OUGD505 - Product Range Distribution - Media Representation of the Lower Class: The Mooreside

The Moorside was a two-part British television drama broadcast on BBC One earlier this month. The drama is centred on the Yorkshire community that led the search for missing schoolgirl Shannon Matthews in 2008 after her 'disappearance,' as well as the revelation of her mother Karen's involvement in the crime after Shannon was 'found.' The title of the drama references the Moorside housing estate in Dewsbury, where the Matthews family lived.

Having watched the BBC's 'pure drama' feature, I have been following the programmes reception and critical perception. While The Moorside is noted as being a triumph for the BBC and has been praised for its 'sensitive portrayal of events' as well as the acting of stars Sheridan Smith and Gemma Whelan, many feel the drama failed to represent the truth of the ordeal, the community it is based in and those who contributed to the search.

The Moorside focused on the friendship between Shannon's mother, Karen Matthews, and her neighbours Natalie Brown and Julie Bushby. Bushby helped to organise the search from the estate's Community Hall, while Brown opened her home to Matthews and children of people who were looking for Shannon. However, a resident of the community told The Yorkshire Post that this was misrepresentative:

'It was a joke, it didn’t portray everyone who went into it, it was just about that one set of people. To be quite honest the people that were there [in the drama] didn’t do any searching, they were in the house all the time. There were people who came from miles and miles, and there was not a mention for everyone. It was from their side, how they saw it, it was about Julie.'

The source said her feeling was shared by other former residents to the extent that they tried to take their story to The Sun newspaper, however the publication wasn't interested. Accordingly, the drama failed to represent who really searched for Shannon.

Additionally, further upheaval came as a result of The Mooreside's dishonest portrayal of the estate's community diversity. Mumtaz Hussain, a local councillor in Dewsbury, told The Huffington Post that the BBC drama didn't reflect the part played by the Asian community in the search for Shannon Matthews:

“The Asian community played a big part and a lot of Asian people were working in this group. But when they showed the drama there were hardly any Asian people in it. A number of people from different communities have noticed. Predominantly the south-east Asian community. Certainly when I remember those few weeks there certainly was more people from that south-east Asian background involved in that search than what was portrayed."

Labour councillor Darren O'Donovan added to Hussain's comments, explaining 'When I witnessed what was going on there, there was a number of different communities involved in that search and that didn’t play out in the drama I saw.'

According to the 2011 census, at the time Dewsbury had a 16.5 per cent south-east Asian population (2008). Although two non-white actors appeared in crowd scenes holding a banner, none of the credited or speaking roles in The Moorside were played by actors of colour, with press photographs from the time also suggesting that a far more diverse community was involved in searching for Shannon.

The Moorside’s depiction of the northern un-employed and working class community stereotypes what is considered middle-class snobbery about people living in tracksuits, in small council-house living rooms full of mis-behaved children. The programme exaggerated and dramatised the general perception of the community and those similar in Britain, with the BBC failing to effectively represent an accurate depiction of honesty. This exacerbates division of class by fueling perception of difference between them. 

OUGD505 - Leeds Public Spaces - Identifying Victoria Gate Architectural Features

Before considering designing the A3 traditional print, it is important to identify the architectural features of the shopping centre. These are listed below:

• Victoria Gate contains a mixture of arcade-like covered shopping streets, a car park and a flagship for John Lewis.

• The centrepiece of the Acme-designed complex is the diagrid facade of the John Lewis, which is made from diagonal struts of etched concrete.

• Panes of glass set into the diagonal facade illuminate some area areas of the building, while bronze- and ivory-coloured terracotta infills block the light in others. 

• Internally, the rest of the of the shopping centre is designed to reference Leeds' historic shopping arcades. 

• It features wide walkways paved with herringbone-patterned stonework in 13 shades of grey.

• Curving glass shopfronts.

• A roof of latticed steel and glass that floods the space with natural light.

• The buildings is connected to the arcades by a glazed link.

