The Working Title Project
Rianne van de Rijt Major Design Research Project
I am I ama a I am I ama a (....) (....) (....) (....) Graphic Graphic Graphic Graphic Designer Designer Designer Designer
I am a I am a happy happy Graphic Graphic Designer Designer
curious curious Graphic
I am I ama a pattern pattern&&illustration illustration Graphic Graphic Designer Designer
I am a helvetica Graphic Designer
I am a friendly Graphic Designer
I am I ama a music-loving music-loving Graphic Graphic Designer Designer
I am a inspirational Graphic Designer
I am a seasonal Graphic Designer
I am I ama a gird gird&&layout layoutkind kindofof Graphic Graphic Designer Designer
I am a
I am a
artistical
Graphic Designer
magical
Graphic Designer
I am I ama a
I am a
I am a
(dreamer) (dreamer)
post-it note Graphic Designer
Graphic Designer
I am I ama a
I am a
I am a
Graphic Graphic Designer Designer
I am a I am a
Graphic Designer Designer
social
flying flying
sketchbook
traveling
I am I ama a I am I ama a
I am a I am a
I am a I am a
Graphic Graphic Designer Designer
good good good good Graphic Graphic
Graphic Graphic Designer Designer Designer Designer
Graphic Designer
paper friendly paper friendly Graphic Graphic Designer Designer
Graphic Designer
typo freak typo freak Graphic Graphic Designer Designer
I am a I am a
vector ninja vector ninja Graphic
Visual magician Visual magician Graphic Graphic Designer Designer
I am I ama a I am I ama a (pixel (pixelartist) artist) (pixel (pixelartist) artist) Graphic Graphic Graphic Graphic Designer Designer Designer Designer
I am a little bit of everything Graphic Designer
I am a magnificent Graphic Designer
I am I ama a i-love-my-job i-love-my-job Graphic Graphic Designer Designer
I am a pantone Graphic Designer
I am a i-pay-attention-to-detail Graphic Designer
I am I ama a kind kind Graphic Graphic Designer Designer
I am a
I am a
I am I ama a
Sophisticated
unknown
freelance freelance
I am a
I am a
I am I ama a
Graphic Designer Designer
Graphic Designer
I am a I am a
Graphic Designer
Graphic Graphic Designer Designer
Graphic Designer
nice
Graphic Designer
generous generous
I am a
I am a
I am I ama a
i love books
Graphic Graphic Designer Designer
complicated
nocturnal
allround allround
I am a I am a
I am a I am a
I am I ama a I am I ama a
Graphic Designer
'' normal '' normal Graphic Graphic Designer Designer
Graphic Designer
different kind of different kind of Graphic Graphic Designer Designer
Graphic Graphic Designer Designer
Unique Unique Unique Unique Graphic Graphic Graphic Graphic Designer Designer Designer Designer
Rianne van de Rijt © 2015 Major Design Research Project Diary for ‘The Working Title Project’ Contact details: rianrijtjes@hotmail.com www.workingtitlediary.tumblr.com www.behance.net/RiannevandeRijt
The Working Title Project
Rianne van de Rijt Major Design Research Project
Cover image of 'The Working Title Project' I chose this photo because it is the 'weird' corner in the studio. The studio connects all the participants together, because that is where we met and were we come together to discuss work. I also thought it would be nice to have something on the cover that is not already featured on the inside. This photo keeps the book a bit mysterious and vague, on purpose.
(Don't) Judge a book by its cover
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Introduction
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Diary
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Review: Made You Look - By Stefan Sagmeister and Peter Hall
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Diary
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Review: Studio Culture - By Adrian Shaughnessy and Tony Brook
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Diary
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Sources of Inspiration
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Diary
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Review: Graphic. Inside the sketchbooks of the world’s great graphic designers - By Steven Heller and Lita Talarico
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Diary
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Crazy Card Collection
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Diary
This diary is part of the journey that I go through with ‘The Working Title Project’. This is the second part of the project. The first part is the publication of designers and their design process. The diary consists of the stages that I go through explained in writing and drawing. It will show highs and lows, struggles, obstacles, achievements and thoughts. Discussing all aspects of making the collaborative document, working on the publication, gathering content and collaborating with fellow designers/ students. This part revolves around the visualization and presentation of my thoughts through a series of personal ‘project’ diaries. It will be a review of the collaborative document’s design process from a designer’s point of view.
Up until now
Thursday 9 July 2015
Backup regularly! A computer crash can be only minutes away! My laptop broke down in the previous stage,so I brought it to the Apple store. They told me it would take two weeks to fix which seemed like a very long time. I got around and picked up on some freelance projects that were laying around and needed finishing. I took the opportunity to do some Student Ambassador work and apply for some internships and jobs for after university. No worries, I also got to do some fun bits. I worked on my Lincoln photo album and filled album number 3 to the last page. I took a short break, from the 3rd of July to the 9th of July, to travel home for a week to visit family and friends. And also to go to the Sint Lucas yearly reunion, which was very enjoyable, talking to old classmates. I also bought a new camera lens, which was broken. When I returned to Lincoln, of course after an hour delay (I can’t seem to travel without delays), it was time to get my head around my work again. Preparing files for the publication and diary side of the project. Student Ambassador work that is. I worked on two open days, two consecutive days, and I volunteered last Sunday at the Lincoln Flume water slide.
I arrived back in Lincoln around 13:30 because of the delay. Then I got home unpacked got some food and went to the studio to pick up
the paper roll holder that I will use to draw and make notes on for this project. I also went to the library to return the copy of Critical
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Practice - Jan van Toorn written by Rick Poynor. Sadly I didn’t finish the complete book.
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Friday 10 July 2015 I didn’t get much of a rest after my day of traveling because today I worked a 6 hour shift on the open day of the university as a Student Ambassador. I really like working for the university talking to future students about my experiences so far. I was so exhausted that night that I was in bed at 20:30.
In my experience, you have to allow yourself time to relax, to work, and to give room for distractions and other entertainment within each project. This to keep a good balance in your productivity and creativity.
Saturday 11 July 2015 Another open day! This time I worked from 8:00 till 17:00. Not much time for anything else than work. After work I ran to the store to pick up my ďŹ xed laptop. I made it just in time before closing. Now I can properly start reinstalling everything and prepare myself for the ďŹ nal project. Today I also installed my analogue desk. To start recording my notes and drawings.
Sunday 12 July 2015 Work again, but this time it was volunteering at the Lincoln Flume, a 100 yard long water slide down the road near the collection. It was a fun job from 9:00-12:00 and I got to go down two times as well, had a great time. I almost installed my laptop again the only thing missing now is the Adobe Master Collection.
It can be hard, balancing work, relaxation and other chores. I tried scheduling in more work opportunities in the beginning of the project, and stayed clear away from working near deadlines.
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Monday 13 July 2015
After a confirmation e-mail from John I went to the studio to photograph the remainder of Yudan’s work. I notices how her work had this nice pace and autobiographical feel. Her illustrations are wonderful and you can empathize through them what it must be like to study abroad, being so far away from your own country and home.
I alternate digital work
Also I made a new notebook out of spare pages from old notebook. A sort of recycling. Because there are always some leftover blank pages at the end of used notebooks. I thought this would be a nice way to create a new notebook for my final tutorial and module notes.
with craft to stay
I really got started with setting up my new files and folder system on my laptop. I try to keep things as organized and labelled as possible from now on.
and content that you want.
creative Sometimes you have to take matters in your own hands to get the quality Keep nudging people until you are satisfied and only stop if you have tried every possibility
Tuesday 14 July 2015
Today we are meeting our new external examiner all the way from London, graphic designer Jona Piehl. She will look after MA Design and Graphic Design as a critical second opinion. She gave us some eye opening insights on how different doing a MA can be comparing Lincoln to London. We talked about the flow of the MA and what we see as pro’s and con’s. Now I see that we do have some strong advantages compared to other MA’s and that being in a smaller city isn't that bad.
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notes
Wednesday 15 July 2015 14:30
Feedback time!
Chat with John about my grades. It turned out I had a distinction which is great! Did not expect that after a crashed laptop and broken camera what provided for a lot more extra stress and worry. Now I am 100% sure that ‘The Working Title Project’ can be a success if I keep working hard with 100% motivation. After the chat I decided to distribute the gradient poster to other students, laying them on their assessed work with a little post it note asking if they would like to participate and how to contact me. I figured this is the best and quickest way to give them, since I won’t see everyone individual for some time. Success, inspired, achievement, failure, self-doubt, relief, powerlessness, creativity
Thursday 16 July 2015
block are feelings that you
can experience during the After a school visit student ambassador work shift from course of one project 10:00 - 14:30 I finished reading ‘Made You Look’ of designer
Stefan Sagmeister, written by Peter Hall. On the next page I made some notes.
Read relevant books, for your project to help put your work into a context. You will learn to understand your own project better
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I started reading the book ‘Made You Look’ written by Peter Hall and designed by Sagmeister in my short break at home. A book about Stefan Sagmeisters work, the good and the bad. The book is a probably a heavily edited version of his diary. And thus a combination of a monograph and an autobiography. The story was written by another person: Peter Hall, instead of by Sagmeister himself. This I find very regrettable, because you’re not given a full view of the designers thoughts and decisions. On the other hand, this is probably one of the only ways to give a (edited) diary of a designer a wide public audience.
small design studio is something that I still find very valuable. To what extent you are willing to follow your responsibility as a designer or go your own way? In Sagmeister’s book this is a strong theme, the search for balance, prosperity, design freedom and personal happiness. Sources: Book: Made you look, by Peter Hall and Stefan Sagmeister www.sagmeisterwalsh.com
The book gives good insight on how it is studying and working as a graphic designer. With topics like studying abroad, traveling for work, working at big agencies and setting up your own business. It shows how the quirks and characteristics of a designer develop. Also if growing popularity has a affect on your work or not. The decision to stay a
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Friday 17 July 2015
Today I picked up all my work from the studio to take home. One big box full of paper, notes and design proposals. Now I can sort out what I will take from the proposal stage and continue working on for the final stage. What did work, and what didn’t work. I contacted some local printers today and send them this e-mail to enquiry about printing options and costs.
Contacting printers as early as possible helps you to examine the possibilities that lies within the reach of your budget.
So far I have contacted:
Then you know what you can work around.
Chameleon Print 01522 530 501 sales@chameleonprint.biz 367 High Street, Lincoln LN5 7RN www.chameleonprint.biz
Popla Print 2 Newland Lincoln LN1 1XG enquiries@poplaprint.co.uk +44 (0)1522 532386 www.poplaprint.co.uk
A14 Printfinishing Unit 1 Forest Court Gamble Street Nottingham NG7 4EX +44 [0]115 970 5093 info@a14printfinishing.co.uk www.a14printfinishing.co.uk
Ruddocks Printer 56 Great Northern Terrace, Lincoln, LN5 8HL 01522 529591 sales@ruddocks.co.uk www.ruddocks.co.uk
Lincoln Copy Centre 9 Clifton Street Stonefield Park Industrial Estate Lincoln LN5 8LQ 01522 546118 sales@lincolncopycentre.co.uk www.lincolncopycentre.co.uk
This to prepare myself to create the files of the books in a way that can be printed. I want to know in advance how much it is going to cost and more important how much time I will have until the deadline! I also would like to visit the printer for advice on paper stock, print method and how to print cost effectively. It is important that as a graphic designer you also keep tabs on how your work is made, not only how it looks and then just send it of. If you understand the process the whole project will flow more easily.
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First e-mail send to printers
17-7-2015
Hi there, I would like to enquiry about your book printing options. For my master degree in Graphic Design I am creating a book. I am also keeping a journal about the project and I will write a written thesis about my project. I am definitely printing the book publication professionally. The two other books (Journal and Thesis) might be optional for printing depending on printing costs. The books would be: Dimensions: 230x175 mm Full-colour Soft cover (Maybe with folded flaps) Each book will be approximately around 150-200 pages. (my thesis will be around approximately 75-100 pages) Paper stock depends on colours but preferably a recycled stock. Print run would be possibly around 15 copies for the book, 5 copies if I print the Journal, and 2 copies if I print the thesis. I would like to get some more information about the binding / printing and print finishes that you could provide. I am based in Lincoln, so if its possible I could come over for a visit as well. Also based on the information I’ve given could you give me a quote of some sort for the printing of the just 1 edition of the book or the printing of 3 books. I also would like to know how much time it would cost to print. The deadline will be around Friday 11th of September. If you need any more information please ask. Kind regards, Rianne van de Rijt MA Graphic Design Student at the University of Lincoln
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Saturday 18 July 2015
Sunday 19 July 2015
Today I worked on the diary document and sorted out a new interview with Helena (Yiping) also from the graphic design MA, we agreed to do the interview on Wednesday the 22nd of July in the studio at 14:00. Also I e-mailed Yudan again if she could send me some digital ďŹ les and photo’s of her work. I continued sorting out this diary document, how I will design it and what elements I will add to make it more interesting to read. Tailoring it for an external audience.
On Sunday I worked a bit on the diary and sketched out some titles to be edited to feature in this document. I combine hand-drawn Planning titles with digitally written type. Sometimes a project Like the images on this page. takes more planning
than actually designing.
I like how the handwritten notes A good plan is half the on the pages make it more battle... autonomous. And with my Wacom Pen & Touch tablet I can easily write digital in Photoshop. Which still looks realistic. So I make analogue and digital notes for my diary now. Let’s see how this will evolve over the course of the project.
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Monday 20 July 2015
I started working on the structure of the Working Title book document. Assigning what comes on which page and figure out exactly what information needs to be on there, right now it is one big puzzle and I need to decide what is going on each piece. So I started to read about self publishing and copyright. The website www.thebookdesigner.com has been a great help with that. Also Youtube video’s thought me that there are some things to consider in self-publishing, but these mainly consider fictional novels. From today onwards, I set myself the challenge to create a poster, image or illustration after each tutorial to capture the essence of the chat about the project. To keep moving forward. So Hopefully after a while you will see the project develop. I started with the feedback session from last week.
Research, theory and a creating a system are the pillars of your project. 'Everything' falls or stands with how well you have done your planning and research.
About ISBN’s I found out today that a ISBN is just a product identification number. You only need it if you wish to sell your publication through major book selling chains, or internet booksellers. These stores use ISBN’s in their internal
processing and ordering systems. Officially you can only buy 10 ISBN numbers a time, which gives you publisher registration, allocation of ISBN prefix plus a list of all 10 associated ISBN’s, that will cost you £144.00. A bit too much for just a self-
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publisher like me who is looking to publish just this one book now. There must be a cheaper way. (Information source: www.isbn.nielsenbook. co.uk)
? S S E N E V I S I C E D R O F G N I K O O L R E G N I L T O N DO (TRY TO, AT LEAST)
S
DOOR OPEN MANY TOO
MA ROUTE
Tuesday 21 July 2015
TUTORIAL First catch up session with Chris in the morning and John in the afternoon. Interesting to see at what stage the part-time design students are, highly visual work that’s still in progress. This would provide alternative (and more sources of) content than from full-time students who will complete their project. Their interview possibly would go more about the shaping of their projects and practice and what it is to begin deciding and doing research around their practice, what it means and what it can be. It’s still early days for this. Planning contingency, planning things that might not happen as you think. But by showing indicative content I showed how to cope with that. And when things don’t happen as they go it will feed back into the ‘Diary’ side of the project. Now I need to find students who are working on their final project and progressing enough to be interviewed. I will need to anticipate who will give me too much information or too little, to tailor the interview towards a stage where I get just the right amount. For the pace and punctuation side of the publication I will break it up with a story about studio culture, MAIDE trip to China and maybe an essay written by Neil on the topic of design process. The content that I will get will lead to making design decision accordingly. The thought of an end piece would be a good idea. Setting a mood and closing the book so to say. Alongside a directory to summarize all participants.
Conversations about your work gives you insight on the context and perspective of yourself and other people.
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a goal
without a plan
is just a dream Illustration for tutorial: 21-7-2015
the contingency plan
expect the unexpected
I made a plan for this project’s proposal. So now it is key to stick to the plan! The success of the project will depend partly on the plan. If I fail to follow it some parts will be missing and the final outcome would be incomplete. The quote: ‘Failing to plan is planning to fail’ comes into mind from author and businessman Alan Lakein. But lets not forget that the project quality is mainly influenced by the quality of the content.
Tuesday 21 July 2015
RETHINKING PUBLISHING According to Peter Bilak, in his talk rethinking publishing, magazines have been putting their readers second. Their business model is based around advertisers, so they make the most money out of advertising instead of subscriptions. This way the magazines are thread-end by becoming overpowered to advertising. Recent new magazines are reversing this trend, a higher retail price, but less advertising driven. Articles and stories that people want to read, funded through crowd funding. This instantly shows an interest and community around the magazine. With or without magazines, any book or magazine is as good as its content. This is something I want to take to heart and keep in mind in the development of ‘The Working Title Project’. Everyone is affected by design, so everything that is manmade is design. The design of processes and routines is an inherent and relevant part in creating design as well. (Source: www.typotalks.com/videos/bilak/)
contingency plans change things from the moment you have planned them, and they are no longer unforeseen. From that point you have to prepare for other unforeseen situations.
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Wednesday 22 July 2015
data Today I had my 3RD interview for this project, with Yiping from MA Graphic Design, we had a nice chat about her work. First I send her the questions I wanted answers to. And the reply I got back on this was quite minimal. Short answers that weren’t even sentences yet. This annoyed me just a little, because I realized I would understand her work more through conversation. It is difficult understanding her work when you can’t obviously see what the project is about and English is your second language what means your vocabulary isn’t great enough to explain it fully. You can interpret the work quite different than it’s initial meaning. The interview went well I understand data art a lot more now. And that it is actually a whole different design field.
object
art
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Thursday 23 July 2015
Control: If you're not satisfied, keep looking.
LINCOLN PRINT AND COPY CENTRE I started transcribing Yiping’s interview. Transcribing always takes 3x longer than the actual recorded interview. I did look at phone apps, online software and services to see if there is a cheap option to do this easier. But all things that I encountered cost money, and even if it takes a few hours to type up an interview it is still much more beneficial for me to do it myself so I can generate the story as I am typing. I visited the Lincoln Print and Copy Centre. It is a bit hidden behind the train station. So I cycled over there and went in to get some information. In terms of printing and binding they do not have much options. Wire binding and perfect binding are the only real binding options, and I will want to have a real book so it is going to be either paperback or hard cover binding. And for paper-stock they basically print on 100gsm copier paper, which I could do at uni as well. Here you see the quote that they gave me. The cheapest option would end up £ 21,00 a copy which is still a bit much, but I guess this is due to the low print run. I hope I can find a printer with better options in paper stock and binding quality, because it might be fast and good value for money but the Lincoln Print and Copy Centre would be my ‘Plan B’. I want to check out Ruddocks later this week.
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Friday 24 July 2015 I started Yipings design of the interview. Also send out e-mails to all the MA part-time students to arrange interviews. For every interview I want to create a personal colour scheme based on the most common colours in the images and photo’s I have taken. So, hopefully the end result will seem more personal. I tailored the questions for MA design part time students because they have not finished their project yet. It will be a work in progress view for their interviews.
Saturday 25 July 2015 Arranged an interview with Dawn for this coming Wednesday at 10:00, she is the first one to reply so happy about that. Had a think about things that I find annoying in general and while I am working. This sometimes helps me to solve problems quickly, motivate myself and make things better. The list I made can be seen on the next page. Setting up a structure for the written study and arranging a reading list for that. Some books are already on my desk, but I still need to read them.
Sunday 26 July 2015 Today I finished the first draft of Yiping Yang’s project. I will discuss these in the next tutorial on Tuesday. The rest of the day was devoted to reading and the written study. I moved the first big things to my new house! So excited for next week. I came in contact with a copywriter to see if she would be a valuable help in (re)writing the interviews to make them more flowing and interesting to read.
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Sometimes things that annoy you can give an unusual twist to your work, motivate you to solve problems or make your work better.
Design inspiration of today‌ The illustrations of Shawna X are very inspirational, colourful vector images a mix of solid and gradient colour what makes it a bright and colourfully mixed work. (Source: www.work.shawna-x.com)
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Monday 27 July 2015 I did not sleep very well, so I got up later than usual. I did manage to start writing on the written study part. If I do count the words (and yes I did) I have written 650 words, so that is a little achievement right there. And I had the idea to ask lecturer Jim Shorthose to maybe write a piece for the collaborative book. So I send him an e-mail to see if he is interested. I also want to send Neil one of our other lecturers an email to ask the same thing.
