OUGD505 - Design Practice 02 - End of Module Self-Evaluation

Design Practice 02 consisted of briefs ‘Leeds Public Spaces’ (studio brief 01) and ‘Product, Range & Distribution’ (studio brief 02). I have found both briefs challenging in their own ways, though they have each respectively taught me things about both my specific practice and the broader contexts of graphic design also. The difficulties I have faced in regard to both studio briefs has meant that this has perhaps been my least favourite module of the year, however, the preliminary stages of each brief (the research phases) were of great interest to me personally and have enabled me to progress as an individual in regard to knowledge gained and viewpoints explored — this I believe will assist my transition in to level 06 with a more considerate mind-set. 

For the Leeds Public Spaces brief, which called for a celebratory A3 traditional print of an event which has occurred in Leeds, I chose the opening of Victoria Gate on the 20th October 2016. I chose this event as I believe the opening of the shopping centre has had a huge impact on the city and also thought the abundance of architectural character would provide me with a range of visual motifs to explore in production of the print. Whilst this was the case, the sheer amount of architectural and contextual considerations made the brief more difficult to undertake than I had anticipated. Due to the shopping centre featuring so very many differentiating visual characteristics, it was hard to choose which were most relevant and appropriate in their communication of the print’s context. This lead to a print which was perceived as overly complex that needed to be paired back. Additional struggle was experienced in my endeavour to venture out of my comfort zone of screen printing. Initially, I opted instead for a Lino printing process, however, this too was harder than I anticipated and did not come to fruition in a high-quality finished print. As a result, I reverted back to screen print with a more refined design focusing on fewer visual elements. The final resolution showcases/represents Victoria Gate’s textile-industry-heritage inspired etched-concrete diagrid facade and twisted aluminium car park structure. The print labels the shopping centre as ‘An architectural celebration of Leeds’ textile heritage.’

For the Product, Range & Distribution brief, which asked for a resolution relating to social, political and/or ethical change, I brought my attention to the British Class system — or more specifically the proposed rejection of the system. I did not want to undertake a project looking at a more generic issue that I would find easier to design for, but instead wanted to challenge myself. The complexity of the system and contributing factors were (to me) a minefield of information, perspectives and viewpoints — all of which had to be considered. While I enjoyed learning about the subject through research, I struggled with identifying a point of delivery for all this knew knowledge. Initially this culminated in a manifesto for social change, however, through critique this was somewhat disregarded and therefore I needed to re-visit other ideas I had prior to its production. I decided to use the manifesto as the rationale for the new work, which alternatively put more subject-specific focus on social mobility potentials. From this I produced posters, a leaflet and small cards aimed at lower-socio-economic persons to encourage their own dismissal of class barriers and limitations in favour of the use of ambition to break through these. 

The module has unfortunately to some extent made me question my ability after feeling that I had made progress throughout the rest of the year. I think the pressure I have put on myself to achieve may have affected my outlook in regard to the module and hope that in level 06 I can recognise when I may be expectant of too much from myself.

OUGD505 - Product, Range and Distribution - Distribution

While the social mobility bus campaign posters may be featured in advertising spaces such as bus stops, in newspapers and online for digital consumption - these are not to be considered the primary methodologies of distribution.Instead, campaign items are proposed to be distributed via a tour of Britain's lowest socio-economic demographic locations in a retired London red bus. The bus would make stops across the country, inviting the public to break in the 'In Case of Prejudice, Break Class' labelled windows of the bus (which would have been replaced with breakaway/prop glass to ensure no safety violations are made) before receiving the leaflets and cards from the campaign. This allows the target to physically act out the breaking of class while attracting attention of those passing-by, gaining more attention, engagement and potentials for media coverage (news). Pop-up events are about creating an activity people want to take part in, allowing an audience to experience something unique and unexpected; something they can tell their friends about. Especially outside of London, the social mobility bus could draw in a crowd purely as a result of the irregularity of this type of bus, most typically exclusive to London postcodes. 

