The Mind's Eye

Its a been a while...

2010-11-25T12:48:00.000-08:00

My first blog post in months...

Following graduation, my intention was to document my journey into creative employment. And indeed I did journey. While I have missed an opportunity to log such a crutial time in my development, a review in hindsight maybe of benefit to similarly situationed graduates trying to find a job.

Graduating with a first class honours was admittedly a crucial mark on my CV. While it is not essential, it ensured that at least getting an interview was relatively trouble-free. I remember wondering at the time how to find out about vacancies. Write ‘designer vacancy’ into a google search and you may already be aware of the bewilderment that ensues. It seems that the alluring visage of convenience that recruitment companies offer well meaning employers has resulted in web-based chaos that will daunt the most willing job hunter.

Even if you find a job being advertising in your field; not knowing the company identity is a serious drawback. It makes the application process a game of russian roulette. I had numerous interviews. After a poor first interview, I found that communication was not the only trial. Psychometric tests and mock briefs only add to the difficulty in securing that essential first position.

Another avenue of job awareness was the University. An email from the former tutor was a welcome sight; if it had the details of a design vacancy that is. I applied for every position that I could; I always maintained that it would be a positive outcome whatever the result. A failed interview offered experience non the less.

Fortunately for me, I was offered a placement with a view for employment by a Marlow based studio during the third year show. I was confident that I would succeed in the branding environment after an enjoyable spell at Elevator two months prior. I travelled down on my Birthday, a week after returning to Shrewsbury from Cardiff. It seemed that the events of the final weeks of University and constant travelling had affected my concentration and I was unable to perform to the level that I know I can. Consequently, nothing came of the placement. It is still a regret of mine to this day.

Finally achieving employment was a strange relief. It is an inhouse position, admittedly not an area of design where I ultimately want to work in, but the opportunity to gain industry experience was enough to convince me to accept the offer. Working in a Marketing team for one of the UK’s largest Apple re sellers has already revealed many lessons to be learned.

Redesigning my CV

2010-05-04T03:49:00.000-07:00

Over the three years, I have had several CVs. As my layout skills have improved, it is inevitable that I will see fatal flaws within previous efforts and want to rectify my integrity. Recently I have updated it once again. While I have looked at many CVs to pinpoint exactly how much information is required, it struck me that creating one that looks different to the others is incredibly difficult. It will presumably turn out that the excitingly original layout or content will render the CV unprofessional, thus making me appear unemployable. For this reason, I have chosen to lay out the work with pragmatic style. I have concentrated on using the white space to make the information flow, ensuring that it is digestible. The content is minimal, but contains the important information. The nine/ eighteen (landscape) column grid system is relatively rigid to obtain order and not detract from the legibility of the copy text. I had to remind myself that the employer does not want to see a work of creativity; that is what the portfolio will showcase. The emphasis is on communicating pragmatic information in an efficient manner. For this reason, the CV is in black and white, with the only decoration being typographic. I have created both an inital landscape and subsequent portrait variation as I could not decide which was more effective. It may be that I use both formats depending on how appropriate each one is in relation to the recipient. Here is the landcape version below.

Passing By

2010-05-04T03:30:00.000-07:00

I have heard so many times that one of the most rewarding elements of the design career is seeing your work out in the commercial world. During my time at Elevator, I was working on the web banners for the Principality 'Diolch' campaign where I came into contact with the typefaces and commitioned photography for the print work. Although I was not involved in the conception of the campaign, I feel somehow a part of it having seen it in its design elements and having worked briefly with the designers behind it. For this reason, it is strange seeing the work outside as opposed to on the computer screen, so when I passed a bus stop with a large print poster, I had to take a photo.

Having spent time in the past wondering who designs the large posters that we see in the bus stops, it is particularly satisfying to have witnessed the incarnation of this one. Hopefully one day it will be my work that I am walking past on the way to the gym.

Translating Skills

2010-05-04T03:20:00.000-07:00

Recently I have recieved requests for web design. It is immediately clear at this early stage in my career that web design is where the demand is. With Adobe software now a household name - particularly photoshop - it is possible for non-designers to put their own print work together. Although often crude, bitmapped and poorly layed out, this work is a possiblility whereas the prospect of making a website remains unfeasable to the untrained person. It is certainly a technical process, where many will attest that they 'are not web designers', that they 'love print'. I see this is an admission that they are unwilling to put effort into overcoming the technical unknown and becoming the complete designer. I can't say I am unhappy about this as it gives my web skills extra prominence in an interview situation.

I was asked by photographer to create a slideshow portfolio website. He had a logo, but I offered some mock up alternatives (below)

Although not my most refined piece of work, it was a chance to play around with a logo. I noticed that Rob can look a bit like a camera, which is really the concept that these roughs demonstrate. He opted to keep his original which I did not like much, but it is important to remember to put the client's needs first.

