OUGD503 - Responsive - Papyrus Line Drawing - Adult Colouring Research

Adult Colouring Books

The notion of colouring books most typically being reserved for children has been overturned in recent times. In a busy world, increasingly dominated by time spent in front of screens, many adults are now turning to the soothing art of colouring in.

As opposed to the simple drawings coloured in by children, the drawings featured in adult colour books instead provide quite the challenge. Drawings featured within these books are intricately designed, with many created specifically to aid de-stressing and focus of the mind.

When focusing deeply on a simple yet safe task, other anxieties become less present within the mind, allowing adults a recreational release. It is estimated that some 12 million adult colouring books were sold in 2015, a huge jump from the 1 million sold the previous year, and numbers have remained strong since.

While it is said that adult colouring books have been around since the 1960’s, the popularity of social media today has allowed the popularity of adult colouring books to soar, with the opportunity to share finished pieces with friends - this resulting in significant growth for the trend.

There are many different kinds of adult coloring books for grown-ups to choose from in regard to image/drawing content, with popular choices including the following:

• Geometric Colouring Books
• Floral Colouring Books
• Animal Colouring Books
• Nature Colouring Books
• Pattern Colouring Books

Colouring is a fun activity that can be enjoyed by anyone, any age, any gender. While colouring is not to be considered a substitute for medical treatment, the activity is said to come with many benefits -  in some cases even said to reverse cognitive decline

Example of an adult colouring page.

OUGD503 - Responsive - Papyrus Line Drawing - Brief Information & Interpretation

Papyrus are the national charity for the prevention of young suicide. They provide support for anyone feeling suicidal and the families who’ve lost loved ones through their HOPEline - which has professionals waiting to help any young person(s) in need.

They believe that unless we open up the conversation about suicide, no progress towards preventing it will be made. So young people aren’t afraid to talk about suicide, the charity have been doing lots of work encouraging people to #talkthroughthetaboo.

Stress, though for many is an everyday occurrence, is a leading cause of mental health problems. One of the areas Papyrus focus on is the importance of keeping our minds healthy. 

Papyrus’ Project

To help relieve stress, and prevent it from becoming a bigger issue, in the most simple way  -colouring. Colouring has been proven to relieve stress and anxiety, calming the mind and allowing people to unwind and relax. The aim of this project is to publish a colouring book titled ‘The Art of a Peaceful Mind,’ which should be used as a preventative tool for keeping a healthy mind.

The Brief

In an adult colouring book style line drawing, create a visual representation of something that helps you feel calm and relaxed, with a couple of lines explaining what it is you’ve drawn and why.

Responses can be as literal or abstract as you like. The specifications are that it needs to be A3 landscape with space for a paragraph.

It is asked that a Staedtler 0.3mm fine liner pen is used to create the drawing, or alternatively if work is produced digitally, a 3px brush size.

Submission

Entries are to be submitted by 27th February 2017 via email.

This email should include:

• The drawing - For hand drawn work this should be scanned at 600dpi and sent as a PDF, digital work should be sent as an illustrator file. If the file size is too big to attach in an email, please use wetransfer and include a link to your work in the email.

• A couple of sentences about the piece.

• Your contact details - Your name, age and university.

Interpretation

This brief provides the opportunity to design for a good cause whilst also producing something from a more recreational perspective. Although I am yet to experience the activity of an adult colouring book, it is something I would like to do as I always enjoying colouring in as a child. The notion of colouring-in in itself seems calming to me and therefore I believe in the project and look forward to producing my own page for potential feature within Papyrus' 'The Art of a Peaceful Mind' adult colouring book.

DEADLINE: 27th February 2017 

OUGD503 - Responsive - YCN: Greenall's Gin - Brief Information

The Brief 

To choose a quintessential British moment that has lasted through time and is still relevant today, and bring this to life in a contemporary way through a piece of creative that has Greenall’s at its heart.

Any of Greenall’s products can be at the centre of designs, though certain products will suit certain occasions better. 