OUGD505 - Product, Range & Distribution - Social Mobility Campaign Final Outcomes

Britain has been ruled by system of class which aims to divide and separate for as long as many can remember, inspiring prejudice and discrimination of not only the lower-classes, but of the upper-classes also through stereotype and false representations in the media. Though the system used to be simpler with only upper, middle, and lower class groups, over time it has become more complex.

Following the Great British Class Survey in 2013, a new system including 7 groups was introduced to the country, putting the nation in to 7 social classes from Elite to Precariat with many middle-classes in between. This and previous systems' aim to pigeon-hole society into different social strata brings failure in recognition of the complexity, individuality and diversity of 21st century Brits.

The social mobility campaign items make use of a consistent quintessentially British visual language that targets members of British society 'belonging' to lower socio-economic classes. The items encourage this target to reject the boundaries inflicted upon them by the class system and instead use ambition as the fuel to start their journey to becoming more socially mobile and to break through the 'class ceiling.' 

Typography used throughout the campaign is set in AES Ministry, a bold upper-case, distinct and highly legible typeface, making for greater appraisal from those who engage with the campaign items. Additionally, this typeface's character quality instills a sense of charm and strength created via a taller x-height and smaller-width characters - appropriate in its deliverance of encouraging reoccurring campaign messages.

Featuring a primary, consistent colour scheme of red, white and blue that mirrors that of the Union Jack, the national flag of the United Kingdom, this immediately assists establishment of a quintessentially British aesthetic, relevant to the campaign contexts. Additionally, feature of red and blue provides a more subtle, yet deeper context to the campaign through use of these colours by leading competitive political parties the Conservatives (blue) and Labour (red). These parties gain support from two very distinctly different social classes; The Conservative party is supported most typically by the wealthy, while the Labour party generally gains support from the lower, working classes of society. Use of these colours supplies additional social comment, and by using the two colours together, further reinforces the equality among society that social mobility potentials may bring.

The campaign's tone of voice is informative, progressive and encouraging, using inclusive and motivational messages and, where possible, features the use of pronouns such as 'I' and 'Me' - this forcing the target to consider the information specifically in relation to themselves. Additionally, it attempts to address them as individuals as opposed to just members of a minority class. 

OUGD505 - Product, Range & Distribution - Social Mobility Cards

These small Social Mobility cards provide an additional outlet of encouragement to the target in using social mobility and ambition as a means of social transgression, achieved through rejecting class boundaries.

Each card features a different re-occuring message used in the campaign materials (posters and leaflet) with the social mobility bus digital illustration on the alternate side. This enhances strength in the campaign's messages to the target and reinforces their context, as well as further establishing the visual characteristics/identity of the campaign.

OUGD505 - Product, Range & Distribution - Social Mobility Leaflet

The Social Mobility leaflet, featuring the front-view digital bus illustration on blue ground, aims to inform/educate the lower-class target of the current situation regarding the British class system and how social mobility endeavours made with ambition are the key to class boundary transgression. It details what social mobility is, what it means for them (the target) and what they can do to start their social mobility 'journey.'

The tone of voice in the leaflet is personal, direct and engaging. Through the use of pronouns such as 'I' and 'Me,' the leaflet forces the target to consider the information specifically in relation to themselves. Additionally, it attempts to address them as individuals as opposed to just members of a minority class.

OUGD505 - Product, Range & Distribution - Social Mobility Posters

These social mobility posters feature the digital London-red-bus illustrations with added typographic information.

Poster 01 

Used as a visual metaphor for mobility, the bus features an advertisement banner across the side view reading 'ALL ABOARD! FREE FARE TO SOCIAL EQUALITY.' Underneath the aptly named 'Social Mobility Bus' is the tagline 'AMBITION IS THE TICKET' - this further playing on the bus metaphor.

This immediately establishes social mobility as a means of gaining greater social equality through ambition, inspiring/encouraging those from lower socio-economic backgrounds to consider their goals while providing a potential strategy to achieve them. 

Poster 02

Featuring the front view of the bus, the second poster provides more context to the current standing of the British Class system - detailing the number 07 in reference to the 07 new social classes which span from Precariat to Elite, this being the next piece of text. Underneath reads 'Social Mobility.'

