E V O L V I N G James Devereaux-Ward
C O N T E N T S
Evolving Self Promotion Business Cards.............................................06 Invoice........................................................08 Personal Website.........................................10 Curriculum Vitae.........................................14 Networking Type Directors Club....................................18 Critical Tensions..........................................22 Handmade & Bound................................... 26 Typographic Circle..................................... 28 NB Studio...................................................30 J.W.T...........................................................31 Vaughan Oliver...........................................32 Positioning Elephant Magazine..................................... 36 Editorial Design..........................................38 Handmade & Bound....................................40 Daryl Kellie Showreel................................. 42 The Future NB Studio...................................................46 Hat-Trick....................................................47 Strengths and Weaknesses............................48 Evaluation Reflection...................................................52 Links/Bibliography......................................53
S E L F
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P R O M O T I O N
B U S I N E S S
C A R D S
Self Promotion I have designed my own personal business cards, so that I could distribute them at public events. This will help not only promote myself as a designer but also hopefully get freelance work from clients. I have kept my business card formal to show my professionalism as a designer and also on the back is a quirky image of the colour blue, to show off my character. The colour blue symbolises trust, loyalty and confidence. Hopefully I can be remembered for not only my name, but also by the colour blue.
Below: Front and back design of my business card
JAMES DEVEREAUX-WARD GRAPHIC DESIGN
James Devereaux-Ward Graphic Design +44(0)7922 005 632 jdevereauxward.com jdevereauxward@email.com
I N VO I C E
Accounting I have created an invoice for future freelance work I receive. This includes the jobs I have been asked to do and the breakdown of the cost. I hope to use this template with any commissioned work I receive, so I can professionally keep up to date with my finances and help deal with clients.
Below: Invoice example
49 Ormonde Avenue Epsom KT199EP United Kingdom
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JAMES DEVEREAUX-WARD GRAPHIC DESIGN
jdevereauxward@email.com jdevereauxward.com +44(0)792200 5632
Company Name 1 London Rd London W4 6QU
Invoice date
Total to pay
Due date
27/12/11
£75.00
10/01/12
Job Description
Hours
Rate
Subtotal
02/01/12, Flyer
03.00
£15.00
£45.00
02/01/12, Advertising Poster
02.00
£15.00
£30.00
Deposit
£20.00
Final Payment
£55.00
Total
£75.00
Avove: Main page of my website
Avove: Screenshots from my website Link: Personal website
P E R S O N A L
W E B S I T E
Self Promotion Over the summer of 2011, I wanted to learn how to make a website. This would help me after I have graduated to get a job, and expand my knowledge and skills of web design which I was lacking. After much research along with trial and error, I have managed to create a working website showcasing my work as a designer. The website was designed so that viewers could easily navigate through it. The colour blue is a recurring theme in my self promotion and features strongly in my website when interacting with it. On my website you can: access a selection of projects, visit my blog, contact myself and also download my curriculum vitae. I am extremely pleased with the outcome. It was a challenge in itself, designing a website. To make it functionable and practical was a huge task. I have learnt key skills which will help me in the future. This includes basic HTML, CSS and also the do’s and dont’s for web design. Many of the jobs I have looked at require a basic understanding of web software. I am glad I have taken these huge steps and hope to develop my skills in the future. The website itself is not fully complete at the present moment, however this work in progress is shaping up nicely for completion.
Opposite: Main page of my C.V
C U R R I C U L U M
V I TA E
Self Promotion I created my curriculum vitae in the same style as my website, business card and invoice as this shows off my professionalism and attention to detail as a designer. It contains all my information, history and experience. When contacting design agencies in the future I will be using this along with a portfolio to promote myself as a visual communicator.
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JAMES DEVEREAUX-WARD GRAPHIC DESIGN
Curriculum Vitae
Contact Details
Career Objective
Skills
+44(0)792200 5632 jdevereauxward@email.com jdevereauxward.com
I want to establish myself within a lively and creative design team, where I will be able to produce outstanding visual communications and client solutions.
