Quick note...
Having just come across this article: here
I feel that there are an array of very valid points raised, not all of them generating a positive feeling about my near future I must say.
In my opinion, I think this course tackles a lot of the surrounding areas of learning 'practical skills' ...or more specifically the nuts and bolts of seeing a design project through from beginning to end. This includes (from where I'm sitting at least) the liaising with printers and overall project managing etc.
The main thing it has made me question, albeit a bit late in the day perhaps, is should I start my own design studio up as opposed to working for someone else.
Up until now I have dismissed this completely, and by no means am I in favour of it now... just a thought really and something that may need addressing very promptly if it comes to fruition.
Tuesday, 1 March 2011
Monday, 28 February 2011
Amazon Publication Invoice
A lot has happened since the prior quotation for this job and it has been a steep learning curve for the better part of it.
First of all, I learned that quotes don't usually include tax so you can expect 20% increase on top afterwards. This, as you can imagine isn't particularly nice if you didn't expect it or have the knowledge to begin with.
However, I also learned (thanks to Joe, who has again been a hero) that print jobs that are complete publications (i.e the entire job of printing AND binding is quoted as one job) are exempt from tax.
SO... instead of quoting the print job from Team and the binding from Spink and Thackray separately (meaning two lots of tax on two separate jobs), I was able to get Team to outsource to Spink (as they usually do anyway) all in one go and therefore get the entire publication completed without having to pay tax on the job.
As a result, final billing for 68 complete case bound Amazon Publications (three more from last time) was £1,305 (£19.19 per unit)... and in budget. Brilliant.
This also means that I don't have to transport prints from Team to Spink and that I can simply collect the final books from just around the corner. Also brilliant.
A few other lessons learned were that you have to pay up front when the job is the first one between you and the printers. Fair enough in my opinion.
Not so good though was the fact that proofs got couriered to my door without prior warning (good luck I got home about 15minutes earlier). I guess that I can't moan as the quality is looking amazing and the process has been really prompt... it's just that I feel as if I have been navigating in the dark and learning as I've been getting everything done.
I think it may be my own fault for not mentioning that I was a student, but from previous experience this 'label' has given the impression that I'm after a quote for a job that will never come to anything. Rough with the smooth it seems.
All-in-all, it's a case of lots learned and even more gained.
I can't wait for the final product to be ready for collection. The experience has been a rollcoaster, but one I have been glad to have been a part of.
(oh and one final note... I am quite aware that if this were a professionally paid job I would have to be charging a substantial amount due to the high unit cost of a small print run. For now though, I am very grateful of the experiences that I have gained in both the design process and the print negotiations).
First of all, I learned that quotes don't usually include tax so you can expect 20% increase on top afterwards. This, as you can imagine isn't particularly nice if you didn't expect it or have the knowledge to begin with.
However, I also learned (thanks to Joe, who has again been a hero) that print jobs that are complete publications (i.e the entire job of printing AND binding is quoted as one job) are exempt from tax.
SO... instead of quoting the print job from Team and the binding from Spink and Thackray separately (meaning two lots of tax on two separate jobs), I was able to get Team to outsource to Spink (as they usually do anyway) all in one go and therefore get the entire publication completed without having to pay tax on the job.
As a result, final billing for 68 complete case bound Amazon Publications (three more from last time) was £1,305 (£19.19 per unit)... and in budget. Brilliant.
This also means that I don't have to transport prints from Team to Spink and that I can simply collect the final books from just around the corner. Also brilliant.
A few other lessons learned were that you have to pay up front when the job is the first one between you and the printers. Fair enough in my opinion.
Not so good though was the fact that proofs got couriered to my door without prior warning (good luck I got home about 15minutes earlier). I guess that I can't moan as the quality is looking amazing and the process has been really prompt... it's just that I feel as if I have been navigating in the dark and learning as I've been getting everything done.
I think it may be my own fault for not mentioning that I was a student, but from previous experience this 'label' has given the impression that I'm after a quote for a job that will never come to anything. Rough with the smooth it seems.
All-in-all, it's a case of lots learned and even more gained.
I can't wait for the final product to be ready for collection. The experience has been a rollcoaster, but one I have been glad to have been a part of.