All together, the bus front suggests the social mobility potentials from precariat to elite, with 7 potential classes in between. This prompts questioning and intrigue for those, including the target, who are more than likely un-aware of the abundance of new class sectors.

As with poster 01, underneath the illustration reads 'AMBITION IS THE TICKET,' maintaining consistency of the bus visual metaphor and use of the supporting quip.

The 'In Case of Prejudice, Break Class' line features in every window across both posters, reiterating the primary message of the class system issue as a whole - to break through the class ceiling - with social mobility fuelled by ambition. 

OUGD505 - Product, Range & Distribution - Digital Illustrations of Social Mobility Bus

In consideration of how to visually represent social mobility in Britain, I came to the conclusion that a red London bus would serve as an appropriate visual embodiment for the following reasons:

• The 'London Bus' is synonymous with British culture due to its presence within the country's capital and is a stereotype of British transport.
• With London being the capital of the country and the largest city in the UK, it is here that features the highest concentration of socio-economic diversity. There are also more jobs here as a result, and therefore more opportunities.
• When seen outside of London, these buses are an irregularity and therefore have potential to gain attention from un-expecting citizens.
• Buses are one of the most accessible modes of transport, used by those who cannot afford a car and even those who can. 
• The bus serves as a visual metaphor for mobility/movement/transportation from one social class to another (social mobility).

Considering the above I produced the following digital illustrations using simple vector shapes and lines to create visuals to feature on campaign outputs. The simplicity of the illustrations creates an accessible aesthetic that can be clearly identified by all. The windows feature the manifesto title for contextual instillment, working effectively without the mission statement.

OUGD505 - Product, Range & Distribution - Social Mobility Brief

With the 'In Case of Prejudice, Break Class' manifesto now serving as the rationale for further work, I have decided to revisit Concept 03 from the Idea Generation phase of the project:

Concept 03

A campaign focusing on ambition as the driving force of social mobility, encouraging those from lower-socio-economic backgrounds to not allow prejudice and discrimination to hold them back, but to instead ignore the apparent limitations of class and become more informed on how to achieve goals. Through abandonment of class, barriers and injustices may be alleviated.

Social Mobility Brief

The Problem

Britain has been ruled by system of class which aims to divide and separate for as long as many can remember, inspiring prejudice and discrimination of the lower-classes through stereotype and false representations in the media. Though the system used to be simpler with only upper, middle, and lower class groups, over time it has become more complex.

Following the Great British Class Survey in 2013, a new system including 7 groups was introduced to the country, putting the nation in to 7 social classes from Elite to Precariat with many middle-classes in between. This and previous systems' aim to pigeon-hole society into different social strata brings failure in recognition of the complexity, individuality and diversity of 21st century Brits.

In addition to the failure to effectively represent the true diversity of the nation, the system is also flawed by the glass ceiling, or class ceiling more fittingly, it inflicts on society. This makes endeavours of upward social mobility an arduous task for those from lower socio-economic  backgrounds to transgress the limits imposed upon them through the circumstances in which 

they are born, such as location and parentage - these being the most likely determinants of what an individuals life chances will be.

These people are uninformed on the potentials of social mobility and therefore can lack ambition as a result of this, and consistent discrimination.

Aims & Objectives

To inspire social change through the provision of social mobility information and knowledge of the potentials for lower-class members of society to transgress the limitations and restrictions inflicted up on them by the British Class system. The output should detail the importance of having ambitions and
encourage them to not let any considered class act as a barrier - proposing they achieve higher status from their abilities and achievements and not from prescribed class.

Target Audience 

The target of this endeavour are members of British society from lower socio-economic backgrounds or the 'working class' who are unaware of social mobility potentials. They are most likely supporters of the labour party and feel that the British government is not working in their favour. Most probably this target has been subject to social prejudice since time in education and have therefore not achieved all that they are capable of. They are capable citizens who have been fed the idea that to have ambition is to be 'working above their station' and for some may need a gentle reminder that this is not the case.