49 Ormonde Ave Epsom Surrey KT19 9EP
Profile
Adobe Photoshop Adobe Indesign Adobe Illustrator Adobe Bridge Microsoft Office Final Cut Pro (basic) Dreamweaver (basic) Mac & PC literate
I have the ability to produce outstanding work and ‘wow’ the clients. I am an enthusiastic, hardworking team player with proven creative ability and experience which is growing every day. I am confident in the broad range of skills I have obtained and also adaptable to each brief. This has enabled me work independently or collaboratively which I primarily adore. I love to explore as many paths as possible, to create exciting solutions and embrace any challenges.
Influences Alan Fletcher, NB Studio, Why Not Associates, Sagmeister, Daniel Eatock, Alan Kitching, Magpie Studio, Pentegram, Hat-trick Design
Experience Elephant Magazine / Issue 3 / Summer 2010 Working with graphic designer Vaughan Oliver for the tiltle pages. Work in progress show / Oxo Tower / July 2010 Curated and took part in the end of year show Make Me Think / Rag Factory Gallery / April 2011 Private print exhibition with a group of artists
Education University of the Creative Arts / 2009 - Current BA Hons Graphic Design Richmond College / 2005 - 2008 National Diploma: Art & Design A level: Graphic Design, Architecture, English Literature
Reference Sallyanne Theodosiou / Lecturer stheodosiou@ucreative.ac.uk 01372 202569
Studio Visits JWT / March 2011 NB Studio / April 2011
Employment Tesco Tech Support / 2007 - Current
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N E T WO R K I N G
Right: The group of students organising the Type Directors Club event
T Y P E
D I R E C T O R S
C L U B
Curation There was an opportunity to help curate the Type Directors Club exhibition in London. We were asked to write a proposal, as to how it would help our career goals. I wasted no time in replying; I explained the benefits I would obtain were immense. I was successful in my application and had the opportunity to create the show at the J.W.T building on the 20th October. The day was very hard work. We gathered all the work late morning and had to decide which pieces of work should be included. We split ourselves into groups to share the workload. I felt I took the lead in organising and managing the whole group. This stems from my personality, where I enjoy taking charge and leading a team to success. We finally managed to meet the deadline at 5pm, the area given to us was converted into a lively and inspiring atmosphere to hold the show. I learnt a vast amount when working with the group of students and hope to build on this within my own work, as a designer.
Opposite: Entrance to the Type Directors Club exhibition
T Y P E
D I R E C T O R S
C L U B
Networking During the evening I spoke to many students and professionals. I discussed not only the Type Directors Club show itself but also about their own practice. I distributed my business cards out to promote myself as a designer and to hopefully receive freelance work or internships, in the near future.
Opposite: Critical Tensions flyer
C R I T I C A L
T E N S I O N S
Inspirations I attended the two day Critical Tensions conference held at St. Brides Library on the 10 - 11 November. Many of the talkers there where inspirations of mine such as Alan Kitching, Vaughan oliver and Zoe Bather. The event gave me an insight into the thoughts of these designers. This included how they tackle a project and how to deal with clients. Zoe in particular of Studio 8 discussed how by continuing personal work, along with commissioned work helped to receive more clients, as they got a lot of exposure to the industry. I was fortunate enough to be introduced to Studio 8 at the event by Sallyanne Theodusio who personally knew them. We discussed recent work they did such as the design of Elephant Magazine and their development from a student to successful graphic designers. This has helped me reflect on my own practice more which will benefit me in the future.
H A N D M A D E
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Networking I took part in the Handmade & Bound event where I sold a limited edition of prints titled ‘Work Work Work Work’ along with a series of sketchbooks in a variety of colours. I made 33 pounds during the event which was pleasing knowing the public have my work at their homes. I also took the opportunity to document the day. Justin Devon Moore, Tom Hagerty and myself each shot footage recording the atmosphere, the work and the historic building. I also took the time to speak to several artists and publishers about there own work. I received nice feedback from the public who really liked my work which was encouraging and hope to attend many more of these events.
