Adam Townend OUGD303 Identities Brief 2 Board 1/8
The Brief To design four identities for four different 3rd year students. The brief would eventually consist of 2 fashion students, and 2 visual communications students. The range of work each client did was diverse so designing for two students from each course did not prove to be a problem. The aim of the brief was to design a basic stationery set for the students to use as self promotional material.
The Concept Each identity was to be typographically driven, so selecting and manipulating right fonts was the driving force behind the development of both the identity and the range that built up from it. Stock choices proved to be an important part of the process as well as the exploration of print production. This particular brief had to put emphasis on elegance and expense.
Adam Townend OUGD303 Identities Brief 2 Board 2/8
The Delivery After selecting ITC New Baskerville as a font which conveys the vintage, elegant and sophisticated qualities Jennifer wanted the identity to reflect, I manipulated the ‘j’ and ‘t’ to make them more symmetrical and add balance to the design. This transformed the identity into something that had strength and quirkiness but was subtle at the same time.
This brief was driven both typographically and by production. It was important that I experimented with the stock, particularly with the business cards. Jennifer was interested in texture so I suggested an uncoated stock which would eventually lead to this Tweed Camel 350 gsm stock from Robert Horne. The rest of the range included letterhead, compliment slip, web design template and branded sketchbook.
Adam Townend OUGD303 Identities Brief 2 Board 3/8
The Brief To design four identities for four different 3rd year students. The brief would eventually consist of 2 fashion students, and 2 visual communications students. The range of work each client did was diverse so designing for two students from each course did not prove to be a problem. The aim of the brief was to design a basic stationery set for the students to use as self promotional material.
The Concept Each identity was to be typographically driven, so selecting and manipulating right fonts was the driving force behind the development of both the identity and the range that built up from it. Stock choices proved to be an important part of the process as well as the exploration of print production. This particular brief had to put emphasis on a personal service.
Adam Townend OUGD303 Identities Brief 2 Board 4/8
The Delivery Anna stressed the importance of how hands on and personal her work was. I felt that this had to come through as part of the design as book publishing is quite a small and niche market so clients want a service that is dedicated and friendly.
The Range These personal touches were carried on through the rest of the deliverables. Along with the letterhead and compliment slip, postcards were designed to promote Anna’s skills to potential clients and employers.
The business card started the process of using Anna’s personal skills as a focus for the design. I decided to start a conversation that ran through the stationery between her and a client.
The stock is a form of greyboard that was salvaged from some paper packaging that inherently acknowledges the materials used to bind books.
Adam Townend OUGD303 Identities Brief 2 Board 5/8
The Brief To design four identities for four different 3rd year students. The brief would eventually consist of 2 fashion students, and 2 visual communications students. The range of work each client did was diverse so designing for two students from each course did not prove to be a problem. The aim of the brief was to design a basic stationery set for the students to use as self promotional material.
The Concept Each identity was to be typographically driven, so selecting and manipulating right fonts was the driving force behind the development of both the identity and the range that built up from it. This particular low budget brief had to emphasize simplicity, and efficiency. High quality stocks were out of the question.
Adam Townend OUGD303 Identities Brief 2 Board 6/8
The Delivery The driving force behind this brief was typography, but the client also requested a symbol or icon that could be used as mark that worked alongside the logotype or on its own. After debating we both agreed on the clackerboard arrows that symbolise forward thinking, movement and timing. I tried to keep the identity as flexible as possible to ensure Charlotte could use it as she chooses.
The Concept The business cards were printed in a variety of colours, which Charlotte chose. Due to budget I didn’t look into the stock wasn’t considered. Instead, Charlotte requested a website to showcase her work. I set up a simple Indexhibit website that allows her to upload her work without prior knowledge of web programming. A branded notebook was also added to the range.
Adam Townend OUGD303 Identities Brief 2 Board 7/8
The Brief To design four identities for four different 3rd year students. The brief would eventually consist of 2 fashion students, and 2 visual communications students. The range of work each client did was diverse so designing for two students from each course did not prove to be a problem.
The Concept Each identity was to be typographically driven, so selecting and manipulating right fonts was the driving force behind the development of both the identity and the range that built up from it. This particular brief had to emphasis simplicity, and clarity.
The aim of the brief was to design a basic stationery set for the students to use as self promotional material.
Adam Townend OUGD303 Identities Brief 2 Board 8/8
The Delivery Nicole’s work has an industrial finish, which she describes as grungy and designer diffusion. After completing my research, I found that those terms couldn’t be further apart. She wanted to emphasise that her fashion lines were vintage and took inspiration from machinery and industrialisation. Her fashion ranges would be expensive, so an amount of quality had to come through in the design.
I started by selecting a font that had elegant tear drop serifs. The ‘c’ in ‘American Typewriter’ was particularly appealing. I laid out the rest of the type, and smoothed off the ‘i’ and ‘l’ which had slight contours. The identity had the feel of a typewritten document but still had a level of quality. The client chose these colours which seemed a little perculiar.