THE GUARDIAN BRIEF
The Brief: Make three spot illustra>ons for use on The Guardian website. Deliverables: The ar>cle is about jobs in the crea>ve industry so each illustra>on needs to be tailored to the following: Careers in the Crea>ve and Arts Industry, Revivals of hand craNs in a world of digital advancements, Crea>ng a Career PorQolio. Time Scale: 1 week
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THE GUARDIAN BRIEF This brief was a quick one for me. I started off making concepts in the first two days and received feedback on the third. My first response was to create a small world inside someone’s head to represent how you have to get out of your own bubble to get into the crea>ve industry.
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THE GUARDIAN BRIEF These are my finals. I used gouache to create the colors before scanning it into Photoshop and adjus>ng the light levels and enhancing the yellow line running throughout all three.
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SECRET 7 BRIEF
The Brief: Create album covers for 7 handpicked tracks to go on sale in late April. Proceeds go towards a chosen charity. The Deliverables: Make an individual cover sleeve for a song/s for the secret 7 tracks picked, using any material. Must be within the dimensions provided and must be kept secret un>l release date. Time Scale: 1 Week
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SECRET 7 BRIEF For the Secret 7 Brief I decided to make album covers for Tame Impala’s secret 7 track ‘The Less I Know The Be]er’. I started thinking about >me and different ways of portraying the passing of >me. For my first idea, I wanted to look at nature. I started off by drawing bu]erflies and moths as they have very short lifespans and I thought that they can’t wait forever. I thought about the song lyrics ‘its not now or never, wait ten years we’ll be together’ and who had that kind of >me to spare. I looked into elephants but felt they were abit obvious. Then I stumbled across Lobsters who are notorious for being able to live for long amounts of >me (no one actually knows how long they can live for). That’s where the inspira>on for ‘sad lobster’ came from. He was painted with gouache and acrylic (to get the shiny texture). For my second idea, I wanted to look at the gene>cs of humans. I looked into skin cells and they reminded me of ter>ary layers in the earth. I combined these ideas and painted my own interpreta>on of our skin layers (as they constantly evolve, they don’t wait) with colours to represent mood changes through a breakup (what the song is about). The dark orange represents the pain, followed by a dark blue for sadness, dark red for acceptance, light pink for moving on and a mid pink to show going back to neutral. For my third idea, I was looking at a garden sun plate and thought about how the sun is something that is there every day, but for us every day is different. This one was just an imagina>ve piece, linking the two humans to show a connec>on and the sun in the background to show >me passage.
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SECRET 7 BRIEF These are my final images, I took the gouache designs into Photoshop and adjusted the brightness levels and added text on two of them just to add something extra. On the sun cover, I accidentally turned into grey scale at first but ended up really liking it. So I submi]ed that one to a different song (Max Richter – Dream 3). I was pleased with these four designs and although they didn’t win I s>ll felt a sense of pride from taking something from being completely analogue, taking it into Photoshop and it s>ll retaining that ‘hand made’ feel to it.
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PENGUIN RANDOM HOUSE BRIEF Substan(al brief – collec(ve (me spent on this -‐ 2 months + 1 week The Brief: Produce a book cover for Emil and The Detec/ves. We are looking for a striking cover design that is well executed, has an imagina>ve concept and clearly places the book for its market. The cover should encourage children to pick the book up and buy it for themselves and should also engage adults to want to buy it for them The Deliverables: Your cover design needs to include all the cover copy as supplied and be designed to the specified design template (B format,198mm high x 129mm wide, spide width 12.5mm), incorpora>ng the A PUFFIN BOOK branding. Time Spent on this: 1 Month
The Brief: We would like you to design a new, classic cover for Caitlin Moran's book, How to Be a Woman. The design needs to feel >meless and classic, whilst at the same >me making it clear to the reader that it is very entertaining and oNen very funny. The book should feel very accessible, immediately ‘pickupable’ and something that exists within the world of Popular Culture. You are welcome to use an image of the author, but do not feel that you need to take that approach. The Deliverables: Your cover design needs to include all the cover copy as supplied and be designed to the specific design template (B format, 198mm high x 126mm wide, spine width 20mm). Time Spent on this: 3 Weeks
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The Brief: Produce a book cover for A Clockwork Orange. We are looking for a striking cover design that is well executed, has an imagina>ve concept and clearly places the book for its market. While all elements of the jacket need to work together as a cohesive whole, remember that the front cover must be effec>ve on its own and be eye-‐catching within a crowded bookshop sejng. It also needs to be able to work on screen for digital retailers such as Amazon. The Deliverables: Your cover design needs to include all the cover copy as supplied and be designed to the specified design template (B format, 198mm high x 129mm wide, spine width 10mm). Time Spent on this: 2 weeks
PENGUIN RANDOM HOUSE BRIEF Emil and The Detec(ves
I spent a significant amount of >me at the start reading the book and gejng a feel for the characters and landmarks in the book. I looked at some fashion from that >me era to get a be]er understanding of the >me period. I tried to think about how a young boy would feel travelling alone, and tried to think about the kind of person that would take money from a child – how he would move and how he would look. Then I started drawing objects that were men>oned in the book, as I didn’t want my cover to be en>rely character based.
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PENGUIN RANDOM HOUSE BRIEF Emil and The Detec(ves I looked at some exis>ng book covers aNer I got stuck on the project. I found that they were mostly yellow and black or yellow and red which then made me decide to step away from those colours and try experimen>ng with something else.