Opposite: Artist Mark Pawson at Handmade & Bound
T Y P O G R A P H I C
C I R C L E
Insight into Designers Practice I have particularly enjoyed attending several Typographic Circle talks. These have included Simon Esterson and Morag Myerscroft of whom I greatly admire. The talks have given me an insight into these established designers practice and has helped me become more confident when approaching designers to discuss work.
Opposite: Morag Myerscroft at the Typographic Circle. Photography by Gerhard Kassner
N . B
S T U D I O
Studio Visit I visited NB Studio in April 2011 along with some other students. Prior to my visit I admired their work, however after I left they became a company which would be my ideal place to work. We were greeted by creative director Alan Dye who gave an inspiring talk. He discussed several projects NB Studio have been involved in and the thought process behind each. It was not only their work which I admired but also the environment they worked in. The studio was vibrant with work and had a huge collection of inspiring publications to help fuel their creativity. This is everything and more I have dreamed. A small tight nit talented group working across a multi- disciplinary of projects. I left the studio full of inspiration and hope that one day with hard work I could work for a company like NB Studio
Above: NB Studio. Photography by NB Studio Opposite: J.W.T reception
J . W. T
Studio Visit In March 2011 I was guided around the J.W.T building. I was introduced to an advertising team who showed some of their recent work. Although I am not soley interesting in advertising it was nice to get an insight into how they work and the relationships they have with clients. The working environment is to be admired, a cafe, shower facilities, an entertainment section and is open 24 hours a day. The place was buzzing full of projects and this the sort of place I would like to work in the near future.
Right: Vaughan Oliver in his home. Photographed by Simon Larbalestier
VAU G H A N
O L I V E R
Personal Visit Myself and Lance De Vries approached established designer Vaughan Oliver who worked for record label 4AD. I wanted first hand research for my dissertation which is all about collaboration. He has always thrived and enjoyed working with others most notably photographers. We were fortunate enough to be allowed into his house to see the environment he works in. After the interview we each gave he showed us around his studio room. It was so inspiring to see at first hand the way he works and his vast collection of books. He let us go through his draws of work including proofs of the Pixies album covers. I realise now just how much design has changed after seeing his work. Not in terms of the finished piece itself but the process. He himself said he ‘despises’ the computers and enjoyed the ‘tactile’ side of designing. Moving type and image around on a board, while cutting up pieces to see what works and what doesn’t. I will definitely keep an open mind now in the future when designing and carefully consider each element more. It was great to see the progression of his album covers and to obtain a better understanding of the development and experimentation process.
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P O S I T I O N I N G
Opposite: Myself and Lance De Vries imagery for the title page Below: Group imagery for title page
E L E P H A N T
M A G A Z I N E
Publication Several students work was selected by graphic designer Vaughan Oliver for the title pages within the Elephant publication, which is an arts and visual culture magazine. Lance De Vries and myself worked on the title ‘Destinations’ under the art direction of Vaughan. We wanted to epitomise his own style by experimenting with lighting and working within the environment. I learnt to appreciate working collaboratively and to share ideas and knowledge. Prior to this I had not engaged fully in group work. I now thoroughly enjoy the process of collaboration and can’t see myself working primarily on my own in the future. I succeed when I bounce ideas amongst other designers and this is what Lance and myself did.
Below: Spreads from the article Swings and Roundabouts
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Louis Vuitton Spring / Summer 2012 show
Below and right Meadham Kirchoff Spring / Summer 2012 show, model from the Giles Spring /Summer 2012 show
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IN AN INDUSTRY WHERE MONEY IS THE DRIVING FORCE BEHIND IT AND CATWALK SHOWS ARE BECOMING MORE EXTRAVAGANT EACH SEASON, REBECCA PETERS ASKS WHAT IMPACT WILL THIS HAVE ON THE NEXT GENERATION OF CREATIVE MINDS
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ach season Fashion Week is becoming more about the spectacle than the designs we see, and for Spring/Summer 2012 this was more evident than ever. Models draped in next season’s trends seem to have taken a back seat and appear to play a minor role in creating this theatrical backdrop that an increasing number of shows are becoming. It’s no surprise that amidst the scores of balloon animals, crystal white carousels and oversized coral reefs, fashion seems to have lost sight of itself and wound up a step back from the new wave of elaborate displays sweeping the catwalks. One might ask if designers are so confident in their collections, why are they distracting us with the dramatic backdrops surrounding their shows. However, there is a distinct possibility that the exceeding levels of confidence oozing from the design tables of these creative minds is the reason they’ve transformed their shows into bigger and better things. For designers who are continually developing season after season, and at no point lack any assurance in their collections, where’s the harm in having a crack at something new.
