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This brief was open to me creating and developing a design direction that would be for a series of photography magazines. I made decisions on the name, design and logo based on research into existing magazines and others publication covers. I chose the name ‘Roll’, with reference to a film roll and also felt it was compactful with area to manipulate. I wanted to create an impactful cover, with a concept that was strong and held an iden-tity that could be carried successfully across twelve covers. The brief was driven through my interest and desire to combine and layer photography and type.

Ceara ElliotOUGD303Final Major Project

Roll MagazineBoard 1Brief 5

RO

The concept was the logo working alongside the photograph featured on the cover. The idea of the ‘o’ in Roll acting as a camera lense, focusing on something within the image, whether it obvious or simply highlighting it further. I also spot varnished the circle shape within the ‘o’, to greaten this observation, and add a finish to the cover, hightening it’s quality and interest.



I designed a promotional poster to start making people aware of the new magazine, the poster states how you can claim your first free issue online, so I developed a website that would enable viewers to experience the magazine online as well as the physical product.



www.rollmagazine.co.uk - The website slowly builds more and more photographs and data as the year goes on, viewers can choose to either view selected photographs from that months (or months prior) issue, or subscribe or order the issue online. I wanted to incorporate the photographs as their circle form on the website. I feel it’s that specific aspect that is highlighted on the magazine, so it can successfully be carried across, and be recognisable on the website. The logo and specific type on the website changes colour according to what that month’s colour is that is featured on the magazine.



If a customer was to order their magazine, it come beautifully packaged, with a free, unique fold out poster. The package is made from stone coloured card, and contains a simple design on the front, so not to distract from t he content inside. The magazine itself is wrapped in tissue paper that is the colour of the logo for that particular issue. There is also a separate compartment for the fold out poster to be held safely in.



What’s inside the package? A unique, specialised sqaure - format poster as well as the magazine wrapped in coloured tissue paper. The poster originates from the photography featured on the cover, and has the logo positioned on it either in relation to the cover, or somewhere that is suitable.



Typographic Poetry is a publication that allows the reader to experience poetry in a more creative way. The type and layout of the poems are unique to the poem itself, and there are ten sheets of poetry in one publication. The publication is quarterly, each issue focusing on a different theme of poetry.


Typographic PoetryBoard 1Brief 1

The type and layout of the poems is unique to Typographic Poetry. The poems are written, as they would be read themselves. Expressing elements and meanings behind the words, through the type and layout of the words. Each individual sheet is different. The poems are printed onto simple, slightly off-white paper, to maintain the traditional and classic feel of the poetry. I feel it also draws attention to the poetry’s interesting existence on the page.



This is January’s issue, with focuses on the theme ‘Love’. Within the publication there are ten poems, all written creatively, as well as a fold out poster that works as a collective. Ceara ElliotOUGD303Final Major Project


Typographic Poetry is in conjunction with Waterstones, and the in store set up would be permenantly in Waterstones as well. Therefore the online access for Typographic Poetry is through the Waterstones website. There is a small amount of decoration on the website, I didn’t want it to be too much, distracting from the content and also going too against the Waterstone’s template. However, I have incorporated the colour scheme in the shape that is featured on the cover and poster. There is also an available ebook that can be bought that enables the reader to read and zoom in to the poetry.



INSERT APP IMAGES

The promotional posters would help inform viewers of Typographic Poetry, and there would be a different poster for each themed publication. Ceara ElliotOUGD303Final Major Project


This is the in store design for Waterstones. The publication would have a dedicated space within Waterstones permenently that would alter according to the new issue released. There would be the appropriate wall prints and poster featured in the installment, as well as a piece of thick mount board that would allow people to write small aspects, or words of their own poetry. This would be a interactive way to create a more interesting and creative atmosphere in the stall. As fpr the window display, it would be the creative type featured in the cover, but larger and spread across the window display. A simple, clean set up behind the window would also help advertise the issue.



This brief focused on re-branding a German artist named Astrid Hübbe. I decided to approach the designing in quite a traditional and simple way. Once researching into the artist’s work, I realised that she suited something that didn’t draw too much away from her work, and that wasn’t too contemporary. I chose to work with ‘A HU’ because I felt the umlaut was recognisable and distinctive to her name. I also didn’t want to have too much in the logo.The business cards are double sided, however one side is purely her image, I didn’t want to interupt her work with type. The logo featured on other products such as letterheads and compliment’s slip.


