Journey book by sarahlouise

Journey Book Level 5 Graphic Design Sarah Harrison

Visual Synthesis

4 - 17

Way-Finding

18 - 41

Type Rules

42 - 63

Brief Research Development Final Product

6-7 8 - 10 11 -13 14 - 17

Brief Research Development Laser Cutting Final Products

20 - 21 22 - 27 28 - 33 34 - 37 38 - 41

Brief Line Lengths Narrow Columns Development Sketches Final Piece

44 - 45 46 - 47 48 - 49 50 - 57 58 - 63

Visual Crypsis

120 - 141

Book Binding

142 - 147

Journey Book

148 - 163

Brief Research Development Production Final Piece

122 - 123 124 - 129 130 - 133 134 - 137 138 - 141

Process Analysis

144 - 145 146 - 147

Brief Grid Systems Type Tests Colour Coding Research Critical Analysis

150 - 151 152 - 153 154 - 155 156 - 159 160 - 161 162 - 163

Subvert

64 - 85

Pop-Up Shop

86 - 97

Industry Visits

96 - 119

Brief Research Development First Ideas Final Piece

66 - 67 68 - 73 74 - 77 78 - 81 81 - 85

Brief Research and Ideas Digital Development Final Piece

88 - 89 90 - 91 92 - 93 94 - 97

Brief Kate Moross The Walker Agency

100 - 103 104 - 111 112 - 119

Bibliography

166 - 169

Assignments 1 - 4 Assignments 5 - 7

170 - 171 172 - 173

Visual Synthesis Sarah Harrison, Gemma Brett, Harry Murr, Ethan Huang, Nischal Gurung

Assignment 1: Visual Synthesis Brief: For this project you are required to create a portrait of the AUB campus. You will be working in small groups to map, analyse and recreate the data systems of your surroundings within a set of synthesised visual systems. You will be encouraged to think innovatively about how you might find and generate data, and analyse systems. The assignment will culminate in an all group studio exhibition and critique. Work in groups to map the campus. Break down the map as modular elements to cover the whole of AUB. Think beyond the obvious attribute that you might include. In your groups, analyse selected elements. De-construct these elements into systems and data. Consider; Time, wind, human behaviour, sound, movement and size. Key words: - Synthesis: The combining of separate material or abstract entity into its unified entity. - Typology: The classification according to its general type. Group - Five of Fives: Sarah Harrison, Gemma Brett, Harry Murr, Ethan Huang and Nischal Gurung

â&#x20AC;&#x153;...The systems approach involves the pursuit of truth (science) and its effective use (technology), plenty (economics), the good (ethics and morality), and beauty and fun (aesthetics).â&#x20AC;? - Russell L. Ackoff

Andreas Lauhoff, 1999 Speechrecognizing letterforms [acrylic]

Research Edouard Pecher: A system of oppositions. In these examples (right) Edouard Pecher explores the relationship between fundamental forms, such as circles, squares and triangles. In particular his investigations builds upon how these forms can work in opposition to each other to establish contrast and create meaning. I found Edouard Precher’s work intriguing, he has explored a very simplistic system and gave it a new meaning. I wanted to explore the use of simplistic forms to create new meaning.

“To manage a system effectively, you might focus on the interactions of the parts rather than their behaviour taken separately.” - Russell L. Ackoff

As a group we wanted to find a suitable target audience, we initially decided on university students because the brief applied to the campus. After doing research we realised we could make a system that could apply anywhere, for example Heat and Time. There is a close relationship between heat and time, it’s colder at night, and warm mid-day. We had many starting points for this project; we brainstormed as a group, each taking on two ideas to explore further.

Edouard Pecher: A System of Oppositions. (Right), Kaai Kaai

Initial Ideas - Smoking - Having smoke machines to indicate where on campus is most popular to smoke - Branding - What brands people wear - Pulse - Heart rates at different times of the day - Shadows - Wifi - app use, hot spots around university - Tattoos - Heat - Leaflets - dropped outside the university gates - Break the system De-construct the system, Identify systems used, gather plenty of research, experiment. I looked at wind speed and how I could visually represent this, I drew out sketches of a windmill animation. The windmill could speed up as the wind speed increased. The windmills could be colour co-ordinated depending which area you are in, for example the beach. I looked further into the elements that surround us, and thought I could visually represent heat and time as contrasting systems.

Left: Give & Take Exhibition by Frost Design.

I had the idea of making a clock like animation to show what time it was and the temperature at that time. Each ring would represent a different building around the campus. The rings would be colour changing throughout the day, there is a colour coding below the clock that would show the temperature estimate with the colour, for example red would be 24ºc. The rings would move around clockwise according to the time of day it was. These animations would be shown all around the campus on TV’s in each building. The bar which is shown in my sketches in

the photo above would represent the correlation between the temperature of the room and how many people are in there at that time. The purple bar would move up and down throughout the day to show where is busy and where is not. I made a digital representation of this, as I did not know how to create a moving animation. The digital representation had a colour coding scale on the left side with varying temperatures from -8ºc to 26ºc. I added more heat and time clocks on the bottom to show the different buildings, as I felt it would be too complicated on one clock.

Data Collection We all explored different ways of creating a visual portrait of campus. We decided to look into human interactions on campus. We wanted to record the data of how people greet and depart from one another at different times of day. As a group we went out and recorded data from three different areas on campus these were: the canteen, the courtyard outside the library, and the courtyard outside University House. We first started to document how many people would wave, hug, kiss, high-five, talk, laugh, whisper, have a phone call, hold hands, and smoke. I drew out the campus map and colour coded the interactions, putting a tally next to the interaction and putting the colour on the campus map where I saw that interaction, (bottom right).

When I met up with my group they liked the colour coding idea although we all felt we had collected too much data and our final visual system would become too complicated. We had a critique with a tutor that same day, we wanted to get feedback on the system of human interactions, and how we could cut down the amount of interactions we would record, but keeping a common theme. From feedback given to us in our critique with a tutor we decided limit our data to interactions that would require two people. We decided to record these interactions; kiss, hug, wave, phone call and high five.

I decided to use this data to create a visual representation. I liked the use of colour coding on a map. I created the map on illustrator and displayed the interactions as small squares of colour. There is also a coding key on the side to show what each coloured square represents, (left page, bottom) I also experimented with using colour codes circles, I used the map as a guideline to place the circles, then got rid of the map as I felt it looked too literal. I then repeated this to show 4 different times of day. 9.30, 12.30, 1.30 and 4.30. Unlike the previous visual it was less literal and has no key, so it looks a lot more abstract. (Left page, top).

Development We felt just colour coding it wasnâ&#x20AC;&#x2122;t enough, we wanted to make it more personal, because it is based on interactions. As a group we brainstormed how we could achieve this. We came up with the idea of postcards, so you could write a message to the last person you had that interaction with. We printed the interactions word onto the coloured card we selected. At first we had the words different sizes on each card, just to fill the space. Feedback given to us by a tutor allowed us to see that as set the postcards didnâ&#x20AC;&#x2122;t look particularly nice, so we from that we made all the words the same size and in the same place on each card. Once printed on the correct card, we each went out and got 10 university students to write a message to the last person they had that specific interaction with. We had a good range of students, some of which are international students. It was interesting to see their notes as they were written in a foreign language. Once we had all of the postcards we were ready to display our final piece.

Critical Analysis Our visual system was based on human interactions; we watched and took data from how people interact around the university. We collected data from 200 students, and then from that data we put the different categories of interactions into percentages. We colour coded the interactions and applied the percentages to 50 card we used. This was becoming distant to the whole point of our data, so we wanted to make it more personal, we did this by using colour and personalised messages. From our final critique our main weakness was the presentation of the piece, the box wasnâ&#x20AC;&#x2122;t inviting, and people would have wanted to interact with it. A strength that was pointed out in the critique is that we managed to capture personality in the postcards. If I were to redo this project I would present our final piece so it would be dangling from the ceiling, this would make it look more interactive and people could read the postcards and add their own to it. If I were to expand this project to a much larger scale I would love to see a similar display dangling from the ceiling of a multi-story building, so it would be visible from any floor you would be on, and to look as if it were falling from the sky. I thoroughly enjoyed how this project challenged me to think differently, and how it made me de-construct an existing visual system, then to analyse that system, and to eventually display it in an abstract way that would encourage and inspire people to think about the systems used.