But while we sit back and enjoy the fresh, elaborate shows we indulge in twice a year, our thoughts should turn to the wider implications such financial extravaganzas might have on the next generation of innovative minds. We are all well aware of the sticky financial situation our country finds itself in, and with recent reports showing the level of graduate unemployment has reached an all time high in 2011, with one in four graduates failing to find work, it’s no surprise that emerging designers are finding it harder than ever to get their feet off the ground. As a result an increasing number of fashion design graduates are choosing to go down the path of self employment. This may seem the intelligent choice to make, no rules to abide with and only yourself as boss, but all of this comes at a price; a price that is fast becoming less and less affordable. The fashion industry itself nevertheless remains seemingly unscathed by this ‘economic downfall’, made clear by the phenomenal amounts of money it rakes in each year. In 2010 the value of the UK fashion industry to the UK economy was £21 billion, it’s the fifteenth largest industry in the UK,
E D I T O R I A L
(Out of 81) and orders of over £100million were made during last season’s Fashion Week. (Source: BFC Value of Fashion Report) Quintessential British fashion brand Mulberry is just one company out of many that remains blissfully unaware of any financial crisis, as it reported that in just six months between 2010 and 2011 their profits rose by 207%, from £1.5million to £4.7million. In the last year alone the British fashion house has seen its value soar from £166million to £1.3billion. For established fashion houses these extreme sums of money resulting in such impressive shows is just the next step forward for fashion as they see it, but for emerging designers these displays of wealth are yet another reminder that they couldn’t be further away from creating a catwalk of such status. Fashion design student at UCA Epsom Alice Bennett admits, “I worry about the costs and whether I’ll be able to compete with bigger designers or that I won’t find any sponsors to help with these costs. I want to stand out and not be compared to other designers but I do think that a good designer will find ways of making shows unique, even without the funds.” Although there are schemes set up to help fund Britain’s budding talent, such as the BFC/Elle Talent Launch Pad and NEWGEN, who both support designers and their businesses through marketing/PR opportunities and by contributing to the cost of their shows, if high end fashion houses continue to produce such theatrical shows and the public interest remains with them, then the future for materializing designers is beginning to look somewhat bleak. The increased usage of social networking sites, such
D E S I G N
Deadlines I deigned a couple of magazine spreads for a fashion student. The deadline was very short and had to work quickly. I enjoyed working with her, as she accepted some suggestions to make the spreads better. I further developed my own knowledge of getting designs ready for print within In Design and got an insight into what it might be like working with a client, who has quick deadlines.
