Collaborative SB2 : Logo & Business Card : Production & Evaluation

Preparing the mockups for print and finish

After the second collaborative meeting with the client where stock and finishes where discussed we came to the decision of applying a silver foil finish to some of the type and logo and a matt finish would be most suitable whilst also adding a higher quality professional finish to the business cards which the client initially requested. These mock ups will be printed and presented to the client for feedback before printing the final larger batch of fifty business cards. These mockups will also show the most effective design for the reverse side of the business card also based upon feedback from the client. 

After Print & Finishing

Unfortunately the foil finishing method did not take to the dark grey background due to it containing particles of black. Printing a coloured background also restricted the aesthetic quality and i was not happy with the finish. After getting in contact again with the client to relay my concerns with the dark background and selected finish we came to the conclusion to get rid of the coloured background print the type in black so the foil could be applied to where it was intended. Photos of the initial mock ups can be seen below. After this first print appropriate modifications were made as seen in the developments.  

Developments

Final Outcome

Evaluation

The final outcome worked really well. The stock background as the developed design worked effectively presented the silver foil finish, in contrast to the black and white photography on the back. The client agreed and loved the finished outcome.

However initially applying the foil encountered some problems due to the printer ink not drying and the heat foil method. The heat applied meant the back image was manipulated by the cover stock needed to put the business card through the laminator. This was later resolved by waiting longer for the ink to dry and applying tracing paper between the business card and the stock.   

Overall the finished outcome worked well after production problems were resolved. The stock background the client agreed was actually a better outcome to the dark background. The client did prefer the developed final outcome as opposed to her initial thoughts and ideas. 

The foil finish was effective in meeting the brief mainly due to achieving the professional finish the client desired. Collaborative discussion and feedback throughout the design process helped to produce the most successful end result. This brief and project has also offered further networking opportunities as after seeing the finished outcome the client’s friend and another student at LAU would now like me to design and produce her business cards.  

Creative Advertising SB2 : Second meeting : Further Research

Key insights:

People aren't sure whether they can go to an exhibition/when and where they are?

People go to the exhibitions for the enjoyment of the experience 


Leeds Arts University:

- New experience

- You can't leave empty handed

- Gives you what you miss

Proposition 

LAU provides a different experience?

Unlike you've seen before

Different to what you've seen before

Next step:
Gather feedback to refine proposal 


Refined proposition:
'You'll take something away'

Initial typography ideas inspired by the proposition:

Creative Advertising SB2 : First Meeting : Research

GROUP ACTION PLAN

MEET THURSDAY 31st - 12 

MEET FRIDAY 1ST - 1:30

THURSDAY 7^TH – Almost idea finalised MEET AT 1:30

FRIDAY 15^TH – Idea visualised/visuals of campaign

18^th FEB – Finalise work

22^nd FEB – DEADLINE

First Task : Re-read brief and research past exhibitions and designers 


Deliverables 

*External Signage Blenheim Walk. Signage covers the four sides of the brick folly, each panel measures approx. 2260mm x 4030mm.

*A0 Poster. For the poster towers in and around the city centre and Hyde Park, Headingley etc. Poster must be bright and bold to stand out from the ‘noise’ created by other advertising. 

*A6 double sided flyer to distribute around bars and venues in Leeds. 

*Publication Adverts. Several adverts for printed publications.

Research 

Existing Exhibitions 

1. IMITATE MODERN

"A contemporary London art gallery with a difference, we are edgy but friendly, intimate but globally recognised, and are keen to welcome you to our contemporary art exhibitions showing in the historical heart of Mayfair, Shepherd Market! We are proud to exhibit artwork by emerging artists from around the globe, many of whom have now established successful careers and followings in the art world.

Exhibitions range from paintings and sculpture, to pop silkscreens and contemporary photography, but our intention remains the same – to exhibit edgy, exciting and emerging contemporary artists. Throughout 2018 we will be showing our selection of limited edition and unique original artworks, so do join our mailing list and join us for a season of art love!"

