Self Branding Typeface Selection

In order to create a luxurious, regal and traditional aesthetic throughout my self branding, I have opted to explore serif typefaces. The decorative embellishment provided by serifs will enhance and ensure a higher-class visual language is achieved. I have also decided to feature the cover's content in all caps, as to create a distinct, authoritative sense of importance. Below I will explore a range of serif typefaces before selecting the most suitable for purpose.

Baskerville Regular

Designed in 1757 by John Baskerville in Birmingham, England, Baskerville is classified as a transitional serif typeface. In comparison to earlier typeface designs, Baskerville has increased contrast between thick and thin strokes, making the serifs sharper and more tapered, as well as a shifted axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form. Baskerville's typefaces remain very popular in book design.

Times New Roman Regular

Times New Roman, created in 1931, is a Serif Monotype creation, used in The Times news paper.  The typeface is still frequently used in book typography. Due to the adoption in Microsoft products,

it has become one of the most widely used typefaces in history due to its legibility and directness. The typeface itself has lasted the test of time in that its purpose was built for physical print and still prominent in modern day digital print design.  The Times is still a strong standing and prominent paper in British Culture. 

Georgia Regular

Georgia, designed in 1993 by Matthew Carter, is a serif typeface designed for Microsoft. It was intended as a serif font that would appear elegant but legible printed small or on low-resolution screens. As a transitional serif design, Georgia shows a number of traditional features of 'rational' serif typefaces from around the early 19th century, such as alternating thick and thin strokes, ball terminals, and a vertical axis. Georgia was designed for clarity on a computer monitor even at small sizes: it features a large x-height (tall lower-case letters) and its thin strokes are thicker than would be common on a typeface designed for display use or the higher resolution of print.  

Big Caslon Medium

Designed by William Calson in the early 18th century, this typeface is part of a group of serif typefaces. With short Ascenders and Descenders, this specific typeface has the purpose of fitting more characters on a page whilst at at the same time leaving sufficient blank space for aesthetics and eligibility. The italic form has a rhythmic calligraphic stroke that makes it easier to read when in a body of text. There is a moderately high contrast amongst the letterforms; this gives the typeface a formal identity. The italic P, Q, V, W and Z all have suggestion of a swash giving the font a hand-rendered feel.

The typeface I have decided to select for the publication is Georgia Regular. Out of all the typefaces, it is the only typeface to maintain total visual clarity as a result of its reduced contrast and thickened serifs. These qualities also make the typeface more eligible for the screen printing  process as the serifs are heavy enough to be picked up through the thread count, even at smaller point sizes.

G. F. Smith Samples Order (Cover)

Today a samples ordered I made of a range of various gold/metallic and blue papers for the potential cover of my self branding publication arrived from G. F. Smith. I ordered from various collection and in a number of weights in order to explore which would be most effective and suitable for purpose.

Below are images of the ordered papers correlating to the above order list:

When I ordered the samples I anticipated I would struggle making the selection for the cover of my small self branding publication, however upon arrival, one paper stood out above all others. Gmund Treasury Beauty 310gsm was not only the most expensive-looking stock, but it also features deep royal blue on the other side - something I was un-aware of when ordering the samples. It's heavy gsm makes in an ideal cover stock, whilst its double sided property means a cleaner, more professional 'regal' looking aesthetic can be achieved.

I believe this will be the cover stock I use when screen printing once designs have been produced and refined to completion.

OUGD405 - Design Process - End of Module Self Evaluation

In retrospect, considering the work I have produced for both studio brief 01, Way-finding, and studio brief 02, Information Design, I feel my confidence and capabilities in design have progressed significantly since starting the course. I haver found myself looking at aspects of design in a new light since being informed on more expert theory, such as theorem on line length, typographic sizing, type setting and analysis. It has been throughout this module that I have recognised and been consciously aware of new skills in analysis and understanding of design that I have developed. Though at times I have felt overwhelmed with balancing modules, my determination to progress further has enabled me to complete the studio briefs, having produced works that I feel have met the requirement ands expectations of both tutors and myself. The module has introduced me to a more comprehensive design process which ultimately brings more considered, relevant and effective resolutions to fruition via specification and more in-depth investigations into visual language and communication of the formal elements of design.

Though I have noticed progression in my practice since the first module, I am concerned that I will not be able to achieve the same, if not a higher, mark than that given for the previous module (70%).
My concerns regard a lack of different distinct ideas for both studio briefs, and also my designs-in-context mock-ups were not of the standard I wish I could have achieved as I could not render the artwork in the way in which we were shown in the supporting workshop. Achieving anything less than 70% to me will be taken as a failure due to my high expectations of myself.

Maricor Maricar

Maricor/Maricar is a twin sized studio specialising in hand embroidered illustration and lettering for use in publishing and advertising. They also direct for stop motion animation, hand craft props and design custom lettering in a variety of mediums.

