Callum O’Reilly
OUGD504
Callum O’Reilly
OUGD504
Clients Brief: The brief I received was to create an interactive guide book, which gives subjective advice about a cultural and emotional journey through North Vietnam (Sapa). The publication should include various images, and an interactive feature. The images should be key in the book, and the publication should have a durable journalistic finish, the book is aimed towards young adults with higher than average income who are travelling for the first time. Rationale: A helpful subjective guide, suggesting routes and ways in which to engage with Sapa as an environment and its people. A support to the emotional and cultural transition embodied in an interactive pocket book. The more the audience engages with the book the more understandable the content becomes, make the journey your own through achieving the steps this book pulls you through. Suggestive interaction points have been given to give you a perspective of how you’re developing with your travels. A mix between a traditional guide and a suggestive personal journal, the book embodies aspects from each making it the perfect more personalized travel helper. Large scale images double page images are evident throughout show casing the beauty of the locations and the traditional lifestyle of its people, contrasting against the elegant bold type to highlight the nature that the audience will be embracing around them. Every element of the country could be seen an opportunity into investigating a culture. Presented in a traditional style sleeve similar to that which can be seen her, keeping the book strong and durable for everyday use and ease of being a true pocket travel book. The addition of the polaroid inserts allows the audience to make the content their own and have somewhere to present the quick snaps they’ll take whilst exploring.
Callum O’Reilly
OUGD504
My research enabled me to take into consideration layout design and the way in which images should be presented in different formats to give a sense of difference to the book embodying a journal style to all the audience to add their own personal element to it rather than the book becoming a scrap book of someone else’s travels. I also investigated into quirky guides such as citix60 guides which are guides created by creatives for creatives, this was an influence that helped me create the strong editorial basis for the book design; as the target audience was a younger design conscious adult. My investigations into the colours and visual aspects of Sapa allowed me to take into consideration how colour could be used to represent the environment, influencing decisions such as the use of recycled paper for my cover to exemplify the nature through Sapa. Such research also informed my use of Indigo within the elastic wrap around, being the colour dye that Sapa is famous for. Through investigation I discovered which style of bind and book would be best for the type of publication I was producing, which continued to develop post research stages, yet the influence such as having a elasticated binder around the book to ensure the safety of tip ons remained.
Callum O’Reilly
My intial ideas gave me a way of exploring layouts of the content to allow for all the appropriate images to be presented but in a sense of equality. This stage consisted of created wireframe style sketches, which were further developed into digital models and tested against each other to experiment what my peers felt about the arrangement, this was very appropriate as majority of whom are the target demographic for this book. In my initial ideas stage I eliminated such ideas as having one set of images throughout the book and also giving away all of the image to the audience straight away. It was discussed at this stage various image based treatments for the images provided as can be seen on the right, this stage was vital in the decision to make the book minimal and simplistic, as the designs would have detracted from the images emotional impact on the audience if presented in this way. Typographic treatments were experimented with at this point, as the content itself needed to be regarded the equivalent as the images themselves, which led to the large contrast in the typefaces selected.
OUGD504
Callum O’Reilly
OUGD504
Further development led to refining the style of the book led to a further minimisation of the content, making the book larger due to the content being more spread out, although it allowed for all of the content to appear as important as each other. This further refinement led to a consideration about the double page spread images, these were now to be manipulated in order to create a more uncomfortable first appearance to the audience, rather than receiving the image from the book to see the actual scene they would need to explore and come across first hand; further extending the level of interactivity with the users. When considering the how I could manipulate the paper in order to gain a stronger visual link with Polaroid images, which after investigation became evident that it was available through the addition of a small layer of spot varnish, leaving a sheen on the page; similar to that of the film found on an actual polaroid. This aesthetic would also be carried out to the front cover, giving the book a strong consistency to the design. To further increase the level of interactivity and the idea of making the book your own the layout changed, small indicators were added where people would insert their own polaroids but the consistent rule throughout forces some of the content of the book to be covered in each part. Physically changing the content to their own each time that the audience uses it, reinforcing the concept that the content becomes easier for them to personally interpret once they have interacted with the book more.