• The main body of the shopping centre is influenced by the art deco and Victorian buildings that surround the site.

• The pleated facade, made from terracotta and rust-toned metals, is designed to create dramatic shadows across the building.

• A multi-storey car park with 800 spaces is set on one corner of the development and features a facade made up of hundreds of twisting aluminium fins. These strips of metal are spaced to allow natural ventilation and daylight to shine through.

As evident from the above information, there are many differentiating architectural features to the shopping centre, any/all of which may provide key visual information to the A3 traditional print.

OUGD503 - Responsive - Papyrus Line Drawing - Evidence of Submission

OUGD505 - Product, Range & Distribution - Initial Direction Ideas & Selection

Before beginning a practical, visual and contextual investigation of a specific issue for part one of the brief, first an issue must be identified. The issue must be justified and must have a breadth of research potentials in order to allow for a range of knowledge to be developed on the subject which can later be used in the practical production of potential resolutions.

Considering this, below are three potential subject areas that each provide potential for thorough investigation:

Subject 01: The British Crown - Should Britain abolish the Monarchy? 

While the vast majority of the nation love the Queen and the Royal family at present, their relevance and benefit to the country are often called in to question through proposed political party policies and a simple lack of understanding on what she/they are needed for in the 21st century. With more than a few scandals in the not too distant past, this subject would be an eye-opening investigation of the nations true perception of the Royals.

Subject 02: The British Class System - Should Britain Discard the Class System?

The class system is not as simple as it once was. Further attempts to divide and pigeon-hole the nation are put in to practice all to often, inspiring social prejudice and discrimination of the respective classes of the system. Perception of class seemingly brings no benefit to anyone and in some cases even acts as a hindrance. With an abundance of new information on the subject and many perspectives to consider, this subject would be challenging but interesting to investigate and attempt to resolve.

Subject 03: Mental Health in the Armed Forces.

In 2016 it was revealed that Mental health disorders among the UK Armed Forces have increased by 78 per cent in the last eight years. With my Brother in the RAF, this subject has both primary and secondary research potentials that would allow me to investigate the issue from a range of perspectives.

Feedback

In a one-to-one feedback session with Leah, we briefly discussed each of the subjects and came to the conclusion that the questioning of the British Class System would provide the most research potential, as well as being a less obvious issue compared to things such as mental health which may be a more common subject area explored by others. 

Although at the start of the discussion I was more swayed towards exploring the monarchy, the feedback session has allowed me to be more considerate of what will supply me the best opportunities in terms of research and visual investigation - this being the British Class System. 

Following this I can begin researching the subject in preparation for the project proposal.

OUGD505 - Leeds Public Spaces - Peer Feedback on Print Direction

Today I received feedback on the three potential locations/events that could feature in my A3 traditional print, these being:

• Otley Chevin
• Golden Acre Park
• Victoria Gate

Feedback detailed that Otley Chevin and Golden Acre Park were perhaps to far-out of the city centre to be relevant for the print, this leaving Victoria Gate. Additional suggestions/comments follow:

• Don't focus on the individual stores themselves, more the shopping centre as a whole.
• Consider the target audience of the shopping centre.
• With the amount of architecture there, the print could be quite experimental.
• Consider the structures and materials used in building VG.
• John Lewis flagship - ethical store?
• What is the first thing you see when going there?
• Find more facts and figures.
• Celebration of how far Leeds has come. 
• Look at architect. 

Following this feedback, I plan to undertake further research on Victoria Gate before beginning to develop a resolution to the brief.

OUGD503 - Responsive - YCN: Greenall's Gin - Further Research - Street Parties

A street party is a party in which many members of a single community come together to observe an important event, in celebration of a significant event or simply for mutual enjoyment. 

As a form of activism, street parties are festive and/or artistic efforts made to reclaim roadways as public space. They were made known in Western Europe and North America by the actions of 'Reclaim the Streets' - a widespread 'dis-organization' dedicated to reclaiming public space from automobiles and consumerism.