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PENGUIN RANDOM HOUSE BRIEF Emil and The Detec(ves For most of the Emil and The Detec>ves cover I chose a simple sans serif font. I chose this because when I researched children’s books I found that dyslexic and younger children find it harder to read serif font. I did decide however, that I wanted Emil’s name to stand out.
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I experimented with inking Emil’s name and carrying It across into Photoshop as I did with the objects and characters however this didn’t work very well and in the end I used the cin>q to experiment with brushes exis>ng on Photoshop already. This helped create a more textured brush effect I was looking for.
PENGUIN RANDOM HOUSE BRIEF Emil and The Detec(ves This is my final that submi]ed to Penguin. I was overall quite pleased with it, I feel like it achieves what the deliverables asked for. The only changes I would make is the subsidiaries on the back could have been more crea>ve and could have been handwri]en.
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PENGUIN RANDOM HOUSE BRIEF How To Be A Woman
These are my ini>al ideas aNer reading a small sec>on of Caitlin Moran’s How To Be A Woman. I knew almost immediately that I wanted it to show empowered woman and a range of what being a woman could mean. I drew my housemates pujng on their jeans and parading around the house in their towels aNer a shower. I also drew my own underwear as that is something I think is different for every girl.
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PENGUIN RANDOM HOUSE BRIEF How To Be A Woman
These were two of my favorite concepts so I decided to colour them in. The woman on the bike celebrated the freedom of what we can do and also leaving childhood, and the underwear showed a li]le bit of an alterna>ve woman but who was s>ll confident. Out of the two I liked the underwear idea be]er so I decided to go forward with that one.
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PENGUIN RANDOM HOUSE BRIEF
I created my own type for How To Be A Woman, I inked it up first and then carried it across to Photoshop. I think it came through well but if I had more >me I think it would be spent adjus>ng the sizes and keeping it more consistent.
(This is my final submi]ed piece for How To Be A Woman. I was pleased with it but there is s>ll a lot more I would change. I feel like spending another week on it would help it’s fluidity and composi>on.
KATIE MAY WADE OUIL 503
PENGUIN RANDOM HOUSE BRIEF A Clockwork Orange
For A Clockwork Orange I wanted to try something a li]le different. I read the spark notes for the book and wrote down my ini>al thoughts. As I’ve never seen the movie or read the book I feel like it gave me an advantage because I was coming into it with no pre-‐conceived thoughts.
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PENGUIN RANDOM HOUSE BRIEF A Clockwork Orange
For this brief I knew they were looking for something new to bring to the table for Clockwork Orange and looking for something that worked as a cohesive whole. This is why I decided to develop a typeface for this book cover. I brought some new nibs and really wanted to achieve a neat but raw looking typeface.
ANer drawing actual cranes grabbing peoples faces, most of my feedback was that it was too explicit for a book cover and might put people off. Instead I decided I wanted to s>ll hint at that idea of the crane represen>ng the government and the lack of control the objects (the people). So instead of cranes I replaced them with hands, trying to s>ll create the same feeling.
KATIE MAY WADE OUIL 503
PENGUIN RANDOM HOUSE BRIEF A Clockwork Orange
This is my final submi]ed piece for A Clockwork Orange. I really liked what I produced for this brief, my only regret is keeping to the cliché of orange, black and white. However I really feel like pujng it in any other colour really took away from the textures I had achieved. I feel like it met the deliverables because it doesn’t give too much away from just looking at it but as you read more of the book you will begin to understand the cover more. Most of the images and type were hand drawn before scanning into Photoshop and using the charcoal brush to go over them.
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JOHN LEWIS D&AD BRIEF Collabora(ve The Brief: Deliverables: A PDF presenta>on with your ideas clearly represented. Time Spent On This: 1 Month and 3 Weeks
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JOHN LEWIS D&AD BRIEF It took a li]le longer than usual for us to get our team sorted. We finally got together on the 25th January and decided on a brief we all wanted to do. We all decided on the John Lewis D&AD brief as being the best suited to us. In our first mee>ng the decision was all of us to go away and think of concepts for the following week. Above are my first ideas. The first being tree’s growing with small presents on the top of them, I was quite focused on having the clothes act as animals and there to be different objects from each range in the boxes. My second ini>al idea was small villages with >ny people in but all the rooms (acorn rooms) furnished with John Lewis products. The idea that followed that was inspired by seeing some pictures of small model people placed in real life sejngs, I thought we could have small model people inside normal sized John Lewis products (for example a kitchen sejng). My third idea was people falling from the sky all holding onto present-‐parachutes “giNs from above”.
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JOHN LEWIS D&AD BRIEF
We met up again the following week to discuss our ideas, the ideas that we felt worked best as a group was a combina>on of my idea for a selected scene area (like the kitchen table) combined with Jess’ idea of polaroids capturing a moment. As the brief asked for us to cover three of John Lewis’ main areas – Electrical, Home and Fashion we decided that we should base the polaroids around that. It was at this point we decided to split the window display into three sec>ons for each area and that each of us could pick one, with the fourth member of the team designing the physical mock up. I chose Homeware and started sketching ideas for that.
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JOHN LEWIS D&AD BRIEF I wasn’t sure where
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JOHN LEWIS D&AD BRIEF
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JOHN LEWIS D&AD BRIEF
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JOHN LEWIS D&AD BRIEF
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JOHN LEWIS D&AD BRIEF
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JOHN LEWIS D&AD BRIEF
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