Amazing Animation

Ted Baker brief for YCN 2009 additional communication

These were additional Posters sent with the animation to YCN. They explain how the heat aspect would warm the potential customers who are forced to shop in the cold, and also how the giant visual of fire would attract people from all around. The humorous aspect which Ted Baker like to associate themselves is in the subtle alteration of Ted Baker into Ted Baked. Cheers Guy, if I win i'll buy you a pint.

Ted Baker brief for YCN 2009 (second attempt, final version optimized for web)

This shows how much the visuals improved, using a real Ted Baker store in London.

Ted Baker brief for YCN 2009 (first attempt)

My idea for the Ted Baker brief was to create warmth to attract potential customers in from the cold of the Autumn/Winter season of which the brief was aimed. I can tell you now because the deadline has passed. This was the original animation trying to communicate the idea, and pretty much failing miserably.

Just a visual delight

This was taken when the sun was setting outside my house a few weeks ago. It hasn't been touched in photoshop, it was just a beautiful experience I would like to share.

Received messages from Mike Carney freelance designer Liverpool

Sent messages to Mike Carney freelance designer Liverpool

Contact reports with Andrew Altmeter design

Contact reports with Florio design

Karben Kurjo album cover screen-print

Over easter I was asked to produced the album art for the band Karben Kurjo's new album release 'Seeds and Leeches'. The band are reletively unknown but wanted to come across as having a more personal and unique style. I opted to do screen-prints to create this effect and designed the layout according to their beliefs and personal interests. I was very happy with the results and so were they. They can be found at http://KarbenKurjo.net

Futurebrand - Agency presentation

Also while we were in London our tutors set up a few meetings with agencies which were picked out of a hat. The agency which I was placed with was called 'Futurebrand'. Unfortunately I wasn't allowed to take any pictures of the studio for obvious reasons, but the studio was very impressive. They had a large team split into sections around the floor. We had a small (but thorough) presentation with two designers about the work they produce and have produced, and a small tour of the facilities. The visit was great and the people were very friendly. If anyone at 'Futurebrand' reads this who I havnt messaged already, thanks :)

Shellsuitzombie

While we were in London we had a workshop by Shellsuit Zombie, an organization aimed at promoting and inspiring students and graduates in design. The night started off with a jazzy band in a small pub called 'the cross keys'. It was a great venue and had an amazing atmosphere. After a few beers we descended into the basement where we met the ShellsuitZombie team. They gave a brief discussion of who they were, and what they were doing and preceded with an activity designed to generate ideas quickly. Overall it was a great night with drunken activities and converstaions. Brill.

Tal Rosner - Fail

The message I sent to Tal was never replied to, even after multiple sends. I wanted to show this as I believe my communication skills via E-mail have improved since I sent this message. It may be beneficial to E-mail a follow-up message asking why he chose not to respond, although I may not get a reply to that either.

Mike Carney Portfolio visit

I decided to set up a meeting with freelance designer Mike Carney from Mike' Studio to get an idea of how freelance work differs from working in an agency. I first came across Mike while researching agencies in Liverpool, as also wanted to try and find somewhere different than Manchester. I first sent Mike a questionnaire which he answered almost immediately, which can be found in the contact report section of my blog. I went and met him at his studio space in The Royal Standard, where he does the majority of his design work, and we talked for a while about his work and what freelance design entails. Afterwards we moved onto my portfolio which he seemed to like, especially the ideas behind the editorial. Like Andrew Almeter, he also commented on the lack of initial work and said he wanted to see more about how I came up without the ideas. It was a great experience overall and has made me much more interested in working freelance (at least for a while).

Jan Vormann questionairre

Contact reports from Jan Vormann. I'v admired him and the work he produces for some time so I decided to ask him some questions in hope that he would help inspire my work. Not only did his response inspire my work, but almost completely changed its direction for the better. Thanks a lot Jan!

Grid/fence creations

This is another of my current FMP ideas. It also involves the study and intervention of elements within the urban environment in order to draw attention to how interesting and inspirational the outside can be. This piece shows how the use of something which already exists in the urban environment can be changed to reflect an idea.

My take on Norman Wilkinsons camouflage technique

This is the first trial of my self-set FMP brief. Originally it focused on the study of the urban environment and creation of installations in order to create a better or more functional environment to exist in. Yet it has since been transformed into a series of work which examines and celebrates the urban environment with captured imagery and installations. This piece is one of the first ideas attempting to recreate camouflage techniques used in WW1 with the geometrical patterns created by Norman Wilson with his 'Razzle Dazzle" boats.