The British tradition is said to have originated after World War I as residents' own 'peace teas' to celebrate the signing of the Treaty of Versailles in 1919 and to treat children after much experienced hardship. It was the first time street parties were organised by residents on a mass basis. 

A children's tea party in an East End Street in London, to celebrate the Treaty of Versailles at the end of the First World War (1919).

Street parties are a great part of British culture and provide opportunity for communities to come together to celebrate national occasions. Thousands of street parties took place for the Queen’s Diamond Jubilee in 2012, and in June 2015 over 7 million people got together for The Big Lunch.



Historically, street parties in the UK have been held to commemorate momentous events, such as VE Day (Victory in Europe) or the Queen's jubilees. An estimated 10 million people took part in street parties in 1977 for the Queen's Silver Jubilee. 

A street party to celebrate the Queen's Silver Jubilee (1977).

The tradition was hugely prevalent for the wedding of Prince William and Kate Middleton in April 2011, with around 1 million people joining in street parties. For the Queen's Diamond Jubilee in June 2012 around 2 million people took part in street parties. After then this uniquely British tradition truly established itself within British culture, prominently in England and Wales, as residents continued to organise them on all major national days of celebration.

Today – Street parties are being held at any time of the year, for all ages, and for the sake of building community spirit within neighbourhoods. 

Street parties evolved out of earlier traditions such as parades, tea parties and banquets in villages or towns. Before 1919, there had been a long held history of residents dressing streets for national occasions, using flags, garlanded material, and later bunting - the staple decoration of street parties usually made of strings of triangular pennants.

Street Parties Through the Years.

A street party in St Leonard's Avenue to celebrate the Silver Jubilee of King George V (1935).

A party in Disley Street, Manchester, to celebrate the coronation of Queen Elizabeth II (1953).

Families and young children celebrating the Royal Wedding in 1981.

People celebrate the Diamond Jubilee 2012 by holding parties on the sea front in Hove, Sussex.

OUGD503 - Responsive - Papyrus Line Drawing - Production / Final Resolution

Having traced the tea-related objects, I then incorporated the shapes and forms into a compositional arrangement representing a small tea-making set up, grouping the teapot, milk jug and sugar bowl together with the cup and saucer sitting beside. A teaspoon was also added to the drawing.

With the layout established, I then supplied each of the objects with detailed repetitive patterns, each different as to provide variety to the drawing and colouring-in potentials. My aim with the drawing was to provide the drawing with as many contrasting/clashing patterns as possible for a more complex final resolution suitable for the adult target and their further developed colouring in abilities.

Additionally, patterns featured on the drawing are varied in intricacy as to instill greater disparity between elements and allow for the original composition and scene to not become lost within itself, maintaining the understanding of the context of the colouring page. 

Patterns include fine veritcal lines, chevrons, floral patterns, line detailing, polka-dots and overlapping circles. 

In addition to the original compositional objects, a grid background was added to reflect square kitchen tiles and add larger outlines of space in contrast to the smaller, more intricate patterns featured across the tea serving objects. 

To provide further context to the drawing, I supplied the colouring page with large-scale paisley pattern motifs spouting from the teapot and teacup to reflect the eastern origins of tea. Imports from the British East India Company (formed to pursue trade) in the first half of the 17th century made paisley and other Indian patterns popular.

Finally, the quote ‘Where there’s tea, there is hope’ was added to the drawing - this encapsulating the strength and comfort people find in tea. 

The drawing was produced digitally as to create clean, consistent line work that adhered to the brief’s request for 3px line weight/brush size.

The final drawing is featured below:

OUGD503 - Responsive - YCN: Greenall's Gin - Idea Selection

In discussion with Alice upon meeting to discuss our ideas, we have concluded that the Street Party concept is the most appropriate to target and has the most potential to be carried forward. We feel that the Summer Fête and Garden Party as events are perhaps too formal and/or participated in by older generations to appeal to the target of millennials - whereas a Street Party feels more accessible to all, including millennials, due to the sense of community that they inspire.

