COP Practical Crit

For this crit the minimum we needed where ideas, I had had ideas throughout writing my essay and I had thought about it on separate occasions as well. 

Along with my main idea, I had already sent out surveys asking the question 'what one thing would you change in the world' I wanted it to be vague as I wanted people to think about the question.

I had found that a couple of people had answered quite literally, which was different as I hadn't thought that the question could be interpreted like that, 

and so people had told me that I should make a new survey with more questions and more specific details, to prompt in order to gain answers more relevant to the themes within my essay. 

People liked the idea of book that was based on the ideas of others, and after the crit I had a progress tutorial in which I mentioned my idea, and Amber said that it was relevant to my essay and interesting to use the ideas of other people,

As well as this making a publication suits me and my interest really well. 

St George's Crypt Meeting Notes

1/12/14
12:15

The meeting was held by 

Ed Rider
Chris Fields
Julian Ward

The original publication was Entertaining Angels

The new publication will be to celebrate the 85th anniversary of the crypt

the aims to be published october 2015

The story of St Georges Crypt 

opened in the 1930s, when everything in leeds was dark, people had moved to the city for a job and many came for jobs, and they found that it wasn't as it seemed and ended up in unemployment, and this resulted in homelessness. 

A man from London came up to Leeds and was shocked to see the desolation, and poverty

London at the time was affluent, 

the crypt opened in 1838

it now sleeps 15-25 people but if there is demand they can stretch to more

everyone gets a bed

The facilities include 

full kitchen

support workers 

physiotherapy 

originally the cause of homelessness was unemployment 

now there is problems of addiction; alcohol, drugs, gambling etc 

losing family, or family disputes. 

mental illness

the average age of homelessness was 45 it is now 24 

only 8 years from leaving school

manage risks 

open 365 days a year 24/7 

Regent Terrace- deals with sever alcoholism and street drinkers, only place left for them

Faith Lodge- People recovering from addiction

Everyone has a past

The crypt is modern, not a soup kitchen 

it has training facilities 

a place of hope, but there is tough love 

Nurture catering. part of a team 

professional development skills

Cafe in Armley, Trinity Church Cafe 

banquets and corporate hospitality 

Public Perceptions, beggars on the street, predominately con-men, 60 known cons are registered with the police for doing this in Leeds

The Crypt is for the genuine 

it has dorms with en-suites , an a hub which can sleep more people 

Social Return on Investment - every £1 given how much does it help society 

Hospital beds for example cost £1000 a night

When the homeless don't require sun attention anymore where do they go ?

there condition can get worse on the street

Growing Rooms- 18 Months Old. 

humility and support

horticulture, gardening not just catering 

go from volunteer, part time work, full time work 

life skills can be gained no one is forced to do anything

abstinence, not hurting anyone, or using, or drinking

Success is moving in the right direction

Save and Change lives

Ask How you Are, to get a full response, as they care and really want to know. 

from the head and the heart

blow away preconceptions is key

Next Step... 

Receive an email from Sharon Heleine, and a reason of interest form to send back.  

DSM Crit 1

24/11/14

Before the crit I had mind mapped lots of ideas, I felt that even though I had a few they weren't concrete. 

Today we had a discussion with the members of DSM about our ideas for the city council branding. 

There was around six of us, and we initially discussed our thoughts on the council in general, there was a pretty unanimous opinion that it was boring and nobody had initially understood what they did.

after discussion, I had thought more about my ideas and I felt that I was leaning towards an idea of the council being more human and simple.

I discussed the idea of human and the idea of people and faces, and then talked a little bit about how I could do this, and I thought a mailshot maybe a good idea. 

They liked the idea, and me and Caitlin had looked at the council as a whole, and the others had looked at finer aspects and expanded on that and so there was a diversity in the group which was good. 

Progression:

To progess on I will be looking at how I could make the council more personal and how they can be more human and down to earth. 

I will need to look at a design way of doing this.

I feel that the brand will almost come from the aesthetics,

Another point that DSM mentioned was that we didn't need to call it a 'council' and this is an interesting point that I will look into/ 

Final Crit: 8/12/14
2 Weeks

Design Manchester: The Science of Imagination (2014)

Design Manchester
The Science of Imagination
24/10/14

This year I decided to attend Design Manchester's Core Festival Day, I felt that this would be good for my own development to hear from professional and well-aclaimed designers, and I thought that it would be interesting anyway. 

