OUGD603: End of Module Evaluation

In preparation of Level 06, over the summer I devised the briefs I would be undertaking over the course of the final year. I was most excited to work on projects I had complete creative control over, concerned with subjects that interested me and inspire me, creatively, such as interior decoration, creative print and finishing, and english language. I wrote briefs that aimed to solve problems which I encounter and experience as an individual, though I knew undoubtedly were shared notions. Feeling prepared in respect of the extended practice module, I held focus on Context of Practice until this module was submitted. It immediately dawned on me following the submission of COP that the list of briefs I had put together were much too ambitious, with more than half being books — something I now know are much more time consuming than I had anticipated when devising the original brief list, and therefore had to sacrifice some of the other briefs I had planned to undertake. 

The first brief I completed was for the Student Starpack Awards, in collaboration with Shelley Huang, also on the course and additionally whom I live with. This made the project a pleasure to undertake as we had constant contact to discuss, develop and design a set of 3 luxury tea tins for a fictitious brand. It allowed us to bring our individual passions and specialisms for design together — Shelley as a packaging and pattern enthusiast, and myself as a designer wishing to work within the luxury sector in branding. Our art-deco inspired resolution to the brief, ‘Raritea’ has been shortlisted in the awards. This brief took longer than we had expected as we really wanted to ensure it was the best it could possibly be, motivated by a potential £500 prize.

Next, I re-opened professional connections I had made during second year through Personal & Professional Practice with paper merchant G . F Smith, printers Pressision & hot foil suppliers Foilco. This brief supplied me with the opportunity to have my first experience having a project professionally printed, this being ‘Printerview’ — an ‘in-coversation’ style publication discussing the power of creative print and finishing within the design industry and the companies themselves. As a subject which is a personal passion, it was greatly exciting to be working on this in such a capacity. Though I am most pleased with the outcome, this brief also led to my first time having to compromise on a more ambitious resolution due to budget and time constraints. It was also at times stressful and time-consumptive due to problems with missing type files and the multiple attempts trying to resolve the issue via email. 

My research-led brief to provide interior decorators with a more functional, considered and informative means of choosing colours for schemes within the home was, as I expected, one of my most enjoyable briefs. I learnt a great deal through my research about the subject, and in doing so was able to produce what I believe is a much more immersive, creative and considered approach to choosing paint through ‘new’ brand ‘House of Theobald.’ This brief was by far the most comprehensive and time-consuming, though was a real labour of love (I would not have cut out 100 paint-brush shaped swatches by hand in any other circumstance). 

A most personal brief, ‘The Dan-Air Diaries’  allowed me to work on another book, this time with my Mum as a client. A former air stewardess of the airline, the book reveals what life was truly like working for Dan-Air during the early 80s-90s. It was great to work on a project that clearly brought her so much joy in revisiting the memories and sharing them with me, and I believe will be a stand-out portfolio piece due to the personal nature of the publication. The only negative to this project was that there was at times some difficulty in ensuring that had all that I needed to produce the book and its content in a timely fashion — it is an odd reversal to be the ‘nagger’ and not the nagged.

The fastest brief I have undertaken this year was a live brief for Olivia Valentine, a graphic design student at Leeds University about to graduate and in need of an identity and business cards ‘ASAP.’ Though completed over only a couple of days, it was good to work on something slightly lighter after having slogged away at three publications consecutively. The resolution was something of a departure from my typical style, though was good practice for the future in not always having  the luxury of designing as you would for yourself. The identity was underpinned by a strong concept that reflected both Olivia and her practice through a location-pin symbol representative of the journey we designers take when working on a project — with a start and end. 

Undoubtedly the least enjoyable, and most stressful, brief I have undertaken this year is the identity, business cards and look-book for London-based fashion designer, Louise Jessup. Something of a ‘nightmare client,’ this live-brief truly demonstrated how difficult it can be to be reliant on client to send the necessary and required content to complete their work. Though this is an ongoing project that was always going to be close to the submission deadline due to Louise’s course schedule and upcoming deadlines of her own, it has been difficult to maintain contact and keep the project progressing — though I am sure the experience will be the first of many similar situations and therefore beneficial to my experience as a designer. 

