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. 

OUGD505 - Leeds Public Spaces - Lino Printing

Today I attempted to produce my Victoria Gate celebration of Leeds' textile heritage lino print, however, from start to finish the process was a disaster. Not one of the prints I produced was a worthy standard to be exhibited, with all of them tarnished in one way or another.

Feedback received regarding the print detailed that the design was perhaps trying to capture to much, was too complex and was in need of being paired back to only one or two elements.

Following this, I plan to simplify my design and will instead be screen printing the final resolution. This methodology will supply clear, precise lines that better reflect the clean structural lines of Victoria Gate and the high end-quality required in appropriate representation of the architecture.

OUGD503 - Responsive - Project Report

In the beginning, the notion of the Responsive module was immediately daunting. Finding  a range of briefs that I wanted to work proved difficult initially, and the pressure and expectation of the completion of 4 briefs weighed heavy. Previous to the module my ability to work on multiple briefs simultaneously had needed much improvement, with inevitable neglect on the briefs I felt most pressure from. With responsive, I anticipated this to be exacerbated as a result of the multiple submission dates and deadlines to consider, from the competitions themselves to academic, and the additional pressure of the competitive nature of the projects. All this considered, to my surprise I have thoroughly enjoyed the module and am proud of each of the resolutions to the four respective briefs that I have undertaken. Though at times it has been stressful, the module has supplied me with the framework and opportunity to develop my time management skills, understanding of commercial expectations, the student design awards industry and my own professionalism in regard to the fulfilment of brief requirements and timescales. Additionally, the module provided me with my first real experience of collaborative practice. The briefs I have undertaken include YCN - UK Greetings, Papyrus’ call for an adult colouring page, the Penguin Student Design Award for Adult Fiction cover design of Harper Lee’s ‘To Kill a Mockingbird’ and finally YCN - Greenall’s Gin.

The first brief I encountered was YCN’s UK Greetings brief, calling for designers to create their own range of greeting cards and gift dressings. This brief immediately captured my attention as I love nicely designed greetings material and stationary; I knew instantly that this brief would be rewarding to me and my practice. Throughout my experience of university thus far, I have felt the need to produce serious, professional work in-keeping with my luxury-sector ambitions for the future. Through the UK Greetings brief I was provided with the opportunity to create work that was more playful — an indefinite change from other work produced throughout my journey as a design student so far. The collection I created, ‘British Biscuit Luxe,’ enabled me to design a collection that I am immensely proud of. The brief enabled me to ‘let go’ to some extent, and resulted in work that was still true to my luxury practice, though not as serious as previous works and was perhaps much more rewarding as a result. I enjoyed the entirety of the process of undertaking this brief, from initial research, idea generation, development to production and photography of the outcomes. In the future I believe I will find it easier to produce works that bring my style into question and take me out of my comfort zone without overthinking my practice — this thanks to the experience of the UK Greetings brief. Although it took me a little while longer than expected to create the collection, I believe the outcomes are of a high-standard as a result.

Next I produced an adult colouring book style line drawing, creating a visual representation of something that helps me feel calm and relaxed. This brief, set by the national charity for the prevention of young suicide — Papyrus — provided the opportunity to undertake a smaller brief with greater reward supplied from knowledge that the design was for a worthy cause. I wanted to complete the brief within a more restricted time frame to develop my ability in faster response to briefs, giving myself only a week to produce the drawing. Though I took just shy of two weeks to complete the brief/drawing as of other commitments and distractions, it has allowed me to identify that this is still an area I need to work on and will endeavour to do so in my future practice. Although my drawing was not selected to feature in Papyrus’ adult colouring book, I enjoyed producing the drawing and feel it would make for an enjoyable session of adult colouring-in. 