Callum O’Reilly
OUGD504
The book itself was digitally printed, which gave a good contrast in comparison to the handmade element of the audience having to add to it themselves, it also contrasted well against the pictures linking to tradition of the people of Sapa. Due to the paper, I used and the type of finish I required for the end product I perfect bound the first version of the book, unfortunately this didn’t hold; and it became apparent that the book would need to be more secure in order to be the portable and durable travel book that the target demographic requires. In order to rectify this the stitch was changed to a 2 signature 2 up saddle stich booklet which is secured with two staples and then later attached into the cover. As well as making the book more durable this enabled the cost to be cheaper which is more in fitting to the target audience I am aiming for. Spot varnishing was another production method done by hand on this publication, again an issue rose in terms of the screen not being perforated enough to be able to probably pull the medium. Although this led to further experimentation and was rectified through the use of an experimental textiles screen; which allowed me to gain the desired finish.
Callum O’Reilly
Overall, I believe the book has been successful in terms of fulfilling the client’s needs and the book takes on board not only the concept behind the book but also the takes into consideration the content in a way that is visually evident. My minimalistic style throughout the book keeps the focus on the content itself and visually tells the audience that the focus needs to be on their own personal journey and cultural development, rather than the more typical guidebook which simply guides the person to various locations. The stock I chose was cheap enough to keep the book available and assessable to all of the target demographic, yet still durable enough to fulfil the purpose of supporting tip ons, and being a regularly used interactive reference. The book itself is about the person themselves making the content eventually about themselves through recording their journey, the photo placement corners all the audience to have a platform to do so. My binding considerations were changed and developed throughout the production method of the book, although this was testing it enabled me to develop as a designer and gain a greater appreciation for appropriation importance when it comes to binding. This would be something that I will test more in the future, as I will be able to gain a solution to the design problem at hand in a more concise manner. Yet the binding I did end up creating was appropriate and justified with the concept and design of the book. The choice of type used throughout the book keeps the content clear and easily legible, yet the deep contrast between the line weights and characters of the heavily serif’d Bodoni type adds a sense of class and modernism to the piece. Not only does this add a visually sophisticated feel, but also enables the audience to have more reliance in what the content is saying. The minimalistic feel to the exterior of the book gives away the atheistic of the content, as well as keeping it almost a mystery, further playing on themes of making the content subjective and interactive; the more the user does with the book the clearer the content becomes. These themes are further evident within the covering of the content of the book as well as the manipulation on the full bleed double page spreads. If this book was mass produced some of the methods I had included, such as spot varnishing, would need to be taken into consideration as doing it by hand took more time and would increase the sale price of the book. Yet industry equipment would be able to resolve this issue.
OUGD504
Callum O’Reilly
OUGD504
Brief: To create an interesting and engaging screen based user experience design in a format of your choice, e.g. mobile app, website etc. You must identify the problem, client and solution aimed towards a particular demographic. You must use a range of media to demonstrate an understanding of user experience design. Rationale: Collab is an app which is aimed towards artists globally who want to collaborate with other artist but are unsure about how to successfully get their name out in the industry. With a short preview of the artist portfolio you must decide whether or not you would like to collaborate with them eventually, if you both match you will be able to message and start collaborating. Filters enable you to search for the exact kind of artist you require within the area you require, or to go international and network with new foreign designers and build your knowledge of design in another country. The explore option also allows you as the user to explore a particular city for creatives, to possibly strike up a collaborative project. If you find someone you may want to refer back to in the future they can be added to the archive section of the app, giving you a forever growing network of creatives; to help you expand your practice.
Callum O’Reilly
OUGD504
Within my research I was able to make it evident what was missing in the market in terms of a social media platform created for collaboration, rather than criticisim. Behance is a great network to be able to gain fair and balanced critical creative feedback from liked minded and skilled people, although this then becomes a rating system with the high flyers of design being the only ones with ‘opinions who matter’. This led the decision to remove all personal elements from my app design; the main priority is the work and that is all that is available to see on the profile, opening up the creative world to a more inclusive demographic. Dribbble is praised as a creative network, but once again rather than encouraging any collaboration within the creative community. With a platform such as this it may if anything deter artists as they will be too worried about criticism to be able to speak to and reach out to artists to collaborate with. Further into my research I also investigated into the colour schemes of these apps, and other current successes to see what comprises a good scheme. The apps had a difference of either a gradient that was used rarely on sparse background or a very corporate and industrial structure, neither of which appropriate for creatives. In the design of the app the colour scheme will be influence by colour theory itself, the app will remain vibrant; but also visually stimulate teamwork and creativity.
