Thursday, 30 April 2015


For this brief, I really wanted the execution of the outcome to be outstanding and rather special. I had looked into different printers in order to get the book professionally printed and bound to give the outcome the quality and finishes it deserves.

At my placement I had become aware of GF Smiths Make Book. I had fallen in love with this form of binding in the past - lay flat - however, the way which they craft the books, the hardback covers and the bespoke finishes are truly special and unproducable to the same standard at home or even made at college. I do not have the technical skill to produce such a refined hardback book as one of my final major projects with no prior experience in such a complicated form of execution.

I had looked online and worked out a quote using their online calculator for the book which I have designed. At the very minimum for a standard quarter colour plan bound cover with 60 pages alone, this would be £160.00. For an additional foil or emboss on the cover this is an extra £75.00. I had gained a quote for this type of bind with candy pink and bitter chocolate colour plan stock for the cover, frosted ice for the inner pages, and white matte for the spreads. 

I felt this was a very large amount of money to pay for one book, even though they are made by hand. I just cannot afford to do it whilst paying for rent and other living and college expenses coming up to the end of my degree. 

As alternative options, I had looked into producing this myself, however, the cost to attempt to print and make one would almost be as much to get one printed with Hobs, and there is a chance it would go wrong if done myself. However, Hobs would not be able to use colour plan stock and have a fancy bound cover, but I would still be able to have creative control over the colour through print as well as finishes such as stock and cover. I also would not be able to have lay-flat binding however, I do not see this as a major issue as long as the layout is within the margins and gutters specified by the printers. 

Hobs would charge £70.00 for the book to be printed and bound, with student discount at a 2 day turn around, compared to £160 minimum plus a 10 day turn around time. I am also aware I have to photograph the book, produce the design boards and print these in time for the hand in, so Hobs also has an additional advantage in terms of time frame.

I am planning on sorting the document tomorrow to send to print in the afternoon, so I should hopefully have this printed and bounded by Tuesday at the latest of next week, giving me 2 or so weeks to photograph and prepare submission boards. 


I have not worked on this brief for a while, and after having a discussion with Claire regarding the future of the project, we have both decided to postpone the project until August/September time for the following reasons:

1, I haven't had time with other briefs and commissioned work to dedicate the time to this brief which it needs and deserves.
2. Claire is currently working on her PhD whilst teaching in London and in Grenoble  and doesn't finish this course until August time therefore hasn't had time either to give the project the direction and attention it needs in regards to sourcing funding from the council and moving forwards. 

Therefore between us we felt it was best to put the project on hold and resume when we are both in a better position to dedicate our time and energy to Joymaker.


I have decided that I will no longer be continuing on with this brief for several reasons. Firstly with only around 3 weeks left until final submission, I feel I have much more substantial and contextual briefs which I have been working on for longer which I feel are more suited to my portfolio and my practice. This brief started out as something fun and experimental to do as a break from strict graphic design, however, feel it has no leverage to continue. I thought about creating a series, however after further reflection I felt that the brief itself was slightly flawed as these are not promotional posters, these are posters promoting and recalling famous household quotes.

I am happy with the one poster created, as well as the different colour variations as it shows a much more illustrative skill set, however feel it is best to leave this here and not to finish, nor continue this brief.

Friday, 24 April 2015


After the crit, I decided to finish the publication and make some final revisions. I wanted to work on the colour combinations of the gradients, as when test printed some were very light in comparison to on screen, so these needed adjusting accordingly. I wanted to add further quotes to add context to different sections, as well as add an introduction and contents listing the various sections. I also carried out a spell check and ensured all the images were in-line as well as linked to print at the highest quality. 

I feel that the aesthetic and the content of the publication so far really reflect my interests both related to and non-related to graphic design, as well as reflecting my design style and aesthetic used throughout my work this year. I really enjoy working with colour, shape and imagery so this was a main emphasis for the design, as well as ensuring that the typography remained a focal point and more of a feature within the design.