The Street Party concept has already provided both myself and Alice with initial ideas for potential campaign materials and products that could be used by the target to throw their own Greenall’s themed parties with the brand at their heart.

Although Alice and I are in favour of this idea above all others, we plan to carry out further 

research before establishing a final rationale to be put to critique.

OUGD503 - Responsive - YCN: Greenall's Gin - Brief Interpretation & Idea Generation

Despite the collaborative nature of the project, Alice and I have decided to initially generate our own ideas in response to the Greenall’s brief to provide ourselves with a greater range of ideas that we can then discuss, change and/or develop.

My own interpretation of the breif has led me to primarily consider social occasions and/or means of celebration that would be considered as ‘quintessentially British moments’ as requested by Greenall’s. 

These included the following:

Idea 01

The Summer Fête - An elaborate festival, party or celebration typically including entertainment and the sale of goods and refreshments. Village fêtes are common in Britain, and are usually outdoor shows held on village greens or recreation

grounds with a variety of activities.

Idea 02

The Garden Party -  A party in a garden that is usually more formal than other outdoor gatherings such as picnics or barbecues, etc. A garden party can be a prestigious event - For example, invitations by the British Sovereign to garden parties at Buckingham Palace are considered an honor.

Idea 03

The Street Party - A  party in which many members of a single community come together to observe an important event, in celebration of a significant event or simply for mutual enjoyment. These parties are notably distinguished by decoration of involved streets with bunting and the sharing of goods and refreshments.

Each of the three occasions provide ample opportunity to create Greenall’s led campaigns surrounding these events that supply the target with new means of social drinking and celebration within responsible environments.

OUGD503 - Responsive - YCN: Greenall's Gin - Important Dates

YCN Brief Release Date: 24th OCTOBER 2016

Studio Brief 02 Briefing Date: 12th JANUARY 2017

YCN Brief Deadline: 23rd MARCH 2017

Responsive Academic Submission: 27th APRIL 2017

OUGD505 - Leeds Public Spaces - Victoria Gate

Victoria Gate is a £165 million retail development in Leeds, development by Hammerson. It opened its doors on 20th October 2016 and is located between the civic quarter, the West Yorkshire Playhouse and the existing retail quarter.

Victoria Gate is on the edge of the inner ring road, a major arterial route surrounding Leeds city centre. It is adjacent to the established Victoria Quarter, which together make Victoria Leeds -  recognised as the premium shopping area in the North of England. The opening of the new premium shopping destination means Leeds jumps up to the third largest shopping destination in the UK outside London.

A modern interpretation of Victoria Quarter, Victoria Gate pays homage to the surrounding architecture while bringing 17 new-to-Leeds stores including Anthropologie, The White Company and Aspinal of London. Most notably, it is now home to the largest John Lewis store outside London. 

The architectural design of the retail development is based on the Victorian arcades for which Leeds is renowned, and also aims to celebrate the city's textile heritage.

Facts and Statistics:

• The shopping centre is part of a larger re-generation scheme.
• 2000 customers walked through the doors in the shopping centre's first 15 minutes of being open.
• It had over half a million visitors in its first week of being open.
• Victoria Gate is assisting the city in its bid for European capital of culture. 

Traditional Print Potential 

Though having only been open for a relatively short amount of time, Victoria Gate has already had major impacts on the city. The abundance of architectural features means there is copious amounts of potential for designing in regard to the traditional print. The architecture has also changed the location dramatically in a bid to lead the re-generation of the south of Leeds.

OUGD505 - Product, Range & Distribution - Issue Orientated Design

Issue-orientated design, as the name suggests, is the title given to design outputs which respond to issues of politics, society, the environment, health, and human rights amongst other potential identified issues.

Examples of Issue-Orientated Design

Political 

The most typical output of political-orientated design can be identified as advertisement and promotion of political parties and their mission statements. See example below.