Callum O’Reilly
The initial design stage allowed for a series of development through from sketches to fully rendered screen mock ups. Wireframing is essential in this stage of development multiple screens need to be considered for each section of the user experience, this is where decisions are made such as placement and what pages are needed to be able to make the app function without being overly crowded. Within the wire frame stages I began to consider what type of layout would be best for my target demographic and to showcase the work, the decision was made to keep the app simple and use flat colour scheme, this keeps the focus on the work itself. Which was also evident in the early idea stages for the messenger page in which the work of the artist you are speaking to would be seen behind the message; further insuring the idea of making the artist’s work the basis of all actions within the app. The chosen wire frames were developed into digital wire frames, these can be tweaked until happy with the layout from page to page; the wireframes are then almost used as placement holders for the content. My initial ideas also saw the beginning developments of the colour scheme for my app, this is where it became evident that more colour was need to appeal to my demographic and to visually exemplify my rationale.
OUGD504
Callum O’Reilly
OUGD504
The development within illustrator allowed for an opportunity to begin exploring how the colours I had chosen appear on screen, thus allowing me to narrow down my selection process. Due to the nature of the screen design (RGB) format allowed for more freedom to use almost neon shades. This is something that is wanted to be evident in the app, to represent modernity and creativity. The explorations saw the addition of red to the initial design ideas, being the colour of change action and creativity. This was then used as a deep contrast accent colour throughout the app, this is a colour scheme that is not present in any other social media platforms making the app stand out. The visual links will also be important to improve the user experience, due to the creative demographic. Once a strong visual identity was established it can be seen to have been carried out throughout the app, creating a strong visual consistency throughout; the importance of which is imminent as the screens will be constantly changing with the different art works. Within the developing stage of my app it also gave the opportunity to expand the idea further, leading to the creation of the explore page; enabling artists to search a particular location they may be visiting to be able to start engaging with the creatives there.
Callum O’Reilly
OUGD504
The production of the app itself took place within three separate pieces of software. Each artboard was designed in illustrator, giving the ability to create vector images and conduct the ability of the phone screen it would be presented on, whilst allowing for precision on each artboard to ensure and consistent outcome. XD is used to create a prototype for the app, this is done through a series of links that are overlaid above the pre-designed art boards; once been aligned in a story board type manner. Allowing for a final outcome that appears to be working as if the app had been developed. This prototype could then be presented as a video in order to demonstrate the ease of use and navigation of the app. Once a prototype is completing a video was made where the app itself was mocked up onto a phone, this enables the audience to see the app in a familiar working environment allowing for a more relatable understanding of the apps working state; rather than seeing the diagram of a plethora of lines with XD. In the future, I would like to improve my skills on XD and further develop the app in after effects as it would give me the ability to add transitions within the interface design, providing a smoother running prototype experience for the audience.
Callum O’Reilly
Overall my app design achieves the brief I originally created, it allows the user to set filters to find artists even down to being specialized within a particular field and knowledgeable with a particular software. The app forces the user to match and message the other person to be able to use the app itself, therefore encouraging the user to want to find artists to work with. I kept a design consistency throughout the app by using colours that stimulate creativity and a sense of international collaboration, the design features a modern strong logo and typeface evident throughout; giving the app easy legibility. Simplicity and modernity are kept throughout the app to keep the focus on the work this is evident on the home screen where the artist’s work is the main attention of the page putting the attentiveness of the user purely on the work of the possible collaboration. To improve my final outcome, I would have experimented with using different user interfaces to allow the app to be open to the largest audience as possible. I also would like to investigate further into adobe XD if I could design the app directly from there. If we had more time available I would have used after effects to improve the transitions on the app, such as the menu swiping out when the user clicks the button and adding other effects such a movement in the graphics. This is something I will be spending more time on in future projects, putting the work into different software to see the way I can stretch and adapt it.
OUGD504