The creative could be applied across any channel. It may feature on a piece of limited edition marketing collateral or it might be shared as part of a Facebook strategy to recruit new consumers into Greenall’s or engage with existing fans. Alternatively it may constitute a poster campaign. 

Greenall’s are also open to any medium — from print to photography, video, graphic design, 

animation, illustration etc.

Target Audience

Greenall’s would like to target millennials who are looking for authentic, British brands with real heritage and stories to be part of their everyday life. Having a good time socialising with their friends is important to this target audience and gin is  firmly on their radar and at the heart of their drinking occasions, although they don’t have any particular loyalty to any specific brand. The aim is to make them passionate advocates of Greenall’s through reinforcing their authenticity and credentials as well as amplifying the brand’s inviting British personality.

Creative Considerations

• Greenall’s green interpretation of the Union Jack  flag is the creative epitome of their Britishness, and has featured on packs in a number of iterations. It brings vibrancy and fun to the party. Consumers recognise the green flag as being part of their core identity. It is ownable and distinctive, helping them to stand out on shelf and in bar. Greenall’s are keen for this to be integrated within the response.
• Greenall’s crest is the embodiment of their brand heritage, authenticity and over 250 years of stories as Britain’s oldest gin distillery. It is a badge of reassurance and a nod to their smooth taste credentials and superior quality.
• Greenall’s The Original is 100% ownable as they were the first British gin distillery and they 
• want to communicate this more to consumers – to show that the fantastic classic recipe developed over 250 years ago is still as relevant and popular today.
• Greenall’s dark green is their key brand colour alongside lighter green Pantone which brings to life the vibrancy of the social occasions that Greenall’s is at the heart of. White and silver are also secondary colours that are used throughout communication.

Mandatory Requirements

The Greenall’s The Original logo, must feature on all designs.

OUGD503 - Responsive - YCN: UK Greetings - Final Collection

Naming the Collection

Naming of the greetings collection has been left until last in ensuring all contributing products have  been produced, allowing for clarity and retrospect to aid the decision.

As a result of the collection bearing two idea-ologies - the playfulness of the concept in conjunction with luxury motives - naming the collection has come with some difficulty.

Ultimately, the collection name needs to communicate the subject matter of the material(s) whilst declaring the luxury finish it bears without appearing as a novelty or gimmicky collection. 

Considering the above, the decided name of the collection is ‘BRITISH BISCUIT LUXE.’ This name

encapsulates all that is featured simply and directly.

The Collection

The BRITISH BISCUIT LUXE collection brings together a range of Greeting materials that are formed from a cohesive range of motifs using experimental processes and methods, such as 

multi-layer foiling and envelope opening system, to create new and exciting designs that capture both the Nation’s love of biscuits and the strength of the country through luxury finishes and a playful concept. The collection includes 7 Greeting Cards and Note Cards (with appropriate respective 

envelope sizes) a Gift Bag, 2 Gift Wrap options and an A5 Notebook. From initial research to final outcomes, the collection is underpinned with the motive to provide a resolution to both problems identified within the Greeting Card industry and current affairs within British society alike. 

Biscuits, though not inherent for all cultures, are a big part of British custom. They are known and loved by the Nation - including both men and women, young and old and inbetween. The collection therefore may be of greater appeal to a more diverse demographic, perhaps helping to balance the sales situation in which currently 85% of all cards are purchased by women. 

With the vast majority of greeting cards being bought in bricks and mortar stores as opposed 

to online and greeting card making being the number one craft hobby, the high-end/luxury 

finish of the cards and accompanying products provide sector consumers with what they 

evidently have preference for - crafted tactility as opposed to digital photo-prints.

Perhaps most importantly, the collection has quintessential Britishness at its core. With no 

other country having such a tradition of card sending or card displaying in the home, when

added with the traditional British biscuit(s) - the collection is representative of British 

custom and society as a whole. 

