OUGD502: Identifying Relevant Industry Professionals.

Featured below are creatives, studios and design agencies that I have identified as having relation to my practice in that the work they produce bears resemblance to the work I am interested in and wish to create myself as a designer.

Each identified party shows evidence of an interest in finishing, the tactile quality of design and/or contemporary luxury creation.

Pressision: Creative Print and Finishing.
Leeds.
London.
http://www.pressision.co.uk

G F Smith: Paper Stockists.
Hull.
London.
https://www.gfsmith.com

Mark + Fold: The Modern Stationer.
London.
http://markandfold.com

Studio Twig.
London.
http://www.studiotwig.com

ORO Design.
London.
http://www.orodesign.co.uk

Four-by-Two.
London.
Edinburgh.
http://www.four-by-two.com

Twelve Studio.
London.
http://twelve-studio.co.uk

Two Create.
London.
http://www.twocreate.co.uk

Monogram.
London.
http://www.monogramlondon.com

Only Studio
Leeds.
http://onlystudio.co.uk

Foiling and Embossing Workshop

Embossing/Debossing

Embossing and debossing are the processes of creating either raised or recessed relief images and designs in paper and other materials. An embossed pattern is raised against the background, while a debossed pattern is sunken into the surface of the material.

The Embossing Process

• Submerge stock in water for up to one minute depending on weight.
• Place stock between blotting paper.
• Rolling pin over the paper to remove excess moisture.
• Take stock and materials to etching press.
• Ensure there is a tissue paper base layer.
• Place materials on base layer in desired composition.
• Paper goes down over the top of materials.
• Supply more tissue paper on top as well as press blanket.
• Always use two hands when using the press.
• Put content through the press.
• Holt the wheel when passed through.
• Take embossed matter out of the press.

Points of Consideration

• Don't put thick wood through the press, nor metal. Always confirm eligible materials. 
• Always check before using hard materials.
• Laser cut shapes work really well
• Tissue paper is supplied between all elements as to not transfer char marks from laser-cut matter.

Foiling 

Foiling or foil stamping is the typically commercial printing process by which a metallic finish is applied to a solid surface via the application of a heated dye onto foil making it permanently adhere to the surface below leaving the design of the dye.

The industry standard process features large scale machinery and mechanical functionality to achieve perfectly foiled results. This process requires somewhat extensive manual set-up and can therefore be expensive - especially for a limited print run.

Not too dissimilar from the commercial process, foiled printed matter can also be achieved via the reaction between gold foil and laser-printed toner-pigment or printed Texiflock adhesive when introduced to a source of heat - such as a heat press or lamination device.

The Foiling Process (laser-print method)

• Using a laser-printer, print out design to be foiled in black. Any/all black information will be that which is foiled.
• Place foil shiny side up over design, ensuring total coverage.
• Sandwich design and foil between thick card/grey board.
• Place matter in heat press for 10 seconds.
• Remove design and leave to cool.
• Peel foil from design. 

The Foiling Process (Texiflock method)

• Using a textiles screen, prepare the screen by exposing design using laser printed matter following the screen preparation process.
• Screen print design using Texiflock as medium.
• Wait for texiflock to dry.
• Place foil shiny side up over design, ensuring total coverage.
• Sandwich design and foil between thick card/grey board.
• Place matter in heat press for 10 seconds.
• Remove design and leave to cool.
• Peel foil from design.

Having knowledge of these processes will undoubtedly allow for me to further my practice in that it provides me with additional finishes to consider when producing work. As my practice is ultimately concerned with luxury and how finishes can enhance visual appeal to high-end products and materials - adding these processes to my design arsenal will enable me to create more diverse resolutions and add further considered relevancy of outcomes.

Glug Leeds #7 - The Careers Clinic - Developing Leeds Talent Event

Rooting from a series of talks and informal networking strategy, Glug has become one of the most 'exciting, credible and well-attended' creative events there is to date. Started in 2007 as a small group  of friends having discussions in an East London pub, nine years later the event has become an international movement with events in 13 cities around the world. With 'a mission to champion creative communities around the world,' the movement aim to overcome the undervalued perception of the creative community via talks, collaboration and creative networking events.