The website was intended as a portfolio first and foremost, so the work is the focus. I built a flash slideshow that allows the user to pause on a photo by rolling over the image, and resuming by rolling off. It is relativiely simple as a flash piece, but it offered unique learning experiences and difficulties that can only help me grow as a rounded designer.

Here are some screenshots of the site:

Minor Changes _ Hours of Work!

2010-04-26T17:15:00.000-07:00

I have just completed an update of my website and portfolio. For the last few weeks, I have been making adjustments to work ready for reprint. Naturally, after every hand-in, there are aspects of the work that you would like to be changed. I have viewed all of my third year pieces as a work in progress; where I have been disappointed, I aim to rectify for the portfolio.

After completing my website in February, I thought it was time for an update. On first glance, it could appear that very little has changed. The background colour, and one or two pieces of work are the immediate visible alterations. In reality, it has been hours of photographing all of the featured work, editing the images, then recoding the site where the changes in work order have been made. After reviewing the site recently, I became frustratingly aware of the poor quality of photo that I had taken for much of the work. A quality photograph of a piece makes a world of difference, so I opted to improve the situation before I send applications for jobs and placements. There are also two changes in the featured work, where the others can be added to my larger portfolio; I think that it is important not to show all of the best work on the site, otherwise there is nothing new to bring to the interview scenario.

I am pleased with the outcome, and feel that it can only improve my standings as both a student at CSAD and in the dogfight of the current emploment situation. The address is still www.liamgorman.co.uk.

Here are a couple of screen shots of how the site used to look...

Dissertation Talk

2010-04-26T17:00:00.000-07:00

I was one of six third years asked to present to the second years regarding the dissertation today. Revisiting that stage in the study reminded me of the anxieties and pressures that signal the beginning of the third year. Now that it has passed for us, it is easy to forget what the dissertation brough to us as students. It encouraged us to engage in thorough research, acknowledge sources and become an expert in a field for a short amount of time.

I remember when I was sitting at the other end of this talk last year. It doesn't feel long ago, yet I remember it well. It seemed that I would recall the advice after I had repeated the mistake they were warning against. I suppose it is only natural that our emphasis on the importance of the Summer break will go begging when it comes to the time. We all told ourselves that we would get it done, but September comes around quickly when you are working full time.

I am sure that they will find the dissertation as worthwhile as I did. It demands a new level of time management that forces you to comply with such weight in the final grading. This lesson is essential for the third year as you rework, design and prepare your portfolio, website and CV alongside the studio brief. This was one of the first lectures about the dissertation that the second years had endured, but soon enough it will be them sitting in my position having completed the assignment and stepping on the brink of graduation. With the grading of the dissertation still a mystery, there may still be a telling contribution from the most dreaded of undergraduate essays...

Authority

2010-04-26T16:30:00.000-07:00

As suggested in a previous post, the danger of beginning the term on slow start is threatening once again. It is not for lack of want to work, but contempt for a project so stale that it becomes difficult to justify spending a month just for the pleasure. The transition from commercial to concept work has been difficult; it is a great opportunity to showcase my ability to see something from a new light, but the solution is not coming without a fight.

The 'big idea' brief supplies us with a word of substancial weight and burdons us with the task of communicating it in an interesting way. It is a brief that has been unchanged for years, so finding a new angle for a word that has been used for a decade is a daunting task in more ways than one. In addition to catching the tutor's eye, I have to keep in mind the professionals that have attended the graduate shows and arranged interviews for past students who will be well aware of repetitions in portfolios. It is certainly in my interest to avoid churning out another predictable outcome for a word with limited options that will cause the interviewer to yawn with disappointment at seeing this work yet again.

My word is 'Authority'

A word with cast iron connotations. Everybody knows what authority is; it touches us everyday in some way. We witness it in every journey we make, every interaction with another person in every situation. We all know what it is like to have authority, as we know what it is to yield to it. Authority is something that we recognise; it has no subliminal offering... nothing that will surprise us anyway.

In order to engage with an audience, it has been suggested that I focus on the everyday limitations that we all conform to. The things that we are used to after so many years of experiencing them. The difficult task is avoiding the obvious such as the traffic cone or the cash register. Obedience is the aspect of authority that I find most interesting. The fact that we are willing to make these sacrifices for what we believe is ultimatley in our best interest to do so. When we are young, we are not so accustomed to these rules from authority. Maybe the route to an interesting outcome lies in the minds of the young; blissfully ignorant of the established hierarchy of authority.

Back to Cardiff

2010-04-15T14:32:00.000-07:00

I completed today what could be my last shift at Co-op, Copthorne. It has been a testing five years of clock watching, but it has always been waiting for me at the term breaks offering a chance to earn back some money. The connotations of laziness and immaturity that go with the title of 'student' meant that returning to work replenished that feeling of usefulness that comes as a result of this. While it may not have been the most desirable part-time job available, I feel that I am privileged more-so than my course mates who stew through the four week breaks in what must be a glimpse into the lives of the long-term unemployed.

