I feel I have benefited from creating goals for my final year of my foundation degree, and therefore feel it is important to continue this for the future. Setting targets for myself allows me to focus on areas I feel need improvement and measure my progress. I have felt more motivated during this year due to this, and with my final year right around the corner it's crucial to be in the right mind frame.
1) Following this year I will be continuing my studies at Sunderland University. I would like to continue to keep a diary to plan my modules and be more organised as I feel this has helped me to manage my time more efficiently.
2) I recently got a new job. Although it is still a 20 hour position, it is more flexible and allows me to change my hours if necessary. I would like to continue in my position at work, and possibly advance to a higher level.
3) I would also like to experience placements in the industry. I aim to do this within the summer months. This will require more focus on my portfolio creation and creating a CV that is suitable for these positions.
4) I feel I have expanded my skills in illustrator over the year, using the program within a few of my modules. I do understand there is still a lot of room for improvement and I aim to continue to develop my skills over summer and my final year of my degree. I hope by this time next year I will feel more confident and competent with the program.
5) Within this year I have created many editorial pieces. Following on to next year, I would like to choose briefs that are more open and challenging, such as creating branding identities. I also feel it important to create work outside of university to balance my portfolio and demonstrate my skills away from my course requirements. I believe that by tackling YCN briefs and entering more competition briefs I will be able to show that I am comfortable with working alone and at home.
6) Another goal I have is to continue to reach out to industry figures. I reached out to a few within this year, such as Breanna Rose and Corina Nika, and found their support and advice helpful and uplifting. Hearing other success stories is inspiring, and I have created two great contacts out of doing so. I would like to now reach out to others in the industry but also working in Newcastle Upon Tyne, and ask for advice on my own portfolio.
7) That leads me to my last goal: sharing. I want to continue to share my work through twitter and instagram. I also want to expand the platforms with which I do share my work, and branch out to places such as Cargo Collective and Behance, allowing me to create an online portfolio. I think this will aid my confidence and the criticism I may receive will be taken on board and help me within the future.
Like Knows Like
As mentioned previously in this post, I love to watch documentaries and inspirational videos when working. Whilst watching Ted Talks on Netflix has becoming a daily ritual, I recently came across Like Knows Like. Described as an independent side project, Like Knows Like makes short documentary films about inspiring creatives: photographers, illustrators, designers, entrepreneurs and bloggers all over the world. Though famous for their work, Like Knows Like goes beyond this to share personal stories that otherwise remain untold from these creatives. It delves into their inspirations and personalities, exploring their flaws and who they really are as people. "With these films, we tempt to make your social media experience more meaningful."
Geffen Refaeli
Geffen Refaeli is a freelance illustrator from Israel. Uploading her first "Daily Doodle Gram" on Instagram in May 2012, Refaeli selects elements from different images appearing on her photo stream and combines them into a doodle. This idea of creating something new each day and posting it on social media is something I have been wanting to do as a challenge.
What I found really meaningful about this mini documentary is the way Refaeli speaks about her path. "Given the chance to go back, I think I would become a veterinarian." Freelance design is a lonely business and Refaeli touches upon this, explaining that she would love to be an illustrator part time, and have a career alongside, which allows her to be more sociable and work amongst others.
Jessica Walsh
Jessica Walsh is a well known name within the design community. A designer, art director and illustrator in New York, Walsh is a partner of design studio Sagmeister and Walsh, and teaches at the School of Visual Arts. Most recently, Warner Bros. has acquired the film rights of her side project "40 Days of Dating." This project was a relationship experiment between Walsh and her good friend Tim Goodman, within which the two, dissatisfied with their dating habits and the prospect of being single, dated each other and documented it. With rules of seeing each other every day, going to couples therapy once a week, taking one weekend trip together and not dating others, the project was documented through videos, questionnaires, photographs and typography. Walsh speaks openly about the project within this documentary, explaining how in many ways her art actually saved her, and the aftermath of the project, moving on.
James Victore
James Victore is a designer specialising in poster design. Based in Brooklyn, New York, by the time he was 30 years old his work was exhibited at the Museum of Modern Art. He has continued to expand his work and now has permanent collections in museums in Paris, Washington DC, Zurich and Amsterdam, and has also produced for the New York Times, Time Magazine and Esquire. Victore talks of his childhood and creative influences, and describes how many told him not to pursue a career in this field. Following his success he became a commercial designer and disliked how he wasn't doing the kind of work he enjoyed, no longer designing something that "stirred people's souls." Commercial business is compromise and it was here he realised that he was a better teacher than a designer. Now speaking regularly around the world, Victore is a professor at the School of Visual Arts, lecturing at RISD and teaching through his own events such as "The Dinner Series" and "Take this Job & Love It." I found his talk inspiring, as he raises many points about how design is such a broad subject and though one area may be right for you, others may not: that doesn't make you a bad designer. That makes you human.
I find it difficult to work in absolute silence. It's necessary for my concentration and my motivation to have background noise: I often find that I get distracted by music, so having something inspirational and influencing in the background is a better alternative. It's also important to look past a designers work and understand who they are as a person, and what made them create in such a way: hence why Like Knows Like is a valuable documentation.
Geffen Refaeli
Geffen Refaeli is a freelance illustrator from Israel. Uploading her first "Daily Doodle Gram" on Instagram in May 2012, Refaeli selects elements from different images appearing on her photo stream and combines them into a doodle. This idea of creating something new each day and posting it on social media is something I have been wanting to do as a challenge.
What I found really meaningful about this mini documentary is the way Refaeli speaks about her path. "Given the chance to go back, I think I would become a veterinarian." Freelance design is a lonely business and Refaeli touches upon this, explaining that she would love to be an illustrator part time, and have a career alongside, which allows her to be more sociable and work amongst others.
Jessica Walsh
Jessica Walsh is a well known name within the design community. A designer, art director and illustrator in New York, Walsh is a partner of design studio Sagmeister and Walsh, and teaches at the School of Visual Arts. Most recently, Warner Bros. has acquired the film rights of her side project "40 Days of Dating." This project was a relationship experiment between Walsh and her good friend Tim Goodman, within which the two, dissatisfied with their dating habits and the prospect of being single, dated each other and documented it. With rules of seeing each other every day, going to couples therapy once a week, taking one weekend trip together and not dating others, the project was documented through videos, questionnaires, photographs and typography. Walsh speaks openly about the project within this documentary, explaining how in many ways her art actually saved her, and the aftermath of the project, moving on.