The importance of Biscuits to Britain is only made clearer by the part they are set to play in Britain’s Brexit negotiations.

OUGD503 - Responsive - YCN: UK Greetings - Supporting Photography

In photographing the collection, it was important for the images to reflect the concept and their context and inspiration cohesively. Additionally, the images had to be high quality and high impact considering their part in being the true visual representative of the collection to the YCN competition judges and client UK Greetings. 

To achieve such images, coloured backgrounds consistent with the collection colours of pastel yellow and pink have been used to ensure brightness, vibrancy and cohesion is clear and eye-catching in their visual communication.

Both the individual greeting cards imagery and whole-collection shot feature appearances from the actual biscuits that have inspired the project. This enhances the playful energy of the collection whilst providing an in-definite visual link between context and resolution.

OUGD503 - Responsive - YCN: UK Greetings - Production - Notebook

The notebook featured in the collection comes in the form of a large scale (A5) Nice biscuit, with rounded corners and a de-bossed cover bearing ‘Notes’ in place of ‘Nice.’ Stock colour and de-bossing aid consumer familiarity that allow for the notebook to be reminiscent of a biscuit.

For the cover of the notebook I have used G. F Smith Gmund Treasury Nature - a biscuit colour neutral featuring consistent flecks of gold that provide a subtle shimmer and luxury finish - also providing visual cohesion with the other foiled collection pieces.

Additionally, the notebook also features a single sheet of G. F Smith Colorplan Sorbet Yellow which wraparound the inner, bright white plain pages and enhances collection cohesion. Blank pages within allow for the notebook to be used for writing or sketching - free from the restriction of lines.

Saddle-stitch binding has been used for a subtle, clean bind that does not become a feature in itself. The notebook was simple to put together and would be the most cost effective option in terms of commercial production methodology.

The notebook was originally meant to feature a scalloped edge - more similar to a Nice biscuit, however when taken to critique it was identified as a concern that this would ‘easily become

damaged’ and unkempt. Also when testing, the paper stock was too thick for the scissors to 

produce a clean cut.

OUGD503 - Responsive - YCN: UK Greetings - Production - Gift Bag

For when simply wrapping a gift is not enough, the collection also includes a luxury gift bag featuring a large scale multi-layer foiled Custard Cream motif - which in place of the original writing reads ‘From Me to You.’ The biscuit motif provides visual cohesion to the other Greeting materials in the collection while the amended message promotes and reflects the exchange of gifts.

Both the inside of the bag and ribbon-handles make use of the pale yellow tone for a higher-end finish and collection cohesion. 

OUGD503 - Responsive - YCN: UK Greetings - Production - Gift Wrap

Gift wrap for the greetings collection features a repeat pattern of the classic Biscuits in their true-to-life biscuit neutrals and bright tones of pink, yellow and red. 

The wrap brings together all the biscuit designs to one point of delivery, and also replicates the original designs featured on the classic biscuits.

Printed on synthetic material Tyvek, the gift wrap can be recycled and is therefore environmentally friendly. With interests in sustainability and the environment at their peak, this is an important attribute for the wrap to have in ensuring the collection shows consideration to the future of the planet and the UK design industry's contribution to the cause.

 The wrap is also water-proof, tear-proof and scratch resistant.

A foiled version of the gift wrap provides an alternative, more luxury dressing option. 

As with the Greeting Cards,this wrap is created using an experimental multi-layer foiling process, using tonal variation to distinguish visual information. Layers of foil range from 2-3 and use gold, rose-gold, light pink and red.

OUGD503 - Responsive - YCN: Uk Greetings - Production - Envelopes

The envelopes made for both the Greeting Cards and Note cards in the collection do not take the standardised form, but instead introduce a new opening system that mimics the opening of a packet of biscuits.

Much similarly to one opening a biscuit packet, all that those who receive a card in one of these envelopes will have to do is pull the tab and tear around following a fine red line. This is made easier via a set of perforated lines that sit either side of the red stripe allowing for ease of opening.

