Here are the final designs that Joe Auckland and I submitted for D&AD new blood competition. The brief was to engage a younger audience that are not engaged in the news. To target this we developed the telegraph website into a social news web platform that is much easier to navigate than their current website. Our design allows for a system which displays personalised content to each user depending on their interests within the news. 

The modular system created for the content creates an easy to understand visual language for the user that is used across the whole site.

The social aspect of the site continues on a community page that features suggested people to follow, people, the user will know, and existing friends most recent comments and activity.

The sites colour scheme has been developed from the telegraphs existing, black, white, grey and blue colour scheme to not deter existing users. The simple layout and clear use of white space is used to create a more modern approachable style that will encourage new, younger users.

The site features an mail feature allowing the users to send stories to one another, increasing the social aspect of the site.

We chose to use a sans-serif font across the whole site except bodycopy to add to the modern aesthetic. A serif font was selected for news stories bodycopy to not warp the telegraph brand too much, which is currently quite formal.

A comments feed was adapted to allow users to share views on news stories in a conventional comments feed style for users to understand.

Here is a video of the site in motion:

The site would easily transfer to mobile. The grid is collapsable so that the modular system can stay consistent to allow users to seamlessly browse on desktop and mobile

Brief

The Colour and Application Event will take place on March 3^rd.

The format of this event is different to previous CN events as the networking and drinks will be based in the Printed Textiles Studio.  This will allow delegates to see student work and a ‘live’ studio space.  To bring the space to life even more, staff and students will be running mini colour workshops.  Colours May Vary will have a stand and it’s hoped we can create an ambience by changing the lighting to different colours.  Where possible we want to create colour and a vibrant, exciting environment.  Colour is a huge aspect of all our lives and the speakers will cover how they work with colour and apply it to products and artworks.

As this is a slightly different Creative Networks, neither as mainstream as some of the other events nor a high profile ‘celebrity event’ it will be necessary to produce some pre-event materials, such as posters, possibly a teaser campaign – the team is open to ideas.  The second part of the brief is the usual collateral we have on the evening plus some new signage posters as delegates will need to be directed from:

Reception to the Printed Textiles Studio

Printed Textiles Studio to the Lecture Theatre

Lecture Theatre back to the Printed Textiles Studio

Printed Textiles Studio to Reception

Summary of Requirements:

·      Posters and teaser campaign pre the event

·      Signage posters for the night

·      Floor vinyls and posters for the night

·      Design for the glass corridor

·      Updated poster with all the names of previous speakers (To be supplied by PPE)

There is scope to collaborate with the Printed Textiles students and images from each of the speakers are available to use in the printed and online materials.

Mandatory Inclusions

Adherence to brand guidelines, Leeds College of Art Logo, Creative Networks logo with twitter account details.

Timescales

Brief                                                                  w/c 25^th January

First draft concepts                                                     w/c 1^st February

Final design approved                                          5^th   February

Print and distribution                                          8^th   February

On the night print collateral produced                           1^st March

The Guests

Dennis Parren - http://dennisparren.com/

‘…Design from the idea that light=everything. Without light there is no colour, and no life.’

Dennis experiments with colour and the mystery of light.  He perfectly combines

design innovation with conceptual art aesthetics. Parren’s design is all about light – without light, colour simply could not exist. Accordingly, the CYMK Lamp eloquently delivers a reminder that light is fundamental to our perception of colour.

Kit Miles - http://kitmiles.co.uk/

‘Renowned for dynamic use of colour and lavishly drawn imagery, Kit Miles studio weaves together a world of rich and often surprising juxtapositions, rendering unique imagination into reality.’

Blond & Bieber (Essi Johanna Glomb & Rasa Weber) - http://blondandbieber.com/

‘Blond & Bieber is a cooperation which meets on the border between textile- and product design. By means of concept, experiment and a strong visual approach the duo (though educated as product-developers) would always choose for a narrative approach to design over a purely practical understanding of production. Blond & Bieber are searching for subtle expressions of modern rituals and processes.’

Deliverables – Amount to be quoted by Design Team and confirmed by PPE

No wooden frame is required for the guests at this event on the night as it is taking place in the Printed Textiles studio. An alternative solution to this is simple vinyl name displays.

X A1 posters (Themed on the evening)

1x A1 poster detailing previous Creative Network guests.