Despite the benefits of the zero hour contract, I find that I have less time to participate in preparation of University set work. The time-management requires leaves few hours for recreational activity, however I am aware that the professional calender certainly does not accommodate regular month long breaks. Maybe this is another way that the job has benefited me as I prepare to become a full-time employee in design. During my studio placement, I found that the hours whizzed by, and it was the evening before I knew it. I was very aware of the difference between the busy haze of the office and the dull repetition of Co-op that seems to encourage every second to stretch itself to its absolute limit. This appreciation of time helped me achieve the outcomes that I did on my placement.

Now that the final term is dawning, I need to focus on switching back onto to the flexible work hours that university brings. I need to concentrate on hitting the ground running in order to give the final studio project the best chance of being a successful one. I was aware that after a four week full-time schedule at Co-op over Christmas knocked the wind out of my sails in the wake of the D&AD briefs. There is no doubt that my work suffered because of it; D&AD disappointingly yielded by far my weakest work this year. I can realise the positives from that result and take the lesson into the final module.

The Value of the Third Year

2010-04-13T13:55:00.000-07:00

The university experience has been a strange three years for me. I knew all along that I wanted to be a designer, and I knew what graphic design looked like. It is unavoidable; and like every other industry, it develops and progresses. An attribute that I am less keen on is the association with fine art. I used to shudder when people would ask what course I was on, and when I replied 'Graphic Design' the response would almost universally be on the subject of art or drawing pretty pictures. You can imagine my distress when we had weekly lectures on the subject of Art history, and were required to produce only experimental visual expressions with the odd layout poster to mix things up.

I did not enjoy the first year, and I don't feel that I progressed as a designer as a result of it. Thankfully for me, things changed in the subsequent two years where we produced work that could pass for 'design' as opposed to 'art'. After this slow start, I feel that I have only got to grips with design in the third year - fortunately the only year that counts towards our grades.

Before criticising the way in which the course actually teaches the student about the art of creating quality design, it is important to remind ourselves that it is strictly a 'Communication' course, not a 'Design' course. This alludes the non specialisation of any of the fields of design, including typography & layout, branding, or motion graphics etc. While purporting to produce versatile graduates, there is also the danger of graduating as a designer that is very average at a lot of things. Only through significant independent effort on the student's part can work of any acceptable standard be produced. This is something that I realised and gladly have been doing over the third year where I feel that I am finally producing work that I would not be embarrassed to show an potential employer. Not through fault of the course, it is rightly the students that work hardest on their development that realise these benefits.

This brings me to the original question that this post asks. What is the value of the third year? The tutors always seem distressed that we all care about our final grade. They say that it doesn't matter; but what self respectful individual wouldn't want their efforts to be recognised by the classification of their degree. If it is not the best work that receives the highest marks, then the system must be flawed. I do care about my final grade; maybe less than I did this time last year, but I do care as many others do too. It is only through my astonishment at some of the grades awarded to some of the work that my focus has switched to the quality of my portfolio, as I put trust into my own judgement of the work I have produced.

In spite of this, I can only describe my grades as fair up till now. During my work experience placement, my eyes were opened to the design industry, and the need to demonstrate that I can produce this standard of work. We can create all the work that is 'original' in form, but some things will be an original for a very good reason. Creating installations or outrageous forms may show an attempt to 'buck the trend', and avoid the more convention outcomes such as booklets and posters, but what use would these pieces of 'communication' be in an attempt to convince an employer that we are capable of fitting into their system with as little complication as possible. I prefer to show originality through idea. If an original idea is communicated successfully through a booklet or poster will stand out even more than a quirky gimmick, and be twice as convincing. For me, the real challenge is obtaining this level of communication, where commercial standard work is lit up among its contemporaries. If we are marked down for using commercial form, then I am confident that the work will show its quality in the interview when the student that has attempted to 'buck the trend' will be laughed out of the office.

For me, it is clear that the course is a vehicle for a student's personal growth. It is the openness that allows them to make their own choices and stand accountable for those decisions. This must be why they say that the grade doesn't matter. If we are concentrating on getting the best grade then we are neglecting the necessity to build commercial design skills. This could not be better illustrated than by the blogs that showcase exceptional design work. Are they non-conventional innovative forms, or are they innovative ideas communicated through conventional forms?

Work Experience

2010-04-13T13:07:00.000-07:00

They say that obtaining a work experience placement these days is as essential to a graduate as it is difficult to obtain. Finding a willing director and studio to participate in this most important of processes requires great effort - and perhaps a bit of luck.

I always envisioned my email as another unwelcome disturbance in a petulant director's mailbox. Baby sitting a student is probably the last job they want to take on as they struggle to reach their real world deadlines. Despite the possibility of a week's free work, there is no guarantee that the student is either a competent designer, or even willing to put in the effort. In spite of this, I persisted to badger studios until I received an offer.