James Victore
I find it difficult to work in absolute silence. It's necessary for my concentration and my motivation to have background noise: I often find that I get distracted by music, so having something inspirational and influencing in the background is a better alternative. It's also important to look past a designers work and understand who they are as a person, and what made them create in such a way: hence why Like Knows Like is a valuable documentation.
Portfolio SWOT analysis
My final module of this year is to create my portfolio for leaving the course and trying to work in the industry. This includes going back and revising my old work, and also creating new pieces.
Strengths
Something I believe will aid me when making my final portfolio is the fact I have already created a portfolio for university. Though this was done with little help, I feel this experience has allowed me to understand what goes on in creating a portfolio. I also feel that having already completed work and handed in to receive critique and feedback will also be beneficial to my final portfolio. Having feedback to work with allows me to understand areas which are not strong and need work, and those revisions will be easier to create.
Weaknesses
A weakness for this module will be my time management. Running alongside is PPD, and with only a week between the deadlines I will need to manage my time well. As the work is my own it is often difficult to see areas which need improvement, and therefore I will need to ask for guidance and advice on different pieces in order to make sure my designs are the best they can be.
Opportunities
As I am creating a portfolio, this is an opportunity to devise home study pieces to add and show that I can work without guidance and without a given brief. This is also an opportunity to enhance my work and revisit pieces which need revision, allowing my portfolio to hopefully be of industry level and therefore be able to show future employers and gain placements.
Threats
A possible threat is to not have the files saved correctly, and therefore need extra work to create a better final outcome. Another threat would be losing files, and not being able to manage my time correctly to print. As I need to use the heat press and other machines, I will need to make sure they are working as without could be detrimental to my final outcomes.
Strengths
Something I believe will aid me when making my final portfolio is the fact I have already created a portfolio for university. Though this was done with little help, I feel this experience has allowed me to understand what goes on in creating a portfolio. I also feel that having already completed work and handed in to receive critique and feedback will also be beneficial to my final portfolio. Having feedback to work with allows me to understand areas which are not strong and need work, and those revisions will be easier to create.
Weaknesses
A weakness for this module will be my time management. Running alongside is PPD, and with only a week between the deadlines I will need to manage my time well. As the work is my own it is often difficult to see areas which need improvement, and therefore I will need to ask for guidance and advice on different pieces in order to make sure my designs are the best they can be.
Opportunities
As I am creating a portfolio, this is an opportunity to devise home study pieces to add and show that I can work without guidance and without a given brief. This is also an opportunity to enhance my work and revisit pieces which need revision, allowing my portfolio to hopefully be of industry level and therefore be able to show future employers and gain placements.
Threats
A possible threat is to not have the files saved correctly, and therefore need extra work to create a better final outcome. Another threat would be losing files, and not being able to manage my time correctly to print. As I need to use the heat press and other machines, I will need to make sure they are working as without could be detrimental to my final outcomes.
Pinterest Picks
Wednesday, 29 April 2015 • Inspiration, Pinterest, Pinterest Picks
Something I am currently loving, from my research of my D&AD entry, is all things natural. This pinterest pin board is inspired by nature and natural resources. Something quite focal in the fashion industry currently is a new take on floral: leaf prints, instead of flower prints. It's fresh and the green hues are quite charismatic, especially when paired with bright colours as the image to the right is. Brush typography has also become something that catches my eye, no matter what context it is used. Over summer I would love to experiment with my own brush typography and get slightly better: an idea is to create one typography piece a day.
Eco friendly material is extremely big recently, especially those featuring brown packaging. It's raw and intimate and looks great paired with almost everything. This was a huge inspiration for my D&AD entry.
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An Interview With Breanna Rose
Friday, 24 April 2015 • Breanna Rose, Designers, Interview
I love going to industry talks. I think it's how personal they can be: in a small room, it can feel quite intimate. I've felt I have not only got to know the speakers work and style well, but also seen the insights into their opinions, and gained a lot from their advice. That being said, there hasn't been any scheduled industry talks for a while: and I recently decided to take my own initiative and make my own insights.
Sending out a few emails here and there, I got in touch with one of my favourite bloggers, Breanna Rose. Breanna began her own company, Rowan Made, straight after leaving design school. Since this, Rose has also created a web series about being freelance, giving advice to others about this situation. I've been following her blog since 2012, when I had just finished my A Levels and was trying to find my "path." Not knowing what I wanted to do, Breanna's blog really helped push me in this direction, so it was wonderful getting to know her a little more in depth.
1) You started your own company, Rowan Made, straight out of design school. What made you decide to be freelance rather than working in an agency? And what is the meaning behind the name?
I've always wanted to become my own boss, but I didn't necessarily think that I could do it straight out of school. So after graduation, I started applying to agency jobs in Minneapolis to hopefully find a good fit. Three applications in, I could tell that my heart just wasn't in it and I wasn't even excited about getting any call backs. I decided to sit down with my parents (since I was living at home) and tell that my decision to go freelance. They were skeptical at first, but I gave myself three months to see what happened, save some money, and go from there. I'm still running my own show to this day and haven't looked back since, which feels great. But I couldn't have done it without my crazy younger self, that's for sure.
2) What challenges have you faced in the design world?
Becoming your own boss isn't the easiest thing in the world, so going down that path has brought it's own slew of challenges, that's for sure! I think the biggest thing for me was learning how to wear a bajillion different hats. In the beginning, I was naive in thinking that I would wake up, design for hours, and call it a day. But really, it's SO much more than that. I have to answer emails, market my studio, go to meetings, and manage multiple clients + finances, all on top of actually digging into the design. Learning how to wear all of these hats was definitely a huge mountain to climb, and in some ways, I'm still climbing it. But thanks to google (and some great mentors), I've been able to feel that much more comfortable in my own process and management as a designer slash business owner.
3) The creative industries are often seen as a 'mans environment.' Have you felt any sexism towards you as a woman since working in the industry?
I haven't felt any sexism whatsoever, but I think that's mainly because I work for myself and run the show. But whenever I watch Mad Men, you can bet I'm routing for Peggy all the way. ;)
4)What would you say is your biggest accomplishment, and why?