For Glug Leeds #7, the focus was brought to Developing Leeds Talent, with talks from inspiring creatives:  Micheal C Place - founder/creative director of studio Build, Studio12, Alec Dudson of Intern Magazine, up and coming movement SheDoesDigital, Matt Essam of Creative Life, Matthew and Daniel Tweddle of Only Studio, and author of The Human Freelancer - Chris Kenworthy. 

Below are the pieces of advice, tips and messages of guidance given by each of the speakers regarding the creative industry and the development of talent/practice respectively. 


Micheal C Place of studio Build.

'Build is an award-winning creative agency with an international reputation for creating strong visual narratives. Utilising art direction and graphic design, we create brand identities, websites, packaging and books for design-led clients around the world.' 

Practicing graphic design, art direction, image making, moving image, and typography, Build specialise in creating visual communications for 'forward-thinking clients' in the creative sectors.

Some of Builds’ clients include Virgin America, Made.com, Getty Images and Nike, as well as a number of independent businesses, designer-makers, and events.

Notes:

• While producing work across a range of sectors is good, remember clients want to see sector specific work too.
• The work you do for smaller companies and individuals is more rewarding.
• Partner with experts in other fields - collaborate.
• Create a broad gamut of interesting work.
• Self imitated projects are important.
• A wide spectrum of work is healthy.
• Work in a small studio/team.

Studio12.

'Studio12 is an exemplary digital media initiative, that invests in the creative talents of disadvantaged young people (16-30) living in Leeds. Studio12 strives to provide young people with a creative process to educate, engage and include young people in producing new work. It provides free access to a production studio, training, accredited qualifications and an industry panel of creative professionals.'

Notes:

• You don't have to limit your creativity to whats directly around you.
• Know how hard you will work to make 'it' happen.
• Give people space to grow, learn and experiment.
• Experience from an industry mentor is great.
• If you want an education - go to the library.
• You have to work to a certain standard.
• Creativity can take different forms.
• Its important to nurture talent.
• Exploit your opportunities.
• Have vision.

Alec Dudson of Intern Magazine.

'Intern is a bi-annual independent print publication for and by the creative youth.'

The internationally sold publication provides a contemporary platform for the discussion of internships whilst showcasing the work of emerging young creatives for whom the subject is of critical importance. All output is either by or features the creative youth the magazine represents. All contributors are paid, a policy which is fundamental to the project, enabled by sponsors who invest and support equal opportunities in the creative industries.

Notes:

• You are the only person who sets the boundaries of your career.
• Young people are the future - to be invested in and empowered.
• The creative industry will lose people if it doesn't shape up.
• The hardest thing is deciding what you want to do.
• If you follow heard - the view doesn't change.
• Let passion and determination drive you.
• Focus energy on work you want to do.
• Do not underplay your value.
• You're (really) the boss.

Rose and Annie of She Does Digital.

'She does digital - encouraging women to pursue careers in digital.'

A group based in Leeds working in the community to showcase the amazing careers digital has to offer.

Notes:

• 'Please mind the gap' - gap in industry for digital skills and gender equality gap.
• Leeds needs to keep its graduates as the future of digital design talent.
• Leeds doesn't do enough to promote itself as a digital design capital.
• The demand for designers with digital skills exceeds the supply.
• Explore the issues and barriers to entry of the digital industry.
• Leeds needs to 'show off' as a city to raise its profile.
• Develop a network to learn and share ideas.
• Discover and showcase role models.
• Encourage digital skills.
• Educate and inspire.
• Be a role model.
• Take a chance.

Matt Essam of Creative Life.

'Creative life has a simple mission; to help creatives achieve a lifestyle they want by doing work they love. Founded on the belief that we are all creative and that our creative endeavours are part of what makes us human. The cliche of the poor struggling artist is one that should not apply in the 21st century and there are plenty of ways to make a good living by doing work you love. We believe that authentic creativity driven by passion and connection is extremely important in both society and culture but is something that not enough people do because they believe they cannot earn a living this way.'

Notes:

• Find ways to live your values within the parameters of your current situation.
• Consider the reasons why you want to do things before you do them.
• Change your perspective to identify what it is that you really want.
• Your practice should be driven by passion, purpose and value.
• Use your values to live an authentic creative life.
• Put your values first - this will lead to fulfilment.
• Practice authentic creativity.

Matthew and Daniel Tweddle of Only Studio.

'By better understanding who we are designing for, we create experiences of real value.' - Only.