(oh and one final note... I am quite aware that if this were a professionally paid job I would have to be charging a substantial amount due to the high unit cost of a small print run. For now though, I am very grateful of the experiences that I have gained in both the design process and the print negotiations).
Sunday, 27 February 2011
Website Updates
Added some new pieces to my website this weekend, also trivially changed the background colour to an extremely light grey. It takes the pain away from looking at bright white which I think is a plus. It also lets me use images with a white background without having to put an ugly border on them...another plus.
Friday, 25 February 2011
Wednesday, 23 February 2011
Monday, 21 February 2011
Thursday, 10 February 2011
Elmwood Portfolio Review
With D&AD rolling into town I managed to have a portfolio review today with Stephen Woowat from Elmwood. The sessions were meant to last for ten minutes each, but as I was his last un-employed designer of the morning we got talking for just over half an hour.
As with previous portfolio reviews positive and negative issues were discussed for each of the projects and as I haven't managed to update my portfolio since seeing Alex Atkinson and Si Scott, I went on the premise of seeking the same feedback and applying a compare/contrast approach to the review. Points of discussion were as follows:
Fedrigoni Paper
+ Favourite project of the portfolio due to the journey and development of the concept.
+ Strong product photography and effective method of delivery.
- Would like to see more paper crafted elements. More of the proposed monthly themes etc.
- It would be more beneficial to push the concept through and demonstrate how the networking event may work. Could the signage be made of paper craft for example? Really communicate the story/narrative.
A4 Only Exhibition
+ The 'brand' is effectly distributed across a range of promo materials.
+ Interesting concept for digital delivery at the exhibition event.
- Could include photographs of the event to again communicate the story and the context.
Typefaces
+ Favourite typeface was the biscuits (takes the biscuit).
- Should include images of when you actually made the type with the objects. This will additionally help to sell the story behind the production.
- You could use one of the typefaces across a brief to give context, but only if it is appropriate. Don't force the issue in other words.
Creative Networks
+ Excellent to include a real printed flyer
Overall Comments
+ Generally a very strong portfolio.
- Would like to see one or two more projects. Probably just one more would do it.
- Get some brand identity briefs in there also. Show you can do this.
As with previous portfolio reviews positive and negative issues were discussed for each of the projects and as I haven't managed to update my portfolio since seeing Alex Atkinson and Si Scott, I went on the premise of seeking the same feedback and applying a compare/contrast approach to the review. Points of discussion were as follows:
Fedrigoni Paper
+ Favourite project of the portfolio due to the journey and development of the concept.
+ Strong product photography and effective method of delivery.
- Would like to see more paper crafted elements. More of the proposed monthly themes etc.
- It would be more beneficial to push the concept through and demonstrate how the networking event may work. Could the signage be made of paper craft for example? Really communicate the story/narrative.
A4 Only Exhibition
+ The 'brand' is effectly distributed across a range of promo materials.
+ Interesting concept for digital delivery at the exhibition event.
- Could include photographs of the event to again communicate the story and the context.
Typefaces
+ Favourite typeface was the biscuits (takes the biscuit).
- Should include images of when you actually made the type with the objects. This will additionally help to sell the story behind the production.
- You could use one of the typefaces across a brief to give context, but only if it is appropriate. Don't force the issue in other words.
Creative Networks
+ Excellent to include a real printed flyer
Overall Comments
+ Generally a very strong portfolio.
- Would like to see one or two more projects. Probably just one more would do it.
- Get some brand identity briefs in there also. Show you can do this.
Monday, 31 January 2011
Amazon Publication Print Quotation
Last week Andrew (by no fault of his own) eventually got back to me with a finalised figure required for the print run and production of the Amazon Publication... it seemed as if the number would never stop increasing! However, from 25 copies we have at long last settled on 65 all-in-all and we are finally ready to go to print.
As recommended by Joe Gilmore, the publication is going to be printed digitally (by Team Impression) as opposed to litho. The print run simply doesn't justify the costs of litho by industry standards and besides, Team's digital printers are reportedly near litho quality (and the best locally that have been tried and tested by both Joe and Justin) so the difference to the human eye should be minimal which is excellent.
In regards to the quotation itself, I am happy to say that it thankfully arrived in my mailbox this morning after various set-backs and mishaps on Team's behalf... this in itself was slightly disappointing, but I was pretty impressed by the figure though.