I would say my biggest accomplishment is not giving up. Being your own boss is a roller coaster ride, full of ups, downs, and a lot of in-betweens. I would be lying if I said I've never thought about applying for other jobs that feel safe + steady, because I totally have. But at the end of the day, running your own business isn't for the faint of heart. It requires patience, perseverance, and most importantly, passion.
5) How important do you think social media is to a designer in this day and age? And do you have any suggestions of websites you believe a designer should utilise?
Social media is SO important these days. I always say -- the more you put yourself out there, the larger your potential client base is. By being active and sharing what you do with others, they'll know and share that same information with others. My blog has also been a big player in growing my business, simply because I choose to share a lot of information over there, which over time, has helped develop an audience. Overall, my favorite websites are Twitter, Instagram, Dribbble (others love Behance), Pinterest, and Working Not Working.
6) As you now run your own business and hire other designers, do you have any advice for someone trying to get their foot in the industry? What would you look for in a portfolio?
My advice for not only getting into the design industry, but also getting into a niche that you prefer, is to showcase the type of work that you WANT to be apart of. If your portfolio is full of projects that are good, but don't necessarily excite you, then there's a good chance that you won't be attracting the right type of clients or positions. You can always create fake projects to help round out your portfolio if need be - there's no shame in that! For example, I recently did a conceptual rebranding of a local ice cream business because it was a dream client. I treated this project as if it was real, and as a result, I have an amazing portfolio piece that helps showcase my style + ideal clients.
7) What made you decide to go into the creative industries?
I've always been a creative person, but for the longest time, didn't think that I could turn my hobby into a profession. But once I understood more of what "design" entailed, I was 100% on board and am so glad I decided to say "no" to nursing (cool profession, just not for me) and "yes" to art. I honestly can't imagine not telling stories and designing everyday. It would be weird, that's for sure.
8) How do you decide which projects you want to work on? Do you ever turn a brief down, and for what reasoning?
When I started freelancing, I said "yes" to pretty much any project that came my way. This was a great way for me to learn what type of projects I loved working on and really narrow in on my niche. Today, I'm a lot more selective with the work I take on. Over the past several years, I've discovered that my favorite projects all had something to do with art, food, or fashion, and included full-scale branding + build out so that I could felt involved every step of the way. So now, these are the types of projects I say "yes" to and move forward with. And when something doesn't feel 100% right, or my gut says "no," so do I.
9) What is your favourite area of design to work in? Branding, Editorial, Illustration?
09. That's a tough question! I really love creating brands, but sometimes, it can feel a bit stressful in the pressure of creating an entire identity from the ground up. So although I love it, I would have to say that my favorite projects are actually websites. There's just something about designing organized online spaces that I love. I kind of find it relaxing ... is that weird? ;)
10) And to make these questions a little more fun, what is a fun fact about you?
I've watched "The Office" tv show so many times that I can quote it a ridiculous amount. Here's one of my favorite scenes ... gets me every time!
Sending out a few emails here and there, I got in touch with one of my favourite bloggers, Breanna Rose. Breanna began her own company, Rowan Made, straight after leaving design school. Since this, Rose has also created a web series about being freelance, giving advice to others about this situation. I've been following her blog since 2012, when I had just finished my A Levels and was trying to find my "path." Not knowing what I wanted to do, Breanna's blog really helped push me in this direction, so it was wonderful getting to know her a little more in depth.
1) You started your own company, Rowan Made, straight out of design school. What made you decide to be freelance rather than working in an agency? And what is the meaning behind the name?
I've always wanted to become my own boss, but I didn't necessarily think that I could do it straight out of school. So after graduation, I started applying to agency jobs in Minneapolis to hopefully find a good fit. Three applications in, I could tell that my heart just wasn't in it and I wasn't even excited about getting any call backs. I decided to sit down with my parents (since I was living at home) and tell that my decision to go freelance. They were skeptical at first, but I gave myself three months to see what happened, save some money, and go from there. I'm still running my own show to this day and haven't looked back since, which feels great. But I couldn't have done it without my crazy younger self, that's for sure.
2) What challenges have you faced in the design world?
Becoming your own boss isn't the easiest thing in the world, so going down that path has brought it's own slew of challenges, that's for sure! I think the biggest thing for me was learning how to wear a bajillion different hats. In the beginning, I was naive in thinking that I would wake up, design for hours, and call it a day. But really, it's SO much more than that. I have to answer emails, market my studio, go to meetings, and manage multiple clients + finances, all on top of actually digging into the design. Learning how to wear all of these hats was definitely a huge mountain to climb, and in some ways, I'm still climbing it. But thanks to google (and some great mentors), I've been able to feel that much more comfortable in my own process and management as a designer slash business owner.
3) The creative industries are often seen as a 'mans environment.' Have you felt any sexism towards you as a woman since working in the industry?
I haven't felt any sexism whatsoever, but I think that's mainly because I work for myself and run the show. But whenever I watch Mad Men, you can bet I'm routing for Peggy all the way. ;)
4)What would you say is your biggest accomplishment, and why?
I would say my biggest accomplishment is not giving up. Being your own boss is a roller coaster ride, full of ups, downs, and a lot of in-betweens. I would be lying if I said I've never thought about applying for other jobs that feel safe + steady, because I totally have. But at the end of the day, running your own business isn't for the faint of heart. It requires patience, perseverance, and most importantly, passion.
5) How important do you think social media is to a designer in this day and age? And do you have any suggestions of websites you believe a designer should utilise?
Social media is SO important these days. I always say -- the more you put yourself out there, the larger your potential client base is. By being active and sharing what you do with others, they'll know and share that same information with others. My blog has also been a big player in growing my business, simply because I choose to share a lot of information over there, which over time, has helped develop an audience. Overall, my favorite websites are Twitter, Instagram, Dribbble (others love Behance), Pinterest, and Working Not Working.
6) As you now run your own business and hire other designers, do you have any advice for someone trying to get their foot in the industry? What would you look for in a portfolio?
