Literal Designer

Having experienced negative feedback regarding the un-originality and predictability of my outcomes   throughout the course thus far and struggled to come to terms with this, I have reached a turning point today. I have realised that the practice I want as my own is that of work that is literal - work that uses clear, definite concept that is easily, quickly and effectively understood by the given target. Though I appreciate the thinking behind conceptualised ideas, for me, producing work that has to be thoroughly explained and deconstructed to gain general understanding is not for me. Admittedly I do need to become much better at thinking laterally to develop broader ranges of distinctly different concepts and ideas, however that is not to say that I have to lose my identity as a designer. I believe it is extremely possible for me to significantly develop my skills in concept generation whilst still producing work that will ultimately do what to me design is all about: communicating a message to a specific target to meet a considered purpose. Suitability for purpose and target will always be at the forefront of my design thinkings. What I must do is become an expert in producing these types of works, using the principles of the field perfectly whilst finding ways to innovatively develop my practice of this nature.

Studio Visit - Lord Whitney

Lord Whitney Studio Space

Lord Whitney, founded in 2010 by duo Amy Lord and Rebekah Whitney, is a studio focused on Creative Direction, set design and art direction -  though the pair consider themselves as 'connoisseurs of make believe.'

They work on a multitude of projects spanning across different platforms and sectors, including film, advertising and television, editorial, fashion, music and also their own personal practice.

The girls met a Leeds Metropolitan University, now Leeds Beckett, whilst studying a graphic art and design course. A week before graduating in 2006, they were introduced to each other whereafter they began to develop their practice, initially in a larger collective, before establishing Lord Whitney years later. Though they admit they didn't immediately catch their big break straight out of university, their passion for creativity has ultimately lead them to huge success - working for clients including Cartier, Chambord, Vogue, Nicki Minaj and Hunger TV.

Lord Whitney's style is distinctly playful, immersive, innovative and captures strong attention to detail.

During an intimate studio visit, Amy and Rebekah spoke on their journey from university to now - providing insight and advice that was really reassuring to hear at a time when the pressure of university is beginning to take its toll.

Things I learnt from the studio visit:

• Always stay true to your style and who you are as a designer. Do what makes you happy as much as possible.

• You have to put yourself out there.

• Self initiated work will get you work, whilst driving your practice as a whole. Fund what you love doing personal work with the money you get from commercial briefs. Always develop.

• Its fine to change what you do and what you want. You don't have to be certain of what you want to do. Follow your instincts.

• Collaborate. Take inspiration from the people around you. Make and keep contacts. 

• There are people who want to be creative, and people who need to be creative.

• It is important to challenge yourself both during and after university. You have to do everything you possibly can to get what you want and where you want to be.

• Say yes to EVERYTHING, work out how later. You can never have enough experience and you have to take advantage of all the opportunities that come your way.

• Be a sponge. Take in everything that is going on in the world around you, not just from your specialist area, from everywhere. Future your creativity. 

Amy and Rebekah's talk was of great benefit to me personally. It was inspirational, reassuring and insightful. They were so down to earth, genuine and have relieved some of my anxieties concerning the future. The things I learned from the visit will stay with me throughout my time on this course and beyond.

Tea and Talks - Interview with Natasha Chan

Today I was interviewed by Natasha Chan for her 'Tea and Talks' project, in which she invites conversation with other creatives over a cup of tea to discuss life as a creative and the university/design practice experience. Below is my interview with her.

Why did you chose to study at Leeds College of Art?

"I chose to study at LCA primarily because I had done the foundation there last year and knew that it was the highest ranked independent art college in the UK. And also because it was close to home."

What was the jump like from foundation to first year?

"I think that I wasn’t expecting to go into it fully prepared, but I was expecting to go in more prepared than I was having done the foundation at the establishment but the only thing they have in common is that you are in everyday. Nothing else is the same, like the structure and such."

What are three things you have learned from being at University?

"A lot more about practical theory such as the kerning and using only 2 point sizes on a page - I've really expanded my knowledge in the principles of design.

How to document work in a blog form.

The importance of self awareness (PPP)."

What have you enjoyed the most since being at University?

"I enjoyed the summer brief a lot."

Why?

