Graphic Design Portfolio Batya Van Praagh Tel: 07443433654 Email: batyavp@gmail.com
Aim: To design packaging for the different flavours of OriginaliTea. Solution: Different fruit textured backgrounds convey their individual flavour making each of them unique. but still the same layout to match itsown brand.
Packaging
Aim: To design a box for the Dancing Water Speakers. Solution: The speakers have been placed on stage in the spotlights as this is a typical viewed setting. The colurs of the title and background of the sides have been used explicity to match the colours of the dancing speaker lights.
Packaging
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TYPE PATTERNS
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Aim: To design A6 Postcards for Letraset. Solution: Using one letter rotated in different ways creates an interesting pattern for these Letraset pattern postcards.
Type Patterns
Aim: To design a bookcover for A Path For Life, a Kitzur Shulchan Aruch-type book. Solution: As depicted, the picture expresses the title - life is a challenge, like a path of steps with no visible end.
Bookcovers
Aim: To design a bookcover for ZigZag. a collection of cute, sometimes wacky, inspiring short stories for boys or girls ages 9-12. Solution: The zig-zag background reflects the title. To make it more child friendly, the girls have been placed on top illustrating the story of the girl with the scar.
printinx
Aim: To design an attractive, multi-page brochure for the Printinx printer shop. Solution: I used the theme of colour swatches which signifies printing. The inside pages all have the circle shaded effect with the circular images, for consistency throughout the brochure and is comfortable for the eye to look at.
Brochure Design
Rachelle Goodwin
PERSONAL TRAINER
I n t e r i o r
d e s i g n e r
Tel: 07906 907 087 Email: gymrachelle1@gmail.com Address: 58 Woodlands, London, NW11 9QU
I n t e r i o r
d e s i g n e r
Call: 0800 345 345 Email: insite@interiors.co.uk Web: www.insiteinteriors.com Address: 632 Finchley Road, London, NW11 5GE
Call: 07906 907 087
Email: gymrachelle1@gmail.com
Address: 58 Woodlands, London, NW11 9QU
Call: 0800 345 345 Email: insite@interiors.co.uk Web: www.insiteinteriors.com
Call: 07906 907 087
Email: gymrachelle1@gmail.com
Address: 632 Finchley Road, London, NW11 5GE
Address: 58 Woodlands, London, NW11 9QU
Aim: To design a corporate identity package for Fit4Living, a personal training program for women. Solution: I designed the logo using ‘active people’ as the main element which immediately denotes exercise. The three flexible lines create movement on the page, thus further expressing the exercise mood. Feminine colours are used as it is being geared to women.
I n t e r i o r
d e s i g n e r
Call: 0800 345 345 Email: insite@interiors.co.uk Web: www.insiteinteriors.com Address: 632 Finchley Road, London, NW11 5GE
Corporate Identity
Aim: To design a corporate identity package for InSite , an interior design firm. Solution: Simple but unique design has conveyed what InSite is all about. Pink, a warm colour is used in different shades, looking like a paint-palette ready to design your dream place.
Rachel Groenewoudt 07734465685 decor@simchadecor.com www.simchadecor.com
Rachel Groenewoudt 07734465685 decor@simchadecor.com www.simchadecor.com
07734465685
decor@simchadecor.com
07734465685
Corporate Identity
www.simchadecor.com
decor@simchadecor.com
07734465685
www.simchadecor.com
decor@simchadecor.com
www.simchadecor.com
Aim: To design a corporate identity package for D.E.C.O.R, a new simcha decoration service. Solution: Keeping the logo simple and unique, a candle is drawn into the letter D to give some indication of the decor that can be done.
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Advert & Flyer
ADVERTISING
Food addi t ives or negatives
ADVERTISING
The use of food additives is an emotional topic which continues to provoke consumer concern
D
espite modernday associations food additives have been used for centuries. Food preservation began when man first learned to safeguard food from one harvest to the next and by the salting and smoking of meat and fish. The Egyptians used colours and flavourings, and the Romans used saltpetre (potassium nitrate), spices and colours for preservation and to improve the appearance of foods. Cooks regularly used baking powder as a raising agent, thickeners for sauces and gravies, and colours, such as cochineal, to transform good-quality raw materials into foods that were safe, wholesome and enjoyable to eat. The overall aims of traditional home cooking remain the same as those pre-
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pared and preserved by today’s food manufacturing methods. Over the last 50 years, developments in food science and technology have led to the discovery of many new substances that can fulfil numerous functions in foods. These food additives are now readily available and include; emulsifiers in margarine, sweeteners in low-calorie products and a wider range of preservatives and antioxidants which slow product spoilage and rancidity whilst maintaining taste.
What are food additives and why are they necessary?