My advice for not only getting into the design industry, but also getting into a niche that you prefer, is to showcase the type of work that you WANT to be apart of. If your portfolio is full of projects that are good, but don't necessarily excite you, then there's a good chance that you won't be attracting the right type of clients or positions. You can always create fake projects to help round out your portfolio if need be - there's no shame in that! For example, I recently did a conceptual rebranding of a local ice cream business because it was a dream client. I treated this project as if it was real, and as a result, I have an amazing portfolio piece that helps showcase my style + ideal clients.
7) What made you decide to go into the creative industries?
I've always been a creative person, but for the longest time, didn't think that I could turn my hobby into a profession. But once I understood more of what "design" entailed, I was 100% on board and am so glad I decided to say "no" to nursing (cool profession, just not for me) and "yes" to art. I honestly can't imagine not telling stories and designing everyday. It would be weird, that's for sure.
8) How do you decide which projects you want to work on? Do you ever turn a brief down, and for what reasoning?
When I started freelancing, I said "yes" to pretty much any project that came my way. This was a great way for me to learn what type of projects I loved working on and really narrow in on my niche. Today, I'm a lot more selective with the work I take on. Over the past several years, I've discovered that my favorite projects all had something to do with art, food, or fashion, and included full-scale branding + build out so that I could felt involved every step of the way. So now, these are the types of projects I say "yes" to and move forward with. And when something doesn't feel 100% right, or my gut says "no," so do I.
9) What is your favourite area of design to work in? Branding, Editorial, Illustration?
09. That's a tough question! I really love creating brands, but sometimes, it can feel a bit stressful in the pressure of creating an entire identity from the ground up. So although I love it, I would have to say that my favorite projects are actually websites. There's just something about designing organized online spaces that I love. I kind of find it relaxing ... is that weird? ;)
10) And to make these questions a little more fun, what is a fun fact about you?
I've watched "The Office" tv show so many times that I can quote it a ridiculous amount. Here's one of my favorite scenes ... gets me every time!
Trend Predictions: Distribution.
Wednesday, 22 April 2015 • Contextual Studies, Distribution, Print Media
Whilst researching for my contextual studies essay, "is print media dead?" I found that many have a lot of different opinions on the matter. With most stating that digital media has dissolved certain areas of print media such as mens magazine's like Nuts, and gossip magazines such as Heat and Hello due to the ability to find such information online with the use of the daily mail's column of shame, others were adamant that this has paved a new generation of print. Indie magazines are on the rise, with independent magazines featuring interesting content such as Oh Comely and Frankie magazine, also in high demand. I found that the magazine's whose number of readers were still high were those which cater to commuters and are built upon passion and community: striving to deliver something that can truly enhance the readers life.
One area I thought was both interesting and necessary in terms of the demise of print media, was distribution. With the inception of the internet, information has become readily available through the click of a button: it is now thought of as inconvenient to wait for print to be delivered or to seek print via a newsagent, especially having to pay for such. Distribution is having to change to meet the demands of a digital generation. In order to survive, it is vital for print to find new ways to reach readers, and create new means of distribution whilst reducing the cost of production. A swedish company, Meganews Magazines, has come up with a simple solution for such: a vending machine for print.
Taking inspiration from the Japanese culture which rely heavily on vending machines to offer a quick solution to almost anything and meet the demands of a customer at any given time, Meganews Magazines allows on the go, high quality colour prints of a wide range of magazines. The automatic magazine newsstand connects to the internet, and downloads latest issues of the publication. Printing on the spot, the newsstand is issuing a new solution to a generation used to receiving information quickly.
The machine focuses not just on making distribution more relevant to this day and age, but also on reducing the cost of production. On average, 10% of the entire cost structure of publications consists on distribution and transportation of the print copies. In addition to this, publishers produce a surplus of copies and are often unable to sell all, creating more than demand. Printing newsstands such as this can save money on these factors, reaching customers whenever and wherever they are. The service is also environmentally friendlier, as it reduces waste of printed copies left unsold, and also greenhouse gases and fuel emissions are cut through the lack of transportation. The life cycle of a magazine is approximately 60% more environmentally friendly due to this. This service could be the future of print. This Swedish company is allowing niche publishers to reach new audiences and removing the cost of distribution to all different outlets. The product itself is not in decline, but rather the old form of delivery is: the consumer is used to instantaneous delivery, and this is something that needs to be replicated in order for print to survive.
As someone who has grown up in this digital age, this was something I had never thought of before. As previously mentioned, I used to live in Spain: when returning to England for holidays and visiting family, I found the airport didn't stock many magazines for my journey and those it did stock were in fact massively out of date. I often saw others returning from holiday walking into the newsagent and leaving empty handed due to this, so this idea offers a great solution to make sure what is stocked is in date and still relevant, whilst making it quicker and easier to get. I believe this idea could really work in the industry, and it's quite clear to see that it's more ecologically friendly and cost efficient, therefore saving both the customer and the creator money. I hope to see these in England soon.
You can see more here and here.
One area I thought was both interesting and necessary in terms of the demise of print media, was distribution. With the inception of the internet, information has become readily available through the click of a button: it is now thought of as inconvenient to wait for print to be delivered or to seek print via a newsagent, especially having to pay for such. Distribution is having to change to meet the demands of a digital generation. In order to survive, it is vital for print to find new ways to reach readers, and create new means of distribution whilst reducing the cost of production. A swedish company, Meganews Magazines, has come up with a simple solution for such: a vending machine for print.
Taking inspiration from the Japanese culture which rely heavily on vending machines to offer a quick solution to almost anything and meet the demands of a customer at any given time, Meganews Magazines allows on the go, high quality colour prints of a wide range of magazines. The automatic magazine newsstand connects to the internet, and downloads latest issues of the publication. Printing on the spot, the newsstand is issuing a new solution to a generation used to receiving information quickly.
The machine focuses not just on making distribution more relevant to this day and age, but also on reducing the cost of production. On average, 10% of the entire cost structure of publications consists on distribution and transportation of the print copies. In addition to this, publishers produce a surplus of copies and are often unable to sell all, creating more than demand. Printing newsstands such as this can save money on these factors, reaching customers whenever and wherever they are. The service is also environmentally friendlier, as it reduces waste of printed copies left unsold, and also greenhouse gases and fuel emissions are cut through the lack of transportation. The life cycle of a magazine is approximately 60% more environmentally friendly due to this. This service could be the future of print. This Swedish company is allowing niche publishers to reach new audiences and removing the cost of distribution to all different outlets. The product itself is not in decline, but rather the old form of delivery is: the consumer is used to instantaneous delivery, and this is something that needs to be replicated in order for print to survive.