Wayfinding Sarah Harrison, Sam Brown, Sam Nightingale

Assignment 2: Wayfinding Brief: You are required to work in groups to research and engage with a range of environments within which users will require a navigation system. In your groups you will identify a specific location or sets of locations and use the creative strategies within visual systems to produce a comprehensive wayfinding system. Research and document a selection of potential locations that require a wayfinding system. Select one specific environment and analyse the components and information that the location requires for an effective wayfinding system. Consider the viewpoints of the user and the potential scale of the elements within your system. Use systems driven creative strategies to develop a visual language for your wayfinding. Create initial prototype elements and recruit peers for user testing. Use the feedback from your testing to further develop your visual system. Consider using several iterations of testing and development to improve the specific communication of your elements.

“To design is much more than simply to assemble, to order, or even to edit: it is to add value and meaning, to illuminate, to simplify, to clarify, to modify, to dignify, to dramatize, to persuade, and perhaps even to amuse. To design is to transform prose into poetry.” - Paul Rand

Right: ‘Aboriginal Songlines’ or ‘Dreaming Tracks’ Created by the Aborigines Following page: London Underground

Primary Research For this project we wanted to get a head start so myself, Sam and Sam went to the library to gather some more of an insight into wayfinding. We looked at Hobo code, building maps, tactile maps, signage and chalk chases’. We all decided we wanted to create something with functional as well as aesthetically pleasing. We looked into various target audiences sharing a common wayfinding problem. From research I was interested in creating some form of tactile map for both the visually impaired and the sighted. As a group we decided our target audience to be the visually impaired. We wanted to find a common problem visually impaired people would come across. We wondered how, if you are visually impaired from birth would you be able to get around your very first ‘big’ school. Even with sight, finding your way around a new school is a challenge.

“It is important to remember that learning to read braille includes many different skills. Surely a student who learns to read braille must develop efficient tactual skills but just as important to remember that young children who are beginning to learn to read braille need basic reading skills” - Unknown

Left page photos from books; Sign Design by Mitzi Sims Signage by Charles B Mclendon

Initial Ideas I did some research into existing aids for visually impaired children. There are many aids such as different textured flooring to indicate a step or door. The use of shapes is common to help the young put that shape to a meaning, for example a leaf, itâ&#x20AC;&#x2122;s a basic shape that can be applied to a real leaf. Some places use sound to help aid the visually impaired, using different sounds to represent a room. We could aid these children by implementing a sound button outside each classroom. Usually if you are visually impaired your other senses are heightened. Their sense of smell would be much

better than the average human. The idea of an aroma garden put into a school could help children to recognise where abouts they are in the school just by sense of smell. The use of different materials with varied textures improves the recognition of tactile images for visually impaired children, researchers from the Laboratoire de psychologie (Savoie University) have shown. Among other factors, the researchers emphasise that early, regular use of tactile material by blind children is necessary to improve recognition through touch. An East Valley grade school has recently taken on a

new look, designed by Scottsdale interior designer Anita Lang and design student Kristen. It also has a new feel, the renovation includes textured walls that will be interesting for the kids to trail their hands along as they make their way through the building. It also includes rounded edges on furniture and a Braille greeting at the entrance to the school. This will help the children find their way to the correct classes with little help from supervisors. As a group we looked into using shapes that linked with the subject, for example, a test tube to represent science. I thought it would help if the room layout was somewhere outside the room so the child would be able to navigate their way around. I looked into building map layouts and how I could simplify this for a child to easily understand. I could add a key at the side just to show; for example a circle represent a chair, and a rectangle represents a table. We each took two school subjects and attempted to create a tactile map for the side of the door. Using a braille converter we were able to communicate the year group, subject and teachers name. As shown on following page.

Left page: Foundation for Blind Children Photos right Clip-art photos of Subjects

Year 2, Science Class, Mrs Smith

Year 4, Geography Class, Mr Brown

The photo on the left was my first sketches of a braille plaque; The room map could be a bit confusing, as a child may not recognise what some of the other shapes would mean without the key. I also thought the test tube may be a bit randomly placed, because a visually impaired child would be taught to read left to right, and its just a random shape in the corner. A visually impaired child may struggle to read the plaque with their fingers as all the main bits of information are a bit all over the place. As a group we felt this layout wasn’t working, so we decided to do some more research. We looked more into braille, and what was the easiest to understand. We found that braille has codes for writing text, music, and technical material for math and science. Alphabetic braille, formerly called Grade One, writes out each letter and word exactly as it is spelled out in print. For example, in alphabetic braille the word “can” is written by using three separate braille cells - one cell for each of the three letters in the word “can.” Literary braille, formerly called Grade Two. For example, in Literary braille the word “can” is written in a highly condensed form, using only one braille cell to represent the entire word. The majority of books and magazines are written in literary braille because it requires much less space than Alphabetic Braille.

Development From research we found that children are more likely to respond to shapes than braille, as they are only just starting to learn braille. We thought if we only included the basic bits of information in braille with an animal shape to correspond with the information, the child may have a better chance of putting one meaning with the other. We decided to put different animals to each classroom, for example year 1 was the Monkey room, year 2 - the giraffe room. I was given the year group 2 and 5. I created a basic outline of the animal which I thought would be easy for a child to understand. For year 2 I used the giraffe, and for year 5 the tiger. I then looked into how I could create the braille so

it was small enough to be perfectly placed. I set up a grid so there were 1cm by 1.5cm boxes for each braille letter (photo, top right). This allowed me to place the braille in the correct way, so it wasnâ&#x20AC;&#x2122;t too bunched together. I did the same for the tiger plaque, but I decided to invert it so the braille would stand out more than rings. We wanted to create a physical plaque to present in our critique. We thought about 3D printing these plaques to make the braille as raised as possible, but the cost would have been far too much, so we decided on laser cutting our plaques. We would etch down everything but the braille and the animals shape, so they would be raised slightly.

Laser Cutting We all went in as a group to do some test laser cutting. We had to make some adjustments to our illustrator files; we put a 0.5pt red line around the edge of the plaque so the laser cutter would cut through the material to give us the correct shape. We inverted the colours so the background was black and the shape of our animal and the braille were white; this meant the laser cutter would etch down all of the plaque that wasnâ&#x20AC;&#x2122;t white, leaving us with a raised animal shape and braille. We decided that our shapes were a bit plain, we gave some of the animals a bit of texture this would help the childâ&#x20AC;&#x2122;s learning of new textures. For my giraffe I gave it spots; the spots of the giraffe were only slightly raised, and the outline was raised a little higher so you would feel the outline first then the spots. Giving the plaque overall 3 levels of touch. For my tiger I gave it tiger stripes, the outline was raised highest. We inverted the tigers body so the negative space between the stripes was etched down, leaving lots of raised stripes.

Left; Monkey plaque test. Right; screenshots from time-lapse video

We wanted to create a small timetable guide so the child would be able to recognise which classroom they are at as they come to the classroom door. We used the same process of laser cutting that we did for the big plaques, etching down everything but the shape and the braille to give a raised texture. We added a circle in the left corner of each one that would be cut out so they could be put on a key-ring to hold them all together. The only bit of braille we included on the smaller plaques was the year group. This would allow the child to read which year group goes with which animal shape.

Smaller timetable plaques made using the laser cutter

Critical Analysis This project was on wayfinding; point A to point B. For our project we worked on aiding the visually impaired. We wanted to help new primary school children find their way to different classrooms, as new schools can be daunting, even more so for a visually impaired child. We made contact with one of the local schools to try find out how they aid the visually impaired students; as of yet we have not had a response. Shapes are proven to be the best way for young visually impaired children to learn, then to link that to braille. So we came up with the idea to link the shapes of animals to a class. We made the shape of the animal; the animals with patterns were textured differently to enhance the child’s understanding.

development and to actually work with a visually impaired child to understand fully how we could help them on their learning journey. If I were to do this project again I would do further research into how visually impaired children learn perhaps visit a school with a visually impaired child to gain a further insight as to how they cope from day to day. And to change the plaques so they were easier to understand by differing the size of the shapes and textures of the animals and the actual material used; I felt the acrylic material was not appropriate as it was very rough after being laser cut.