Following this, despite initial reluctancy to undertake the brief, I responded to Penguin’s Adult Fiction cover design brief. While my interest within design lies with editorial design, at first the brief did not inspire my practice for reasons unbeknownst to myself. Ultimately, I reconsidered the opportunity to design for Penguin as a result of the calibre of the publishing house and its contribution to the design industry. I selected Harper Lee’s ‘To Kill a Mockingbird’ as I had encountered the book previously and therefore had the greatest understanding of this title in contrast to the other two options. With this brief, I was determined to complete the project within a short time frame, still searching for the gratification that I was capable of doing so following my shortcoming in regard to the Papyrus line drawing. This time, I was able to complete the cover design even faster than I had anticipated, taking only three days of intensive practice. The project showed me that if you fully commit yourself to something, results can be achieved quickly and professionally — this being a skill I aim to try and develop further after the rewarding nature of the experience. While I am pleased with the outcome I created, this brief allowed me to identify that I much prefer design entire publications as opposed to stand-alone covers.

Lastly came the collaborative brief to undertake, for which I had YCN’s Greenall’s Gin in mind as it provided the opportunity to create something ‘quintessentially British’ — this being a notion I enjoy. When the collaborative brief was first delivered, I was immediately nervous about the prospect of finding a partner from another course to collaborate with as I find meeting new people difficult. After meeting Alice Garrard following the presentation of work from level 05 graphic designers, animators and illustrators I felt relieved to have found someone who seemingly shared the same enthusiasm for the brief and had a design style similar to my own — citing clean and considered design as a commonality between our practices. Alice and I planned to try and meet once-per-week to ensure we kept each other updated and involved in one another’s part in undertaking the brief. Where this was not possible, emails and messages took place of face-to-face meetings. The approach we took to collaboration was to each produce work relevant to our subject areas and practices — meaning Alice was responsible for all illustrative work and I was responsible for layout, packaging and other graphic design endeavours. The illustration Alice produced served as the foundation for all campaign items, becoming the core visual identity of the collection. With-out it I would not have been able to realise the concept on my own, showing how much collaborative efforts can impact a project and the outcomes produced as a result.  Through working with Alice, together we were able to achieve more than we could have through working alone, whilst also producing a response that would not have come to fruition via solo efforts. The collaboration allowed for our different specialisms and skills to be used in harmony to create a Greenall’s Street party campaign. Despite pre-conceptions regarding the apparent difficulties many face in collaborative partnerships, I found undertaking the project with Alice a pleasure and has majorly changed my confidence in producing work collaboratively in the future. Collaboration does not have to mean all work has to be produced together, but is more about the sharing of ideas, feedback and discussions that inform design practice and result in resolutions that both/all parties are proud to have contributed to — which I believe both Alice and myself are in regard to the Greenall’s work we have submitted to YCN.

The body of work that the Responsive module has allowed me to create has unquestionably forced me to develop as a designer, attaining greater awareness of the commercial  initiatives of the design industry and the importance in taking a professional mindset to any and all projects in the future. I have developed skills, knowledge and confidence through this module and in retrospect have enjoyed the experience as a whole. The work I have produced is true to my practice aims and ambitions and I look forward to responding to more live externally set briefs in level 06 and my potential/hopeful career in design thereafter.

OUGD505 - Product, Range & Distribution - Manifestos

A manifesto is a published verbal declaration from an individual, group, political party or government of their intentions, motives, or views. Most typically a manifesto takes on a previously published opinion or public consensus and uses this to promote a new idea with suggested changes the creator believes should be made.

Society's most familiar type of manifesto will be that of political parties' intensions and plans for the government, distributed during the run up to the election to communicate favourable policies and therefore gain support and votes from the nation.

In the creative world, one of the most famed manifestos is the 'First Things First' manifesto by British designer Ken Garland, written 29th November 1963 and published in 1964. Backed by over 400 graphic designers and artists, the manifesto also received the backing of radical left-wing MP and activist Tony Benn, who subsequently published the manifesto in its entirety in The Guardian newspaper.

