solid attractions that is suited and fit for purpose for my target market, featuring, museums and galleries, main city attractions, parks and open spaces, famous buildings  and places to relax. 10 Attractions list…

Bauhaus Archive

Berlinische Galerie

Treptower park

Tiergarten Park

Jewish Museum

Museum Island

Brandenburg Gate

Gendarmenmarkt

Checkpoint Charlie

Reichstag

Each attraction will give information, history and in depth tourist advice.

Berlin Rough Guide Development –

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These some of my keyline sketches which display the layout of my brochure. As you already know I will be doing a top 10 attractions guide to Berlin, each attraction will consist of three pages of information, the three pages will all consist of an image underlapping a red opacity drop, why red? because its the set colour for Berlin, the images will be black and white because from researching in to Berlin, I came across bauhaus, and its type of design that I want to incorporate in my brochure.

 

 

These are my final key line/sketches for my rough guide, this gives you a more clear view of what I want my brochure to look like, as I’ve already stated I will be having three sections per attraction, I will use the same layout design for each attraction so the whole brochure will have an urge of consistency to it. On my key line/sketches I’ve stated what point size, colours, and image placement. When I analyse my rough guide, I will talk about how I have considered the graphic elements of colour, shape form, typeface, visual impact, style, layout and mood. Also the main terminology, elements and definitions of branding, including explanations of terms such as the brand, brand image, awareness, brand recognition and recall, brand preference, brand equity, ethos and any other relevant terms.

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The first element I did was to create my indesign document up, this just gives me an idea of what dimensions I am working to and where my final file size and bleed lines are. I used a gutter of 5mm, and margins of 13mm. This is the document set up with guides shown.

Rough Guide development

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This is the development of my front cover design for my rough guide to Berlin, as you can see I’ve tried to keep it as simple as possible, I’ve also used the same layout as my sketch/keyline design which I’m really happy with. The logo fits perfectly, and is aligned very well, the hearty is really strong, especially with how the logo, sits directly above the ‘top ten attractions’ and also the ‘rough guides’ logo. As for the image, its easy to see and not too translucent, Ive choose that particular image because not only is going to feature in my rough guide, its one of the most famous landmarks in Berlin (Brandenburg Gate), so I think its appropriate to use on the cover of my rough guide. As you can see I changed the image to black and white, all my images will have this effect throughout. I’m very happy with front cover design because its creative and unique, it fits the bauhaus style I wanted to incorporate in to my design. Designing a creative brochure (bauhaus style) for a target market like mine, should fulfil the needs of the consumer.

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Here are just too designs that I came up with before the one I did eventually choose. As I wanted to use duotone (bauhaus) style on my brochure, I tried using it on the main logo to see what it would look like. I wasn’t keen at all on the final outcome, the text is not legible at all, and it just seems all over the place for my liking, hence why I didn’t choose these for my final front cover designs.

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As you can see not only did I take inspiration from my sketches, but also from the extensive research I did, these three designs are all from the german graphic design section, they influenced me because, its the type of style I wanted to approach on my designs (Bauhaus), it all links well and fits together, because I’m getting inspiration from german design (bauhaus) and incorporating it in to my Berlin rough guide, so basically in other words theres a solid rational behind my designs. The brief states ‘effectively communicate to the target market,’ hence why I’m getting as much inspiration to make my design as creative and unique as possible.

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This is the first page as you open the brochure, I wanted something welcoming an attractive, This image completely fits the bill perfectly, I just think its a nice touch as you open the brochure.

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This is the content page I designed for the rough guide. Again the design is very minimal, with a lot of use of negative space. It’s a very sleek and contemporary design that suits the rough guide brand well. The black and white image behind is of the Berlin Victory Column, this attraction will feature in my brochure later on. The type that I have used for the table of contents is Din bold 150pt, I like the way the type links well with the black and white image, I carried on the hyphen design, like my logo on my front cover design, to give my brochure a consistent appeal. The contents page on the left is beautifully presented in my opinion, its very minimal. The text size is 9pt and 14 leading, and the font is din regular. The left side of the contents page links up very well with the right hand side, this is because I have thought about the type hierarchy and placement.

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I tried some other designs before choosing my final one. The ones shown above are just alternative designs that I thought about using, but personally I don’t think these ones are as strong as the contents page I chose for my rough guide, the page number on the right hand side aren’t as subtle, its not that I don’t like the designs, its just they don’t suit the minimal layout I am looking for.

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This the image I was unpriced from to create my contents page, especially for the left page (Table of contents). I took inspiration from the text on the right hand side of the brochure, my aim was to embody this sort of type alignment on to my contents page, I like how the brochure above uses, hyphens, and well kerned type. The text is also very big and eye catching which I like too. I personally think I have taken inspiration from this design exceedingly well, its an element that looks clean and contemporary.