Feedback in our critique made us aware of the weaknesses within this project, one person questioned “If they are visually impaired how will they know the shape of the animal”, it was a fair point, but the child would be taught to associate the shape with the year group. We were also advised to make it more visually appealing for the children that can see by adding colour. We could have worked more on differing each year from one another by changing the shapes scale and textures. From the feedback we got in our critique we realized we would need to do a lot more research and Right: Final Piece

Type Rules Sarah Harrison, Conor Kelly, Becky Haskins, Sophie Le Marchand, Jodie Morris, Mia Jamieson

Assignment 3: Type Rules Brief: We are going to look initially at some examples of poor practice in print, so you have been asked to find and bring in your own examples of this to analyse and discuss in studio sessions. A list of some of the key issues around good typographic practice will be supplied with this brief.

â&#x20AC;&#x153;Typography has one plain duty before it and that is to convey information in writing.â&#x20AC;? - Emil Ruder

Following this you can work within your Industry Visit teams where you will be given two topics to deal with and between you to generate a double page spread on each topic. With the working title Type Rules. This book will ultimately be assembled by a small design team before being printed here in-house. Each team will be given two topics to design. Once you have your topic you should design a creative abstraction or arrangement using just type and lettering which illustrates the topic as a single page 210 x 210mm. It must however contain a legible definition and explanation of the topic somewhere on the page.

Typographie by Emil Ruder

Line Lengths - 30-35 characters minimum to a line (5 words) - If a line is too long you don’t want to read it - Definition; It is the maximum length of a single line of text before the next word in a sentence ‘wraps’ onto the line underneath. Initial Ideas; Showing three examples of paragraphs of text progressively getting smaller in line length. As the line length decreases, readability increases.

The optimal line length is 50-60 characters, 75 characters maximum

Narrow Columns - Text sizes between 8 and 10pt set over long lines is bad practice and tiring to read - Lines of 12 words are considered an optimum for reading, but of course this will vary. -Study the relationship between point size and column width carefully for the best results. Initial Ideas; Displaying three different column widths, the larger the column width is, the easier it is to read. The following page is another variation of my first idea using colour.

For a column to be easy on the eye it should have at least 5 words to a line. Any less than that and it becomes hard to read. A small column consists of around 30 35 characters.

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Development My group had a critique with two tutors about our first ideas. We all agreed our starting points were good, but we hadn’t put much creativity into it, our spreads were quite bland and literal. From revisiting my first few attempts at creating a spread I decided I was looking at this project all wrong. I went back to the brief. “You should design a creative abstraction or arrangement using just type and lettering which illustrates the topic”. I had been thinking too literally, and not using the actual topic to display its meaning. To try find a more creative way of using the topic the illustrate it’s meaning, I drew out various spreads and tried to apply colour, shape, illegible type and various font sizes (right page). After doing this I wanted to introduce shape to illustrate line lengths. I was a bit uncertain of where to take the designs for narrow column, so I wanted to test new layouts, over exaggerating bad column widths. My narrow column page consisted of 6 thin columns, 2 words maximum to a line. I used grey as a background colour to make the text stand out. (Right page sketch top left). From my critique feedback I looked at using fewer columns, highlighting one sentence that starts at the top and ends at the bottom, I was advised to use a different font, and to play around using point sizes.

I introduced shape into line lengths by making a triangular shape, where the line length gradually increases. In the text I highlighted the minimum line length, optimum line length and maximum line length, (image below). From feedback I was told to move the shape more to the right, otherwise it would be lost when binding the book, also to change the text colour, and shape so it would start at the top of the page. I also wanted to include more information on my page instead of highlighting the optimum line lengths.

My second page for narrow columns had a darker grey background colour and three thin columns, with the first and last few words coloured in yellow and the rest of the type white. I liked the use of a darker grey to contrast the pages, I felt it made it more visually appealing. From feedback given I was advised to change my background colour to a warmer grey with a tint of a purple colour, and to move my columns left, so it was off centre. I also scrapped the use of yellow because I didnâ&#x20AC;&#x2122;t think it looked right on the page, and on the spread as a whole.

I had the idea to change my columns from three to just the one column. To exaggerate the relationship between point size and column width I had the textsâ&#x20AC;&#x2122; point size gradually increasing. At the start of the text point size with the column width work well together, but as the point size increases the text gets to one word a line.

narrow columns are hard to read. narrow columns are hard to read. narrow columns are hard to read. narrow columns are

hard to read. narrow columns are hard to read. narrow columns

are hard to read. narrow columns are hard to read.

narrow columns are hard to read. narrow columns are hard to read. narrow columns

are hard to read. narrow columns are hard to read. narrow

columns are hard to read. narrow

columns are hard to read. narrow columns are hard to read.

narrow columns are hard to read.

Critical Analysis The outcome of my second page for line lengths had the shape starting at the top of the page, gradually increasing in the triangular shape and then ending at the bottom of the page with one line highlighted showing the optimum line length. After a critique with two tutors we wanted to keep most things the same. The shape would have been lost in the binding so we were encouraged to move it more to the right just in-case. I also wanted to make the font size smaller because it was too big, and

didn’t give the page flow. I also changed the colour of the optimum line length from a dark grey to red to make it stand out more on the page. The text in the shape is relevant information about line lengths. Overall I like my final spread as it shows both line lengths and narrow columns in a creative, exaggerated way. I like the use of colour to create a contrasting look on each page. I enjoyed this project although I think it may have been better if we were in smaller groups, as I felt only myself and one other in my group worked on it, with very little contribution or help from the other team members, this was mainly due to everyone just leaving after critiques and not wanted to discuss what to do next. If I were to do this project again I would change my typeface, because I think I played it safe using Helvetica Neue; a different font may have given the spread that extra ‘something’.

Following pages; Final Type Rules Spread and ‘Can you Read this’ cover

Having the correct amount of characters on each line is key to the readability of a text. The fact of legibility comes in to account when dictating the width that a line of text should be. If the text is too narrow, the readers eye will have to travel back to often creating a break in the rhythm. Lines that are too short also lead the reader to begin a line without finishing the previous line. The optimum line length is considered to be 50-60 Characters including spaces, but other sources suggest up to 75 characters is an acceptable line length. This specific line showing 61 characters is an optimum length. It is very important that the line length of text is correct to ensure that the reader enjoys the read of your text and not struggling with its readability. If the text is too wide, the reader will have issues with keeping a focus on the desired text, therefore finding their eyes wondering away. This is because with a wide line length, the eye struggles to gauge where the beginning and end of the line lie and can further be difficult to read on to the correct line with large blocks of text. Line length is determined by typographic parameters based on a formal grid and template with several goals in mind; balance and function for fit and readability, aesthetic style. 57

narrow columns are hard to read. narrow columns are hard to read. narrow columns are hard to read. narrow columns are

hard to read. narrow columns are hard to read. narrow columns

are hard to read. narrow columns are hard to read.

narrow columns are hard to read. narrow columns are hard to read. narrow columns

are hard to read. narrow columns are hard to read. narrow

columns are hard to read. narrow

columns are hard to read. narrow columns are hard to read.

narrow columns are hard to read.

Subvert Sarah Harrison

Assignment 4: Subvert Brief: Analyse and de-construct the visual system of an existing brand. Re-purpose the underlying visual system to produce an outcome that subverts or extends the brands key message.