A food additive is defined as “any substance not normally consumed as a food in itself and not normally used as a character-
istic ingredient of food whether or not it has nutritive value, the intentional addition of which to food for a technological purpose in the manufacture, processing, preparation, treatment, packaging, transport or storage of such food results, or may be reasonably expected to result, in it or its by-products becoming directly or indirectly a component of such foods” (Council Directive 89/107/EEC). Many food additives are naturally occurring and some are even essential nutrients; it is the technical purpose that leads to these being classified as food additives and given an E number. Food additives play an important role in today’s complex food supply. Never before has the range and choice of foods been so wide either in supermarkets,
specialist food shops or when eating out. Whilst a shrinking proportion of the population is engaged in primary food production, consumers are demanding more variety, choice and convenience alongside higher standards of safety and wholesomeness at affordable prices. Meeting these consumer expectations can only be achieved using modern food processing technologies which include the use of a variety of food additives proven effective and safe through long use and rigorous testing. Additives carry out a variety of useful functions which we often take for granted. Foods are subjected to many environmental conditions, such as temperature changes, oxidation and exposure to microbes, which can change their original composition. Food additives play a key role in maintaining the food qualities and characteristics that consumers demand, keeping food safe, wholesome and appealing from farm to fork. Food additives are very carefully regulated and the general criteria for their use is that they perform a useful purpose, are safe and do not mislead the consumer.
How is the safety of food additives evaluated in Europe?
All food additives must have a demonstrated useful purpose and undergo a rigorous scientific safety evaluation before they can be approved for use. Until the creation of the European Food Safety Authority (EFSA), the safety evaluation of additives in Europe was done by the Scientific Committee on Food (SCF). At present, it is the EFSA Panel
on Food Additives, Flavourings, Processing Aids and Materials in Contact with Food (AFC Panel), who is in charge of this task. At an international level there is a Joint Expert Committee, from the Food and Agriculture Organisation (FAO) and the World Health Organisation (WHO), on Food Additives (JECFA).
levels of an additive in a food. To ensure people do not exceed the ADI by consuming too much of, or too many products containing a particular additive, EU legislation requires that studies are done to look at the ranges of intakes across a population and to address any changes in consumption patterns. Occasional
“Additives carry out a variety of useful functions which we often take for granted” Assessments are based on reviews of all available toxicological data in both humans and animal models. From the available data, the maximum level of additive that has no demonstrable toxic effect is determined. This is called the “no-observedadverse-effect level” (NOAEL) and is used to determine the “Acceptable Daily Intake” (ADI) for each food additive. The ADI provides a large safety margin and is the amount of a food additive that can be consumed daily over a lifetime without any adverse effect on health. The SCF before and now the European Food Safety Authority, encourage the lowest possible
intakes over the ADI are unlikely to cause any harm because of the 100-fold safety margin. However, if the ADI might be exceeded by particular sectors of the population, the Commission would assess the need to review levels in foods or reduce the range of foods in which the additive is permitted. The Codex Alimentarius Commission, a joint FAO/WHO activity which develops
guidelines for food safety globally, is also drawing up new “General Standards for Food Additives” (GSFA), with the aim of establishing a harmonised, workable and indisputable international standard for world trade. Only those additives that have been evaluated by the JECFA are included. Thanks to strict regulation and thorough testing, food additives can be considered safe components in our diet that are contributing to the rapid evolution of the food supply in Europe and throughout the world
How are food additives regulated in Europe?
A true single market for food products could not exist without harmonised rules for authorisation and conditions for the use of additives. In 1989, the European Com-
munity adopted a Framework Directive (89/107/EEC) which set out the criteria by which additives would be assessed and provided for the adoption of three specific technical directives: Directive 94/35/EC on sweeteners; Directive 94/36/EC on colours and Directive 95/2/EC on additives other than sweeteners and colours. These three directives establish the list of additives which could be used (to the exclusion of others), the foods in which they could be used and any maximum levels. The purity required for these additives is laid down in directives defining specific purity criteria.
What is an E-number?
An E-number signifies approval of an additive by the EU. To obtain an E-number, the additive must have been fully evaluated for safety by the SCF or the European Food Safety Authority. The E-number system also serves as a simple and convenient way to label.
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This magazine was designed from scratch including the Inside logo. It had to be done in a very short period of time.
Magazine Layout
Classifying Candy is an article in a magazine. The sweet machine is a give-away to what the article is about along with the matching pictures that are tied in on the double spread giving over a Professional and clean appearance.
Magazine Layout
About the Artist Wendy Jensen and Janet Channon have create d, developed, and run this successful business for the last 20 years A .