Tuesday 28 July 2015 Tutorial number two with John. But ďŹ rst a chat about the written part of the MA. I contacted PixArt Printing a online printing website to see if they do any other customizations other than stated on their website. This would be the cheap possibility to print the written study and diary with. And maybe even good enough to print the collaborative book with since you can choose paper stock, weight and they have some custom perfect bound options. Their size that came closest to my original size is 240x165mm. My original plan was to use 230x175mm so it is 10mm difference on both edges, which I decided was little enough to choose to change the dimensions so I could choose PixArt Printing as my printer. What I like about their service is that they have a good balance between customization and automation. You are fairly free to choose dimensions and paper sizes, and it is still affordable and within a good time scale, delivery wise. They are also able to produce cushion covers, wallpaper, cardboard stools, posters, screen printed t-shirts and stickers. I will keep this in mind if I will turn any of my design diary ideas into designed products and ‘reminder-tokens.’
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Pick any two, Design quickly, with a high standard, but it will not be cheap. Design quickly and cheaply, but not with high quality. Design with high quality and cheaply, but it will take a relatively long time. Sometimes you have to prioritize things.
TUTORIAL RECAP Interviews are going well, so far three people interviewed. Pay attention to detail in design work, type size and use of white space for more sophistication. Try to capture the MA struggle in the diary on personal and MA level. Do my expectations matches other peoples expectations?
Realization no2: The diary folder format for collecting notes, drawings and sketches works for me, it suits my working style, by taking the reader through my design process.
“Design cannot rescue failed content.� Edward R. Tufte (A professor emeritus of statistics, graphic design, and political economy at Yale University)
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Wednesday 29 July 2015
Interview number four! With Dawn Frobisher from MA Design part-time, at 10:00 in the studio. Her project is about making tailored garments for people with obesity. Her project is still in development and her research mainly consists of talking to bariatric services, people with unique body shapes, people who are considering surgery to lose weight, characteristics of fabrics and the psychology of how self-conscious people are about clothing and the effect a garment can have on that. The group of unique shaped people is far bigger than just size 0-14. Her work goes further than just plus-size and revolves around the rapid or slow change of the body and how people dress around that. Trying to make adjustable and adaptable wear that fits well and looks appealing. What interested me around this project is how the people think about their body and how this reflects in their clothes. There is so much more to consider in the design process than just sketch, design, produce and finish. The speciality lies in fulfilling the need of the client. With a body that is changing in size and weight it might be hard to consider this while creating a garment.
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Thursday 30 July 2015 MOVING DAY 1. I started moving out after the feedback chat with Neil about the previous research-led practice module. I did well, but Neil thought to make it better something was missing. He couldn’t really explain it clearly, but I think it might be that I am struggling with finding references and linking my work to the context of the real world. This need to be discussed more in our future tutorials. Anyway, lets start moving.
Important: Take care of the space you work in. The space affects the flow of your design process and also the quality of your design outcomes. Messy desk = messy head, in my case.
Friday 31 July 2015
MOVING DAY 2. Still not done, moving is so tiring. I couldn’t make myself do work these two days. But I did have a quick chat with John today about the findings from Dawns interview and how the rest is holding up. I think I am quite alright on my planning, if this moving doesn’t get the better of me. John also asked me to think about the MA and how we could improve it, this is an interesting questions because there did happen some things over the year that could be changed possibly. One dislike on the new house: a very VERY small desk. It’s dimensions are 45x100cm. So it is barely a A3 wide! I really need to adapt to that, since my desk in Brayford Quays was huge! Right now I have occupied the dinner table, for as long as my house mate can stand it...
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TUTORIAL RECAP In between moving I had a quick chat with John about the interview with Dawn and directing people. Some people provide for a lot of copy and back ground research which is also a part of the design process. Keep the realism of the project in mind, I will not be able to reach everyone. The part I am focusing on is to learn about the design process. Sometimes books about design have the problem of becoming outdated quickly, it is a snap shot in time, a bit like my book will be too. But the upside is that it is relevant to us, and at some point all graphic design is ephemeral. The diary side of the project gives it an extra dimension and relevance. The books will provide a time lapse in my MA time, one with my peers and one of personal experiences.
Realization no1: Stop dreaming! - Don’t run out of time. Pay attention to detail and take time for that. At one point I need to stop collecting data and start designing spreads. Play with type nuances and imagery. Now the key thing is thinking through & about design. But not only THINK also DO, work, sketch, make, assemble and DESIGN.
Creativit
y
Poster challenge
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Saturday 1 August 2015
New flat, new room, new desk. Almost feels like a new start. So a recap on how the ‘Diary on a Roll” is going:
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Document ideas as much as you can, you never know when
4 weeks into the they might become project and this is relevant. what I have been documenting on the paper roll the last few weeks. Memory notes that come into my mind while working, and that I need to remember before scrolling to the next new bit of paper. I am more of a list maker, my thoughts around the projects are visualized in words, sometimes in colour and shapes but they are always accompanied by words to make the image concrete and clear to myself for future reference.
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Saturday 1 August 2015
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Sunday 2 August 2015
I hugely caught up with the diary because since moving I didn’t had the chance really to do that. Also started reading again and preparing for a short week away. Gather things to read and to keep producing while I am away, hopefully. Also came up with a set of ‘reminder-tokens’ things I have learned from my diary translated to design outcomes. This for a reason to do some kick-ass graphic design.
Realisation no.2 The first came from the realisation that I need a proper spacious semi-organized space to work and think in.
I need space to WORK & THINK
My desk is
I need space to work...
25 times bigger than this... #can’t-design-a-key-chain
I can’t work this small without needing my glasses and extra magnifying set. My eye for detail is good... But not this good.
Design Dilemma’s
... this is not it
Monday 3 August 2015
Today, I got a reply from Global Water Intelligence for a job interview in Oxford, for the junior graphic designer vacancy. I reminded felicity about the interview questions, she forgot. But she made up for it by replying quickly this time and I can photograph and interview her tomorrow. I emailed Lewis from Interior architecture design to enquire You can only push about his design stage. So now I started to contact students people so far (before it from Interior Architecture Design and Museum and Exhibition becomes annoying and Design. Hope that goes as well as the other students. they don't want to help you out anymore).
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Placing the book like this almost turns it into a display., maybe if you print a poster running through the whole cover it could work as a display? BOOK: STUDIO CULTURE BY ADRIAN SHAUGHNESSY AND TONY BROOK I started reading Studio Culture, a book by one of my starting-tobe-favourite writer and designer Adrian Shaughnessy. It is very interesting to see how a studio space, or any other environment for that matter, influences designers creativity, and creative spirit. It also covers how designers choose to set up their own studio and creative space and how this grows simultaneously with their design business. It almost happens in a conscious (buying tables, bookcases, archives, tools,
prints, etc) and unconscious way (the move of furniture in the space over time). The environment has effect on your inspiration and creativity level. And in my opinion if you surround yourself with positive things this will influence your work. So if you work in a dull and uninspiring box of an office, this will definitely have effect on you, your mentality motivation and work. Space affects your behaviour as well, open plan spaces can encourage you to socialize and talk to colleagues. As Erik Spiekermann says: “The most rewarding thing about graphic design is that you get to know about other industries.”
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Tuesday 4 August 2015
Photographed Felicity’s work and received her interview questions, also asked her a bit more questions to get more content. Now I can start designing her spreads. Send Chris a recap of all the work I did up until now. I worked on Yudan’s spread with her additional images. This is how they look now:
Wednesday 5 August 2015
I had a last minute inspiration boost when I had a quick glimpse at my book pile. The book ‘Sixpeople’ was in my pile and the torn cover took my interest. It turned out it was a dust jacked, but if you unfolded it you ended up with a screen printed poster. This way a blank neutral cover can have a cover which is rich of imagery, on the inside. It also protects the book and enforces the cover. It might be useful for my design process book ideas. The book is a experimental exploration of six people on a creative journey. Elements like time management, teamwork, creative differences and the pressure of the task at hand are all part of the limited edition book.
Realisation no.3 Reading design books help me formulate my design decisions for the introduction and written study part of the MA. I encounter various words and sentences that increase my vocabulary.
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INTERVIEWING FELICITY Felicity’s interview went the least formal and most relaxed of all the interviews I did until now. This because it happened in a space Felicity was familiar with: the print room. But I think also because of the fact that Felicity talks about screen printing and printmaking techniques almost full-time, as her job as a print technician. Nevertheless less over the interviews I did I noticed that talking about your work is not easy. You need to get used to it.
get on with it
! g n i t n i r p go screen 41
Sources of Inspiration I ďŹ nd inspiration in various places and different forms of design. Especially in the design of book covers and illustration. And since I am also designing a book I thought looking at book covers is a good place to start if it comes to designing my own book cover. I also am inspired by art I encounter while traveling, art exhibitions and installations in galleries. Some things I notice spark my inspiration as well, like that most designers like using post-it notes!
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××× Embarking on a very British road trip ×××
Wednesday 5 - Friday 14 August 2015
As a little ‘working’ holiday my boyfriend drove his car over from the Netherlands to England to do a little road trip. I took the train to Brighton to meet him there and from there we went camping and visiting some cities and beautiful British countryside. While on holiday I did try my best to keep working or at least reading. I managed to send out some requests for interviews, and
also forwarded questions to: Sarah Barrowcliff, Natalie Houtioudi and Bukola Bankole. I also received an email from Majd that she was too caught up in writing her thesis for her MA Interior Architecture and Design study. I emailed all MA Interior Architecture and Design and Design for Exhibition and Museums students.
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Day 1: Day 2: Day 3: Day 4: Day 5: Day 6:
Lincoln to Brighton Brighton Bridport & West Bay Travel day Truro St. Ives
Day 7: Travel day Day 8: Bristol Day 9: Bath Day 10: Oxford Day 11: Oxford & Lincoln
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Sometimes you need to step back to realise what you have achieved.
××× Realizations along the way ××× ×
× × × ×
I need to pay more attention to the reflective side of the dairy asking myself ‘Why am I doing this / ‘What am I doing?’. Camping means, sometimes having no wi-fi, so no emails to send and receive. Visiting a lot of cities means you get to see a lot of cathedrals and churches. Scenery, location and landscape are inspiration for a lot of designers and artists. Letting go of things (time, stress, worry, thoughts) can be a good thing. As long as you then know what the right time is to start working again, to make sure you don’t get stressed again.
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ay.. d i l o h n While o On our road trip we visited some gallery’s and museums. Our first stop was at the Brighton Museum and Art Gallery. Were we visited the wildlife photographer of the year exhibition. In Truro we visited their cathedral and in St. Ives I was amazed by the amount of art galleries that were around, and we had to visit the Tate St. Ives as well were I saw the ‘I Wish Your Wish’ exhibition by Rivane Neuenschwander. A self-feeding art piece that makes you think about your own universe of desires and how they can match someone else’s
wish (you suddenly notice people are not that different from each other anymore). This in particular made me think about my own next step, after hopefully graduating and starting out in the graphic design industry, it made me think about future work, what I want, what I love doing and in what place I would like to work. The idea of the work is to take a wish and replace it with your own. I took this wish because it seemed relevant for me. In return I wrote: ‘I wish for my next adventure to be an amazing experience.
In Oxford we visited the Bodleian Library and their exhibition ‘Marks of Genius’ took my attention. It shows what impact a book can have on history and future. This might not have direct links with my book, but it is nice to think about the ‘life’ a book can have, its meaning might even increase in 200-500 years time. Format has a huge impact on the perception of the content, even when looking towards the future.
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ay..Monday 10 August 2015 d i l o h n While o While I was away I received and send emails for interviews. I also received an email to review an article about ethnography and design. How ethnography can help your project and make you reflect more on the decisions you make. This is what I found out:
Ethnography & Design Great design always connects with people. Designers inspire, provoke, validate, entertain and provide utility for people. To truly connect, designers need to have compassion and empathy for their audiences. Designers need to understand the relationship between what they produce and the meaning their product has for others. I also need empathy within interviewing the participants for the project. If I approach it the wrong way, I end up with content that is different than I expected. That is why planning has been so important, because of rigorous planning I am able to direct the Theory substantiates interviews more and get the content that I need. your practice and can re-enforce your goals ETHNOGRAPHY IS A TOOL FOR BETTER DESIGN. Ethnography is a research method based on observing people in their natural environment rather than in a formal research setting.
“... most powerful insights come from a rigorous analysis of systematically collected data.” Finding out the rituals of designers through ethnography. In my interviews I also want to find out the rituals of the designers in their design process. So this relates closely with my approach and method I am using within my project. I want to know what designers do, and what they think they do and things they not tell me. If I can uncover those aspects I have accomplished in my research.
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BOOK: GRAPHIC. Inside the sketchbooks of the world’s great graphic designers by Steven Heller and Lita Talarico. A bit like my project this book shows design process, not focusing on finished pieces but showing designers sketches and drawings. But instead of focusing on a specific project, the book shows random pages of sketchbooks, and tells something about the designer and how they create sketchbooks. For example, Irma Boom a Dutch designer, she sees her sketchbooks more as diaries, you can look back in them and see all the ideas you have had. Some designers collect their sketchbook and have more than fifty in their collection. Most designers keep different sketchbooks for multiple
purposes. A sketchbook with hand drawing, notes and collages from a designer is almost like their fingerprint on their design. Sketchbooks are the ultimate format to show characteristics and curious elements. You could compare sketchbooks with a memoir, biography of ideas and design diary. Some designers take a very systematic approach to filling their sketchbooks. They have a set style and certain steps to make marks on paper to explore ideas. From this book I've learned that sketches, drawings, thumbnails and sketchbooks are at the centre of almost every designer's practice.
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Saturday 15 August 2015
After I got back from my British road trip I went straight back to work (after I put a load of washing in the washing machine)! I really need to catch up with both the publication and my diary. I started by properly organizing my emails again, and replying to everyone I still needed to reply to. I started designing for the poster challenge ( I still needed to catch up with that). After a break (no matter how long) I always feel a bit elated and I tend to be too active and buzzing with after vacation-vibes to really be able to concentrate on doing work. This usually fades after a day or two.
Sunday 16 August 2015
Today I received a message from Bukola, she can do an interview tomorrow! So fast! We arranged to meet at 12:00 in the architecture studio. She will be the 6th person I will personally interview. Over time I am getting more experiences in smoothly dealing with interviews and arranging meetings, taking photographs, talking about my process and assure participants that their (unďŹ nished) work will still look good.
Monday 17 August 2015
Bukola was late so I went back to the studio to wait for her there. There I had a quick chat with Chris about my progress before he is on leave again. He gave me some things to pay attention to and had a quick look at how the publication is going. I would have liked more tutorials with Chris, but he has been on leave quite a lot. If I look back at my process now over the course of the past 7 weeks I only had 4 tutorials. This is the least I've had throughout the year. I talked to Bukola from 14:00 to 15:00. Her project, revolving around culture, heritage and preservation, seems so complicated and interesting it deďŹ nitely peeked my curiosity.
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Tuesday 18 August 2015
Today I had a tutorial at 10:00 with John. I had a few questions in advance, what I should take as the final deadline, and what printers should I also contact. I really do want to be able to print this publication for the final show, and show it to people by then. After the tutorial I send out this email. It is necessary to give people a definite deadline by which they can respond to me if they still want to be in the publication (because it is a great opportunity). Send to: All MA students Time: 15:10 Hi all, This is just a recap to reach the people I have not heard from before. For those who have replied to my emails and those who I have interviewed this email is not directed towards you, only if you still have content to send me. For those who I have completely interviewed I will try to send the layout designs to you as soon as possible. I am creating a book about designers and their design process that will be part of the final show this year. And I want to interview all this years MA design students to be featured in it. If you would like to be part of it you can email me so I can forward you the questions. The interview can be email based or in person. There is, however, a deadline for you to send the questions and content/ photo's back to me, I need to receive everything by: Friday 28th of August, this is suddenly due to receiving the date of the final show, which is earlier than I thought. I am sorry if this comes sudden, but I need time to edit everything and keep printing deadlines in mind. After I have send the layout and design for approval I would like a swift response, reading over your article shouldn’t take much time, and I guess errors are spot easily. I hope this is clear, if you have any questions or want to see me in person please ask and I am sure we will work it out. Thanks Kind regards, Rianne
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Try to inform people through the right way of communication, not everything works well via email.
TUTORIAL RECAP I had a few moments of enlightenment while talking to John. We set a deadline for the interim critique. I will need to have everything finished by the 2nd of September! That is quick, a lot of thoughts went through my head the moment I heard that date. We agreed that then we still have enough time to proofread and check everything before we send the book to print. It will be in time for our final show. I will need to send out a wrap up email to notify everyone, because I can't keep gathering work. I need time to design participant's layout without still receiving content. So it is either your in or out, by the time the submission deadline passes. Because the deadline is near I can now start working backwards from that and plan ahead efficiently. The purpose of the directory is to provide contact details (that also keep existing after we leave Uni). It can give readers the opportunity to contact the designers and enquiry about the project.
Challenged
Rushed Grateful Creative
positive Exhilarated
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Wednesday 19 August 2015
Some people are really slow with reading and/or replying to their emails. For example, I tried several times to reach out to Kamsin, but first it took her 10 days to reply to my first email. I did send her the questions, but I am not expecting a reply soon. I think I will need to chase up on her quite a few times. I send of spread designs to: Autumn, Yudan, Dawn, Natalie and Yiping. Autumn wants to meet-up next week to go over her spreads together, this is fine and I don't mind doing this. Yudan responded that everything was good, so that is ticked of the box, Dawn still need to send me photo's and Natalie and Yiping have some images that need to be swapped or added.
Thursday 20 August 2015
Today I am interviewing Sarah, but I could not find her at first and she didn't pick up her phone. This was so annoying. I looked in the print room, studio and library. I finally found her on the 4th floor Mac suite. Finally 35 minutes later than planned I could interview her. She had send me her questions the day before so the interview went quick. Then I helped her select suitable images and photographed and scanned in some of her work. Sarah's work is very intuitive, she creates narratives from stories and translates them to only visuals, pure illustration. Then in the end she will create a book, where the images are combined with text again. She is building her tool-kit to start out as a graphic designer / illustrator.
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Friday 21 August 2015
Visited Belton House in Grantham. Lovely to see the gardens and Victorian house where the movie Pride and Prejudice is recorded. Visited the servant rooms in the basement as well, somehow I am always attracted to places you normally are not allowed to come. I have this hunger and curiosity to know things that are hidden for 'normal' spectators. It was a nice day out before working on the design of the interviews again in the evening. I set up a meeting with Jim Shorthose, one of my lecturers, to discuss the possibility of collaborating for the publication. He is willing to write an essay as the concluding part of my publication. I also received an email back from Yudan, she looked over the design of her spreads and she likes them! I am not sure that she proof read them on spelling mistakes as well, I guess not. So I still need to do that part.
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Saturday 22 August 2015
First I Photoshoped all Sarah's and Bukola's images before starting transcribing them. Photoshopping images is quicker and gives quicker results, that is why I dislike transcribing it takes around 4 hours to transcribe 1 hour of recorded interview. It is not good to postpone this, because this delays the moment that I can send them their final design of the spreads. It is only after I have send participants their spreads that they will get a idea how the book will look. And if they agree with their design, they then can check their text and images on mistakes and errors as well. Most of the time I only received minor changes. Most participants know what they have told me and it is suitable for readers. I pay attention to the flow of the sentences and if readers can understand the projects key developments even without having any design knowledge.
Stop moaning about it Even if you dislike something, this doesn't mean it doesn't have to get done. It helps first work on things you don't like and leave the best for last.
Sunday 23 August 2015
Working on Sarah Barrowcliff’s work took me longer than I thought. Her work is so spontaneous and appealing to me that I have a tenancy to work longer on her spreads than necessary. I also finally started transcribing Bukola's interview, I was not looking forward to it. That is why it took me so long to start. I had the tenancy to work on all other spreads first before starting transcribing a new interview. This was not a good habit within the project, but I did do work, only not the most important parts at that moment...
