Publication Proposal

With the opportunity to create a publication in response to this module in collaboration with each of the interviewees I questioned, G. F Smith, Pressision and Foilco, I have begun to consider how the publication will be made and the content that will be within it. This proposal features below.

Content

A publication on the power of creative print and finishing, featuring information on commercial considerations, printing processes and finishing methodology as well an perspectives/interviews with  G. F Smith, Pressision and Foilco representatives (Ben, Jane, Ian and Andrew).

Stock

All stock used in the publication will be supplied by G. F Smith. I hope to use a range throughout the publication as to promote the papers of the brand and the creative potentials provided in use of their papers.

Printing

The publication will be printed by Pressision on the printer they deem suitable for the publication once designed. As this is only a small publication and the opportunity has been provided as a will of good gesture, I believe that it will be printed using a more standardised process, and not using print elements such as the variable white ink they now provide.

Finishing

The publication will potentially feature finishing from Pressision, such as embossing, with foil from Foilco.

Binding

I anticipate the publication will be perfect bound as it is my wish for the publication to be strong and durable, with a clean finish and professional aesthetic.

Through the collaboration of this publication, the content will be enhanced and subject matter as relevant as can be.

Studio Brief 03 - Life's a Pitch: Two Collective Presentation

Above is the 'Two Collective' pitch created by myself and Shelley Huang in response to studio brief 03, Life's a Pitch.

The pitch details our collective concept, proposed branding/identity and point of delivery, target audience consideration, potential suppliers, financial considerations, and the potential benefit of such a partnership if it were to come to fruition in the future.

OUGD503 - Responsive - End of Module Evaluation

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

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

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

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

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

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

OUGD501 - Context of Practice II - End of Module Evaluation

Throughout Context of Practice II, I have explored the extent of which hand-made techniques and finishes of packaging design create appeal to the upper-class consumer at point of purchase. Within this exploration, I have investigated the differences between luxury and the ordinary, finishing techniques and their power to enhance high-end consumer appraisal and the effects of luxury packaging on the environment.

The research undertaken in support of the project has been of great interest to me, with many revelations regarding the luxury sector and high-end consumption that have surprised me, especially the impact this sector has on the environment — this having led me to explore the potentials of sustainable luxury for my practical investigation. Factors of sustainability in regard to the luxury sector are not considerations that I have had previously, though now the potential for the two sectors to come together is another point of interest I have developed. That said, I still believe in the excess used by luxury brands in creating consumer appeal through boastful extravagant of materials and finishes as these are main interests within my overall practice — though an abundance of sustainable materials would be my ideal resolution to the debate as current. 

I very much enjoyed studio brief 01, critical analysis, as I enjoy writing. This part of the module allowed me to add my own commentary on one of my practices primary concerns, finishing and hand-crafted additions. The evaluation of Tiffany’s Blue Box completely encapsulated the thesis of my essay.

Ultimately, the module has allowed me to significantly develop my knowledge on the luxury sector, this being my ideal practice specialism sector. The information I have gained throughout the module will undoubtedly inform my practice in the future having forced me to develop greater understanding of target, sector behaviours and strategies.

Publication Opportunity: Paper from G. F Smith, Foil from Foilco, Printed by Pressision

At the end of my interview with Ben and Jane from G. F Smith, they told me that they would fully support the project in supplying the paper for the publication free of charge, and would also assist me in having Ian print the publication at Pressision with foil from Andrew at foilco.

Below is the part of the original transcript detailing this offer:

Jane

So moving forward, is this going to be an actual physical production?

Yes, I’ll be trying to bring each of my interviews together in to a publication on the power of creative print within the design industry.

Jane

Any support you want on the project — Because of course now it’s going to have to go on the right paper. And Pressision are going to have to print it, and Foilco are going to have to supply the foil. Get Pressision to print it, and we’ll provide the paper.

Ben

We’ll supply the paper, get Ian Cavanagh to print it for nothing.

*laughs*

Ben

No seriously, he should do that. We can supply the paper for you, get Ian to print it and I’m sure Andrew would supply a little bit of Foil.

That would be fantastic...

Unfortunately to have this created in time for the module deadline was not feasible for myself or any of the interviewees as it would take more time to arrange meetings and begin developing the publication. However, this is an opportunity that I could not miss out on and therefore will be producing the publication in collaboration with each of the industry professionals over the summer. This is something I am very excited about and am so grateful for the opportunity to work with three of the most influential industry professionals to my practice.

House Style Exhibition at Chatsworth House

An exhibition exploring five centuries of fashion and adornment at Chatsworth House.

Hamish Bowles, international editor at American Vogue, has curated the landmark exhibition with creative direction and design by Patrick Kinmonth and Antonio Monfreda, the duo behind some of the most memorable fashion exhibitions of recent years.