X A2 Posters to advertise the evening prior to the event

X A5 flyers (Can be alternative design or copy of the evening’s posters)

**m Vinyl – To decorate the glass corridor leading to the Printed Textile studio.

**m Vinyl – Floor guides for guests to printed textile studio and to the lecture theatre.

Initial Ideas

3 A1 posters (one for each guest) using supplied images

A1/A2 Previous Guest Poster -Same as prior?

A5 flyers - scaled down A1 Posters

The idea progressed and I began creating an A3 prototype using two prints of the same image and laser cutting perforation lines onto the top layer.

Some semicircle cutouts were added to make it easier for the user to get a grip of an individual piece.

Once a panel had been peeled off, it was barely noticeable that there were infact two separate layers. We saw that this could be a problem as people may not actually be able to see that you can peel the top layer off. This could be fixed with the addition of some instructions.

The individual pieces of the image worked nicely as info cards. The ability to pick and choose a piece may give more value to the card.

The back would then have information about the event which the user could take with them.

About Tame Impala

The sound of spacy, guitar-heavy psychedelic pop has never really gone out of fashion since the Beatles brought it to the mainstream in the late '60s, with proponents like Pink Floyd and the Flaming Lips managing to make long careers out of mining its every seam. In the 2010s, there is no more popular psych pop group than Australia's Tame Impala. 

Kevin Parker (vocals/guitar) and Dominic Simper (bass) formed the band as 13-year-olds in Perth in 1999, sticking to bedroom recordings until 2007, when Jay Watson joined them on drums and backing vocals. Their sound was pure late '60s, but wasn't the sound of any specific band from the era. They were as likely to channel the Nazz as the Jimi Hendrix Experience. Cocooned away inside walls of psychedelic fuzz in Western Australia, they re-created their preferred period one song at a time with the aid of gear and production techniques that sounded like they hadn't been dusted off since 1968. 

Like a lot of the buzz bands of the mid- to late 2000s Tame Impala's story involves MySpace. The social networking website rocketed them from a teenage garage band to the sought-after trophy in a multiple-label bidding war. It started when Modular Records sent them a message after hearing several songs on their MySpace page and asked for more. Tame Impala sent them a demo with 20 songs, which led to requests and offers from everyone under the sun. After consideration, they stuck with the label that had shown first interest, and signed with Modular in 2008. 

In September of that year they released their first self-titled EP. There was some confusion among reviewers, several of whom referred to the release as "Antares, Mira, Sun" after the notes written on the artwork, a representation of the Orion Nebula drawn by bandleader and songwriter Parker. As well as drawing the art, the perfectionist Parker micromanaged the recording, performing every instrument himself. The EP went to number ten on the ARIA charts and number one on the independent label charts. Though Parker played everything in the studio, live Tame Impala functioned as a real band, though at their early gigs they were famously unprepared and never wore shoes. At one such shambolic gig for a Vice Magazine party in Melbourne, indie electropop band MGMT's label manager caught their act and was impressed enough to offer them the support slot when his band toured Australia. That year they also supported the Black Keys and You Am I on national tours. 

In 2010, Tame Impala made their full-length debut with the Dave Fridmann-mixed Innerspeaker. Recorded mostly in a remote beach house four hours outside Perth, Parker did almost all the music, this time letting Watson and Simpercontribute a little bit. The album was a critical and popular success, gaining the band fans all over the globe, being nominated for many awards in Australia including ARIA Album of the Year and winning the J Album of the Year nod. Shortly after the record's release, Parker returned to his home studio in Perth to begin work on new material, which he began recording while the band was on tour. Along the way he lost half the album when his iPod fell out of his bag, he moved to Paris (where he produced Melody's Echo Chamber's album), and eventually, after a year of mixing with Dave Fridmann, he finished the album. 

Released in 2012, Lonerism was a less guitar-heavy, far weirder album than Innerspeaker, yet it made an even bigger splash. Tame Impala repeated as winners of the J Award for Album of the Year and topped many year-end polls (including NME), and the record was nominated for Best Alternative Album at the Grammys. All this success made Parker an in-demand collaborator, and Mark Ronson was the biggest name to make a connection, with Parker working on a handful of tracks on Ronson's Uptown Special album. At the same time, Parker and some friends formed the space disco band AAA Aardvark Getdown Services. These were touchstones for the next Tame Impala record, 2015's Currents, which saw their sound expanded to include more uptempo, dance music-informed tracks and some smooth R&B stylings.