Environmental

Environmental design may aim to raise awareness of issues such as climate change, deforestation, animal extinction, sustainability, pollution or the exploitation or poaching of animals. See example below:

Health

Health orientated design may aim to increase awareness and/or advise for or against actions such as exercise, smoking, disease, germs or mental health dependant on subject. See example below: 

Human Rights

Design relating to human rights most typically aims to promote the rights of humans, or more specific sectors of humanity - such as women or children. See example below:

OUGD503 - Responsive - Studio Brief 02 - Collaborative Partnership Contract

OUGD503 - Responsive - Collaborative Practice Aims & Motivations

Brief to be Undertaken: YCN - Greenall's Gin.
Collaborator: Alice Garrard (Illustration)

Motivations for Undertaking the Collaboration

• With an interested in British society, class, culture and history - the Greenall's Gin brief provides apt opportunity for the exploration of these fields. 
• Collaborating with another student who I do not know will force me to step out of my comfort zone and build confidence in engaging with other designers and people in general - personally and professionally. 
• Working with someone from another discipline will mean a more diverse range of ideas and outcomes can be created, outcomes that alone would not prosper with only my skill-set. It will be exciting to see what comes out of the collaboration including the artwork/style of another creative and the thoughts and ideologies that they input during the design process.

Methods of Communication  

I anticipate that communication between Alice and I will include face-to-face meetings, messaging and perhaps e-mailing.

Where possible I believe meetings in person will bring the best concepts, ideas and resolutions to fruition - with additional contact over messaging in between these to track progress and keep one another updated with personal contribution to the collaboratively curated outcome.

Meetings should take place at least once per week, with messaging in-between to track progress.

Member Skill-sets

Graphic Designer (Me) - The skills I provide are use of the adobe creative suite in addition to creative print finishing and methods.

Illustrator (Alice) - Clean illustration style.

OUGD505 - Leeds Public Spaces - Golden Acre Park

Golden Acre Park is a public park between Adel and Bramhope, Leeds. Administered by Leeds City Council, the park is on the  east side of the A660 Otley Road and covers an area of 137 acres. On the west side is a car park and Breary Marsh nature reserve, with a pedestrian tunnel under the road joining them to the main park. The Leeds Country Way passes through the park, while the Meanwood Valley Trail links the park to Woodhouse Moor (Hyde Park).


Opened as a privately run amusement park in 1932 with a miniature railway, swimming pool and boating lake, the park closed during the Second World War and was subsequently taken over by the Council in 1945.

The park has a lake with wildfowl, informal gardens, demonstration gardens, a special collection of heathers, as well as woodland and open spaces. The gardens contain the National Plant Collections of Lilac, Deutzia, Hosta and Hemerocallis.


The park is usually well kept all year round, with facilities including a cafe, benches, a bird feeding shelter and numerous picnic benches. 

Traditional Print Potential

This park is a location that my mum said she used to visit frequently when she was younger, though she didn't know about the amusement origins of the park. This is an interesting piece of information that could inform designs for a traditional print.

OUGD503 - Responsive - YCN: Greenall's Gin - Initial Research

Greenall's

Greenall’s is The Original London Dry Gin, handcrafted by Britain’s oldest gin distillers since 1761. One of the world’s most awarded gins, Greenall’s is particularly noted for superior quality and smooth taste. The brand was established by Thomas Dakin who set up the gin distillery in the heart of Warrington (a major stop-over destination for all thoroughfare heading from London to then North of the country) with the ambition of producing the smoothest gin and pioneering a new production process with the first ever use of the Coffey still to distil a more refined and accessible spirit.

Greenall’s are proud of their British roots, and the authenticity, heritage, and stories that have led them to become one of the UK’s favourite gin brands. They embody the classic British sense of humour: the perfect balance of being down to earth with a touch of irony. ‘Inviting and open-minded’ — Greenall’s want to welcome people their fun and spirited world of gin.