"I loved the summer brief because I've quite liked type for some time now and I also feel that I was able to do what I wanted and I could show my specific style - the briefs in the first year don’t allow the flexibility I would want having already kind-of gaged the style of work I want to create already. But I knew first year would be a lot more diverse and explorative."

What is your favourite thing to do in Leeds?

"Shop, go for afternoon tea. I quite like Roundhay Park as well, when I get the chance to go."

Was University what you expected it to be?

"From my experience on the foundationI was prepared for a studio notebook, critical journal and reflective planner. I was not prepared to blog. Get prepared to blog if you choose this course."

What has the biggest struggle of University been so far?

"Making friends was pretty difficult for me just because I’m quite shy and don’t initiate friendships well. I feel like people judge me straight away."

How did you overcome this?

"I had to give myself time and try to include myself in conversation and try be nice to everyone. I just tried to be myself and allow myself time to become comfortable with people."

What is the best piece of advice you have ever been given?

My graphics tutor at A-Level was an amazing woman, and she always used to say "Panic is bullshit. It's so true, panicking literally gets young-where."

What advice would you give to people?

"Take things task by task. Don’t overwhelm yourself and don’t compare yourself to others."

The interview in context/original platform can be found here: http://teaandtalks.tumblr.com/post/139917901872/talk-stephen-dale

Blue Books - Mick Welbourn Exhibition

Today I attended Mick Melbourne's 'Blue Books' exhibition in The Wild Pansy Press Project Space in The School of Fine Art, History of Art and Cultural Studies, Old Mining Building, University of Leeds.

'Mick Welbourn often makes work about swimming pools.
These swimming pool works are often blue.
Much of his work that is not about swimming pools is also blue.
People often mistakenly think that this work is also about swimming pools.
These blue books are not about swimming pools.'

 The series of pictures that contribute to Welbourn's Blue Books originate from experimentation and production of numerous mono prints developed by himself. The work serves no particular purpose, bust instead satisfies Welbourn's curiosity and interest in the process itself and the distinctive qualities  that can result from this basic printing technique.

When considering how to progress the work beyond a random collection of printed outcomes, Welbourn made the decision to edit, manipulate and order the images - employing the formal structure of the folio and codex in creating a linear sequence that is afforded by the books.

Printed from the exact same colour of ink, the work featured in the blue books functions as a complete body of work - as opposed to disconnected, individual publications - and thus allows for them to be displayed together as a 'surface' rather than singular units.





After attending Mick Melbourne's exhibition, I realised that some of the most interesting creative work doesn't need to meet a purpose. You can create work to satisfy curiosities, explore interests and create for the sake of creating - which is something I have struggled to even contemplate previously. Though the exhibition was small, its impact has been big on my thoughts regarding practice for the sake of practice.

The Future of Hand-made Design

Today I came across an article on Creative Bloq looking into the the future of handmade design. The piece picks up on the resurgence in the design industry of a more hands-on approach to designing thanks to a love of craft and physical materials experienced by many.

This resurgence comes from what some may consider a rebellion against the mass-produced, machine-made and digitally rendered works that became popular as a result of the modernist movement. Handmade processes and aesthetics are said to have been making a comeback to the design industry for a decade or so thanks to the imperfect, tactile and subjective qualities made by using our hands. 

A reversal to a certain degree of modernism’s sterility – the  tangible, humanistic quality of the hand-crafted sits alongside a new wave of technology that cedes control and ingenuity back in the hands of the individual. Visual styles based on screenprint, letterpress, papercraft, woodblock print, embroidery and hand-drawn lettering are becoming more and more prominent in branding and advertising - once again becoming a mainstream aesthetic.

Stefan Sagmeister, who has been at the forefront of the humanistic approach to design since the 1990's, says of the return hand-made design:

“With the advent of modernism, everything became machine-made, be it in architecture, products or graphics. This made a lot of sense in the 1920s when there was a need to get rid of ornamentation in order to reflect the cultural climate. As this machine-made ‘objective’ direction has now been the status quo for almost 100 years, a more human, handmade, subjective, natural approach is the more effective way to communicate.”

