PPP III: End of Module Evaluation

For me, PPP is the module of level 06 that has been the most challenging, perhaps of levels 04 and 05 also considering my time on the course as a whole. I always find that this module requires me to step outside of my comfort zone and face my fears more than any other, which while always beneficial and retrospectively self-progressive, does not make the tasks it presents and less daunting at the time.

My lack of self-confidence means my social skills leave much to be desired, and therefore making contact with professionals, attending events and networking — all of which are part and parcel of this module — are endeavours I have faced with great trepidation. That said, this year I really tried my best to overcome these fears. I attended a range of industry events, talks and workshops where advice and guidance is always aplenty. From Glug, to freelancing seminars with Matt Essam and LAU’s very own Career Track Tuesday programme, the events I have attended this year have allowed me to feel better prepared for life as a post-graduate and supplied me with the knowledge I need to continue developing as an individual and designer. 

Luckily for myself, I have had a very clear sense of who I want to be as a designer for some time now. This has enabled me to spend the last three years tailoring my work to build a portfolio that represents my intentions as a print-based designer with aspirations of a practice concerned with luxury and highly crafted motivations. This has also informed my visual identity and professional representation of self, which is communicated through ‘Not Just For Show,’ the name of my practise. Having set goals, objectives and ambitions for my life means I have had something to work towards throughout my time at university.

The live briefs I have worked on this year have been a mixture of experiences, both good and bad. A brief undertaken in collaboration with Shelley Huang for the Starpack Student Awards, for which we designed a set of three tea tins, was a pleasure to work on. Living together, we were able generate ideas and discuss the project in-depth, bring our skills/specialisms together and produce an outcome we are both proud of. We have also been shortlisted in the awards for this entry. A more personal project carried out for my Mum, The Dan-Air Diaries, has also been enjoyable — though not without some difficulty (it can be hard to stress the importance of having content supplied on time to a client who is also your Mum). The most challenging live brief I have worked on this year is an identity and look-book for a fashion designer at Kingston University who I met whilst on foundation. I find being reliant on other people to provide content and material very frustrating, especially when the urgency of time is simply not being considered by the client. Nevertheless, the experiences of working on these live projects has ultimately been good practice for life post-graduation, during which I am sure struggles with clients won’t be an irregularity and will be just an accepted part of the job. 

Undoubtedly the most challenging element of the module this year has been securing a placement. While I was under no illusion that this would be an easy endeavour, I was not fully prepared for the hardship I felt. It is so disheartening to put your all of your energy into contacting professionals, be it through mailers, emails or LinkedIn, only to be ignored — especially when it is a task accompanied by anxiety in the first place. That is not to say, in any capacity, that I believe I am entitled to a response from any busy industry practitioner, though the sheer volume of studios/agencies who simply provided no acknowledgment to attempted contact was unexpected to say the least (especially of more thoughtful outputs such as mailers). There has, at least, been some benefit to the experience, however. Some of my attempts to secure a placement lead to instagram features, likes, and follows — as well as an invite to run through my portfolio next time I find myself in London. My efforts finally paid off in March when I secured a short placement a Hull-based paper merchant G . F Smith. The relationships I have developed with employees of G . F Smith (Ben Watkinson, Jane Crowther, Steve Taylor) through industry engagement from this module assisted my securing of the placement, and I hope will lead to further professional relationships being established and perhaps additional contacts outside of G . F Smith. Taking place between 21st and 25th May, I will be shadowing and observing a range of workers across the factory. As a designer with a focus on print-based and tactile design, paper is of great importance to my practice. It is something I have a passion for, in terms of its possibilities, and therefore I feel will be a great experience to see and understand more of what the company provide and do.

While the placement may be after the PPP submission deadline, I truly believe I tried my hardest to secure something before hand. I took all advice given in tutorials on board, explored a range of methodologies and strategies. It was important to me as a designer, and purely as an individual, to attend somewhere that was relevant to my practice, and not just a box ticking exercise. I believe G . F Smith fit this criteria, and I am most looking forward to the experience.

I believe PPP this year, mainly thanks to Alec’s approach to teaching, has meant I have achieved many things I would have continued to put off — e.g. contacting professionals, making a website, etc. Sessions and workshops have provided me with information and knowledge on a whole range of strategies for ‘making it’ in the industry, and I am looking forward to putting them into practice in the near future. In conjunction with the advice and guidance given by visiting professionals, I feel as prepared and ready as I’ll ever be to graduate and enter industry as a result of this module.