The Greenall’s product range is led by Greenall’s The Original, however also includes Greenall’s Wild Berry, Greenall’s Sloe and our innovative premixed cans in 5 different  flavours.

With over 250 years of authentic stories we still remain at the heart of everyday sociable drinking occasions. Greenall’s is the #2 standard gin in the UK and we’re enjoyed in over 200 countries. We’re a contemporary British classic – just as relevant today as we were back in 1761.

Gin

Juniper Berries

Gin is an alcoholic spirit with a distinct flavour derived from juniper berries. It is one of the broadest categories of spirits, represented by products of various origins, styles, and flavour profiles that all share juniper as a common ingredient.

Gin is the fastest growing spirit category in the world, with Britain drinking gin in record amounts during 2016, buying 40 million bottles in a spending spreethat has outstripped sales growth in beer and sparkling wine. Annual gin sales rose 16% to break through the 1 Billion barrier for the first time in the UK, leading the drink industry to declare 2016 the 'year of gin.'

Gin & Tonic, a trend that started in Spain (and then spread to the UK, the US, Australia and into the rest of Europe), is the drink of the moment. 

OUGD505 - Leeds Public Spaces - Otley Chevin Research

The Chevin is the name given to the ridge on the south side of Wharfedale in Leeds. Overlooking Otley, the Chevin has become synonymous with the market town, leading many to know the ridge as Otley Chevin.

Facts About The Chevin:

• The Chevin is largely covered in woodland and heathland.

• A Roman road ran along the top of the Chevin, part of the road that linked Eboracum (York), Calcaria(Tadcaster) and Olicana (Ilkley). This is perhaps on the same route as the modern road, Yorkgate, or perhaps about 800m to the south.

• The highest point of the Chevin, Surprise View, reaches 282 metres (925 ft) offering extensive views of Otley and Wharfedale.

• A cross has been erected at the top of The Chevin every Easter since 1969.

Recreation

Several formations of rock are distributed across the upper slopes of the Chevin, and are popular for climbing and bouldering. The Chevin also has a number of footpaths and bridlepaths, making it popular with walkers, runners and riders alike. Additionally, there is also an Orienteering course in the forest park, with maps available from the local tourist office. As a recreational area, the Chevin is divided in two by the East Chevin road.

Traditional Print Potential

While not in the city itself, The Chevin as a public space provides a number of design potentials, in particular the cross which has been erected at the top of The Chevin every Easter since 1969. 

OUGD505 - Product, Range & Distribution - Ethics & Sustainability in Graphic Design

Defining Ethics 

1. 'Moral principles that govern a person's behaviour or the conducting of an activity.'

2. 'The branch of knowledge that deals with moral principles.'

Do you think ethics are important in Graphic Design and Why? What must be considered?

• Yes, especially in practices such as advertising, marketing and promotion design.
• Cannot supply subliminal messages.
• Can't fuel consumerism.
• Can't target vulnerable audiences, old or young.
• Can't promote unethical products. e.g. cigarettes.
• Must be socially responsible.
• Must consider who you work for - not large companies with poor ethics.
• Perhaps partake in charity work. 

What defines 'good' in Graphic Design?

• Consideration of equality and diversity.
• Sustainable production (materials, method etc.)
• Copyrighting - crediting others efforts and contributions.
• Purpose driven work - work done for charities and good causes.
• Design that contributes to social progression.

What does ethical practice entail in Graphic Design? What principles?

• Honesty.
• Transparency.
• Charitable practices. 
• Taking social responsibility. 
• Sustainability. 

3 principles of ethical practice I would like to adopt:

'...what I have in mind is nurturing a crop of active-citizens - informed, concerned participants in society who happen to be graphic designers. [...] we must help them to clarify their personal values and give them the tools to recognise when it is appropriate to act on them.'

Katherine McCoy (in Heller [Ed]. 2003)

'...to device an ethical code for designers, one would do better to say: here are examples of what a responsible and well-intentioned designer might be like; go and do likewise.'