Only is an award-winning strategy and design consultancy helping brands and organisations to innovate and grow via design. By forming close partnership with brands, the studio identify new ways  for their clients to connect with people. Their approach to design takes inspiration from real people and the way in which they interact with design, with an ultimate goal of the clarification of purpose and meaning.

The studio have clients in a range of sectors, including education, entertainment, luxury and also non-profit.

Notes:

• Have a thorough creative process.
• Maximise every opportunity.
• Share your passion.
• Be nice to people.
• Do good work.
• Be brave.

Chris Kenworthy author of The Human Freelancer. 

Chris Kenworthy is a freelance copyright and photographer based in Leeds. He is also the author of the book 'The Human Freelancer' in which he provides Self-help with emotional support for vulnerable individuals new to self-employment while sharing valuable insight from over 5 years of traumatic experience as a freelancer.

Notes:

• Earn a living doing what you do, honestly and responsibly. Make just enough to live sustainably then spend the rest of your time having fun. 
• No one really knows what they're doing, we're all just making it up as we go along.
• Write and talk positively about what you learn and do.
• There's no such thing as the right price.
• Know your limits, know yourself.
• There's no shame in small jobs.
• Always do a good, honest job.
• Relax; work always turns up.
• Business is based on trust.
• Its okay to be 'just' you.
• Do friendly favours.
• Get rid of your fear.

What's the Big Idea?

Today we explored idea generation and the elements that should be considered when in the preliminary stages of a project. In using the following points, ideas can be at their best:

• IDEA = Strategy / Concept / Proposal.

• 'Plant the Seed' - let ideas grow and develop naturally. Don't force ideas.

• Review the brief often.

• Don't stop or go off track - Remember what you're trying to achieve.

• Think product - what does you idea have the potential to be?

• Range - How big can you make it?

• Distribution - How can you get it out there?

• Engagement - How do you engage the target?

• Remember what you are being asked to produce.

• Be open-minded.

• Forget the budget.

• Advertisement & Promotion - How will you advertise/promote the idea and/or product?

• Don't think about the technicalities.

• Think about what you can do, not what you can't.

• Remember, everything is possible.

• Think differently.

• Go crazy.

• Go against trends - make something new.

• USP - What's the unique selling point?

• Strategy - Strategies can take the same message or idea and make it bigger and better.

Only Studio - Helbers Case Study

In 2015, Only were approached to create a brand identity for an up-and-coming fashion label.

The Brief

Helbers is the eponymous menswear label from Paul Helbers, the former Head of Menswear at Maison Margiela and ex Menswear Director at Louis Vuitton. The curated collection 'operates between fashion fantasy and lifestyle reality,' with each piece said to offer a feeling of unpolished elegance underlined by a subtle clash of contrasting fabrics with cross-generational appeal. 

The Approach

Only worked with Paul in creating a harmonious brand identity. The Helbers word-mark, set in a bespoke version of Meta Serif, represents balance between the two contrasting worlds of the contemporary the antiquarian. This being a reflection of the collection itself. Natural textures and quality materials are used throughout to capture the notion of care, craftsmanship and utility. Despite being a high-end luxury label, Only opted for an absence of ostentation to 'formulate an unprecious sense of appearance.'

Reception

Helbers AW16 collection won early acclaim and fans from buyers at Barneys, Mr. Porter and Matches Fashion. Helbers renewed his relationship with Only for his SS17 collection as the label continued to build a following. 

Print

Printed collateral for the brand follows suit in Only's endeavour to formulate an unprecious sense of appearance through fine attention to detail supplied through small centralised red lines on the pages of the inner-cover spread. These lines frame the heavily-cropped inner pages from above and below, and can be seen throughout as a result. A matte cool grey, red and white colour scheme and minimal layout make for a contemporary aesthetic with a cool, vibrant edge. Understated elegance is the truest sense. 

Digital

Only clearly identify the luxury sector as being aesthetic-driven, though replicating the finishes and attention to detail potentials of print is not so easy online. This is why the studio cite animations and details as the 'foil of the screen.' To achieve digital luxury, it is more about creating a user-experience through animation and transition. 

Helbers' digital presence appears minimal, understated and contemporary - in keeping with the brand identity and printed collateral.