The envelopes have been produces in two colours, candy pink and sorbet yellow (G F. Smith Colorplan), which match the inserts of the Greeting Cards for collection consistency and visual cohesion.

OUGD503 - Responsive - YCN: UK Greetings - Production - Note Cards

Note cards in the collection feature each of the selected classic biscuits, but instead use true-to-life colouring through varying biscuit-neutrals and bright hues of pink, yellow and red.

Typographic information on the cards, using upper-case Gill Sans for a contemporary British feel, is gold-foiled in forming visual cohesion with the Greeting cards in the collection.

Rounded corners and blank-insides form further cohesion with Greeting Cards in the collection.

The note card set, featuring cards and envelopes, comes within a box featuring the collection’s 

signature bright tones of yellow (exterior) and pink (interior).

The box features a thin clear perspex top that allows for the set to be seen inside the box at point of purchase.

Messages featured include:

• Get Well Soon! (Sorry You’re Not Well)
• (Congratulations) You Did It!
• Just to Say (Thank You)
• Sending Love to You!
• I’m Really Sorry.
• Time to Party!

These messages provide a range of situational potentials for sending.

OUGD503 - Responsive - YCN: UK Greetings - Production - Greeting Cards

Custard Creams, Chocolate Bourbons, Rich Tea, Jammy Dodgers, Pink Wafers, Party Rings and 

Nice Biscuits are the Best of British used in the Collection, identified as some of the nations favourites in earlier research. 

The greeting card size I have selected is 140x140mm in attempt to create designs with greater visual balance and central focus, without a top or bottom heavy appearance.

The cards have been created using the experimental multi-layer foiling process, using tonal variation to distinguish visual information. Layers of foil range from 2-3 and use gold, rose-gold, light 

pink and red.

Additionally, each bright white card features rounded corners and individual biscuit embossing for added contemporary luxury finishing.

Further quality and attention to detail is provided via coloured inserts - G. F Smith Colorplan Sorbet Yellow and Candy Pink. The yellow tone aptly mimics the filling of the beloved Custard Cream, while the pink tone takes inspiration from the Pink Wafer. The introduction of these tones welcomes a more playful energy to the collection that perfectly counter-balances the high-end finishing for a harmonious range of Greeting materials that are accessible to all.

The cards have been intentionally left blank inside to allow for messages to made more personal - free of a dominating centre line and interruption of space.

OUGD503 - Responsive: Collaborative Practice Showcase Slides

In attempt of finding a collaborative partner(s) to undertake either a YCN or D&AD competition brief, below are three slides I have designed featuring my own selected works, works that I admire and two potential briefs I would like to carry out in collaboration. These slides will be shown across the graphic design, illustration and animation disciplines' students to showcase the style and direction of potential collaborators. The works I have selected to show clearly evidence my interest in contemporary luxury high-end design and finishing, and therefore provide a distinct direction that may appeal to other creatives within each of the specialist areas.

OUGD504 - Design for Screen - Style Library App Evaluation & Collateral Imagery

The process of choosing a wallpaper for the home interior may initially seem a painless task, however following copious sample orders that arrive showing only a snippet of the full pattern, working out the required number of rolls considering wall dimensions, fireplaces, doors and/or windows and being unable to truly appreciate the impact of a wall covering design at the proposed scale or expanse in a space — the process can easily become tedious. These considerations and limitations do not allow consumers to buy with confidence and assurance that their interior decisions will be met with satisfaction and gratification.

The Style Library Visualiser is an engaging iPhone app that relieves and aids the interior design process regarding the planning, selection and purchasing of wallpaper for the home using augmented reality technology to allow consumers to confidently identify and purchase a wall covering(s) from one of the Library's renowned brands.The app allows the consumer to undertake this process with enjoyment and ease as they immerse themselves in the brands that provide to the Style Library and the wall coverings they sell. 