Point of Delivery

Outputs may take the form of print advertisements, posters, leaflets, supporting collateral or event.

Deliverables

Campaign items in promotion of social mobility potentials to lower-class British citizens. 

OUGD505 - Product, Range & Distribution - Pop-up Events

Pop-Up events, from retail marketing to experiential dining, having become popular over the last few years. Traditionally they make use of empty shops, buildings or other spaces for exhibitions, restaurants or performances. They can last anything from a few hours to a few weeks, and can even become permanent fixtures dependant on their popularity. These events are more than just trendy, temporary or seemingly unplanned occurrences. They have real power in creating awareness and engaging with new audiences. That said, they may take more planning than one would think.

Pop-up events are born out of a successful combination of the expected and the unexpected, requiring the ability to draw in a crowd and yet keep a secret until the day of the event. They can be free entrance/participation to the public, or a costly experience depending on aims/reasoning of the event.

The very idea of a pop-up is born out of the unexpected, and therefore they can be no standardising - as this most probably makes for a disappointing event. Anything less than extraordinary, exciting and innovative will not work. With social media, and its ability to create a crowd at short notice, events can help in spreading word and creating excitement about an event - making it one of the easiest marketing tools.

Pop-ups are about creating an atmosphere people want to be a part of, or, take part in. It allows an audience to experience something unique and unexpected; something they can tell their friends about. Many pop-up event organisers have used extras for flash mob participation, and other ways to draw a crowd for their event, by placing an ad for volunteers.

For example - In September 2014, in partnership with Vogue’s Fashion Night Out, TONI&GUY hosted a pop up salon on board a vintage London double decker bus at Sydney’s Martin Place  to celebrate the upcoming London Fashion Week. Commemorating TONI&GUY’s ten year anniversary as the official hair sponsors of the fashion event, the night was a testament to iconic British trends.

An event like this may assist in sharing the ideologies of the Break Class manifesto and the encouragement of ambition for engaging in upwards social mobility potentials.

OUGD505 - Product, Range & Distribution - Critique

In today's critique I shared the 'In Case of Prejudice, Break Class' Manifesto.

Unfortunately, the manifesto was discounted for being to broad in its message and I will therefore be required to re-evaluate and refine the British Class System problem and the resolutions produced in response to this.

It was suggested that a more social-mobility focused output targeting a lower-socio-econmoic demographic may be of more success.

After the critique, I was provided some further feedback which detailed that some form of pop-up event may work well in regard to a more personal engagement with the target.

From here, I plan to keep the manifesto as the rationale for the reasoning behind the work to follow, as it is this which formally declares the problem and the resolution(s).

OUGD505 - Product, Range & Distribution - In Case of Prejudice: Break Class - A Manifesto - Final Resolution

Britain has been ruled by system of class which aims to divide and separate for as long as many can remember, inspiring prejudice and discrimination of not only the lower-classes, but of the upper-classes also through stereotype and false representations in the media. Though the system used to be simpler with only upper, middle, and lower class groups, over time it has become more complex.

Following the Great British Class Survey in 2013, a new system including 7 groups was introduced to the country, putting the nation in to 7 social classes from Elite to Precariat with many middle-classes in between. This and previous systems' aim to pigeon-hole society into different social strata brings failure in recognition of the complexity, individuality and diversity of 21st century Brits.

In Case of Prejudice, Break Class is a manifesto calling for British society to reject this hierarchical   system. Its title references the 'the class ceiling' the system inflicts on the nation, in particular the unacknowledged barriers to advancement it supplies.

Designed for British society, with British society at the forefront of its considerations, the aim of the manifesto is to inspire social change through communication of the British Class System's negative impact on society. It serves as encouragement for society to not let any considered class act as a barrier, exclaiming the potentials of an egalitarian, meritocratic nation in which class has no stature. 