Firstly I want to acknowledge the effort of Elevator for not only sending a reply - which so many others failed to do - but also for understanding the situation of a third year student and giving me the chance to experience the industry. I was aware of Elevator's work from the Link project. Although I was not part of their team, I felt that they had a strong portfolio of brand communications (for me, one of the most interesting fields of design).

During my week at Elevator, I was pleasantly surprised how Steve trusted me to work on live briefs with the rest of the team. It made the placement a valuable experience as I participated with real clients and real deadlines. I emphasise the word 'real' in the previous sentence, as the placement contrasted alarmingly with the projects and processes of the Graphic Communication course at CSAD. We are made aware of this difference by the tutors, but it becomes difficult not to question why the difference exists.

In conclusion to my view on the value of a work experience placement, I have to admit that I have changed my opinion. I have heard stories of students pointlessly trawling blogs for weeks and calling it a placement on their CV, but my experience was extremely valuable to me. If you are lucky enough parcipitate in real work in a studio then it is certain to have a positive effect on your progression as a designer. The success of such a placement appears to be down to the student. As I had taken the time to learn how to use Flash and other software to a high standard, I found that I was equal to the challenges set before me, and am grateful for the positive comments offered to me by Steve Braham. I would like to thank Elevator for replying to my email and making the placement happen, it was a worthwhile experience.

i-zone | UWIC

2010-02-28T10:13:00.000-08:00

Entry coming soon...

Illusion and Dimension

2010-02-17T17:57:00.000-08:00

I am about to embark on an exploration into the mathematical and philosophical theories of infinity. There are many paradoxical and barely imaginable concepts related to this field, and for my self-set brief I want to communicate the intellectual stimulation and disorientation that I felt when I began to explore infinity. When discussing the idea of infinity in relation to the universe, ideas are raised regarding parallel worlds and multiple existences. One angle argues that if we keep counting, we will eventually hit the highest number - a number so large that it can not be imagined -and subsequently reach zero again. We can visualise this as a journey around the world; you can keep on travelling endlessly across the circumferance of the planet but you will inevitably reach your starting point as you continue to move.
While considering imagery that can visually translate the theme of this idea, I turned my attention to visual and perspective illusion. While it is only a starting point for my visual exploration, I like how the interactive function of the image challenges the viewer to spend a bit longer with the piece and experience the unexpected.

Mabinogion Rough Work

2010-02-16T15:40:00.000-08:00

The Mabinogion brief that is currently featured on my website has been developed and edited since the original piece was finalised. As it was a second year piece, there were improvements to be made in both image quality and typographic treatment. Although I am pleased with the revised visuals, I recently opened my original imagery and can't help but feel that something was lost in the translation of the update. The images are hand drawn and painted whereas the replacements are entirely vector rendered. For this reason, I wanted to feature examples of the originals which possibly have a more intruiging quality:

To see the updated imagery, click here.

Visualising Sound

2010-02-16T15:29:00.000-08:00

For a recent design investigation, I decided to express music visually. It is an interesting challenge as there are established images such as the equaliser and musical notes. If we want to avoid the cliche of these visuals, how do we translate the dynamics of sound on to paper? As a musician, I have a knowledge of sound production that I drew on to experiment with visualisation. Here are a few of my experimentational images; the type of sound represented varies with the appearance of the vector.

The Meat Market

2010-02-13T08:42:00.000-08:00

2010 CSAD Degree Show
Fast approaching is the class of '10 design degree show. As a matter of course, our program leaders asked us to pitch our ideas for the show visual concept. In the past the theme has always been centred around the idea of growth or flourish... perfectly acceptable outcomes, yet not without a touch of the flaccid and drab. My group wanted to express the idea of the graduate show as a metaphor. An example that mirrored the experience in a both true and humorous realisation.

We observed that the show is essentially an arena where the graduates show what they can to gain approval and ultimately attempt to sell themselves. This idea of a transaction struck a chord with our group. We have been nurtured and guided as we have grown over our three year period at university to the point where we are ready to be introduced to the industry. The facilitation of the choice is down to the employers, who browse the show and offer to take on (or bid for) the desired student.

What better description of this series of events than the meat market? Where we compete in an arena based on merit and appearance showing the fruits of our education where we aim to gain recognition from the visiting industry.

Simon Page

2010-02-12T15:38:00.000-08:00

Geometric Design
Simon Page is a self taught designer from a corporate design/ mathematics background. It is this foundation that inspired his brand of geometric modernist design. While the following examples have not been designed to communicate an idea, they are visually rich and sit very nicely on the page.

The treatment and rendering of the images looks great and really draws the eye. In spite of us being discouraged to value readability above the communication, it is still important to practice self initiated works for designer indulgence.