Fashion pieces displayed included livery, uniforms, coronation robes and fancy-dress costumes, demonstrating the breadth of fashion and adornment from the Devonshire Collection throughout the generations. The House Style exhibition demonstrates the power of fashion, bringing to life individuals from the Cavendish family, who have called Chatsworth home since 1549.

Layering art history, fashion, jewellery, archival material, design and textiles, the exhibition was organised by theme. Notable features included couture designed by Jean Phillipe Worth and Christian Dior, together with influential contemporary garments from designers such as Gucci, Helmut Lang, Margiela, Vivienne Westwood, Erdem, Alexander McQueen, Christopher Kane and Vetements.

The exhibition also featured personal collections of the Cavendish family, including items belonging to the current Duke and Duchess of Devonshire. 

Having spend the summer and first months of the course exploring high-end, luxury fashion, I thought the exhibition would be a great insight in to how fashion has evolved and developed through time. It was interesting to see, similarly to graphic design, how past trends and styles are brought back in to contemporary work and just how clear it is to see when faced with such heritage pieces. Also, the exhibition provided opportunity for me to take in the interior of Chatsworth house, this subject being another of my key interests.

In addition to the fashion and interiors on display, were a range of books dating back to as far as the 1800s. With editorial and publication design a major interest within my practice, it was amazing to see such dated pieces still in such good condition - some even featuring gilded edges (something I have explored within my practice also). It shows how long print and physical books have sustained in society; Books are timeless artefacts.

Overall, the abundance of detail and craftsmanship - from the fashion to the interior of Chatsworth - were hugely inspirational. I don't think such craftsmanship is evident in today's society, or at least is not so regular, and therefore to be able to appreciate it in original form is a great privilege to me and my practice.

Photographs from the exhibition follow:

G. F Smith Heritage Exhibition

After carrying out my interview with Ben Watkinson and Jane Crowther of G . F Smith, I had the opportunity to look at the company's Heritage Exhibition on show at Leeds Beckett University's Rose Bowl. 

Established in 1885, paper merchant G . F Smith has long been a name that is synonymous with the supplying of unique and exciting papers and board to the creative industry. The founder, George Frederick Smith, was a man with a singular passion for paper. Both he and his son were driven by a belief in its beauty and possibilities, sharing an admiration for the craft of the printers and publishers that used it.

Today, G . F Smith is much the same; The company has a singular passion for paper and shares this passion with all who may encounter it, serving designers in the creative field, to students and beyond. With ranges such as Colorplan now available in over 30 different countries, the Hull-based brand is a merchant in the truest sense of the word.

The exhibition showcased classic paper and promotion design from the G . F Smith archive. For over a hundred years G. F Smith has consistently worked with the best graphic designers, photographers and artists, resulting in a catalogue of iconic promotional materials. On show was a retrospective body of work, providing a rare opportunity to examine the visual story of the brand's design and marketing innovations. 

Showcasing material encompassing both European and American promotions, the exhibition featured work from contributors such as Saul Bass, Milton Glaser, Paul Rand, Bill McKay, SEA Design, Made Thought and Studio McGill. This affirms the cultural and commercial significance of visual communication in society through reference to visual heritage in both national and global contexts.

The exhibition made me realise how lucky I was to have been able to talk to Ben and Jane, and just how significant G . F Smith's contribution to the design industry truly is. It was amazing to see the heritage pieces after discussing the future of the company and knowing where it stands today, as it allowed me to see how far the paper merchant has come since its foundation in 1885.

Pictures from the exhibition follow:

Interview with Ben Watkinson & Jane Crowther of G . F Smith - Reflection

Today I met with Ben Watkinson, northern sales manager, and Jane Crowther, paper consultant,  of G. F Smith. The interview took place at their Heritage Exhibition, which was on show at Leeds Beckett University's Rose Bowl.

Having already carried out two interviews with industry professionals Andrew Cottam (Foilco) and Ian Cavanagh (Pressision), I felt quite confident about talking to the pair. I had only anticipated talking with Ben, however when I arrived Jane was there also and so asked if she would take part in the interview, allowing me to get multiple perspectives and in-depth content for my third and final creative report.

Paper stock, especially from G. F Smith, is a passion within my practice. The tactile quality it provides to the physicality of print is something  that really interests me. We discussed this and what its like working for the company, the client range and perspectives on the print industry and where its headed.

This interview was so enjoyable as I really got the sense that both Ben and Jane were so very passionate about the company and proud of its heritage and standing within the creative industry. It was also fantastic to interview them both together, as it relieved my nerves and became more conversational.