Self Branding: NOT JUST FOR SHOW

When producing my identity in Level 04 of the course, I carefully considered how I wanted to be perceived as a designer. I opted to present my practice through the alias ‘Not Just For Show’ as opposed to a name-sake professional identity. 

I believe this approach to professional self-representation supplies my practice with the illusion of a more substantial standing, which has the potential to aid industry establishment and legitimise my occupation as a designer that is part of something with the appearance of being more than just myself - e.g. ‘Stephen James Dale, Graphic Designer.'

As a print-based designer with ambitions to work in the luxury sector for aspirational, premium and high-end clients, I have tailored my practice throughout my time on the course to build a portfolio comprising of highly crafted, tactile and sector-focused work. This, in conjunction with my fondness for creative print and finishing, has meant my work often appears to focus on aesthetic quality, though I wanted to ensure those who encounter my practice would be aware that this is not a case of style over substance. My work is underpinned by considered concept and functionality, which guarantees that resolutions are ‘Not Just For Show’ - this being the inspiration of the name. 

During critiques at this time, it was suggested that my identity should have a regal aesthetic, playing on the concept of name and introducing an element of irony that simultaneously represents the luxury intentions of the studio.Purely by coincidence, though in perfect harmony with the development of my identity, I discovered the Greek origin of my name means ‘Crown’ (Stephen/Stephanos = Crown). From here, I introduced the rich blue and gold colour scheme using G . F Smith Gmund Treasury, Beauty paper - a duplexed stock blue on one side, gold the other, on which collateral was screen-printed.

At this time in first year, I chose ivory as an additional colour for printed materials in keeping with the traditional, regal visual language I had created.

I selected the typeface ‘Georgia’ for all typographic communication of the identity. Used in upper-case for the studio’s logo/word-mark, this serif typeface presents a traditional, strong and respectable aesthetic which is also remains legible even at smaller pt. sizes, both in print and on screen. Designed in 1993 by Matthew Carter, the typeface is also web safe, meaning it is available across all operating systems. 

Over the course of the 2 years since designing my identity in first year, there has naturally been some small adjustments made to my branding, visually, informed by considerations such as accessibility to facilities going forward, time, and availability of materials. The concept behind the identity still rings true, and is something I feel confident in representing both myself and my practice through as I continue to establish my identity entering industry.

Firstly, I established a colour that can be consistently and cohesively be used across both print and digital outputs. I feel it is important to mention that the colour’s origin comes from G . F Smith’s Imperial Blue Colorplan. As a print-based designer, I find it important that all decisions are informed by physical matter. This paper, even by name, maintains the regal quality of the visual language in its deep shade of blue. I best-matched the colour of the stock to Pantone 289 C, allowing me to replicate the shade on-screen. 

In consideration of the future and a much more limited access to facilities, the original screen-printed methodology of production of my identity and collateral in level 04 is no longer viable. Additionally, it does not allow for digital outputs of the studio, such as a website and social media content, to be produced cohesively. Previously, the identity existed only in physical form, making digital content difficult to produce consistently. In digitally producing the identity, a broader offer of variation is made possible within the realms of the visual language (e.g. blue on white, white on blue, gold on blue etc.). In an overtly digital age in which the majority of consumption is made through smart-phones and computers, it is important that the identity works on these devices, despite the studio’s focus on printed resolutions. Also, print finishing such as foiling and embossing requires the use of digital files to produce dies. The gold effect used here has been achieved via a faux gold-foil gradient, with added grain/noise that imitates a metallic shimmer. 

Contact & Correspondence

The physical, printed outputs and collateral of Not Just For Show, including business cards and correspondence, are where the luxury, high-end finishing and intentions of the studio are most evident. 

The business cards, printed by Pressision, use Foilco Gold 6123 to both sides on G . F Smith 350gsm Colorplan Imperial Blue. The front simply bears the ‘Not Just For Show’ word-mark with the studio’s crown emblem above. The reverse details my name, website, email, telephone number and social media platforms (instagram, twitter).