With this quotation, the unit cost for print works out at £9.15 and the cost for binding by Spink and Thackray is estimated to be within the region of £7-8... this is based on the fact that the original quote for 25-30 copies was £11 a unit so I am assuming -until tomorrow when I ring up for a requote- that it will be reduced a little with the increased number of publications.
Overall then, the total unit cost should be within the region of £18 - a perfect number considering I originally estimated a £20 unit cost to Andrew prior to enquiry.
I really can't wait to receive this job back as it will be my first proper print job that I have seen right through from start to finish by myself.
Exciting times!
As recommended by Joe Gilmore, the publication is going to be printed digitally (by Team Impression) as opposed to litho. The print run simply doesn't justify the costs of litho by industry standards and besides, Team's digital printers are reportedly near litho quality (and the best locally that have been tried and tested by both Joe and Justin) so the difference to the human eye should be minimal which is excellent.
In regards to the quotation itself, I am happy to say that it thankfully arrived in my mailbox this morning after various set-backs and mishaps on Team's behalf... this in itself was slightly disappointing, but I was pretty impressed by the figure though.
With this quotation, the unit cost for print works out at £9.15 and the cost for binding by Spink and Thackray is estimated to be within the region of £7-8... this is based on the fact that the original quote for 25-30 copies was £11 a unit so I am assuming -until tomorrow when I ring up for a requote- that it will be reduced a little with the increased number of publications.
Overall then, the total unit cost should be within the region of £18 - a perfect number considering I originally estimated a £20 unit cost to Andrew prior to enquiry.
I really can't wait to receive this job back as it will be my first proper print job that I have seen right through from start to finish by myself.
Exciting times!
Sunday, 30 January 2011
Portfolio Reviews: To Do List
Given the feedback received from Si Scott and Alex Atkinson in last weeks portfolio reviews, I have given myself a mini action plan to complete prior to February 10th - the D&AD portfolio review event:
Fedrigoni
01. Condense down to a single double page spread.
02. Mock up contextual networking event.
A4 Only Exhibition
01. Condense down to a single double page spread.
02. Propose bluetooth technology for digital distribution.
03. Include photographs from the actual event.
Typeface Design
01. Remove tools typeface and biscuits typeface IF...
02. Additional brief for Belt Up Lad is completed prior to Feb 10th. (doubtful).
Creative Networks
01. Add photographs from actual event if I can acquire decent quality ones. The ones supplied by Bridget at present aren't from inside the talk itself which is a shame.
Additional
01. Photograph British Linguistics screenprints and put in.
02. Print Amazon Publication at Team Impression, photograph and put into portfolio. (Quote is expected Monday morning or Tuesday morning at the latest).
03. Devise an opening page. Type driven layout? Big central logo?
-
All of the above I believe should be achievable except the completion of a new brief using the Belt Up Lad typeface. This could have been possible, however the yearbook and Garry Barker experimental publication pitches take significant priority over the coming two weeks.
Fedrigoni
01. Condense down to a single double page spread.
02. Mock up contextual networking event.
A4 Only Exhibition
01. Condense down to a single double page spread.
02. Propose bluetooth technology for digital distribution.
03. Include photographs from the actual event.
Typeface Design
01. Remove tools typeface and biscuits typeface IF...
02. Additional brief for Belt Up Lad is completed prior to Feb 10th. (doubtful).
Creative Networks
01. Add photographs from actual event if I can acquire decent quality ones. The ones supplied by Bridget at present aren't from inside the talk itself which is a shame.
Additional
01. Photograph British Linguistics screenprints and put in.
02. Print Amazon Publication at Team Impression, photograph and put into portfolio. (Quote is expected Monday morning or Tuesday morning at the latest).
03. Devise an opening page. Type driven layout? Big central logo?
-
All of the above I believe should be achievable except the completion of a new brief using the Belt Up Lad typeface. This could have been possible, however the yearbook and Garry Barker experimental publication pitches take significant priority over the coming two weeks.