Norman Wilkinson

It was the British artist and naval officer Norman Wilkinson who to elude detection by German U-Boats, decided to paint hulls of his naval fleet with geometric patterns and shapes to confuse the Germans on where the ships were headed. As TwistedSifter states - "Then their torpedoes will be shot in vain because they thought you zigged when you really zagged."
Unfortunately today only black-and-white photos exist. Here's some of our favorites:

http://www.woostercollective.com/index.php?page=2

New York Visit 2

This was the second of my portfolio visits in New York. I went to an agency called Florio design with a classmate. The studio was small and looked like a really fun place to work. Linda and Tsia were very friendly and gave lots of great ideas towards the improvement of my portfolio. An issue raised about my portfolio was that my work didn't communicate the ideas in a completely effective way, and there was a tendency for to much emphasis on visual based design. The solution would be to include more work which relies on ideas and not aesthetics.

Can we have ethical design? What responsibility should the designer have? Issues and Practices essay

Graphic design as a mode of response is unfortunate. Its creation, as a response to capitalistic mass consumerism, has been its primary goal, and unfortunately it still is. The conundrum lies in the fact that both design and capitalism exist hand in hand, and to destroy one would inevitably lead to the destruction of the other (at least in their current forms). Many designers have tried to highlight this factor such as Ken Garland (among another 21 contributors) with his release of the First Things First Manifesto in 1963. Garland believed that good design should be used for a greater function than its previous use purely in advertising for a consumer society, Poyner writes, “The critical distinction drawn by the manifesto was between design as communication (giving people necessary information) and design as persuasion (trying to get them to buy things)” (Poynor, Émigré 51, 1999). The manifesto prompted a healthy response among designers, artists and humanitarians alike. In a column written in the Guardian on the 24^th January following the release of the First Things First Manifesto, Labour Member of Parliament Anthony Wedgwood Benn wrote, “The evidence for it is all around us in the ugliness with which we have to live. It could so easily be replaced if only we consciously decided as a community to engage some of the skill which now goes into the frills of an affluent society." So the question must be asked, if this problem was highlighted over 40 years ago, (and again with the First Things First Manifesto 2000) and received such a positive response, how is it that so little has changed?

The reason for this (as mentioned before) is mainly due to the economy to which graphic design has leant itself to (based upon the monetary system), and more recently to the added influx of graphic designers in the industry. As graphic design has become more popular (and so, more competitive) the education of the field tends to focus more on how to get a job, rather than its reasons for existing. Students now tend not to look at the history behind the design and the reasons for its existence, but seem to focus more on the trends and styles of its current existence. As this has become the case, designers attempts in the past to try to make design more ethical (or more aware of itself) has been lost. The teachings at the Cranbrook academy reflect this notion as the students’ work (which was heavily based upon the search for the vernacular) was quickly transformed into a visual style while the ideas became insignificant.

In fact the increase in unethical design can be seen in more and more recent examples of graphic design today. Due to modern advances in media and technology, graphic design has been forced to evolve in many different ways. Due to the competitive nature of the consumer society we live in, modern design has been forced to become slicker and more deviant than ever before, and through brand-marketing and advertising techniques companies no longer sell their goods as much as they sell themselves. Design now goes as far as creating whole personalities depending on which target audience the company is aimed at. Although it could be argued that variations of this technique have been used for a long time (since the birth of graphic design), it is undeniable that its recent usage is more powerful and more invisible than ever before. Yet the problem of ethical design always relates back to its reason for existing in the first place. The idea of design in its pure form is a beautiful thing, and basically exists as a form of expression in which can help people communicate ideas and information. But when its primary use is aimed at making people buy something they probably wouldn’t (which it usually does) it looses that which constitutes as ethical.

Recently I E-mailed freelance designer Mike Carney questioning how much emphasis he puts on ethical design, he replied “on some occasions I might be asked to work for a client where I just don't empathize, understand or have any interest in what they're doing, and on that basis I usually turn the work down (unless of course, I am skint).”

Recent change in design for Tropicana

Recently Tropicana changed the design of its cartons, altering the design from ideas based images (which reflected the fresh nature of tropicana's products in a fun and interesting way), to boring imagery of a glass of orange juice and some standard type. Needless to say the design went down terribly with its customers, which inevitably lead to Tropicana changing the design back to the original. Showing once again that change is usually a good thing, but not always. If its not broke, it probably doesn't need fixing.

image via http://www.intouch-labels.com

Mike Rigby

Mike Rigby studied at Preston University for 4 years and manages to get a one-month placement in-between. Since then he has worked at many prestigious agencies, such as Imagination London, The Chase, Landor, Pentagram, Interbrand Australia and he now works at True North In Manchester. Mike described working at these places ‘a challenging, and educating’ where people are helpful. His work between agencies has lead to him having a very credible name in the design community. To mike the amount of negatives much out-weigh the positives, but if you are serious about becoming a designer the benefits will be found through your enjoyment of the work you get to produce.