The work produced by Only for Helbers' showcase new luxury potentials. The luxury consumer has evolved, and therefore design for this sector must also. The lack of grandeur and opulence here is a total contrast to what is typically considered as luxury, though the Helbers identity undoubtedly has a high-end feel on both online/digital platforms and in printed collateral. In the future, I may consider such an approach to luxury design in attempt to explore this emerging aesthetic. Attention to detail is the key to luxury design, and not necessarily extravagance in some cases.

Visiting Professional - Only Studio

Matt & Greg from Only Studio talk about their practice, design process and the misconceptions surrounding design for screen. 

Only is an award-winning strategy and design consultancy helping brands and organisations to innovate and grow via design. By forming close partnership with brands, the studio identify new ways  for their clients to connect with people. Their approach to design takes inspiration from real people and the way in which they interact with design, with an ultimate goal of the clarification of purpose and meaning.

'By better understanding who we are designing for, we create experiences of real value.' - Only.

The studio have clients in a range of sectors, including education, entertainment, luxury and also non-profit.

What is designing for screen?

The misconceptions:

• 'You need to be able to code.'
• 'Its not proper design.'
• 'It's boring.' 

Despite the common misconceptions regarding design for screen, as a practice designing for screen provides the first point of contact for the primary way of consuming brands and visual identity most typically. Designing for this platform allows for experiential and interactive resolutions to be provided to problems which require such a practice.

The need for such design is here to stay due to the ever-developing sector of technology and the demands that will be created as a result. Due to the nature of the sector, the environment is fast paced, exciting and provides endless opportunity.


The Design Process 

As a studio, Only see it that a thorough design process is essential to creating successful work. The process they undertake consists of the following:

• Phase 01: Research.
• Phase 02: Wire-framing.
• Phase 03: Design.
• Phase 04: Front End.

In addition to the above phases, the studio also describe the creation of an 'archetypal person' - an imagined identity or muse who embodies and represents the target they are trying to capture/reach. They believe target research is key to creating the best resolutions.

When designing for screen, Only consider and realise their design intensions across 4 screen sizes as to provide and ensure the target are not met with an inferior experience; The designs are produced to be at their optimum for each device. By considering how designs will work at both small and large scales, using devices as reference points, the assets can be tested for performance and accessibility.

Finally, Only detail that awareness of space is of vital importance when designing as to provide distinguished content in which elements can be identified as singular or grouped. This includes typography, for which legible line length is a key consideration - as well as communicating clearly in general. 

Clients of Only include Goldsmiths University, University of Suffolk, Lost Village festival, Bring me the Horizon (band), Bima (British Interactive Media Association) and Helbers - the new menswear label set up by previous head menswear designer at Louis Vuitton, Paul Helbers. 

The information and knowledge shared by Only will undoubtedly inform my developing practice through progression of my knowledge within the overarching field of design and therefore allowing me to start forming a more rounded view of the industry as a whole. While design for screen is not the sector in which I wish to specialise, the advice they have given regarding the importance of target audience research as just a part of a whole thorough design process can be applied to designing for any medium/format. The work the studio have carried out for Paul Helbers' brand sticks out to me, and therefore I plan to look in to this case study further.

OUGD502 - Visiting Professional - Harrison Park

I’m Trendy So What? Publication by Harrison Park

Manchester based graphic designer Harrison Park is Leeds College of Art BA (Hons) Graphic Design Alumni, currently working for independent design studio Studio DBD, Manchester, alongside freelance work.

Harrison presented a selection of his work before sharing things he has learnt from the experience he has gained since graduating and working in the creative/design industry. These things follow:

• Form professional relationships.
• Accept that sometimes, relationships won't workout.
• Nothing is going to be handed to you on a plate, you have to work for it.
• Work hard and be passionate.
• Sell yourself.
• Be flexible.
• If someone says jump, you jump.
• Don't be a dick.
• Don't be afraid to ask questions.
• Rejection happens.
• Stay true to yourself.
• Communicate.
• There's more to life than London.
• Think outside the box.
• Don't be afraid to say no to jobs.
• Know your morals - money or a good career?
• Be personal when contacting other practitioners.
• Be humble.

The advice given by Harrison is ultimately underpinned by the notion of remaining true to yourself, accepting the realities of everyday life and staying humble/kind as it is this approach that will aid self and professional development/success.