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Monday 24 August 2015
Today I met up with Autumn to go over her spreads together. Autumn had quite a few edits in mind, because her work is copyright sensitive. She is setting up her business and needs patents to register her products so they can't be copied by other companies. Because of that I can only show parts of products, close-ups and very early sketches. I had to change some images around to make it work. We also edited the text Let a bit to make it more understandable for people who don't people help know anything about the project. you I had a short chat with Lewis, about interviewing him for the publication. I told him that I would send him an email, with the questions that he could ďŹ ll in. I hope he reads his email quickly. Over the course of this project I kind of forget to let participants sign consent forms. I thought this would be necessary but I kept forgetting. I had a chat with John about that and he advised me that consent forms were only really necessary if you start to make money from publishing the book.
Tuesday 25 August 2015
I thought John was in for a tutorial today, but it appeared he was away until Thursday. I wanted to ask him some questions if copyright issues would occur if I would include written pieces from staff members in the project. Instead I worked on Lucia's spreads, she delivered the content in the most controlled way, and easiest way for me to edit. She numbered the images, and gave them a place inside the interview, so I would instantly know where I should place the image! That was so great, no one had thought of that before.
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Wednesday 26 August 2015
Meeting Jim Shorthose at 14:00 in Nottingham. While away I received a lot of emails regarding 'The Working Title Project' AJ, Lewis, Autumn and Dave send me emails with images and work. Dave especially was exited with sending me a lot of photo's about MAIDE's trip to China. It would be nice if I could use those as a photographic story to break up the interviews! Yuejiao Wang from interior design also send me her questions, without any images. I did send her an email again (but she didn't reply). Her answers were so brief that I found them inconclusive, I therefore did not include her in the interviews. I wanted to keep the standard of work high, to make it a high quality book with content that is worth reading.
MEETING WITH JIM SHORTHOSE The meeting was concise and to the point, we came to an agreement that Jim could contribute to the project with a written piece, inspired by his book '97 ideas about creativity'. Things that link in with a exible and interchangeable design process. There also was the idea to use some of the ideas from the book to break up the interviews, but in the end I realised the book would get too long if I would do that, and the context would not be mainly focussed on designers and their design process. We also talked about self-publishing and giving the book a life after the MA. Approaching it more as a research topic than MA project.
Visited the RAF Fire Museum in Scampton, where also the Red Arrows are based. Here you can see 10 of their planes lined up, they probably would y out that afternoon. It was a really interesting visit because you normally can't get access to this place easily.
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Thursday 27 August 2015
TUTORIAL RECAP Tutorial with John at 13:15. The project is progressing quickly, it's coming towards ďŹ nalization now. I do need to interview myself, I left that until last so I can turn it into a sort of conclusion for the book. The introduction explains the aim of the project and its initial ďŹ ndings. For the interim critique of 2-9-2015 I need to print off a dummy of the publication and possibly the diary side as well. We discussed to add in dates and times with the interviews, but we both decided against it, because it would make the book too dated soon. The plan for my written thesis changed. I could write an extended essay in my diary entry, as a separate chapter with a thorough introduction and conclusion. Exploring the context of the publication compared to other contemporary design monographs and books. Explaining my methodology and how the project changed and developed over time. The only downside of this is that I want to print the diary the same time as the publication. The deadline for the written study is later, so I will need to rush or keep them separate.
Know your limits But accept the clients too.
Friday 28 August 2015 Today is the deadline that I have set to receive content, text and images, from people that still would want to be in the book. I received content from: Lucy, AJ, Lewis and Cly. I also received the written essay that Jim Shorthose wrote for the publication. It is called 'The Logic of the Creative Process'. It is larger than I expected 3.089 words! But it is really good and suits perfect with the rest of the content! It explains how the creative process is a circular process and not linear. It also links in well with the modules that we had over the course Deadlines of the MA. The creative process is not monitoring actions, it are motivation can give you a sense of playfulness and happiness as well. for productivity. And the beautiful thing is everyone experiences their design process differently, it has its own characteristics and traits.
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Saturday 29 August 2015
Finishing off a lot of designs today. I send finished spreads for final check up to Lucy, Alethea, Natalie, AJ and Lewis. I really enjoy receiving people's reaction back after they have seen their work within the layout of the book. Most of them are surprised how good it looks. Here is a selection of the feedback I got: Hi Rianne,
Feedback
Thank you so much, it is looking great! Just a few little changes please.... I hope that's okay!
Positive feedback can boost your motivation! Constructive criticism
Felicity
can boost your
Hi Rianne, ignore my comment on elephant giraffe image it's perfect! The whole thing is impressive well done! Gifted for sure! I have in brackets added a few words or altered a few after proof reading. Hope this helps AJ Dear Rianne, Everything is right, it look like great, thank you so much:) Yudan Hi Rianne, Everything looks great, thanks. Can't wait to see this in print. Thanks, Alethea Hi Rianne, This is really nice .well done! If you send me a word document , I can edit the English as there are some typos . Other than that it's spot on. Good job!!! Bukola
At first most participants were a bit reluctant to talk to me about their highly personal design process. But while we were talking most participants would loosen up and give me way more information and content than I expected. Also after I then gathered all the images and created the content they would see how impressive their work looks on the design of a page. Capturing their work on paper shines a different light on the designers and their work. After seeing the design most people were impressed with how I combined everything together and are really exited how it will look printed in the end.
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productivity.
Sunday 30 August 2015
After the design of all the new spreads is done and send to the participants I can pay attention to Felicity's and Autumn's spreads who send me edits within their text and images. After I send them their edited versions I have asked them if they could check them again. With editing content also comes a lot of file management, you need to know what the final version is and you need to back up all the older versions in case someone wants to go back to their previous design.
Monday 31 August 2015
Most of the interviews are done now, and I finally got to design my own spreads. I finished the last changes on Yiping's spreads, by changing some images around. I also received some changes from Kamsin, for an image. She asked Control me if she could still send me an edited version of the text, I Be careful with favours, told her to be quick, otherwise I will come in time pressure. they might not end up It was very difficult to pretend to interview myself. And design my own spreads, because somehow you are more strict and mostly unsatisfied with your own work. I know how to make other participants work look good, but since I am so immersed within my own work its hard to get that distance that I use while designing other spreads. I still have a lot on my to do list: trying to include the China photo story, pay attention to the contents page, end pages, introduction and the design of Jim's essay.
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the way you expected.
Tuesday 1 September 2015
Preparation for interim critique! Had a final catch up with Emma Clarke at 11:00 and Dawn at 1:30 because they still hadn't send me their photo's. I met them at the studio to photograph their work with my camera so the photo's were high resolution and suitable to use. Busy day because I also caught up with Chris at 15:00 to talk about my progress. However I didn't bring my final dummy because I am going to show that tomorrow at the final crit. I completed all interviews - including my own - and wrote the introduction last. Sadly I had to leave Cly out because I could not access his photo's which were packaged by some weird Chinese software, even though that he did fill in the questions. Control I also realised that the MAIDE story was too commercial and Sometimes you marketing based to include in the book, because the tone of have to let go of voice and content is not relevant. I stayed away from it being promising content. a show catalogue and ventured more towards a book about In order to stay design process, so no MA course information or 'sales talks'. I focused. am however thinking about including the MAIDE photo story when they travelled to China. But I am afraid I can't include this either because of the amount of pages.
TUTORIAL RECAP In the tutorial with Chris I did realise that the final book is too long, it is over 200 pages, I expected only between 150-180 pages. But since I let the content drive the form of the layouts and the overall book as well I guess it kind of 'took over'. The good thing is that I strayed away from the book as a show catalogue and made it more about people and design. Letting the University content out gives the book more longevity. The only thing to do now is proofread, spellings check and pay attention to widows, orphans and colour balance photo's.
Every project has pro's and con's
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Crazy Card Collection As a designer I have some curious habits. One of them is collecting postcards. I mainly collect them from the places I travel. The ugly, the touristy the better. Some of them are pretty and well designed by artists, designers and illustrators others are photographs with the city’s name in a gradient colour and drop shadow. You will ďŹ nd the whole spectrum of good and bad design capabilities within these postcards, and that is what I love about the format of it compact but yet compelling.
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Find things that Remember you why you love being a designer
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Wednesday 2 September 2015
DEADLINE: INTERIM CRIT Time: Place:
11:00 John and Chris' office
The moment of truth. Printing a dummy version, creating a complete book. Binding it together, holding my MA project in my hands for the first time really made it feel real. Coming closer to the deadline feels daunting. After months of interviews, transcribing and designing I now have something that looks and feels like a real tactile book. The time scale now it to get everything proofread, and remove all the mistakes, errors and final typos from the file before I send it of to print. For the final show, John (my tutor) now takes the dummy to the marketing department to see if there is some funding available. I still hope it can be done, and it could be printed before the show starts (which is the 25th of September).
Planning Plan enough time for:
Realisation no.4
Knowing what your university / school / business / studio own - Printers to stop working - Big files to package in terms of tools and equipment is essential for any project. It might come in handy to know if your workspace has access to a bookbinding machine or a guillotine. It can take you a lot of time to go look for these things and knowing in advance what the possibilities are help the creative process. Or at least ask someone who knows all the ins and outs and secret hiding spot of unused tools. So a good thing to do is ask questions, if you need recycled paper - ask! If you can’t find the guillotine - ask! If you think something can be done quicker in another way, but are not sure of yourself - ask! So ASK - ASK - ASK lots of questions, it will sure make the whole process a lot more flowing and you know for sure you are not doing something that could have been done in half the time. I for example found out we have a great new binding machine in our university. It made the whole binding process a lot quicker and I now know I can do it myself.
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- Files to back-up - Delivery times
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Balance work and labour with play, relaxation and fun
Thursday 3 September 2015
Day after the crit! I allowed myself a fun-day and went to London with friends to visit some nice independent coffee shops (although I am not a coffee drinker, I just join my friends and drink tea). The buzz of people is always nice in London, it gives me the feeling of going traveling or exploring unknown places and designing and illustrating, because I always encounter beautiful an inspirational designs while traveling like postcards, prints and books. We visited an independent coffee shop in an old Victorian bathroom, 'The Attendant' and had some sushi for dinner, I have to visit Camden Town while in London so we went there too. I love seeing all the artist stalls selling their prints and jewellery! I did manage to sort out some diary entries like this one while traveling on the train.
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Friday 4 September 2015 Changed some mistakes and error in the publication InDesign file. Right now it is basically proofreading and checking image resolution and design details. I also designed this paper windmill. The idea is that distraction can be good for idea generation and let your creativity more loose and free. So when you distract yourself with, the childish freedom of, blowing a paper windmill your mind will loosen your creativity. Hence the that the paper windmill says: 'Creativity Flows When the Wind Blows'.
Saturday 5 September 2015
Designed some 'diary-realisations-totems' along with editing the publication and make some detailed changes. These are little quirky designed objects that relate to this project. The little cards with 'I am a ... Graphic Designer' came from the realisation that every designer is different, like every individual is unique. We all work in different ways, that sometimes coincidentally overlap. I then found words to fill in the dots. In the end I decided to use them as end pages for this book, because they are visually appealing and sort of sum up the content of this book. My own journey as a designer to find out how I would fill in those ellipsis, asking myself the question what kind of designer I am.
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Saturday 5 September 2015
GRADIENT POSTER As a mini challenge I designed this poster to turn into a visual infographic according to your own emotion. For two months I coloured in a square with a colour that represented my mood or how productive my day has been. The little text at the bottom of the poster says: Colour in every day in the colour of how you have experienced it. This can be in any color; your favorite color, a color that says something about your emotions of that day; it can be a piece of chalk, ink, highlighters, anything as long as it leaves a colour behind. You might want to create your own legend somewhere in the white space on this poster, explain a bit on what the colours mean and why you have used them. For a bit more background info. In the end you have your own gradient colour poster in response of how your day was. A cheeky piece of information/emotion design. If the poster is ready (beginning of September), please submit a photo or scan to me rianrijtjes@hotmail.com. Lots of colouring fun!
The beginning of July started quite relaxed.
After the hand-in I went
home for a short week. I
started emailing possible
participants if they wanted to do an interview and
the first interviews went really well (as you can
see most of my tutorials
were on Tuesday's, some went really well - dark
green - others went not so well - orange/red - ). Then in august again I went
away for a bit - the dashed green area - so before
and afterwards were busy and sometimes stressful times. The last week of
august has been especially stressed because then I
found out that there were
The idea of this poster was that I would hand them out to all the participants to accompany their interviews in the publication. As an interesting way to break up the interviews (so that it is not interview, after interview, after interview). Unfortunately after the hand-in everyone kind of moved their own way and the studio stayed quite empty for a few weeks. I decided to place the posters on peoples work so when they would pick it up after assessment they would find the posters within their work. I think this approach was too indirect since I only got a response from a select few. And after all I can't really include it anymore because I am already over the amount of pages that I had in mind. Two-hundred pages is a lot and I couldn't possibly fit in 17 more pages. Instead I will review this in my diary where I think it is a better place.
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less than 2 weeks to finish the whole publication, so stress kicked in and the
rush for interviews started via emails. Dealing with
people over email waiting for responses was quite annoying by this time.
Overall I have handled the stress well and it became a quite a green-and-
yellow-patched poster.
It represents my process
well alternating periods of relaxation and stress.
Content Sometimes you have to let content go, that after consideration doesn't ďŹ t well in the context anymore.
Sunday 6 September 2015
Kamsin and Bukola both promised to send me their edited text after the 2nd of September. By this date I still have not received anything, I am going to urge them to send it today by latest! Otherwise I get into more distress and it will be too late, because I am anticipating on doing the proofread edits tomorrow onwards. Tomorrow I am going to check with John to see how far he is with that, and with writing the Foreword. I hope he got it done over the weekend so I can send the publication off to print by Tuesday! Because I really need it by next week Monday the 14th, then is our ďŹ nal deadline for all the design work.
Content: If you let content drive your structure, you have to take care that the content doesn't take over, and gets bigger, than the project.
Dave (MA - International Design Enterprise program leader) also send me this email:
Hello Rianne I hope all is ok. Just wanted to check that you have all the necessary info you needed from myself and the MAIDE students for your project. Any problems please let me know and I will chase things up. The layout for the MAIDE page that I received looked very good. Thank you. All the best
Realisation: You can't include everything people give you when you are working on a big
Dave
collaborative project.
I am going to send back that it will not be published due to the amount of pages and relevance to the interviews, the publication is not a ďŹ nal show catalogue anymore, so it doesn't need this kind of content anymore. But that I might try to include a photo story insert, because that is still interesting to see. Here I have to accept that the amount and length of interviews is the core of my book, I don't need to brush it up with other content to make it read more enjoyable, because now I see that the content will stand on its own and still be interesting enough.
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SARAH BARROWCLIFF PROJECT:
Because every interview is driven by its content the book is not led by its grid or layout - I didn't set a limited amount of spreads per person - so because of that it became a lively story for each project. The participant curated their own narrative and story and I assembled that with the images I received and photo's that I took. To gain some control I used set questions, but my approach to doing interviews changed during the project.
A conscious deconstruction
WHY DID YOU CHOOSE THIS PROJECT? Sarah: Because I wanted to create a body of work where I could experiment with my creative practice and use different
techniques to make images. I found a poem most appropriate, as the choice of words
makes image making so interesting as it is
I started out by storyboarding the story into images with
full of expressive words allowing for me to
the major events happening. From there I picked the 20 scenes for the 20 images I will deliver.
be creative and experiment with different stages of the story.
THE PROJECT TITLE EXPLAINS THE
PROJECT QUITE STRAIGHTFORWARD, WHY NOT A MORE VAGUE TITLE?
This explains best what I am doing, my own visual interpretation of the book. The Rime
of the Ancient Mariner is the longest major poem by the English poet Samuel Taylor Coleridge,
More information on: www.poetryfoundation.org/bio/ samuel-taylor-coleridge
written in 1797–98.
Throughout the poem a narrative is used, which links in with the visual narrative.
In writing the narrative techniques are
personification and repetition to create a
sense of danger or serenity, depending on
the mood in different parts of the poem. In
An early screen print exploring light and dark and pace.
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WHY DID YOU PICK THE BOOK: THE
the visualisations I use various treatments
RIME OF THE ANCIENT MARINER?
to create the narrative in my drawings,
It was John my tutor who advised me to
these are scale, black and white, light and
read it because of the actual words. He
dark, perspective and pace.
said to think about imagining what the
Since the project has developed I noticed that I am leaning more towards using
images would actually look like. That I
I will create a body of work for each
but when I read the book I actually instantly
needed to imagine the images I would
contrast so light and dark and scale.
make from the story. John influenced it,
started to think of things I could do with
technique I am using, a body of work for
the story. So it was a joint conversation
monoprints, collages and screen prints.
about the story that made me pick this
This to show the variety and difference
book. It was also in conversation with John
in visualisation outcomes, which will vary
that I got to 20 deliverables, 20 key points
depending on the technique that is used.
within the story to visualise.
YOUR WORK LOOKS LIKE A DELIBERATE MIX BETWEEN GRAPHIC DESIGN AND
The actual breaking the story down to 20
ILLUSTRATION, BUT SEEMS TO TEND
images/deliverables was difficult. If it was
MORE TO ILLUSTRATION, HOW SO?
more I would have done too much and the work would end up unfocused. Initially I
I use a combination of different techniques
thought to only pick 10, but that did not
from each discipline. Monoprint techniques
seem enough to portrait the story enough.
use drawing and generate more expressive
In the end 20 images was a number I could
visuals it leans more towards illustration,
work with.
collaging tends to use more skills than just drawing, it uses different materials and
SO DID YOU START THE PROJECT BY
compositions so that tends more towards
STORYBOARDING THE BOOK?
graphic design.
First, I started doing interviews with a list of questions on my lap that I would fill in during the interview. I would also record the interview to transcribe it later. This took a lot of time, but the interview ventured into a lot (probably too many) of interesting directions. This worked in the beginning since I had a lot of time to edit the interviews.
A conscious deconstruction is about “Drawing is definitley at the exploring visual expression and centre of my practice.” storytelling with a visual treatment of the poem The Rime of The Ancient Mariner. A highly visual and experimental project, exploring narratives and conveying a story through image making. Through the project Sarah wants to define her visual voice and learn new skills within the disciplines of illustration and graphic design.
Yeah, I started with storyboarding the pieces
I am exploring the different aesthetics
of the story, testing the pace of the story and
through the design techniques, to see what
seeing how it would actually fit together.
different results will come out of that.
I planned out the layout and backgrounds
I want to find out if I am more of an
into different thumbnail sketches, to try out
illustrator, graphic designer or art director.
different proportions and shapes. I drew the
Since I have a background in Creative
shapes of the sea while I was away on holiday
Advertising, before starting on my masters
as a reference for the images. Through the
I completed a Bachelor degree in that area.
storyboarding the illustrations kind of go
back to my advertising background a bit. It did help me break up the story into the
storyboard, and through thinking of various
“I am building a toolkit of different techniques to develop my visual voice.”
ways of communicating the story.
Note making like the visualizations are very personal to Sarah’s style of working. “I wrote down all the insights I had while working in the print room. I like to write on bright paper, and scraps of paper that I find lingering about.”
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The end result will be a book that is heavily image based but does have the text of the poem next to it, the text will be secondary to the images. In the end the book will
bring all elements together, image, text,
monoprint, collage and screen-print. It is
good that I did not stick with only screenprinting, which would have been too
restrictive. Monoprinting and collaging have
more energy and are not as time consuming as screen-printing, you don’t have to plan
every single move with those techniques. I
like to combine the intuition of one with the planning and organizing of the other.
It is about balancing risk and certainty, at one point I am taking risk and the other is more certain. This project has been a
massive risk, in the beginning it was scary just the thought of making 20 images was a daunting task. When I always went with
WHERE DO YOU WORK BEST?
small projects before.
Usually in my room as I enjoy quiet when I
In creative advertising if you stick with a bad
am working but I also do a lot of thinking
idea, you can’t make a bad idea better with
in coffee shops and at the studio. I then will
design. This is the thing when I went with
make the prints, monoprints, screen prints or
screen-printing, it didn’t look right so then I
collages in the print-room at the university.
started layering images and more intuition came into my work. I planned the screenprinting too much it wasn’t me anymore,
but by combing it with monoprinting and
Once the storyboards are made, I
collaging it became more organic.
started sketching the images out and choosing compositions.
WHERE DO YOU FIND INSPIRATION?