I resonate with this article significantly as my ambitions to develop more personally invested, crafted and exquisite work develops. Though I love the entire design process, I believe it is the finishes supplied to pieces that can either make or break them, in terms of effectiveness and statement. 
There is something about handling the work you produce that is missing, to me, when
creating via digital platforms. I hope the handmade market continues to flourish and
become even more distinct within the industry.

Preparation for Screen Print (Digital Positives)

With the publication designs complete, the individual pages can now be prepared for the screen print process by turning the designs into digital positives (laser jet printed monotone images). These are exhibited below:

I have also decided to screen print some business cards featuring the same visual language as the 'Not Just For Show' publication. The positive for these is below:

OUGD405 - Design Process - Module Assessment Feedback and Marks

Today I received the Module Assessment Feedback and Marks for OUGD405 - Design Process. I am devastated to have achieved only 66%, although I understand and accept that this mark is fair and warranted.

As anticipated, a lack of a range of distinct ideas and poor quality mock-ups of my designs in context have resulted in my missing out on my ambition to achieve 70% or above in all modules. The pressure I put on myself may be excessive, however there is something in me that feels unless I achieve marks at or above 70% I have not done myself or anybody else proud. Self-confidence is obviously and issue I need to overcome with time, and perhaps then I will be able to naturally produce more diverse, conceptual work.

Inside Content for Self Branding Publication

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

The typeface Georgia will be used throughout the small publication to maintain cohesion and establish the typeface with the 'Not Just For Show' brand identity.

I plan for the double page spread to simply read 'Not Just for Show,' spanning across the A4 sheet 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.

For pages 1 and 4 I have written two bodies of text. The first page featuring the following grandiloquent body of type:

'When considering one’s aspirations as a practising 
designer, many thoughts present themselves to mind. 
I wish only to capture quintessential perfection in all 
taken endeavours, the chance to evoke wonderment 
and awe of sights to behold and to represent the 
essence of visual euphoria. I am consumed by the 
desire to instill luxury in my creations, due in part 
to a deep rooted yearning to produce tangible 
prestige. One’s primary aim is provide unique 
incredibility and idyllic resolution to supply and 
enhance the finery of everyday life.'

The second body of text, to be featured on page four is a response to myself and the over-eloquent reading from the first page. It reads:

Too much? Yes. Though the primary principle I 
speak of rings true. As a designer, it is my 
ambition to create pieces that have an aura of 
beauty and craftsmanship that provide people
with something special that surpasses purely 
aesthetic intentions. I believe it is possible to 
design exquisite resolutions that also provide 
functionality and aid the solving of any number 
of potential issues. Though I am a self confessed 
metallic enthusiast, I am not limited by this. 
Producing anything that exhibits a specialist 
craft and process is what I live for, however, 
it’s not just for show. Everything I do is to meet
a purpose, be that to resolve a set brief or to 
express my creativity. To create is my 
crowning glory.

These 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 body moves from top to bottom across the pages. This type 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 same applies to the 'Not Just For Show' central double page spread.

Digital Mock-Up Publication Cover

Again using clipping masks to create a false gold effect, this is a digital representation of what I anticipate my hand crafted, screen printed publication cover to look like using the previously selected typeface that is Georgia Regular. The cover features a top heavy visual composition as for my name to be identified secondary to the main concept of my self branded identity. This hierarchy is aided by the use of two point sizes of type, 42pt for the 'Not Just For Show' and just over half of that at a point size of 25 for my name. This difference in size allows for the brain to systematically order these elements in terms of significance - dependant, in this case, on size and prominence within the composition. The proximity of the concept title and crown allow these elements to be perceptually grouped by the mind and seen as one, establishing my visual identity from the first glance. 

Finishing Techniques

I am a firm believer that the finish of a piece of design - in any format or sector - is one of the most crucial considerations to be had when producing work. The finish can dramatically change the perception experienced by viewers; It is primarily this that controls how products are interpreted,
as to whether they are a budget product or high end product for example. Ensuring appropriate, considered finishes are supplied to pieces, in my opinion, is a necessity in the design process.

Below I will explore a select range of finishes that I aspire to use in my practice in the future:

Foiling

Foil stamping is a typically a commercial printing process whereby metallic or pigmented foil is applied on to a solid surface by application of a heated die onto foil, fixing it permanently to the surface below leaving the design of the die.The foil stamp is a permanent process.

