2011 reflection+ 2012 resolution.

So, it's 2012 now. That was quick. 2011 has certainly flown by and it's mental to think we're half way through our final degree year already. Not long now.

I'd say that a lot of progress was made in 2011, primarily in the form of industry experience; from the branding work at Hamlin Daniels, to experiencing a large scale advertising agency at BMB, to contributing to next years Edinburgh Fringe Festival campaign at Whitespace. All invaluable, enjoyable and confirmed without a doubt that I'm pursuing the right path. I learnt a lot and met some great people along the way.

University wise, the slightly more naive and relaxed days of 3rd year are but a distant memory. 4th year is overcast with the exciting yet ominous reality of graduating and entering the real world. This semester has been somewhat stop and go with placement interruption, dissertation distraction and an initial project false start, but I have two solid projects approaching completion and a few more on the go, industry experience under my belt and a well received essay draft to show for it. Not as productive as I'd have hoped, but on track.

2012, for me, is full of goals. Thought it might be helpful to write them down.

1. Achieve at least a B on my dissertation. I'd die of shock with an A.

2. As always, aim for a first-class honours. No point in not.

3. Enter as many D&AD and YCN briefs as I can. I think there's about 10 that I have my eye on.

4. Time permitting, I'd like to enter the Penguin Design Awards too.

5. Get a collaborative project on the go.

6. Put on a degree show that I can be proud of.

7. Get more familiar with InDesign.

8. Sort out at least two more work placements. Realistically, I don't think I can afford to lose any more time during semester, so they'll need to take place during summer. I have my eyes set on a few agencies.

9. New Blood. Make the most of it.

10. Be better.

dexter + beyond.

Over the last week or so I finally got around to watching Dexter. Two seasons down, and yes it's amazing. It reminded me of these posters I was shown earlier this year, created by Ty Mattson. I love them. Slick, original and striking.

Taking it to the next level, the posters were animated into a title sequence for the show with equally great results. I love the minimal, Saul Bass-esque 40s/50s motion graphic approach. The style seen elsewhere in Kuntzel and Deygas's work with Catch Me If You Can, and Pixar's The Incredibles and Monsters Inc, to name but a few.

Wish I had more time this year to explore the ideas inspired by it all. Alas. Will need to wait.

october.

So, an update.

Began my fourth, and final, year of uni which has brought along more change than I bargained for in the form of a new studio and new tutors. Unfortunate, but not entirely unsurprising. It did lead to a seemingly all-round period of adjustment that I know I didn't account for in my naively meticulous timetable, and subsequently didn't jump to work as quickly as I had hoped.

When I did get cracking though, I began work on an HMV project in which I aimed to campaign music lovers to support the physicality of the store over online. (Tangent; I just sneezed. It's kind of bizarre how different they can sound from person to person. It's like an inconvenient - but satisfying - burst of personality through your face. My Dad, for instance, has a theatrical-borderlining-obnoxiously loud one that commands attention, go figure.) Anyways, after weighing my options, I decided to not pursue said project when it became apparent that it wasn't as strong as I initially thought. Admitting defeat isn't a strength, but sometimes cutting your losses is the wisest move. Instead, I skipped to working on Orange Wednesdays, my second intended project which has been much more fruitful (pun semi intended).

False starts aside, I began my third placement last week at Whitespace in Edinburgh. It has put my uni projects on hold at a busy time, but it's been worth it. I was lucky enough to be assigned to working on next years Edinburgh Fringe which has been the perfect project really. I actually chose to pursue the agency after seeing their work with Johanna Basford on 2010's Fringe campaign, so it's fittingly come full circle. Can't divulge anything further, but it's pretty exciting.

That's that.

LDN.

So, I'm in London. Been spending some time at BMB in Covent Garden which has been nice. Definitely interesting to experience an agency of this scale, observing the process with major clients and absorbing the general creative atmosphere. Have to say I'm enjoying being in the big city as a non-tourist too.