The manifesto was written in response to the rich and affluent Britain of the 1960s, and attempted to re-radicalise a design industry which many designers felt had uncritical and lazy. A revolt against the consumerist culture purely concerned with buying and selling, its aim was to promote a humanist dimension to graphic design theory, reaffirming the belief that design is not a neutral, value-free commodity.

Later updated and republished as the 'First Things First 2000' manifesto by Adbusters magazine in 1999, the updated version's aim was to generate discussion about the graphic design profession's priorities - and while some designers welcomed this attempt to reopen the debate, others rejected the manifesto.

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.

OUGD505 - Product, Range & Distribution - Breaking the Class Ceiling

After the detailed enquiry made by the All-Party Parliamentary Group following shocking statistics on social mobility, here I found more developed strategies from their report in breaking the class ceiling:

• The government should develop a national social mobility strategy, linking the work of schools, universities and employers to build a real business case and practical plan for improving social mobility. 
• Employers should be judged on their how successfully they promote social mobility in their organisation in the same way as is currently done for protected characteristics.
• The government should ban unpaid internships. After at most one month, interns should be paid the National (or London) Living Wage.
• Employers need to review their work experience policies to ensure access is fair and transparent, ensuring that all internships are publicly advertised to allow a more diverse range of candidates to apply.
• Building on the success of the BRIT School in London, other schools and colleges should encourage young people to develop their skills in creative pursuits, regardless of background.
• More support needs to be given to local arts groups to promote and stimulate interest in the medium, possibly through the use of pupil premium.
• Political parties should seek to have a minimum of 50% of candidates from the local area when drawing up shortlists for Parliamentary seats.

These proposals could help Britain to finally break the class ceiling and ensure that people from all different backgrounds and levels of class have the chance to fulfil their potential. 

OUGD505 - Product, Range & Distribution - The Class Ceiling

http://www.telegraph.co.uk/women/womens-business/11984171/The-class-ceiling-is-worse-than-the-glass-ceiling-ever-was.html

In the above article, written by now-self employed writer and broadcaster, Louise Cooper recalls her struggle to break through the 'class ceiling' following class discrimination starting at the age of 17 when she applied to university through a sponsorship programme only to be rejected for seemingly acting 'above her station,' as the saying goes.

She cites that while much has been written about the glass ceiling for women and unequal pay - the class ceiling is just as big an issue, for her - even bigger. New research has uncovered the existence of a 'class-origin pay gap' of around £7,350 a year in highly prized jobs such as law, medicine and finance, with the academics behind the study suggesting that class still casts a 'long shadow' over the life chances of those from less privileged backgrounds.

Experiencing more discrimination throughout her journey to where she is now, with plenty of shame, embarrassment and humiliation along the way, Cooper highlights the social injustices inflicted as a result of the class system.

Most interestingly to me in the article, is her identification of ambition and determination as the reason for her success in achieving her goals, and how she wishes to inspire others like her to 'kick the doors down, rip up the rule book and keep fighting.' It shows that with the right mind-set, class prejudice does not have to dictate our successes.

OUGD505 - Product, Range, Distribution - Social Mobility Research

Mobility stands for shift, change and movement, be this change of a place or from one position to another. 

Social mobility is the shift, change or movement from one social position or status to another. This can be movement of individuals, families, households, or other categories of people within or between layers or tiers in an open system of social stratification. Open stratification systems are those in which at least some value is given to achieved status characteristics in a society, with both downward or upward direction potentials.

Types of Mobility

• Movement up or down the social hierarchy is called vertical social mobility.
• Movement between two equally ranked social positions is called horizontal mobility.
• Intra-Generational mobility (within a generation) is defined as change in social status over a single lifetime.
• Inter-Generational mobility means that one generation changes its social status in contrast to preceding generation. 
• Absolute mobility measures whether and by how much living standards in a society have increased, often measured by what percentage of people have higher incomes than their parents.
• Relative mobility refers to how likely children are to move from their parents' place in the social hierarchy.
• Occupational mobility means to change from one occupation to another, with social mobility affected as a result.