as Twitter however, is a definite help for new designers as they can be PR to themselves, allowing them to publicise their shows and their designs to the elite of the fashion industry. With the continual advances in technology providing us with new ways of watching shows, it is becoming easier for designers with very little money to promote their work as many have begun streaming their shows live in front of thousands of eager onlookers, not lucky enough to have received a personal invite to the front row. As a perhaps negative result any Tom, Dick or Harry now has immediate access to an industry that for years thrived of its exclusivity, and so consequently many designers are now looking for new ways to show their collections, as fashion seems to be becoming somewhat formulaic. And so begins the vicious cycle. Olivia Pinnock, Editor of tellusfashion.com, a platform for emerging talent in all areas of fashion to showcase their work, agrees, “More designers are doing this because they want to do something new and innovative. Fashion will never move forward if we stick to the same formulas and don’t try anything new. Designers are creative people, why shouldn’t they extend that creativity beyond the clothing to the shows”. However, not all designers are keen on the idea of elaborate staging behind a catwalk. When asked if he would follow in the footsteps of Chanel in terms of set design, British designer Christopher Kane tells me, “I’m not really like that as a person; I don’t want to be showy. For me, it’s about the clothing, models and atmosphere; I have enough to do with two collections anyway! This season we had a sea of models and a long runway, the venue was a huge landscape, and that was scenery in itself”. Despite the fact that such theatrical sets may encourage the eye to stray away from the designs, it seems this new approach to the fashion show is being welcomed with open arms. In a recent survey of students aged 19-25, 92% said they would rather watch a fashion show where the designer had produced a performance and a lavish set. The survey also showed that 86% of those questioned believe that this new approach to showing a collection is
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Clockwise from left Scenes from the Spring / Summer 2012 Chanel show, designer Christopher Kane, Florence Welsh at the Chanel show
Alexander McQueen Spring / Summer 1999 show
a positive step in the right direction, saying, “It gives the designers more opportunity to let their imaginations run wild”. With the majority of those surveyed being students or graduates themselves and so recognise and understand better than anyone the hardship of a successful career post-graduation, it is surely slightly worrying for an emerging design student that the flamboyancy of these shows is much more appealing than the mundane repetition of your ‘average’ fashion show. Out of the 24% of people surveyed that did not follow Fashion Week, 67% said they would be more inclined to follow it if more designers were creating such elaborate shows, proving that the recent rise in these fabulous catwalks could well be the reason for a whole new abundance of fashion followers. If this is where the public interest lies then how is a financially unstable design graduate supposed to capture and and hold the attention of enough people to secure a future for their brand. For Spring/Summer 2012 we saw a number of designers at London Fashion Week embracing this change in catwalk shows. Mulberry filled the room with giant balloon animals and oversized plastic ice-creams, while Meadham Kirchoff placed puppet-like dancers and archways draped in pastel coloured balloons in the centre of his catwalk. Although not quite so elaborate, Giles Deacon also joined in with a shimmering silver backdrop and models kitted out in monochrome swan headdresses. Although we are undoubtedly in awe of these recent shows, we should not forget Alexander McQueen, the British designer recognised and remembered for his outlandish catwalk ‘productions’. McQueen understood that fashion was there to be interpreted and this was reflected with each show he produced. However, all these designers are
are established brands who have secured the financial stability to pull of such a lavish show. For a new designer starting out, with little or no financial backing, there’s a more than likely chance that within the first few season’s money will run dry and their business will collapse. It isn’t just the cost of a collection these graduates have to consider. In a world where technology is at its most prominent, media publicity is an absolute necessity when it comes to coverage of a show. This again costs money but if the exposure isn’t there at the click of a button, people will go where it is. With so many designers showing worldwide each season, 67 alone at London Fashion Week, a collection needs to be remembered, and the ability to design a show that is so unique, takes money. Olivia Pinnock says, “I am still hearing and seeing pictures of the Chanel and Louis Vuitton shows because they were so distinctive. That is amazing press for both companies and will ultimately lead to sales of the clothes.” Constant developments in technology provide the media with endless new ways of broadcasting information on the fashion industry. As a result the public interest in fashion has rocketed, and with record numbers of students applying for fashion courses at University each year it doesn’t take a mastermind to realise that this industry is fast becoming way oversubscribed. Fashion design has always been about producing something new and original, and the designers who make it are the ones who spot this and excel in it. Alexander McQueen, Holly Fulton and Christopher Kane are just some of the British designers whose fresh attitude to fashion, time after time, saw them winning awards and got them where they are today. But with this apparent new approach to the fashion show, focusing our attention on much more than just the clothes, looking set to stay, how are graduate designers expected to
“FASHION WILL NEVER MOVE FORWARD IF WE STICK TO THE SAME FORMULAS AND DON’T TRY ANYTHING NEW”
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“I’M NOT REALLY LIKE THAT AS A PERSON, I DON’T WANT TO BE SHOWY” keep their heads above water in an industry where money is the driving force behind everything. Giant fashion houses, such as McQueen or Chanel, would argue that if they have the money then why not splash out on a production. After all, fashion is just another form of art and the backdrop is just as much a part of the catwalk than the clothes or the models; as they say if you’ve got it flaunt it. Each Fashion Week is still a subtle competition of who has the best front row and whose clothes get the most newspaper space; who puts on the most dramatic show is simply another aspect of that competition. Perhaps, as we find ourselves nearing 2012, it just might be that while fashion will continue to reinvent itself season after season, maybe the
regularity of the catwalk has run its course. After all, fashion is all about freedom of expression, and there seems to be no better place than the catwalk for a designer to do just that. With less than four months until next season’s Fashion Week, talk of what fantastical productions will be shown is already around, and if last season’s spectacles are anything to go by it would seem we are in for another round of theatrical treats. Though maybe this time round whilst we’re lusting after Louis Vuitton or musing after Mulberry, we should make some time for a designer we’ve not year heard of, who perhaps without the coverage and much needed recognition will fall by the waste line and by this time next year will be nothing but a distant memory at an attempt of something great.