Then I noticed a different approach would leave me with less transcribing and more time to design. This was to send the participants the list of questions first, send the filled in questions back to me (so I had the fully typed text) and then have an interview to discuss the questions in person with the work. This resulted in a quicker process and left me with more time to select, edit and design the spreads. The answers to the questions were partly focused because the written text and partly free flowing because I still would question them in person and transcribe the (substantially shorter than in my first approach) interview afterwards.
From drawing, being around other people, talking to people, looking at creative
journals and magazines, painting, taking
photographs, walking, listening to others, making scrap books, drinking tea! I also
enjoy spending time looking through blogs and also looking at fashion magazines.
Gathered scraps and print hold together by a clip. And an inspiring quote from illustrator Sara Fanelli.
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WHAT STEPS DO YOU USUALLY
WHAT TOOLS AND TECHNIQUES
FOLLOW IN YOUR DESIGN PROCESS?
DO YOU USE TO PRACTICE YOUR PRACTICE?
I have always began by scribbles in my
sketch book and jotting down any ideas and
I have created a body of work with 3
layouts that I like and think work best. I enjoy
different approaches to image making
looking for inspiration in books of designers
in order to at the end have three bodies
I think communicate well. I like to think about
of work which show a range to how I can
this afterwards and then use my journal as
image make. Firstly I have created prints in
the basis for my work and beginning Ideas.
a very expressive format layering and using
I use all different types of mediums to work
sceen printing to create 20 key scenes
with but most recently I have enjoyed using
within the poem that express the poem.
collage in my work as a major influence. I
also enjoy using photography in my sketch
Secondly I have a very graphic approach
books. Within my major project I have
which uses collage based inspiration from
focused on using monoprints because I
the work of Sara Fanelli and Hannah hock.
enjoy the quality of line that they can create.
This still involves layering and printing however it is a very different way that I
have began to develop over the course of
“Out of my organic and sometimes chaotic design process I need to take organized bits to create work that can be screen-printed.”
the MA from the different designers I have being able to look at.
Thirdly I have a series of monoprints
which are another experimental choice of working that remind me more of Tracey
Emin’s style and approach to art however they are also full of expression and allow
me to tell the story in another way which is something I have found interesting.
My design process doesn’t follow a set of
rules it is organic and free flowing and much more analogue than digital, as I think it
allows for more personal design. I reckon I
would be better off if I was more organized when I am screen-printing my work. You
need to be quite organised to successfully
screen print in an effective productive way, which is something that I did not expect
before starting how you need to plan out all your decisions and steps. That is a key thing that I have learned as a designer besides
I find inspiration from magazines, I
knowing the techniques, organising your
cut out images I see to use in collages
work and thinking ahead is important too.
and as a form of inspiration. These backgrounds I found in Creative
Out of my organic and sometimes chaotic
Review, that gave me the idea for the
design process I need to take organized bits
crazy clouds in the background. I plan
to create work that can be screen-printed.
through the storyboarding and notes in my sketchbook.
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WHAT ELEMENTS WENT DIFFERENT
look at it in a different way. Asking people
THAN EXPECTED?
HOW DO YOU USE SKETCHBOOKS / DRAWING / MAKING NOTES?
what they thought of my designs allowed me to gain a true insight and interesting
I didn’t think that my prints would be so
I like making notes on brightly coloured
colourful so this was a happy surprise! I
findings about my creative practice.
geometric style similar to the diploma
ARE YOU COLLABORATING WITH
had layouts planned for my work in a very
paper as a way of reminding myself what
was happening at that stage of the process
OTHER PEOPLE ON OR IS THE PROJECT
stage but the design process has allowed
and what thoughts were going through
MORE INDIVIDUAL?
me to be much more experimental which is
my head as sometimes It is a better way
of realing where insights are born. I have
always enjoyed drawing and try and draw sometime everyday as when I did A-level
a happy surprise.
Asking peoples opinions as I work through
WHAT IS THE PURPOSE OF THE
doing however the designing is all my own.
the project is something I have being
PROJECT?
art I got into the habbit of this and as a
designer I have found it a key part of my
WHAT NEW SKILLS DID YOU ACQUIRE
To allow people to understand more about
overall design process.
WHILE DOING THIS PROJECT?
Visual Narrative as I aim to formulate a
Screen printing, collaging, monoprinting,
system that others could consider when
WHEN YOU STARTED THE PROJECT, DID
and organising! Collaging also really works
image making. Using the experiments I
YOU FIRST START OUT RESEARCHING,
well in combination with screen-printing.
carried out in the Diploma level I wanted to
DRAWING OR BRAINSTORMING? IN
You can add things to the images through
see whether my image making would make
SHORT HOW DID YOU START?
the different layers.
the poem easier to understand or maybe
I started drawing and reading and re-
reading the poem. I wanted to find a fresh
approach then I used collage and drawing painting and experimenting to form the basis to my work.
DO YOU REFER BACK TO YOUR
RESEARCH? IF YES HOW OFTEN? / IF
The last approach I took was an interview done fully by email. Because the deadline was approaching or some people were not able to see me in person email interviews were the best and quickest options. They still resulted in good content, but it was more condensed and focused that the partially email/in-person interviews. This however did give me time to include more participants, because this approach needed the least editing (it was basically just copy and paste, check image resolution and typos).
NOT IS YOUR DESIGN PROCESS MORE BASED ON YOUR INTUITION?
I do refer back more as I have got closer
to the end of the MA as I have learnt that
planning isn’t always for the best sometimes we create small mistakes which actually
communicate the design better. Intuition
will always play a huge part in my process but understanding what research I have looked at can always keep me on track.
LOOKING BACK ON THIS STAGE, WHAT WENT WELL IN THE PROJECT?
Understanding that I can’t always rely on
Some examples of the brightly
just one design process, my work is all
coloured notes and ‘to-do’ lists Sarah
about layering and having the skills to use
makes to remind herself of important
different elements to make the design the
happenings and thoughts.
most effective it can be for the purpose.
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HOW WILL YOU CONTINUE THE PROJECT?
The project gave a set brief with quite an
I aim to have 20 prints that truly reflect
open end, I like the freedom to experiment
my Visual Voice through Images. Then I
and develop new work that is quite
will continue working on the approaches
substantial that is what the brief gave me.
of visual image making that I am using
This project showed me how to create a
already. I am building a toolkit of different
coherent body of work. I had to re-read the
techniques for if I want to continue further
book so many times to understand how
into illustration. This to develop my own
to communicate it. I had to do research
visual voice and illustrate and design
on narrative, communication and visual
with that. I really learned the printing
voice this all to create a response to the
techniques through this project.
initial brief. Now you can tell the images I created are a series together and form a
I also landed a part-time graphic design
story, as for before I would make a one-
job at a fashion company; this gave me the
off and leave it at that. It gave me more
opportunity to learn more about the graphic design industry and the ‘nuts and bolts’ of
focus and consistency as a designer doing
experience from a job really gave me the
conversation through image making.
one big project, creating one big visual
the job. This project in combination with
opportunity to learn and grow within the
illustration and graphic design disciplines.
DO YOU HAVE ANYTHING TO ADD
THAT MIGHT BE INTERESTING ABOUT YOUR PROJECT?
I want people to look at the prints and be able to see that they are all coherent and
have a personal feel to them. I’ve had tears and many cups of tea to get to this stage
but seeing all of them work together in the way they are makes me more than happy!
These images are a mix of collage, monoprint and screen-print.
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My preference goes towards the second approach, a middle way between focused and controlled answers and a free flowing interview. These are a selection of the first set of completed images I aimed to visualize. Created using various kinds of printing techniques like collaging, monoprinting and screen-printing. From here I started thinking about a format in which I would show the 20 images I have created. It could be posters or a book.
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105
the working Title project
the
working Title project
Ac
olla bo rati de on sig a ne rs a l proje nd c t re the vo ir d esig lving aro np un roc d es s . Edited by: Rianne van de Rijt
FINAL COVER AND END PAGES DESIGN These are the ďŹ nal design versions of the cover. And the end pages. To contradict the inside of the book I chose to keep the cover neutral, vague and abstract. This is actually also a weird, curious corner in the MA studio. I thought this would suit nicely with the rest of the book, because it is the space of the MA studio that links all the featured designers together. Over the time the book was created we all shared this space to work, talk and have lectures in. And since I don't need to comply to commercial book cover standards I can design it in my own way. The end pages link in with the front cover. It is a time lapse I took in the diploma level stage. It portraits the use of the studio and how people move around in the space. It is also nice to see images that are not in the actual content of the book. They give it more visual appeal and set all the participants more in context with doing their Master's, without actually mentioning any commercial MA talk.
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t h e w o r k i n g T i t l e
Ac
olla bo rati de on sig a ne rs a l proje nd c t re the vo ir d esig lving aro np un roc d es s .
p r o j e c t
73
the
working Title project
Edited by: Rianne van de Rijt
Introduction
CONTENTS 6
Foreword
8
Introduction
10
22
32
40
Lucy Patterson
Project: Monika
RIANNE VAN DE RIJT
Emma Clarke
Project: Wearable Architecture
Autumn Anderson
Project: Vusu: Designed For You
The Working Title Project is about exploring and documenting the creative process. Showing creative thinking, processes and techniques that designers use in their design process to come to their final ideas and designs. It is about documenting the design process of designers through interviews and collaboration.
Kat Downs
Project: Away With Words
Yudan (Yuna) Ding
Project: The Design Student Abroad
Kamsin Mirchandani
Project: Middleport Farms - Stoke on Trent
Yiping (Helena) Yang
Project: Data Pattern Design
Rianne van de Rijt
Dawn Frobisher
Project: Adaptable and Adjustable Bariatric Garments
Project: The Working Title Project - Publication & Diary
This book is the result of a substantial investigation
Jim Shorthose
the project I have been talking to designers, almost
Directory
brainstorms, sketches, lists, drawings, tests, early renders
revolving around the creative design process. Throughout
Essay: The Logic of the Creative Process
Felicity Shum
Project: Making Natalie Houtoudi
interrogating them, about their projects. I asked for everything related to their creative practice, their
and designs that normally would only be seen by
Acknowledgments
Project: Sheffield Culture Route
themselves or a select small group, like tutors through
assessment. In my opinion they hold much more value,
they show the development and journey the project, and
Bukola Olabisi Bankole
designer, took. I set out to uncover the design process to
Project: H93 Musuem Hotel
reveal the ‘hidden’ thoughts and decisions in their projects. A client, visitor or reader most of the time only sees a final
Sarah Barrowcliff
design, tailored for a presentation and curated for their
Project: A Conscious Deconstruction
eyes. Now, I asked them to curate their design process to fit in a few spreads, through text and images they explain
Lucia Lopez Garci-Crespo
their projects and decisions, ways of working and reading
Project: My Journey
Project: Creating Ghibli
explorations, realizations and anticipations of various
design projects and designers within multiple disciplines.
Showing that there are certain stages and questions every designer goes through in their own way.
Surprisingly there are few male designers featured in this book. This I realized over the course of the project, but is
pure coincidence. You may also notice that some projects are substantially longer, this because every project has different characteristics and key elements, that might
need more or less explanation. The content drives the length of the interview and how it was designed.
If you would like to know more about a designer or a
project please refer to the directory later in this book. Feel
free to reach out, and contact them about their endeavors,
because some projects were not finalized before this book was finished.
So this is a true look into the design process of the
featured designers and a work-in-progress snap shot
of their work. I find that sometimes the actual process of design is more intriguing than the final piece. The
unfinished work holds more potential and anticipation to
the interviews, images and explanation curated within 200
beauty of an unrefined design.
pages worth of valuable insights in design processes.
Shiliu (Lewis) Fu
problems that arise within their projects. Uncovering the
lists, telling me the information about their work for me
then to take and create into a book. This is the result of all
Alethea Sandercock
Throughout this book we gain a glimpse of insight in how some designers reach a visual solutions and solves the
grow and evolve into something else that, I think, is the
Project: Animal Chair AJ Philp
Project: Baby Boo Hood - Educational toy for babies
8
ESSAY:
The Logic of the Creative Process
9
Directory
Acknowledgments I could not have completed this project
JIM SHORTHOSE It is probably true to say that we can a meal, arranging your interior space, getting dressed in the morning and making never really know what creativity 'is'. It is probably true that different your kids laugh. The fact that our culture people go through different creative celebrates certain acts as creative and not processes, and that it happens in others, is not sufficient reason to locate different ways each time we do it. creativity itself only in those celebrated Sometimes creativity will be an realms of Cultural production. The potential iterative process, which we try over for creativity is much more widely spread and over again until we are happy and democratic than that. with the results. At other times it comes from a flash of inspiration, which occurs to us all at once, almost fully formed. Creativity is, it “Cultural studies have seems, a deeply mysterious process. developed various theories
about how certain cultural process impact upon what we collective select and receive as appropriate and valued cultural outcomes of the creative process.”
This does not mean we cannot discuss it. Restricting our inquiries into creativity as
'deeply mysterious' leaves us at the mercy of apparently random events over which we seem to have little control. We might
need our creativity to be a bit more reliable
than that. Secondly, if we don't at least try to reflect back upon the nature of the creative
But how can we go further into this debate
cultural myth that only those people touched
possible pathways. Evolutionary theory,
process, we run the risk of accepting the
about what creativity 'is'? There are many
by some kind of 'genius' are creative. I don't
•
cultural outcomes of the creative process.
Economics and business have made similar of creativity and the creative industries.
•
There are many, many possible strands to
a fully developed explanation of this things we call creativity. But in this small article,
I want to 'stand back from the details', to
•
the creative process.
•
offer some speculations as to the 'logic' of
It seems clear that creativity is at heart a
•
very multifaceted process where myriad competing, sometimes contradictory things are happening. The creative
process can at times be a moving series of
•
negotiations between,
of psychology have had much to say about
people are good at some things, whilst
others are good at other things. But this that the 'creative talent' has something
innately special about them. The 'creative
Shorthose for contributing with his essay:
finding useful daily routines to develop and shape ones creative work, and the
Product Designer
benefits of one-off pieces of pure luck
autumnanderson@live.co.uk
Spatial Designer
MA Design
www.nataliehouti.wix.com/natalie-houtioudi
Alethea Sandercock
Bukola Olabisi Bankole
alethea.san@hotmail.co.uk
Interior Designer
MA Design for Exhibition & Museums
the value of referring to ones
cumulative experience, and the
Project: The Design Student Abroad
feelings of tension and suffering
227450542@99.com
associated with forming and
MA Design
bukolaolabisi@gmail.com
Yiping (Helena) Yang
MA Interior Architecture and Design
Graphic Designer
Sarah Barrowcliff
MA Graphic Design
Graphic Designer
underlying 'logic' to creativity? Perhaps the
Dawn Frobisher
www.therhyme1992.tumblr.com
process often exhibits divergent thinking
Pattern Cutter and Manufacturer
You can probably think of others? So with bits of process, how we can think of an
Project: Adaptable and Adjustable Bariatric Garments
or ideational fluency. Convergent thinking,
experimentation to see what happens
the solution. It is coloured by an arrival
Project: Making
value in imaginative wanderings and
felicitymarieshum@live.co.uk
and receive as appropriate and valued
dawnfrobisher@aol.com
the opposite of divergent thinking, tends lines to arrive as efficiently as possible at agenda. Divergent thinking puts more
Designer Maker
feelings of disorientation
other playful explorations to take thinking
MA Design
191
Jewellry and Object Designer katherinedowns@gmail.com MA Design
MA International Design Enterprise
MA International Design Enterprise
Kamsin Mirchandani
Project: Middleport Farms - Stoke on Trent
Project: Baby Boo Hood - Educational toy for babies
Interior Designer
kamsin.m@gmail.com www.kamsin.me
Tjtrends21@gmail.com
lulopgack@gmail.com
Lucy Patterson
for illustration.
Designer
MA International Design Enterprise
MA International Design Enterprise
MA Interior Architecture and Design Rianne van de Rijt
Project: Monika
Project: The Working Title Project - Publication & Diary
Graphic designer
patterson.lucy@hotmail.co.uk
198
This also breaks up the pace of the interview and gives the reader a bit of rest before continuing reading. Sometimes this would not be feasible because I would receive images that are not suitable for full bleed sizes. For shorter interviews I would cut out full page or full spread images, and try to break up the interview in a different way (maybe by adding a background colour to it).
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Project: Away With Words
fushiliu@126.com
INSIDE PAGE DESIGN The inside pages here show the first pages (this page top two) and the final concluding essay (this page bottom two). These are kept in a clean design with solid colours to contrast the actual interview (opposite page) which is quite busy and visually driven. I alternated pages with text, with a page with a full bleed image. If it was possible I would try to incorporate a full spread image into an interview.
Kat Downs
Project: Animal Chair
Product Designer
Lucia Lopez Garci-Crespo
www.behance.net/lucialopezgc
MA Design
Shiliu (Lewis) Fu
Designer
Graphic Designer - with a special love
Jewellry Maker and Designer emclarke@hotmail.co.uk
www.aletheasandercock.crevado.com
MA Graphic Design
Felicity Shum
Project: Wearable Architecture
Exhibition Designer
AJ Philp
MA Design
Emma Clarke
Project: Creating Ghibli
sbarrowcliff123@hotmail.co.uk
Project: My Journey
a highly developed sense of motivation
190
Project: A Conscious Deconstruction
2008910327@163.com
to be about working along set trams
creativity in the mundane acts of cooking
www.about.me/bukolabankole
Project: Data Pattern Design
all these contradictory facets, feelings and
and curiosity, and the tussle with
Project: H93 Musuem Hotel
Graphic Designer / Illustrator
a visceral need to express something
impact upon what we collective select
MA Design for Exhibition & Museums
innocence
most common is the idea that the creative
•
nataliehouti@hotmail.com
Yudan (Yuna) Ding
benefits of holding onto a sense of
•
Cultural studies have developed various
The Logic of the Creative Process.
Project: Sheffield Culture Route
upon the social relationships that make up
theories about how certain cultural process
Natalie Houtoudi
Autumn Anderson
Project: Vusu: Designed For You
a sense of playfulness, and a very
talent' will want to perpetuate that view, but there is (potentially at least) just as much
for guiding and teaching me, throughout
working within ones current style, and the euphoria at being 'released'
the great sense of happiness and
to the world, and a vague sense of
Twigg, Neil Maycroft and Jim Shorthose
the master programme. I want to thank Jim
'break the rules'
•
and constantly inform creative relationships.
I also would like to thank John Stocker, Chris
developing plans, and the need to
purpose they also bring
serious intent
gratitude for that.
hints at future possibilities
the creative person. Philosophy, sociology
and anthropology has focussed much more
need not collapse into the cultural myth
interviewed. They made this book possible. And I here want to express my great
feelings of current momentum within
developing ones creative plans, and
“Creativity is at heart a very multifaceted process where myriad competing, sometimes contradictory things are happening.”
modern neuroscience, the various branches
accept this idea of 'genius'. Clearly some
a keen sense of involvement with ones current work, and a response to some accident or error which only vaguely
statements concerning the market contexts
without the help of the designers that are
If you would like to know more about a designer or a project please refer to this directory, where more information can be found regarding: contact information, design discipline, email addresses and optional websites.
rianrijtjes@hotmail.com
www.behance.net/RiannevandeRijt MA Graphic Design
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RIANNE VAN DE RIJT PROJECT:
The Working Title Project: Publication & Diary
As the concluding interview I would like to tell the journey of my project, which is actually creating this book. In addition to help me with that I kept a diary about this project and documented as much as possible about all the aspects I was dealing with. For example: interviewing, transcribing, design, art direction and design managment are just a few of those. This to clearly portrait what a graphic design project can contain, and how complex it can be.
Makeshift ‘photo studio’ only works in daylight.
WHY DID YOU CHOOSE THIS PROJECT?
Folder that contains sketches, ideas
Rianne: I chose the project because
and brainstorms for both the diary and publication side of the project.