Friday, 28 January 2011
Alex Atkinson Portfolio Review
As with Si Scott last week, today's portfolio review with Alex Atkinson was extremely beneficial and thought provoking in terms of how I could improve my portfolio in order to make it the best that it possibly can be. I again prepared questions that I felt I needed advice on, particularly in response to what Si commented upon last time around. This was mainly to do with the contextualization of design work and what the most appropriate way of presenting it would be. Essentially, am I presenting my work in an appropriate manner or do I need to work towards showcasing it in real life environments more than what I have done already.
As we went through the work brief by brief there were positive and negative (well, areas that could be pushed further) aspects for each. They were as follows:
Fedrigoni Paper
+ Nice, strong concept behind the brief.
+ Exploration of print finish is both relevant and well executed, especially for Fedrigoni.
- Your opening page is not the strongest image, so revise how you present the brief.
- As the concept is the driving force behind the brief then you need to show this more. To elaborate:
Condense the brief down to a single double page - you don't necessarily even need to present the poster. Mock up a real life interactive shop / showroom window and demonstrate how the networking event would operate. If time allows then also mock up another monthly event so that there is something to compare to the planes.
A4 Only Exhibition
+ The expansion of the original brief is effective and shows good appropriation skills.
+ Effective to have poster examples with you in addition to the photographs. This allows the interviewer to gain an insight into the process and the tangible qualities.
- Remove the stationery as it doesn't add to the brief much.
- Also remove the discs. This idea is a bit archaic. Instead propose a new forward-thinking idea whereby the guests may receive your digital deliverables via bluetooth - like 02. Or even a new technology that doesn't exist yet, be open minded.
- Include the photos you have from the exhibition itself. This context is important and allows the viewer to understand what the deliverables were actually designed for.
Typefaces
+ How they are presented is absolutely fine, you don't need to re-approach the delivery through a use of sentence in my opinion.
+ The smaller sentences in the corner are effective in showing how the type may read.
+ Belt Up Lad is really strong and lends itself to be used in a real life context.
- Take out the tools typeface as this has been done so many times. The Objectified DVD by Gary Hustwit (design by Build) sort of put it to bed as such.
- Also take out biscuits purely because it isn't as strong at the Belt Up Lad typeface.
- Take the Belt Up Lad typeface and use it as a springboard to complete a new brief. Something like an NSPCC campaign, something quite dark and sobering. A brief that will demonstrate that you have thought in depth about a cultural topic.
Creative Networks
+ Excellent to demonstrate a brief that has gone through to professional print.
+ Also excellent to include a real life version of the flyer.
- Include photos from the talk if available as they will boost the contextual referencing side of your portfolio.
Overall Comments
+ Strong portfolio, work well presented and professionally documented.
+ Good to include actual printed artwork such as the flyer.
- Condense your briefs down. One double page per brief.
- Add more briefs, but that will come over the coming month(s).
- Use first page as a title page as opposed to an actual project.
As we went through the work brief by brief there were positive and negative (well, areas that could be pushed further) aspects for each. They were as follows:
Fedrigoni Paper
+ Nice, strong concept behind the brief.
+ Exploration of print finish is both relevant and well executed, especially for Fedrigoni.
- Your opening page is not the strongest image, so revise how you present the brief.
- As the concept is the driving force behind the brief then you need to show this more. To elaborate:
Condense the brief down to a single double page - you don't necessarily even need to present the poster. Mock up a real life interactive shop / showroom window and demonstrate how the networking event would operate. If time allows then also mock up another monthly event so that there is something to compare to the planes.
A4 Only Exhibition
+ The expansion of the original brief is effective and shows good appropriation skills.
+ Effective to have poster examples with you in addition to the photographs. This allows the interviewer to gain an insight into the process and the tangible qualities.
- Remove the stationery as it doesn't add to the brief much.
- Also remove the discs. This idea is a bit archaic. Instead propose a new forward-thinking idea whereby the guests may receive your digital deliverables via bluetooth - like 02. Or even a new technology that doesn't exist yet, be open minded.
- Include the photos you have from the exhibition itself. This context is important and allows the viewer to understand what the deliverables were actually designed for.
Typefaces
+ How they are presented is absolutely fine, you don't need to re-approach the delivery through a use of sentence in my opinion.
+ The smaller sentences in the corner are effective in showing how the type may read.
+ Belt Up Lad is really strong and lends itself to be used in a real life context.