I was looking forward to seeing Adrian Shaughnessy especially, as I had recently read a book of his for my context of practice written piece (How to be a Graphic Designer without losing your soul.) 

The first speakers where Unit Editions

Unit Editions
Adrian Shaughnessy & Tony Brooks 
(Sam Stevenson wasn't present)

Unit Editions 
http://www.uniteditions.com

Are a publishing company, they publish books, made by designers for designers.

They talked about the idea of publishing books on design and the history of design in the age of the Internet. 

What does it mean to be a graphic designer in 2014- An enabling ability to not only answer the brief in hand.

They had become frustrated with the mainstream publishing industry, they felt that they had so many restrictions (especially when it came to designing the front cover) they also made little to no profit from a lot of work. 

And so they began there own publishing company

Why start a publishing company when all the content in the books can be seen online anyway ? 

There is no context online, and things can be deleted or lost online to never be seen again and then it will be lost forever. 

( I support this point, and I had never thought about it like this)

With the arrival of Amazon and Google Images, many publishing businesses caved in.

However designers still want books and journals.

They then showed a quote from Umberto Eco.

Their first book was about studios, 'Studio Culture' 
they initially sent this to distributors and say from this they learnt that it was unsustainable for their business. 

And so they set up online and this is how they sell their publications, nearly all online or in specific bookstores.They also sell and advertise through Facebook and Twitter, which allows them to talk directly to their buyers and audience.

They say that they only exist because of the internet- ironic

There are no compromises without the commercial book distributers, you can make your own print and paper choices. 

'If your going to chop down a tree it has to be worth it, we have that responsibility' - Tony Brooks 

Making books that assist graphic designers, not pastiche

'Type Only' took on a swiss modern style, 
and showcased typefaces from a designer who 'designed digital typefaces before the computer' 

computers now produce 'supergraphics'

'Type Plus' showcased the manipulation of type and image

Unit Editions also consider their packaging of the books, and feel they consider everything. Including special tape to wrap their boxes, and they use recycled card.

We rephotograph everything that goes in our books.

Creating a book requires a huge amount of work, the research process is enormous and so is the design process.

Heavily rely on archives

Insist on a contemporary style no matter what the subject

Adrain Shaughnessy then went on to talk about FHK Henrion, whom they had created a publication about, and whom he admires. 
FHK Henrion 1914-1990
(most important British Graphic Designer of the twentieth century)
invented the concept of the professional graphic designer

in his earlier years he designed a portable sewing machine, it was never made, as no manufacturer would make it as it was to risky.

Henrion in the 50s also recognised that TV was also a designers medium

Walter Landor, was the giant of identity design in America at the time, 
Henrion was the British equivalent 

He was in the war arrested in Britain for being a German, and then after his time in jail he designed for the British Ministry of Information, (war propaganda)

Before Henrion design was 'crayons and airbrushing'

He used dot screens and created posters

As well as this in the 50s he pioneered exhibition design.

He designed KLM airlines identity (which is still used now, the only airline to of not changed its identity in fifty years) 

He not only designed but he studied neurology and semiotics unlike graphic designers of the time, he understood how we receive messages.

His identity design work was his best and 'incredibly relevant' 

'Design Manuals' 
a showcase of design manuals, showing the evolution of the manual
required a huge amount of research and permissions
had to be a big book 
popular as they where things no one had ever seen or had access to 

Called it Manuals 1 to allow for the second, third etc

Things to come 
'Don't Go to Blackpool'

Technology Will Save Us
Daniel Hirschman

Head of Kit Experience
also owns his own separate design company

one side is learning how to use technology
the other is bowing to push its potential

is amazed at how little we have been taught to respect technology- consumer society
learning happens everywhere

All gadgets they make are built so anyone can make them and learn
Playdough for instance is conductive

'DIY Thirsty Plant'
'DIY Speaker Kit' (you can discover how sound transmits)

User centred design approach
Methodology
Insights- Prioritise, Prototype & Design, Resources & Scaling, Measurement

'DIY Gaming Kit' (to teach coding to all ages)
nothing is hidden or concealed
develops critical thinking, debugging, problem solving, computational thinking
Give a focus to people to achieve a result
Also make online resources available
Co-Learning
21st Century Skills

Hirsch & Man (his design company)
Corner Shop experience
doing things in reality not CG brings a more lifelike effect
Siemens- 'City Shapes' model in the London store
Cadburys 'Joy Jacket' how do you show the joy of eating chocolate. 