“There is a better way to do it. Find it.” - Thomas A. Edison

This project will build on the deconstruction and analysis of the mapping brief at the start of the year. Every brand will have an underlying visual system that informs the design structure of touch points with its customers and potential customers. There will be a tight control of the brand narrative or company persona that these implementations generate. Companies manipulate their brand to put forward a sanitized version of their activities. An oil company that destroys the environment in the pursuit of profit will invest vast sums to present itself as responsible, ethical and green. The fresh, trendy persona of a fashionable sports brand might hide an overseas production system of pollution and child labour. This project will allow you to take control of, to high-jack, the visual systems of a chosen brand, and re-purpose the designs and modes of communication to subvert their chosen message. D&AD award night identity, 2013 Bravo Charlie Mike Hotel

Research For this project I was a bit stuck for ideas, whether to extend a brand, or subvert one. I wanted to base it on something I am passionate about. I looked into environmental issues such as deforestation, global warming and the constant need for fossil fuels. I was particularly interested in fossil fuels, as it is a non-renewable source of energy, and companies are exhausting these fossil fuels and destroying our planet whilst doing so. I wanted to look further into oil and gas companies as I recently read an article about Shell wanting to drill in the Arctic. The consequences of drilling in the fragile Arctic could be devastating and irreversible. I researched into Shell in more detail to find out about their plans for drilling, where they already drill for oil and how they do it. The making of oil: After oil is removed from the ground, it is sent to a refinery by pipeline or tanker. At the refinery heat is used to separate out different products at different boiling points. Some of these products, such as liquefied petroleum gas (LPG) and kerosene, are ready for use as heating or transport fuels. Others pass through a distillation column where heat and pressure cause a chemical reaction that transforms them into higher value fuel products. In a final stage, we may blend these products with additives to improve the quality of the fuel.

I learnt that about Shell wanting to drill in the Arctic from a Greenpeace petition, encouraging Lego to ‘dump Shell’ as a business partner. In July, 2014 the online Greenpeace petition went viral, The video has accused Shell of operating recklessly in exploring for oil in the Arctic region. The online video, is called “LEGO: Everything is NOT Awesome,” a spoof on the title song of the popular Lego movie. The video depicts an Arctic wonderland made of Lego bricks that is eventually flooded with spilled oil. It asks viewers to sign the petition urging Lego to dump Shell. Greenpeace had targeted 1.25 million signatures and says it has garnered more than a million so far. Shell suspended an Arctic drilling program offshore Alaska in 2013, despite investing over £6 billion on the project. But has kept its options open for another attempt in the near future. From looking into Shell’s business partners I saw another oil and gas company, Gazprom, Russia’s main gas and oil supplier is already drilling in the Arctic, in Kulluk.

The following two spreads are screenshots from the Greenpeace video “LEGO: Everything is NOT Awesome”

Initial Ideas Oil and Gas operations in the Arctic could release tonnes of harmful pollutants into the air, discharge hazardous chemicals into water; hence contaminating the clean air and water that polar bears, whales, walrus’ and humans depend on for survival. Whales and other marine mammals use sound to navigate, find a mate and to find food in the oftendark ocean water. Loud noises and vibrations created by an air gun (which is used when drilling for oil and gas), can cause injury, confusion and even death for species that depend on sound. The population of Steller sea lions has declined by more than 80 percent, and it is listed as endangered under the Endangered Species Act. The entire area around Kodiak Island, including where the Kulluk ran aground, is critical habitat for the species. An oil spill from Gazprom’s Arctic platform could contaminate up to 60,000 km of open water and

Left page Greenpeace campaigns: “save our oceans”, “protect our rainforests” and “save the Arctic”.

3,000 km of coastline, it would be near impossible to clean up, damaging our planet permanently. I wanted to expose what Gazprom are doing in the Arctic, I wanted to subvert their brand in the style of a Greenpeace campaign; showing the worst in the situation. I aimed to exploit the worst case scenario, an oil spill in the Arctic, I wanted to show the consequences of this in a way that would shock people into taking action and signing a petition to stop Gazprom drilling in the Arctic. Looking at past Greenpeace posters they are all very striking, and leave the viewer shocked at the ‘truth behind companies’. They like to be quite blunt and to the point they are trying to make; for example the Greenpeace poster (on the left page, bottom right) of the bird killed in the Rena disaster. It is an actual print of a bird after an oil spill killed it. I think this poster is very effective as it shows the actual consequences of an oil spill. It is very obvious the message they are trying to communicate to the viewer; that oil drilling should be stopped, it is ruining our planet and killing off animals. I want to create a campaign against Gazprom, with a series of posters displaying the effects of an oil spill, and what should be done to prevent Gazprom from drilling in the Arctic. To do this I looked further into the consequences for the surrounding environment in the case of an oil spill.

â&#x20AC;&#x153;Whenever we do something to protect our planet, it is never for personal gain or wealth or stardom... On the contrary, we have nothing personal to gain, but everything personal to lose including our freedom, family and friends.â&#x20AC;? - Canadian seaman Paul Ruzycki, from his jail in Russia.

Initial Ideas I tried making my own oil spill using illustrator, the picture below is my mock up. It is the Arctic landscape with an oil rig, with oil spilt into the ocean, animal skeletons scattered floating around.

the icy surface and be impossible to clean up without damaging the environment further.

After working on this I didn’t think it truly captured the message I wanted to portray. So I looked more into the outcomes of an oil spill in the Arctic.

On the right hand page I have shown the skeletons I made on illustrator, I wanted to show ‘what could be’, if an oil spill were to happen; it could wipe out these species, so I decided to show their skeletons as if they were in a museum exhibition.

The consequences are terrifying; it could wipe out numerous species, for example the polar bear, Beluga whale and the Walrus. The oil would freeze over on

The writing underneath the skeletons is what I want to feature in the posters to encourage people to sign the petition against Gazprom.

One of the amazing things about the walrus is that it has been threatened by endangerment two times and made a come back. Of course a great deal of their success has to do with the efforts of humans on their behalf. Still, we need to learn from this, we can destroy the walrus species if we aren’t careful. Gazprom is threatening the environment in which walrus’ need to survive without it they may not make another come back. Stop Gazprom from drilling in the Arctic!

Gazprom is one of the most dangerous companies in the world. Gazprom is pumping oil from the fragile Arctic - just 50 km from a wildlife reserve home to polar bears, walruses, and beluga whales. And an oil spill from its Arctic platform could contaminate up to 60,000 km of open water and 3,000 km of coastline.

Gazprom is pumping oil near these precious creatures that are already at risk of extinction due to climate change. If we don’t stop Gazprom from drilling in the Arctic these creatures will suffer the consequences. The environment in the Arctic is fragile an oil spill could cause disastrous effects to its surroundings, and the clean up would be near impossible, permanently damaging our beautiful world.

Development When designing my poster I wanted to have a bold header, that had the name of the exhibition. I couldn’t decide on a title that would be shocking but subtle. “Extinct Polar Bear Exhibit” I thought this title was a bit unimaginative, and quite literal, I then thought of “Creatures of the Past” this was a way of implying that these species are now all extinct, I quite like the subtleness to this title. “Not as Nature Intended” was the third title I thought of, I liked it but I felt it was a bit far from the point, and doesn’t quite get the message across to the viewer. I chose to go with “Creatures of the Past” as I felt it was best a communicating my message. It was subtle but at the same time shocking when you realise what animal it is. I couldn’t decide on a typeface for my heading. On the right page I tested various fonts with my chosen title. I chose the typeface Coolvetica, because I thought it was quite modern looking and I liked the curves in the letters, compared to the old-style fonts.

“You must be the change you wish to see in the world.” - Mahatma Gandhi

Creatures of the Past Coolvetica - regular

Creatures Of The Past Creatures Of The Past Trajan Pro - regular and bold

Creatures of the Past Creatures of the Past Bodoni 72 Oldstyle - Book and Bold

Creatures of the Past Bodoni 72 Smallcaps - Book

Creatures of the Past Bookman Old Style - Bold

Creatures of the Past Britannic Bold - Regular

Creatures of the past: The Vanished Beluga Whale

Critical Analysis

Exhibition brought to you by Gazprom Oil and Gas

I made a series of exhibition posters from an onlookers point a view, stating that these species (Polar bear, Beluga Whale and the Walrus) could soon become extinct if Gazprom continue to drill for oil in the Arctic. I felt these exhibition poster may shock the audience, and encourage them to take action against Gazprom.