CSS Liberation

2010-02-12T05:04:00.000-08:00

My new website has finally gone live, and the experience of building it has pushed my knowledge once again and challenged me to expand my design skills. It is not my first experience in designing for web using cascading style sheets, but it threw up additional learning opportunities nevertheless.

From my experience of browsing portfolio websites, there are several issues that I wanted to avoid. First on my list was the home page 'dare to be original' large underlined passage about how the student loves typography and clean layout, are exceptionally hard workers that; live design, were born for design! You get the idea.. we've all seen them before. It is not the copy itself that I refuse to endorse; it is the reality that the concept of this passage has been regurgitated by countless aspiring designers who contradict their claimed originality by the mere presence of this device. In recognition of this, I have parodied the appearance of the large underlined introduction and delivered the message as a pastiche. Should the quality of work on show not speak for the designer's interest and dedication?

Secondly, I have always looked more favorably upon vertical scrolling images of work that complete a section of the portfolio. While the single image with 'next' and 'last' arrows are fine, I personally find them less accessible than a straight list that portrays the work as once piece on one page. Having chosen this method of layout, I needed to find a solution to the problem of the work description. One perfectly logical location for the description could be the right hand column next to the images, which is exactly where I intended to put my copy text. From my experience however, I felt that by scrolling down and browsing the work, the description is no longer on screen if the viewer wishes to read again or clarify the rationale while they are lower down the page. This is an issue that I discovered first hand, and wanted to avoid.

My solution resided in the mysteries of java-script. I could create a div-tag with a fixed position when scrolling that never went out of frame. There are known to be compatibility difficulties with internet explorer version 5, but my target audience of designers and professionals are almost certainly going to run more sophisticated browsers, therefore I am aware that more commercial websites would need to use this technology sparingly.

The process of creating this website was an exercise in education, and a rewarding struggle. I feel that I have leaned considerably more about CSS, particularly through the 'special' task of acquiring a valid CSS certificate. Please visit and see what you think! link

See What You Mean

2010-02-12T04:47:00.000-08:00

We recently had the privilege of viewing a presentation lecture from Owen Johnson of See What You Mean studio, Cardiff. A charismatic talker with a an impressive slide show made for an insightful and worthwhile experience. While explaining the context of his graduation and arrival into the world of design, he enlightened us with some of the technological advances that the studio now deal in.

See What You Mean are now primarily a digital design service. They offer businesses strategy solutions for presentation that often take innovative and refreshing form. It was difficult to imagine their work as a more engaging form of power point presentation, but the benefits of the product lie in the ability to interest the audience in order to inform. There is no doubt that the design team from the studio are light years ahead in terms of digital software mastery, but it was the creative element that was showcased and emphasized as the most important skill a graduate can display.

Owen finished his talk by offering the opportunity to work in their office space. A chance to experience the working environment on a high-spec computer and witness first-hand the creative process of a successful studio. It is a shame that the space was offered to the entire year group, as there are some less prepared students that will benefit less from the experience but will no doubt apply nevertheless; adding to the plethora of applicants clogging Owen's inbox and junk folders. Despite this however, the talk can only have enriched our knowledge of the design industry and has personally inspired me to challenge my boundaries in the art of digital design.

OGC Logo

2010-01-27T04:00:00.000-08:00

On the theme of amusing logos, the OGC logo is a great example whether it was intentional or not. The Office of Government Commerce wanted a bold logo that embodied the aims of saving money by “improving value for money by driving up standards and capability in procurement”.
Here is the logo below, where at 90 degrees, the double- entendre is unveiled:

Deliberate or not, it has been said that the column inches generated by this hidden gem have given OGC invaluable exposure as a spokesman for the company dared to call it a success. It may be an example of subliminal gorilla advertising for the brand...

2010-01-27T03:39:00.000-08:00

A-Style logo: Rome

Like most I suppose, an element of wit in a design appeals to my sense of humour and appreciation, giving the communication a greater impact. Like the gutsy identity of 'Serious' waste disposal commissioned by Elmwood, I stumbled upon a logo that works on a similarly crude-but-amusing tone of voice. The logo is A-Style's - an Italian clothing manufacturer that isn't shy of a bit of Gorilla advertising.

Upon more closely inspecting the way that the circles fall on the A, it becomes clear that the stick man formation was no accident. An amusing outcome that certainly couldn't be accused of being safe.

Dominico Tedone Design

2009-11-18T06:21:00.000-08:00

I was recently asked to create a flash portfolio website for a photographer. He wanted a clean, simple design with a nice flash navigation. While I am confident of my abitily to design the site, I had a look for navigation inspiration and found a few innovative examples. Dominico Tedone's site is far more complex than any I would produce, however it is a great piece of skill that sets his portfolio apart from so many out there.

His wheel navigation gives the user ultimate freedom of movement in a seemingly three dimensional environment. The mouse controls whether the wheel zooms in, out or rotates to a new piece.