My chosen and preferred method of communication is, and always will be, a small letter. Again, as a print-based designer, this provides opportunity to use creative print finishes and tactile elements which communicate the luxury intentions of my practice. Letters are also undoubtedly more personal, creating a greater connection with those in receival of such correspondence. In a digital climate by which people are inundated with texts, emails and notifications all throughout the day, the letter has become something of a rarity - especially when featuring hand-written content - and therefore is more memorable and thoughtful. 

It is for this reason that I choose to always sign any physical correspondence by hand. Letters are placed/fixed  within G . F Smith Colorplan Imperial Blue cards for a more luxurious look and feel, as well as consistency of the studios visual language. Previously, these were fixed within Gmund Treasury Beauty stock, though this has recently been discontinued by G . F Smith.

The final and perhaps most notable element of the Not Just For Show identity’s physicality in regard to communication and correspondence is the custom wax seal used on all letters as mark of craftsmanship and attention to detail. The seal, which uses gold wax, bares the crown emblem of the studio and ensures those who receive communication from myself know it is something special, not just ‘another bill’ so to speak, and may have a greater inclination to open the letter, and even better, respond. A business card is always included within any correspondence, as to make a response easy for the person(s) being addressed. 

Online Presence 

The Not Just For Show website uses the consistent visual language of the studio, keeping all associated platforms/outputs cohesive. Also optimised for mobile, The site has a custom domain and linked email address:

www.notjustforshowstudio.com 

stephen@notjustforshowstudio.com

www.notjustforshowstudio.com

The home page very much focuses on my work, and therefore features a full width, automated slider gallery, showing large-scale photographs of a range of projects. These images are also able to be viewed via arrows left and right of the screen.

The ‘Not Just For Show’ studio identity sits in the header of the website, positioned top left, away from any potentials of interference with the imagery. This is a permanent fixture across each page of the website for consistency and presence/reiteration of the studio’s’ visual language.

Positioned at the top right of the page, also within the header, is a burger menu. Similarly to the Not Just For Show studio identity, this also holds a permanent, consistent position across all pages of the website for ease of navigation by visitors.

The menu opens from the right, revealing a blue box. This box covers around 1/3 of the screen, allowing the sliding project images to continue and remain majoritively visible. The menu provides links to the other pages of the site. Additionally, at the bottom of the menu is a direct link to email, as well as links to all associated social media platforms (instagram, twitter, facebook). 

The ‘info’ page communicates to visitors of the site the premise of the studio, being my own practice. It delivers the fundamental principles of my practice, focus and specialism.

The ‘projects’ page exhibits a grid of images, each being a link to overviews of the projects, with further information and images. Hovering over the images reveals the project title. These images link to a more in-depth look at the contexts of the projects with additional photographs.

The ‘contact’ page of the website provides contact information (studio email), as well as a contact form should any visitors wish to leave a message this way. The NJFS wax seal makes an appearance here in the background to reinforce 

the notion of contact/correspondence.

Visual Consistency

Though separate from Not Just For Show, I have also designed my CV using the studio’s visual language. I believe the consistency in visual self-representation establishes a perception of professionalism to potential employers. I did not want to over-design the CV, and therefore opted for a simple 2 column layout, with a block colour (Pantone 289 C) header. Ultimately, employers have numerous CVs to look at, and information must therefore be easily deciphered.

Live Brief Experiences

The live briefs I have worked on this year have been a mixture of experiences, both good and bad. 

A brief undertaken in collaboration with Shelley Huang for the Starpack Student Awards, for which we designed a set of three tea tins, was a pleasure to work on. Living together, we were able generate ideas and discuss the project in-depth, bring our skills/specialisms together and produce an outcome we are both proud of. We have also been shortlisted in the awards for this entry. 

A more personal project carried out for my Mum, The Dan-Air Diaries, has also been enjoyable — though not without some difficulty (it can be hard to stress the importance of having content supplied on time to a client who is also your Mum). 

The most challenging live brief I have worked on this year is an identity and look-book for a fashion designer at Kingston University who I met whilst on foundation. I find being reliant on other people to provide content and material very frustrating, especially when the urgency of time is simply not being considered by the client. 

Nevertheless, the experiences of working on these live projects has ultimately been good practice for life post-graduation, during which I am sure struggles with clients won’t be an irregularity and will be just an accepted part of the job.