Design for Print & Web
Graphics - Illustration
WordPress - Content Strategy
Web Development - SEO
Compositing - Retouching
Product Design - 3D & Display
Ben Powell - Designer | Creative Lead | Brand Developer Tel: +44(0)7786 914 252 email@example.com http://rootcreations.co.uk
Based in the South West https://uk.linkedin.com/in/benjaminpowelluk
Siemens | Ads | Display | Internal Comms - Graphic Design | Layout Siemens are widely renowned as an international market leader in Engineering and Technology sectors. Another long standing client of Marcom, the agency have contributed work for a range of marketing and internal comms projects.
From information cards and corporate documentation to presentations, design for display, large format print and advertisement - During my time with Marcom, I have delivered a broad spectrum of solutions for Siemens and personally managed several key design briefs.
AGCAS | Phoenix Magazine - Graphic Design | Layout AGCAS: Association of Graduate Careers Advisory Services have been a long standing client of Marcom. The agency’s main contribution to their marketing effort is the design and layout of their biannual magazine ‘Phoenix’.
The publication is now predominantly a digital offering and consists a broad mix of academic articles, sector editorial and industry views focused mainly on graduate support as well as employability.
Media Trust | Web & Print - Graphic Design | Layout Media Trust are the UKâ&#x20AC;&#x2122;s leading communications charity. They work in alliance with the UKâ&#x20AC;&#x2122;s top media and communications companies creating communications solutions for charities and communities for social good.
During my time at Marcom I have worked on several projects for the Trust, delivering marketing assets across print and digital. In 2015 I developed branding for the annual Media Trust summit and as part of this brief, designed artwork for the conference brochure.
Geoquip | Display | Brochures | Documents - Brand Development | Design | Layout Geoquip Marine Group provides worldwide services to the energy (oil, gas and renewables) industry, infrastructure developers, and government and research organisations. They work to obtain data from the seabed and sub strata, interpret that data and provide engineering and scientific recommendations.
In 2016 I created designs to develop their overall branding and identity across a full range of assets. At Marcom we produced artwork for the corporate brochure and product specification sheets as well as exhibition designs for their stand at Oceanology International in the March.
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GigStamp | Mobile App - Branding | Artwork | Product Development The images here showcase a cross-section of the branding, app UI and ‘stamp’ development which Root Creations tackled for live music check-in app GigStamp. The brief called for a fresh, energetic look that would appeal to music lovers across different genres of music, therefore a broad demographic. The design evolved from
addressing many potential varieties of stamp, eventually veering its way back to a more universal and iconic feel that had adaptive qualities. With a template in place it was easy to visualise the varieties in colour and to make use of the natural ‘real estate’ at the centre of the stamp for photography and custom artwork.
FE+ & Ferrum26 - Branding | Design | Web Development These examples of work show designs which were developed for financial services companies FE+ and Ferrum26. Ostensibly separate companies, they were in fact twinned under the management of a single umbrella firm. Whilst both FE+ and Ferrum26 delivered solutions for different parts of the industry
and targeted separate audiences, there was a distinctly themed approach to the design development which helped unify the brands. I created branding and developed websites for both projects as well as producing all communications materials.
Marcom | Strategy | Proposals - Design | Web | Studio Management Marcom are a successful B2B agency specialising in design and marketing for engineering, technology and professional services. Significant aspects to my role whilst working for the agency involved strategy support, new business proposals and presentations, web management, hosting, development and studio traffic management.
Operating as point of contact - both as support for a roll-call of fantastic clients and delivering creative briefs whilst working with an array of freelancers. Keeping abreast of schedules and updating of work in progress. Maintaining good relationships with agency clients and service providers.
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Living Image Music - Branding | Design | Web Development | SEO Living Image Music are a small team of music and digital media specialists offering a broad range of creative services. The team required a full service makeover starting with their core branding and identity. This then fed into the extensive development of the company’s online platform and web presence, including integrated
media and social engagement as well as over-arching SEO and content strategy. The primary brief leant on a visual which played on the idea of ‘old Hollywood’ and 1950’s picture houses or classic movie studio idents. In contrast the supporting imagery needed to have a contemporary feel, but attractive to clients of all ages.