I wanted a real brief. I had enough
BA that I was now ready for the ‘real deal.’ I set out this MA with changing projects
the collaboration with Danielle Bastiaens
collaboration. It made me realise that
many graphic design elements that attract me. I also read a lot of books, there is
around the visualization and presentation
creating magazines and I worked in a
portraying the wrong thing or making the
design process means to designers and
I also have a roll of paper running over my
book ‘look better than it is.’ I hope I got it
desk to make instant notes. I don’t have to
right with this project.
publication. I also wanted to enable
parts. The first part is about exploring
occupy half of my bedroom floor as well.
sometimes can be very misleading,
(non-) designers, which resulted in this
I decided to split the project into two
able to spread out to work best. So now I
design books. The design of book covers
understanding of what the term:
on this project.
space. It was then that I noticed I need to be
to ‘feast’ your eyes with, especially with
In general I aimed to gain a better
and a project pitch that I chose to embark
desk with no drawers and limited storage
undiscovered knowledge and images
process from a designer’s point of view.
yearbook. It was after a talk with my tutor
MA I moved into a room with a much smaller
books. Books seem to hold a promise of
diaries. It will be a review of the design
team that created my previous university’s
When I moved houses half way during the
always a pile besides my desk with unread
of my thoughts through a series of personal
I also have past experience in this subject,
can’t work when I am hungry.
cards, they are a nice keepsake and hold
designers/students. This part revolves
that can end in great results.
entire day, it seems like a silly reason, but I
also the ugly ‘typical’ tourist destination
Title Project’, working on the publication,
skills, a project can take unexpected courses
worry about bringing enough food for the
illustrated and properly designed but
gathering content, collaborating with fellow
others to understand my thoughts and
“I need to be able to spread out my work to work best.”
are piling up next to me (on both sides).
There I can focus best and don’t need to
I tend to collect postcards, the nicely
I go through of making the ‘Working
through a good collaboration, and combing
surrounded by all my notes and books that
and postcards will trigger my inspiration.
which is: the diary side of the project.
The diary is about recording the process
was interested in more projects revolving
am working at home behind my desk
prints, stationery, accessories, illustrations
in the second part of my major project,
and her project The Purdah Press that I
but I feel I am most productive when I
and museums or when I find a ‘new’
undiscovered quirky little shop full of
as a vehicle to get the knowledge to fill
settling for this project. It was because of
I work in the studio, library and at home,
Traveling around, visiting galleries
at the final show. I will take on this live brief
a few times before finding my feet and
worry about not finding any piece of paper, if I don’t write down ideas immediately my
YOU USE IN YOUR PRACTICE?
studio changed over the course of a year,
lists and other curiosities and samples.
you can always find something interesting and new happening in the studio, even if
have a makeshift studio, which is basically
Photoshop, InDesign and Illustrator.
My desk is always full of paper, notes,
the space keeps adapting according to the needs of students and staff. In my opinion,
photo’s for most of the interviews. I even
to an endless supply of paper helps.
paper rolls, experimenting what the
other designers. I also noticed how the MA
photographs of the final work to go into
my portfolio. Or in this project’s case make
which is the diary side.
I tried a new form of sketching on
reasons I chose to do this project, because I always am curious about the work of
practice to record design stages and make
a Nikon D5100, is also essential for my
And form this publication that will launch
177
what everyone is up to, that is one of the
a normal mouse anymore, all my design
work is done with the tablet. My camera,
only a white piece of foam board near a
176
the studio, but mostly to catch up with
fellow students. Basically I am just curious
became inseparable. I can’t even work with
memory might change them a bit and they
can become more vague. So having access
After tutorials I often keep lingering in
I can’t work without my Wacom Intous Pen
and Touch tablet, since I started using it ‘we’
experiences concerning the subject of
design thinking and the design process,
DO YOU WORK IN THE MA STUDIO?
WHAT TOOLS AND TECHNIQUES DO
and documenting the creative process
through collaboration with MA students. Early cover design
WHERE DO YOU WORK BEST?
WHERE DO YOU FIND INSPIRATION?
experience with fictional briefs from my
it is just an empty box I wonder ‘where did that suddenly came from.’
window. And, off course, I love to work in
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179
182
183
end-less ‘border’ would impact on.
IS YOUR DESIGN PROCESS MORE
HOW DO YOU USE SKETCHBOOKS /
In the begin stages of brainstorming,
For this project I tried something new, I
ANALOGUE OR DIGITAL?
WHAT STEPS DO YOU USUALLY
FOLLOW IN YOUR DESIGN PROCESS?
DRAWING / MAKING NOTES?
idea generation and sketching my design
installed my own version of the so called
process is a combination of analogue note
After I have set, or rewritten, the brief I start
‘analogue memory desk’ created by Kirsten
making and online research. After my
planning, I try to plan backwards to break
Camara. It is a paper roll inside a wooden
sketches feel concrete enough I more into
the project into little bit size chunks. Then I
stand, that goes over your desk so you
InDesign, Photoshop or Illustrator. Or if it
start making to-do lists and start my process
never need to look for paper again. I only
from there. When reading a brief I will
is a more hand rendered illustration I am
noticed with my laptop, lamp, pens, and
knowledge. Then I will start writing down
scan that in in order to work on it digitally.
not very much room to keep drawing.
working on I make a detailed drawing and
make notes and write down prepossessed random ideas in brainstorms and mind
tablet my desk is quite full now, so there is
maps. Then I sketch in thumbnail form.
I would love to work more analogue with
I use loose sheets of paper more than that
sidebar. Simultaneously I will do research.
but the type of graphic design I am
reordering the loose sheets and you can
printing techniques like screen printing,
My sketches exist mostly with notes in the
I use sketchbooks. I like that you can keep
doing requires a more digital approach.
For this book I started looking at possibilities
scan them in easily. I also kept track of a
I pay careful attention to archiving and
for formats, sizes, typefaces and type sizes. I
project timeline on a little paper roll. At one
also looked at other books about designers
managing files, which turned out to be
point every project paper will dominate my
final design work and not the designer and
there were so many designers involved. I
when I start binding them together.
quite a challenge for this project since
and their work. They were mainly about
desk, with loose sheets everywhere, that is
had to consider edit versions and revision
their design process. That is when I saw that
as well, so keeping my files up to date
this could be a unique insight in the ‘work
Spread out of my diary entry.
needed constant guarding.
behind’ a final design piece.
180
181
ARE YOU MORE OF A LIST MAKER OF
HOW WILL YOU DEVELOP THE PROJECT
DO YOU DRAW MORE?
Liverpool, Leeds, Manchester, York,
IN THE NEXT STAGE?
Birmingham, London, Sheffield, Oxford, Brighton, Bristol, Bath, Truro, St. Ives
When this book is printed, one part of my
I am more of a list maker, I make to-do lists
and off course Lincoln. In most cities I
MA is finished. I will now need to complete
all the time. Crossing things of the list feels
would visit galleries and museums to gain
the project by writing and finishing my
productive. Even when I am sketching I make
inspiration and look at work of artists. I
thesis. After the MA I hope to go into the
lists and notes on the sides, almost to explain
enjoyed visiting every single one of them.
design industry, into a design company or
to myself what the sketch is about before I
Alongside the MA I also kept working on
working with projects that I like.
forget what that little shape used to mean. WHEN YOU STARTED THE PROJECT, DID YOU FIRST START OUT RESEARCHING, DRAWING OR BRAINSTORMING? IN SHORT HOW DID YOU START?
I also keep notes on my written thesis
Since it is such a substancial project
in my diary. It holds all the elements
labeling and ordering were essential, I
that come together in the project.
wouldn’t want to lose things!
WHAT IS THE PURPOSE OF THE
in my other diary.
proposal. Then I started to deconstruct
I am glad that I have done it this way. The
the brief into little tasks: research format,
results are in all cases of good quality. It is
interview questions, make layout sketches
when the interview is email only.
inform printers, decide on typeface, set up
everything together became easier this
BASED ON YOUR INTUITION?
interview. Over the course of the project I changed my methodology a bit. First I
Close up of the plan I made, complete
me the most interesting conversations and
with time scaled coloured bars for
answers. But I soon realised that I needed
each date.
to transcribe the interviews afterwards,
this took a lot of time. Then I tried to go
well researched it doesn’t need revising.
to gain a better understanding of what
into layout and grid rules, you can obey the
designers.
rules or break them. I choose to take the rules
typed up answers, but also gave me the
like and I think are relevant for my project.
afterwards. This already gave me the
I liked so much about interviews in person.
LOOKING BACK ON THIS STAGE, WHAT
results. When the deadline came closer
I aimed to interview at least 10 people,
I noticed this approach needed some
revision because I would need to spend
work on in my future career.
WHAT OTHER ACTIVITIES / INTEREST
I am glad I had a test phase for the proposal
and that it is a lively subject that designers
UK I took the opportunity to visit nearby
manager and time manager and I am one of the participants!
cities. I visited Nottingham (several times),
are interested about.
185
186
YOU RECENTLY READ?
1. Studio Culture by Unit Editions (Tony Brook and Adrian Shaughnessy)
2. The Great Discontent – The Possibility issue
3. Make Your Own Luck by Kate Moross 4. People of Print by Andy Cooke and Marcroy Smith
5. How to be a Graphic Designer, Without Losing Your Soul by Adrian Shaughnessy
WHAT IS YOUR FAVOURITE DESIGNER / QUOTE OR STYLE?
Over the course of my MA I really started
to like the work of Adrian Shaughnessy and Unit Editions. Adrian wrote books about
graphic design, like Graphic Design: A User’s Manual. And Unit Editions is an independent publishing venture producing high-quality
books on graphic design and visual culture. DO YOU HAVE ANYTHING TO ADD
THAT MIGHT BE INTERESTING ABOUT YOUR PROJECT?
Don’t stop reading! There is a really nice
essay on the next pages about the logic of One of the early plans I made to break up the book into several interview sections, introduction etc. A lot has changed within the layout.
188
be the graphic designer, art director,
interviewer, transcribe, editor, production
In the 2,5 years that I have lived in the
means my intentions were well received,
WHAT ARE 5 BOOKS / JOURNALS THAT
the creative process.
design agency, as an intern) for example:
information of possible printers and test prints.
DO YOU HAVE OUTSIDE THE MA THAT ARE PART OF YOUR PRACTICE?
only. This resulted in concrete and focussed
184
lists and other curiosities and samples.
designs and edited versions. And also
aspects of it I enjoy the most or need to
see it turned out substantially larger than
of the project. Here I already started the
and lows. I got to wear many hats (more
than I would have when I would work in a
interview entries, text files, spread My desk is always full of paper, notes,
How I experienced the collaboration
etc. This way I can also experience what
book with 150-180 pages. But as you can that. This in my eyes is a good thing, it
answers. After completing all the interviews
graphic design project, through highs
In another folder I store all the
happened behind the design of the book.
gave me way more content than expected.
managing interviews, getting content or
even responses from people. Looking back
made decisions according to their advice.
that readers can view, not only the actual
more time on the design than the interview.
Then I decided to interview people via email
WHILE DOING THIS PROJECT?
printers about printing possibilities and
publication, but also a look into what
Initially I thought I would end up with a
necessarily mean it went well. I had difficulty
I learned what the best way is to plan a
A lot of the interviews, surprisingly, went different than expected. Most people
so I definitely hit that mark. This doesn’t
WHAT NEW SKILLS DID YOU ACQUIRE
content, text and images. I also got feedback from participants and tutors. I contacted
and thoughts on my design process. So
THAN EXPECTED?
WENT WELL IN THE PROJECT?
So this meant less work and still interesting
as an inspirational starting point.
collaborated through interviews, receiving
The purpose of the design diary is that it
WHAT ELEMENTS WENT DIFFERENT
as guidance and choose the elements that I
unexpected interesting slight detours that
collaboration, but taking the collaboration
will hold my personal and honest notes
the term design process means to other
everything makes sense. I researched a lot
with set questions, completed in advance, and a conversation about the questions
the diary side comes in. This is the format where I create my own content, without
All the people mentioned in this book, I
could take it to interviews to show their
So I think I can say I definitely hit my aim
Sometimes it does, that is why I keep
checking on my design if I keep on track and
of my work and effort. That is also where
working process.
and editing images.
is most of the time final. Because it is
had a part of the project that is the result
contacted at some point in the project. I
document that contains their work. They
became more efficient in managing content
research and make a decisions, the decision
interviewed people in person, this gave
task of me as a graphic designer. So I got to experience the collaboration side but also
shine a light on the current design debates
students would have a well-designed
quicker over the course of the project and I
I don’t regularly refer back to it. When I
layout of the book. That has remained the
I am very much collaborating with people!
It was also the idea that participating
interviews. Designing an entry became
format has been an individual task. It was only me that worked on the design and
process will be highly personal and thus
designer and student.
way too, that is why I could manage more
content and compiling everything into one
OTHER PEOPLE ON OR IS THE PROJECT
will show the differences / similarities of
into, up to a point at least. Assembling
NOT IS YOUR DESIGN PROCESS MORE
needed to ask to get the most out of the
MORE INDIVIDUAL?
from a designer / student point of view. It
then moving onto the design work. Because of this I already knew what I was getting
RESEARCH? IF YES HOW OFTEN? / IF
I started by researching how I could best
non-design backgrounds. Each design
around the design process because it is
creating a system of doing the interview and
DO YOU REFER BACK TO YOUR
interview people. What direct questions I
ARE YOU COLLABORATING WITH
unique to that individual. Also this book will
set up of the design and layout, I tested
how I would do the interviews and I started
just that I am less involved in the process,
etc. And I moved on from there.
The purpose is to explain the various
design stages to readers with design and
later get transferred and expanded on
set out all my aims and objectives in a
On the other hand the assembly of all the
ambassador for the university.
PROJECT?
Every day I make notes in a diary. That
For this project I first created the brief,
freelance projects and work as a student
“I learned what the best way is to plan and execute a large graphic design project, through highs and lows, throughout this project.”
189
75
187
A collaborational project revolving around designers and their design process.
Foreword
CONTENTS 6
Foreword
8
Introduction
10
22
Lucy Patterson
Project: Monika
JOHN STOCKER
Emma Clarke
Autumn Anderson
Project: Vusu: Designed For You
Project: Wearable Architecture
...
Kat Downs
Yudan (Yuna) Ding
Project: Away With Words
the
32
Yiping (Helena) Yang
Project: Middleport Farms - Stoke on Trent
working Title
40
Dawn Frobisher
Project: The Working Title Project - Publication & Diary
Felicity Shum
Essay: The Logic of the Creative Process
project
The Working Title Project
Project: The Design Student Abroad
Project: Data Pattern Design
Rianne van de Rijt
Project: Adaptable and Adjustable Bariatric Garments
Project: Making
Project: Sheffield Culture Route
First published 2015
Project: H93 Musuem Hotel
Jim Shorthose
Directory
Natalie Houtoudi
Editor: Rianne van de Rijt
Design: Rianne van de Rijt
Kamsin Mirchandani
Acknowledgments
Bukola Olabisi Bankole
© 2015 Rianne van de Rijt
Sarah Barrowcliff
© 2015 Images to respective indiviual designers
Project: A Conscious Deconstruction
Images copyright of the respective designers unless otherwise
Lucia Lopez Garci-Crespo
stated. Every effort has been made to trace and contact the
Project: My Journey
copyright holders of the images reproduced in this book.
However, if informed, to correct any errors or omissions in
Alethea Sandercock
subsequent editions.
Project: Creating Ghibli
All rights reserved. No part of this publication may be reproduced,
Shiliu (Lewis) Fu
distributed, or transmitted in any form or by any means, including
Project: Animal Chair
photocopying, recording, or other electronic or mechanical
methods, without the prior written permission of the author.
AJ Philp
Publication is part of the Masters of Arts Graphic Design
Project: Baby Boo Hood - Educational toy for babies
Edited by:
programme at the University of Lincoln.
Rianne van de Rijt 6
AUTUMN ANDERSON PROJECT:
Introduction
VUSU: Designed For You
RIANNE VAN DE RIJT The Working Title Project is about exploring and documenting the creative process. Showing creative thinking, processes and techniques that designers use in their design process to come to their final ideas and designs. It is about documenting the design process of designers through interviews and collaboration.
This book is the result of a substantial investigation
revolving around the creative design process. Throughout the project I have been talking to designers, almost
Throughout this book we gain a glimpse of insight in how some designers reach a visual solutions and solves the
problems that arise within their projects. Uncovering the explorations, realizations and anticipations of various
design projects and designers within multiple disciplines.
Showing that there are certain stages and questions every designer goes through in their own way.
Surprisingly there are few male designers featured in this
length of the interview and how it was designed.
everything related to their creative practice, their
themselves or a select small group, like tutors through
assessment. In my opinion they hold much more value,
they show the development and journey the project, and designer, took. I set out to uncover the design process to
free to reach out, and contact them about their endeavors,
user testing groups’ experiences and
market. By designing products that can
my own. From having the condition I
be used by people with disablements
and without I hope to reduce prejudices
understand how difficult daily tasks can
communication about the conditions.
helpful during the whole process of design.
be however my user groups were greatly
around disability design and increase
WHERE DO YOU FIND INSPIRATION?
“There weren’t any products throughout my design journey. The Chef’n out there that were useful, Potato Peeler was the first product I found functional and styled to fit that worked well for my friends and me. It me as a person. Just because looked fun, was affordable and enabled someone has a disability me to prepare food with dislocations whilst does not mean they don’t also being useful for want and need aesthetically More information about the Palm my flat mates. positive products.” Peeler™ on: www.chefn.com Many objects and people have inspired me
Negative inspiration is something I
WHERE DO YOU WORK BEST?
have also embraced during this study.
I prefer to work in my home office as I can
Some ‘disability’ products are so badly
spread my work out and do experiments
designed it motivates me to change the
the time to fully develop three products,
market. Another inspiration for me has
whilst not having to travel far. Due to
and were expensive. Due to not using aids
a business. This journey has taught me many
disability products. The whole experience
university studio once a day so I plan my
packaging and branding to launch VuSu as new processes and methods from design
or helpful products I have unfortunately
challenges, which has motivated me to start
had great damage to my joints so when
daily journeys. Although I use the library
of shopping for them was depressing. VuSu
regularly for reading I prefer to take the
products will be sold online from the launch
The electric toothbrush is another inspiring
and discuss my work with other people.
of their work. I find that sometimes the actual process
an accessible, socially excepted item that
time in the workshops physically testing
VuSu as a viable business.
I got the opportunity to write my own
grow and evolve into something else that, I think, is the
has been a useful place to have tutorials When at the university I spend a lot of
object for me as a designer and user. It is
featured designers and a work-in-progress snap shot
Autumn’s desk in her office. All the test molds are stored away in boxes and piles throughout the little place.
my joints I am only able to walk into the
been my memory of originally trying to buy
So this is a true look into the design process of the
of design is more intriguing than the final piece. The
the interviews, images and explanation curated within 200
My main inspirations have been from my
unit costs and therefore make the range
books back home. The university studio
then to take and create into a book. This is the result of all pages worth of valuable insights in design processes.
more accessible to the potential user
through a modern, simple and fun website.
their projects and decisions, ways of working and reading lists, telling me the information about their work for me
testing, product marketing, the logistics of design and more. This study has given me
certain people with mobility disablements.
on the market to help; they were designed for the elderly, were branded medically
because some projects were not finalized before this book
design, tailored for a presentation and curated for their
eyes. Now, I asked them to curate their design process to
design. I have explored manufacturing, user
Autumn: When I was diagnosed I was
shocked at the range of products available
If you would like to know more about a designer or a
project please refer to the directory later in this book. Feel
was finished.
fit in a few spreads, through text and images they explain
I have been exposed to many aspects of
WHY DID YOU CHOOSE THIS PROJECT?
need more or less explanation. The content drives the
reveal the ‘hidden’ thoughts and decisions in their projects. A client, visitor or reader most of the time only sees a final
be positively branded. During this course
pure coincidence. You may also notice that some projects are substantially longer, this because every project has different characteristics and key elements, that might
brainstorms, sketches, lists, drawings, tests, early renders and designs that normally would only be seen by
The VuSu Designed for you project “My masters in design has given started during Autumn’s product me the opportunity to fully design degree course when she was explore disability design and given an open brief to design. From user centred design.” being diagnosed with Ehlers-Danlos Syndrome (EDS) in her first year of her degree she tried to find suitable products that could aid with the brief I chose to design a range of home condition. Ehlers-Danlos Syndrome ware products that would be practical for means that you are hyper flexible people with mobility disablements whilst in your joints the condition causes being positive items to own. damages by over stretching and dislocating joints. Ehlers-Danlos My Masters in Design has given me the Syndrome is part of a family of opportunity to fully explore disability design conditions that range in severity and user centred design. I have found that and are predominantly ‘invisible’. the products could be made to be useful for disabled and non-disabled people and
book. This I realized over the course of the project, but is
interrogating them, about their projects. I asked for
although is practical for most, is essential for
The VuSu product range has been
developed for mass production to reduce
unfinished work holds more potential and anticipation to
After a reflectional period I realised I that
materials and designs or in the enterprise
my designs were too personal and would
building completing extra workshops on
potentially be difficult for mass production.
design business.