Been doing bits and bobs of graphic work during my time here so far. I've particularly enjoyed my task of yesterday and today to re-imagine a selection of posters for the agencies "Gig in the Garden" (inviting singers/bands to play to the employees). I chose to focus on the combination of musical elements with being in the garden in the hope that it would provide interesting visuals. I think it did, my favourites probably being the watering can sheet music and the hose-microphone.

v-v-v-vector face.

So, I made this iPad on illustrator. Chuffed with the results.

Should prove a great way to frame work in a more engaging manner. Might try an iPhone next to join it.

The design displayed is my submission to the 'Design Against Fur' competition. Still waiting on the results of that, I hope something comes of it but don't want to get my hopes up. It's a departure from their typical pickings, so I guess it's make or break. If not, myself and course-mate Sam have plans to collaborate, taking the design into apparel and creating a campaign. The idea being to promote faux fur as an alternative in a more fashion editorial approach than crude guilt tripping, which although gets the point across in a direct manner, can often be counter productive - similar to that of typical charity ads. Engage, not point fingers.

In other news; I finally got round to watching Mad Men. Swell.

diamond wedding anniversary invitation.

Diamond wedding anniversary invitation design for my Grandparents.

I wanted to create something that contrasted with the overtly feminine, flowery visuals that typically frequent such events. I think the result successfully achieves both an appropriate and personal approach, whilst remaining a slick piece of graphic design that stands out.

Congratulations to the happy couple and happy clients.

update.

It's been a while.

I've been slacking with my self-directed bits and bobs. It's amazing how quickly you can fall into a procrastinating rut. I already feel rusty.

It's not been completely devoid of creativity lately though. I spent this week on work experience/placement/whatever the kids are calling it these days, in Edinburgh at Hamlin Daniels, a brand communications consultancy. I've really enjoyed my time there. The team are friendly, helpful and more than willing to engage in discussions of the industry and beyond. I was given a live brief to contribute to a health food company rebranding and event promotion, which allowed me to tag along to meet the client and witness the early stages of planning. I've been asked back this week to finish my contribution as they'd like to use it, which is exciting.

Beyond that, my next excursion into the grown up world is at the end of August, where I've secured a few weeks experience at BMB in London. The large scale agency will offer a contrasting insight into the industry, which I'm looking forward to. In September, I have another few weeks organised to spend with Whitespace in Edinburgh...who's forte in digital media will provide even further insight. Pretty chuffed all round with the placements, hopefully a couple more in 2012 will allow me to graduate with a solid foundation of experience to move forward with.

Speaking of which, I'm only a bloody year away from graduating! This is nerve-wracking to say the least already. I feel there's so much more to learn and so much I want to cram in to the coming months both academically and socially to make the most of it. The year of the 'last ever's, not to mention the official end to the bubble of youth. That's before you even factor in the inevitable stress of the degree work and subsequent show. Massive question mark hovering over what that will entail.

I had hoped visiting the degree shows (ECA, DJCAD, RGU) would spark some inspiration, but really it only ignited worry. Perhaps that's a necessary evil. I wouldn't say I was blown away by any of them, but then again I'm not sure it's fair to expect that. In the cynical mind of an art/design student, anything that stands out is usually met with eye-rolls in regard to the pretension associated with it or work-envy. I think being in this frame of mind makes you overly analytical of the what/why/when/where/how, making it increasingly difficult to simply enjoy as a casual spectator. What I did take from it though is; when you've seen one graphic design degree show, you've seen them all. The concepts usually stay the same, but the quality differs. Gray's certainly benefited from having a more open Visual Communication course.

I hope that I will produce something that stands out, something that warrants more than a fleeting glance. Easier said than done. Especially if you're simultaneously hoping to appeal commercially. Alas.

So that's what's been going on in my head recently. With a heavy filtration system in place of course, or we'd be here all night. In other news; Harry Potter. End of an era.

true blood posters.

Research for the next in my minimal film poster series (for 'Interview With a Vampire') reminded me of the True Blood offerings over the years. Although they have recently favoured more traditional (and unimaginative) promotional posters, they have had some gems. Here are my favourites:

minimal movie posters.

