Heaven - Presentation

Heaven is a competition brief run by Iggesund, a swedish paper company. The competition is to create an innovative piece of packaging for a personal care or skin care range. 

I have created My Heaven. 

My Heaven is a small business based in Devon owned by Veronica Heaven. The range includes three different scents of body scrub, Jasmine & Sandalwood, Coconut & Mango, and Bergamot & Vetiver. Each product is lovingly made and packaged in Veronica’s kitchen overlooking the rolling hills of Dartmoor.

Making products in her kitchen is Veronica’s own slice of heaven. She has always dreamt of owning a kitchen as beautiful as this, and to run her own business from it has made it even more special. The packaging for the three products reflects this; each box is made to look like one of the many different patterned titles in Veronica’s kitchen. With calming colours and touches of gold foiling this brand has a luxury feel.

Each body scrub comes with a small wooden spoon to allow the consumer to scoop the product out of the tub. This is also there to represent the utensils that Veronica uses in her kitchen to produce the products.

My Heaven would be sold on it’s own online store where customer could order directly from Veronica. My Heaven would also have counters within high end department stores where there would be the opportunity to have mini spa treatments. The branding would be extended over the towels, counter and accessories.

I created the tiles for the boxes by hand carving lino and printing the different patterns using ink. I then enhanced the prints in Photoshop and changed the colours to neutral, calming tones. I have added small touches such as a halo on one box and a cloud on the other to subtly represent Heaven. The boxes would ideal be manufactured in Incada 350mg with the seals and labels on the tub in Incada 200mg. The idea of the boxes is that when placed on a shelf or point of sale they would look like a wall of tiles. This, and the gold foiled logo, would draw attention to the products. The main display would be the boxes on top of their matching tiles on gold stands. 

Typographic Poster - Brief

Typographic Poster 

Final Crit 09-05-2017
Unit Deadline 12-05-2017

Create an A2 Typographic Poster to promote a given event

Requirements
All visual research, analysis and development specifically relating to this project
A2 Poster

Context
Following on from the typographic editorial project and workshop which you completed in BA2, you are asked to create a promotional poster which uses type as it’s main focus.
Event promotional posters generally just use type to support an image- based idea. The typography can sometimes therefore become an after thought with little attention, other than type style and point size. But as you have seen through the editorial project in BA2a, typography can be given emphasis and used creatively without imagery. Type in itself is always a source of ideas and it is good practice for all designers to experience having to give focus to this element.

The Challenge
With this in mind you are asked to design a typographic poster for an event of your choice (a list is provided), which creatively re ects the spirit of an event
This project is designed to help increase your con dence when handling type.

The Audience
The audience will be de ned by the subject matter of your chosen event.

Considerations
You will need to investigate the personalities and e ectiveness of di erent typefaces in different situations in order to help you achieve success with this project.
Imagery may be used but only in a minimal way. Colour/texture will be important aspects to consider, supporting your typographic idea.
Colour and texture should be considered.
Type can be three dimensional if relevant.
Hand drawn type can also be used if appropriate.

Specifications
Your final poster must be at least A2 in size. It can be colour or black and white.
It must include the following information:
Title
Subtitle/explanation of event (if necessary) Venue
Dates
Times
Prices (if relevant)
Contact phone number (if relevant)
You will be able to nd all information from these exhibitions by searching
https://www.timeout.com/london

Reference material
A Pinterest Board has been created to give you some reference material for existing typographic posters:
https://uk.pinterest.com/lucyblazey/typographic-poster-gd2-project/ 

William Murray Hamm Interview

After the BA2a hand in we had a week off for assessment, in this week I made myself a pdf portfolio and set about getting a placement over the summer. I send emails to all different agencies inside and outside of London. 

I emailed Chris Ribet with my attached portfolio who seemed to be impressed I was asking for a placement during my second year. We arranged an interview time for me to go to their London studio and talk through my work. I was really nervous about the interview as I didn't really know what to expect but it went well and I have been offered a placement in June. 