Supermundane
Rob Lowe
Supermundane (means out of this world not super, mundane !)
London Based
'Anorak' magazine aimed at 6-12 year olds girls and boys
aimed to encourage imagination

Fire and Knives, a cooking magazine, 
no photography
a multiple booklet style 

usually designs his own typefaces

also designed 'Cagoule' but only made 1 issue
likes line colour and movement
experimentation with styles, lines and geometric illustrations, re-introduction of type

Superalpha,
designed the whole alphabet out of tiny illustrations
also does murals 

did a huge one in the MoMA in Frankfurt, Germany 


Rejane Dal Bello

graduated in 2000, the millennium
was grounded in web design

studied at the DDC (Dutch design college)

created an identity for an open top bus in New York
Identity = Equal 

got into hand drawn type and did the Virgin logotype.

doesn't find herself pinned to one area of design

also designed the Alzheimer 's typeface for the campaign 

she designs with social considerations
worked as a social worker too

completed a very low budget project, for a new hospital set up in Rio de Janeiro 
'Pazho'
painted signs by hand
sustainable, not loud, simple and respectable suits the hospital 
signage, toys, stickers, colouring books
 Created the book 'Dr Giraffe' 
a self initiated project 
helps mothers explain to their children what is happening to them in the hospital
for serious illnesses, such as cancer


Daziel & Pow
Ross Philips 

worked at Fabrica in 2001
with Andy Cameron

created mirror mirror for Topshop 2003
encourage personal shopping
live feedback from famous people and stylists, SHOW studio
and it is still useable without the digital part

video grid
Read Aloud, performing and reading
used out of copyright books

(people like to look good when they are being filmed, so really got the set up and lighting perfect for this, so people are comfortable)

started with Alice in Wonderland

each person/group read a line, film this one line at a time
unmoderated

Consultancy 2009
Jimmy Choo- Shoe,Shoe,Shoe 3 mirrors with cameras so you can see the feet, full body ands leg

Mulberry- Love Blossoms

Dalziel and Pow 2013
Retail design agency- interior and graphic design combined
realised digital needs to be incorporated

Primark, Berlin 
moving signage wall, used map of berlin city centre 
and reliefs of this too 

Argos
realise that they are in an advantageous position having physical store space unlike amazon, but weren't using digital and online barely at all

designed 6 concept stores
got rid of the catalogues and replaced with screens
multi-platform
Screens instead of posters
Broke all the serving counters up into separate modules so staff could walk around freely, feels more open
all the content on the screens are unique to store

The White Company (Bespoke and Traditional)

created delicate projections to advertise the textile and tactile
No screens but moving images
projections onto surfaces
projectors where hidden in books etc
it was easy to project as most of the surfaces where white
doesn't always have to be passive, some projections where set off by sensors

Micheal C Place
Build
(in conversation with Angus Montgomery from Design Week)
'Technology as a tool"
understanding how things work, even print
I-D magazine placement
music focus
worked at Designers Republic, Sheffield
and Trevor Anderson in London 

moved back to DR
Typographical interest

left to make own studio, wanted there to be no hierarchy

D&AD Judge too 

Generation Press

Long projects take around 4-5 months
average is around 2 months
take 2 weeks sometimes

doesn't pitch especially for clients who won't pay, because they are a studio of four it takes two away from other work all day, for work they might not even get
doesn't believe in unpaid internships

Five Years in the Forest (2009-2014)

Neubau Studio

http://neubauberlin.com

Stephen Gandal - Founder

Cristoph Grindburger

& Benjamin Gandt

Stephen was born in Austria 1969

in 1979 received Help! (The Beetles) record from a friend but it had no sleeve and so he designed his own, this is where his passion for type came from.