I have been following the studio since I discovered them whilst on my foundation course. I find their work uplifting, playful and exciting. The way in which they bring together custom lettering with an alternative, hand-produced technique really inspires me. The care and delicacy evident in each and every one of their tactile works instills each piece with an unparalleled energy. The idea of combining traditional practice with a unique, less-common process (in this particular field) provides a feeling of specialty and exclusivity to their work. 

In my own practice in the future I wish to explore hand-produced resolutions much more experimentally, as I believe they provide an extra dimension to work that cannot be parallel by purely digital produce.

Compositional Consideration Sketches for Publication Cover

By producing a small publication for my self branding, as suggested in critique, I am able to produce something tangible that can be explored with evident craftsmanship. Applying the 'Not Just For Show' concept to the format of a small publication will further enrich the resolutions relevance

to me as a designer as of my consideration of a specialism in editorial design in the second 

year of the course.

Below I have sketched potential compositional layouts for the cover of the publication considering the featuring of a crown symbol, the title 'Not Just For Show' and my name. These will act as a point of reference when I begin to create the physical designs for the cover. 

Selected Concept and Research

The 'Not Just For Show' concept addresses my love of exquisitely crafted pieces and traditional style, allowing me to produce a beautifully hand-produced resolution that explains who I am and what my practice is about. I will have the opportunity explore language and playfully poke fun at myself via overly eloquent lexis before showing that the work I produce aims to surpass purely aesthetic intentions to meet specific purpose - to reflect that the pieces I create are 'Not Just For Show' but are concerned with craftsmanship and aspiration. Colour palettes could include rich blue, gold, white/off-whites. Following a critique it has been suggested that a screen-printed resolution would enable me to produce a professional, luxurious hand-crafted piece whilst being able to generate multiple copies quickly and effectively.

Feedback from the critique detailed that a small publication format would fit in well with the concept.  This would allow for me to produce something tangible that can be explored and its craftsmanship evident.

It was also suggested in the critique that my self branding should have a 'regal' aesthetic. During exploration into this suggestion, I discovered that my name in origin actually means 'Crown.'

Having discovered this piece of information, I have been provided with the perfect symbol to signify luxury, class and craftsmanship. A crown symbol will enhance the message of my self branding by immediately establishing a 'regal' aesthetic that represents my aspirational personality and also preference for luxury branding. On top of this, it is a symbol relevant to me as of its association to my given name and its origins. Applying this concept to the format of a small publication would further enrich the resolutions relevance to me as a designer as I am considering a specialism in editorial design in the second year of the course.

Studio Twig

Studio Twig is a London based design studio.They create design for luxury retail and lifestyle brands, both large and small. 

The studio work with clients to create brands that people can believe in, establishing identities and visual experiences to differentiate their work. Studio Twig are a part of the entire process - from art direction to packaging, web design to editorial, and concept to interiors, as well as visual merchandising. 

The work this studio produce is instilled with a level of contemporary luxury and style that I greatly admire and aspire to creating myself. The involvement this studio has with the projects its develops is so extensive, going as far as to delve into interiors also. Another of my passions is in fact interiors, and I love the idea of creating entire identities - from the way the building looks from the outside, the interior layout and decoration and also the branding and all that entails and is applicable to. In an ideal world, Studio Twig is the kind of design studio I would like to work for - or set up my own concerned with the same breadth of practices.

Concept Manifestos & Critique

Following the initial exploration into four different concepts/ideas for my self branding through the medium of mind maps, below are refined manifestos for each which will be followed by a critique.

Concept 1: Let me be your cup of tea...

Using the shared, stereotypical love for tea experienced by the British - this concept uses the idea of the beverage as a utility for creating appeal and relation to a range of people, in design agencies, who can decide whether or not I'm 'their cup of tea.' Professional images of afternoon tea could help to create a luxurious connotation, whilst visuals of tea-cups/mugs, teapots, teaspoons etc. could become part of a whole visual identity. Potential 'giveaway' items could include a teabag, a mug, a coaster or tea-biscuits. Colours may include browns/beiges and/or patriotic British colours (Blue, white, 
and red.)

Concept 2: Take a walk in my shoes...

Considering my preference for smarter, more traditional shoes above trainers, this concept represents my traditional outlook and smart style whilst providing opportunity for the shoes to act as metaphors for me, with the viewer of the self branding getting to know me by 'taking a walk in my shoes.' The shoes features would create a traditional, smart aesthetic alongside a mature, limited colour palette of white, black, brown, tan, beige and perhaps blue. Potential for giveaway to be a shoe box.

Concept 3: Order/Structure

A more aesthetically driven concept, my personality and design style would be represented through minimalist designs featuring grids, arrows and boxes signifying my interest in the principles/rules of design as well and the order I like to keep things in my life. Clean, clear and cohesive lines would exhibit my ambition for perfection and order whilst also acting as the 'structure' of my identity. Colours palette would be monochrome, perhaps with additions of limited colour or metallics.