I am still working out and thinking how to bind this publication, however, I think the best way at the moment in terms of both time and cost, and getting the most out of the double page spreads is to use lay flat binding and potentially use a hard back cover or a vinyl based cover depending on how I design this and want to execute it. Due to there being quite a substantial amount of pages, I would like to experiment with both if possible and see which works best and gives more emphasis on the topic and my own personal practice and design style also.


Below shows the first draft of my design publication which I took to the crit as a PDF on Thursday. 

I have designed the document to A5, being the standard lookbook size, whilst being easily produced and bound myself without too much expense. With this format there is also room to experiment with the binding methods and final execution. 

Each page has been designed as a double spread, opposed to individual pages, adding more movement and dynamic to the pages, whilst being visually different and appealing somewhat breaking the grid. I have chosen a colour palette relevant to my personal practice, and the work I have produced this year, whilst following my own design aesthetic and visual wows to get across how the content has influenced and shaped me as a designer.

The crit was in small groups, being led by Amber. I discussed my idea of a look book style publication to reflect my interest in fashion and the subsequent and surrounding areas, with the group and received positive feedback clarifying that both the publication itself and the topic chosen are relevant to my practice and my personality. I explained how I had used a combination of aesthetics which have been used throughout work I have produced in order to create a visual and contextual link between my practice and my archive of inspiration and research. Amber noted it looked very 80s, which in someways felt dated to her, however she said it reflects my practice and design style, which led to a discussion on trends, design subjectivity and personal tastes. Overall it was very positive and I am simply going to refine the PDF and perhaps add some additional pages with quotes to further contextualise the analysis' and the imagery.

Tuesday, 21 April 2015



Imagery has been collated from the following sources:

- PPP Blog - Imagery and Articles
- COP Blog - Imagery, Information and Quotes
- Personal Tumblr Blog - Imagery
- Scans from 'Graphic Design for Fashion'
- Hunger Magazine Scans and Website
- The Ballad of Magazine Scans and Website
- Jade Clark - Imagery from previous projects
- My Behance Appreciations

Whilst I was collecting the imagery from the listed sources, these needed to be relevant to the chosen sections for the publication as noted below:

1. An Inspiration Diary
2. The Relationship between Graphic Design and the Fashion Industry
3. The Fashion Industry, The Body and Eating Disorders
4. "Where are all the Female Graphic Designers at?"
5. Branding and Identity
6. Editorial Design

By breaking the contents down into these sections, I am covering all bases of the fashion industry and the surrounding areas of relevance and interest as noted on a previous post. With each section I would like to include an analysis to contextualise the topic with my practice, as well as a visual link to this. 

I am unsure at this stage if I will use all of the images shown below, or simply a selection. This will become more evident as I work out how I want to bring my design publication together to really reflect my practice. 


Rebecca Wright on the ratio of girls with design degrees vs. those in the industry.

We often find ourselves discussing the role, and lack of women in the world of graphic design. Rather than try and cackhandedly work it out for ourselves we decided to ask someone at the frontline of the issue to help explain it. Rebecca Wright is programme director of graphic communication design at Central Saint Martins, University of the Arts London. With Lucienne Roberts, she is also co-founder of GraphicDesign&, a pioneering publishing house exploring the relationship between graphic design and the wider world, and the value that it brings. GraphicDesign& will be launching a survey for graphic designers in early 2015 as part of a new project which uses social science to look at who graphic designers are and how they work.
Here she is on the enormous amount of girls who study design degrees, compared with the very small few that go on to become big names in the industry. As ever, feel free to leave your comments below.