This changed my process to user centred
WHAT STEPS DO YOU FOLLOW IN YOUR
design, where contact with others with
DESIGN PROCESS?
the condition and without has been
integral to the whole process. I started the
User centred design process has been
designs again from the users point of view,
a constant theme throughout the VuSu
collecting their opinions and experiences
project and has changed the way I work
to design for them.
as a designer. From my original brief
beauty of an unrefined design.
during my degree, I made myself the
During the project I have ran meetings and
user and tested products around my
focus groups where a selection of users
own capabilities. These tests involved
have tested the functionality, branding,
everyday movements within the home
functional forms using a 3D printer,
The Chef’n Potato Peeler (© Chef’n, Palm
for the Scrubbie, a hand-held
Peeler™) was a source of inspiration for
The development of the designs started as sketches, rough models and rapid prototypes. Once I had a range of
Sketching for me is the initial idea
generation, working and playing with
programs gives me more practical sense
whereas working through physical medias
and sketching is more creative and free.
within this project. Its purpose was to experiment with reusable packaging.
the material react with different chemicals?
As all the products are designed to solve
best in 3D, whether making rough models
the business industry and taught me many
the many new skills Autumn learned
important users are to the design process
Photo taken at a focus group meeting, to test the VuSu products.
and that they have many experiences that
can be influential to a design.
a daily task I had to go back to basics and
To conclude my project I organised a large
design the simplest method of holding,
ARE YOU COLLABORATING WITH
squeezing, pulling etc. These design
This meeting was very useful for me as
gaining feedback throughout the project.
succeeded and failed. The users surprised
During this project I knew I would need
my project and designs.
MA Graphic Design student’s client as
which has been inspiring and educational.
branding process. As I had only prototyped
contact base for testing my products and
Networking became hugely important
As well as being functional the range also
needed to be beautiful to the user group.
help from other students. I became the
throughout the project. From this course
Although I collected many opinions on
styling from my users I, as the designer had make them attractive the majority. It was
essential that the products communicated
packaging before I collaborated with
another Postgraduate Student, Lucia
My main collaboration has been with the
durability, elegance, usefulness and quality,
and conferences I was able to launch a
influenced by the branding of VuSu as this
conditions. This information became my
pulled them together.
Through sketching ideas for a logo I found out that I know too little
to form a design business. I continued with
Design and MA International Design
about branding to do it myself. This is why I got in-touch with MA Graphic
user centred design throughout the whole
Enterprise, to help me out.
process and saw the products as prototypes
design, Lucia being the creative and me
inspiration for the products and gave me
other subjects at the University I met a
testing materials. Through working with
professional injection moulder. This contact was very useful and became essential to
and what they needed and wanted.
my first batch of product.
contact with thousands of others with the
conditions, enabling me to ask them direct questions about my design choices and
Through my industry link I was able to
From using online support groups I was
enthusiasts. This group has taught me about
join HackSpace Lincoln, a social group
of professionals, entrepreneurs and
machinery and how to make stuff work!
able to go to a local meeting for people
Throughout the MA Design I have found
with the conditions. These meetings
Sketchbook with inspiration about useful functional existing products.
14
15
“I have explored many new skills during this project, including silicone moulding, ceramic casting, digital fabric printing, sublimation, paper making and injection moulding. These new skills, although not perfected, have inspired me to explore further into industry processes.
the success of VuSu. This contact taught me
about the industry and also manufactured
Through using Social Media I have had
stay motivated.
until my users were satisfied.
a indispensable collaboration.
We worked together on the packaging
nationwide survey to people with the
an understanding of the lives of my users
I hit many design hurdles along my journey
and found that by working with others in the
design field I could bring all aspects together
Working at Hackspace learning how machinery works and how products are getting manufactured, resulted in
3D printed, scilicon moulded and cly prototypes and tests for the VuSu branding and product range.
from MA International Design Enterprise.
users themselves. Through going to events
whilst also being fun and accessible. The
aesthetics of the products were greatly
the designer as it showed me where I had
me at the meeting with their enthusiasm to
they re-designed my logo and started the
many other people in the subject area,
to form the products into a collection and
focus-testing group with a range of people.
became my focus groups and were a great
MORE INDIVIDUAL?
in the making of VuSu and motivated me
I have met, worked and collaborated with
OTHER PEOPLE OR IS THE PROJECT
aspects made the overall product simple to produce and use.
Initial sketches for the Tippie product. A product that helps you drain pans.
WHAT NEW SKILLS DID YOU ACQUIRE WHILE DOING THIS PROJECT?
I have learned many new skills whilst also
understanding how naïve I was when I first
started this project. I now appreciate how
Is it easy to clean? Is it simple to put on and
or C.A.D visuals. I find that working in 3D
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DO YOU REFER BACK TO YOUR
I started with A3 prints initially, but when
RESEARCH?
PROJECT:
Half way into the major project I went back
I printed A2 prints I found it difficult to
The Design Student Abroad
control the pressure and therefore the inks
to my brief and found it very motivating.
that flow through the screen. To get clean
It has been useful to revisit my plans and
solid colours you need to put even pressure
clarify what I needed to pursue.
This whole project has been about research, using processes and others experiences
to design right. Material research has been
especially important to me, as I wanted to
explore their applications. Silicone moulding
YUDAN (YUNA) DING
was a challenge however by researching
different methods and mixes I could explore
“Here I am able to travel through Europe, you don’t get that opportunity when you live in China.”
throughout VuSu as there was so much to
Various test pieces of fabric which is digitally printed with the VuSu pattern, to be used as a packaging and branding solution for the Scrubbie.
WHAT HAVE YOU LEARNED OVER
ALL OF THE PRODUCT DESIGN AND BUSINESS SIDE OF VUSU?
I have learned that although good product
design may be extremely difficult to
achieve, the journey is the most important.
I have explored many new skills during
I feel that the branding of VuSu still needs
this project, including silicone moulding,
more development, as there was confusion to
sublimation, papermaking and injection
design. The packaging concepts were made
perfected, have inspired me to explore
cleaning cloth or an accessory to the actual
ceramic casting, digital fabric printing,
moulding. These new skills, although not further into industry processes.
Through exploring different materials,
processes and people I have found that no matter what the end result knowledge is
the environmental aspect from the packaging
gathered and learned for the next product.
to have an after use, such as being used as a
designer cannot do all aspects of design
product. Due to this and the colours chosen
to bring a whole set of skills together.
most of the users thought the whole range
from the user testing meeting there are
option to make the branding based on two
before they are launched into market.
with eco-design.
provides me with lots of ideas.
WHERE DO YOU WORK BEST?
I spend my time between living in London and Lincoln. Sometimes I live in Lincoln
and sometimes I live in London. When I
am in London I often visit exhibitions such
“Screen printing was a precious experience and an interesting new way to develop illustrations.”
delicious chocolate and tea. I got the idea
WHAT STEPS DO YOU FOLLOW IN YOUR
why I collected the chocolate packaging.
I learned a great deal about screen-printing during those few weeks but I still lack some
my use of colour. I like to travel through
confidence with the process. This is mainly
favourite artists show their work, because
larger than A3 sized because of the scale.
Europe to visit locations where my
“Product design is trying to find the a balance between high quality, design, materials and manufacturing.”
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express app, and turn them into posters.
and up to 10 hours there each day!
Additionally, I went to Amsterdam to visit
with your hand digitally. I draw with the Sketchbook Express app. I don’t use a
Travel Diary Log I collect and develop my
to completely finish my work. In one week
the Van Gogh Museum which inspired
DRAWING / MAKING NOTES?
For sketching I use my iPad most of the
time, because it is a very easy way to draw
laptop, a tablet is easier to carry and I use
I’d typically spend four days in the workshop
went to Milan for three days to visit The Expo.
HOW DO YOU USE SKETCHBOOKS /
the workshop in order to make my first print and had to book 3 weeks in the workshop
travelling from place-to-place are where I
gain most of my inspiration. For example,
I have visited the Saatchi gallery, and also
The three products that will be the start
with 17 prints where only 7 prints came out
I learned how to screen print a few weeks
ago. During the first week, I spent 40 hours in
Yudan: Galleries and exhibitions as well as
of the VuSu product range.
mixed extra colours during the process to get the exact colour that I wanted. This is
a long process to go through. I ended up
study in the library where I reflect upon my
inspiration. When I return to Lincoln, I often
WHERE DO YOU FIND INSPIRATION?
and business, but can network with others
This is hard to do on a bigger scale. I made all the colours for the prints. Sometimes I
mistakes and with others the separate layers were slightly misplaced. Those are things that are hard to control.
as the Tate Modern and Tate Britain for
visits to the galleries and exhibitions.
tones of colour to become less associated
still a few more developments to be done
China. I also find that visiting gallery shops
I have overall learned that a product
was environmentally conscious. There is the
Although the products got positive feedback
I don’t have that chance whilst living in
This project is a combination of illustration, product design and graphic design. Due to Yudan’s background in graphic design, Yudan chose to focus specifically on illustration that enabled her to take her work in new directions and approach graphic design with a different perspective. A diary is at the heart of Yudan’s project, which is used to record the transitions of a student in China to overseas life in the UK.
explore and now so much to prefect.
on the squeegee while screen-printing, you need to have power to get even results.
the way I wanted. Some prints had colour
the material. My research has been constant
“I have learned how people are different. I will never be able to design for everyone, but by designing for a particular user group the range will be useful and accessible for them.”
level as someone with the condition.
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transferrable skills. Making your own seed-paper is one of
for the product to reduce costs? How can
I make the product durable with the least
remove? Is it affordable to manufacture?
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Enterprise Course, which exposed me to
scourer to that shape to complete the task
disposable parts as possible? How does
ideas that may form into concepts. I work
feedback has been greatly useful to me
my MA Design I also completed the
wrap around your hand and still be
adjustable? How can it fit different shapes and sizes of hands? How can you attach a of washing up? Can I use standard parts
to check I am including what is needed.
as the designer and for me on a personal
great contacts within the university. During
during the first stages: How can something
mass manufacture.
further develop and make suitable for
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These are some of the questions that arose
developed concepts I selected three to
I firstly write out lists of specifications
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differed from those without the condition and so designed to suit all.
Autumn’s initial design work.
washing-up product.
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aesthetics and packaging of VuSu. Their
washing up. I found that my movements
These are tests for prototyping
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from squeezing bottles, turning taps and
because it is quite difficult to make a print
it to develop my initial sketches. In the
I travelled to Amsterdam and while I was there I met my landlady, she was really
inspiration. I sketch and make notes in it.
nice. The first day she treated me on very
Then I draw the sketches in the Sketchbook
and inspiration to make this illustration, that’s
DESIGN PROCESS?
When I am traveling I don’t take my iPad
so then I sketch by hand. And when I come
I make notes about my everyday life,
back I use my iPad to sketch and draw again.
gallery visits and travels in my Travel Diary Log. That is my main source of
inspiration. I take ideas and sketches out of that book, and draw them on my iPad
in the Sketchbook Express app and create a digital illustration of it. I draw digitally because it is easy to store my drawing,
change colour and brush sizes. The iPad is small to take with you, and not heavy as a laptop. The look of the illustration
almost looks like they are hand drawn with
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“Here I am able to travel through Europe, you don’t get that opportunity when you live in China.”
markers, but they are actually digital. The inspiration and research for my
drawings come from my Travel Diary Log. The style I use is bright colours, cut out letters, pieces of paper and drawing to
make collages. My collages and illustrations are inspired by my everyday life in the UK,
that is why I draw myself in my illustrations. In France I ate this famous ice cream and
took a picture of it, as a reference. I created an illustration to capture the moment while I was traveling. The cherries are in the
illustration because cherry ice cream was
I noticed a lot of differences between the UK
their most famous flavour. In my illustration
and China, more things than just weather
I try to create little hints to link to the place
and transport. This also influences my work
of the illustration. One of my final prints is
for this project. In China I cook a traditional
not popular for young people. Karaoke is
is very different, so I created an illustration
meal for breakfast. But the English breakfast
the picnic illustration. In China picnicking is
about that difference. I cook food everyday
more popular for young people. I like to go
for myself, and go shopping. You even
to the park and sit at the river to picnic. The
see different vegetables here in the UK
prints and posters will be framed and the aim
Yudan’s workspace in her house. With
than in China. I started to like some British
is for them to become gallery shop products.
work on the wall as a mini exhibition.
This is one of the final prints that
traditional dishes like fish and chips. In my
Yudan made for her collection.
Travel Diary Log I collect various things form events that happen to me like holidays, places and restaurants that I visit. I take
pictures as a form of inspiration to create illustrations and patterns with.
UNO ART: Gallery products and prints of
Page photographed from Yudan’s
‘the design student abroad’ project.
logbook, showing her inspiration and design development.
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YIPING (HELENA) YANG PROJECT:
Data pattern design
Yiping’s project is about creating patterns from data. It is brings new methods and applications to Yipings work and it is a new unexplored path within Yiping’s practice to explore and develop new forms of design.
Yiping: This project took me into a new
These two patterns are based on cancer data.
path in my design practice. First I focussed on hand drawn decorative illustration,
Yiping’s previous patterns were hand drawn and had a decorative purpose.
because that is something I like doing. Then because of this project I moved
This pattern is based on wind, the circles represent the
to show that it will have a decorative purpuse. But I want to go more into the direction of decorative fabrics.
zones of a clock to show what time the wind was strong.
becomes only visual.
looking at data around weather.
idea. Now, I focus on data visualization
and white so that I can easily scan them in and trace them over in Illustrator, which
and maybe even every minute so it is a big
infographic has, because an infographic is
At first, I was a bit hesitant to use extreme
floods. Focused on the treatment system of time and repetition.
In the final stage of my master degree,
by the data, but not directly visible in the
source of information. Weather is also fixed
makes digitizing the illustration a lot easier.
weather data because people that went
there to only convey information. I want to
I started to use extreme weather data,
patterns is mostly decorative meant to
it turned out that the data is easily accessed.
illustrations are easier to edit in size and
strong feeling about them. So I need to be
art, to create an emotional experience. The
hurricanes. The three patterns (on this
pattern anymore. The purpose of the data
Then scan them in to digitize them. Digital
on a location, on a certain date and time, and I use the Weather Underground website to
evoke emotion and recognition.
(Source www.wunderground.com)
First I used graphs and diagrams of obesity and cancer research to create patterns.
colour, this gives you more freedom to change things.
access up to date
data numbers, such
visualizations of the true data, which is
of ticking ‘YES / NO’ instructions. Choosing
their relatives feel uncomfortable seeing
Geometric data patterns will have a
changeable weather conditions result in the
example. Through the different answers
use this as a positive thing, if I apply this
I like the work of Casey Reas because his
I had the idea to develop the project further
different look and appeal than hand drawn
patterns with. In the design I use time order,
patterns, so their purpose can be different.
scale, colour, density and sometimes three dimensions instead of two. One pattern
Laser cutting patterns on wood to explore
reliable source to gather the data from,
hand drawn mark and shape represents a
something I will try as well, but right now I
the application of the patterns further is
is about rain and humidity, where each
it needs to be true, based on facts and
will focus on fabric.
different range of data. Inspiration for this
this was a big part of the research that I
First attempts of data visualization
conveyed. Sometimes I got stuck because
were with obesity data, based on the
the data that I needed was not accessible.
numbers of fat cells.
piece came from the patterns that raindrops
(Source www.reas.com)
design patterns and it gives and extra
for shapes and colour, sometimes I pick a
of ‘YES / NO’ patterns is an interpretation
at weather photo’s and type of weather,
images of weather disasters can evoke
are created by complicated software. He
actually experienced. For inspiration I look
organize the data in different time ranges
disasters as a source of inspiration. Visual strong feelings. The strong emotional
creates changeable patterns by using
a design like an infographic, that is why I
and create a design where every mark will
using extreme weather data and weather
work looks simple but
most of his pattern series
his understanding of coding and making
other places I have visited, from weather I
you get different kind of sequence patterns.
most interesting patterns.
The weather data is mainly from Lincoln and
and I don’t want to just copy it and create
‘yes’ creates a ‘/’ and ‘no’ will create ‘\’ for
to represent in the pattern. Days with
leave in water. Weather data is complicated
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feeling will give a new dimension to the pattern and its application.
software. This is a different process to
“The purpose of this project is to design patterns that extreme weather data pattern to suitable evoke emotions and feelings products the money that is raised could be from non-emotional data and donated to help people that suffer from numbers.” this kind of pattern on products. I could
extreme weather conditions.
and turn it into a routine. These are the
struggles that these people deal with without
have. And from looking at trends and what is
then there is no acceptance and change
and fabric fairs, which are really important in
are fashionable and fit properly.
rather than positive process.
exhibitions to keep myself up-to-date.
and fashionable clothing. That is where my clothing for people with this condition that
“A change in your life can be good but if it doesn’t happen slowly it is hard to turn it into a routine.”
for their weight to stabilize so they can buy suitable clothing. There is no guarantee
they have difficulty reaching their sides and back. Dawn tested various
more choice and attention. Then my project
surgery, everyone’s body reacts differently
to these procedures. An intense surgery like
There are a lot of reasons that someone
time to adjust, so you need to give it that.
can be genetic as well. One of the big
this happens so rapidly that your body needs
is obese, its not just through fast food but
A change in your life can be good but if it
issues is the psychology behind it and I
doesn’t happen slowly it is hard to maintain
shifted more towards clothing and obesity.
believe that if somebody feels bad about
Bariatric: the branch of medicine that deals with the study and
out how to achieve something the clients
containing sketches, notes about assembling the garment, inspirational textures, fabric samples and photographs of sown garments.
portion of the small intestine so as to restrict food intake and reduce severe obesity. Gastric sleeve surgery: A bariatric
times, you can’t eat and drink at the same
surgical treatment in which a large portion of the stomach is removed
time and for the first few months your body
(2/3), leaving a 60–80-ml gastric
can only take fluids. This also means that in
tube. The greater curvature of
a small amount of time your body starts to
the stomach is removed during the procedure. The small residual
rapidly change. The loss of weight is really
stomach tube prevents overeating
rapid, so in terms of clothing what would you
by creating a feeling that the
wear, that is what I am looking into. As well
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wants within the restrictions of their needs.
start of the acceptance of your own body.
Pages from Dawn’s sketchbook
caloric absorption in cases of
The stomach becomes very small, that means
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preferred colours are mostly dark so that
the clothes don’t look too exposing. So for
Ultimately, I want them to take interest and
involves reducing the size of the
that you can only eat small portions at certain
digital printing.
because of their specific needs in terms of fastenings, fabrics and colours. The
At the moment I work with a group of obese people to look at what their needs are and
stomach and reconnecting the
sleeve surgery, they severely decrease the
of the solid shapes. The bright colours
suit the pattern and makes the bags look
fashionable. The fabrics were printed using
give me their thoughts, of me producing something slightly different than clothes from a magazine for example. And also
is a very sad thing.
smaller stomach to bypass the first
size of the stomach to trigger weight loss.
solutions with the data pattern printed on
it. The bags have a geometric feel because
There is still, for me, the issue to be able to
design what the client wants. The client will
are still a bit ashamed of their body, even if
they had a massive weight loss, which I think
me the design process becomes,to figure
really help give someone a boost and
surgery, like a stomach bypass or gastric
Here you see a few bags and packaging
and have today’s fabrics and patterns. So
size too big’ or ‘I wouldn’t want to wear tight clothes’ that accentuates any body shape.
become part of the design process.
a positive self-image, which can be the
Gastric stomach bypass: a surgical bypass operation that typically
When someone goes through weight loss
there is a need to keep up-to-date.
body should, in their eyes, look. Talking to
is not a good influence on trying to lose
that affects not only the body, but also
how that affects the person and looking at clothing for this group of people.
those who had had the surgery they were
saying things like: ‘I still only wear clothes a
yourself, and have a low self-esteem, then
weight. Well-cut and fitted clothing can
weight loss surgery. I am looking at how
“The patterns will be printed on fabric as their final purpose, because they are mostly decorative.”