Williams Murray Hamm was founded in 1997 and is celebrating it's 20th year. They mainly work in fast moving consumer goods such as food packaging and branding. They have worked on redesigning the Barclays Bank identity, Juiceburst packaging and Carlsberg. Last year they came to the Lecture Programme at NUA, I thought their talk very inspirational. They work with D&AD a lot and want to nurture new talent coming in through students. 

Interchange - Book Binding Workshop

The uni held an event called Interchange, where we are all encouraged to try a new skill from a different course. I was lucky enough to get a place of the Bookbinding Workshop where we learnt the process of creating a hardback book. 

From creating the signatures and stitching them together, to gluing the spine and covering the book. We did the whole process in a day. I really enjoyed this workshop and I feel that I have a new skill that is practical to use within graphic design. Hopefully you are reading this Reflective Journal in a hardback book. If not there there was a lot of stress binding this!

Illustration Workshop

Waterstones in Norwich have started to run illustration workshops on Thursday evenings. Each week has a different theme to explore a different area. The first night I went we looked at creating collages from found and made images. We were given a list of quick tasks to do such as creating patterns and textures to use later in the collage. 

It has been nice to do something off a computer and using more fine art skills. I used to enjoy drawing and painting in sixth form and school and have missed it over the last few years. I will continue to go to the workshops when I am available. 

Book Covers - Brief

Book Cover
Briefing 01-02-2017
Final Crit 14-02-2017 
Unit Deadline 17-02-2017

Context
Book covers act as a strong piece of communication between the author/ publisher and the buyer. Essentially they are a form of advertising to sell the book. They need to re ect the contents in an imaginative and intriguing way, in order to engage and establish a relationship between the book
and reader. The cover is treated as a stand-alone item, generally designed independently from the contents of the book.
Book cover design is essentially packaging a book, however there is a key di erence in doing this kind of “Packaging”. Books are not intended to be disposable, A book should be a lovely thing to pick up, something you want to keep.

The Challenge
You are asked to design 3+ covers for a range of non ction books – a list of titles to choose from is supplied. You are advised to produce a basic format exible enough to accommodate any title in the current list, or any future titles, giving the series a strong and unique visual identity.
This project is designed to enable you to develop an awareness of book jacket design and to recognise the importance of relevant ideas generation and research on a theme in order to come up with individual, eye-catching solutions which work across a series of books

The Audience
The audience will be speci c to the subject matter.

Things to Consider
Selection should be based on the potential and possibilities within the overall theme of the series, not just on individual titles.
In addition to the book cover, you should consider point of sale, promotional aspects and also the potential for adapting book design for looking at on a tablet.
Speci cation: Use the existing formats as a basis for your designs
It may be useful to note, that designing for a book cover is very much like designing a small poster.

Reference material
Vienne, V., (2004) Chip Kidd, London, Laurence King
Powers, A.,(2001) Front Cover, London, Mitchell Beazley
Connolly, J., (2009) Eighty Years of Book Cover Design, London, Faber and Faber
Baines, P. (2005). Penguin by Design. London: Allen Lane
Haslam, A. (2006). Book Design. London: Laurence King
Heller, S., Mirko, I. (2004). Handwritten. London: Thames and Hudson 
Bookshops: Waterstones, Jarrolds, The Book Hive 

Black Sheep - Brief

CARTER WONG DESIGN PRESENTS THE BLACK SHEEP AWARDS

Norwich holds a special place in the hearts of Carter Wong design for it was where our founding fathers, the two Phils, met and studied in 1974.

Since then it has fed a constant stream of excellent graduate designers to the studio. The emphasis on creative thinking at Norwich is a philosophy shared at Carter Wong. We believe this is why we’re renowned for our creative approach to any project. In the true spirit of the Black Sheep idea, we like to go against the fock and and our own path; we’re looking for students who not only relish a challenge, but are also up for being innovative with their solutions.

We are happy for you to work collaboratively, or explore on your own – which ever way you feel you’ll get the most from the brief. All we ask for is outstanding ideas and creativity, with the brief suitably challenged and delivered in a way the story is told.