- Take out the tools typeface as this has been done so many times. The Objectified DVD by Gary Hustwit (design by Build) sort of put it to bed as such.
- Also take out biscuits purely because it isn't as strong at the Belt Up Lad typeface.
- Take the Belt Up Lad typeface and use it as a springboard to complete a new brief. Something like an NSPCC campaign, something quite dark and sobering. A brief that will demonstrate that you have thought in depth about a cultural topic.
Creative Networks
+ Excellent to demonstrate a brief that has gone through to professional print.
+ Also excellent to include a real life version of the flyer.
- Include photos from the talk if available as they will boost the contextual referencing side of your portfolio.
Overall Comments
+ Strong portfolio, work well presented and professionally documented.
+ Good to include actual printed artwork such as the flyer.
- Condense your briefs down. One double page per brief.
- Add more briefs, but that will come over the coming month(s).
- Use first page as a title page as opposed to an actual project.
Thursday, 27 January 2011
Botz Brigade: Client Feedback
Hi Liam,
I have managed to have a look through the logos you sent through and have shown them to my partner. We like the feel that you are trying to go for, the simplicity and clean look is something we think is working well. We have a few suggestions that we would like you to explore though if possible...
So, could you try and bring the b's close together like 'bb' and then add some colour to one of them... Possibly purple? Also try out a border and toy with some form of robot eye in one of the b loops?
Cheers,
Charlie.
I have managed to have a look through the logos you sent through and have shown them to my partner. We like the feel that you are trying to go for, the simplicity and clean look is something we think is working well. We have a few suggestions that we would like you to explore though if possible...
So, could you try and bring the b's close together like 'bb' and then add some colour to one of them... Possibly purple? Also try out a border and toy with some form of robot eye in one of the b loops?
Cheers,
Charlie.
Ria Ritchie Gig Poster Final
If I'm honest I'm really not too keen on this resolution, in fact I don't want to look at it again, but the experience gained through working with another live client was beneficial.In my opinion I struggled to work with the limited body copy. It looks quite plain and suggests that it took a few minutes to complete - simplicity is never as easy as it seems though. In my heart I think it should have been completed using Courier New, but the context just wasn't right - perhaps if it was a postcard then I might have gotten away with it.
Never-the-less, brief complete and onto the next thing.
Ria Ritchie Gig Poster Proposed Finals
The feedback on this preliminary version was that the type wasn't bold enough and that it was slightly too difficult to read. In hindsight I kind of agree, especially as the type is reversed out. Hence the move to Clarendon LT Std.
Below is the final proposed layout prior to the manager enforcing the change in copy. It was a bit of a spanner in the works and caused a re-arrange in regards to the hierarchy, but (luckily) it wasn't too major in the end. I didn't want to spend too long on this brief.
Below is the final proposed layout prior to the manager enforcing the change in copy. It was a bit of a spanner in the works and caused a re-arrange in regards to the hierarchy, but (luckily) it wasn't too major in the end. I didn't want to spend too long on this brief.
Ria Ritchie Gig Poster Development
This morning I spent a quick couple of hours producing a gig poster for a friend of mine who is in the process of signing with EMI Records - Ria Ritchie.
The image, logo and copy were all supplied. Personally I hate the logo and it was quite difficult to find a suitable typeface that would work alongside it visually whilst getting the message across to the audience effectively.
As a designer, I much prefer the use of Courier New from a visual aspect (even though I didn't get the opportunity to work on the hierarchy properly), but the lesson learned here was that you can't always design for a designer and that client led design always seems to be a constant struggle in terms of obtaining an agreement. Courier new is also a bit light in colour, so Clarendon was probably a more suitable choice for the context even if it doesn't look quite as sexy.
Ria's manager also gave feedback on the initial finals that I sent to her which is why half of the support information disappears half-way through. Not entirely sure why this was a problem, but such is the industry.
The image, logo and copy were all supplied. Personally I hate the logo and it was quite difficult to find a suitable typeface that would work alongside it visually whilst getting the message across to the audience effectively.
As a designer, I much prefer the use of Courier New from a visual aspect (even though I didn't get the opportunity to work on the hierarchy properly), but the lesson learned here was that you can't always design for a designer and that client led design always seems to be a constant struggle in terms of obtaining an agreement. Courier new is also a bit light in colour, so Clarendon was probably a more suitable choice for the context even if it doesn't look quite as sexy.