The manifesto features two differentiating typefaces. The title is set in AES Ministry, a bold upper-case, distinct and highly legible typeface, making for greater appraisal from viewers of the manifesto. Additionally, this typeface's character quality instills a sense of urgency created via a taller x-height and smaller-width characters - appropriate in its deliverance of the manifesto title. For the body type, the manifesto uses Clarendon. This typeface acts as a visual representative of a mid-point between the upper and lower classes - relevant in communicating the manifesto's call for equality and balance in society without the presence of class. Additionally, the typeface's previous use in dictionaries as a display typeface further enhance suitability in its use for the manifesto in its attempt to re-define the social structure of British society to that of a meritocratic, egalitarian alternative.

The body type of the manifesto, the mission statement itself, has been set within the ground between the split title  - this framing the content whilst also giving more impact to the title's instruction to 'break class,' while reiterating the main message of the piece once read in full. Set it two columns, the manifesto adheres to Fassett's Theorem of Legible Line Length in which he details that 'line lengths that contain 45 to 65 characters (including letters, numerals, punctuation and spaces) are legible. Line lengths exceeding these limits challenge legibility.' This also further communicates balance and equality.

Featuring a red title with blue body on white ground, this colour scheme mirrors that of the Union Jack, the national flag of the United Kingdom, which immediately assists establishment of a quintessentially British aesthetic. Additionally, feature of red and blue provides a more subtle, yet deeper context to the manifesto through use of these colours by leading competitive political parties the Conservatives (blue) and Labour (red). These parties gain support from two very distinctly different social classes; The Conservative party is supported most typically by the wealthy, while the Labour party generally gains support from the lower, working classes of society. Use of these colours supplies additional social comment, and by using the two colours together, further reinforces the manifesto's call for equality among society. 

The manifesto's tone of voice is informed, progressive and assured, which should create appeal to those in British society (who are subjected to the system) with an interest in social politics, desire for social change and interest in British culture. It should catch the attention of politicians, educated upper-classes and leaders/teachers who have more power in bringing social change and further communicating the message to current sectors of society.

The manifesto, a physical artefact to be featured in newspapers, advertisement spaces and/or establishments in support of the mission, could also harness online platforms and social media for more extensive distribution thereafter.

OUGD505 - Product, Range & Distribution - Manifesto Colours

In the same instance as the manifesto's typography - communication of the very British ideas of social class and the manifesto's concern with the nation's hierarchical system should be enhanced through colour that provides a quintessentially British aesthetic, fitting for a product of the nation.

Considering this I have devised a scheme or red, white, and blue - These being the colours of the Union Jack, the national flag of the United Kingdom. These colours have long been used in achieving a quintessentially British aesthetic, naturally, as a result of the context provided by the flag design.

Additionally, feature of red and blue provides a more subtle, yet deeper context to the manifesto. 
In regard to the relationship between politics and class, there are two leading political parties - Conservative and Labour - who each represent classes at either end of the spectrum.

The Conservative party is supported most typically by the wealthy, the privileged and those in leading professional occupations, and if often noted as being favouring of these higher-strata individuals in their policies and manifestos. The conservative colour is blue.

The Labour party, on the other hand, generally gains support from the lower, working classes of society. The labour colour is red. 

Use of these colours supplies additional social comment, and by using the two colours together, this further reinforces the manifesto's call for equality among society. 

I explored variations and quantity-combinations of the colours to explore which appeared most distinct. Feedback received on these (see below) detailed that the first manifesto design featuring a red title and blue body with white ground was the most easy to read and the most aesthetically pleasing of all the options. 

OUGD505 - Product, Range & Distribution - Typography Identification, Selection and Setting

In communication of the very British ideas of social class, and the manifesto's concern with the nation's hierarchical system, the typography used in the visual communication of the statement must be quintessentially British and both reinforce and be in support of the concept of equality and a person's potential to break through class barriers and achieve goals through this and enhanced social mobility possibilities.

Serif typefaces are commonly used in portrayal of more luxury outputs, or in providing a more traditional aesthetic - this being the opposite of what the manifesto needs. The manifesto must appear contemporary in its encouragement for society to turn its back on the out-dated notions of the class system, and for this reason, I will explore sans-serif typefaces. This will provide the manifesto will a more accessible aesthetic that reinforces the written words visually.