Additionally, at the end of the interview, Ben and Jane asked me what  planned to do with the interview. I told them I had plans to produce a publication featuring each of the interview I had carried out with themselves, Foilco and Pressision. The told me that they would fully support the project in supplying the paper for the publication free of charge, and would also assist me in having Ian print the publication with foil from Andrew at foilco. Unfortunately to have this created in time for the module deadline was not feasible for myself or any of the interviewees as it would take more time to arrange meetings and begin developing the publication. However, this is an opportunity that I could not miss out on and therefore will be producing the publication in collaboration with each of the industry professionals over the summer. This is something I am very excited about and am so grateful for the opportunity to work with three of the most influential industry professionals to my practice.

G . F Smith Interview with Ben Watkinson - Preparation - The Questions

• What does a typical day entail for you both working at G . F Smith?

• What is the size of the team at G . F Smith?

• What would you say sets G . F Smith apart from other paper merchants?

• You work with everyone from large agencies to students — would you deal with any client in the same way?

• What would you say your favourite part of your job is?

• Both Andrew Cottam (Foilco) and Ian Cavanagh (Pressision) told me they don’t consider themselves sales-people. Would that be the same for you also?

• G . F Smith, Pressision and Foilco are a triad of names I often see together. Do you find that establishing these relationships and having recognition as a collective effort is important?

• The phrase ‘Print is Dead’ gets thrown around quite a lot in recent times, but there has obviously been a resurgence in print. Do you think that it’s because of the papers that you provide and the finishing that is why print will never really cease?

• At the end of last year I attended a Glug event on creative potential and talent in the north. Though many say you have to go to London to ‘make it.’ Do you agree or disagree?

• As you’ve mentioned, the G. F Smith show-space has just opened, there has been the ‘World’s Favourite Colour’ campaign and there’s going to be the Paper City in Hull soon. What’s next for G. F Smith considering all these things?

Leeds Print Festival 2017

Celebrating traditional and contemporary print process through type and image, Leeds Print Festival 2017 had a programme of exhibitions, talks, and performances covering all print disciplines.  At Leeds College of Music, the collection of events supplied inspiration whilst drawing attention to print and it’s importance in contemporary design culture. The day featured a series of talks from creatives who 'work with, play and love print.'

Talk 01 - DR.ME, Ryan Doyle (DR) & Mark Edwards (ME), are a studio based in both Manchester UK & The French Riviera. Specialising in art direction, image making, graphic design, work shops, video & teaching. Their current publication Cut It Out sites the most innovative uses of collage today, from 50 leading contemporary graphic designers across 15 different countries—including Hort, Mike Perry, Stefan Sagmeister, Matthew Cooper, and many others. 

Notes

• Although not a print studio specifically, a lot of work end up being in print.
• Do a lot of curation.
• Curated many one-day exhibitions, such as 'The Waiting Room.'
• After graduating university, interned for Mike Perry.
• Didn't want to go straight in to London graphic design studio - something more interesting about Manchester. 
• Curated 'Wondering around Wandering' Exhibition for Mike Perry.
• 365 days of collage - made one collage everyday for a year. Each collage was sold online for £10. All the same size and posted at 1pm everyday. 
• 'Cut It Out' - curated a book of contemporary collage in graphic design. Made a list of people who's work they loved and asked them to contribute. 288 pages & 500 illustrations. Published by Thames & Hudson. 
• Current exhibition - 'Shoulda, Woulda, Coulda' - exhibition of printed matter by a selection of internationally renowned designers, illustrators, printmakers and artists.

Advice

• Taking no for an answer just doesn't cut it.
• Make stuff that makes you happy.
• If you don't ask, you don't get. 
• Personal work will get you professional work.
• Look for excuses to contact people.

Ali Hanson (It's Nice That)

Founded in 2007, It’s Nice That has grown across many platforms and reaches over a million people each month. These include the website, which is updated daily, a bi-annual magazine called 'Printed Pages' and the monthly Nicer Tuesdays talks series. 

Ali Hanson joined It’s Nice That as an art director in early 2015 after time at Wieden + Kennedy, Wonderland, Wednesday, Man About Town and Rollercoaster. He works across the visual sides of both the editorial platforms and commercial partnerships.