5x5x5=creativity | EYP Evaluation Report - Design | Layout It is always great to land clients that are both creative and innovative. 5x5x5=creativity is a charity focused mainly on childrenâ&#x20AC;&#x2122;s creative development and education. Among other things they place artists for workshops in schools and events. With an emphasis on creative learning, the charity regularly undertakes
research which supports their work in education. Itâ&#x20AC;&#x2122;s been our pleasure to have produced a number of research publications for 5x5x5=creativity in recent years. The design choices are simple clean and communicative, bright and colourful, in support of the playful imagery on display.
Root Creations | Various Clients - Logotype | Icons | Branding | Idents Iâ&#x20AC;&#x2122;ve Info designed many logotypes, idents and icons over the years, as other designers will attest, itâ&#x20AC;&#x2122;s often a great place to start when building a brand. A simple, well considered logo and identity communicates a spectrum of ideas and characteristics, it almost always informs creative decisions further up the branding ladder.
IInfo like to make sure that a design delivers everything it needs to in black and white before I start applying colour. By its very nature colour is emotive, I tend to work with it in a separate development phase. By focusing in monotone on the message that an ident must convey visually, you can cut out the emotional static.
Republic Gallery - Branding | Design | Web Development | SEO Republic Gallery is a recurring series of public exhibitions where artists submit a piece of work to be viewed and voted for by the online community who engage with the web platform. The team at republic.gallery required a full development scheme with the brand being built from the ground up. The brief called for a clean, open
identity that would resound with the public, with an emphasis on space, leaving the artwork to take centre stage. The web build has been extensive, with social interaction, user management and UX at its core. Fully responsive and lean in its performance, the platform needed to be widely accessible on all devices.
LI FE GU AR D
RLSS | NPLQ (E8) & Documents | CIMSPA - Graphics | Layout | Artwork For some years, Iâ&#x20AC;&#x2122;ve worked closely with design and print partnership AMS Create, producing a great deal of publications and supporting literature for The Royal Life Saving Society. Requirements have focused primarily on designing and updating editions of their Lifeguard/Assessor advanced training manuals.
A common aspect to these layouts is that they are laden with complex information in a variety of pictorial, illustrative and editorial formats. Historically difficult to navigate, digest and deliver the vital content - the manuals have always provided an interesting challenge, where function has trumped style in importance.
Trouble Town has the memorable line ‘the only thing that’s pretty is the thought of getting out’. Do you have a love/hate relationship with Nottingham? I love Nottingham, actually. But when you’re growing up, you want to get away, don’t you? I think that’s a feeling that everyone’s experienced as a teenager. You want to go out, travel the world, see things for yourself. And luckily, I’m doing that through my music. But did growing up in Nottingham have an impact on your music did you think? Totally. You’re right to spot that Trouble Town is based on Nottingham, even though it could be anywhere. But the city does support its local artists - not least because it’s not really so well known for its successful musicians. There are a lot of gigs, a lot of bands. It’s helped me get noticed. And can you pinpoint the exact moment you did? Absolutely. It was when I uploaded a song onto the BBC Introducing website. I got an e-mail literally the next day from BBC Radio Nottingham saying they wanted to play the track. I couldn’t believe it. And before I knew it I had a manager and got signed, all within six months of taking a deep breath and uploading the song. And from that I went on Radio 1 and Glastonbury. Incredible, really. What was the Glastonbury experience like? It was fantastic to play there. I’d auditioned for this event called Glastonbudget, which is a tribute festival to Glastonbury, and they turned me down. And then the next day Radio 1 rang and asked me to play the actual thing. It was mad. Actually playing on that stage was phenomenal for me, a great achievement.