The navigation is best experienced in person. To visit, click here

St David's Centre, Cardiff

2009-11-17T02:33:00.000-08:00

Identity
Having recently completed a college-set identity brief for a youth center in Newcastle, I was interested to observe the visual style of the newly branded St David's Center in Cardiff, Wales. Interestingly, the concept is quite similar to the one which my group produced. It focuses on the idea of many people coming together to create a whole, and this is the basis for much of the design within the identity.
Above is the concept of gathering realized as an image of a crowd producing the letter 'D'. The shadow of this idea becomes the logo that is hung above the center in Cardiff and has been applied the poster and signage design. The logo as it appears in the center is pictured below.

While I feel that the logo is reasonably dynamic and energetic, I am undecided whether it is successful in visualizing the concept of coming together. Having spoken to a number of non-designers about the logo, it would appear that I am not alone in this trail of thought. Some were explicit enough to call it childish and mediocre. When I explained the vigorous process of design that must have constructed this outcome, my defense was undermined by the famous phrase 'it looks like a two year old could have done it'. Admittedly, this view would be one of the extremes of my findings, but it serves as a testament to the difficultly of pleasing everyone in commercial design. It reminds me that designers often have a different opinion to non-designers and illustrates the need to take a look from outside in in order to communicate to the target audience.

While I am relatively impartial to the identity, I am sure that there are admires as well as critics regarding this style. The design was developed by a London based company named Johnson Banks. More of the St David's visual identity can be found here.

D&AD Talk

2009-11-01T13:14:00.000-08:00

I was lucky enough to book a seat for the D&AD talk last week at the Radisson Blu, a lecture where the upcoming briefs would be outlined alongside help and advice on gaining a foothold in the creative community. There was also a portfolio surgery where students could have their portfolio critiqued and valuable advice given by creative professionals from both London and Cardiff. Unfortunately I missed out on putting my name down in time, but the lecture itself was a more than worthwhile experience.

A speaker from the D&AD panel ran us through what makes a successful entry. This was supplemented by examples of both student and professional work that have impressed in the past with a combination of a great idea and professional execution. Below is an image of a poster that was particularly stirring:

Techniques commanding the attention of the public were showcased by two Wonderbra campaigns. The first 'Hello Boys' was a bold effort to draw the eye with a half naked model that most should be familiar with. It was explained that on its release, this poster caused a huge stir and saw people (men) causing traffic jams as they rolled past, staring at the provocative imagery. Now that we have become accustomed to such visuals, they no longer have the shock factor and companies like Wonderbra need to change their angle to achieve such commotion again. Above is the response to this problem, and uses a cryptic technique to challenge the viewer to discover what it means. It caused a few rewarded smiles at the talk as people cottoned on to the subliminal meaning giving them a sense of achievement, thus making the poster and brand memorable. I won't spoil the fun by writing the answer to this puzzle, but it is an excellent example of observing a problem and solving it.

The second part of the lecture saw Emma Booty take to the projector. Her career boasts a wealth of experience in a number of countries and agencies. She recently ended a long career at Landor, and let us see how things work at such a large company. She showcased her impressive communication skills as she offered her knowledge and working method to an interested audience.

It was in insightful afternoon for me, and one that I can draw inspiration and insight from in the upcoming D&AD competition briefs.

Isometric Projection

2009-10-27T16:35:00.000-07:00

Isometric projection is a technique more commonly associated with architecture, however the principles have lent to some interesting works in graphic design. While only producing 2D image, the effect of a 3D rendering can be achieved. Examples of this being used in a design situation exist in logotypes and concept packaging roughs. To begin, I have included some examples of this effects in use:

The 3d projection can be worked excellently for the rendering of schematic drawings or diagrams. It gives a sense of perspective on an otherwise flat object.

The cube is a theme well documented in graphic design, but this playful shape above provides a fresh look on the subject, drawing the eye into the suggested space within.

The humble vector image can be given another dimension with a sense of perspective. In my opinion, it retains more of the dignity that can be lost on a simple 2d trace for the purpose of design or portfolio.
An isometric view of an object can be achieved by choosing the viewing direction in a way that the angles between the projection of the x, y, and z axis are all 120°. This will enable an equality and balance between the axis and project the illusion of a 3d object.This technique is a fairly simple way of creating artwork that appears 3d. I may find myself applying this rule when a simple drawing could do with an edge, a characteristic that can take it off the page without the need for specialist software.

Christmas Card

2009-10-20T12:48:00.000-07:00

Below is my respose to a Christmas card brief set by UWIC.

When the brief was given, it was made clear that UWIC wanted a seasonal card that was welcome to all. As a result of this, it was advised to avoid typical Christian or stereotypical Christmas imagery. Furthermore, it was emphasised how UWIC desire to celebrate this international relationship in a cool, friendly manner.

My response plays on the idea of combining landmarks of five main inhabited continents: Europe, Asia, Oceania, Africa, and the Americas to build a towering structure. The hand drawn rendering adds a playful element to an inclusive gesture.