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tist YearW after and Wendy see the positive contribution music endyear y Janet and movement makes to a young sen devel and Jaopme child’2s0growtJehnand net Cnt; ally, physically, socially and emotionally. Seein years. hanment n o n g the positive h ve created results for themselves and hearing commaents , devets, from paren encou raged Janet and Wendy to lophas e Yeue d , ar atoftewrite a contin n d run this r yeaand original resources for children. Adult r Janrecord ccessthese et and more s whosushare ful bumusic ild’s sgro Wesee experchience ndyfirst with sinessalfor children wththeir se hand e how th easily a childr n e the last en d learn when they are having fun. positive co developm results for n e tr n ib t; th m u ti emselv e o n n ta Know m ing ll young y u childr , e si en p s learn c and mov continue a best ysicall, yJanet experhience , sociand y advocate to write a nd hearithrou ng cogh emthe stylefoofr the last entOrff ally Wend teacheing. and em ents1930 was nd recoby s to a xperiThis from Orffminmthe umsiankess otiocted rdCarl ’ s and is ences witdeveloped nccaellss now p m well a o re re yaroun n .fu Sel ebind gthe ts, has enncorespe original re world young su in the field of music heduca is theirtion. th th e ru so childFrom positive a u wealt d u h ra of n teach rc a ing g re , exper e e d ilience n see first coursde Jawork n with nowinstgfrom eveslofoprech dren.and rtistd the world practiKtioner heaaWend nted dh,odw Adults wh et and WOrff endya to hyeouAnaroun Janet ung cr and t e u y g have v e o carrie a ch a d b h these si to whole o il A n ly s d -body sheanwhole e-brain yo ret nChleaanrnno children le re achininto princitepals t mthaekse e g. Ttheir song b n m writin e a e g. m Ja h st rn v e u is d o v th si n w w m ti a ca ro ugh experi and hen eyeainreg the posi l nsen as de ence tion music onallyth WinenthdeyfiJeeld of mu veloped by Carl O . Se havinyg to fu Creat rffosiintirtth sicand ing eeco1 ntribu, JanyetaannddeW music vmulti al m songs e . d activi p u ties Wend n. rs eoand ra that ca a p suppo ntidysubse e ct e ti y 9 it o ll senso th 0 ioners fro 3 n a ry a learni 2 0 e . d ci ng n ’ F s v se ro so oequent Ja a y , cat atendthbrain n m d y d d e growt ll n cal h a g is neonwcowuera esion to their wye, aplthhysioca has added metaadimen si W u e d m ro new O n u rff se principaawhole n e d the wt; omrlentasong style of ll writin f teg.aach ll resp This , xhasdimension r Jathn adreath esh inngtsextra ctthem puts re o rlsyeinato e n h apart d e p e from n. w Ja m p s m ro mostYeother n fu p e lt e o e ar aftechildr g ri u ir u lo fr t end en’s music ven. eso natsnd hanvdinthe world y hr achveildcarerrn. A ce awndheco wth and d ngdwheriatirinngg. comme uWrceensdfo n uthrseey ware Cre o rk ilda’stignro rn ie w so g a a ch d s it m re le th e l h Orff of a ese whole dren Wendhaysand origining Janet thuesimcasel lvsobeen ngs awritin ly chiling -both ewOhrffo style nrdd amctg,oivrerecord dyfor and works w easihopp derd a whave resultasdfo their origin d reco al ite iefirs vocateial leepast alenwritte -bwra the admater s th t haatnsud pho orlind h te y o ri 11 years d n w . Every e n song th to is se e W d w e n m n for d n portpurpo u c teaching et anhave run sp mnucelt,se. d aroworks conotistnuother chitilhdre eless JasenThey ir chdildimreenasispecifi o count ct e i e n th to hops n e so re ri th rff paren e ry ll ts,eriteach w e O p e ing n’s merusitraini s ers exning New arn wlew with for girh so wri Zealais noAustr c. ng institu routions anudrssupore xpe ence and teach eW e bwseork Singa and the-b co Unite is exetrnacedalia, d raind ndy and Ja ildren learn best th in the 1930ti’snga.nTdhnd, Kingd q n om. u a imensionle-body wehnot lebra in growth t have beeed by Carl Orff unngech g experi o y in p g h u 1 ch ts in 1 a w w y te th p se n e o f em apart n ars. Every as develo writing,arewealth o d the from w soresou KidsKpMusic ng rces rdinged ave carrie rom andcoenjoy This any renintsgComp ddwy ohrk enn. Ffosold caritittoare dsh theopworld. teaach ,. teachmeurssic edisuw nd Waennaroun a r t a e sp n Ja e in growth p ci f d a in ra fi o n rl b g c d o t ld te th te w e n K a e fi e e a in ch ir u ch e th g q oringdinsualbmse th doymand BothinWend nd eritted traintoing in ng profeing purpose. . frJanet roucomm a regulaaterimalafopart from om