ISSUE 01 | AUTUMN | 2012
This summer you’ve been honing your live act at lots more festivals. They’ve been just as important to your momentum in a way, haven’t they? There’s been a few mad ones, yes! Some of them were booked before I was signed, so there was this family festival in South Yorkshire somewhere which was a bit strange - but cool too. And I really liked The Wickerman, particularly when they actually burn a wickerman. But it’s been interesting, because you do quickly understand that you’re there to entertain, and sometimes one man and a guitar won’t be enough. So how did you adapt? Well, after you’ve played a few gigs you realise that you need to create a persona for yourself, I think. You have to put on a show rather than just playing eight songs and going home. So even though there are a few songs I will play on my own, I’ve got a bass player and a drummer now, which means a gig of mine can be much more varied. The idea of a persona is interesting because there is an element of storytelling in your songs, isn’t there. Will that be a feature of the album too? I like telling stories in my songs. But what I’ve learned is that it’s cool if they’re true, but it’s not the be all and end all. Creating stories out of things you’ve dreamed or fantasised about is just as interesting and important.
And of course, in the end, the song’s the most important thing. Absolutely. You know, what I really hope for the album beyond the obvious - that it’s successful - is that it’s the kind of record which might inspire teenagers to pick up guitars and write songs again rather than messing around on midi keyboards all day. When Bradley Wiggins wins gold in the Olympics everyone’s riding around the streets in all the cycling gear. And a good guitar record can do the same for guitar music. Maybe some were inspired by Arctic Monkeys at the opening ceremony... Yeah, they did Come Together as well, didn’t they? You know, it was great they were there. Every time people say guitar music is dead, it comes back stronger. And I hope I can be a part of that renaissance. We’ll see what happens. I’m intrigued to see what happens, anyway!
| agogo! | ISSUE 01 | AUTUMN | 2012
UK TOUR DATES: September Fri 28
October Tue 16 November Mon 12 Tue 13 Wed 14 Thu 15 Sat 17
Birmingham Portsmouth London Bristol
HMV Temple Wedgewood Rooms Koko Thekla
Mexicana Bounce has a really infectious electronic sound and yet your acoustic covers of Bat For Lashes and Emile Sande have got quite a following on YouTube. Where do you feel most comfortable? Well, I write on the guitar, and most of my ideas start that way before we start adding things to the riffs and melodies. I love Ryan Adams and when I was younger I tried to write songs like his, but to be honest they were pretty dreary. The stuff I really really love makes me happy - so I tend to gravitate towards writing songs like that. That’s not to say that every song on the debut album will be relentlessly “up”. Hopefully there’ll be stuff that’ll make you think - it’s not just about partying.
19 King Tut’s Wah Wah Hut O2 Academy 2
You’ve also relocated from Scotland to London and started working with songwriters who have written for everyone from Adele to Ed Sheeran. Is that slightly odd when you’re so used to writing by yourself? Well, you do get very close to your own songs, and I do write all of them. I think that’s important when you’re singing about stuff that represents your personality. But I do enjoy co-writing too, simply because these people have been writing much longer than me. They have the experience. Most of the album will be fully my own work, but I don’t think it’s a problem to bounce ideas off people who have had massive hits with beautiful songs.
Interviewed by Ben East
inging songs about boys might be the preserve of many a teenage hopeful, but not many do it so well as 18-year-old Scot Nina Nesbitt. After her memorable folk-pop songs on an acoustic guitar caught the eye of Ed Sheeran and Example, she supported both at high profile gigs before selfreleasing the Apple Tree EP in April. September sees the release of first major label single on Island, Boy, and she goes out on an eagerly-awaited tour in October You’ve just released Boy, your first major label single. These are exciting times, aren’t they? Absolutely. I think after The Apple Tree EP people might have thought I was another typical singer-songwriter, but Boy is a nice progression I think. It’s more uptempo, it’s more polished without being overproduced, I hope. I took the rock genre as a bit of an influence on this one and merged it with pop and folk. I actually wrote it about 18 months ago but it’s only recently I’ve had the chance to put it in the studio. It was fun making the sound.