Idea from this exhibition was to incorporate Leeds culture whether it's buildings, artwork, places to brand the exhibition focusing on one of the culturally driven University values. 

2. Kris Lemsalu: ‘4LIFE’

"Kris Lemsalu has converted this gallery into a little shop of psychedelic horrors. It’s filled with bodies caught in the middle of mutating, metamorphosing and transmogrifiying into bizarre, twisted new shapes.

The Estonian artist combines glistening ceramics and intricate fabrics into shocking tableaux. The first installation here features a wall of arms and hands, surrounded by climbing grips. It’s like a bouldering centre run by an eccentric artist. The work implies that a degree of physical effort – the climbing – can lead to a new version of you.

In the next installation, ceramic crows pick bodies up from a rock garden: a bride, a baby, a workman, all stolen from this grey hell and whisked up into the sky. The room is dark, cold, and a little overwhelming, like a post-apocalyptic landscape that these people are lucky to be saved from.

The final installation is the best of the lot: rainbow figures dive into a rancid hot tub of bubbling brown water, watched over by some enormous vaginal ceramic god, surrounded by grabbing hands. The installation feels like a psychedelic moment of rebirth, or maybe just actual birth.

To an extent, ceramics are the most over-played material in contemporary art right now, and if I never have to see another artist making wobbly figures out of them it’ll be too soon. But Lemsalu’s wacky, kaleidoscopic, surreal approach to them seems to work.

What courses through this show’s landscape is a sense of change – of life’s big moments as opportunities for growth, renewal and evolution. It’s your chance to get as lost in this magical universe as Lemsalu seems to be, your opportunity to feel the power of change. So much art is about exploring the nitty-gritty of everyday life that it’s nice to let your eyes and mind take a break every once in a while."

Idea from this exhibition was to think outside the box does the work exhibited have to be displayed on walls or could the exhibition break tradition and be displayed on the floor or ceiling. The branding could be based on this unique quality. 

3. Artist Rooms: Jenny Holzer

There’s nothing more revoltingly pointless than an inspirational quote. The kind of thing your aunt posts on Facebook: ‘Life’s not about the destination, it’s about figuring out how to use the touchscreen ticket machine at the station’ or some nonsense, slapped on a picture of a tranquil beach or a weeping kitten. American artist Jenny Holzer’s work is decades’ worth of statements, aphorisms, quotes and poetry. She takes words and sentences and plasters them over the streets, prints them on cups and condoms, engraves them into marble, and sends them stuttering at light speed along LED columns.

Stood here surrounded by words in this small new display, what strikes you is both the power and powerlessness of language. The first room is covered in collected statements, things like ‘the land belongs to no one’, ‘women love power’, ‘you should study as much as possible’. They’re sentences presented and said as truth, advice, things to live your life by. But they contradict each other, cancel each other out. Some implore peace, others call for violence. You end up nodding at the ones that resonate, shaking your head at the rest. For you, those specific words work, for someone else they won’t. Then you worry that just maybe none of it means anything.

The only works that feel firm in their definition are the ones based on testimony from the Iraq War; here, lived experiences usurp interpretation.

But everything else – the LEDs, the marble benches, the plaques – just makes you query everything you read. Holzer’s verbose art leaves your head full of question marks – that’s what makes it so good.

Idea from this exhibition relates more to interpretation and how peoples opinions differ this could be another approach to the visuals and typography the vertical column layout is unique. 

4. Good Grief, Charlie Brown!

Anxiety, despair, dread, depression, fear, misery, alienation: a pretty standard Friday night, but an unusual recipe for a kids’ comic strip. ‘Peanuts’ is special, though. Over his tens of thousands of strips – syndicated the world over and read by millions of adoring fans – Charles M Schulz combined simple line drawings and emotional non-sequiturs into little bundles of pure, heart-wrenching modern truth.