OUGD504 - Design Production - End of Module Evaluation

As the first module of the second year, I was initially apprehensive in the knowledge that with the beginning of level 05 came a higher level of expectation, from both tutors and myself. Having said that, as the module title suggests, the briefs' concerns with production excited me - as it is the making and crafting of works which motivates my practice and supplies much of the passion I have for design. In regard to studio brief 01, design for print, I was raring to go. In contrast, I was more reserved in enthusiasm, initially, for studio brief 02 as I had yet to have any formal experience in design for screen.

With the A-Z Type in Context summer brief leading directly in to studio brief 01, fortunately I had put myself in good stead following thorough preparation and planning, this making the initial stages of the design process much easier as a result of the already undertaken research and clear proposed direction. When carrying out the summer brief, I made sure that my efforts were considered. I wanted to ensure I was able to begin my journey in to the specialism of luxury practice and bespoke editorial design. This brief was the first to allow me to fully engage in the intricacies of design for print and establish my motives and intensions for my practice to follow. The publication I have produced, a Bond Street brand directory, is the first piece of work I have produced on the course (so far) that I am wholly proud of, as the first piece to showcase my desired design style. Production of the publication supplied further realisation that editorial design and production are major points of interest within my practice, revelling in binding, stock, format, size considerations and so on.

Design for screen initially provided me with moderate difficulties in deciding what to produce in response to studio brief 02, having never designed for screen in any professional context or taken an interest in the digital side of design. The lectures and seminars that introduced the subject and sector considerations provided me with new information and learning, ultimately progressing my knowledge within the overarching field of design and therefore allowing me to start forming a more rounded view of the industry as well as my own practice. In addition to my passion for graphic design is an equal passion for interior design and styling. Consideration of this culminated in to the form of the Style Library wallpaper visualiser app that I produced in response to the brief. The input from Only Studio and their advice in how to design luxury for screen in-part informed some of the design decisions used in the production of the app. While I enjoyed creating the app and believed in the concept behind it, the brief has allowed me to identify an indefinite preference for the physical - print, bespoke editorial and finishing capabilities.

The commercial considerations required for each brief respectively have undoubtedly allowed me to develop a more informed practice and brought progress to my preparation for industry and post-graduate practice after level 06.

Who Am I? Why Am I Here?

5 things learned so far on the programme:

• The importance in developing a range of distinct/varied ideas.
• A higher level of design theory and principles - especially typographic (typesetting, size etc.)
• Realising / fully establishing my own design style direction (luxury).
• How working in the industry will be like (multiple briefs).
• More developed ability in process technicalities.

5 things I want to know more about:

• Editorial design - more complex understanding.
• Available print finishes.
• Working in the design industry.
• Freelance work / working for yourself.
• Internships / placements.

5 skills considered as personal strengths:

• Perviously developed understanding of design principles and theory.
• Clear identification of my own style/desired design direction.
• Design skills - experience in a range of processes in print/finishes/binding etc.
• Comfort / experience in use of Adobe Creative suite.
• Ability in writing and professional written documentation of work.

5 things that you want to improve:

• Time management.
• Speaking/presenting in front of/to others.
• Equal effort put into all modules/brief as opposed to focusing on one and neglecting others.
• Knowledge on editorial design.
• Being less 'safe' and being able to 'let go' and be less restricted.

Identify 5 practitioners / companies that demonstrate your interest in Graphic Design:

• Craig Ward
• Maricor Maricar
• G F Smith (paper stocks).
• Pressision.
• ORO design.

Identify 5 websites/online resources that demonstrate your areas of interest within the creative industries:

• Its Nice That.
• Creative Bloq.
• Pinterest.
• Instagram.
• DIY tutorials.

OUGD502 - Level 4 Reflective Analysis

Throughout level 04 I felt restricted by the briefs as I believe they did not allow me the opportunity to design in my desired style as they had been curated to allow for everyone on the course to experience all aspects of design, though following two years of A-Level Graphic Design and a Foundation Diploma in Art & Design thereafter, I had already began to identify the sort of work I wanted to produce before starting the course. I missed the freedom of more open briefs that could be interpreted any which way I desired, and being able to select the outcomes' form/point of delivery. As a result of this, I didn't hold much confidence in the work I had produced in the first year - excluding my self branding in response to this module.