It’s not always easy though, is it. Another tweet of yours the other day said that when you’re making an album, it’s important to recognise that not everything works first time. I think I was just having a bad day! It was a newly written song and I had a clear idea of how I wanted to sound but sometimes what you hear in your head seems impossible to make real. After a few attempts on getting it right we finally got it the way I envisioned it to sound and I’m really happy with it now. It’s a debut album and I want the songs to be recorded exactly how I envisioned them for all these years because this is an album that will stay with me forever. I don’t want to be regretting things later down the line.
You must be - you’ve been tweeting asking your fans what their favourite line in the song is… I know! The first one I got back was “I let you walk all over me, leave your footprints on my heart,” - I like that one too - and it’s great to know people are really listening to the lyrics as well as the music. When writing songs I always really focus on the lyrics so I always try and get that across. The lyrics are what many people have really picked up on so far, isn’t it? Your early songs were all about the trials and tribulations of growing up - but you must have had to do a lot of growing up yourself in the last six months. Absolutely. I can still relate to all the early stuff but I have moved on as a person from those experiences, and the songs I’m writing now are more about relationships.
You wouldn’t have noticed a love of Ryan Adams from Mexicana Bounce. But then, you have some really interesting guilty pleasures, don’t you... I love 1980s music, man. I love Deacon Blue. I’m a Real Gone Kid. I was 14 or something, and I saw the video for that on VH1. And it made me so freakin’ happy, I couldn’t get it out of my head. And as I got older, I got into more of their stuff, YouTubing old concerts and so on. It’s not all great but they are really under-rated songwriters. I’ve got a lot of time for them. 18
| agogo! | ISSUE 01 | AUTUMN | 2012
| NINA NESBITT | agogo! |
LIFE IN FILM
Interviewed by Rachel Gardner
but the singer is really aloof. He doesn’t say thank you. Or if he does, he doesn’t mean it. I’ve got no time for any singer who thinks they’re too cool to look like they’re enjoying what they’re doing. It’s important to be personable, to have a rapport. After all, these people have come to see you.
And you definitely can. “When I go out there’s a bounce in my T-shirt” should be one of the mottos of 2012 It’s a cool phrase isn’t it! It’s meant to capture that feeling of when you’re happy and alive and your heart’s beating really fast. I’m definitely going to put it on T-shirts.
JAKE BUGG FACTS: Album: ‘Jake Bugg’ out October 15th Single: ‘Two Fingers’ out October 15th
| JAKE BUGG | agogo! |
ondon based guitar band Life in Film is made up of Samuel Fry, Micky Osment, Edward Ibbotson and Dominic Sennétt. They caught the attention of industry giant Stephen Street (The Smiths, Blur) who has been working with them on their album and been asked by fashion label Burberry to play an acoustic session for them. When we speak to Ed the excitement the boys have for the music they are making and the tour they are just about to set off on is evident. How did you guys meet and decide to start making music together? I’ve known Sam since we were at school together, we did a few half-arsed band things when we were at school but then we both went to Uni. That’s where Sam met Dom and Mick. They played about a bit but nothing serious and then when Uni ended they broke up and Sam came back to London. We started playing about with guitars and the other two moved up to London and we decided to give it a go. Dom says he remembers the first time I met him and it was in a pub in Acton, I seem to remember that being ages after I met him so that’s an ongoing dispute. We all get on really well, we pretty much spend all of our time together and it’s quality.
The best new music near you
And hopefully more and more people will come and see you after the new single. Absolutely. The next six months are going to be really exciting. I’m hoping that the connections I made on Africa Express will mean I can do some good collaborations, we’re working on the live show, I want to expand my band... and then there’s the album. Getting that ready to go is the main thing - I can’t wait for it to be finished and for people to hear it.