Anthony Grayling (in Roberts, 2003)

'Make it Honest. Make it relevant. Avoid hyperbole. Be respectful.'

Nancy Bernard (in Heller [Ed], 2003)

Defining Sustainability 

1. The ability to be maintained at a certain rate or level.

2. Avoidance of the depletion of natural resources in order to maintain an ecological balance.

Sustainability is:

• Social sustainability (people and societies)
• Economic sustainability (capital and growth)
• Environmental sustainability (the planet)

How does sustainability relate to ethics?

Sustainability may form a part of ethical practice because to consider affects on the environment in  design is a moral principle.

Eric Benson (in Sherin, 2008) - Best practices to design sustainably (considerations):

• Is this the best method to communicate the message?
• What is the impact of making this piece?
• How can we lessen the impact if we print the piece?
• Respect and care for the community.
• Improve the quality of life.
• Conserve earth’s vitality and diversity.
• Minimise the depletion of nonrenewable resources.
• Change personal attitudes and practices to keep with the planet’s carrying capacity.
• Design for re-use/longevity.
• Design cyclically, not linearly.
• Choose recycled/nontoxic materials.
• Minimise waste.
• Minimise ink coverage.
• Choose vendors that use renewable energy and employ socially equitable and environmentally friendly business practices.
• Educate consumers about the lifecycle issues through messaging/marketing.
• Encourage others to design sustainably.

How practical and achievable do you think this is?

In the current climate of print, this is much more achievable. Print, these days, is most typically used in bespoke projects from which the content/product would want to be kept and not thrown away. 

Notable Organisations

• Footprint, Leeds.
• Creative Concern, Manchester.
• Cast Iron Design, Boulder (USA)
• Re-nourish.

Sustainability Issue Mapping (in Roberts, 2003)

Rupert Bassett and Lynne Elvins developed an approach to sustainable practice planning, this being 'Sustainability issue mapping, in which a diagonal cross axis is used to represent 4 tenets of sustainability:

• Financial: 'Creating financially viable work focuses on the design issues that affect the costs of distribution and production. [...] But, if designers focus too much on cost cutting or profit making, the danger is that the results will be uninspiring and bland.'
• Social: 'The overall question posed by this agenda is whether the finished design benefits society as a whole.'
• Environmental: 'Environmentally responsible design is about considering the natural resources depleted in the production process.'
• Personal: 'Creating personally desirable design work is about fulfilling the dreams and desires of the individual consumer.'

This approach recognises that each project will posses different needs and potentials in sustainability, with items closer to the centre most important and recognising items can relate to more than one area of sustainability.

OUGD505 - Product Range Distribution - Brief Information & Interpretation

The Brief

Studio Brief 02, Product Range Distribution, requires the examination of graphic design outputs relating to social, political and ethical change. The aim of the brief should be to increase self- awareness of historical examples and contemporary practice that is both responsive and alleviating to issues experienced in the 21st Century.

Prior to one's own practical investigation, exploration and evidencing of the interrelationships between medium, message and distribution should be clear, leading to a body of research work that explores the connections between these concepts and their respective design responses.

The following personal practical and conceptual exploration of possible products, ranges and methods of distribution should be informed by self-preferred content that reflect personal ideologies, concerns and/or ambitions relevant to design practice.

Considerations

This brief is in two parts -

Part 1:  Development of a practical, visual and contextual investigation of a specific subject. Research from a range of primary and secondary sources should be carried out in order to fully explore the opportunities for informed creative development. Research and development will be presented as part of the interim concept pitch.

Part 2:  Consideration and development of a body of practical work that evidences both knowledge of an identified issue and demonstration of ability to tap into the market potential for socially, politically and ethically-driven design. The resolution(s) should still work within the broader creative and professional contexts of graphic design, however may be based on or around ideas of awareness or protest. Responses should explore the relationship between product range and methods/media of distribution as well as specific audiences, contexts and appropriate tone of voice.