As someone who has grown up in this digital age, this was something I had never thought of before. As previously mentioned, I used to live in Spain: when returning to England for holidays and visiting family, I found the airport didn't stock many magazines for my journey and those it did stock were in fact massively out of date. I often saw others returning from holiday walking into the newsagent and leaving empty handed due to this, so this idea offers a great solution to make sure what is stocked is in date and still relevant, whilst making it quicker and easier to get. I believe this idea could really work in the industry, and it's quite clear to see that it's more ecologically friendly and cost efficient, therefore saving both the customer and the creator money. I hope to see these in England soon.
You can see more here and here.
Women in the Design Industry
Wednesday, 8 April 2015 • Designers, Women in the Design Industry, Women's Perspective
From a young age, it was apparent to me that there was a clear divide between the way men and women are treated. For one of my projects last year, I illustrated the suffragette movement, as seen below. Though not my strongest work, it was something I felt quite passionately about: without those brave women, my life could be massively different. They fought for my right to vote, to work and be able to choose a profession I wanted, and to be treated more equal to our male counterparts.
Sarah Hanley's talk sparked something in me. Touching upon the sheer fact that design was once a primarily male world, Hanley spoke of how women have began to find their own feet in the environment, and how more and more women were becoming creative directors. Reiterating what she said, it wasn't enough to just be a designer in the industry.
Whilst I was researching my contextual studies essay on print media and the way print has changed due to the reliance of computers and the digitalisation of media as a whole, I came across an interview with the author of Print is Dead. Long Live Print, Ruth Jamieson. The book showcases 53 publications and celebrates the rise of indie magazines. Within the interview Jamieson was asked what was the most surprising aspect of her research. Her answer was about women in the industry, explaining: "Aside from being constantly blown away by the creativity of the magazine makers I met, one of the most encouraging things I discovered was just how many women are involved in the rebirth of print. Women are in senior positions. They are creative directors, editors, art directors, publishers. At a time when we’re increasingly aware of the lack of female voices in the media and other positions of influence, I found this incredibly heartening. I hope it’s a sign of things to come. And I hope that the same will happen with other poorly represented groups."
I began to think more in depth on the roles women play in the industry. I think it is quite clear that the environment is more focal on men -- out of many industry talks I have attended, only one has featured a female. So I decided to research the subject itself, out of necessity. I needed to know that I could succeed and that my gender would not hold me back.
One such interview I came across was an article featuring Rebecca Wright, a programme director of graphic communication design at Central Saint Martins, University of the Arts in London. In HE courses up and down the country with students arriving and returning to study undergraduate and postgraduate design, the majority are female. There is a domination of females studying creative courses, and this is apparent at Central Saint Martins itself. Out of the 525 students enrolled in 2014 on BA Graphic Design, 372 were female: a huge 70.8%. This was similar on MA Communication Design, where it's class was 68.3% female. Whilst design education appears to be dominated by women, it's in fact reversed within the design industry.
With these stats at hand, Design Council's survey of the UK design industry in 2010 revealed that only 40% of designers were women. This caused an uproar, spurring a huge debate on the subject. Despite this, there is little explanation of these numbers and though we understand their significance, we do not truly understand how they have happened.
These stats show that gender imbalance in the industry is visible. Women are less represented: and in an industry where it is important to find an audience in all demographics, with that lack of representation, design and advertising may not be reaching and communicating with women as well as they could. Rebecca Wright explains that this is due to the industry. Whilst education strives to be equal, create a healthy competition and recognise the value of talent and graft, the industry rewards confidence and charisma. In basic terms, in order to succeed, you need to be able to self promote, to be slightly arrogant and really push yourself forward. The unfortunate truth is that these attributes do not always sit as comfortably with women.
Women are as skilled as men -- and there is great design in women, as shown on this blog, women of graphic design, which is a project focused on exhibiting the contributions of women in graphic design. There is no divide between the quality men and women are creating. But after Rebecca Wright's 15+ years in design education, her experience has found that female students are less likely to want to grab the limelight, are less inclined to push themselves forward and to self promote. Female confidence is shown in other ways: events, group work they often lead, and the imagination and innovation with which they will develop their project work. The lack of fanfare that accompanies these types of activities is the most logical explanation of why women graphic designers are less visible in the industry.
This is something that resonates strongly with me. I find it quite difficult to push myself forward: whilst many of the boys in my class have already held placements, the girls are in fact lagging behind. We don't seem to believe we are ready, we don't have the confidence to promote ourselves and push ourselves forward. I think it's interesting to have a possible answer as to why it is so difficult, and why we don't seem to hear of many women's names in design.
I have decided to make it my own goal to self promote myself as well as my male counterparts in order to succeed. Recognising this problem in myself is the first step. I want to create personal targets, such as making my social media platforms stronger, and finally getting myself a placement before the end of the summer and my final year of university. I recently created a post on creative cv's and the importance of self branding, and I want to use this to create my own. My final module before I leave my foundation degree is to create a portfolio exhibiting my best work. Something I want to include is a booklet, based on me as a person: I feel this could be used as my CV, and once completed, would be a nice way of catching the attention of possible employers and placements.
It's nice to know that no one blames the quality of women's work as to their lack of representation in the industry: but the probable reason why is an uncomfortable fact. I do feel that if this was more spoken about within education, women would feel more inclined to push ourselves and change this inequality.
Sarah Hanley's talk sparked something in me. Touching upon the sheer fact that design was once a primarily male world, Hanley spoke of how women have began to find their own feet in the environment, and how more and more women were becoming creative directors. Reiterating what she said, it wasn't enough to just be a designer in the industry.
Whilst I was researching my contextual studies essay on print media and the way print has changed due to the reliance of computers and the digitalisation of media as a whole, I came across an interview with the author of Print is Dead. Long Live Print, Ruth Jamieson. The book showcases 53 publications and celebrates the rise of indie magazines. Within the interview Jamieson was asked what was the most surprising aspect of her research. Her answer was about women in the industry, explaining: "Aside from being constantly blown away by the creativity of the magazine makers I met, one of the most encouraging things I discovered was just how many women are involved in the rebirth of print. Women are in senior positions. They are creative directors, editors, art directors, publishers. At a time when we’re increasingly aware of the lack of female voices in the media and other positions of influence, I found this incredibly heartening. I hope it’s a sign of things to come. And I hope that the same will happen with other poorly represented groups."