Ria's manager also gave feedback on the initial finals that I sent to her which is why half of the support information disappears half-way through. Not entirely sure why this was a problem, but such is the industry.
Monday, 17 January 2011
Si Scott Portfolio Review
Today's Portfolio Review with Si Scott was very beneficial to say the least. I prepared some questions that I wanted answering and we ended up discussing all of those and more. The overarching advice that I received was:
"I like it a lot. It's presented well, I just want to see more."
This would suggest that my portfolio could benefit from one or two more projects as it only contains four that I am truly satisfied with at the moment. Once last module's Amazon Publication has been sent off to print I am certain that will go in. The same can be said for my British Linguistics screen-prints. I need to photograph these over the coming week as the lighting bulbs blew before submission last module and the photography staff weren't in the building to help. I have since not got around to re-hiring out the lighting equipment.
Another pointer from Si was that the presentation of my typeface design (Belt Up Lad, Takes The Biscuit and A Bad Workman Blames His Tools) could perhaps use a sentence as the focal point and then have the entire alphabet running underneath. This would demonstrate how it works in context of readability and legibility.
-
Portfolio aside, we also talked about the issue of a creative CV because I personally feel that I have been having some problems with it. Si advised that I should consider working with folded paper crafting like I did for last year's Fedrigoni brief. The idea behind this being that my work is very much about print finish and tangible qualities so I should therefore try to evoke the same sort of work ethic for my CV as well. This is an idea I like a lot and will look into. The other alternative could be to screen-print what could arguably be described as a mailshot/leave-behind.
Finally, I managed to get some recommendations on London based studios that (based on my work) I may like to work for / approach in regards to a job or internship.
In summary of the whole tutorial (as there is simply too much to type the long-winded way) the ups and downs (as well as advice and recommended studios) were as follows:
Ups:
+ Professional and well presented portfolio.
+ Strong product photography.
+ Coherent with branding - business card, CV and website.
+ I want one of your prints when I come back in.
+ Typefaces in context of an iPhone app is effective.
Downs:
- Would simply like to see more work. I like it, I want more.
- Present typeface design contextually.
Advice:
+ Make your CV interactive to reflect your design interests.
+ Send real pieces of work to studios. It's too easy to send .pdfs and emails.
+ Make a nuisance of yourself, be persistent.
+ Just show people your prints to get distribution.
+ Begin and end portfolio with your favourite pieces
Relevant Studios:
NB Studio
Pentagram
Area
North Design
Spin
The Chase
Bibliotheque
"I like it a lot. It's presented well, I just want to see more."
This would suggest that my portfolio could benefit from one or two more projects as it only contains four that I am truly satisfied with at the moment. Once last module's Amazon Publication has been sent off to print I am certain that will go in. The same can be said for my British Linguistics screen-prints. I need to photograph these over the coming week as the lighting bulbs blew before submission last module and the photography staff weren't in the building to help. I have since not got around to re-hiring out the lighting equipment.
Another pointer from Si was that the presentation of my typeface design (Belt Up Lad, Takes The Biscuit and A Bad Workman Blames His Tools) could perhaps use a sentence as the focal point and then have the entire alphabet running underneath. This would demonstrate how it works in context of readability and legibility.
-
Portfolio aside, we also talked about the issue of a creative CV because I personally feel that I have been having some problems with it. Si advised that I should consider working with folded paper crafting like I did for last year's Fedrigoni brief. The idea behind this being that my work is very much about print finish and tangible qualities so I should therefore try to evoke the same sort of work ethic for my CV as well. This is an idea I like a lot and will look into. The other alternative could be to screen-print what could arguably be described as a mailshot/leave-behind.
Finally, I managed to get some recommendations on London based studios that (based on my work) I may like to work for / approach in regards to a job or internship.
In summary of the whole tutorial (as there is simply too much to type the long-winded way) the ups and downs (as well as advice and recommended studios) were as follows:
Ups:
+ Professional and well presented portfolio.
+ Strong product photography.
+ Coherent with branding - business card, CV and website.
+ I want one of your prints when I come back in.
+ Typefaces in context of an iPhone app is effective.