Astrid HübbeBoard 1Brief 4

I also redesigned Astrid Hübbe’s website, making it cleaner and easier to navigate. The website contains information about herself as an artist, her work categorised, and the chance to buy prints of her work online. All of it is translated into German. I also used a brush tool to score the page title, if the viewer has clicked on it. To incorporate that bit of creativity, but still keep it relatively traditional and clean.



I considered if Astrid Hübbe was to have an exhibiton and how it would be promoted and designed. I decided to call the exhibition ‘art’. I feel it’s appropriate and simple, explaining precisely what it is. The logo developed through the combination of letters that were in her initials and the word ‘art’ itself. I chose to exhibit a soecific group of her work, that featured elements of split and separation within them. So I thought it appropriate to incorporate this also into the design.



art

The exhibiton would be free, so instead of tickets, I have designed and produced a leaflet that explains the meanings and concepts behind this specific art work by Astrid Hübbe. The leaflet folds in a way that relfects the work exhibited, it has a split a little off centre, which meets when the leaflet is closed. There would also be postcards and posters sold as small souvenirs to take away. The postcards also follow in the same, split route, with the line on the back alligns with the split in the image on the front of the card. The posters would be packaged in a tube to keep them in good condition.



I also desgined elements of the exhibiton, including the walls, bags and descriptions of the paintings. The line that demonstrates the split in her work also features in some exhibition space design. The text above the iden-tity for this exhibiton is a quote from Astrid Hübbe explaining the work’s concept and meanings.



The posters designed come in three colours, and one that is white and demonstrates some of the work that will be in the exhibiton. The line is consistent throughout both styles on poster, however on the white one it is represented by the images split and how they line up. The banners are elongated versions of the two colours, and act more as a bold attraction therefore aren’t as informative. They would be present outside of the exhibition, as a way of landmarking the place.



For this brief I wanted to design a set of CD covers for a band, through this I also re-designed the band Syntax’s logo and produced promotional work and designs for if they were to have a gig. The logo itself was designed throught the idea of layering and combining. When listening to their music I realised that a lot of it is produced through the layering of lots of different sounds. I thought this would be an interesting concept to design from. I also wanted to use this bright and colourful photographs of sunsets within the designs somehow, as their music is described as electronic and I feel this colours help explore that.


SyntaxBoard 1Brief 8

T A XS Y N

The CD covers were designed through the combination of bright, gradient colours and symbolic outlined drawings. I listened to each song that I designed the cover for and derived a simple image that represented the song in some way. The idea was that once the person had listened to the track, they would be able to understand the meaning behind the chosen imagery. I also wanted to incorporate the layering aspect of the logo into the CD covers. So I used an acetate wrap around, that contained ‘SYN’, which then layered over the other type that was already on the sleeve.



I also designed the promotional material and complimentary products for if Syntax were having a gig that would be launching their single ‘Pray’. I wanted to keep the colours that I used for the CD cover consistent, as I felt it would be a bright way to categorise the singles and their launching gigs. The gig would be held at o2 Academy, in this case, the one in Leeds. I used the same colour gradient in the posters that was used in the CD cover. I also incorporated the layering aspect in the poster, layering ‘Syntax’ over the gridded information.



The white poster within a grungey, textured context, I feel even against a dirty space the colours used stand out enough for viewers to stop and read. The black poster features behind the glass wall that would be by the entrance of o2 Academy. I feel this is a clean way of advertising the event, and with the space around it being clean and crisp, nothing is taken away from the poster.



I have thought about a few of the gig’s complimentary products. As well as tickets and the single being sold, there would also be unique drinks that were the blue gradient colour and glow sticks also, the blue colour. The atmosphere with all of the blue colours would help brand the event and it’s purpose, and also create a really eletronic environment, fully releasing the potential of the band’s music.



This brief was written to give the chance to design a series of book covers that all related with a theme, and worked well together as a set. I wanted to keep the design minimalist, and focused mainly on symbolic imagery and colour.