Concept 4: Not Just For Show

This concept addresses my love of exquisitely crafted pieces and traditional style, allowing me to produce a beautifully hand-produced resolution that explains who I am and what my practice is about. I have the opportunity explore language and playfully poke fun at myself via overly eloquent lexis before showing that the work I produce aims to surpass purely aesthetic intentions to meet specific purpose - to reflect that the pieces I create are 'Not Just For Show' but are concerned with craftsmanship and aspiration. Colour palettes could include rich blue, gold, white/off-whites.

Critique Questions and Feedback

Which concept do you feel best represents both me as an individual and my creative practice? Why?

• 100% concept 4. It just sounds very you and you seemed to speak about it most passionately.
• I really like the shoe idea and I know you love tea too, but I think concept 4 is the most you.
• Either concept 2 or 4, I can't decide which but they would both effectively communicate you.
• I think the tea concept has been done before, so I'd go with 4.
• I like the idea of the grids and lines because you are always very composed. Concept 3.

Which processes do you believe would most practically achieve a luxurious professional finish? Why?

• Screen print using metallic medium. You can quickly make multiple resolutions and it will have a sleek finish.
• Screen print, because you've got experience doing it.
• Yes I agree, screen print.
• Screen print or embossing.
• Its depends on the stock and designs you produce.

Any further suggestions / things you feel would enhance the concept?

• Just make sure you craft it exceptionally well.
• I think you should make it look really regal. Something fit for the queen.
• The concept lends itself to be featured as a small publication.  

Initial Idea / Concept Generation

To begin generating starting points for potential ideas/concepts for my self branding, I started by producing a list of things I like and things that are associated with me with help from friends who know me.

Shortlisting this list down into four separate, distinct directions that could potentially be explored is the next step in beginning to form more considered concepts that can then be evaluated to find the direction with the most potential and relevancy to me and my practice. Exploration into these options will begin in the form of mind-maps.



















Concept 1





































Concept 2

Concept 3







































Concept 4

Who am I / Who do I want to be as a designer?

Before beginning to generate ideas and concepts for studio brief 02, Self Branding, I want to collate, consider and contemplate some of the things I have discovered about myself and my practice through Personal and Professional Practice so far in an attempt to ensure the resolution I produce is suitable in its representation of who I am as a person and my ambitions as a designer.

Who am I as a Person?

• Civilised 
• Mature
• Ambitious
• Aspirational 
• Style-conscious (smart)
• Polite
• Clean and Tidy
• Traditional 
• Old-soul
• Impulsive 

Who am I as a Designer?

• Minimalist + statement / flare
• Luxury
• High Class
• Attention to Detail
• Hand crafted processes
• Literally driven
• Interested in principles/rules
• Finishes
• Love for screen print
• Drawn to Gold 
• Editorial design?

By referring back to these adjectives throughout the design process, I will be able to promptly evaluate the success of any explored resolutions against these characteristics to ensure suitability to myself/my practice is achieved.

ORO Design

ORO Design is a boutique brand consultancy for luxury brands located in the heart of London. Creative Director Debi Ani founded the company over 20 years ago, with the consultancy producing 'exquisite and distinctive graphic design' in print and also on screen.

ORO clients come from 'all walks of life.' Intuition and enduring style are the main sources of recognition for the company as they are passionate about making the everyday 'unique and pleasurable.' Offering inventive resources for all aspects of business, big or small.

The consultancy work within a strict framework, however don't consider their practice entirely linear. At ORO Design, 'creating gold' is what the clients have come to value and expect, which they achieve through threading together ideas and concepts.

ORO's style is defined by their rigorous approach to their practice, which they 'redefine' each time they speak to a new client. They've created print, websites and branding for some of the highest profile celebrities and names in the worlds of fashion and design. 

Services offered by ORO include:

• Bespoke Typography
• Brand Consulting
• Book Design
• Brochure Design
• Brand Naming
• Brand Strategy
• Content Creation
• Copywriting 
• Logo Design
• Luxury Branding
• Marketing Materials
• Packaging
• Print Buying
• Print Production
• Stationery Design
• Web Design and Development

This boutique brand consultancy's specialism in luxury and 'making the everyday unique' resonates with myself as I too want to produce crafted, luxurious design that is recognised above all for its attention to detail. It is ORO's approach to design that I want my own practice to reflect also. The work they produced features numerous finishing processes, such as foiling, embossing, de-bossing, and wax sealing - all of which represent the additional elements that can transform a design into something much more distinguished and sophisticated. 

ORO Design is the type of studio I would love to spend time at for experience, or even aspire to work for in the future due to the alignment of our aspirations to go above and beyond.