Coming soon Brought to you by Gazprom Oil and Gas. Gazprom is pumping oil near these precious creatures that are already at risk of extinction due to climate change. If we don’t stop Gazprom from drilling in the Arctic these creatures will suffer the consequences. The environment in the Arctic is fragile an oil spill could cause disastrous effects to its surroundings, and the clean up would be near impossible, permanently damaging our beautiful world.

16 Nametkina St., Moscow, Russian Federation Phone: +7 495 719-30-01 Fax: +7 495 719-83-33 E-mail: gazprom@gazprom.ru

Creatures Of The Past: The Fallen Walrus Exhibition brought to you by Gazprom Oil and Gas

I wanted to make a link to a petition to stop drilling in the Arctic on the posters so the audience could sign up and help make a change. I was given feedback in our final critique that it looked too much like an exhibition poster, and not striking enough, like a Greenpeace poster would be. The audience may not look at it unless interested in museums, thinking it was an actual exhibition. From this feedback I wanted to change the look of my posters so it would be more eye catching. I would like to introduce more colours; perhaps the same blue that is featured in the Gazprom logo, making a stronger link to the company, rather than just sticking the logo in the corner. I would also change the contact details for Gazprom to be the link to the online petition. Overall I felt like my posters were a good starting point, but they need the extra push to take them that bit further so they would stand out and shock the audience.

Coming soon Exhibition brought to you by Gazprom Oil and Gas. One of the amazing things about the walrus is that it has been threatened by endangerment two times and made a come back. Of course a great deal of their success has to do with the efforts of humans on their behalf. Still, we need to learn from this, we can destroy the walrus species if we aren’t careful. Gazprom is threatening the environment in which walrus’ need to survive without it they may not make another come back. Stop Gazprom from drilling in the Arctic!

16 Nametkina St., Moscow, Russian Federation Phone: +7 495 719-30-01 Fax: +7 495 719-83-33 E-mail: gazprom@gazprom.ru

Creatures Of The Past: The Lost Polar Bear

Creatures Of The Past: The Lost Polar Bear JOIN THE FIGHT!

Exhibition Brought to you by Gazprom Oil and Gas

EXTINCTION COMING SOON

Coming soon Exhibition brought to you by Gazprom Oil and Gas. Gazprom is one of the most dangerous companies in the world. Gazprom is pumping oil from the fragile Arctic - just 50 km from a wildlife reserve home to polar bears, walruses, and beluga whales. And an oil spill from its Arctic platform could contaminate up to 60,000 km of open water and 3,000 km of coastline.

16 Nametkina St., Moscow, Russian Federation Phone: +7 495 719-30-01 Fax: +7 495 719-83-33 E-mail: gazprom@gazprom.ru

Above: Creatures of the past posters, Left: final piece, Right: redone piece based on feedback

Pop-Up Shop Sarah Harrison, Sophie Taylor, Sam Brown, Josh Wainwright, Ben Gilpin, Sam Nightingale

1-day Workshop Brief: Working in groups of 10 you will need to consider the following for the pop-up shop: Concept: Overarching idea that brings all aspects together. Brand: Identity / Visual system Interior and Exterior: Wayfinding / Display methods Output: Product / Service / Define the inner workings

Considerations: Poole borough Council: Working title: The Factory Must have something for sale Engage the general public / social / interactive Something that displays what has been in the shop and what is to come.

Adidas Pop-up shop in Barcelona

For our Pop-up shop we decided to make a Toast shop; where you can walk in and make your own toast, and add our variety of Jams and spreads! Which are also available to purchase in the shop. We divided job roles between us, myself, Sophie and Josh worked on brand identity, Ben, Sam B and Sam N worked on the interior and exterior look of the shop. For brand identity we worked on a name for our shop, we wanted to relate it to toast, so we came up with the name “Oh! Crumbs!”. We found a nice retro looking font to put in our logo called Pacifico. We worked on various ways of presenting the logo, bringing in the pattern and colours of a picnic blanket. In the end we used the typeface and extended the ‘O’ and the ‘S’ to imply the action of ‘spreading’ your butter on your toast. We then worked on a series of posters to advertise the shop, and to engage the audience. The photos on the following spread are a series of Jam jars in different settings. These would be placed around Poole to attract attention. We also made a poster that would have a ‘trail of breadcrumbs’ leading to the shop. The breadcrumbs would be made with vinyl printing so we would easily stick them on the ground. (Photo on following spread, bottom right).

Oh! Crumbs! Oh! Crumbs Oh! Oh! Crumbs Crumbs Strawberry Jam

Strawberry Jam Strawberry Jam

Oh! Crumbs Oh! Crumbs Oh! Crumbs s

rumb

C Oh!

s rumb C Oh! rumbs C Oh!

Above: My Logo Designs Right: Final Logo

Left: Testing different layouts for the logo Right: Four promotional posters

Critical Analysis Overall I did enjoy the day, I felt it was quite hard working with some of the Vis-com students as they liked to take control of the situation, and didnâ&#x20AC;&#x2122;t put much work in at all. But I did like working on brand identity, it was a change from our usual work, I thought it was nice to have a change of pace. Although our idea was not chosen for the pop-up shop it was a good experience to win a brief that would be put up in Poole. We didnâ&#x20AC;&#x2122;t get any feedback for this project, but if I were to change any of the branding, I would give it a more of a vintage look, using picnic colours.

Previous page: Our presentation wall Above & right: Logo variations Right page: My sketches

Industry Visits Sarah Harrison, Conor Kelly, Becky Haskins, Sophie Le Marchand, Jodie Morris, Mia Jamieson

Assignment 5: Industry Visit Brief: For this project you are required to visit a design studio in order to gain knowledge and understanding, uncover the roles within any creative group and consider the possible expectations of you as a new designer. The research element within this brief will also help inform your awareness of current trends within industry. During the second year of the course you will be developing your ability to think and work more critically and independently. As well as feedback from tutors and peers you need to constantly reflect on your own learning. It is essential as you prepare for the Graphic Design industry that you become increasingly independent and develop confidence in your own judgements and critical analysis. It will also be important to look to the future and to consider companies and areas of professional practice with which you might wish to align. For example some companies have a strong ethical perspective and will not work with particular brands or political parties. What type of designer are you? Do you have a more conceptual approach? Are you driven by aesthetics? Does your chosen field require strong digital skills? It is important to reflect on your personal philosophies as well as your design strengths in relation to industry.

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“I feel the designer’s role has changed in recent years from one of creating beautiful forms or clear identification for brands to one where the designer himself visualizes the possibilities of an industry.” - Kenya Hara

Right: “Teed Otherside of the World” Tour Poster By Kate Moross

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â&#x20AC;&#x153;Studio Moross is a creative design studio focusing on art direction, branding, print and moving image set up by graphic artist and art director Kate Morossâ&#x20AC;? - Kate Moross

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Getting in Contact As a group we decided on 5 favourite companies we wanted to go to these were; The One Off, Fivefootsix, Moross Studios, Design Bridge and Johnson Banks. We emailed all of these companies:

Hello, We are a group of 2nd year Graphic design students from Bournemouth and we have just been given a project to research different design agencies, and we are particularly interested in your company. And we were wondering if we could arrange a visit for an upcoming Wednesday? Please let us know when is best for you. Thank you. In the end we only received few emails back, one being from Moross Studios which took our attention:

Lyrics from Banks’ debut album ‘Goddess’ for an installation in NYC Soho gallery. Studio Moross

Hi Mia, Thanks for your email. We could arrange for you to visit the studio for up to 1hour on the week commencing 10th November. As Kate mentioned, we have had numerous student visits in the last couple of months. Some have been more successful than others. For visiting groups we ask that you carefully consider what you aim to learn and achieve by visiting us, and subsequently prepare a set of questions you would like to ask. Whilst we are happy to give you a brief overview of our work, we believe it is more beneficial for you to show us your own work, rather than the other way around. With this in mind we also ask that you each bring with you a piece of work, and prepare a mini presentation to share with us. If this sounds good let me know and we can book something in. Thanks, OLIVER CHAPMAN DESIGNER