You’ve supported Emeli Sande this year, and in some ways you’ve followed a similar path; both of you have made a career making or playing music with other people before releasing your own material. Are there benefits to that approach? I always wanted to make my own music. But I didn’t know how to go about it so instead I offered my services to other people as a guitarist or bass player - either live or in the studio. I knew I wanted to make a living through music basically, and if that meant playing songs for Ellie Goulding or The Noisettes, that was fine. And it’s been an amazing journey, playing to hardly anyone in a tiny indie venue to playing for Paloma Faith. I’m so grateful for it because if I’d started out playing my own stuff straight from school it would have been a disaster. I wasn’t ready.
What did you learn? Well, it taught me a lot about playing with other people, how managers and labels work, who to stay close to, who to avoid, how venues and touring works... I must have stayed in every Travelodge in the country! Basically it laid all the foundations I needed before going off and doing my own thing. The only thing I needed really was my own songs. And it’s been a complete joy to play with all these people. I mean, I’ve even got Paloma’s dove insignia tattooed on my neck! I’ve been branded! What was the one thing you’ll really take from all those experiences. Well, that to be successful takes time, that you have to build a fanbase. But most of all that it’s often the bits in between the songs which really define you. A lot of the time you go and see a band and you can see the musicians are giving it everything
| agogo! | ISSUE 01 | AUTUMN | 2012
THE YEAR OF THE BUGG
SEYE FACTS: Single: ‘Mexicana Bounce’ out now UK TOUR DATES: Supporting Aiden Grimshaw September Wed 26
O2 Academy King Tut’s Wah Wah Hut Cockpit Academy 3
October Mon 01
JAKE TAKES OFF
| SEYE | agogo! |
FOXES Interviewed by Rachel Gardner
There are several stories around about how the name came about. I read that an Indian guru told you that you needed to be in a band called My Life in Film. Is that the real story? I quite like the guru one but it’s absolute bollocks. I got told that the other day, I think Dom said that I’d gone to India and meditated with a guru or something like that but it’s absolute nonsense. Although I kind of wish it was because that’s far more interesting. It came from this film called American Movie, which is a documentary
about this guy who’s obsessed with horror movies and he is trying to make his own. But it’s really low budget and he’s slightly deluded and this documentary follows him trying to make it. Although he was the guy that was desperate to make the movie, this documentary was kind of his life in film, even though it was all about him trying to make his own film. We liked the ideas running through that. We spent ages trying to think of a name and we came up with some bad ones. I think it’s a bit like hearing the sound of your own voice. It always sounds a bit alien.
What were your musical influences when you were growing up compared to now? Growing up I loved the Spice Girls, Eminem, it was very pop. I was a typical young kid in the 90’s and I loved all sorts of stuff. I was a big fan of 90’s dance music. I really liked Kate Bush, Patti Smith and Björk, Portishead, Massive Attack, stuff like that. I actually get my inspiration more from film. It’s visually more inspiring for me so I watch a lot of films and listen to soundtracks. I love Leon and more recently I think the Drive soundtrack’s brilliant. When I was younger I used to watch Leon five times a day and Forest Gump five times day. My mum said I used to sit there and have them on repeat.
hen we speak to Foxes (A.K.A Louisa Rose Allen) she is on her tour bus on her way to Berlin and surprisingly upbeat for someone who has got another five hours of travelling in front of them. With an infectious charisma and stunning ethereal vocals that were showcased on her Neon Gold Records’ releases Youth and The Warrior EP late last year, Foxes is capturing people’s attention all over the world.
How do you describe yourself as a performer? I think I just get into it. I really enjoy magical stage performances. I like it when the artist can take the listener away for half and hour and make them think they have gone into another world. I’m a big fan of magical moments in performances and the occasional jump about. It’s taken me a while to get good at my craft, stage confidence and performance. I don’t get nervous now but I used to.