Michael Wolff

This practitioner report is on the lecture I went to by Michael Wolff at the Liverpool design symposium in November 2009. From the point that Michael walked into the theatre it was apparent that there was something special about this man. It was almost as if he had a glow of spiritual awareness around him, perhaps it was just because he looked like some a monk of some sort, but what he was to say affirmed my initial preconceptions. Michael had been a designer for the best part of his life, and it showed due to his lack of needing to prove himself by showing the work which he had produced. The lecture existed more like an interview with another person asking questions and him answering them. My notes consist more of a list of quotes due to the profound essence of his statements. These are as follows: 'There's always room for discovery' past experience can be a hinderance as well as a benefit due to arrogance. 'Don't expect a constant meaning'. 'Get Jobs, get fired'. There is enormous potential to be successful as everything is shit'. He discussed how there is a lack of communication between designers/designs and their subsequent effect on people, and how easily the majority of people can be upset by the smallest thing. Imagination is constantly suppressed by your own mind. 'If you ask the same questions, you get the same answers'. He also mentioned something which I believe completely, how there is a lack of originality in designers and their designs. 'BE REAL, BE HONEST'. Another thin which he mentioned is the use of your own portfolio and what your portfolio actually means, i.e the demonstration of what you are trying to say about yourself, your personality and your beliefs. 'Don't take no for an answer', 'Not doing justice to our roles as human beings'. The list goes on, but basically this man is a treasure in graphic design today, and is highly influential to me not just by the designs he produces, but more about the way he sees the world and its lack of originality and substance.

Decode exhibition London

This is a picture from the Decode exhibition at the V & A in London. Although the exhibition was relatively small, there were many installations crammed in all of which were interesting and current. This particular piece filmed your actions for 3 seconds and played it on loop within a sequence of other peoples reactions. It was great fun to participate in and to see how other people responded (many were ridiculous and hilarious).

Lauren Moriarty

Lauren Moriarty has a BA (hons) degree in Multimedia Textiles (first class honours) from Loughborough University School of Art and Design (2001) and an MA in Industrial Design from Central Saint Martins College of Art and Design, London (2005). She classes herself as a textile, product and industrial designer and she has mostly works with materials, which she finds interesting and unusual. Such examples of these are different types of plastics, foams and neoprene. She became interested in these different materials while at studying for her degree, and found that with the use of laser cutting she could manipulate the materials to her will. After graduating from college she went on to do a Masters working with the same materials in more complex ways she set out to ‘brand herself’, by creating a unique selling point. While studying her Masters new techniques became available for use such as heat bonding for her 3D rubber structures she would be most renowned for.

Safe For Work Porn

Not particularly anything to do with design, but it is a brilliant and hilarious example of appropriated moving image.

Compare and contrast the work and styles of two practitioners, Mike Rigby and Lauren Moriarty

Issues and Practises Essay

For this essay I have decided to compare and contrast the issues and practises of 3D/textile designer Lauren Moriarty and graphic designer Mike Rigby from the agency True North. I have decided to compare these two artists/designers because of their obvious differences in practise and methodologies.
Lauren Moriarty has a BA (hons) degree in Multimedia Textiles (first class honours) from Loughborough University School of Art and Design (2001) and an MA in Industrial Design from Central Saint Martins College of Art and Design, London (2005). She classes herself as a textile, product and industrial designer and she has mostly works with materials, which she finds interesting and unusual. Such examples of these are different types of plastics, foams and neoprene. She became interested in these different materials while at studying for her degree, and found that with the use of laser cutting she could manipulate the materials to her will. After graduating from college she went on to do a Masters working with the same materials in more complex ways she set out to ‘brand herself’, by creating a unique selling point. While studying her Masters new techniques became available for use such as heat bonding for her 3D rubber structures she would be most renowned for. After finishing her Masters she interest from many sections of the industry, the day that she exhibited her work. She explained how difficult it was carrying out orders that were given to her with no prior knowledge of what was expected, but she stuck with it until she became bored making materials and objects just to be sold. She explains how it eventually became just a matter of consumerism and lost all of its ‘experimental fun’.
Mike Rigby studied at Preston University for 4 years and manages to get a one-month placement in-between. Since then he has worked at many prestigious agencies, such as Imagination London, The Chase, Landor, Pentagram, Interbrand Australia and he now works at True North In Manchester. Mike described working at these places ‘a challenging, and educating’ where people are helpful. His work between agencies has lead to him having a very credible name in the design community. To mike the amount of negatives much out-weigh the positives, but if you are serious about becoming a designer the benefits will be found through your enjoyment of the work you get to produce. A short list of the positives and negatives are as follows:
Positives:
Being able to communicate information (being in control of what people are subjected to).
Giving the people a voice.
Helping to tackle certain social-political issues.
Negatives:
The competitive nature of the industry as it is now, due to the amount of interest in design and the competition that brings.
Long hours with no paid overtime.
The amount of pressure and the poor quality of work of which happens as a consequence.
Initial pay is poor.
Client interference in the work produced.
Lost pitches.
Negative environmental issues.
Over packaging.
Contribution to consumerism.