Examples of potential deliverables include (but are not limited to):

• Materials relating to an issue-led campaign (this could be one affiliated to an established organisation or a more ‘guerilla’ approach).
• A poster series.
• A booklet/publication/manifesto.
• A web/digital platform.
• Placards, banners or a set of badges.
• A range of products or merchandise that communicate your identified core message.

Mandatory Requirements

• As defined by self-interpretation of the selected brief.
• In addition to the submission requirements for the briefs, evidence of the research, development and production of resolutions should be clear.
• Work should be documented through regular labelled posts to Studio Practice Blog.
• Correct labelling of work on blogger is essential.  Failure to organise work clearly will affect the assessment of your work. 
• The response to the  brief should be supported by a rationale and evaluation of work in relation to the initial brief.
• Contextual research, critical observations and reflective evaluations should be documented on the Studio Practice blog and summarised within reflective content that supports your design submission.

Deliverables 

• Resolutions & Products appropriate to selected brief(s).
• A minimum of 5 x A3 design boards/design sheets (submitted as PDFs) articulating the selected research development, resolution and contextualisation of work.
• Posts to Studio Practice blog demonstrating ability to effectively record, document and critically evaluate the progress of your work in relation to your own intentions and appropriate areas of contemporary creative practice.

Deadline

Module Submission: 18th MAY 2017 (14 weeks)

Interpretation

OUGD505 - Leeds Public Spaces - Brief Information & Interpretation

Studio Brief 01, Leeds Public spaces, requires the production of an A3 traditional print that is celebratory in its communication of an event that has occurred within the city. This event must be in the past, though there is no specific date as limitation or restriction; The event can have been recent, or dating back hundreds of years.

Some events that take place within Leeds' public spaces include, but are not limited to:

• Carnivals.
• Concerts.
• Markets.
• Exhibitions.
• Parades.
• Sports Events.
• Protests.
• Happenings.
• Flash Mobs.

The celebratory print should reflect the identity and character of the city, and that which has shaped it. The event that informs the print can have been organised or impromptu, but ultimately must be represented positively.

Considerations

Visual responses should be considered both literally and laterally, bringing together text and image. The techniques and processes chosen should be selected considering suitability in their representation of the given subject and their potentials to reflect, reinforce and enhance visual content.

Mandatory Requirements

Analogue A3 stock print, celebratory in nature, and suitable for public viewing.

A minimum of 5 x A3 design boards/design sheets (submitted as PDFs) articulating the selected research development, resolution and contextualisation of your work.

Deadlines

Physical Print Deadline / Interim Submission: 24th APRIL 2017 (11 weeks)

Module Submission: 18th MAY 2017 (14 weeks)

Interpretation

The prospect of producing an A3 traditional print in celebration of Leeds, its history and the events that have shaped it immediately excites me. With family connections to Leeds, it's a city I loved before coming to university here, and therefore being supplied with an outlet to celebrate it is a prospect I look forward to. As a city, Leeds is ever changing, ever developing and expanding. In the last decade alone the city has transformed with the addition of the Trinity shopping centre and Victoria Gate, gaining new-found recognition as the retail destination of the North. Equally as important as these new editions are the more historic moments captured by the city, and choosing between the recent additions and events of the past I anticipate will initially be a hard decision when establishing the print's context/visual content. The analogue methodology of creating the print provides me with the opportunity to showcase my favourability towards hand-crafted work with attention to detail, tactile quality and finishing.

OUGD503 - Responsive - Papyrus Line Drawing - Development

Following additional research into the stress- reducing powers of tea and confirmation of the drawing content thereafter, I decided to photograph a range of potential tea-related objects to feature within the outcome and provide initial shapes/forms to work with.

Objects included a glass teapot, tea-cup and saucer, milk jug and sugar bowl, all clear associations/accompaniments to tea. I planned to trace these images digitally to create the initial shapes for the drawing to establish compositional arrangement of key visual elements that could later be supplied with more intricate line work, patterns and or detailing.