Perhaps a cliche, but by no means less enjoyable ongoing self-directed summer project to visualise some of my favourite films in poster form. I'd quite like them to keep a degree of consistency throughout to form a 'set' of sorts.

Inspired by how the character of Derek Zoolander bears shame for not being able to turn left on the runway.

Visualising Juno's pregnancy, but also representing her romantic interest and father of the child through his love of orange Tic Tacs.

james and the giant peach cover options.

1)

2)

3)

Not finished concepts, just mocking up possibilities, a bit stuck on which direction to go down because all work well.

My gut feeling is to go with number 3. I like the homage to the subdued orange palette of the original Penguin book cover art. Perhaps too subtle for a children's book?

river thames competition 2011 entries (aoi/transport for london).

"Wet and Dry Gin"

"Liquid Lunch"

Visualising that the River Thames as not only a route of transport throughout London, but also provides a desirable location from which to enjoy a scenic and social occasion. This piece embodies the urban and multicultural lifestyle available within the city.

"Thames Cornucopia"

Translating the urban interaction of people and public transport within the city centre of London. The boroughs form the jigsaw pieces which collaged together visualises the hustle and bustle of city life.

NOTE: The boiler (previously famed for destroying my 'Art of Nurture' art work) decided to give up again today, this time not only flooding but also shaking uncontrollably...which put me even more behind schedule and uncomfortably close to the deadline. How close? I submitted my third entry at 4:59pm of a 5pm close. Ridiculous.

design against fur 2011 entry.

Although I had already completed a project surrounding this competition brief last semester, I wasn't entirely happy with the end results when the submission date drew near. Being the (often infuriatingly) perfectionist that I am, I decided to revisit and produce a new concept.

I'm happy with how it turned out. The (already created) tagline was stronger than its original incarnation's imagery, but now I think they compliment one another. Bold, but not crude.

Check out my fellow vis/com'r Sam Copeland's entry too while you're at it;

http://www.samcopeland.co.uk/studio-work.html

They looked damn good next to eachother. Shame we ballsed up the prints first time round, but lesson learned!

wise words for a graphic design student. baz luhrmann soundtrack not included.

Design does not equal client work.

It’s hard to make purple work in a design. The things your teachers tell you in class are not gospel. You will get conflicting information. It means that both are wrong. Or both are true. This never stops. Most decisions are gray, and everything lives on a spectrum of correctness and suitability.

Look people in the eyes when you are talking or listening to them. The best teachers are the ones who treat their classrooms like a workplace, and the worst ones are the ones who treat their classroom like a classroom as we’ve come to expect it. Eat breakfast. Realize that you are learning a trade, so craft matters more than most say. Realize that design is also a liberal art. Quiet is always an option, even if everyone is yelling. Libraries are a good place. The books are free there, and it smells great.

If you can’t draw as well as someone, or use the software as well, or if you do not have as much money to buy supplies, or if you do not have access to the tools they have, beat them by being more thoughtful. Thoughtfulness is free and burns on time and empathy.

The best communicators are gift-givers.

Don’t become dependent on having other people pull it out of you while you’re in school. If you do, you’re hosed once you graduate. Keep two books on your nightstand at all times: one fiction, one non-fiction.

Buy lightly used. Patina is a pretty word, and a beautiful concept.

Develop a point of view. Think about what experiences you have that many others do not. Then, think of what experiences you have that almost everyone else has. Then, mix those two things and try to make someone cry or laugh or feel understood.

Design doesn’t have to sell. Although, that’s usually its job.

Think of every project as an opportunity to learn, but also an opportunity to teach. Univers is a great typeface and white usually works and grids are nice and usually necessary, but they’re not a style. Helvetica is nice too, but it won’t turn water to wine.

Take things away until you cry. Accept most things, and reject most of your initial ideas. Print it out, chop it up, put it back together. When you’re aimlessly pushing things around on a computer screen, print it out and push it around in real space. Change contexts when you’re stuck. Draw wrong-handed and upside down and backwards. Find a good seat outside.