Book CoversBoard 1Brief 6

The books themselves were designed and devloped alongside the theme ‘great book becoming a great film’. I chose the book/films, The Sheep - Pig, One Flew over the Cuckoo’s Nest, Million Dollar Baby, Rita Hayworth and The Shawshank Redemption, The Green Mile and Lord of the Flies. The designs for each book focuses on a simple, black, bold imagery that is symbolic with the story. The illustrations run throughout the front and back of the covers, some connected, others not. Their publishers are Penguin, and on the back of each cover is a significant quote from the book that helps lure the reader into wanting to read more.



The event is called ‘The Great Book Great Film Season’. To support the event, there would be promotional posters informing viewers about the event and also directing customers to their nearest Waterstones. There would also be ebooks available to download from the Waterstones website, that would be themed gently with an aspect of the cover to infuse a little of the design onto screen. Each week the website design would be updated to suit the book that is launched that week.



THE

GREAT BOOK

GREAT FILM

SEASON

The ebook that customers could buy and instantly download would be interactive, in a way that links to the cover of the design. Seeing as the customer wouldn’t be able to see the design, as appose to if they were to buy the book, I wanted to incorporate a subtle element into the touch screen issue. The design is simple, yet significant, the reader needs to drag the bird from one corner to the other corner in order for the page to turn. This is available for all the books featured in the season, with different interactions that enable the page to turn.



There are also a few complimentary products and packaging to help build the season into something a bit more substantial. For the launch of ‘One Flew over the Cuckoo’s nest’, a book mark and diary is also available to purchase. The book mark is a simple, clean design, relating to the book cover’s design. I chose to design and sell a diary alongside this particular book due to it’s relevance with the story. The book is written through the writer’s perspective, in a sort of biographical way. I felt a diary would be a strong, and meaningful product to sell with the novel. Each book would have it’s own, unique bookmark that, in terms of design, runs consistently throughout.



The in store design for the launch of ‘One Flew over the Cuckoo’s Nest’ was designed through the concept that was a combination of the book cover’s imagery and how it could be situated, with a story within a space. The window display would start off the story/trail, with the large imagery spread across the windows, with the glass whitened out. Within the store the wavey line leads to the area in which the books sit in their context. Theimage is completed with the bird appearing to be flying over a basket of books which represents a nest. There are also paper bags, individually designed for each book launch. I wanted to use paper bags, as I feel they are classic and simple, once again suiting the book designs. I also think the paper bag and the paper book covers compliment each other.



I worked collaboratively alongside Ailsa Mars and Elliot Mckellar to design a yearbook for the Fashion and Innovation students of Leeds College of Art. We designed with a faint aspect of disjoint throughout, it was a theme that was given to us by the course leader, and was asked to be included somehow. The cover demonstrates this, after going through a number of designs we had all designed, we came together and picked out elements of each design that we thought worked. We wanted to use a bold colour, bold, clear type and keep the cover clean. I suggested a bluey colour to represent fresh, without tying too much into the stereotypical fashion colours. We originally wanted a spot colour, however this was unavailable, so I chose the brightest, freshest blue that I could attain within CMYK.


Fashion Yearbook - ABoard 1Brief 7

Towards the deadline, a few students had to be cut out of our yearbook which meant we had six double page spreads to fill. I decided that seeing as this particular fashion pathway speciliased in fashion branding, it would be important to include this aspect somehow. A double page spread of their business cards managed to communicate this element slightly. I didn’t want it to be over-powering, however I felt it was a significant aspect to include. I tried a few designs of the spread, and felt the diagonal cards linked in with the dis-jointed feel, and also enabled all of the cards to fit, conviniently on the page. We also agreed on having showcase pages before each category, as an introduction to the chapter. The images were duotoned with the colour that runs throughout the book.



I thought that a good way to split the yearbook up, would be in the categories that are already given within the course itself. We debated it being a problem if there were only a few students in a certain chapter, however I felt it was still a strong way to not only break the book up into chapters, but also inform readers of the different paths available whilst on the Fashion and Innovation course. The spreads layout was discussed as a group, we all decided that it would be nice to have the name in bold, in the top right corner to help people navigate throughout the book. We also decided that a catalogue style book was appropriate for a fashion-branding lead course. Each page being individual, with a structured, yet versatile grid system, allowing images and text to be placed wherever, but with restrictions.



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