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Studio Moross We all liked the work of Kate Moross and decided to visit her company on the 12th of November. We got the coach into London at 8.15, and then arrived at the studio for our meeting at 12pm. Moross studios consists of small creative team, 6 people overall. When they are assigned a brief they would usually start by working together idea generating, once the idea is there, they would split off into smaller teams or independently and work solidly on that so it is perfect to pitch back to the company, Kate Moross as the art director, gets the final say on all work before it’s given to the company. If and when the company agrees to go ahead with it, they all come back together as a team to make it print perfect. We had to bring our own work to present to the Moross team; I brought my international style book that I created last year. They were interested to find out how we all worked, and our creative thinking methods. I enjoyed the chance to get feedback on my work from people in the design industry, although it was very nerve-racking. After presenting out work they told us a bit about themselves, how they got to where they are today. They all went to university, worked within a few different industries finding their own creative style and way of working. None of them really had much of a plan for after university, they just had a flare for design. It was mainly luck that they got the job of

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their choice, and love what they do now. But getting ‘your foot in the door’ with design companies, going out your way to apply early for internships, setting up a website, good solid CV with a great cover letter, building up your portfolio with real life projects, showing off your strongest work will improve your chances of getting a job which you love.

“Work hard, and as much as you can. Think about yourself as an athlete and drawing and designing as your training. You want to be in peak condition to prepare yourself for the commercial and art worlds.” - Kate Moross

I thoroughly enjoyed the trip to Moross Studios I learnt a lot about the real demands of a graphics designer, that it is a very fast pace environment, which is constantly growing creatively and in new technologies. They taught us how we could better our chances when we eventually apply for design jobs, because itâ&#x20AC;&#x2122;s a very competitive environment now, with so many new creative graphic designers with different skills and new ways of thinking. It was inspiring to hear how Kate made her way in the Graphic design industry on her own.

Left: Editorial illustration for The Ride Journal. Following Page: Kate Moross in studio

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The Walker Agency The other design agency we went to see was The Walker Agency. We learnt about how they work, what sort of briefs they take on and how they get them. The Walker Agency like most design agencies like to have close relationships with their clients; for The Walker Agency this has led to other projects, for example, working with big companies like Smint has resulted in other companies such as Fruitella wanting them to do work with them. So from winning one project with Smint has given them the opportunity to work with many other large companies. I think the thing I liked most about The Walker Agency is that they seem to do something different each day, and learn new things from each other. They take on interns and hire freelancers if they get a project that requires an extra person, this means they can get their projects done for the deadline as well as making new relationships with up and coming designers. They like to sell the experience and the brand story, not a hard sale of the product. This way of approaching a brief is exciting because it’s different to how some other companies would respond.

“It’s clear and simple. It concentrates on what’s important. Winning customers and making sales. That way we’ve been able to turn startups into major success stories, established brands into market leaders. How do we do it? We have planning, creative, buying and production skills for all media channels, together in one place, working as one tightly knit team. You only have to brief once, and place your trust in us to deliver inspiring results”

Right: Smint “The Full Minty” promotional poster Following page: P&O cruises advert by The Walker Agency

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Critical Analysis I think the Industry Visits was a great opportunity to gain an insight into the Graphic Design industry that we will all soon be trying to join. Personally, it inspired me, seeing how these companies worked, and how they are so keen to take on various briefs. I left wanting to get started on my portfolio! It was a surprise to see what they looked for in new employees; they look for someone with initiative, a realistic mind set, willingness to learn, being yourself and making your cover letter personal, rather than overkilling on a CV, someone that makes a lasting impression. I would have loved to visit more industries, and had more as a whole group, as I feel we would have benefited more if we all saw at least three companies, although the time limits for this brief were a bit too short. I will continue to try get in contact with design companies for an internship this upcoming summer.

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Visual Crypsis Sarah Harrison, Sophie Taylor

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Assignment 6: Visual Crypsis Brief: Working in creative teams you will select one or more of the visual systems that you have produced during this unit and develop a pair or pairs of visual implementations that reveal and disguise each other at different points in time or space.

â&#x20AC;&#x153;Any system was a straightjacket if you insisted on adhering to it so totally and humourlessly.â&#x20AC;? - Erica Jong

Visual Crypsis is a strategy within the process of camouflage where a system merges with the surrounding environment. In the natural world an interactive visual adaptation can offer cover for attack or defence. Within the context of Graphic Design an important aspect of understanding the functionality of a visual system is to explore how one system can interact with another. What effect does a visual system have on its surroundings? How is the communication of a system-based design affected by the visual context of its implementation? This assignment will allow an exploration of how visual systems collide, camouflage and interact. The brief is also framed as a design house Research & Development project, where an in-house team would use studio time to develop innovative outcomes and creative strategies without the constraints of a client. Nothing Happens for a Reason, 2011 Tobias Rehberger & Artek

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â&#x20AC;&#x153;In ecology, crypsis is the ability of an organism to avoid observation or detection by other organisms. It may be either a predation strategy or an antipredator adaptation, and methods include camouflage, nocturnality, subterranean lifestyle, transparency, and mimicry..â&#x20AC;? - Definition of Crypsis

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Sustainability: Ability to be maintained at a certain rate or level. - Oxford dictionary definitions

At the start of this project we looked for inspiration from designers such as Abbott Miller, Jonathan Safran Foer and Julius Popp. We started to look at systems we could combine that would disguise each other, to give us our crypsis. We thought of Recycling and infrastructure; comparing sustainable with the unsustainable. Maps and nature; we have lost nature to create towns and cities. Identity and identity theft; exposing fraud, to show how it’s possible and how we can prevent it. We were particularly interested in sustainability and identity, so we took each idea further to gather a better understanding. We wanted to create a form of shadow art using recyclable products to create a ‘unsustainable’ projection, for example a city with lots of cars pumping fuels into the air. We wanted to find other ways of doing this, because during research we discovered it was already done. We then thought we could use recycling products to promote sustainability. We wanted to create a tree out of recyclable products.

Left: Series of beautiful paper trees made by Japanese artist Yuken Teruya out of recycled toilet paper rolls.

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Identity: The fact of being, who or what a person or thing is. - Oxford dictionary definitions

For identity we looked into hidden messages, and what ‘makes’ your identity. We wanted to create a piece of artwork using people’s identities (thumb prints). Following inspiration from Abbott Miller we drew sketches of a wallpaper collage of people’s thumb prints. We also wanted to incorporate what makes an identity, so we thought we could put secrets, bank codes and other personal things inside the lines of a thumb print.

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From a critique with a tutor we decided to go down the route of identity and hidden messages. We were interested in hidden messages within something else, because we didn’t know what our outcome would be. We looked more into media’s hidden messages, and how subliminal messaging is used in some programs and adverts. It has been suspected that the news withholds information to the general public. Making a big deal out of stories that shouldn’t really be labelled as ‘news’, for example, there is practically a revolution beginning in Mexico, and newspapers aren’t reporting the full story, and averting people’s attention to Kim Kardashian’s naked photos. I think this is ridiculous; reporters aren’t doing their jobs properly anymore they are being censored to exposing the full story.

Subliminal messages: a message passed to the human mind without the mind being consciously aware of it. - Oxford dictionary definitions

Tree of Codes by Jonathan Safran Foer

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Production We wanted to expose a hidden message within something serious. We bought a few newspapers in the hope we could find a â&#x20AC;&#x2DC;hidden storyâ&#x20AC;&#x2122; in the article, (picture on previous spread). Once we had made our story we transferred it into InDesign, making our page look like a newspaper spread. Then by selecting out our hidden story words we made another newspaper spread that would appear behind the actual article. The article would be cut into so the words behind could be seen.