Considering this I identified the following typefaces:

Having worked as an apprentice on Edward Johnston’s typeface for the London Underground, Eric Gill took inspiration from this in producing Gill Sans. This typeface is described as having 'absolutely legible-to-the-last-degree letters' by Gill himself. It works well for both text and display work and was used by British Rail until 1965, Penguin Books in the 1930’s and is currently used by the BBC.

Another British typeface associated with transportation is that created for the Department of Transport by Jock Kinneir and Margaret Calvert, Transport. This highly legible, sans-serif typeface is used on road signs throughout the UK, and works well for bold and clear headings as well as body text in the irregular circumstances it is used for other means/purposes.

This typeface is a representation of that which would have been used on roadsigns before the creation of transport. Like Transport, it is a highly legible, sans-serif typeface, however, is supplied with greater character as a result of the taller x-height and smaller-width characters. This typeface appears to portray a greater dominance and feeling of urgency. 

This typeface is a less refined alternative to AES Ministry.

For the creation of Bliss, type designer Jeremy Tankard studied 5 typefaces; Gill Sans, Transport, Johnston, Syntax and Frutiger. The forms were chosen for their simplicity, legibility and 'Englishness.' The resulting typeface has charm whilst remaining legible and practical. Additionally, the typeface works well for body text and headers alike. 

Originally designed by Robert Besley in 1845, Clarendon is a bold slab-serif typeface. It was the first typeface to be copyrighted and became hugely successful after it’s release. It was produced for Oxford University’s Clarendon Press and used as a dictionary display face. The most notable use of this typeface is possibly in the Sony logo where an extra-wide variant of Clarendon is set in uppercase, showing the typeface's potential to appear contemporary despite it's age.

Though not sans-serif, the boldness of the typeface and slab serifs may be representative of a mid-point between the upper and lower classes - relevant in communicating the manifesto's call for equality and balance in society without the presence of class. 

As shown above, I explored each of these typefaces while replicating the compositional placement featured on 'In case of emergency...' signs.

From left to right the typefaces are: AES Ministry, Transport Medium, Transport Heavy, Old Road Sign, Clarendon and Gill Sans.

Although less modern in aesthetic, AES Ministry's bold, distinct sense of urgency created via a taller x-height and smaller-width characters appears the most appropriate in its deliverance of the manifesto title. It is highly legible, making for greater appraisal from viewers of the manifesto also. While this typeface is suitable for the manifesto title, it is only available in upper case form, and therefore an alternative typeface will be used for the body.

For the body type, I have decided to use Clarendon. This typeface acts as a visual representative of a mid-point between the upper and lower classes - relevant in communicating the manifesto's call for equality and balance in society without the presence of class. Additionally, the typefaces previous use in dictionaries as a display face further enhance suitability in its use for the manifesto, which is attempting to re-define the social structure of British society to that of a meritocratic, egalitarian alternative.

The body type of the manifesto, the mission statement itself, has been set within the ground between the split title  - this framing the content whilst also giving more impact to the title's instruction to 'break class,' while reiterating the main message of the piece once read in full. 

Set it two columns, the manifesto adheres to Fassett's Theorem of Legible Line Length in which he details that 'line lengths that contain 45 to 65 characters (including letters, numerals, punctuation and spaces) are legible. Line lengths exceeding these limits challenge legibility.' This also further communicates balance and equality.

OUGD505 - Product, Range & Distribution - Manifesto Supporting Concept

Throughout the research I have undertaken on the British Class System, all that contributes to it and the effects it has on society - I recognised a reoccurring phrase/metaphor used by many in their analysis of the nation's social injustices and shortcomings: 'the class ceiling.'

While there has been much discussion on 'the glass ceiling' in regard to circumstances such as the gender pay-gap, 'the class ceiling' in particular makes reference to the unacknowledged barriers to advancement supplied as a result of Britain's hierarchical class system.

The ideology of glass being something that is breakable has made me consider how this may support the manifesto, conceptually. This consideration led me to the identification of 'In case of emergency, break glass' boxes. 