Rebecca Wright

There’s a funny thing going on with graphic design and girls. It’s noticeable on HE courses up and down the country and writ large as the new academic year begins again. For of all the students arriving and returning to study undergraduate and postgraduate graphic design, the majority are female.
“A 2013 Guardian survey reports that of the 12,930 students at the University of the Arts London, of which CSM is part, 9,370 are female – a pretty weighty 72.5%”
Rebecca Wright
At Central Saint Martins this is by no slight margin. Of the 525 students enrolled this year on BA Graphic Design, 372 are female, which is 70.8%. The picture is similar on MA Communication Design where female students are 68.3% of the cohort. Within the broader context of art and design education, this is not in itself unusual. A 2013 Guardian survey reports that of the 12930 students at the University of the Arts London, of which CSM is part, 9370 are female – a pretty weighty 72.5%. And of the 49,920 students studying creative arts and design in Higher Education in the UK, 30,790 or 61.7%, are women. What is unusual however, and deserves scrutiny, is that this female domination in graphic design education appears to be reversed when it comes to the graphic design industry.
“This female domination in graphic design education appears to be reversed when it comes to the graphic design industry.”
Rebecca Wright
A much-quoted survey of the UK design industry published by the Design Council in 2010 revealed that only 40% of designers were women, in startling contrast to the 70% of female design students. This statistic prompted dissertations and magazine articles, questions to awards panels and industry line-ups, and both defence and dispute. And yet, despite the debate, there are areas of the industry where there seems little evidence of significant change.
Attend any design conference and the likelihood is still that the speakers will be predominantly male; look at the boards, panels, juries, the partners, chairpersons and even the majority of awards winners, and the picture is the same. Because, although in rank and file the number of women in graphic design is surely growing, it’s in the high profile positions and public platforms where the gender imbalance remains most visible.
“Attend any design conference and the likelihood is still that the speakers will be predominantly male; look at the boards, panels, juries, the partners, chairpersons and even the majority of awards winners, and the picture is the same.”
Rebecca Wright
And this is a problem. It’s a problem because, as in many other walks of life, the higher echelons of the industry does not reflect the demographic it purports to represent; neither the future of the industry nor the audience it serves. Yet there was a never a time when we needed this more. Unprecedented social, economic and health related challenges necessitate 360 degree thinking: a diverse range of people and perspectives to innovate, propose and provide. While graphic design education strives to provide an environment of equality and pluralism where competition thrives and meritocracy is the measure, there is a culture in parts of the industry that lags behind – it may recognise the value of talent and graft, but it rewards confidence, charisma and chutzpah, and the uncomfortable truth is that these attributes do not always sit as comfortably with women as they often do with men.
“After 15+ years in design education, my experience is that female students are still less likely to want to grab the limelight, less inclined to push themselves forward and to self promote.”
Rebecca Wright
This is not to suggest that to be a woman has a bearing on levels of skill and competency in the discipline – great graphic design is created by both male and female students, and in this regard the issue of gender is of little concern. However, after 15+ years in design education, my experience is that female students are still less likely to want to grab the limelight, less inclined to push themselves forward and to self promote. These students show their confidence in other ways – in the events they organise, coordinate and manage, the group work they often lead and the imagination and innovation with which they develop their project work. But the lack of fanfare that accompanies these activities may lie behind the lack of visibility of women graphic designers at those top tables.
“Few courses explicitly discuss the issue of gender in the contemporary graphic design industry, or the hierarchical structures and cultural machismo that persist.”
Rebecca Wright
The best graphic design courses teach their students, regardless of gender, to be skilful, articulate and agile designers: to empathise, to work with and not just for their clients and end-users, to take their role as citizens seriously. These courses create the space for young designers to flex their creative muscle, take risks, push boundaries and make mistakes, to think freely and act consciously. I’m not suggesting any of this should change. But maybe we should be more honest about where resistance and potential inequalities lie. Few courses explicitly discuss the issue of gender in the contemporary graphic design industry, or the hierarchical structures and cultural machismo that persist. But if we want to equip our students to have influence in industry, and for its shape and face to change, perhaps it is time that more of us did so.