Downs:
- Would simply like to see more work. I like it, I want more.
- Present typeface design contextually.
Advice:
+ Make your CV interactive to reflect your design interests.
+ Send real pieces of work to studios. It's too easy to send .pdfs and emails.
+ Make a nuisance of yourself, be persistent.
+ Just show people your prints to get distribution.
+ Begin and end portfolio with your favourite pieces
Relevant Studios:
NB Studio
Pentagram
Area
North Design
Spin
The Chase
Bibliotheque
Friday, 14 January 2011
Thursday, 13 January 2011
Design Strategy / Design Presence Workshop
Design Strategy To-do:
01. Get in touch with Generation Press and organize a visit to discuss sustainability in high-end print production.
02. Complete at least two competition briefs throughout my FMP. At present I have selected one ISTD brief (Mutton Quad), but the second is undecided. 'Fakery' by ISTD or 'Marks and Spencer' by YCN are both possibilities.
03. Make contact with Paul Pensom to discuss sustainability in print, identity through branding and grid systems.
04. Re-evaluate London-based agencies that I would potentially like to work for in order to visit and discuss my interests. This may then lead to internships etc.
05. I have been in contact with Erik Spiekermann who has agreed to discuss my dissertation and typography design interests. I was meant to visit whilst in Berlin, but the office had a sold out ticketed event taking place. I need to make contact again and follow this up.
06. Continue to attend every talk by a visiting professional on Fridays.
07. Continue to attend First Tuesday every month. I could really make use of a good photographer for lighting and other such techniques that will make my portfolio look stronger and more professional.
08. Secure an internship or placement for either once a week over the coming months or during Easter, as well as when I leave the course. I must make contact with at least ten new agencies by the end of next week.
09. Update Nicolas Bourquin with my dissertation progress and send a final copy once complete.
10. -
Design Presence To-do:
01. Update my website with my latest work completed during last module.
02. Continue to distribute my business cards.
03. Update my CV and apply my branding so it is coherent with my website and business card.
04. Complete a letterhead, although I have no permanent address so I need to consider this. Also consider compliment slip.
05. Update print based portfolio with latest work. The same can be said for my digital .pdf version. This has to be done for Monday 17th January.
06. Create a Behance profile and get work up on there. It would appear to be useful in getting recognition across other blogs such as ffffound and It's Nice That.
07. Design a mailshot or leave-behind for when visiting studios over the coming weeks.
08. -
09. -
10. -
01. Get in touch with Generation Press and organize a visit to discuss sustainability in high-end print production.
02. Complete at least two competition briefs throughout my FMP. At present I have selected one ISTD brief (Mutton Quad), but the second is undecided. 'Fakery' by ISTD or 'Marks and Spencer' by YCN are both possibilities.
03. Make contact with Paul Pensom to discuss sustainability in print, identity through branding and grid systems.
04. Re-evaluate London-based agencies that I would potentially like to work for in order to visit and discuss my interests. This may then lead to internships etc.
05. I have been in contact with Erik Spiekermann who has agreed to discuss my dissertation and typography design interests. I was meant to visit whilst in Berlin, but the office had a sold out ticketed event taking place. I need to make contact again and follow this up.
06. Continue to attend every talk by a visiting professional on Fridays.
07. Continue to attend First Tuesday every month. I could really make use of a good photographer for lighting and other such techniques that will make my portfolio look stronger and more professional.
08. Secure an internship or placement for either once a week over the coming months or during Easter, as well as when I leave the course. I must make contact with at least ten new agencies by the end of next week.
09. Update Nicolas Bourquin with my dissertation progress and send a final copy once complete.
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Design Presence To-do:
01. Update my website with my latest work completed during last module.
02. Continue to distribute my business cards.
03. Update my CV and apply my branding so it is coherent with my website and business card.
04. Complete a letterhead, although I have no permanent address so I need to consider this. Also consider compliment slip.
05. Update print based portfolio with latest work. The same can be said for my digital .pdf version. This has to be done for Monday 17th January.
06. Create a Behance profile and get work up on there. It would appear to be useful in getting recognition across other blogs such as ffffound and It's Nice That.
07. Design a mailshot or leave-behind for when visiting studios over the coming weeks.
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