Opposite: Handmade & Bound website Link: Handmade & Bound video
H A N D M A D E
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Promo Video While at the Handmade & Bound event at St.Brides Library in London Justin Devon Moore, Tom Hagerty and myself decided to film the day. We focused on the history of the library, the lively atmosphere at the event and most importantly the wide range of interesting work artists had on sale. We cut the clips to a lively upbeat song to emphasise the atmosphere of the day. We sent the video to Simon Last, the Handmade & Bound founder and he loved it. This was quickly posted on their own website and has since been appeared on several other websites and blogs. Hopefully we can be recognised for the video in the future. We plan to visit more events like this to develop our editing skills and get our work out into the world. These public videos will hopefully one day help us get a job in the future. Zoe Bather similarly did this with Studio 8 when they created a publication, and now receives commissioned work because of it. This is the goal I aim for.
Below: screenshots from Daryl Kellie’s promo video Link: Daryl Kellie showreel
DA R Y L
K E L L I E
S H O W R E E L
Clients I was asked to make a showreel for Vaughan Talent’s artist Daryl Kellie to showcase his music. At the time of 2011 when we filmed the video I did not have a wide knowledge of photography and lacked a good understanding of editing. I asked Justin Devon Moore and Mika Vaajoki to be involved in the project. We all helped video the showreel while Justin and Mika took the lead in editing it. Although I could not help out in the post production as much as I would have liked, I have since obtained a good understanding and skill set with editing software. This was helped by overlooking what they did and asking them lots of questions which helped. This was the first video I made and have since gone on to experiment developing both web and editing skills. I planned this year to work on my weaknesses so that by the time I leave I have a good knowledge of all design skills. This is evident in the projects I have worked on recently. I took the lead in organising the meetings and discussion of travel expenses. I learnt much from Mika Vaajoki with this as he himself has a lot of experience when dealing with clients.
T H E
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F U T U R E
Below: NB Studio’s identity for Uncomfortable Truths exhibition at V&A Opposite: Hat-Trick’s 10 years of thinking book
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Clients I could see myself working within a company like NB Studio one day. I believe I have the playful creative style to my work, as well as the design skills I have built on this year. I enjoy there approach to briefs and always create something new and exciting. I believe I could add to their group of designers by offering a wide range of skills I have obtained in my lifetime. Although they are a multi- disciplinary studio they do not take on much videography and web design projects and I believe I could add these skills to the team. Creative director Alan Dye said when designing they try to ‘create something new and unexpected’ as well as ‘1 + 1 = 3’. These two quotes have stuck in my mind every time I tackle a brief. Just like NB Studio I embrace and encourage a collaborative approach within projects. I believe I have a raw talent as a graphic designer and believe working closely with established designers would help my progression as a visual communicator.