This show, looking at the history of ‘Peanuts’ and the art it inspired, starts with the development of Charlie Brown and Snoopy, based on Schulz himself and his childhood dog Spike. From the start, Schulz’s characters are forlorn, sad little things – always downtrodden, always caught on the worst possible day, but always with a bit of hope in their hearts. Then along comes Lucy, Woodstock and the gang and you start to see the birth of the world’s most popular comic strip. It’s almost shocking to be confronted with the emotional vulnerability of ‘Peanuts’ on such a scale. Charlie Brown is a loser, a sad sack. His mouth is a shaky line that seems moments away from quivering with sorrow. So raw, so vulnerable. Snoopy is a gentle, necessary foil, Lucy is a hotheaded mess, Linus is a needy wreck. It’s all too real for me, an overtired slightly hungover 33-year-old. How the hell do kids hack this?

But that’s the point. Schulz made the emotional vulnerability that we all feel acceptable. These original panels are so honest and close to the bone that you want to reach out and hug them. And he doesn’t just stop at the heart, he goes for the head too. He tackles war, philosophy and lets his gaggle of strong, fierce girls voice the power and necessity of feminism.

His black lines and endlessly repeating panels had a huge influence on culture, and upstairs is a brilliant collection of ‘Peanuts’-inspired art and memorabilia. The Snoopy-emblazoned army and navy jackets are fascinating, but it’s the works of contemporary artists riffing on ‘Peanuts’ that are really good. Ryan Gander finds a stark meditation on time in Schulz’s work, Andy Holden explores its impact more academically, Fiona Banner turns it into a song of mourning, Ken Kagami repeats and twists Schulz’s forms. His impact is incredible.

What’s really amazing, though, is that with just a few ultra-simple lines and choice words, Schulz created something iconic; something that offered a window into the weaknesses, vulnerabilities and emotions of living. What he exposed feels so pertinent now, so important and – more than anything – completely and utterly human. Thank you, Charles M Schulz.

Idea from this exhibition would be to identify the target audience and find a common theme that relates to them however this may be difficult to refine. Alternatively the exhibition could be branded upon what feeling designs or artwork invoke. 

INITIAL IDEAS

- Incorporate Leeds culture whether it's buildings, artwork, places to brand the exhibition focusing on one of the culturally driven University values.

- Think outside the box does the work exhibited have to be displayed on walls or could the exhibition break tradition and be displayed on the floor or ceiling. The branding could be based on this unique quality. 

- Interpretation and how peoples opinions differ this could be another approach. The visuals and typography would stand out in the composition of a vertical column layout. It is unique. 

-  Identify the target audience and find a common theme that relates to them however this may be difficult to refine. Alternatively the exhibition could be branded upon what feeling designs or artwork invoke. 


Other Research links by Ava & Natasha 

https://www.theguardian.com/education/2015/oct/22/meet-the-creative-graduates-blazing-their-own-path-to-success

https://www.campaignlive.co.uk/article/future-work-creative-industry/1446638

https://www.theguardian.com/education/2018/dec/20/future-graduates-will-need-creativity-and-empathy-not-just-technical-skills

https://theundercoverrecruiter.com/hiring-students-benefits/

Preparing Responsive Pitch : Bangor Optometrists

The Presentation Slides

The Pitch 

The Problem

Most of the competitors branding at a glance are unrecognisable as an optician’s without reading the full sign. This created a problem to solve through the design branding Bangor Optometrist’s.

Resolution

Incorporating an image logo of an eye, unique to Bangor Optometrist’s into the typography that even at a quick glance can make the business’ purpose recognisable to passers-by.

Research

The client initially wanted a script stylised design. However, this soon changed with research into existing brands such as Howard Street, the client preferred this non-script clean style type and format. With reference to this research a refined design was inspired and reinterpreted the aesthetic of Howard Street’s branding. Initial Ideas aimed to refine the client’s vision visually by combining both script and sans serif typefaces.

Initial Ideas

Having not had much direction to go off from the client, these ideas vary in style to refine the client’s vision. It was important to generate a range of ideas in different styles to do so.  I did create my own script stylised typeface used in some of the ideas shown. Generating these ideas was difficult at this stage due to the name of the practice still undecided. For further development the name ‘Bangor Optometrists’ was confirmed, and this made it easier to refine the design.