You moved to London to study music but you pulled out of the course. Why did you stop? Well I feel like music can’t really be taught. I think it was a bit too much of a classroom for me and I just wanted to go and create some sounds. It was great fun but it wasn’t really for me. I feel that music school is for if you want to become a teacher. It’s probably different for lots of people but for me I wasn’t really into all of the theory classes. I just don’t feel like you can be taught music, I feel like it’s something you learn yourself. I just wanted to run off and write songs and sing them on stages.
Who were you up against on the other stages? Er, Beyonce was on at the same time as me! So I didn’t have the biggest crowd. But in a way it was the footage of me playing at Glastonbury which was more important.
Is it true your mum had a dream about foxes the night you decided to call yourself Foxes? I needed to change my name and someone said ‘how about Foxes’. I thought it was really silly and wasn’t a very good name and then the next day I rang my mum and was like ‘mum what do you think about the name Foxes?’ She said ‘I had this dream last night that foxes were running up our street and making these hauntingly beautiful sounds.’ She said it reminded her of my music and it was really beautiful and after that I just sort of went with it as I felt like mum’s always right and she had had this dream, which I thought was quite funny.
| agogo! | ISSUE 01 | AUTUMN | 2012
| FOXES | agogo! |
KYLA LA GRANGE Interviewed by Rachel Gardner
I think it’s pretty much all we’ve ever wanted to do. In an interview we did a while ago Dom said that most of our humour is based on insulting each other so if it ever came down to an argument we’ve already said the worst stuff you could possibly say, it would almost be pointless to have the argument. It’s wicked, there has never been a big bust up and we are all quite close emotionally and sort of look after each other.
How was it working with Stephen Street? Yeah that was brilliant, that’s probably been a high point for all of us. We like the same music but also each like our own different things but I think the Smiths and Blur are probably the two bands that we would say are big influences, so that was just a dream. I think a lot of people that aren’t in bands maybe don’t know about producers but even before I was in a band I knew about Stephen Street. I just thought it would be amazing to work with him. I think he had heard a couple of early demos and he knew that we weren’t signed at the time so he just did it because he obviously really liked us. I know people always say what an honour it is to work with someone but for us that was a pretty big thing, probably the biggest thing that’s happened to me.
| agogo! | ISSUE 01 | AUTUMN | 2012
| LIFE IN FILM | agogo! |
yla La Grange isn’t your typically demure singer-songwriter. Her critically acclaimed debut album ‘Ashes’ takes in striking rock, bewitching pop and intricate folk, all built around soaring choruses which belie darkly emotional subject matter. The singles so far have revealed such a wide range of styles. How do you go about describing your music? Oh, I’m terrible at doing that! There are a huge jumble of influences but at the core is folk and rock music, and there are loads of big harmonies and choruses to grab hold of. It’s often sad and sometimes angry. And that’s about as close as I’ve ever got to nailing it: I leave the rest to other people to work out! You don’t sound - or look - like an angry person. Where does it come from? Honestly, I go through months where I don’t write anything at all because I’ll feel happy and relaxed, like I am now. Unfortunately, being in that state is creatively unproductive for me! For as long as I can remember, ever since I was a kid actually, whenever I felt sad I would sit down and make something. And to this day it’s how I cope with feelings: I write a song. Vampire Smile in particular seems written from personal experience. For my debut album there are three specific relationships I’ve explored. I know that lots of people write about love and the end of love, but in a way it’s understandable because it’s often the most intense emotion you feel. I don’t have to write about love, by the way, but when I write, it has to provoke that same sort of intensity.
Vampire Smile was written quite a long time ago. Does it feel odd to be raking up emotions, and even people, from such a distant place? Yes, it’s six years since I wrote that song. You know, I wish it did feel weirder. The problem is, the emotional themes that run throughout the song - of obsession, rejection, neuroticism - were written from the viewpoint of a 19 year-old, but have seemed to persist in all my relationships afterwards! I love Vampire Smile though: it makes the whole album hang together because it most clearly encapsulates what is behind a lot of the songs. You’re clearly very keen on intimate lyrics that tease out some pretty strong emotions. But how easy is it to fit them around songs that you presumably want people to be entertained by? To be honest I don’t think I’ve ever written a song with the express intention of entertaining someone. I don’t think I’d be able to do it! And I never actually imagined that I’d be able to write music for audiences; I was first of all doing this for myself because I really enjoyed it. For a long time I did find it quite hard to play live because it felt tough to take something that personal to me on stage. I did wonder why I wanted to make a career out of it, because that would mean sharing with everyone. But then, after a while, you get addicted to how it feels to do just that.