Factors of Social Mobility

There are many factors which facilitate social mobility, including but not necessarily limited to the following:

Motivation

Individuals have a desire to not only experience a better way of living, but also wants to improve social standing. In an open system it is possible to achieve any status, motivating people to work hard and improve upon the skills so that they can attain higher social status. Without motivation and effort on the part of the individual social mobility is impossible.

Achievement & Failure

Achievement attracts the attention of a wider public to the abilities of a person, though not all achievements may result in upward social mobility. Achievements only affect status if they are significant. Failures have a similar effect, but on downward mobility. 

Education

Education not only helps an individual to acquire knowledge, but is also a key factor in occupational position. It is only after receiving the minimum formal education that an individual can aspire to occupy higher positions. In the modern industrial society, education is basic requirement for statuse to be achieved.

Skills and Training

Society makes provision to teach skills and training to the younger generation. The reason for which being that society gives incentives as a result. For example, when training is completed, access to progression is enabled to higher positions (and therefore economic reward) which are considered better than those positions which are attainable without need for development. Skills and training make for upwards social mobility potentials.

Migration

People migrate from one place to another as one location may not have the opportunities and facilities for development and improvement. For example, one may move from rural country to the city where there are more opportunities.

While these factors may enhance social mobility potentials, classism and prejudice against the lower-strata demographic can make it difficult for these people to achieve upward mobility.

APPG Report on Social Mobility

In January 2017, the All-Party Parliamentary Group published their report 'The Class Ceiling: Increasing Access to the Leading Professions' on Social Mobility.

This report summarised the APPG’s inquiry on access into leading professions, which explored how to increase access to professions such as law by people from disadvantaged backgrounds.

The APPG recommended that:

• A strategic approach to social mobility should be developed.
• Financial barriers to accessing the professions should be minimised.
• Recruitment practices should be fair and transparent.
• Careers advice for young people needs to be significantly improved.
• Encouragement should be given to people to develop skills that are keenly sought after by employers.

OUGD505 - Product, Range & Distribution - The Guardian View on Social Mobility: The Class Ceiling

https://www.theguardian.com/commentisfree/2017/jan/26/the-guardian-view-on-social-mobility-the-class-ceiling

The above article, published by The Guardian, voices their view on 'the class ceiling.' It makes note of the fact that British politicians have failed to pay much attention to the effect that social background has on persons from the lower, working classes in their attempt to move upwards in endeavours of social mobility. 

It recognises the collective desire of many in Britain for a society that is fair and rewarding based on merit, where everyone has a similar chance of health and happiness - regardless of location within the country. It also identifies that while the government and those who have come before time and time again have declared intentions of working towards this ambition, there are no signs of this being achieved.

The Guardian detail a trend among policymakers to think less about poverty, and more about social mobility - allowing for progress to be measured through the opportunities made available as a result of the open system social mobility provides. However, research shows a large discrepancy between hiring of individuals with parents from a working class backgrounds and the pay they receive in work thereafter in comparison to those with higher-class parentage and who's jobs are considered more professional. This identifying a 'class ceiling.'

With success being granted only in part for merit, as put by the Guardian,  'it is clear that something else is in play.' With ignorance of the class system in politics since the early 1990s, indirect discrimination has evidently become a trend in society - and it is perhaps time that the class system and its effects are given serious consideration.

OUGD505 - Leeds Public Spaces - Lino Cutting

Having decided to step out of my comfort zone and try my hand at limo-cutting for the A3 traditional print and attempt to reflect the carved concrete of the John Lewis facade, below are the cut/carved pieces:

I found the lino-cutting harder than I had anticipated I would, not being able to achieve totally straight lines and at times going totally off-course. Additionally, I could not provide the lino with my intended amount of detail, meaning that the print may not be as I had hoped. Despite this, I intent to carry on with this method to gage the results.