Design Development

The development of this brief was to create stationary fitting of the brand. This includes a letterhead, compliment slip, business card and voucher/mailer. 

The design uses a similar format to the sign but also incorporates the enlarged image-based logo as a trademark on the letterhead and compliment slip. This makes the design even more unique to the business.

Final Outcome

The outcome meets the briefs main requirements of being ‘clear and legible.’ This was also recognised by the client as the clearest and most legible sign in the location of the practice.

The reverse contrast colour scheme makes the sign and typography as legible as possible. The high contrast monochrome colour scheme with single colour was effective. Due to the single colour creating a focal point to the logo incorporated into the typography. Resolving the problem identified at the beginning of the design process. The logo even at a glance makes the business recognisable as an Optician’s.

Production

The production process has been difficult due to this being my first experience with external print and online print companies. This was difficult due to not seeing the stock or printer used for the job or how the finish was applied. Vistaprint’s metallic finish and stock was dreadful, however Moo’s stock and spot UV worked well. Although the scaling of the business card needs to be enlarged within the template for the next print job. It was resized slightly to ensure it was not cropped.

Client Feedback

“I am delighted with the design used for my new company and logo. The colour schemes used in the design make the sign the clearest on the street, which when you are providing eye care for the visually impaired is of key importance. The ‘O’ as the eye and the colour really work well and mirrors an iris. The fact the image logo was then incorporated into the stationary as a type of watermark makes the stationary unique, a key feature of the business ethos throughout.”

To Summarise 

Slide 2

·      After writing up a brief initial research highlighted a problem for the design and branding to resolve

·      Competitors branding was unrecognisable as an optician at a glance without reading the entire sign

·      The solution to this problem was to incorporate and image-based logo into the branding and typography.

Slide 3

·      With initial research focusing on the script typeface aesthetic liked by the client. Initial ideas aimed to combine this style with sans serif type to refine the client’s vision.

·      Further research into other existing brands such as Howard Street demonstrated experimentation in a completely different style, which was incorporated into further development.

Slide 4

·      Ideas varied in style to refine the client’s vision visually.

·      My own script style typeface was also created and included in some of these ideas paired with existing typefaces.

·      Generating these ideas was difficult at this stage due to the name of the practice still undecided

·      For further development the name ‘Bangor Optometrists’ was confirmed, and this made it easier to refine the design.

Slide 5

·      The brand was further developed by producing a range of stationary including, a business card, letterhead, business card and a voucher/mailer.

·      The design of the stationary incorporated the image-based logo enlarged as a trademark on the letterhead and compliment slip.

Slide 6

·      The outcome meets the most important requirements set out by the brief of being ‘clear and legible.’ Confirmed by client feedback stating the sign is the most legible sign in its location.

·      The reverse contrast monochrome colour scheme hugely benefited legibility.

·      The single colour logo created a focal point, and the logo at a glance makes the business recognisable as a practice.

Slide 7

·      The production process was difficult due to it being my first experience with external print and online print companies.

·      It was difficult due to a range of factors such as not seeing the stock, printer used, finish applied or the appearance of the finish before it was printed.

·      Vistaprint’s stock quality and metallic finish was dreadful as opposed to Moos spot UV finish which worked well and was printed on better quality stock.

·      The scaling of the business card was not quite right once inserted into the template it was resized to ensure it wasn’t cropped. However, this will be resolved and amended before printing the final large batch.

Slide 8

·      Client feedback was very positive the client said, “I am delighted with the design used for my new company and logo. The colour schemes used in the design make the sign the clearest on the street, which when you are providing eyecare for the visually impaired is of key importance. The ‘O’ as the eye and the colour really work well and mirrors an iris. The fact the image logo was then incorporated into the stationary as a type of watermark makes the stationary unique, a key feature of the business ethos throughout.”