Still, every song has a huge chorus. If you weren’t bothered about entertaining people, you wouldn’t take such care in writing such memorable songs. Right. I think that’s just what comes out of me when I write. There’s something really cathartic about writing something which sounds epic and uplifting when the subject matter is the opposite. In my head, I probably wish I was more of an indie, Elliott Smith-style introverted singer-songwriter. It’s certainly the music I listen to. But for some reason when I write it always has to have a hook. Believe me, I’ve tried to write in an understated, lo-fi way and I just can’t do it - I guess I just like working with melody! But I do see what you’re saying; you want to move people with the music as well as the lyrics. People like to feel sad sometimes, they like to feel they can identify with a song. Certainly when I’m listening to music myself the most, it’s when I’m feeling miserable - because I want to feel that sense of, well, comfort.
| agogo! | ISSUE 01 | AUTUMN | 2012
| KYLA LA GRANGE | agogo! |
APB Music PR | agogo Ezine - Branding | Design & Layout I consider myself lucky as a designer to have had several opportunities to look over jobs that mirror my own interests. As a musician, writer and producer I was delighted to be commissioned by APB Music PR to design their E-zine ‘agogo’. APB manage PR for a dazzling roster of upcoming artists and opted to develop
agogo as parallel means to drive their social engagement. The look required was typically snappy and youthful and in some ways harks back to early popular music magazines of the 80’s and 90’s. As part the process I also developed the company’s main logotype which they use today.
PURE LOVE NINA NESBITT SEYE LIFE IN FILM DON BROCO AXEWOUND KYLA LA GRANGE FOXES
5x5x5=creativity | 2010 creativity conference flyer - Design For several years Iâ&#x20AC;&#x2122;ve been asked by 5x5x5 to design their annual creativity conference flyer, the event addresses a broad audience from within the education sector and the creative arts. The primary topics covered are typically focused around a central theme and this is then reflected in the flyer design.
The commission regularly affords me the chance to flex my illustrative and artworking muscles, where stylistically I tend to have a free rein. It is always an enjoyable piece of print to tackle given the subject matter.
Root Creations | Various Clients - Web Design | WordPress Development Having operated under the Root Creations banner for some time now, I have developed websites for many diverse and interesting clients. Since moving over to develop primarily using WordPress, I havenâ&#x20AC;&#x2122;t looked back, bearing witness to (and thankfully keeping up with) the fast moving evolution that is Web 2.0. The significant
benefits Iâ&#x20AC;&#x2122;ve noticed in being so familiar with a CMS such as WordPress, is the flexibility it affords and also the solid platform it offers when it comes to security, content strategy, analytics and marketing. Characteristics which Iâ&#x20AC;&#x2122;ve found to be high on the wish list of established companies and startups alike.
Early Years Con ference 2010 ‘Challenging Cherished Beliefs’
Friday 2nd July 9.30am - 4pm Michael Tippett Centre Bath Spa University Newton Park Bath BA2 9BN
Early Years Con ference 2010 ‘Challenging Cherished Beliefs’
Penny Holland and Peter Moss Delegates are invited to engage with the contested views of the key note speakers, and to participate in a seminar of their choice led by a member of the Bath Spa University Early Years team. The conference will encourage the critical re-evaluation of some “taken-for-granted” values, beliefs and practices.
Please return this booking form by June 21st 2010 to:
Too white to work with bilingual children and their families?