While working completely independently and self-responsibly throughout the year has been a significant change, and a shock to the system, I have enjoyed the freedom to focus on my work and follow my own instincts. Though not the most comprehensive list of briefs, the projects I have undertaken have most notably taught me that designing and producing books is a process that isn’t fast, nor the easiest of endeavours. They require a great deal of thought and planning, from the initial proposal of a publication to the end of physical production — though is most rewarding when complete. I have also discovered that branding is something I really enjoy working on having done more this year than ever before, whether for individuals, fictitious brands or publications. With minor exceptions, I have thoroughly enjoyed the module and the work I have produced throughout it and look forward to life post-graduation hopefully as a full-time designer. 

Louise Jessup: Look Book

The ‘Rose Tinted Gaze’ look book for Louise Jessup is a simple 4 page showcase of the images from her collection photoshoot.

Louise’s logo sits at the bottom of the image, intersecting the image. This represents both the fluidity of the word mark, as well as Louise’s garments. 

The collection name, ‘Rose Tinted Gaze’ sits below the image and Louise’s word mark, with increased tracking -representational of an expanse of consciousness/dream like state as captured in the images. This is set in typeface Times New Roman, consistent with the use of this on her business cards.

The inner-covers are solid colour (Pantone 493 C), creating cohesion throughout the short look book.

The look book, simply saddle stitched due to the short amount of content, has been printed on 300gsm gloss card-stock. The gloss finish of the look book hints at the glamour of Louise’s collection and her inspiration taken from dreams of the opulent 1920s.s

Louise Jessup: Business Cards

The business cards produced for Louise Jessup feature her illustrative, authentic, and fluid identity on the front, immediately affirming her practice as a fashion designer to those whom she provides them too.

On the back are Louise’s details, set in all-caps Times New Roman at Louise’s request to form cohesion with her portfolio boards. This side of the card featured a rose-pink background, in support and representation of her ‘Rose Tinted Gaze’ graduate collection, and forming cohesion with the tones featured in her sketches on the front of the card.

Louise Jessup: Collection Photographs

The business cards produced for Louise Jessup feature her illustrative, authentic, and fluid identity on the front, immediately affirming her practice as a fashion designer to those whom she provides them too.

On the back are Louise’s details, set in all-caps Times New Roman at Louise’s request to form cohesion with her portfolio boards. This side of the card featured a rose-pink background, in support and representation of her ‘Rose Tinted Gaze’ graduate collection, and forming cohesion with the tones featured in her sketches on the front of the card. 

Louise Jessup: Identity

The signature-style word-mark created for Louise Jessup, similarly to the garments of her ‘Rose Tinted Gaze’ graduate collection test pieces, is light and free-flowing.

The fluidity of the word mark subtly hints and Louise’s garments and style as a fashion designer. The hand-written quality of the type gives the impression of authenticity, which is important to her as a designer about to enter the industry. This also ensures her identity will stand out, as it is bespoke and personal to her. 

Placed behind the word mark is an image of Louise’s sketches for her graduate collection. These support and enhance the handwritten quality of her signature, and represent first and foremost her practice as a fashion designer. This illustrative style is something Louise is very much fond of. 

Dan-Air Diaries: Evaluation & Photographs

‘The Dan-Air Diaries: Secrets from behind the Galley Curtain’ documents the memories and experiences of former airline stewardess Julia Burton, who worked for the airline from 1984—1992, giving insight into the lives of the airline’s very own ‘trolley dollies’ and it’s operations. From flight-pay to partying, the book is an honest and sincere retrospective view of life working for what was once Britain’s largest independent airline.

The name of the book establishes the content and context of the book, alluding to the revelations made by Julia Burton regarding life as a stewardess for Dan-Air, far removed from the job role as it is today. 

The visual language of the book - from the consistent blue, red and white colour scheme and cover design, to use of typeface Clarendon -  is directly informed by the identity and printed collateral of Dan-Air, such as staff newsletter ‘Flightline’ and in-flight magazine ‘In Flight,’ as well as the context of the airline as a UK founded and based operation. The book uses this visual language to present a diary-style aesthetic through dated/titled ‘entries’ and the feature of 

candid photographs.

Even the smallest details of the publication, such as the dividing double-line on the cover and small plane glyph featured between the book name and page numbers in the running footer, have been implemented considering all that ‘is’ Dan-Air - the latter in particular inspired by the airline’s word mark hyphen (also a plane glyph). 