I began to think more in depth on the roles women play in the industry. I think it is quite clear that the environment is more focal on men -- out of many industry talks I have attended, only one has featured a female. So I decided to research the subject itself, out of necessity. I needed to know that I could succeed and that my gender would not hold me back.
One such interview I came across was an article featuring Rebecca Wright, a programme director of graphic communication design at Central Saint Martins, University of the Arts in London. In HE courses up and down the country with students arriving and returning to study undergraduate and postgraduate design, the majority are female. There is a domination of females studying creative courses, and this is apparent at Central Saint Martins itself. Out of the 525 students enrolled in 2014 on BA Graphic Design, 372 were female: a huge 70.8%. This was similar on MA Communication Design, where it's class was 68.3% female. Whilst design education appears to be dominated by women, it's in fact reversed within the design industry.
With these stats at hand, Design Council's survey of the UK design industry in 2010 revealed that only 40% of designers were women. This caused an uproar, spurring a huge debate on the subject. Despite this, there is little explanation of these numbers and though we understand their significance, we do not truly understand how they have happened.
These stats show that gender imbalance in the industry is visible. Women are less represented: and in an industry where it is important to find an audience in all demographics, with that lack of representation, design and advertising may not be reaching and communicating with women as well as they could. Rebecca Wright explains that this is due to the industry. Whilst education strives to be equal, create a healthy competition and recognise the value of talent and graft, the industry rewards confidence and charisma. In basic terms, in order to succeed, you need to be able to self promote, to be slightly arrogant and really push yourself forward. The unfortunate truth is that these attributes do not always sit as comfortably with women.
Women are as skilled as men -- and there is great design in women, as shown on this blog, women of graphic design, which is a project focused on exhibiting the contributions of women in graphic design. There is no divide between the quality men and women are creating. But after Rebecca Wright's 15+ years in design education, her experience has found that female students are less likely to want to grab the limelight, are less inclined to push themselves forward and to self promote. Female confidence is shown in other ways: events, group work they often lead, and the imagination and innovation with which they will develop their project work. The lack of fanfare that accompanies these types of activities is the most logical explanation of why women graphic designers are less visible in the industry.
This is something that resonates strongly with me. I find it quite difficult to push myself forward: whilst many of the boys in my class have already held placements, the girls are in fact lagging behind. We don't seem to believe we are ready, we don't have the confidence to promote ourselves and push ourselves forward. I think it's interesting to have a possible answer as to why it is so difficult, and why we don't seem to hear of many women's names in design.
I have decided to make it my own goal to self promote myself as well as my male counterparts in order to succeed. Recognising this problem in myself is the first step. I want to create personal targets, such as making my social media platforms stronger, and finally getting myself a placement before the end of the summer and my final year of university. I recently created a post on creative cv's and the importance of self branding, and I want to use this to create my own. My final module before I leave my foundation degree is to create a portfolio exhibiting my best work. Something I want to include is a booklet, based on me as a person: I feel this could be used as my CV, and once completed, would be a nice way of catching the attention of possible employers and placements.
It's nice to know that no one blames the quality of women's work as to their lack of representation in the industry: but the probable reason why is an uncomfortable fact. I do feel that if this was more spoken about within education, women would feel more inclined to push ourselves and change this inequality.
Process
Tuesday, 7 April 2015 • editorial, Process, Work
Editorial design, as I'm sure I've mentioned before, is my favourite area of design. I enjoy the structure, working with InDesign and developing my skills on the program, and using grid systems: a stark contrast to the "messy organised" lifestyle I lead. So when the time came for my editorial module, I thought I'd enjoy it most.
I struggled, to say the least. The brief was open, left so our own interpretations could be created. "Design an editorial piece on a process. Anything from old printing techniques to a designer of your choice, create something that pushes the boundaries and shows your interests." It was difficult to decide the content, the copy, and the design all within 6 weeks.
I decided to create an editorial piece on editorial design itself. As it was what I would be researching, and something I was interested in, I thought it would be fitting to do just so. I guessed it would be easier, but I feel it made it much more difficult. It's difficult to describe and showcase the process you are currently undertaking, whilst undertaking it itself.
Despite this, I am extremely happy with what I produced. I decided to do something different: others in my class used this time to create a brochure or booklet, and because I have already done this before, I thought it fitting to try something new. I created posters.
The brief was to create 4 spreads or pages, and a cover page. I wanted my cover page to be built by the posters. Printing the posters A3 allowed me to fold them down into a4 size, and have a deconstructed cover on the front. When placing all 4 posters together, the cover is built and shows.
I think this was really dynamic and allowed the spreads to flow together. Without this tying them together, it would have felt quite disjointed and separate. They featured the title, with the word "editorial" deconstructed and collated on the page. I think this worked well with the feel of the posters and followed a similar theme. The covers alternated between white and black backgrounds, and were not truly finished when handed in: for my final show, I am going to screenprint the grey to silver, to add more dimension and a different material to the print, and contrast the matte of the paper and ink.
My first poster featured "the Anatomy of a Grid." I decided to imitate the grid system seen in InDesign, and focused on certain areas to showcase the different aspects that combine to create it. In my other designs, I have always used new, different fonts: within this design I wanted to feature classics, and I rekindled my love of classic typography using Helvetica Bold. I also used a similar disjointed title as seen on the cover page.
For my next poster I designed a collage of typography, featuring the different elements of type, and a breakdown of typographic terms. After printing, I have decided to also screen print the areas in colour, in silver, to tie in more with the cover page and other posters. As it's an editorial document it is important that the pages have a recurring theme and be fluid together. It needs to feel natural.
My third poster featured the difference between leading, kerning and tracking. Spatial manipulation can make a world of difference in editorial design, to create better readability and a layout that is aesthetically pleasing. I decided to simulate the different ways of manipulation on the page using the body text, and again, deconstructed the title to fit.
Finally, my last poster was on colour. I designed two different spreads for this, each featuring printing marks and CMYK colours. I think this, paired with the images used show a great example of colour.