The group of people I am looking at, like
everyone else still wants to be fashionable
so they can look at some of my designs.
psychological you don’t function and that
treatment of obesity.
as clinically obese and who might need
finding out what is out there. I have been to
up to their own expectation of how their
himself or herself then that’s not going
to help lose weight. If you feel bad about
Bariatric is a different name for obesity. It is a term used for those who are classed
available in fashion. I visit fashion trade shows
becomes harder and it becomes a battle
They still have those old habits. Inside they
that their body will stay slim only through a
fashionable solutions.
want to lose any weight, no matter what,
The issue is that some people never will live
So they end up with clothes that hang off
Bariatric people benefit from front
Inspiration comes from the conversations I
against your own body that does not
project comes in, I want to make accessible
they envision that through surgery they will though, but they don’t think it is worthy
fastenings in clothing, because
WHERE DO YOU FIND INSPIRATION?
With that acceptance comes the ability
to change. If you are constantly fighting
even worrying about nice fabric, colours
Most people suffering from obesity are
them and that don’t fit properly, waiting
products.
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body shape and size.
buying clothes that are fit for them.
isn’t a lot of plus size fashion out there and
visualization as an art form.”
and the background (red), breaking up
the time flow. I turned the data patterns
looking at cheap clothing, initially, because
the final part I decided to focus on design
The red/blue pattern and green pattern on this page are also derived from data numbers that came from floods.
continuos pattern. With the green pattern I
In the blue and red pattern I used a
become slimmer. This process takes time
Dawn: Previously I have studied on a
into digitally printed fabrics and screen
In the blue pattern I mirrored the marks that represent the data, so that the marks seem to blend in the background. Creating a
destinction between the data shapes (blue) “Data art is data
as how could clothing become adaptable
WHY DID YOU CHOOSE THE PROJECT?
printed prints to turn them into fashionable
shapes represent the data.
a changable look. It looks like the pattern,
for people that go through rapid changes of
in my opinion this is a group that needs
the same system of time order, scale, colour and density. In these three the main focus
was on time. The colour and direction of the
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A work in progress project that, is still very much in development, revolves around developing and creating adjustable and adaptable wear for people with unique body shapes. Who would need special garments to fit their needs. Specially considering fashion combined with a perfect fit.
for plus size women. Mainly because there
page, and the next) are created by data from floods. Extreme data brings more
inspiration to me. They are designed with
and therefore the time, repeats itself.
numbers. The emotions are linked to the data, but the data is not strongly visible ability to convey emotions than that an
Fashion design Bachelor degree where on
from disaster like tsunamis, storms and
used the same method. The marks constitue
The purpose of this project has been to design patterns which evoke emotions
and feelings from non-emotional data and
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DAWN FROBISHER Adaptable and Adjustable Bariatric Garments
visual appeal of the design.
in the pattern. Visuals have a stronger
dimension to the final design. Reas series
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PROJECT:
visible and less distraction to the actual
The question is if someone who suffered
from a weather disaster, would he or she or
contrasting colour or more abstract shape
be quite difficult, choosing the right kind of data was also important. You need a
way so the information becomes less
and what the final design will look like.
are mostly decorative. I am still exploring
other forms of application for the patterns.
So I started to create a system around
the theme and weather data to generate
Working with only numbers turned out to
data can be designed in a more abstract
very careful with how I design the patterns
Data pattern about rain and humidity, each mark represents a different range of data.
their final purpose, because the patterns
humidity, wind and wind speed.
essentially only numbers.
make the hidden data visible through data
through an experience like that can have
The patterns will be printed on fabric as
as time, location, temperature, dew point,
This did not work well because of the
complexity and the graphs are already
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Data pattern derived from data from
I sketch on loose sheets of paper in black
Weather changes every day, every hour
as art, so the pattern is inspired and led
stronger the wind. The data is then arranged in the time
represent a specific range and the data
I also wanted a theme for to create data patterns around, that is when I started
more intricate patterns and patterns with meaning. This sounded as an interesting
Preview of the first ±90 pages
This cup is an initial idea for the application of the design,
strongness of the wind the further out of the centre the
towards data pattern design, because I
got the suggestion to use data to create
stomach is full after a small meal.
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I have looked at, how can I change the
fastenings so that they look fashionable,
by using different techniques and different methods. Obese people need adjusted fastenings because they are limited in
“Everyone has the right to wear clothes without feeling ashamed.”
WHAT STEPS DO YOU USUALLY
In normal clothes a lot of polyester is used,
FOLLOW IN YOUR DESIGN PROCESS?
adaptable. A collection that will cover a
built tremendously the past year. Confidence
the same garment can be adapted and
qualities like stretching and pleating.
so the fabric would preferably have an
pattern made from
garments. I think everyone has the right to
inexpensive cloth for fitting. Calico: A plain white cotton
WHAT TOOLS AND TECHNIQUES DO
cloth, also used for pattern
The goal for me is to achieve that for
making, heavier than muslin.
example decorative front fastenings are seen
is the name for both, firmlywoven cotton fabric, and a trial garment. The toile gives you the proportions and an idea of the finished product, so you can avoid making mistakes. Sometimes Dawn even glues in samples
and pattern of first ideas for garments. I
being measured.
different kind of patterns from the shapes
attention to a different part of the garment the neck will divert the attention from the
the sleeves are going to be fitted and with
colour in a positive way.
the piece is going to be manufactured, how
directions the project took. I started out
“Confidence is a valuable skill, you know your skills and knowledge but confidence is something you gain through experience.“
thinking I would work with plus size fashion, then it was suggested that I had a look at
people with disabilities as well. There I ran
into a blockage, that people with disabilities
wouldn’t talk to me and where hard to reach out to. I then managed to find the bariatric
fabric. Changes can still be made in the
service online and they were happy to talk
paper pattern stage, if that person wants to
to me, recognizing the possibilities. This
turned the project towards plus size fashion
to talk about fabrics, colours and prints.
again but in a much higher need than I
A spread out of Dawn’s sketchbook,
anticipated. I originally anticipated looking
showing tests with digital printing
at body shape and enhancing that body
of patterns on fabric. And how these
shape. I had not considered the adaptability
would inspire a new garment.
of clothing and importance of fastenings
The surrounding images are all
Photoshop sketches show initial ideas
at that stage. That now gave a whole new
showing adaptations of fabric to
on 2D mannequins to give the general
Dawn’s hand screen printed outdoor
interesting dimension to the project.
shape clothing. Through folds and
look and feel of the garment.
pleads, fastenings and elastic fabrics.
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FELICITY SHUM
SO YOU STARTED DEFINING YOUR
BAGS WITHIN THIS PROJECT AS WELL?
fresh eyes and realise it is done - or maybe
It’s not always the way, but when I look
thing I made from this collection of designs
designing and start worrying; that’s when
at my work all the time I sometimes stop
I know I’m over working it! That is kind of
was a screen printed cushion with delicate
what happened with my WWII research;
hand embroidery; it was a gift to say thank
you. I work better when I’m making things for
I over- thought things and worried about
such as making work for an exhibition.
and learning from mistakes along the way.
making the work rather than just creating
others – either as a gift or for an audience,
AA2A scheme before working at the
university and I hoped to use this work as
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approach it in another way.
I love to make ‘things’ from my prints – giving them a purpose to be designed. The first
WHY DID YOU CHOOSE THIS PROJECT?
Sewn testing folds and pleads to create a perfect fit for all bodyshapes.
another piece, then I might see it with
I enjoy designing and printing fabric; but I’m
Felicity: I did a residency as part of the
dressmaking service.
or developing it. But if I had some distance from it, hiding it away or working on
not always content with surface pattern alone.
The interview was conducted via email and in person.
sign for her business as a professional
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PRACTICE ALREADY BY MAKING
CUSHIONS, A NEEDLE CASE AND LITTLE
Bright and colourful fabrics, prints, embroidery and little trinkets, are some of the results of Felicity’s project so far. A project revolving around making and design, that didn’t however go without struggle.
Making
challenge I have set myself.
and doing it for somebody else, who is
It was astounding when I started what
make any changes. And then we can start
PROJECT:
adjusted while losing (or gaining) weight. Clothing that grows and shrinks with the
person who is wearing it. That is the design
different fabrics, although you know you can
WHAT ELEMENTS WENT DIFFERENT THAN EXPECTED?
away a barrier that
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surprisingly consists of people who have body shape difficulties, or they can’t find
clothes in normal shops because of their size.
rest of the body, this is a way to design with
what kind of stitching. As well as designing,
numbers tend to have.
a paper pattern. Then I can create the
along with other tools and equipment.
service. My current customer network
and body. A colourful printed collar around
drawing I am working out in my head how
perfect fit. It takes
garment from that, on the actual intended
Dawns workspace at home. It contains
alterations and custom-made dressmaking
in to subdue it as a decoration to direct
and colours from within the flower. As I am
can shape it around the body to make a
Yes, Dawn’s Dressmaking is a general
talking about bringing a piece of that colour
base some of the sketches on. Design
with numbers, you
YOU ALSO STARTED YOUR OWN BUSINESS, RIGHT?
it is not suitable for them. Then I end up
add in inspiration sources like flowers to
The numbers start to become really
disability and dress that actually transfers
and fabric qualities. Someone might say
and pinned into a pattern to transfer to
her sewing machine and mannequin,
willing to paying for the garment.
they want this colour, but end up realizing
The muslin or calico them will be marked
of texture, here it is a piece of bark that inspired her to do more sketching.
to people with obesity as well.
someone can’t find the right kind of pattern.
The Photoshop sketches show colour, shape
By using a toile method, you’re not dealing Toile: also known as muslin,
fashionable piece of clothing.
It is about mediating between the client and
worked-up about
a muslin pattern.
function properly on a person with obesity
and still full fill their needs as a flattering and
work with them it’s about getting in there
my knowledge around fabric, colour, pattern
important so it is easier to avoid that using
as a complement to the garment rather than a necessity to it. There is a balance to strike between the ability for a garment to fit and
work has been written about people with
needs, I realized, are the same. Where
range of different sizes and shapes, so that
is a valuable skill, you know your skills and knowledge but confidence is something
print for a fabric and getting it printed, if
I use hand drawn sketching and Photoshop, combining the two to plan the garments.
on clothing. Through that my confidence has
you gain through experience. Working with
it. Sometimes
someone can get
disabilities further, looking at that helped
me understand people that have extreme obesity better because some of their
Sometimes it is about designing a new
YOU USE IN YOUR PRACTICE?
than measuring
that provide clothing for plus sizes. And
early design stage and considering fabric
be antibacterial as well.
body using muslin or calico, rather Muslin: A dressmaker's
of clothing. So I am making notes about
fibres are more suitable for them. Cotton
set up a small sewing studio. There I
wear clothes without feeling ashamed.
further and develop a small collection of garments that are adjustable and
garments for people and doing alterations
although I have not taken working with
and bamboo are regularly used, bamboo
would create the pattern on the person’s
decorative appeal as well, so that they are
In the future, I aim to take the project
WHILE DOING THIS PROJECT?
On a daily basis I acquired new skills, making
fashion for this group and businesses
what fabric I am thinking of using in an
has a high absorption value and tends to
as a obstruction. I want to give them a
a positive and integral part to the design.
WHAT NEW SKILLS DID YOU ACQUIRE
2D pattern or sketch to a 3D fitted piece
absorption function which makes natural
Currently I work from home where I have
client who commissions a garment.
Changing the point of view towards special
behind obesity, fabric characteristics,
fastenings, what is available in today’s
that are obese tend to transpire more,
start of the design process, working with a
often need to be in the front, where they are easy to use. Most people see them
For research I looked at the psychology
So for me it is about how I am going to
make this. Transferring a garment from a
suffer from obesity, and they tell me what they want and would desire. That is the
problems and they can’t reach well
behind their backs or sides. So fastenings
I do see myself more as a manufacturer.
which is not a natural fibre so it is not a
very breathable fabric. However people
I spend some time talking to people that
their movement, and often have dexterity
I really benefit from having to declare
the basis for my research when starting
something as ‘finished’ by giving it as a gift
A piece of print design that responded
the MA. My AA2A project was about the
or exhibiting it in a show. Sometimes I can
to the themes of WWII.
‘rose tinted’, nostalgic and sometimes
over think or overwork things; if I have a
naïve view of the war periods when used
piece of work on my desk it is easy to think
in design. I wanted to make a point of this
it is not quite done and keep embellishing
with my AA2A project, whilst highlighting some of the more realistic, awful aspects
of the time. I have an interest in the history
I felt so overwhelmed, like I needed to do
of the World Wars; but have very limited
informed research with weight to it - and
research these important periods in history
felt like there was so much to learn and
knowledge of the events. I hoped to
it turned out the topic was too ‘heavy’. I
and use the knowledge as a basis for my
read about the history, that I couldn’t
MA design work. I was concerned about
absorb enough in the time and be able
making anything nostalgic or ‘twee’ – so
to do design work too. The topic is really
sensitive and informed work. Or perhaps
it made me melancholy.
I was keen to learn more to try and make
interesting but also grim, raw and horrific –
create work that was inspired by this time but transformed into designs that are
that wasn’t right for me. I wanted to make
THROUGH THIS PROJECT? THE TITLE OF
based on unless directly informed.
relate to… I felt a huge sense of relief
A MAKER MORE.
at the pattern and not know what it was
and the trajectory of my work changed
making marks, if I’m screen printing then
applied in a variety of ways. A huge turning
my fabrics into an object or product then
– something I had been struggling with
previously. I was excited but daunted by
the gallery space at The Collection; but I chose to curate the show before making
any work because seeing the space helped me visualise what I wanted to create to use
I’m embellishing fabric and if I’m turning
the space effectively. I designed how my
exhibition would look as a whole before I
I’m definitely ‘making’! For me, design and
point for me was when I realised that I wished
together into bobbins, gifts bags and
knew what the work itself would look like.
making are so entwined; I don’t think I
to do my research ‘in or through’ design.
a needle case.
The Collection, but a very tight deadline
– if I’m drawing or designing then I’m
design module made me realise that
‘research’ could be so many things and
This is a selection of elements that
meant that I had to just ‘get on with it’! It
I suppose I think of all what I do as ‘making’
completely. The research and enterprise
Felicity made as ‘little projects’.
encouraged me to draw, print and make
THE PROJECT IS SAYING THAT YOU ARE
work that reflected who I am, that I could
Screen printed, sewn and stitched
I was given the opportunity to exhibit at
IS IT THAT YOU WANT TO FIND OUT IF YOU ARE A DESIGNER OR A MAKER,
I realised that I was attempting a project
seemingly unrelated – so you could look
could do one without the other.
From then the project changed.
This pillow was made as a thank you gift, which gave it a purpose to be made.
© Steve Haddock 50
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Images on this page © Steve Haddock
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WHERE DO YOU WORK BEST?
DO YOU REFER BACK TO YOUR
HOW WILL YOU DEVELOP THE PROJECT
RESEARCH? IF YES HOW OFTEN? / IF
The print workshop – because I love to
print! However, being a technician means
using the room as a print maker. And also
HOW DO YOU USE SKETCHBOOKS /
my living room floor – I’ve got a tiny space
ARE YOU MORE OF A LIST MAKER OF
of a couple of smaller ‘projects’. The idea
IN THE NEXT STAGE?
behind this approach is to encourage
NOT IS YOUR DESIGN PROCESS MORE
I sometimes struggle to explain my
me to explore and experiment. To work
I enjoy researching ‘in or through design’
the opportunity to do a series of ‘projects’
the boundaries of what I do. I hope that
BASED ON YOUR INTUITION?
that I often find it hard to switch off from my job at the end of the day and start
55
creative practice; so I would like to take
and this is most beneficial and influential
outside my ‘comfort zone’ and push
during my major practical project. This will
to my practice. As well as researching
by investigating different content and
allow me to explore a range of different
exploring processes, I will be able to refine
under the stairs where my desk and sewing
DRAWING / MAKING NOTES?
DO YOU DRAW MORE?
books and journals, I love to visit shows,
processes, test materials and work towards
so I often sit cross-legged on the floor
sometimes fear the moment when you have
‘making’ that I can’t think about how I
these are often more influential in how I
deadlines, although each project will not
WHAT TOOLS AND TECHNIQUES DO
back and work on later. The first thing I put
my guess:
things influence me more naturally, for
Some projects will be over longer periods
AUDIENCE)
Textile design. Surface Design. Making. Tools
nice to not start at the beginning so I can go
Drawing and developing designs 14%
designer said to me is more important
things, and other projects may be very
processes, testing materials and working
machine are, but it isn’t quite big enough
I spend so much of my time printing and
I love getting a new sketchbook, but
whilst planning what I’m going to make!
divide my time without thinking about
to make the first mark in it – the pressure!
these two. It is so hard to know, but here’s
I often leave a page or two blank, to come
YOU USE IN YOUR PRACTICE?
in a sketchbook is never my best work so it’s back and do something ‘better’ on the first
and equipment: pens and paper, Adobe
often prefer to work on thin strips of loose
embroidery (hand and free machine).
paper etc.) or a square format sketchbook.
paper, found papers (old note paper, graph
design development, screen printing,
When I create I often draw, develop
lists, plans in. I keep my drawings and
natural for Felicity as a designer maker and print technician.
designs and repeat patterns before screen
design development together. And I think it
printing (especially onto fabric) and adding
is good to have a notebook to keep a log of
as hand embroidery. I love to design and
out patterns, sizes, materials to use etc.
print textiles; but I am not always content
Through exploring a range of different
short – perhaps with only a day or two to
towards different outcomes I hope to
make the work. As the projects will be of
develop and define my practice. Hopefully,
researching places and shows, but also
varying length – the content and outcome
this will in turn enable me to speak more
make the things we make. My research is
have numerous outcomes or be made up
statement about my practice.
why we, as creatives, feel compelled to
will vary dramatically. Longer projects may
eloquently about my work and develop a
that way I work more intuitively.
LOOKING BACK ON THIS STAGE, WHAT WENT WELL IN THE PROJECT?
I am so happy that I was offered the
opportunity to exhibit at The Collection. It
my ‘making’ – so this is often where I figure
embellishment through techniques such
WHAT IS THE PURPOSE OF THE
PROJECT? (FOR YOURSELF OR YOUR
of time, so I may be working on numerous
not what inspires the ‘topic’ of my work – in
the final goal and she will achieve this through her design.“
little notebook to scribble ideas, thoughts,
Working in the print workshop comes
and the context that I am working in.
be allocated the same amount of time to encourage me to work in different ways.
than reading a lot of books which may not
I like to keep thing separate, so often have a “Making for Felicity is
WHAT STEPS DO YOU USUALLY
FOLLOW IN YOUR DESIGN PROCESS?
work. I don’t often directly refer back to my research – I think it is important that
directly resonate with my practice. I enjoy
screen printing 60%
embroidery and making 22%
my work and define what my practice is
different outcomes. I will decide on fixed
example being inspired by something a
List making 4%
page! I don’t really like standard A sizes; so
Photoshop and Illustrator, screens, squeegee and print table. Techniques: Drawing and
exhibitions and designer-maker fairs and
spurred me into action and gave me focus; I now feel confident and excited about the next phase of my project.
with surface pattern alone… I like to have an end use for the fabrics; giving them
Page taken out of Felicity’s logbook, to show how concise
purpose to be designed.
WHAT ELEMENTS WENT DIFFERENT
Felicity’s note-making is.
THAN EXPECTED?
IS YOUR DESIGN PROCESS MORE
I didn’t anticipate how much I’d struggle at
ANALOGUE OR DIGITAL?
the beginning of the project, but without
I am a little old fashioned, often preferring to use an analogue method to a digital
stitching a label, or the details that others
one – and this influences how I work. I love receiving letters in the post, how clunky a
turns the printed fabric into objects
typewriter feels and secretly enjoy queuing of my personality that likes the physicality
Felicity’s logbook contains writing along with a lot of ink, fabric and
IMAGE CAPTION?
onto fabric, but a way of exploring and
paper samples and tests.
I love receiving letters in the post, how
progressing my designs.
and get the designs separated into layers
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my creative practice and how my project
work – it isn’t just a way of getting my idea
tidy up my designs, put them into repeat (so much quicker than doing it by hand!)
satisfaction of drafting a pattern and hand
will evolve next.
printing enhances the development of my
I use Adobe Photoshop and Illustrator to
of ‘things’. I enjoy mixing ink and the feel
developed in the way it has. Making work
development. Once my designs are on a screen, I work intuitively, experimenting with colours and layout . For me screen
but I don’t abstain from using digital ones.
of pulling dye through a silk screen, the
for my exhibition really helped me focus on
print; I use the process as part of my
Lots of what I do uses analogue processes,
and products.
up in the post office! I think it is this part
this experience my project wouldn’t have
ready for screen printing. I love to screen
may not even register.