Communicating With Infographics

2009-10-20T12:12:00.000-07:00

As an incredibly wide field of design that is featured so many times in blogs, I won't try to do the same and attempt to showcase the genre myself. Instead, I have picked a few examples of infographics that use simplicity to present information in an appealing and digestible fashion.

There are so many beautiful pieces of graphical or schematic design in existence, and here I have focused on the more functional side of the subject. The simplistic ease of communication that this coffee guide displays expresses the primary function of the infographic. An instruction graphic that is effortlessly interpreted.

Here I have featured a more complex diagram that is no less easily read. The circular graphs are less friendly than the coffee example, but they show the same expression of the ingredient theme in a different visual style.

The subject of infographics is one that I will explore in more detail, as it is such a fascinating field of communication.

Cardiff Design Festival Awards

2009-10-12T03:14:00.000-07:00

What better way to explore the current design coming from Cardiff than to attend the Design Festival Awards. It was a stylish affair, hosted by ex CBBC puppet host extraordinaire Chris Corcoran who revelled in the banter between the creative disciplines. The night took a turn to the surreal when Ragora Khart took to the stage and stunned with their eccentric music, and Gypsie dance moves supported by a belly dancer in character. It was an enjoyable evening, and a great opportunity to view the latest and greatest from Cardiff in a shortlist slide show.
Possibly the highlight of the night from a design perspective was the inspiration talk from Greyworld's Andrew Shobe. I was amazed by the installation concepts alone, but the technicality of the implementation was unbelievable.

These balls are able to ascend up the wires and fall in such a way that can make words and shapes. It is the realisation of a great idea that impresses me most about this installation.

The statue outside the Tate in London plays on the idea of making more out of something that is considered a bit stagnant as a piece of public art (a bronze statue). It is an animatronic figure that can change pose and even mimic the pose of passers by, making more of an impression than the static piece ever could.

Running a stick against railings produces an interesting sound in its own right, but tuning the railings to a song is an exciting twist to this. The fact that it looks so anonymous could give a bored pedestrian a shock if they decide to run a stick across them, producing a tune. The creative thinking behind Greyworld is another class, and inspires me to be more creative in my work.

Stills

2009-10-06T16:31:00.000-07:00

A requirement of a current college brief requires us to work with a Cardiff based designer acting as a mentor overseeing the development of ideas. David Lea of Stills design agreed to take on my team, kindly passing on his knowledge to us aspiring final year designers. Visiting Stills has been a valuable tool and insight into the working method of professional designers, as well as a eye opener into the art of taking and interpreting a brief. The studio is a quirky re-developed church building that offers light and spacious open plan working areas. Below are some of the pieces Stills have featured on the website that will inspire my future projects whether it is wit or presentation that is on show:

A few examples of the work they are doing at Stills, Cardiff.

The Museum of Brands and Packaging

2009-09-23T15:01:00.000-07:00

I recently visited London's Museum of Brands and Packaging, an experience which I doubt many others have achieved as the place is harder to find than a PC in a design studio. Once discovered within the labyrinth of streets and alleyways however, it is well worth the visit. Boasting a considerable collection of packaging and and posters for all of our favourite consumer goods from their conception up till the more recognisable recent designs, it is an exercise in nostalgia as well as an insight into the progression in the discipline. The sheer number of collected pieces combine into a dizzying plethora of colours that toy with your eyes in the dim light of the exhibit.
It was difficult to photograph in the low light without the use of flash, so alas the images below do not do the items justice. I have included them as a taste of the museum experience, and strongly recommend a visit if you're ever in London:

At the time of my visit, there was a feature on the history of Guinness design. Seemingly before the days of controlled censorship and trading standards, Guinness could make you healthier and stronger; and was what appears to be the pint of choice for large birds and lobsters. Below are a few examples of the many on show, and make a charming collection in my opinion.

Century Gothic

2009-09-04T11:23:00.000-07:00

It must be the curse of the designer that he/she must recognise typefaces anywhere and everywhere. There is so much signage, packaging and printed word to be silently critical of that not a day goes by where I don't think about type. As refreshing as it is to see a typeface used nicely to the benefit of the work, it is equally frustrating to see poor or unoriginal ideas littering the visual world. And while terribly inappropriate fonts may force a smile, possibly even a laugh, seeing the same type treated in the same way over and over again on countless products, signs and pages is just pure old fashioned murder.

Century Gothic is a nice clean sans serif with generous features that combine to give the type an edge. It is one of the fonts that I have always liked, and I'm sure that I cannot be the only one that appreciates its unique appearance. I'm also sure that I cannot be the only person to notice that it is used everywhere for everything often in the most tasteless of contexts and vile of layouts. Century Gothic has been abused by the talentless copycats for the purpose of 'this will do' work to the point where I am put off a product from the mere sight of it. For me, it has become a symbol of laziness, unoriginality and robotic mass production. The next Helvetica if it is not too bold to suggest. Century Gothic has been drained and drained until it has nothing left to give, and I fear that it no longer has a place in any of my future work.