The way that Mike and Lauren initially went different ways with their ascent into the industry is unsurprising as both followed the general direction of what must be done to initially succeed. Mike went straight into the industry, as did Lauren, yet Mike set out building his reputation in a very different way. Mike set out working for agencies on placements to help climb the proverbial ladder, while Lauren set out working for herself, building her reputation through freelance projects. Both of which seemed to work as effectively as the other.

After becoming bored of working solely for the industry Lauren decided to take a step back in the hope that the experimental aspect of her work that she enjoyed so much could be reclaimed. After sorting out some studio space she set to finding innovative ways to help build her reputation. An example of which can be seen in her collaborative nightlight project. This particular project created a nightlight, which was also educational and fun for the children who it would be intended for. Lauren also discussed the importance of setting up a website for her work. She explained how easy and productive it was to set up a Paypal account, and the benefits in which resulted from this simple alteration.
Mike discussed the importance of placements and how they are an integral factor in the success of oneself as a designer. During this Mike suggested the best ways to get noticed over the sea of other design students hoping to get placements. He mentioned that showing six well-executed projects each with great ideas, will get you noticed and the importance of impressing your tutors (as it will be the same situation when you leave college). He also mentioned that interviews not only act as a process where you can show off the quality of the work you produce, but is also heavily for how well you are going to fit in with the other employees of that specific agency. This is so that when you are working with your colleagues the production of the work will flow much easier. He goes on to say other key elements in getting a placement and eventually getting a job are ‘taking professional pride in everything you do’, ‘being proactive and getting involved’, having a ‘positive attitude towards your work and the work of others’, always showing as much enthusiasm as possible, showing that you are hungry to learn and occasionally making a brew for everyone. Another interesting quote, which Mike said relates to the ethics of Michael Wolff, ‘rejection is part of design’.
The ways which both Mike and Lauren have built their reputations have differed in many ways, yet the lessons each have learn seem to be quite similar. The most beneficial aspect of having them come and give us the lectures was their attitudes towards the work which they have produced, and the overall positivity they both express towards working in a design based environment. It shows that the journey to get where you want to be may be difficult, but if you want it bad enough the rewards will speak for themselves.

Jan Vormann's website

This is a screen-shot showing Jan Vormann's website. I chose to include it because of its diversity over the style and function of other websites. It has no traditional communicative devices so that you have to find your own way through and explore each page until you find what you are looking for. The visual layout is simple and directly relates to the 'Dispatchwork' series. Another interesting aspect is how he chooses to change the layout occasionally, showing that nothing should be set in stone and should always be questioned and altered. I am in love with the work and the way of thinking that Jan communicates, in my opinion he is one of the most interesting artists of our time.

Jan can be found at http://www.Janvormann.com

Bag Monsters - Joshua Allen Harris

This is another great example of a simple installation idea. The heat vents emitting hot air cause the bags to inflate into the shape of the monster. There's something beautiful and inspiring about these kind of installations, creating an artistic use for something which has no other use than its intended function is fascinating to me. Doing these kind of installations opens your eyes to things you would not normally notice.

Street Art

I came across this while researching urban installations for my FMP. Closely related to the depth perception work by Georges Rousse, this work uses the same principles but is carried out in the urban environment. The paintings are laid out so that from a specific point the work can be seen to have depth, while from another it is distorted and stretched. Again the work which must go into the design and execution of these paintings is astounding.

Guerilla Gardening

Guerilla Gardening is a relatively new collective which encourages people to go into the urban environment and plant flowers in unusual places. I like this idea as it is something which is open to everyone to do and not just the artist. It is also interesting how the border between what can be classed as graffiti is blurred as the guerilla aspect usually has negative connotations, yet the planting of flowers is a completely ethcial aspect.