In order to better reflect the content of the manifesto and the subject area, I thought to change this exclamation to 'In case of prejudice, break class' in advising that the class system and its barriers can be broken through, and that prejudice notions can be proven wrong if we are ambitious and determined in achieving our goals.

This will be the title of the manifesto. 

OUGD505 - Product, Range & Distribution - Manifesto Written Content

In her first speech as Prime Minister, Theresa May spoke of building a country which works for everyone and not just a privileged few. Despite this recognition, British society is still very much ruled by a stratified system of class which has long inspired prejudice, discrimination and classism — and not just of the lower-classes but featuring inverted snobbery of the more fortunate also. 

The hierarchical British Class system, once an all together more simple device used to distinguish the socio-economic standings of three distinct groups identified within society — upper, middle, and lower class — has over time become more and more complex as sociologists, political scientists and anthropologists have tried to better reflect the ever-changing faces of the nation. That said, those were simpler times. We no longer live in the age of Downton Abbey where the ‘upstairs, downstairs’ divide was as profound as could be. 

With the traditional three-class analysis outdated, the nation now faces a convoluted system that attempts to further stratify the population. In 2013, born out of the results of the Great British Class Survey, a new seven-stratum class model was introduced to the country — this placing the nation in to seven social classes from Elite to Precariat, with a plethora of new middle-classes in between. The trouble here, in addition to the supplement of further complexity to an already enigmatic notion, is that even with an added four apparent identified new sectors of class, society is far to complex to pigeon-hole the diverse socio-economic personalities of twenty-first century Britain. 

In addition to the failure to effectively represent the true diversity of the nation, the system is also flawed by the glass ceiling, or class ceiling more fittingly, it inflicts on society. This makes endeavours of upward social mobility an arduous task for those who wish to transgress the limits imposed upon them through the circumstances in which they are born, such as location and parentage, these being the most likely determinants of what an individuals life chances will be.

This manifesto calls for a revolt against the system which so patently undermines and oppresses the true potentials of members of society, most notably in regard to ascribed social status. It proposes a reform of Britain’s class system, opting instead for a society built on a foundation of meritocracy, in which people have influence or status according to their abilities and achievements rather than because of the social class to which they are said to ‘belong.’

It is high time that social class be considered a mind set, something all together divergent from one’s wealth, that allows for all to be granted the opportunity to follow ambition and be ‘Elite’ regardless of background or beginnings. Through this proposed egalitarian society, the class-struggle that dominates the everyday lives of many may be minimised, ease of social mobility enforced, and societal prejudice quashed. Let us, as a nation, bring down the class ceiling once and for all.

OUGD505 - Leeds Public Spaces - Victoria Gate Screen Print Final Resolution

The Victoria Gate celebratory screen print references the textile-inspired facades of the city's new John Lewis flagship store and shopping centre car park. 

The John Lewis facade, using 2 layers of subtle colour differences, mirrors the white, etched concrete material in a recognisable diagrid format. This has also been lightly embossed to enhance representation of the 3 dimensional structure. 

To the left features a series of silver strips, cut and twisted in representation of John Lewis' adjacent  twisted aluminium-clad car park. This, when constructed, mirrors the intense shadows evident on the facade, amplified by the metallic sheen supplied via the silver finish.

The Victoria Gate stencil signage featured top right has been printed in dark grey in subtle reference to more of the shopping centre's exterior and interior herringbone floor. 

Providing visual balance to this and also printed in dark grey is the exclamation of the shopping centre as 'An architectural celebration of Leeds' textile heritage' followed by the date of its opening. This is clear, and direct in its message, establishing a dominant tone of voice that is reflective of the stature of the new high-end shopping centre. 

All of the above has been printed on a terracotta-coloured stock - this in reference to both the shopping centre's exterior and surrounding architecture that has been a part of Leeds' established heritage dating back significantly. 

OUGD505 - Product, Range & Distribution - Brief for Manifesto

The Problem

Britain has been ruled by system of class which aims to divide and separate for as long as many can remember, inspiring prejudice and discrimination of not only the lower-classes, but of the upper-classes also through stereotype and false representations in the media. Though the system used to be simpler with only upper, middle, and lower class groups, over time it has become more complex.