The start of creating typefaces

Letraset (1980)

1989-1995 studied in Vienna studied there in Neubau

Letraset became unpopular and Stephen bought lots of the catalogues from the university he studied at

Letraset includes, type, grids, gradients, icons

Neubau Studio opened in Berlin 2001 (in the centre)

Neubau 55ms

Using different grids

Neubau Welt 

1247HD Vector Silhouettes

2002-2005

first archive of Neubau

categories of illustrations

lots of different sectors

more detailed than previously

trees had anchor points of over 80,000, had to merge into one to be able to save the file,

used freehand not illustrator, but had to change to  illustrator to be able to work with lots of anchor points

Neubau Modul

2039 Grids and Patterns (2005-2007)

lengthy project always take longer than projected i.e. 1 month usually takes 6

looked at the opposite with vector shapes with four anchor points

Metric system

Pattern Plates

Neubau-ism 2008

how could the two books be put together? 

through an exhibition,

used glass and projections, and keyboards where coded so audience could interact

next publication was about trees

most difficult thing to illustrate in the first book

hard to vectorise a tree

Neubau Forst (2009-14)

required the biggest team

20 designers, 60 months, 390,000 hours

internships helped out a lot

684 trees & tree modules

biggest book, 400 pages

Production ?

Used a locator grid, in accordance to the letters of the studio NEUBAU, got 72 points to locate trees from in the city

Overall style and standardisation 

how to photograph trees document point on location

take photos of separate bits of the tree, merge images together for a high res image

to vectorise

took 7 months to photograph

documented the changes of space and time

Vectorise the tree

naturalistic look

1.image

2.grid

3.expand

4.mask

5.outline

6.inline

took a lot of attempts to get right some took 3 months

Vector and the mask

used to create modules. you can build up any tree you want from this

user can create new stuff

normal street trees

Numbering systems, code, for all modules

S for Summer

W for Winter

Species and height of the tree, reference of origin

had to contact the local authorities for the information of the tree, who where very reluctant to give information as they thought they where an architecture firm looking to build over the trees

Can create a whole forest from the digital trees

Why Trees? 

All of the internet ones aren't realistic and architects use them in thier pitches, so this is a new and best resource for them. 

Publisher= Lars Muller Publishers

Paper vs CO 2, paper outweighed the amount of energy it would take to run a website of the content.  

  

Crit 1

27/10/14

First Crit of the Year

For this first crit, I had a mock of my brief that I had being working on. 

Which is a newspaper publication, for the printing I had had to scale down the size to be able to print it out double-sided in college digital print. 

I had mixed feelings about my work before I printed it. I think that in printing it I felt a lot more positive, I felt that it looked good, and the blue worked really well, it was a strong colour, and I could see how it worked and flowed. I was also happy with the front cover. 

For the crit we decided as a group that we would give each other ten minutes to present and get feedback. I was happy that I was prepared for the crit, and I could see that I'd got enough to show. 

Comments

• That the info graphics should connect and they shouldn't be on to sides where the paper can separate in the centre of the publication, (as they are loose sheets) 
• But then others said that this was fine and they aligned when the paper was put together and I didn't need to worry about it, however it was suggested that (for the spread involving the info graphic of the carbon footprint) I create a fold out piece that would mean there was no separate sheets (however if I am going to send this off to print this won't be possible) 

• Whether the size is already appropriate, a tabloid size rather than a broadsheet as a broadsheet can be daunting (which I understand, but I have to consider that I chose a broadsheet to challenge myself and for the fact a broadsheet is associated with being more academic and a tabloid has connotations of celebrity culture etc.) 
• To consider the size of the publication in terms of its energy used to produce it, and I should look into recycled stock and printing with sustainable ink like vegetable inks. (I understand the recycled paper aspect as that is what I would ideally like to use but sourcing it for a reasonable price is another thing, I've had a brief look so I am going to look into it again, but I feel that the ink would be hard to produce to a good standard and I like the colour of blue I have as well as this I have used opacities which I'm not sure about how it would look if I used vegetable inks. And as for the energy used to reproduce the piece I think that it wouldn't take a lot of energy as it is only 4 sheets of A2 and I have done this purposefully for this reason and the reason of keeping it short and attention capturing. And I have only used two colours plus stock again less energy and ink to print, and so I feel it's quite justified already.) 
• The colour blue is very striking, gives the piece flow and is obvious for 'blue planet' and natural, it also makes the info graphics easy to follow. 
• I could include a pack instead of a fold out (however as stated I am trying to reduce the amount of paper and packaging) 

Reflection of Presentation

Today was our Design Strategy Presentations, I feel that mine went quite well, in comparison to any other presentation I have done like this I think that I was a lot less nervous, and more confident, which I think could be due to the fact we've had experience of these presentations now, and the fact I was confident in what I was talking about in general, I felt like I had the work there and it was evident in what I was saying that I had reflected upon why I had made the decisions for this year, and I think that I conveyed my overall practice well. 