Design is just a language, it’s not a message. If you say “retro” too much you will get hives and maybe die. Learn your design history. Know that design changes when technology changes, and its been that way since the 1400s. Adobe software never stops being frustrating. Learn to write, and not school-style writing. A text editor is a perfectly viable design tool. Graphic design has just as much to do with words as it does with pictures, and a lot of my favorite designers come to design from the world of words instead of the world of pictures.

If you meet a person who cares about the same obscure things you do, hold on to them for dear life. Sympathy is medicine.

Scissors are good, music is better, and mixed drinks with friends are best. Start brave and brash: you can always make things more conservative, but it’s hard to make things more radical. Edit yourself, but let someone else censor you. When you ride the bus, imagine that you are looking at everything from the point of view of someone else on the ride. If you walk, look up on the way there and down on the way back. Aesthetics are fleeting, the only things with longevity are ideas. Read Bringhurst and one of those novels they made you read in high school cover to cover every few years. (Of Mice and Men, To Kill a Mockingbird, The Great Gatsby.)

Stop trying to be cool: it is stifling.

Most important things happen at a table. Food, friends, discussion, ideas, work, peace talks, and war plans. It is okay to romanticize things a little bit every now and then: it gives you hope.

Everything is interesting to someone. That thing that you think is bad is probably just not for you. Be wary of minimalism as an aesthetic decision without cause. Simple is almost a dirty word now. Almost. Tools don’t matter very much, all you need is a sharp knife, but everyone has their own mise en place. If you need an analogy, use an animal. If you see a ladder in a piece of design or illustration, it means the deadline was short. Red, white, black, and gray always go together. Negative space. Size contrast. Directional contrast. Compositional foundations.

Success is generating an emotion. Failure is a million different things. Second-person writing is usually heavy-handed. All of this is too.

Seeking advice is addicting and can become a proxy for action. Giving it can also be addicting in a potentially pretentious, soul-rotting sort of way, and can replace experimenting because you think you know how things work. Be suspicious of lists, advice, and lists of advice.

Everyone is just making it up as they go along.

This about sums up everything I know.

http://blog.frankchimero.com/post/979706728/what-advice-would-you-give-to-a-graphic-design-student

art of nurture 2011 entries.

"We succeed together."

I chose to visualise the theme through unconventional protagonists: ants. Despite their shortcomings as a species, they demonstrate extraordinary strength in teamwork – each individual helping the next harmoniously, striving toward achieving a common goal to benefit all. In this illustration, amongst the urban jungle, the ants are carrying various ‘currency leaves’ – representing that not only must we aim to support our own, domestic, community and economy, but also work together in order to succeed in a broader, international, sense. The aesthetic is stylised yet simplistic to retain focus on the message, whilst the colour palette is reminiscent of the brand identity of Lloyds TSB, both elements designed to propose a cohesive contribution toward a possible advertising campaign.

"We make it simple."

To visualise this theme, I chose to reference ‘connect the dot’ illustrations as they demonstrate image making in a very simplistic way – a method that could aid anyone, regardless of ability, in creating the desired pictorial outcome. Using a ‘pound sign’ as the structure in this piece, the metaphor is reiterated by visualising that Lloyds TSB make the topic of ‘money’ simple for its customers and clients. To elaborate further, the figure on the ladder has already begun to connect the dots, coaxing you to formulate the rest of the picture. The surrounding abstracted, formal environment acts as juxtaposition toward the seemingly infantile content within the ornate frame - reiterating that one need not be an accomplished artist to draw the picture, and likewise; one need not be skilled at numbers to bank with Lloyds TSB as they make the process simple for their clients and customers.

black swan posters.

In a word; obsessed.

Slick graphic design needs to make a come back. Utterly bored with movie posters these days cramming in as many actors' faces as possible, with a few stills behind. Lazy.

http://www.laboca.co.uk/LB3site/portfolio_BlackSwan.html

^ La Boca's website, the British design studio behind them.