Notes

• Ali Studied at LCA & Chelsea College of Art 
• Will Hudson founded It's Nice That in 2007.
•  Started as a design blog out of a brief at university in Brighton.
• Set up website. In 2008/2009 started to get interest.
• Partnered with a friend called Alec Beck. 
• Now a team of 39.
• 2 editorial meetings per week.
• 'The Graduates' - Started in 2009 to champion young designers. 
• Over 1 million people visit he website every month
• Nicer Tuesdays - 12 monthly talks a year.
• Ali worked in print publishing before INT - rollercoaster, wonderland and man about town
• Enjoyed putting the magazine together but the content wasn't for him - liked the idea of INT online content 
• Made It's Nice That in-house publication - Printed Pages
• Physical embodiment of It's Nice that digital content.
• Also features exclusive content in line with work.
• Bringing stories to life in new ways (for print).
• Celebration of printed format.
• Design process usually takes 2 weeks.
• First issue didn't get buzz going - 2nd issue needed to be better.
• Issues available to buy as packaging with prints, posters, stickers etc.
• Print run has now gone up - is now distributed globally.
• Issue content responds to cultural/political climates.

The hands on process to designing a magazine

1. Edit all featured work.
2. Make list of content.
3. Produce simple designs.
4. Print whole pagination of magazine at 20% scale.
5. Print final design at scale - Pin up.
6. 2 week design process.
7. Getting a good printer on board is one of the most important things.

Pat Bradbury

Pat Bradbury is an image maker and artist who works across a range media to create dynamic and contemporary print. He has been featured in exhibitions across the world, most recently with Jack Clayton in Vietnam and in as part of a group show at the KK Outlet in London. Printed By Us run screen printing workshops for homeless and vulnerable people in Sheffield who want to learn new skills and move forward towards employment. They create artwork in collaboration with some of Sheffield's finest designers such as Ian Anderson and Nick Deakin.

Notes 

• Graduated from Brighton University in 2011.
• Initially liked to create hand drawn/realistic work. 
• In 3rd year became more experimental - explored abstract/expressionism through mixed media.
• Hand-made vs digital.
• Abstract work focusing on application.
• Vietnam art intern to teach kids art.
• Works with collage a lot. 
• Teaching qualification and goldsmiths 
• Group residency in Iceland - meet people of different practices 
• Produced wrapping paper for Wrap Magazine. 
• Likes to create lighthearted and fun designs.
• Crazy arrangements, loose, textured.
• Relinquishing control.

Advice

• Try everything, it doesn't matter what it looks like.
• Take the ball and run with it. 
• Its good to meed other people from other practices.
• Having personal projects leads to professional commissions. 

Marcroy Smith

Marcroy Smith is director and founder of People of Print, a collective of creatives who come together to host workshops, produce events, and fulfil briefs for clients such as The Design Museum, Protein and the V&A. Smith is also the author of People of Print, featuring innovative, independent design and illustration and Editor of the self-published magazine Print Isn’t Dead. 


Notes

• Graduated from Brighton University.
• Studied Illustration
• Was in the print room all the time.
• Moved to Bristol after university and worked in a call centre.
• Moved back to London and Set up People of Print.
• People of Print started as a directory.
• Thumbnails and links of artists/designers work.
• Turned in to blog.
• Department Store - set up shop to sell magazine and the work of those on People of Print.
• Creates a fair way to sell.
• Set up through Shopify.
• Kickstarter - Print isn't Dead magazine.
• First issue - 2010 
• Quick growth - 1,000, 2,000 3,400, 7000
• Posterzine - 1 large sheet of paper which folds down into small magazine.

Advice

• Don't feel like things are unachievable.
• There's strength in bringing people together, working with them and making a business.
• You're free to do what you want to do.
• Share your passion.
• Don't sell out (all the time).
• Look at the numbers.
• Business is business.
• Ask Questions.
• They can't be competitors if they're on your side.
• Pressure makes diamonds.
• Make something from nothing.
• Winners focus on winners, losers focus on winners.
• Solve a problem.
• London is not necessary - opportunity vs level of competition.
• More interesting to be a designer/creative out of London.

The talks and advice given at Leeds Print festival were really inspiring to me as a designer who takes interest in print. It was greatly insightful to hear how each of the speakers got to where they are at current, and the advice they had to offer born out of their experiences in the industry. I though it was really interesting to see the process behind Printed Pages having always been familiar with It's Nice That. I find that attending talks such as these regularly really helps to develop knowledge of the industry, something I believe is important in developing confidence before graduating. The festival has certainly intensified my love for print and I look forward to hopefully having a career in the sector as a post-graduate.

'Shoulda, Coulda, Woulda' - DR.ME Exhibition

Leeds Print Festival and DR.ME are present ‘Shoulda, Woulda, Coulda’, an exhibition of printed matter by a selection of internationally renowned designers, illustrators, printmakers and artists. 

Curated by DR.ME, the show at Colours May Vary highlighted the true individuality within the creative industry. To see so many different styles, approaches and ideologies together side by side is always interesting, and serves a reminder on how important it is to be individual and to develop your own style as opposed to following trends and/or churning out 'trendy' design.

As collage work is far from my forte, I am appreciative and admiring of the skillset of others.