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Mexicans revolt as fury at student killings boils over

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As development from a second critique we downsized the book from A4 to A5 so it would look more like a gift book. We also changed the colour pictures to black and white so it would look more like a newspaper article, also the coloured photos were distracting the viewers attention from the article. We decided to tape bind our book; it was a bit tricky because it is a very small book. We encountered some problems when binding, the black ink on our cover got scratched and bits were pulled off by glue. When we put the tape over the spine it had little air bubbles, which needed popping. I think the binding could have been better if we had a longer time limit.

Left: Picture of bound book Following page binding process

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Critical Analysis From our critique we found that people quite easily understood the concept and could appreciate itâ&#x20AC;&#x2122;s aesthetic values. Although one person had said the separation of all the single letters made it hard to read, on the other hand if we were to put them close together the crypsis would not work. Another improvement that was mentioned was to get the words laser cut out to make the book look more clean. One person mentioned that the cut outs on the white page looked like television interference, I thought this was an interesting perspective, as it could be interpreted that we are interfering with the news stories and reporting the truth. It was good to hear peopleâ&#x20AC;&#x2122;s opinions on our final piece, it outlined our weaknesses and gave us new ideas to expand and improve the book. I enjoyed this project; it was exciting looking into corruption and cover-ups, if I were to do this project again, I would expand the book and look into more stories to include as we only had 5 articles. I would also bind the book differently because I think the way we bound it ruined the presentation of the book, which was a shame as the inside of the book was very well presented and interesting.

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Perfect Binding Workshop

Step 1: Gather all your pieces of paper and make sure they are in the correct order, then clip them together at the bottom. Put the binding press upsidedown and place you book in making sure it is in straight, tighten the press until the book is secure. Then attach the binding press to the table.

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Step 2: Place two clean sheets of paper either side of you book and fold them around the press this is to ensure they wonâ&#x20AC;&#x2122;t get in the way when you glue your book.

Step 3: Apply a good amount of glue to the spine of your book this will ensure all your pages are glued together.

Step 4: Let one side of the press down, and push your bookâ&#x20AC;&#x2122;s spine down onto that side. Apply a good amount of glue. This will ensure your pages are securely glued together. Repeat on other side.

Step 5: Cut a piece of binding mesh just a bit bigger than your bookâ&#x20AC;&#x2122;s spine. Place on top of the spine and push the mesh down so the glue seeps through. Leave till set.

Step 6: One the glue has set take your book out of the press and place it on a cutting mat, carefully cut along the edge of the spine so you cut off the paper and the excess mesh. Make sure your edge is as clean cut as possible.

Step 7: Prepare your cover page by using the folding machine to make four fold lines. Making sure the second and third folds fit the width of your spine. Get four pieces of paper and place them so that you can only see your folds. Apply glue to folds area.

Step 8: Place book on the first fold, press down, then wrap round the cover, ensuring it is as close to the book as possible. Use a bone tool to push the spine of the cover to the spine of the book. Leave in a press overnight so it can set. Once set get all excess paper and cover cut off.

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I think the book binding workshop was very helpful and definitely needed! I had forgotten the process, so I was a bit unsure when it came to binding my Journey book. The picture on the left is my test bound book. I plan to bind my journey book using the perfect binding technique. I think it will make my book look professional and very clean cut.

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Journey Book Sarah Harrison

Assignment 7: Journey Book Brief: Produce a display book that communicates the journey of your Visual Systems unit. Consider carefully how you document the development and realisation of your work. Tell the story. Think about the narrative of the elements that you include. Be selective. You are encouraged to evaluate and edit your work. Include research, insights, design thinking, testing, critical analysis and all material that is relevant to your creative process. This could include photographed pin-up reviews and prototypes, iterations of key design elements and reflections on your design development. This project will give you the opportunity to select, organise and structure information through visual systems using grids, typography, composition, hierarchy, colour, etc. You will document and tell the story of your creative process through a systematic and considered presentation. It is important that you consider: - Typeface selection - Hierarchical structures and systems - Tone of voice - Legibility / Readability / Narrative - Grids / layout - Format

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“The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style. But one must learn how to use the grid; it is an art that requires practice.” - Josef Müller-Brockmann

Josef M端llerBrockmann

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Grid System I started out with a 8 x 8 column grid, I felt it was a bit much, so I decreased it so it was a 6 x 6 column grid. A 6 column grid gave me the ability to spread text over two columns, and made it easier to break the grid when necessary. On the right hand page I have examples of my first grid system. The top photo shows my 8 x 8 grid. It looks very chaotic, It was not till I began my journey book that I realised it wasn’t working the way I would have wanted it to. I also have my initial type tests. I tested various fonts such as, Avenir next, AkzidenzGrotesk BQ, Calibri and Helvetica. After seeing what their block text looked like I decided to go with Akzidenz-Grotesk, I thought it looked very neat, and easy to read.

Van De Graaf Canon, A principle that helps make a harmonious page composition

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“The grid should never define a design, it should work with it.” - Unknown

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I did some more type tests to see what size and leading I wanted for my block text. I tried out 10pt text with 12pt leading, 9pt text with 12 pt leading. I liked the look of 9pt text size, but the leading was too much, so I knocked it down one (photo below). My block text is set in 9pt with 11pt leading. I set up a baseline grid with increments every 11pt so I could apply my block text to the baseline grid (right). On the right page I have examples of all my character styles, with their point size and leading.

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De poria ium illorehenis eumendam corum rescim quis aut quam etur sam verovidus. faccum quiduci llabor solupti aboribusae ex

De poria ium illorehenis eumendam corum rescim quis aut quam etur sam verovidus. Turibus dantiisi con nonsecum quuntoreium si volupta quam nonserum accuptatem faccum quiduci llabor solupti aboribusae ex explandandis dem nescium quo endi comnissus eicata am reperspel eos eos se laccum eost, sintur mod eaquis ad eostinctis a pratur? Quidus, quis delest, voloriam faccullab il estions enderes ant et am estiusd aectiis ea at. Endam, optat facearum asimagnit faccus. Harciisquae deriorecus, cor modicae conem. Perias a conecea velest, quae id maximil intem dolorpo

- Quote size 18pt, 21pt leading, Akzidenz-Grotesk BQ Medium

- Block text size 9pt, 11pt leading, Akzidenz-Grotesk BQ regular

- Caption size 8pt, 11pt leading, Akzidenz-Grotesk BQ regular

De poria ium illore henis eu menda mes - Heading size 26pt, 29pt leading, Akzidenz-Grotesk BQ Medium

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Colour Coding “Keep your feet on the ground, understand your trade, live within your means, and grow carefully”

I found it very hard to choose a colour coding system for my book, I knew I wanted a harmonious look. I started off with oranges to reds. Part way through making my book I was advised to change it as the pastel colours weren’t working with my photos and type. I was a bit stuck on which colours to use. I looked at fashion designer Paul Smith’s work for inspiration (right). He has a good eye for colour, what colours go, and what colours don’t.

- Paul Smith

I didn’t want to copy his colour pallet, so I looked into using darker colours for my colour coding. I liked the use of turquoise to rich dark blues. I experimented with different shades of blue till I had the correct pallet for my book. I colour coded each project we had throughout the term, the lightest shade being the first project, progressively the colours change to be a rich blue.

‘Stripes’ by Paul Smith

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Visual Synthesis

Wayfinding

Type Rules

Subvert

Pop Up Shop

Industry Visits

Visual Crypsis

Book Binding Workshop Final Colour coding system

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“Hierarchy, a system of persons or things arranged in a graded order” - Oxford dictionary

Before starting my journey book I wanted to learn a bit more about grid systems and InDesign. I went on Lynda.com and watched “Designing with Grids in InDesign” by Nigel French. I thought his tutorials were extremely helpful, I gained a better understanding of grid layouts, and learnt how to use certain tools the quicker way, for example rather than creating two different picture boxes the same size, if you press the right arrow key when making a picture box it will separate it into two. I found these shortcuts very helpful when making my journey book, it saved me a lot of time. The layout examples that were shown in the tutorial were a good aid for some of my own spread layouts. It also helped me to recognise hierarchy within layout and type.