Following the Great British Class Survey in 2013, a new system including 7 groups was introduced to the country, putting the nation in to 7 social classes from Elite to Precariat with many middle-classes in between. This and previous systems' aim to pigeon-hole society into different social strata brings failure in recognition of the complexity, individuality and diversity of 21st century Brits.

Client

The manifesto should be designed for British society, with British society at the forefront of its considerations. It is British society that should benefit from the distribution of its message and ideologies. 

Aims & Objectives

The aim of the manifesto is to inspire social change through communication of the British Class System's negative impact on society. It should encourage society to not let any considered class act as a barrier. It should exclaim the potentials of an egalitarian, meritocratic nation in which class has no stature. In doing this Britain may start to think differently about class, with a society of people who gain status from their abilities and achievements.

Target Audience 

The manifesto should reach all corners of society, through primary interaction with the piece or through secondary sources that make note of the manifesto's mission statement. Though society as a whole is to broad a target, the manifesto should appeal to those in British society (who are subjected to the system) with an interest in social politics, desire for social change and interest in British culture. It should catch the attention of politicians, educated upper-classes and leaders/teachers who have more power in bringing social change and further communicating the message to current sectors of society. 

Point of Delivery

The manifesto should be produced as a physical artefact, though may use online platforms for more extensive distribution thereafter. It could feature in newspapers, advertisement spaces and/or establishments in support of the mission. 

Deliverables

A written, designed and printed manifesto for the rejection of social class. 

OUGD505 - Product Range & Distribution - Idea Generation & Selection

Having selected the British Class System as the focus of my practical/visual investigation and having the direction confirmed following the project proposal, further research has led me to generation of the following ideas/concepts in response to part 02 of the Product, Range & Distribution brief.

Concept 01 – A Manifesto for Change

A manifesto provides opportunity to deliver social comment and call for change through a formalised point of delivery, and as a result can enhance perception of the delivered motives through an amplified sense of authenticity via physicality and formatting.

Concept 01 proposes the development and production of a manifesto calling for society to break through the class system and it's imposing barriers to instead become an egalitarian society based on meritocracy, where prejudice is quashed and endeavours of social mobility are made less arduous. 

Concept 02 – Satire of the Upper-Classes

Inspired by Benjamin Lee's 'Middle Class Problems,' concept 02 proposes a typographic poster campaign featuring satirical quips regarding the classes of Britain. For example – 'Class Content of Quinoa: zero.' This concept would make use of stereotypes associated with each of the respective social classes of the nation and make light of them, showing their lack of importance and authenticity as a supposed analysis of personage.

Concept 03 – Social Mobility Campaign  

A campaign focusing on ambition as the driving force of social mobility, encouraging those from lower-socio-economic backgrounds to not allow prejudice and discrimination to hold them back, but to instead ignore the apparent limitations of class and become more informed on how to achieve goals. Through abandonment of class, barriers and injustices may be alleviated.

Feedback

• Feedback received detailed that a Manifesto would be the clearest way to communicate a formal analysis of the British Class system and why it should be discarded.
• Questions were raised on whether lower-socioeconomic audiences would know what socially mobility was in regard to concept 02.
•  Concept 03 received some support, though it was expressed that this idea was perhaps avoiding of the serious nature of the subject and had potential to cause offence.

Following this I plan to develop a visual manifesto for British Society's rejection of the class system.

OUGD505 - Leeds Public Spaces - Revised Design for Screen Printing

Following my unsuccessful attempt using a lino-printing method for the Victoria Gate celebratory resolution and feedback instructing to simplify the design, below is the revised print and separations which will be used to screen print the outcome:

This simplified design has a greater directed focus towards the adjacent John Lewis facade and shopping centre car park featuring twisted aluminium strips. It maintains the stencil signage shopping centre name identifiable on the exterior of Victoria Gate and explicit identification of the print as being celebratory of Leeds' textile heritage.