Basically, we want to be able to say ‘I wish I’d thought of that’!

MISSION
We are looking for creativity with no boundaries. Let your imagination run wild. We want you to think like a Black Sheep and create work that is truly individual and doesn’t follow the ock.

Keep in mind these key points:

THE BIG IDEA
We want you to create work that is grounded in reasoning, therefore has a reason for being. The best ideas tend to be grounded in fact, so do your research!

MAXIMUM STANDOUT
Whether this be in a supermarket aisle, shop, museum, website, POS or other branding material, we want your design to stop us in our tracks.

FLEXIBILITY
An outstanding design has the exibility to be used across multiple platforms.

INNOVATIVE
We want you to go beyond people’s expectations and create designs that truly standout.

PERSONALITY

A good design is one that works aesthetically for its given purpose, but an exceptional design is one that has a heart and soul, and communicates with people on a deeper level.


THE BRIEF

Upon being asked, what they might think are the biggest challenges for the homeless, many people would suggest finding a safe place to sleep or a meal to eat. Few would consider that charging a smartphone to check messages would be high on their agenda.

Where in fact the opposite is true. Society views a homeless person’s ownership of a smartphone as an unnecessary luxury, but in reality this demographic is heavily dependent on the technology for stability, safety and sanctuary. Phones allow them to keep in touch with support services, case workers, look for jobs or housing and escape from social isolation by networking with those who are in a similar position.

There are an estimated 8,000 homeless people sleeping rough in London, this number has more than doubled over the last five years, and nearly tripled over the last ten. A considerable percentage of London’s homeless are of the millennial generation, they are naturally tech-savvy and therefore instinctively turn to the smartphone to get by.

So with this in mind, your challenge is to create the idea that will alter

the general public's perception on the importance of smartphones for the homeless. We are looking for ideas that will disrupt and more importantly engage with the people that it needs to communicate with. We’re not telling you how and through what channel it should manifest itself. Should the message come from an existing charity or a new charity brand? Is it an App, advertising campaign or direct mail? That’s your call, we want you to decide how this is delivered.

DELIVERABLES
SURPRISE US – Within reason! Animation, editorial, interpretive dance...
Submit something that illustrates and communicates your idea. However, a minimum submission of two A3 presentation boards is required (digital submissions are made through the entry uploader)

Design Museum

I visited the Design Museum in it's new location in London back in January. The building is a piece of architecture itself, it has a very modern feel to it. We looked around the free exhibition at the top of the building, Designer Maker User, which included the London Underground Map and the design history of road signs. These were major steps in wayfinding communications in England and a cross the world. It was good to see how the designs progressed and became what they are today.  

We also went to Fear and Love, displayed from the 24th November - 23rd April. This exhibition was about way more than graphic design, but design in general in all forms. There were robots that could react to your movement, videos about apps and how they have change our world and installations about how we use materials such as wool. It was an eye opener and nice to look at a different aspect of design. 

Harry Potter Design Exhibition

MinaLima, the design studio behind all the Harry Potter graphic art, has opened up an exhibition of all their work in Soho, London. I went with a friend it look around the display which included The Daily Prophet newspaper, Marauder's Map as well as posters, book covers and signage.

The old London building had four floors, one of the graphics used on Fantastic Beasts and Where to Find Them, two for the Harry Potter movies and a shop at the bottom where you could buy prints.

There was over 50 props on loan from Warner Bros. Studio Tour as well over material by MinaLima's including recent illustrations from Peter Pan and The Jungle Book.

I found the exhibition fascinating. These are the small details that no one sees in the movie, but without them being there the world of Harry Potter wouldn't have been so believable. The amount of work and craftsmanship that goes into even the smallest of packaging to bring the world to life. It was also interesting to see that the the body text for the The Daily Prophet newspaper was just filler text as this would have never been readable in the films. I was also nice to see how the graphics changed over the films and how the Fantastic Beats work is different again.