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This design is my first section of my rough guide. This particular page is giving information about the bauhaus archive. Ive followed the layout design of my sketches, I think the design is very 60-70’s, Bauhaus. It’s very German in it’s overall layout so I think I’ve hit the nail on the head style-wise. The opacity drop that overlaps the image is an element that looks really attractive on the page, also the “bauhaus archive” text aligns brilliantly with the information below (as pictured above) I also like how I’ve kept the design consistent with the cover, contents page, and other aspects. Finally the header ‘bauhaus Archive’ uses the hyphens that is used on other pages too which gives the brochure a persistent look.

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This page focuses on the history of the attraction, it will give information on the bauhaus archive. I have been inspired by the design of my sketches, as you can see from my actual digital design, the overall layout, colours, and images is very consistent with the other previous pages. The hierarchy is very strong on the spread because the rough guides logo runs nicely off the image on the page (blue lines showing). The ‘exhibitions at the bauhaus archive’ also runs off the black and white image. finally the bottom of the opacity drop runs on the same line of the bauhaus archive heading too. Its good to think about where your images and text are going to go, you don’t just want them floating about anywhere, this is why I’m glad my images and text have a some what relationship. Overall I am extremely happy with this spread.

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This page offers various information, and what bauhaus has to offer, I will be doing this for each attraction so the brochure is persistent in terms of the information given. I was inspired from my sketches again for this certain spread, the design is very clean, the typography is good too. On the left page, the text size is 150pt and kerned at 20, teach layer of text is spaced out the same distance to give the page a strong hierarchy. The background image is a section of the bauhaus archives, I tried it in black and white, but it didn’t work as well, so I added a red opacity drop (50%) to make the image more legible with the type on top. Also I’ve carried on the hyphen design on both pages, the red dashes above and below the main text on the right side, is also a feature that I have carried on throughout. Overall I am very happy with this design, its very german, which I’m obviously aiming for. Plus theres lot of creative uniqueness about it, it not just your average rough guide design.

All the ten attractions included will have a three spreads of information, the same layout will be pursued as the one above, the only differences being the text, images, and information. The rough guide consists of 86 pages.

Here is the rest of the brochure… (Full Brochure)

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Brochure Impositions…

super impositon berlin brochure

Brochure cover

Brochure Contents

Number page

museum island

Jewish Museum

brochure imposition 2

Brochure imposition 1

Overall I am overwhelmed by how my rough guide has turned out, the bauhaus style design looks visually appealing. I personally think it has a brand appeal towards my target market of creative young people aged 20-29. The fact that I’ve got a rational behind the design of the brochure gives it that (bauhaus design) extra creative edge.

Advertising and Promotion

The brief states we are required too ‘Advertising and promotion: poster(s), billboard (digital or print) postcards or flyers promoting your chosen City to accompany the Rough Guide brochure.’

As I declared in my brand report, I am going to create a poster promoting the rough guide to Berlin campaign brochure, I will also create posters, that will advertise certain exhibitions of the galleries that I will include in my rough guide. I will finally design three other alternative covers for other cities to show a corporate flavour.

Rough guide poster development –

The aim for my poster design is to catch young creative people eye, like what I did with my rough guide design. I will keep it consistent with the brochure design, with a black and white, and a red opacity drop (50%) I don’t want to over complicate the design, simple, clean and contemporary is the appearance I’m looking for. Here we go!

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These are the poster sketches I came up with, as you can see I’ve gone for a similar type of design to the front cover of my rough guide brochure. Black and white background image, red overlapping duotone, and crisp typography, the footer will feature a website link to the Rough Guide Berlin website, the right side of the footer will be the rough guide logo.

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This is the final poster design, as you can see, its a clean and simple design, I stuck to the same layout as my sketch design. I like the fact that the design is very persistent with the brochure design, so you can see a link between them both, its easy to know that they are both from the same branding campaign. The background image is of Treptower park, I personally think its a welcoming image, a good image catches peoples attention too. The alluring image again has good relationship with the other elements of the poster such as the type and opacity drop duotone. Overall I am very happy with the poster design, Its eye catching for people like me who is a creative person, so my demographic would hopefully find this poster design attractive and striking.

I think my advertising designs will look great super imposed on to adshels and billboards, doing this will make the designs more authentic and realistic.

Super Imposed poster design…

poster imposition

 

Exhibition posters development –

I thought it would be a clever Idea to do some exhibition posters, prompting new exhibitions at the two museums I have in my rough guide to Berlin. The poster will include information on the current and future/new exhibitions, on the footer I will encompass an address for the rough guide Berlin  website for more information.

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These are my sketch designs, the sketch designs are very similar to my other poster sketches, this is because the same layout design will be used, the only differences being the type and background image. The exhibition posters will be super imposed on to to poster stands and adshels, this will make the poster more pragmatic.