The app, which allows consumers to buy with confidence and assurance that their interior decisions will be met with satisfaction and gratification, follows the visual language established on the original desktop site of the Style Library which is clean, clear, well structured and suitably stylish - reflecting the sites content/context as 'the premier destination for Stylish and Quality British Design.' 

The apps primary content is framed by two bars: a brand mark bar at the top and a navigational bar at the bottom, both of which hold permanency due to their locked positions which enhance the user experience through complete ease of use and assured functionality of app exploration. The 'Style Library' word mark is featured left aligned in the bar at the top of the composition on any given page of the app in keeping with the suspected brand guidelines of Style Library.

The symbols/iconography featured on the Style Library Visualiser App are used to convey particular ideologies through associative imagery to objects and beings. Immediately decipherable, easily understood and recognisable on an international level - regardless of language, culture and identity - these pictograms rely on semiotic recognition. Though in some instances the symbols are accompanied by a typographic label to ensure the user experience is as clear as possible, for the most part the human mind is able to determine and establish an immediate connection with these symbols as a result of familiarity and social/cultural awareness. They enhance the user experience through provision of choice and exploration, allowing the user to navigate subconsciously based on their knowledge of what they are looking for and the mind's established visual associations.

Using a limited colour palette of white and tones/shades of grey for the navigational visual information of the app, the design allows for focus to be given to the beautifully designed wall coverings created by the Library's contributing brands and the spectrum of colour they themselves provide. The navigational system of the app has been designed to ensure focus is on the products of the Style Library - being the primary purpose and feature of the app - to inspire, showcase and sell wallpaper.

Almost all typographic headings featured within the app are set in upper-case Arial, reflecting the Style Library's position in its sector of premier quality wallpapers from leading British interior brands while creating cohesion and consistency with the original desktop site. Featuring type at 3 sizes consistently throughout the app page design, these sizes being 12pt, 20pt and 30 pt, all typographic information set at scale appropriate to design for screen. Where appropriate, type has been set as standard with capitals only at the start of words for ease of readability of the smaller type size and for a less dominating tone of voice where un-required.

The transitional system used by the app uses simple, clean logical direction suggestion that aids the users awareness of interaction within the app.

A straightforward system, users can expect and experience the following transitions during their experience:

• When moving from left to right across the navigation bar from 'Inspire' to 'Basket' and those in between, pages will 'Push Left.'
• Upon progressive movement within the app, pages will 'Push Left.' 
• When returning or going back within the app, pages will 'Push Right.'
• When moving back from right to left across the navigation bar from 'Inspire' to 'Basket' and those in between, pages will 'Push Right.'
• In opening the account section of the app from the main app pages accessed via the navigation bar, the page will 'Slide Down.'
• On return to the main application pages from the account section, the main app pages accessed from the navigation bar  will 'Slide Up.'
• With the exception of the account pages, roll calculator and visualiser - the navigation bar will remain present at all times for ease of use and enhanced user experience.
• When jumping between app pages or opening via links, such as from scrapbook image to product information, the transition will 'pop.'
• In the case of interaction with photo pages featuring a translucent quality/overlay, tapping will 'dissolve' back to the previous screen. 

The app transitions exploit western culture and the subconscious act of reading from left to right and the standard navigational devices encountered on a daily basic (left, right, up, down) to enhance the user experience through familiarity of action and engagement with everyday life - making for an enjoyable experience that comes naturally to the target. Each transition within the app has been considered in its ability to mimic the expectation of the target in predicting their assumption of how things should act in response to their actions. 

The Style Library Visualiser app also holds potential for translation across other platforms, the iPad in particular. By simply introducing an additional column to the existing visual language layout, the design shows the apps prospects for usage on a larger scale format whilst maintaining the integrity of the original iPhone application and Style Library webpage from which influence has been derived. Although only a limited glimpse into the alternative formatting of the Style Library Visualiser app for iPad has been drafted, it is clear to see how the pages would evolve in this point of delivery.