The project has been guided by author of the book, Julia Burton, who happens to be my Mum. The overtly personal nature of the project, for both her and myself, provide me with a stand-out piece for my portfolio which is specific to me

as an individual, and designer.

- 

Olivia Valentine: Brand Identity & Business Card

The visual identity for Leeds based graphic designer Olivia Valentine is a clean, modern and simple resolution which represents her both as an individual and as a designer. 

The logo bears Olivia’s full name, set in sans-serif, subtly rounded type face Omnes, in all-caps for a strong, modern and clean aesthetic that doesn’t feel sharp or aggressive. 

Set flush-left on two lines (first name with surname underneath), the initials of her name align themselves to suggest a visual akin to a location pin-drop, as found on location/mapping services. This is representative of Olivia’s ideology that the design process is a journey, that both she and her clients go on, with a starting point and ending point. Another interpretation is that this symbol subtly hints at the passion Olivia has for the city of Leeds, as a location. 

With the added copy ‘design starts here,’ notably in the context of her business cards, the location pin symbolises to clients that the first meeting between them is the start of (potential) collaboration/the provision of design services, which start with her as a designer. 

The addition of the colour yellow used to enhance and further suggest the location-pin through a shape which sits within the ‘V’ of her surname and surrounds the ‘O’ of her first name represents the bold use of colour in Olivia’s work, as well as her happy, positive demeanour.

As a whole, the identity captures Olivia’s personality, distinct style as a designer and professional methodology through a bold, modern and effectively simple resolution that appears both strong and clean, similarly to the work of her practice

Olivia Valentine: Symbol Development Part II

Following the initial symbol sketches for Olivia’s accompanying symbol, I re-created some of the symbols, those with greater potential, within Adobe Illustrator to achieve vector graphics with clean lines and greater form. This provided me with a clearer view of which symbols/concepts were potentially successful following digital production, and those which were not.

Upon sharing the digital symbol development with Olivia, she identified the following two symbols/concepts as those she liked best and thought represented an aspect of her practice/personality:

A tick (V) within a circle (O), representing Olivia’s ability to get the job done as a highly motivated individual.

A location pin suggested by an O above a V, representative of both Olivia’s passion for Leeds, as well as the design ‘journey’ she takes on the design process with 

her clients.

Olivia noted that while she felt the tick symbol looked more like a logo at this stage, she preferred the location/pin drop concept and what it represented to and about her.

Olivia Valentine: Symbol Development

In addition to a word mark, Olivia also requested a symbol to accompany her name. I sketched a range of potential symbols, using 

Olivia’s initials, OV. 

Some of the sketches were simple monograms combining the two letters, while others were more abstract, using shape, negative space and repetition of letters.

From these sketches, I was able to begin thinking of how these symbols may represent 

Olivia and her practice. Ideas included:

A tick (V) within a circle (O), representing Olivia’s ability to get the job done as a highly motivated individual.

A abstract, pie-chart inspired symbol representing Olivia’s passion for info-graphic design and her work with those in the financial sector.

An O suggested via a ring of Vs, creating a sun-burst style symbol representing Olivia’s positive, happy demeanour.

An extra bold, rounded V suggestive of instead a love-heart, taking inspiration from Olivia’s surname, Valentine.

A location pin suggested by an O above a V, representative of both Olivia’s passion for Leeds, as well as the design ‘journey’ she takes on the design process with her clients.

Olivia Valentine: Typographic Exploration

In first establishing a typeface for Olivia’s identity, I considered her request for a modern, simple aesthetic that was also strong and clean, but not sharp.

I explored a range of upper-case, sans-serif typefaces, specifically those with subtly softer edges and strokes, based on geometric form for a clean aesthetic. 

From the typefaces explored, Olivia favoured Omnes Regular. 

Designed by Joshua Darden of Darden Studio, a Brooklyn (NY) based type studio, the typeface is rounded, though is ‘neither overly mannered nor excessively literal in its approach.’ Out of the 6 typefaces identified, Omnes has a slightly heavier, bolder weight of line.

Olivia Valentine: Research - Work

Olivia’s most recent projects have focused on bringing her two creative passions together:creative info-graphic design and book design, alongside poster design also. 