H AT- T R I C K
Clients I was fortunate enough to obtain an insight into Hat-Trick’s work when Gareth Howat came in to UCA for a lecture. I have since been huge admirers of their work. Similarly to NB Studio where they approach briefs in a playful and creative way which I do with my own work. Gareth said to have fun with the work you do, otherwise what is the point? This has influenced my own recent work. I try not worry about the final outcome and embrace creativity no matter how successful it is. This will lead to more interesting projects which will hopefully be the backbone to receiving a job within a design agency. Gareth talked about how they founded and started up their company. This gave me encouragement that one day I myself with other creatives could do the same. Belief and hard work will help me achieve this.
S T R E N G T H S
Skills Idea Generation Professionalism Editing Adobe Software Hardworking
W E A K N E S S E S
Skills Web design After Effects Audio software Experience with clients
T I M E L I N E
Past I was very lost with what direction I should take in future. I obtained a strong passion for graphic design within the second year of university and have been very focused ever since. Experimenting and being more playful with the development phase of projects has helped me immensely as I am enjoying my work more.
Present I have been improving my weaknesses within graphic design including software and layout skills. I also have tried to promote myself as a designer by creating a website and business cards which is vital for my future.
Future I would like to work within a multi- disciplinary, small design studio so that I could work closely with established designers which would help my own development.
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E VA L UAT I O N
R E F L E C T I O N
Evaluation
Reflecting back on this semester I feel I have made leaps and bounds. I have tackled my weaknesses which included digital skills and have started to make contacts within the design industry, which will help me once I have graduated. I would have liked to have gained an internship, to develop myself as a designer and get a better idea of what is involved on a day to day basis within a company. However I have been involved in several activities including Handmade & Bound and the Type Directors Club. After speaking to ex students and designers at the Type Directors Club and other events, I was stressed the importance of having a website showcase my skills. To learn how to make a website and to execute it into a working piece was huge achievement for myself and will really help me in the future to get commissioned freelance work. After the studio visits I attended I would like to work either in a multi- disciplinary design agency or within publishing. My skills I have developed this year would emphasise this by learning how to build websites, improving my editing skills and expanding my knowledge of typography and grids. I have obtained new software skills including Adobe Illustrator, Premier, Dreamweaver and Final Cut Pro which has dramatically expanded my skill set as a designer. The knowledge I have learnt this semester will help me not only for my final major project, but also in the design industry after graduating. I believe I have set myself up nicely to make the next steps which is to distribute my business cards at public events and contact selected companies which I would like to work for. With the hard work I have implemented while at university I know I can achieve this, but only with further commitment, hard work and belief.
B I B L I O G R A P H Y
Research
Books Baines, Phil. (2005) Penguin by Design. England. Allen Shaughnessy, Adrian. (2010) How To Be A Graphic Designer Without Losing Your Soul. England. Lawrence King. 2 Edition. Shaughnessy, Adrian. (2009). Studio Culture. England. Unit Editions Taylor, Fig. (2010). How To Create A Portfolio & Get Hired. England Lawrence King Personal Websites Mark Porter, Josep Roman Barri, Brice Bischoff, Studio 8, Alida Rosie Sawyer, Pentegram, Deutsche & Japaner, Theo Simpson, Daniel Eatock, Anthony Arias, Katrin Schack, Fuel, NeoNeo, Craig Ward, Tony Orrico, Lita Albuquerque Blogs Ignant, Its Nice That, Booooooom, Flickr, GDNM, The New Graphic, Aisle One, Visuelle, September Industry, Many Stuff, FFFOUND! Interview Oliver, Vaughan (2011) [conversation about collaboration and copyright in Epsom held on 5 December 2011] Documentaries R.I.P. Remix. (2008). Directed by Brett Gaylor Good Copy, Bad Copy. (2007) Directed by Andreas Johnsen, Events Handmade & Bound [held at St. Brides Library, London on 20 November], Critical Tensions [held at St. Brides Library, London, 10 - 11 November] including talks from Alan Kitching, Jonathon Barnbrook, Zoe Bather, Marina Willer, Vaughan Oliver, Phil Baines
Special Thanks To Justin Devon Moore, Mika Vaajoki Tom Hagerty Sallyanne Theodosiou Lance De Vries Vaughan Oliver
Links Handmade & Bound Video Personal Website Daryl Kellie Showreel