Though I did struggle with this module, I feel it is one of my best. I created something completely different to anything I had created before, and I can't wait to finish it for Final show, and add this to my portfolio.
This is my last module before I begin my portfolio creation, and there are many aspects of all my designs that I need to tweek for that, but I think I'm going to leave this for a few weeks and come back when my head is feeling more clear. I believe that is the best way to see from a new perspective.
I struggled, to say the least. The brief was open, left so our own interpretations could be created. "Design an editorial piece on a process. Anything from old printing techniques to a designer of your choice, create something that pushes the boundaries and shows your interests." It was difficult to decide the content, the copy, and the design all within 6 weeks.
I decided to create an editorial piece on editorial design itself. As it was what I would be researching, and something I was interested in, I thought it would be fitting to do just so. I guessed it would be easier, but I feel it made it much more difficult. It's difficult to describe and showcase the process you are currently undertaking, whilst undertaking it itself.
Despite this, I am extremely happy with what I produced. I decided to do something different: others in my class used this time to create a brochure or booklet, and because I have already done this before, I thought it fitting to try something new. I created posters.
The brief was to create 4 spreads or pages, and a cover page. I wanted my cover page to be built by the posters. Printing the posters A3 allowed me to fold them down into a4 size, and have a deconstructed cover on the front. When placing all 4 posters together, the cover is built and shows.
I think this was really dynamic and allowed the spreads to flow together. Without this tying them together, it would have felt quite disjointed and separate. They featured the title, with the word "editorial" deconstructed and collated on the page. I think this worked well with the feel of the posters and followed a similar theme. The covers alternated between white and black backgrounds, and were not truly finished when handed in: for my final show, I am going to screenprint the grey to silver, to add more dimension and a different material to the print, and contrast the matte of the paper and ink.
My first poster featured "the Anatomy of a Grid." I decided to imitate the grid system seen in InDesign, and focused on certain areas to showcase the different aspects that combine to create it. In my other designs, I have always used new, different fonts: within this design I wanted to feature classics, and I rekindled my love of classic typography using Helvetica Bold. I also used a similar disjointed title as seen on the cover page.
For my next poster I designed a collage of typography, featuring the different elements of type, and a breakdown of typographic terms. After printing, I have decided to also screen print the areas in colour, in silver, to tie in more with the cover page and other posters. As it's an editorial document it is important that the pages have a recurring theme and be fluid together. It needs to feel natural.
My third poster featured the difference between leading, kerning and tracking. Spatial manipulation can make a world of difference in editorial design, to create better readability and a layout that is aesthetically pleasing. I decided to simulate the different ways of manipulation on the page using the body text, and again, deconstructed the title to fit.
Finally, my last poster was on colour. I designed two different spreads for this, each featuring printing marks and CMYK colours. I think this, paired with the images used show a great example of colour.
Though I did struggle with this module, I feel it is one of my best. I created something completely different to anything I had created before, and I can't wait to finish it for Final show, and add this to my portfolio.
This is my last module before I begin my portfolio creation, and there are many aspects of all my designs that I need to tweek for that, but I think I'm going to leave this for a few weeks and come back when my head is feeling more clear. I believe that is the best way to see from a new perspective.
Profile: David McDonald
Wednesday, 1 April 2015 • David McDonald, Designers, Industry Talk
David McDonald is a designer in Newcastle Upon Tyne, and recently conducted a talk which I attended.
The majority of industry talks I have attended so far have featured those still based at a design agency. Though David McDonald does have agency experience, working for the both highly influential agencies, Infinite and Gardiner Richardson, he prefers to work freelance and has since left both companies to pursue this. It was great to hear a different perspective and gain insight into the freelance world.
McDonald asked for client confidentiality. He did show and talk through some great pieces of his work, but I would like to respect his request and not relay the companies and identities on here. Instead, I'd like to focus on his advice.
McDonald stressed on the need for good ideas. Similar to Sarah Hanleys talk, he explained that we as designers need to be able to transfer skills into every direction and project. We need to be problem solvers, and be able to think for ourselves. Often designers are perceived as being "arty" and just being able to work a computer. I know that misconception has been thought of me when I explain that I am studying Graphic Design. But what the job description often misses out is the need for ideas. To be able to come up with great, fresh ideas which challenge and receive results. And that requires a lot of mental work.
It's not a job area you can switch of from. Ideas come in all shapes and sizes, at any and all times. McDonald spoke of one of his freelance jobs, where he was inspired by the building the company was situated in. He states that the answer was right there in front of him: and it was simple. Designers often overlook simplicity, but complex ideas hit walls. Simple ideas are everywhere, and can be built to be an unconventional approach. They unlock people, are easy to follow and recognise, and can create a cultural following.
The solution is always in front of you: it's always in the brief. In the years of my course I've often skimmed through the brief until I have a good understanding, and then I usually turn to the internet for research. McDonald mentioned that the internet is overwhelming. Yeah, it's a great place to be inspired, but we compare our work to what we see and we end up underestimating ourselves. And the majority of the time, what we need for the "big idea" is really in the brief itself!
He also spoke about getting started in the design field. Suddenly we are five weeks away from finishing the course, and its more vital than ever that we understand what steps to take next. As someone with 19 years experience, and who graduated from the same course I am undertaking, he offered some insight.
"I spent my first year working on my portfolio. It's difficult to get into design, and it's definitely not a quick process. It's a lot of hard work. But that being said, it was my sketchbook that got me to where I am now, not my finished, polished work. Industry folks want to see your ideas, not your laser sharp work, but it is good to show a mixture of both. If you include a finished piece, show examples of your scamps and brainstorms of how you got there, and it will translate more to those critiquing."
We need to position ourselves differently to the rest. Our portfolios need an identity, they need to be diverse. They need to be flexible. Design in Newcastle upon Tyne is a small, aging industry, as its becoming more and more about advertising in the city. So it's important to be you, and get across your openness, willingness to change and your fluidity as not just a designer, but a person.
You need energy. McDonald credits his energy for helping him fast track his position through Infinite. But with that energy, you also need to be 100% yourself. It's important that you don't head into an interview acting one way, to get the job and act another. Especially if you use social media and online platforms.