The work Olivia produces has a very modern, clean aesthetic, though she does not shy away from bold use of colour or more expressive methods of communication where appropriate. Though she utilises print, her style appears distinctly 

digital. Olivia is also most passionate about the city of Leeds.

Mapping our Emotions: Leeds Locations

Olivia started this project started by looking at the idea of mapping something that was not physical: our emotions, thoughts or experiences. 

The final books are compromised of 3 sections, ‘Their Emotions’ which focuses on an overall view of the place, ‘Our Emotions’ which looks at a group of peoples’ individual views on said place, and ‘Your Emotions,’ an interactive element that allowed the user to put their own feelings into the book using sliders.  The 3 books focus on 3 different locations in Leeds. 

A project centred around Elland Road Football Stadium in Leeds, looking at the journey of one man from boyhood to adulthood to fatherhood, and how the club affected him at different stages of his life. 

Taking a mainly light hearted approach, the book uses creative info-graphics to show significant events, such as getting to the club or getting home, the chants and the songs, and the all the food.

A New Approach for a New Audience

Hyde Park Picture House is an old gas-lit cinema in Headingly, Leeds that primarily caters to students and young couples. 

The picture house wanted to target families as a place for them to visit. Olivia designed a set of posters to fit with their existing branding, incorporating light humour by turning everyday family scenarios into advertising that families can 

relate to. 

Olivia Valentine: Brief

Client / Background

Olivia Valentine is a graphic designer and creative based in Leeds. While there is no particular specialism to her practice in regard to output, Olivia applies a bold, modern style to her work, which includes info-graphic design, event branding and collateral, as well as posters, books, flyers and invites. Olivia believes the design process is a journey, on which she and the people she works with are on together.

She has produced work for the likes of North Lincolnshire Council, Leeds City Council, The National Children’s Literacy Trust, and NewLife Church. 

Job Description

About to graduate The University of Leeds’ Graphic & Communication Design (BA Hons) programme, Olivia now requires a visual identity and business cards in preparation for her entry into industry. The identity must be modern and simple, but feature bold use of colour. It is important to her that it is ‘Strong & clean, but not sharp.’

Target Audience 

Olivia’s target client-base are those in the education, financial and public sectors. This may apply to larger corporate agencies, or smaller, more independent firms. She works closely with these clients to ensure any and all outcomes reflect their morals and values (those which she aligns herself with also).

Deliverables

A visual identity and business cards for Graphic Designer Olivia Valentine.

Louise Jessup: Hand-drawn Variations

Following Louise’s request for a hand-written identity, I used the handwriting samples she supplied me with to produce a hand-written, signature-style resolution.

I achieved this using a wacom drawing tablet to trace her writing, free hand, before adjusting the anchor points and re-shaping the paths made in Adobe Illustrator.

Following this, I explored different line / ‘pen’ styles, from which Louise favoured a 1 pt. oval brush with a stroke of 10.

Print Interview: Printerview Evaluation & Photographs

‘Printerview’ is a publication exploring and in celebration of the past, present and future of creative print and finishing, as well as the companies who supply to the industry and work to keep the sector alive. 

Culminating a series of interviews conducted over a 3 month period in 2017, the publication brings together Northern voices from Hull-based paper merchant G . F Smith (Ben Watkinson, Jane Crowther), Leeds based commercial and creative printers Pressision (Ian Cavanagh), and supplier of hot stamping foils, Foilco (Andrew Cottam). Together, they present a full view of the community within the sector and how perspectives have changed over time, and will continue to do so.Revealing the shared thoughts of those in the sector, on subjects from the supposed death of print to designers taking rites of passage in London, the content within the publication is insightful, honest and personal.

Utilising the products and services these industry professionals provide, ‘Printerview’ is evidence of the creative potentials of print and the supporting practices of those who continue to keep the industry thriving. A holographic-foiled Pale Grey cover opens to reveal a further 8 shades of vibrant G . F Smith Colorpan papers, dividing the content, and printed on using the latest in print technology - the HP Indigio - with both black and white ink respectively. This method of print supports the context of the publication as a creative piece of print which identifies the print industry’s present and future potentials - as well as its relationship with digital technology.

My first experience having a project professionally printed, the publication has not only enabled me to form professional relationships with industry practitioners, but has also provided me with knowledge regarding the preparation of files for print, making compromise due to limited budget, and approving proofs before print.