There are two primary types of foil stamping machines. The first type is manual and the second is air powered, which is most commonly used in a commercial print shops. Manual foil stampers are ideal for low jobs and the air powered is ideal for medium to high-volume jobs.

Foils come in a wide range of colors and finishes, from the most commonly used metallic gold and silver to foils with pearlescent and holographic effects.

Spot UV Varnishing/Glossing

Ultra-violet cured coatings are applied over ink printed on paper and dried by exposure to UV radiation. UV coatings can be formulated up to 100% solids so that they have no volatile component that contributes to pollution. This high solids level also allows for the coating to be applied in very

thin films.The coating can be applied via most conventional industrial coating applications 

as well as by silkscreen.

Due to the normally high solids content of UV coating/varnish the surface of the cured film can be extremely reflective and glossy. This has the affect of highlighting and drawing attention to that part of the design, but it also provides the additional visual stimulus of having varied textures on a single printed surface.

UV can be applied on spot locations of the paper or by flooding the page. This coating application can deepen the color of the printed area. Drying is virtually instantaneous when exposed to the correct level of UV light.

Embossing / Debasing

Embossing and debossing are the processes of creating either raised or recessed relief images and designs in paper, most typically - though other materials are eligible for this process such as wood and leather. An embossed pattern is raised against the background, while a debossed pattern is sunken into the surface of the material.

Often used in combination with foil stamping, embossing alters the surface of paper stock or other substrates by providing a three-dimensional or raised effect on selected areas. The procedure requires the use of two dies: one that is raised and one that is recessed. The dies fit into each other so that when the paper is pressed between them, the raised die forces the stock into the recessed die and creates the embossed impression. A specific level of pressure is applied to the dies in order to squeeze the fibers of the paper, which results in a permanently raised area in the paper.When the dies are produced, a die maker engraves the desired image into several metal plates, which are the embossing dies for use on an embossing press. A thorough understanding the process will enable a more successful result. Generally, embossing is the process most often employed to attract attention or convey a high quality textural contrast in relation to the surrounding area of the paper stock.

"Debossing" is similar to embossing, but recesses the design rather than raising it. Rather than the paper being raised in specific areas, it is indented. The process involves applying pressure to the front side of a substrate and forcing the material down from the surface. Although it is not as common as embossing, it is occasionally used to provide a different effect or appearance that fits a particular theme. Embossing and debossing on digitally printed applications is an off-line process, which may add a significant cost to the job.

In order to achieve the best possible effect, it is important to understand the embossing process and the types of dies that are used for embossing.The three factors that need to be controlled during the embossing process are:

• Pressure: the intensity of the impact on the weight of the stock being embossed.

• Heat: the ability to maintain a consistent heat level for the best impression.

• Die Depth: the client's artwork or the engraver's efforts will initially determine the die depth, however, if by looking at the artwork it appears that an adjustment of the die depth may be necessary, the die may need to be retooled to achieve a greater depth. Most types of paper can be embossed, and size is not normally a consideration. Embossing without ink, so that the image is raised but not colored, is called "blind embossing." Embossing used in conjunction with ink, so that the raised area is colored, is called "color register embossing." Embossing used in conjunction with foil stamping is called "combination stamping" or "combo stamping."

Crown Development and Experimentation

Having earlier discovered that that my name in origin actually means 'Crown,' 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.

To develop a range of differentiating crown to be chosen from, I began by drawing a range of crown styles in pencil on a layout pad.

I then traced the outlines of these pencil crowns on a new layer of the layout pad before scanning them in and image tracing them in illustrator. 

Once imaged traced, I began to trace the basic outlines using the pen tool in illustrator to perfect each style of crown. After this, each crown was filled black to create vector silhouettes of all the crowns.

With silhouettes created, I continued to make clipping masks of each crown before adding a digital gold foil effect in an attempt to simply visualise how each of the crowns would look if selected to be screen printed in gold onto the cover of the small publication. 

I want the crown of my self branded identity to appear more than a block shape, but equally nothing over the top. Having asked a selection of people, the majority selected the top left crown as a result of its 'tall and proud' aesthetic without being to 'intricate,' 'over embellished', 'feminine' even as the others.