I feel that I covered and answered all the questions, and in doing the presentation I have an overall plan of the year including which studios I want to get in contact with and why. I have a deeper understanding of my personal and professional practice, and I feel quite confident with what I have planned. 

Next time I think that I just need to keep building my confidence with presenting and speaking in front of others, but even though I had notes present with me, I didn't look at them and because of this I think it would be beneficial for me to practice my presentation, at least once or twice, instead of just knowing an overall idea of what I want to say for each slide. 

PPP3 Design Strategy Presentation

My design strategy presentation, outline my personal objectives in my personal, professional and practice, for the following final year.

I think that this presentation, (visually) is the best that I have produced since I began the course, and I feel that my presentation design skills have come along way since even the end of last year. 

Design Strategy Presentation Notes

Presentation Notes

Slide 1: My Statement of intent for the year "I am a graphic designer whose focus is design for print. My main area of print is publishing and editorial, but I also like brand identity and promotion. I like to experiment with different formats and print techniques/finishes." Basically explains my desire to work with design for print, but I am not limited by format or production, I like both digital and screen print, and I feel that my preference lies within publishing and editorial, but I also find identity (+branding) interesting and I tend to create a lot of promotional work, work that supports other pieces. 

Slide 2: What I plan to learn and what I feel that I need to learn, and how I intend to do this...
I feel that it would be inappropriate to try really new techniques, or avenues of design that I never have done just for the sake of trying something new especially when it seems clear to me that I am not interested in that kind of work, for instance app design and UI work. I felt that it would be better to use my time to refine skills related to my field of interest.

To
Refine my traditional printing techniques, such as foiling and screen printing
Learn more ways of/ refine bookbinding skills
Refine packaging skills

Find and use more ethical stocks

By
Doing and using techniques within briefs, throughout development
Talking to screen print technicians and printers
Finding and visiting specialised stock shops, via looking online 

and reading up on technical books in the library

Slide 3: The Briefs

Slide 4: Brief 1; The 1920's Stationary Set
Will allow me to experiment with formats,binding and foiling.
Inspired by the film 'The Great Gatsby"(stemmed from my avid interest in films), and my overall interest in history.
And also inspired by my interest in stationary sets, but the feeling that they are sometimes overly cute not particular to my own tastes.
It will be aimed at young adult- late twenty year old females, that are either students or professional, that feel the need for organisation and note-taking materials. 

Slide 5: Brief 2; Travel Company (Brochure)
Focussing on the wonders of the world (my interest again on travel, culture, and history)
I wanted to create a brochure format and see the conventions of a brochure as I never have done before.
It will give me the opportunity to look into alternative stocks.
I want to aim it at a young adult audience, who don't necessarily have the funds and aren't looking for a luxury experience.

Slide 6: Brief 3; Harry Potter Film Festival
I think the content of this brief will allow me a lot of creative freedom with interesting, innovative formats and printing, I can really try push myself.
(from my interest in film)
A male and female audience, they will probably already be fans in the Harry Potter films, they are probably around 14/15 + due to the more adult content in the last few films. 

Slide7: Brief 4; The Healthier Cake Company
From my interest in food, but another alternative interest in healthier and informed eating, which is also a developing interest in the majority, especially with the ever increasing obesity problem. 
Predominately female audience, probably 18+ with a real interest in health. 
I will be focussing on the use of stock and colour (in particular the use of neon screen printing) (from my interest in neon colours) (and I have never used neon)
I will also be enabled to look over my package design and crafting skills.

Slide 8: Brief 5; Alternative Minds Publication
Derived from my desire to explore content more scientific.
Stemmed from an interest in fantasy/sci-fi (e.g. Fringe a tv-series)
Again like the Harry Potter film festival the content will allow more creative freedom, I was thinking of exploring light reactive inks etc.