McDonald explains that a digital persona is extremely important in the industry now. It's a way of showing your interests before an interview, and employers do look. He said he wouldn't trust someone who didn't put their handles and URLs on their CV, especially in this day and age. But it's also important to use them sensitively, show your personality without ruining your image. Your language needs to reflect you, and be honest, but focus on putting across the best parts of you, and projecting yourself as well as you can, without watering down what makes you "you."
McDonald also spoke of knowing names of designers: and to send letters out rather than emails. "Getting mail is much more personal, because your presence is there in their hands. Emails are quick to skim through and delete, and theres little care about it because it's so informal and regular. Mail is still the way forward." And in those letters, we should never say, "I am looking for a job," but rather, ask for feedback. Every designer has been in our situation and they are more than willing to help, and even if you don't receive a job offer, you are bettering yourself and your work. Constructive critique in this business is extremely necessary, and it's also a play on their ego. It's also important to not focus on the level of designer: junior designers will be more willing to meet and help you get a position than a creative director.
Finally, McDonald stated that as a northerner, we have a great advantage in our field. Similar to what Founded said, we are outspoken and have quite a bold and daring attitude, and thats what makes us so different to London. We are not trying to be up and coming, and the next big thing: we focus on the customer, on the concept and making a connection.
McDonalds talk was extremely informative. Through showing us his designs, he allowed us to know he was credible and that he knew what he was on about: his advice following was really helpful. I'd say McDonalds talk was possibly my favourite out of all the industry talks I have been too, because now I feel a little bit more prepared. There's still the fear of what comes next, but that jump is something I need to take sooner or later, and I know a lot of what McDonald has said will guide me.
You can see more of David McDonald here.
The majority of industry talks I have attended so far have featured those still based at a design agency. Though David McDonald does have agency experience, working for the both highly influential agencies, Infinite and Gardiner Richardson, he prefers to work freelance and has since left both companies to pursue this. It was great to hear a different perspective and gain insight into the freelance world.
McDonald asked for client confidentiality. He did show and talk through some great pieces of his work, but I would like to respect his request and not relay the companies and identities on here. Instead, I'd like to focus on his advice.
"Ideas give you an identity. They need to be diverse, thats the key. You don't want to be known as a great designer, because anyone can learn to use a computer or to draw. You want to be known as a great problem solver."
McDonald stressed on the need for good ideas. Similar to Sarah Hanleys talk, he explained that we as designers need to be able to transfer skills into every direction and project. We need to be problem solvers, and be able to think for ourselves. Often designers are perceived as being "arty" and just being able to work a computer. I know that misconception has been thought of me when I explain that I am studying Graphic Design. But what the job description often misses out is the need for ideas. To be able to come up with great, fresh ideas which challenge and receive results. And that requires a lot of mental work.
It's not a job area you can switch of from. Ideas come in all shapes and sizes, at any and all times. McDonald spoke of one of his freelance jobs, where he was inspired by the building the company was situated in. He states that the answer was right there in front of him: and it was simple. Designers often overlook simplicity, but complex ideas hit walls. Simple ideas are everywhere, and can be built to be an unconventional approach. They unlock people, are easy to follow and recognise, and can create a cultural following.
The solution is always in front of you: it's always in the brief. In the years of my course I've often skimmed through the brief until I have a good understanding, and then I usually turn to the internet for research. McDonald mentioned that the internet is overwhelming. Yeah, it's a great place to be inspired, but we compare our work to what we see and we end up underestimating ourselves. And the majority of the time, what we need for the "big idea" is really in the brief itself!
He also spoke about getting started in the design field. Suddenly we are five weeks away from finishing the course, and its more vital than ever that we understand what steps to take next. As someone with 19 years experience, and who graduated from the same course I am undertaking, he offered some insight.
"I spent my first year working on my portfolio. It's difficult to get into design, and it's definitely not a quick process. It's a lot of hard work. But that being said, it was my sketchbook that got me to where I am now, not my finished, polished work. Industry folks want to see your ideas, not your laser sharp work, but it is good to show a mixture of both. If you include a finished piece, show examples of your scamps and brainstorms of how you got there, and it will translate more to those critiquing."
We need to position ourselves differently to the rest. Our portfolios need an identity, they need to be diverse. They need to be flexible. Design in Newcastle upon Tyne is a small, aging industry, as its becoming more and more about advertising in the city. So it's important to be you, and get across your openness, willingness to change and your fluidity as not just a designer, but a person.
You need energy. McDonald credits his energy for helping him fast track his position through Infinite. But with that energy, you also need to be 100% yourself. It's important that you don't head into an interview acting one way, to get the job and act another. Especially if you use social media and online platforms.
McDonald explains that a digital persona is extremely important in the industry now. It's a way of showing your interests before an interview, and employers do look. He said he wouldn't trust someone who didn't put their handles and URLs on their CV, especially in this day and age. But it's also important to use them sensitively, show your personality without ruining your image. Your language needs to reflect you, and be honest, but focus on putting across the best parts of you, and projecting yourself as well as you can, without watering down what makes you "you."
McDonald also spoke of knowing names of designers: and to send letters out rather than emails. "Getting mail is much more personal, because your presence is there in their hands. Emails are quick to skim through and delete, and theres little care about it because it's so informal and regular. Mail is still the way forward." And in those letters, we should never say, "I am looking for a job," but rather, ask for feedback. Every designer has been in our situation and they are more than willing to help, and even if you don't receive a job offer, you are bettering yourself and your work. Constructive critique in this business is extremely necessary, and it's also a play on their ego. It's also important to not focus on the level of designer: junior designers will be more willing to meet and help you get a position than a creative director.
Finally, McDonald stated that as a northerner, we have a great advantage in our field. Similar to what Founded said, we are outspoken and have quite a bold and daring attitude, and thats what makes us so different to London. We are not trying to be up and coming, and the next big thing: we focus on the customer, on the concept and making a connection.
McDonalds talk was extremely informative. Through showing us his designs, he allowed us to know he was credible and that he knew what he was on about: his advice following was really helpful. I'd say McDonalds talk was possibly my favourite out of all the industry talks I have been too, because now I feel a little bit more prepared. There's still the fear of what comes next, but that jump is something I need to take sooner or later, and I know a lot of what McDonald has said will guide me.
You can see more of David McDonald here.