OK... rant over. I guess that if you haven't noticed that Century Gothic is everywhere, a walk down the local shop's tin aisle, or a glance at today's junk mail will undoubtably illustrate my point perfectly. Below are a few quick examples of Century Gothic at its worst...

Positve Advertising

2009-08-30T07:44:00.000-07:00

During my assessment of the design Industry in Shrewsbury, my attention was turned to a relatively small building in Abbey Forgate. My coming into possession of their business card painted a picture of a long established company that is not afraid to laugh at itself. The copy on front of the card displays the necessary information as expected, but a brief description of Nick Spiteri (Director)on the reverse reveals a short and personal analysis of his character that is charming to read.

The Website
The business card led me to feel that Nick Spiteri and Positive Advertising were friendly and accessible, so I guess that it performs its task in that department. In turn I decided to get online and visit their website. Here is a screen shot of the homepage (below)

Just as we have been advised to present our work digitally, the site is simple and utilises white space as a tool to ensure there are no distractions from the messages online. The simplicity of the website offers the visitor a pain free route to discovering whatever they have visited for, a functionality that I hope to emulate on my website/portfolio.
The work chosen to greet the viewer on the homepage appears to be the latest big brief that they have completed. As well as picking convincing work, it is nice as a resident of Shrewsbury to see work that I recognise from my travels around the area. I have chosen a selection of simple campaigns that use wit as a subtle tool to send the viewer a message in a memorable way. It is this intelligent use of wit that does not indulge the designers, but delivers the message within a few seconds of looking glancing at it that inspires me to achieve this result.

NHS is a big client and using this image on the homepage will help to reassure prospective clients of a professional and trustworhy service. The simplicity of this poster echoes much of thir work. The idea of displaying what is suggested as an unemployed 'couch potato' using a TV remote as a symbol of their trade, and showing the same person in a uniform of a nurse is a rather obvious solution, but uses this as a tool to translate its message. I often hear that designers can be their own worst enemy, trying to justify their wage packets with over elaborate cryptic messages that present the target with a task of unravelling the idea in which they are unwilling to spend time doing. This piece shows how a simple message can be displayed with simple imagery and in turn the message is simple for the viewer to decode as they glance at the poster. After all, if we stood staring at every poster for minutes at a time, We would be late for everything.

This result advertising the Shropshire Star's sponsorship of the RAF Cosford Show is exquisite. It is a prime example of using wit and simplicity that not only makes one smile and becomes memorable, but also shows the informal, funny side of the Shropshire Star. The white space ensures there is no distraction from the perfectly prepared image of the ever-recognisable paper aeroplane.
The final piece (above) completes the set in terms of showing Positive's simplistic style. Again it is simple wit used in a way that we can all relate to, and lets face it, the person that has never encountered the infuriating task of untangling wires is a rare on indeed. Using this as a metaphor for solving other frustrating problems is once again, simplicity at its finest.
Positive Advertising show experience and intelligence through wonderfully executes messages. The minimalistic style underlines how the communication of the message is number one. This is supported by the quality of idea in the work which allows no need to employ the flashy elements that a lack of wit may require. The wit in the work is mirrored in the copy on the website; which serves to paint a picture of friendly professionals, that work for an accesible company, that produce high quality work.
With this blog entry in mind, it goes without saying that I applied for work experience at Positive Advertising. Unfortunatly, they have neither the resources or time to accomodate for students, but researching the company has set a benchmark in mind for my future work.
If you want to check out the website, click here

Jack Wills

2009-08-27T15:05:00.000-07:00

I know what you're all thinking... I'm not gay, I just like the catalogues! As far as a clothing catalogue goes, Jack Wills are in a class above the rest with the artistic photography and elegant design.

The two examples that I have included are of completely different size and composition. One contains articles on cultural topics, while the other dedicates more pages of priced goods. Although they both contain considered photography, the manner in which they are layed out in the composition of the book differs. The one remaining house style feature that is present on both catalogues is the sharp sans serif type that manages to be both bold and elegant on the page. The paper stock is very similar also, a thicker matt paper that feels expensive to the touch. These differences are another example of the originality of the pieces as catalogues, while giving the feel of exclusivity with every edition.

Eduardo Recife

2009-08-27T14:27:00.000-07:00

Recife's textured, grungy images are as intruiging as they are artistic. His website series 'misprinted type' display his creative talents with beautiful typefaces and irresistable imagery.

Recife has designed many interesting typefaces that are often artistic and quirky. I strongly recommend looking at his latest work by visiting here.

With a name less famous than his style, few art and design students will be untouched by Eduardo's abstract influence. It is a testament to the appeal of his work that sees it appropriated so heavily in modern design.