Bauhaus 3

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This is the first exhibition poster for the Bauhaus Archive, Its a simple design, similar to the first poster design promoting the rough guide to Berlin. My favourite feature on the poster is the main bold text ‘BAUHAUS ARCHIVE EXHIBITIONS’ the reason is because of its beautiful hierarchy. The image is very approbate for the poster because its an actual photo from a bauhaus exhibition in Berlin, I’ve also used it in my rough guide too. the exhibition information in the middle is a strong part too, its very neat on show. All the type aligns up well with each other, this is because I’ve had a little help from the grid system I used. Towards the footer of the poster design you’ll notice I’ve added the rough guide to begin logo, this is to show that the poster are linked together with the brochure design. Overall I am very happy with the exhibition poster design, not to forget I have also added the website link at the bottom of the poster design, this is helpful for people wanting more information on the current exhibitions the bauhaus archive has to offer.

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This is the other exhibition poster for the Berlinische Galerie , as you can see its the exact same layout design, the only differences being the text, background image, and the website link. Im very ecstatic with this poster too, I think they both look great, and they both advertise and promote the exhibitions and rough guide to Berlin in a positive and creative way.

Super imposions…

Bauhaus archive imposition

berinsche poster imposition

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poster stand exhbibtion advertising

 

Banners development –

I will create two banners, they will be both be advertising the new rough guide to Berlin branding campaign, the first banner will be very similar to the first poster I designed, simple just a website link and rough guide logo will be included. The second banner will include what what is going on the first banner, but this one will include the ten attractions that are included in my brochure, there will also be a small sub heading stating ‘Rough Guides presents the new rough guide to Berlin campaign’ and underneath the heading will be the ‘ten attractions’ that feature in my rough guide to Berlin.

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Again the sketches are rather identical to the other advertising design sketches, this because of the consistency I am using amongst my designs.

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This is the first banner i have designed, its brand style is very appropriate in terms of being similar to my other designs, also its a minimal creative design that doesn’t lack design flare. This banner a long with my other one will be super imposed on to street banners, this will again give my banner designs that realistic appeal. The website link and rough guides logo also feature on the footer of the banner design, in the exact same place as the other advertising design I have produced.

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This banner design very similar, the differences are the background image, and the information towards the bottom page of the banner. I think the information I’ve added is good because, it gets people wondering ‘what is the rough guide to Berlin branding campaign?’ the list underneath is the ten attractions that are included inside my rough guide to Berlin brochure, it tells people whats included, what are the places to visit. The bauhaus duotone style is eye catching and attractive towards my demographic in my opinion, so creative people/students aged 20-29 should find this type of brand style conspicuous and striking.

Super impositions…

banner 1 and 2

Banner 1 imposition

 

Alternative covers development –

I finally created some more brochure cover for corporate flavour, in other words, what my style would look like on other covers for different cities around the world. I created three alternative covers, the first one for the City of Tokyo, the second for Austin Texas, and the final one for Zurich. The one thing that all these places have in common are that they are on the top ten most creative places in the world, I just thought it would be a good idea to do alternative covers for cities that have a creative spark like Berlin.

Rough guide to zurich

Rough guide to Tokyo

Rough guide to austin

Super impositions…

Zurich imposition

Tokyo imposition

Austin imposition

 

My Evaluation

Overall, I am very pleased with the final outcome of this module. My time-management has improvement and my design and development skills have also increasingly improved. I think that my brand style is brilliantly portrayed and is 100% appropriate for Berlin. In my opinion if this was a live project, I would be pretty confident that this would turn out to be a success. Completing this module has given me much greater confidence, its helped me to realise its not all about the the design work, but its about the idea behind it, this is an area in which I feel particular strong about, thanks to this project.

This is the second editorial/brochure project that I have worked on, I am big lover of brochure/editorial work, its an area of design that I get utterly immersed and embroiled about. I am very pleased with the outcomes that I have produced and with the control over my time-management as was able to and 86 page brochure as well as advertising material, plus 9000+ on my blog. These last weeks have been one hell of a ride, I have learnt many things from this module, such as deep thorough research and analysation. At the beginning of this module I quickly decided to have a German Bauhaus approach, not only for my own interest, but for my rational too, Bauhaus originated from Germany and I wanted to incorporated the duotone, and black and white images in to my work.

This module in my opinion has turned out to be a great success for me, however if I had to change one thing about my design, I would do 4 separate brochures separating them in to categories such as museums, galleries etc, also having different colour scheme for each section, this would be instead of incorporating it all in to one massive brochure.

This has been one of my favourite modules throughout the last year, I’ve really enjoyed showcasing my design and research skills, particularly for this branding module. Branding is an area of design that I have gained a real enjoyment for, and after doing this project, I relish up on it even more. I personally think I’ve answered the brief rather well, I think I too on the roles of Brand Manager, and Th Designer very wisely  to effectively respond to this brief. Im hoping if this was a live project I would’ve changed peoples views about Berlin as its not in the top 25 tourist attractions for young people.

Overall its been a mammoth of a journey, its a journey thats had its ups and downs, but I am overwhelmed with the work I have produced.

ROLL ON D&AD!!!!