Someone said they left together
I ran out the door to get her
She was holding hands with Trevor
Not the greatest feeling ever
Said, "Pull yourself together
You should try your luck with Heather"
Then I heard they slept together
Oh, the less I know the better
The less I know the better

Oh my love, can't you see yourself by my side
No surprise when you're on his shoulder like every night
Oh my love, can't you see that you're on my mind
Don't suppose we could convince your lover to change his mind
So goodbye

She said, "It's not now or never
Wait 10 years, we'll be together"
I said, "Better late than never
Just don't make me wait forever"
Don't make me wait forever
Don't make me wait forever

Oh my love, can't you see yourself by my side?
I don't suppose you could convince your lover to change his mind

I was doing fine without ya
'Til I saw your face, now I can't erase
Giving in to all his bullshit
Is this what you want, is this who you are?
I was doing fine without ya
'Til I saw your eyes turn away from mine
Oh, sweet darling, where he wants you
Said, "Come on Superman, say your stupid line"
Said, "Come on Superman, say your stupid line"
Said, "Come on Superman, say your stupid line"



Themes

Waiting
Time
Cheating

I had a clear idea of how I wanted the brand to look. It needs to look high end, sophisticated and have hints of spanish, art deco style to bring through basque themes.

I began by looking at my typeface choice for the label. Most of the typefaces I looked at, lacked interest. Sans-serif typeface was a definite, but a few seemed too high end and not fitting with the Pintura brand.

I finally chose Collona MT which fit with the foreign themes.

This paired nicely with Baskerville body copy for the desired style.

Initial colour schemes were inspired by the existing copper, creme and white colour scheme that Pintura use across all their design work. The navy was then chosen due to the staffs blue shirt uniform. This combination of this colour scheme and typeface choice made the brand look greek. I then realised this was due to the surrounding imagery (zig-zag lines etc)

Using some imagery I found on an elevator at Pintura, I began experimenting with an art deco pattern.

The line-art is fitting with the branding of Pintura, and sets a sophisticated tone of voice for the brand.

After speaking with the client, they were not sure whether but was the correct choice and suggested using green, brown or grey. After some experimentation with colour schemes I found that these lacked the sophistication of the blue and copper colour scheme and seemed more distant from the parent brand.

Ideally I would like to screen print or foil the copper lines which will hopefully look like this:

After a crit with some other students, they suggested I took with the design back a bit and get rid of the surrounding white border as it was too distracting from the design. This would also allow me to screen print the design onto navy stock.

It was mentioned that the creators of El Ciento gin wanted to have a wax stamp of either Pinturas existing basque emblem, a yorkshire rose, or their Pintura emblem.

 After some experimentation, I found that the basque emblem was too detailed to use as a wax stamp, The Pintura emblem is simple enough to work on such a small scale. The yorkshire rose and basque emblem can be incorporated in the printed elements.

I'm yet to test stamping wax, but plan to use either blue, black, red or copper wax.

The Basque region is situated in the north of Spain, next to France. This picture of cultures influences the Basque cuisine, lifestyle and art.

The basque flag is is quite bright and harsh on the eyes. It is worthwhile considering ho this colour scheme could be used in the design, although it does not fit with the Pintura branding. which uses black, cream, copper and grey colours for a more sophisticated brand.

I began looking at the tiles and patterns that are commonly found in Spain and the Basque region. These Art Deco styled patterns are influenced by islamic art, however have a strong link to the traditional visual culture of Spain.

'Islamic decoration, which tends to avoid using figurative images, makes frequent use of geometric patterns which have developed over the centuries.Islamic geometric designs are often built on combinations of repeated squares and circles, which may be overlapped and interlaced, as can arabesques (with which they are often combined), to form intricate and complex patterns, including a wide variety of tessellations. These may constitute the entire decoration, may form a framework for floral or calligraphic embellishments, or may retreat into the background around other motifs. The complexity and variety of patterns used evolved from simple stars and lozenges in the ninth century, through a variety of 6- to 13-point patterns by the 13th century, and finally to include also 14- and 16-point stars in the sixteenth century.'

 We can see how this has influenced the branding of Pintura. On the elevator, they have a copper coloured vinyl design which resembles a simplified islamic pattern. This line-art style runs throughout the Pintura brand.

All the Menus feature a line-art styled basque emblem which seems to have been influenced by the basque coat of arms.

Geometry has also been considered in the design of the building. The panel bellow features a hexagon pattern, again in copper

 A recurring style appeared when researching Basque architecture. Columns with curved tops seem to be very common. This could be incorporated in the layout or label shape.