The above is not to say the first year of the course was not beneficial, nor that I didn't learn anything, because I without a doubt learnt a tremendous amount. I believe I started the course with a moderate foundation of knowledge, which allowed me to develop and progress without being overwhelmed by the abundance of new information and theory being delivered through the taught sessions, study tasks and lectures.

Presenting work last year is something I found extremely difficult. I easily become overwhelmed when faced with presenting to a group of people as a result of my lack of self confidence and reluctance to be seen. I anticipate that presenting will be something that I have to do much more throughout level 05, and therefore plan to try and develop my skills in this subject and coping mechanisms to relieve the anxiety I associate with the task.

Feedback received in relation to Personal & Professional practice last year detailed a greater engagement with the industry would have resulted in a higher grade. In level 05 I hope to achieve this through identification of emerging industry/sector news and attendance of events that are relevant to my practice.

At the end of last year, I was able to identify that my passion within graphic design is ultimately hand crafted, luxury pieces and perhaps most typically in an editorial setting. This year, I hope the work I produce will allow me to further identify and establish a practice predominantly concerned with the luxury sector and bespoke, crafted design. I had also identified through self-analysis that my self confidence and belief in myself as an individual and designer needed to be worked on. I hope that this year I will be able to build confidence, find progress in my abilities as a designer and produce portfolio-worthy pieces of work.

End of Module Self Evaluation

Throughout this module I feel I have become increasingly more aware of the type of designer I wish to be. Previously when quizzed about what sort of graphic design I had a preference for, I was never able to provide an answer. Having spent the last twenty-or-so weeks investigating the industry, where to source inspiration and creativity from and also trying to identify who I am as a designer, I have discovered that my passion within graphic design is ultimately hand crafted, luxury pieces and perhaps most typically in an editorial setting.

The practical work I have produced for this module is the work I am most proud of this year so far. This has been the first module where I have been able to truly design using my own style and feel that it has also been the most enjoyable. It has allowed me to discover new things about the industry, my practice, and also me as a person.

I hope to be able to progress and develop my self branding further over the summer and establish my practice outside of university, as I have come to learn that it is this that generally acts as motivation for all other aspects of life.

Though there have been times I have struggled in this Module regarding analysing myself and who I am, I feel it has benefited me greatly to have had no choice other than to face what I would usually avoid. Although I still feel the amount of pressure I put on myself to achieve is wrong, I am slowly beginning to accept that you cannot be your absolute best one-hundred percent of the time.

The personal development I have experienced this year so far alone makes me optimistic about where PPP will take me over the next two years of the course.

Studio Brief 03 - Design Strategy Presentation Slides and Notes

• Graphic Design A-Level - Everything for Purpose and Target.
• Self-written briefs.
• Johannes Itten’s Preliminary Course (Bauhaus).
• Foundation at LCA.
• Introduction to new mind set, design wise.
• Introduction to new processes (screen print/mono print/letterpress/lino).

• Coming from Vernon Street - Thought I was prepared.
• Thought I would have Studio Notebook / Critical Journal / Reflective Planner.
• Blogging was unexpected.
• Did feel benefits of having done A-Level/Foundation.

• Have enjoyed learning the technicalities of design.
• Learnt György Kepes’ language of vision, Gestalt theories of visual perception, and the basics of typography previously.
• Has been good to expand and add to my existing knowledge.
• Grids.
• Type sizes.
• Kerning.
• Orphans and Widows. 

• Throughout the course so far — feedback on work has been that it’s ‘too obvious.’
• Have been fighting with myself to try and understand why it’s a problem.
• Realisation that literal work isn't a negative, it’s my style within my practice.
• Don’t like over-conceptualised work.
• Feel design should speak for itself.
• Need to become an expert in creating clear work, using principles and rules. 

• Jessica Hische - Hand Lettering style.
• Javier Jaen - playful approach to design.
• Maricor Maricar - attention to detail and alternative process (embroidering).
• Sagmeister and Walsh - Sleek, contemporary and sophisticated edge present in all work.
• Craig Ward - Literal, typographic visual representations and advice in Popular lies…

• Preference for alternative approaches, strategy, production, finishing methods. Pin pricks, embodiment, marbling, foiling. 
• Want to produce beautifully crafted pieces of design. 
• Like a hands on approach, hand made pieces. 

• Considering specialism in editorial design.
• Provides greater possibility for potential to use more hands-on approach.
• So many considerations that make significant difference (finish, stock, binding , etc.)
• Tangible, crafted outcome with books. 
• Ability to explore and interact with design decision.
• More scope for using rules and principles (grids for example).