Slide 9: Brief 6; Calendar Brief
Looking to complete over the New Year, about the New Year
From my interest in other culture, looking into and at the Chinese Zodiac
Also a calendar again is a format I haven't looked into as of yet and I wanted to try it.

Slide 10: Brief 7; Origami Exhibition
A brief where I would look into origami artists, who do amazing paper craft, and collate these into a proposed exhibition.
I would be able to explore stock and format, and actual materials to produce that relate to an exhibition.

Slide 11: Brief 8; WWF Annual Report Re-Design (design for print)
From the recently published Living Planet Report 2014
My interest in animals and conservation
Never had a report to work with, a lot of quantitive data to layout which I have never had the opportunity to work with, 
I was also going to look into a broadsheet format
I feel that the online report is a huge amount of information in big chunks of text which would be easier to read on print and in a more interesting layout, I also feel that the content is important to all of us

Slide 12: Briefs Overview
A review of how all my briefs will help me develop, and how they relate to my manifesto.
Outcomes reflect my personal manifesto, my interest in print and my main interest in publishing and editorial.
My production methods will help me learn and refine print skills.
I will be able to experiment with stocks and formats.
I have learnt throughout the course and through my briefs that my preferred target audience are young adults (16+) and adults, both genders. 

My briefs content and production also reflect my personal interest in design responsibility, the focus of my context of practice piece.

Slide 13: Collaboration
I plan to do the year book, I think that this brief is highly appropriate for me, and through my development in my other briefs I will be able to provide some interesting ideas.
I also plan to do a collaboration with Lizzy Gosney, we both like travel and other cultures different to our own, I also feel that she has a different aesthetic to me and we have slightly different graphical intentions but still both focus on print.

Slide 14: Context of Practice 3 Introduction
"I have interest in Social and Cultural issues, as well as Environmental"
Is the statement that I think will help everyone understand where my CoP piece is coming from.

Slide 15: What I've looking into 

Responsibility within Graphic Design- is the overall theme 
and then sub-topics I have already looked into...
"Social/Cultural (Mainly) 
Environmental
Looking at_
The Role of the Designer
The Role of Big Business and Consumerism, Altruism or Exploitation ?
Significant Designers in design responsibility

Moral and Ethical Issues"

Slide 16: Current Research
The three mentioned books have been my main sources of information, I think they are perhaps essential to my research
I have also looked into other sources online such as articles published on AIGA
I've also emailed relevant studios, although I have received 2/11 responses back.
And currently giving everyone questionnaires, as they are questions aimed at the thoughts of the general majority.

"Related books and essays:
(Do Good: How Design Can Change the World, David B. Berman)
(Looking Closer 4: Critical Writings in Graphic Design, Micheal Bierut, William Drenttel and Steven Heller)
(Citizen Designer: Perspectives on Design Responsibility, Steven Heller and Veronique Vienne)
Related Internet Sources 
Emailed questions to appropriate studios

Questionnaires about business and critical causes"

Slide 17: The Practical Piece
I did intend before the summer to create a blood drive event or organ donation awareness campaign I do feel that this is an example of work considered to be responsible and 'good' but from further researching over the summer I think that my practical might be more aimed at the questions I have been looking into. 

Slide 18: PPP
I am really looking forward to re-branding myself, I feel last years was rushed and my design interests and aesthetics aren't reflected appropriately, or to my taste. 

Slide 19: Studios I've looked into contacting
I've mentioned three on the slide but there are more but I feel these are my favourite ones that are realistic to reach, and I actually like, and feel are alike to me. 

Slide 20: B&W
Although the website isn't up properly at the minute, I searched their name and found some examples of the work they have created, in particular one piece featured on various sights, the St Georges Crypt report, which I feel has a strong social interest, a desire to help, it also has an interesting concept and I personally like the visual aesthetics of the piece, photography and type. As well as this its print. And seems to be a print based studio.

Slide 21: Passport

On the site they claim 'to be influenced by certain destinations and international design culture' I feel that this inspires me too and this interests me in them, I like that they explore different with different stocks and print finishes. I especially like the Garth Edwards Portfolio.

Slide 22: Design Project
Again are a print based studio
They seem to explore different print formats which I am interested in and they seem to experiment with stock.


I think that in these notes I have tried to show that everything I am trying to do and achieve this year is relative, I think that I have achieved well-rounded objectives, and I think its clear where they have come from.