Felicity’s sewing machine, where she
clunky a typewriter feels and secretly enjoy queuing up in the post office!
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WHERE DO YOU FIND INSPIRATION?
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invited artists to use interesting vessels
(NATURE) SEEM TO REOCCUR, DO THEY
more from their processes rather than
curiosity cabinets. I let my lovely old hat
I often find inspiration from the everyday
HAVE A SPECIAL MEANING?
to house work inspired by 19th century
box style suitcase influence the work that
their design work. I try not to be easily
deep blue lining reminded me of fishponds
object. Some of the flowers that I drew as
might look at how they display their work,
printed and embroidered little fish and
given to my Mum for her 50th birthday.
and goldfish tank. So I created hand screen
also a bit of a shame, because cut flowers
die. I decided to draw some of the flowers
fish up to make fish shaped cushions and
I am interested in the work of folk artist
EXHIBITIONS THAT YOU RECENTLY
2. Thinking through craft, Glenn Adamson
hosting a
These bobbins were a part of
which was 10 years after her show ‘Home’
3. People of Print, Marcory Smith
could re-establish a sense of community
Twelve Gallery
in neighbourhood regeneration efforts.
new artwork in paper or hid it inside a
Rob Ryan, Nigel Peake, Teresa Green and
cities current regeneration efforts I wish
a Culture Route that sits along-side the
to circulate people through the city and
create connections between these ethnic
resonated with me. I thought the idea of
and encourage people to discover more.
“I loved the idea of doing something and when it is finished put it away and hide it, to then start over again.”
I will undertake a series of projects
throughout the year and I have decided to adapt Arkell’s model for the next phase of
my MA. My first project was a piece created
for The Case of Curio exhibition, curated by Nick Simpson. Curio is a miniature mobile gallery, so the work will be exhibited at
book next to each other 62
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Gromit Unleashed is a major public arts trail. Giant sculptures of the character Gromit decorated Bristol’s streets. Each sculpture was individually decorated by famous names from the worlds of animation,
Handmade ‘Go Fish!’ interactive artwork.
art, fashion, film and music.
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gives you a sense of the
WHAT STEPS DO YOU USUALLY
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WHAT ELEMENTS WENT DIFFERENT
FOLLOW IN YOUR DESIGN PROCESS?
THAN EXPECTED?
Concept- Initial Inspiration – Sketching –
pace of the book.
“A celebration and a representation of Sheffield rich cultural diversity.”
will act as a symbol, a ‘taster’, a celebration
and a representation of Sheffield rich
cultural diversity and hopefully educate
parcel; the contents are hidden and not revealed straight away.
and samples together, nicely organised throughout the pages.
just from seeing something in town or even
neighbourhoods and the city centre. They
having fixed deadlines was really useful and loved the idea of ‘putting things in boxes’ - it is similar to packaging up a
A spread out of Felicity’s logbook, where she keeps all her notes
a post on Facebook or Tumblr.
Through these installations, places as
Orla Kiely.
ready. This approach to her practice really
worked on. Also design magazines are
helpful. Occasionally I will find inspiration
often create barriers within the city.
QUOTE OR STYLE?
There’s so many! Here’s a few: Julie Arkell,
box – where it remained until the show
into. I then look at projects they have
ethnic groups in the UK and the ethnic
neighbourhoods that have been formed
WHAT IS YOUR FAVOURITE DESIGNER /
was curated once the 100 ‘creatures’ were
WHERE DO YOU FIND INSPIRATION?
Library, Books, I tend to Google things a lot
similar to what I am interested in looking
Sheffield is home to some of the largest
Wood, NCCD Sleaford
new piece of work each week - for nearly two years! Every week she wrapped the
Interior Architecture knowledge.
and find design companies that do things
and belonging within a city and assist
5. CPD day hosted by Michael Brennand-
at the same gallery. To combat this self-
I haven’t previously as I merged my new
with them within a public environment. I
find it interesting how urban installations
4. Meticulous Stitchers, exhibition at Unit
Felicity’s ‘Just a Note’ exhibition at The Collection, in Lincoln.
appointed pressure, Arkell made one
Placing the pages of the
exhibition knowledge with my pre-existing
installations and how people interact
1. Selvedge magazine
was really reassuring to hear how daunted
I have worked on similar things in the past
WHY DID YOU CHOOSE THIS PROJECT?
Natalie: I am interested in temporary
READ / VISITED?
gallery tour; it
she had been about making a completely
The interview was conducted via email.
but for this project I looked at it in a way
WHAT ARE 5 BOOKS / JOURNALS /
delicate fabric sardines!
the artist was
new series of work for the exhibition,
A project that deals with multiple traditions cultures and routines of the people from various ethnicities living within the city of Sheffield. The development of an installation aims to create connections between these ethnic neighbourhoods and the city centre.
to preserve them in another form.
scale the designs down to make a tiny tin of
‘Away’ at Ruthin Craft Centre last
November. I visited the show on a day their website www.ruthincraftcentre.org.uk
They were beautiful but I thought it was
quirky, handmade ‘Go Fish!’ interactive
artwork in the making. I plan to scale the
Julie Arkell and went to her exhibition
For more on the Ruthin Craft Centre visit
part of my designs for my exhibition were
sculpted willow fishing rods to make a
their work ethic or how productive they are in their practice.
NATALIE HOUTIOUDI Sheffield Culture Route
garden, a song on the radio, a found
my practice reflects my own design style. When looking at other designers’ work, I
PROJECT:
things that surround me; flowers in the
I created within it; it’s circular shape and
influenced by the work of others, so that
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WITHIN YOUR PROJECT FLOWERS
numerous venues, and The Case of Curio
I love researching the work of other
designers, but for me inspiration comes
Design
60
Initially the installations where all going
Storyboarding - Planning – refine /focus
to be quite different but in the end they
concept – Sketching –Make everything
are quite modular and run along a similar
details – Boards.
they represent.
digital – Detail – Finalize designs and
structure themed according to the culture
HOW DO YOU USE SKETCHBOOKS /
HOW WILL YOU DEVELOP THE PROJECT
DRAWING / MAKING NOTES?
IN THE NEXT STAGE?
Initially I make notes and then I sketch a
I am now taking all my installations from
lot. I then move from sketchbook to A3
sketch and plan stage to digital stage.
Layout paper. Notes are made along-side
From here I will be able to finalize colours
Text heavy spreads This sketch shows how many different
sketches, on post-it notes, mind maps and
The thumbnail sketches then evolve into more concrete drawings that show
and detailing and adapt them according
ethnicities live in the city centre of
spider diagrams.
scale and size.
to what I feel works and doesn’t work in 3D.
Sheffield.
What might work in 2D often doesn’t work
Below you also see a sketch of
The site or building will be explored using
in 3D, when you pull it up.
Sheffield that indicates the start for
sketches, zoning areas to determine the purpose of different areas.
planning the Sheffield Culture Route.
This is my makeshift workplace since I moved. This is what it looks like today but it sometimes moves to a table.
Here you see various stages of sketching: the research area, mind maps, visitor routes to generate and
are followed by
WHERE DO YOU WORK BEST?
I tend to design best in the studio and
write best at home. However for this final
stage I have moved away from Lincoln and
visualize ideas.
had to make a work space for myself which
moves round the house.
WHAT TOOLS / SOFTWARE AND PRACTICE YOUR PRACTICE?
WHAT OTHER ACTIVITIES / INTEREST
Sketchbook, Sketching, Taking notes,
for rendering), 3dsMax, Photoshop, Gimp
(Photo editing software), Layout paper, Pro
Markers, Pencils and Pens, Model-Making.
cases for the University Library. We have
concept and make sure I don’t run off track
DRAWING OR BRAINSTORMING? IN
have to adapt it to fit the concept.
RESEARCH? IF YES HOW OFTEN? / IF
DO YOU DRAW MORE?
nice flow.
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ARE PART OF YOUR PRACTICE?
NOT IS YOUR DESIGN PROCESS MORE
WHEN YOU STARTED THE PROJECT, DID
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We are currently designing the display
BASED ON YOUR INTUITION?
do lists. My notes are often in sketch form.
YOU FIRST START OUT RESEARCHING, SHORT HOW DID YOU START?
of visuals to create a
AutoCAD, Sketch Up (and Podium plug-in
DO YOU HAVE OUTSIDE THE MA THAT
DO YOU REFER BACK TO YOUR
I tend to draw more but I do make a lot of to
ARE YOU MORE OF A LIST MAKER OF
spreads with plenty
now live with family near Sheffield. I have
TECHNIQUES DO YOU USE TO
helped assemble the display cases in the
I do refer back to research to focus my
Ren Library, part of the Medieval Library at
but I do often just design stuff and then
Great Lincolnshire Exhibition.
the Lincoln Cathedral. That was part of the
We also assembled the display cabinet
of Lord Alfred Tennyson in the Lincoln
LOOKING BACK ON THIS STAGE, WHAT
Brainstorming through mind maps and spider
City Library. This is all stuff we have been
WENT WELL IN THE PROJECT?
diagrams. Then researching and finding
doing on the side, display cases are more curatorial and not really related to our
The site visits. I found all my sites on Google
inspiration while at the same time sketching
practise but good for the experience.
earth before I went to visit them through
down ideas. Kind of all at the same time.
Other than that I kayak and canoe
research on the areas. When visiting they all
occasionally, Photography, Traveling and
prove to be good apart from one that was
visiting Museums and Exhibitions.
moved slightly further down.
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This map shows
BUKOLA OLABISI BANKOLE
the whole Culture Route. The blue lines show the connection between the
PROJECT:
H93 Museum Hotel
installations.
A very early stage digital 3D render of the design, one of the first experiments digitally.
ARE YOU COLLABORATING WITH
use skills I already have while fitting some
OTHER PEOPLE ON OR IS THE PROJECT
new exhibition skills into the mix including
MORE INDIVIDUAL?
more attention to narrative, experience
and interactive technologies.
It is individual. I am however trying to get in touch with Sheffield City Council and
WHAT IS YOUR FAVOURITE DESIGNER /
the design company based in London that them about it.
have some companies and blogs I follow
shows how the existing site looks now.
WHY DID YOU CHOOSE THIS PROJECT?
that I like. Some of these are: CTRLZAK
WHILE DOING THIS PROJECT?
Art and Design Studio, Studio Weave, Art
I have actually learned about exhibition
Dezeen, The Pop-Up City Blog.
WHERE DO YOU WORK BEST?
For now at this stage I work in the studio,
Bukola: The project basically started with
in Odd Places (AIOP), Timorous Beasties,
Not going to lie, none I think. The amount
have previous experience in so that I can
Overgrown and in decay.
I don’t really have a favourite designer, I
WHAT NEW SKILLS DID YOU ACQUIRE
is partly why I am doing something that I
The image on the opposite page
QUOTE OR STYLE?
handles a lot of their projects to talk to
and museum design is very limited. This
The H93 hotel and museum project surrounds an unfinished building site in Nigeria. This project aims to address abandoned and demolished heritage buildings in Nigeria. The specific site is located in the town Abeokuta in the Ogun State, Nigeria. The building is an uncompleted presidential lodge belonging to a personality of political and historical importance in Nigeria. The building is under severe degradation and decay, after 22 years, due to adverse exposure to weather as construction was stopped at the roofing stage. The purpose of the project is to conserve the site and transform it into a cultural heritage site.
because I have large drawings that I need
the problem, which was the attitude towards
to trace, samples, materials and plans.
conservation. Most heritage buildings in
This takes a lot of space that I don’t have
Nigeria are being abandoned or demolished,
“Creativity is not a Competition.”
at home, so working in the studio makes
that was the problem that I found interesting
and wanted to explore. Why haven’t they put
sense. The initial research stage I worked
these buildings? In European countries there
the research part. Where I work shifts per
from my room, and moved to the library for
in place planning to preserve or safeguard
Graphic design mock
phase depending on what I need.
are strict rules concerning heritage buildings,
up for the Sheffield
like castles, cathedrals and Victorian houses,
Culture Route Map.
but this is lacking in Nigeria. The project
is inspired by the European heritage and
conservation of buildings that surround me
here in Lincoln, and the opposite situation at home in Nigeria.
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AESTHETICS OF DECAY
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HOW DO YOU USE SKETCHBOOKS / DRAWING / MAKING NOTES?
For my last project I used a sketchbook,
but now I find that my concepts are better explained through sketching and tracing
TRACES IN THE CITY
on loose sheets of paper and through
samples of materials. My ideas are more
flexible on loose paper, with a sketchbook you fill one page after the other is filled,
I find that too linear. In sketchbooks I put
pictures of materials and places that inspire
Through sketching on the original hand-drawn plans of the
me, but not really drawings. And for this
building I tried to test the design of the roof. I first tried to resolve it in Sketchup, but I couldn’t get it right in the 2D
project once something inspired me, I
plans so I had to pay more attention to that.
order it and see how it looks first hand. So
now I have more samples and 3D materials
H93 HOTEL SCHEME
that are not contained in a sketchbook.
Moodboard that visualized the concept that links with the memory of place and the conservation of an
needed to compare the hand-drawn plans to
and turn it into a hotel, it has to be related to
said that the site was big enough to turn
drawings and sketches are not that refined,
focus on writing. It wasn’t a weird transition
elements that are there. From the drawings
and traditions of that local area.
ashamed that the place was there, but
a sketchbook. When I keep a sketchbook I
had to stop the design and sketching to
architectural heritage site.
the pictures I had from the site, trying to see
because I am writing about the project,
and what exists on the site I made changes
design statement, mission statement, WHAT STEPS DO YOU USUALLY
FOLLOW IN YOUR DESIGN PROCESS? I started working with a plan and a
timetable, after the research phase. But
“My design process goes back and forth, it is not a linear process.”
Above: Zoning the existing plans. Linking the
not linear, design is more continues, I
am designing at every stage even when I
help me define the project more. I even
set guidelines and rules before I started,
Below: Space planning through moving the
so I wouldn’t go too much out of context
and otherwise the project would be more chaotic. Because I done that before, and I keep a logbook, it keeps me focused. All
The plan is to start with zoning the existing
am just doing mind maps it is still part of
area, then space planning, heating and
the writing I do is about the design so it is
brainstorming or writing reports, because
and then design analysis and looking
continuously think about it.
design. I have the design in mind while I am I am writing with a consciousness of what
“I made changes and started sketching and designing to complete the building in a new way.”
not like you have to stop your design, you
ventilation so more background research at strategies and approaches, model
the design will become. So my design
complete the building in a new way.
and direction of the project, what will
existing space with the new purposes. Each
rooms into different order through sketching.
at the end of the day design process is
and started sketching and designing to
aims and objectives, concept statement
colour resembles a different purpose.
culture and be sympathetic to the heritage
into a hotel, other people thought it was in decay and never used. The opinions
were varied between heritage and a more
“But it can’t be completely new and out of context, it has to still relate to the memory of the place.”
Adapting the old space and trying to fit
am consciously trying to make it neat and
be more creative with my ideas. When the
It depends on the stage of the project.
the loose sheets together to keep them
When I am creating the plans, sections
That is also why I chose to develop the
tidy because I know people are going to look at it. That sort of restricts me, when
IS YOUR DESIGN PROCESS MORE ANALOGUE OR DIGITAL?
and 3D models I use a lot of drawing
museum, for commercial reasons the hotel
they are all over the place, to put them in
commercial use. It made me think if it was possible to combine the two.
I am tracing on loose paper I am freer, I
don’t feel the need to keep it tidy and I can project is almost complete I will bind all together and not lose anything.
is part of the building. I thought it would be
and sketches. Then my process is heavily
WHEN YOU STARTED THE PROJECT, DID
of ‘living in a museum’. Experiencing
plans, and sections to create perspective
DRAWING OR BRAINSTORMING? IN
dependent on tracing paper, tracing over
nice for people to experience the lifestyle
HOW DID YOU RECEIVE THE BUILDING
exploration these elements are all research
I haven’t used a sketchbook much. My
Now I am also writing a report, so I almost
drawings as well. Even when I print out the
the culture and traditions while staying
digital renders I still find myself drawing
comfortably in a hotel. The site is big
YOU FIRST START OUT RESEARCHING, SHORT HOW DID YOU START?
I started with research, not massively in-
process is not linear, I keep adding and
work how the building would function. I
PLANS OF A BUILDING IN DECAY?
in the concept that I developed for the
enough to accompany both.
on the prints. I think that drawing by hand
depth but light research. Then I tried to
it is an on-going process. I still draw even
start producing it digitally, but it did not
then were hand-drawn, so I had to redraw
originally was meant to be a presidential
DID YOU VISIT THE SITE OF THE
hands I get more ideas and is feels more
maps and brainstorms. I need to keep
changing throughout the whole process,
was meant to decide on my plan and then
when I am working digital in sketchup.
turn out that way. It took a more scattered
Even when I am getting closer to the
new purpose of the building. The building
The building was built in 1992, the plans
lodge, now I am turning it into a hotel. I
them. I got the drawings from the architects
process, I haven’t started any physical
added the museum aspect because of the
that designed the original building. The
BUILDING IN NIGERIA?
models because I felt like the design wasn’t
drawings are very different from the
heritage aspect, because I am adapting
video and interviewed people before I
progressing in the design to improve it. I
models but I did that more through
never completed. There was no roof, no
cultural and heritage aspect of the location
into a hotel and museum. The primary
the design I make changes accordingly.
design process a bit.
first structure for the walls and foundation. I
For example you can’t just take the cathedral
of the building. In general most people
finished yet. I could have done exploratory
receive new materials and if they inspire
sketching. That changed the cycle of the
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and reusing the building I need to consider
original site, because the building was
as well, before considering new purposes.
windows, no doors and no flooring, just the
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82
flexible. When I draw on the computer I
don’t really delete stuff, it feels too final,
Yes, I visited the site, I made a concept
deadline I still make changes because the
way I design is a continuous process, I keep
is creative, I find that when I draw with my
but I do erase and change things when I am drawing by hand.
created the concept of turning the building
explore my ideas through a lot of mind
The patterns on the tiles are, like this
asking myself ‘why’, why am I doing this
pattern above, afro-Brazilian style,
and why did I chose this part. If I make
when before colonization during the
this decision how is it going to affect the
slave trade, Nigerian slaves escaped the Brazilian slave trade and came
building. I started to look at how the hotel
back to Nigeria, they brought back
and museum would coexist and still be
motifs and pattern that were used
separate within the building. Exploring the
research inspired the use and purpose
in houses, that is where this pattern originates from.
existing building and trying to see, with
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Monday 7 September 2015
After emailing the final PDF to Chris, the only thing to do was proofreading it. Chris decided to take on that task and it took him from 8:00 in the morning to 2:30 in the afternoon (of course longer than expected). Then I started editing everything from 11:00 to 21:30 (with breaks in between). Chris found a lot of edits and I am glad that he took the time to read through it and managed to take some pages out to make the book a bit less bulky. Tomorrow we are going over it again, and then it is ready to send off. I will have it by Friday this week, just in time for the hand-in deadline of 14 September.
Proofreading Takes longer than you think! Spotting all the mistakes is hard. Getting someone to check this for you is wise.
Tuesday 8 September 2015
The final show date is coming closer, and that means preparing work to show off. We worked on a series of A0 posters, to show off our work when the final show website is launched. Afterwards, Chris and I had a critical look at my diary. Chris mentioned that to be more critically engaging the diary needs more depth. I tried to express the wisdom that I gained through this project through the realisations, throughout this project. I agreed that the document needs more layering and structure to be more than a personal diary and reflection, this to enforce the take away message. Which is: When choosing a format for your project, You learn a lot about design, like a book, it needs a yourself as a designer reason to exist, think and how you design and react to the clearly about what the developement of a project by constantly take away message reflecting on yourself and the project. will be Giving advice to other designers. Therefore the diary needs editing for the audience, not too personal and not too imposing on how you have to do things.
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Wednesday 9 until 14 September 2015
The book is off to print! I feel a huge relief and sense of achievement. I can't wait to hold the ďŹ nal book, I just love to hold a well designed tactile piece of graphic design, in my hands and see the results of my hard work and effort to conclude this project and my Masters.
79
I am going to miss the MA studio. Now, I can close this chapter in my life and kick start my career as a graphic designer. Looking further than education, and use this MA to start in a place where I really can develop my practice.
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