• Struggled to generate ideas, don’t like things concerning myself.
• Asked people for their thoughts — had to be sophisticated, dignified and gold.
• Had discussion with Penny from list I made. 
• “Not Just for Show” came out of discussion.
• Encapsulated all that I wanted to communicate.
• Representative of me.
• Tongue and cheek publication. Exaggerated / grandiloquent.
• Screen printed. 
• Gold, blue and ivory colour scheme — classy. Gmund Treasury Beauty / Accent Smooth Ivory.
• Georgia, serif typeface — dignified and traditional.

• Generating specific ideas and articulating them clearly through writing.
• Able to document my practice through the written word effectively and thoroughly.
• Opens possibility for dialogue to be made with design studios because of professional tone of voice.

• Feel like I have failed if I don't make everything perfect.
• Affects all aspects of my life.
• Too much pressure on myself.
• Affects time management.
• Affects motivation.
• Also need to develop better lateral thinking/idea production.

• Extend visual language of self branding to website and establish practice/online presence.
• Finish interior projects at home.
• Practise skills I want to explore and become more proficient in, ready for second year.

Self Branding Final Resolutions and Evaluation

The 'Not Just For Show' self branding I have created stems from a concept that addresses my love of exquisitely crafted pieces and traditional style, which has allowed me to produce a beautifully hand-produced resolution that explains both who I am and what my practice is concerned with. The resolutions capture not only my particular practice-style, but also who I am as a person. The pieces perfectly reflect my aspirational, mature and civilised demeanour, meanwhile signifying the luxurious, high-class attention to detail I love to create.

Through critique feedback I was able to discover that my name in origin actually means 'Crown.'
This piece of information provided me with the perfect symbol of luxury, class and craftsmanship. The crown symbol enhances the message of my self branding by immediately establishing a 'regal' aesthetic that represents my aspirational personality and also preference for luxury branding.

By producing a small publication, I was able to delve into considerations regarding editorial design, relevant to me as a designer as it is this specific area I am considering a specialism in for the second year of the course. This publication format allowed for me to produce something tangible that can be explored with craftsmanship evident throughout.

I also had the opportunity explore English language and playfully poke fun at myself via overly eloquent lexis before showing that the work I produce actually aims to surpass purely aesthetic intentions to meet specific purpose - to reflect that the pieces I create are 'Not Just For Show.'

All typographic information featured on/within the self branding pieces are communicated through Georgia Regular to maintain cohesion and establish and consistent visual language. Designed in 1993 by Matthew Carter, this serif font appears elegant but legible - even when printed small or on low-resolution screens. This, and the typeface's total visual clarity as a result of its reduced contrast and thickened serifs, made the type ideal in conjunction with the process of screen printing.

Inside my small, A5 self branding publication I have feature a tongue and cheek mockery of myself and my extreme passion for luxury branding and craftsmanship, that is before establishing that I am infact serious about my practice and that its 'Not Just For Show.' The book will features only one inserted page within the cover, providing engagement with only two single A5 pages parallel to the front and back cover, and an A4 double page spread in the middle.

The double page spread within simply reads 'Not Just for Show,' spanning across the A4 sheet at a 120 point size to simply reiterate the brand slogan to those who view the publication and make it a memorable statement for myself and what my practice stands for.

Pages 1 and 4 feature two differentiating bodies of text. The first page featuring a grandiloquent body of type which has an aim of initially capturing the attention of the viewer, before proving clarity once the last page has been read - which documents my genuine feelings towards my practice.

All passages of text have been placed within set margins and a 3mm bleed in order to ensure even spacing around the type and to give the publication as a whole some diversity as the information moves from top to bottom across the pages. Type on pages 1 and 4 is set at 12 point - a standard sizing for body type. The standard setting of the type on these pages, caps for starts of sentences - lower case for all else - makes for ease of readability for those who's gaze is on the book.

The colour palette of my self branding includes deep royal blue, metallic gold and ivory - all of which work harmoniously together in establishing a traditional, regal aesthetic.

The publication, and business cards, are wholly hand produced via the method of screen print and binding, for which I have used gold elasticated thread for maximum strength. This instills the resolutions with an enhanced appreciation for the craft movement and its considered finish.