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Pictures of Grid layouts off Lynda training

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Whilst making my journey book I found it hard to keep a continuous theme without making it look very ‘text book’, I tried to add in more photography, sketches, quotes and dictionary definitions to make it more personal. I felt I didn’t put in as much ‘personality’ as I could have done; I could have added more sketches, initial ideas and tutorial sheets, this would have shown more steps of my journey. I enjoyed making my journey book, it was good to outline the steps it took to get to the final outcome for each project. And to critically analyse each piece, outlining its strengths and weaknesses. It gave me a good ideas on how to take the project further.

Overall I have enjoyed the term, I feel I have learnt more in this term than I did all of first year. I have been inspired by the industry visits to take it upon myself to expand my portfolio with personal and university work to heighten my chances in the future of finding a job in the graphics field. I liked how each project challenged me to think differently, and to research in depth to understand the brief fully. I think my main weakness that I have noticed through the projects this term is that I think about the final outcome rather than the systems process to get to it, I get set on one idea, this prevents more creative thinking. It tends to get overcomplicated and my ideas need to be stripped back.

At the start of the term I did not think to record all my initial work for the projects, which became a big problem when I was starting my journey book, I had to recreate some of my initial ideas and sketches. If I am to create another journey book for next term, I will remember to record everything! I found it hard to include all the work I had done without making the book too big. I did however put the most important bits of research and ideas into the book. I mostly enjoyed working in groups with new people, it allowed me to see other people’s skill strengths and gave me an idea of who I would want to work with in future projects.

Left: Designed by Josef Müller-Brockmann for a Beethoven concert with the concentric curves representing he flow of the music

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“It’s through mistakes that you actually can grow. You have to get bad in order to get good.” - Paula Scher

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Bibliography

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Visual Synthesis

Wayfinding

Anon, Available at: http://www.m-gregory1013-dc. blogspot.co.uk [Accessed November 30, 2014]. Anon, flux design. Available at: http://www. interchangedesign.blogspot.co.uk [Accessed November 30, 2014].

Braille converter (no date). Braille Converter | European Blind Union. Available at: http://www. euroblind.org/resources/braille-converter/ (Accessed: 30 November 2014).

Pecher, E., 2009. Identity System: System of Oppositions on Behance, Behance. Available at: http://www.behance.net/gallery/359275/identitysystem-system-of-oppositions [Accessed November 30, 2014]

London Underground (no date). Large view of the standard London Underground map. Available at: http://diagrams.org/images/png/large/f00022.html (Accessed: 30 November 2014). McLendon, C. and Blackistone, M. (1982)Signage: Graphic Communications in the Built World. United States: McGraw-Hill Inc.,US. Meuser, P. and Pogade, D. (2010)Wayfinding and Signage: Construction and Design Manual. Germany: Innovative Logistics Llc. Polly Ngale, Bush Plum - PNG013 (no date). Aboriginal Art. Available at: http://www.pinterest. com/pin/540502392749963891/ (Accessed: 30 November 2014). Sims, M. (1991)Sign Design: Graphics, Materials, Techniques. United Kingdom: Thames & Hudson Ltd. (no date). Available at: http://www2.cnrs.fr/sites/ en/fichier/cp_final_gentaz_en.pdf (Accessed: 30 November 2014).

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Type Rules

Subvert

Readability: the Optimal Line Length (no date). Readability: the Optimal Line Length. Available at: http://baymard.com/blog/line-length-readability (Accessed: 30 November 2014).

Graphic Design: Bravo Charlie Mike Hotel ace D&AD award night identity (no date). Itâ&#x20AC;&#x2122;s Nice Thatâ&#x20AC;Ż: Graphic Design: Bravo Charlie Mike Hotel ace D&AD award night identity. Available at: http://www.itsnicethat. com/articles/bravo-charlie-mike-hotel-d-and-ad (Accessed: 30 November 2014).

Select Your Language (no date). Level 2: Line Length & Column Width. Available at: http://www.fonts.com/ content/learning/fontology/level-2/text-typography/ length-column-width (Accessed: 30 November 2014). Typographie (no date). 403 Forbidden. Available at: http://designspiration.net/image/1798883589065/ (Accessed: 30 November 2014).

LEGO: Everything is NOT awesome. (2014). LEGO: Everything is NOT awesome. Available at: https:// www.youtube.com/watch?v=qhbliUq0_r4 (Accessed: 30 November 2014). Oil Spill Solutions (no date). Oil Spill Solutions. Available at: http://www.oilspillsolutions.org/ evaluation.htm (Accessed: 30 November 2014). (no date a). For anyone interested in getting a job in the oil and gas industry the two books that I recommend the most are The Nontechnical Guide To Petroleum Geology, Exploration, Drilling and Production and A Primer Of Oilwell Drilling by Ron Baker. . Available at: http://www. energyindustryphotos.com/Photos%20of%20Oil%20 Rigs.htm (Accessed: 30 November 2014). (no date b). Greenpeace International Home. Available at: http://www.greenpeace.org/ international/en/ (Accessed: 30 November 2014).

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Pop Up Shop

Industry Visits

(no date). Published on July 5th, 2013 | by Ieva Kazakeviciute. Available at: http://www. artandesignews.com/page/8/ (Accessed: 30 November 2014).

Advertising Agency UK (no date). Walker Agency | Advertising, Digital, Branding, Direct Marketing, Design. Available at: http://walkeragency.co.uk (Accessed: 30 November 2014). Walker Agency (no date). Please select the type of membership you would like? Available at: http://www. ipa.co.uk/agencies/the-walker-agency-ltd/gallery/p-ocruises/264#.VHtM_oeIlEc (Accessed: 30 November 2014). (no date a). www.Portfoliobox.net. Available at: http:// www.studiomoross.com (Accessed: 30 November 2014). (no date b). www.Portfoliobox.net. Available at: http:// www.studiomoross.com/blog-post-test (Accessed: 30 November 2014).

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Visual Crypsis

Journey Book

A Camouflaged Chameleon (no date). A Camouflaged Chameleon. Available at: http://allthat-is-interesting.com/a-camouflaged-chameleon (Accessed: 30 November 2014).

‘Browse less & draw more’ (no date). iancul. com. Available at: http://iancul.com/blog/?s=bro (Accessed: 30 November 2014).

Images (no date). 1 December 2011. Available at: http://www.visual-editions.com/our-books/tree-ofcodes (Accessed: 30 November 2014). j. mayer h. architects + tobias rehberger: CODE_n » (no date). tobias rehberger x artek: nothing happens for a reason - designboom | architecture & design magazine. Available at: http://www.designboom.com/ design/tobias-rehberger-x-artek-nothing-happensfor-a-reason/ (Accessed: 30 November 2014). Noble, I. and Bestley, R. (no date)Visual Research. United States: Continuum. (no date). miggy. Available at: http://www.toxel. com/inspiration/2011/02/28/toilet-paper-roll-trees/ (Accessed: 30 November 2014).

Jenny Mach (no date). My Design Hero. Available at: http://jennymach.wordpress.com/2013/03/26/128/ (Accessed: 30 November 2014). LEARNING HIS STRIPES: PAUL SMITH & THE DESIGN MUSEUM (no date). LEARNING HIS STRIPES: PAUL SMITH & THE DESIGN MUSEUM. Available at: http://www.agentofstyle. com/2013/11/13/learning-his-stripes-paul-smith-thedesign-museum/ (Accessed: 30 November 2014). Muller-Brockmann, J. (1996)Grid Systems in Graphic Design: A Visual Communication Manual for Graphic Designers, Typographers and Three Dimensional Designers. Switzerland: Niggli Verlag. Other grid tools (no date). Other grid tools from the Course Designing with Grids in InDesign. Available at: http://www.lynda.com/InDesign-tutorials/Othergrid-tools/141130/152850-4.html?autoplay=true (Accessed: 30 November 2014). (no date a). In search of the perfect web layout. Available at: https://medium.com/@gizulor/in-searchof-the-perfect-web-layout-f26b6a008f61 (Accessed: 30 November 2014). (no date b). Available at: http://www.paulsmith.co.uk/ uk-en/paul-smith-world/blog/paulsearlybirdlondon24-november-2014 (Accessed: 30 November 2014).

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