Artefacts and marks, children have their say
Pedagogue or teacher? Who should lead learning in an early years setting?
Key note speakers:
Delegates will attend one seminar from the following: 1: Transition support; who needs it?
Sue Hawkins or Angela Sinkins School of Education Bath Spa University Newton-St Loe Bath BA2 9BN or fax 01225 875499 Name: Organisation/setting: Address:
Early years and community cohesion; challenges and opportunities
Let’s stop talking about play
Is probably best known for her research into children’s role-play, and particularly boys’ play with guns. She suggests that children need to explore through their play the reality of the world, and also to express their feelings of aggression and uncertainty in a safe environment. We all recognise that many children will create guns from any material, structured or otherwise. How do we respond to this behaviour, and how do we accommodate these needs?
Challenges the increasing dominance of a particular discourse about childhood and Early Childhood education. He has suggested that in many parts of the Western world, policy is based on a series of assumptions and values, such as linearity of learning and objectivity of judgement. As practitioners and researchers review their aims and established practice, how can they engage with the possibility that there may be a variety of productive answers to the same questions, and a variety of routes to seeking them?
Please write the number of your preferred seminar below:
Reggio Emilia; Religion or reality?
2nd choice (in case 1st choice is full)
Views of young children’s competence and creativity Penny Hay and Mary Fawcett
Friday 2nd July 2010 9:30am – 4:00pm Michael Tippett Centre Bath Spa University Bath, BA2 9BN
Bath Spa University | 2010 Conference Flyer - Graphic Design During my time working at Bath Spa University I have covered all manner of creative tasks as part of my role. From large scale print for display to video editing, photography and retouching. Similarly to 5x5x5, the School of Education at BSU host an annual conference, where topics and best practise are shared with a
broad audience. I’ve been asked on several occasions to design the conference flyer for them, again it has offered a chance to test my illustrative abilities. Under the theme of ‘Challenging Cherished Beliefs’, the toy soldier photo comp was inspired by Banksy’s ‘Flower Thrower’.
Booking fee: £90 Student rate £45 includes lunch and refreshments Cheques should be made payable to: Bath Spa University Please enclose payment with booking form. Please provide an email address for your finance office, where appropriate. Tick box if you require an invoice
Kingston University | Vine Vessel - Product Design | Development For the major project at the conclusion of my product design degree, we were given open license to develop our own brief, Vine Vessel was the end result. Pitched as a culinary tool to bridge the gap between cookery and creative expression in the kitchen, Vine Vessel is a simple storage and dispensing solution for fine and
granular ingredients. Made from a softer injection moulded plastic, the vessels were designed to release the finer ingredients through a small diaphragm at the nozzle, not dissimilar to a shower gel cap. As a group the vessels would hang on the vine like a bunch of grapes from the underside of a standard kitchen wall unit.
Desperados Beer Via K13 | Parklife Festival 2012 - Motion Graphics | Editing As can sometimes be the case with live events, I get a late call on the Friday before August bank holiday weekend. Desperados Beer have installed an arena at the Parklife festival, where on stage there will be bands and entertainment throughout. Inside the venue there are six, 8 foot screens streaming video and live
photography during breaks between acts. It seems, no-one had prepped any animation, adverts or infographics. Cue several very late nights, impromptu planning meetings and last minute data stick deliveries. In the end though, I had a very satisfied/relieved client and to be fair, time and a half is never a bad thing.
Herman Miller | Verse - Product Design | Development One of the stand out characteristics of the design course at Kingston, was the tradition of running live client projects alongside the degree modules. One such project instigated by Herman Miller, led to me winning an award and the opportunity to work with them at their design centre in Bath. This proved to be a
hugely valuable experience immediately after graduating. The design you see here, â&#x20AC;&#x2DC;Verseâ&#x20AC;&#x2122; is a continuation of that early project which focused on sustainable and flexible office environments. The design requirements of the brief looked closely at developing modular storage solutions to marry with HMâ&#x20AC;&#x2122;s existing ranges.