aare Tleheayrnhinantvgeand stitutions ssional devel ting. ongoi rlye attendr the ctitioners works wriAustr inuN ru puutsnth confe nZsoe ry opme pKrarence ng in se e so i w hops lt ir e alia ids Masulsand m and th n tless work past NZ. a e rt landdim sion co po into shop princip sic Company resoduactivities that sup writing. This extra , Australia, Singap ore and th asts for Both Wemn usical songs an rcesisoanretosothldeiransod ng l for theepUnited enjoyed a renating dy anodleJanneewt adreimen Cco round the eir original materia rkshops for feddreendcea swah co m w th nd usic. mitted to ongoingd workshopping orlde. run countless wo e United has a ildrewn’os rkmshops in Aust rd an pro ssion . They hav ch d th r e th o relicoa anindgNZ g pfeurp oseal developmralia, Singapore an most ng, ra been writi Aust ent and regu teach.in , e v d c a n fi h ci la t e a e e n sp larly atten ra d Ja ew Z d Wendy an ry song is written fo g institutions in N ve inin Eand a . tr rs r a e e confe y ch rence a 1 s 1 works te hops d in Austr n alia a and NZ. rs d. ache BothpaWend rents,yteand d the worl Janet are committed to ongoing profe rly attend d aroulndevel ulaattend opment eand njoyessiona e . d nd regrly m n o a d nt aregula g ld in so m K p re lo a e s v e e urcare sold and Kidsco Music nal d rces ny reso nfereComp enjoyined rofessdiothe mparesou nceCoany g paroun world. idosthMWusic s and workshopsmmitted to ongo K B Kingdom. endy andJanet are co in Australiaaand NZ. y and Janet aorepscoinmAmustrali and NZ. Wenders paren thsteach BKots, and teach ted totions id orksher trainingitinstitu Mnuce ongoin si nd, Australia, Singapore and the United s c ingNew Canodmwpany profeZeala 11 years ssional de confe.reEvery song reson ufor is writte asspecifi c teach rc ing purpose. e velorun They have a re pmecount so hops for ld gdom nt anless WendKin a y and Janet d enworks d works . have been writing, recordingnand joyedhopp larlthe arouning y attpast their original materreialgufor parents, te end d th e w o achers an rld. most1other d te. acher en’s music 1 yearschildr training in . Every so has added stitutions newng is wrision Wendyaawhole tortheir tten fo in This Ze dimension puts them laapart writing. ttend nd Janet h dimen a spesong aland, Au nt and regu rly afrom cific teach Newextra Creating music ve bactivi al songs aand een wties sterasubse that suppo rtNZmulti . ingsenso m li p a riting, re ry p learni lo , u ng S e and d rp in v n most othe e quent o g a brain apore andgrowth r children shops in Australiacordinoin g a fessionasel .dThey ha princihapals their music.g. itted to ong gnpdroworkshopping rld.ve run countless w the United work’swritin s adinto ndhsong a d s e d th o orksh ce m a w e n m ir w e re original m ole neet w nrefe s from aroun practi are co coCtioner und th world aterial for ops foedr d arocarrie atinegnm and Wend ensioJanet njoy ehave d dyuasincad lJason d thedim e these whole d n -body n theeUpnaitst to whole a W -brain th ld th o in the e B field of music educa ngtion. s an From ng wing es area so hirofsoteach ore and th s fo ritinexper g. Thience and stcours r ingapwith e, Swork ny resoudrcactivitiewealt s a a rinciThis Orff is li th p e ra m a teachping. x t p o sh tr su a C u a rk was ls c A devel pport’smand imension untless wo op by Carl Orff in the 1930 nd, drespe alawell eso idrasctMusi into their oped ueltwiisseZnow K so p co cted u aroun n p st n n N d ts g a the world p ru w th in ry le ave ritinthrou Knowing ityoung ns ionerschildr g. gh l foarpth arte from itutioience fromen learn best rieam g andasu instexper , Janet se. Theyahrny in l mthe advoc ininth baseteOrff d th of quenstyle eretrwainorlindg fic teaching purpoand Wend gdeofime.ld of m anadroteuanch eir originate t K th b ra g in growth in Ja ci p e u n rs p si et and We worksho experteience c educa r a sp achetheir childr entttiesee ach nnfo first hand d ntsin,sgtewith how n o n easily ri d a childr are y . w en g . F learn p h T ro when is in a h they v g m isand are rd e havin n w g a fun. ca co so a w re rr s contin , ry e rt ie d ue g e a to a write e d n lt v p velomore E ti hrces record these who uts them a from of te wriorigin forach childr 1K1nyoewarsin.g younnegt ch ing een. s who ailvderebeepned by CarlalOresou these on ple-b hand ody music xpeAdult rff result inragrowth ri s nfor Ja e in them imaenndsishare n selves d d ce th n leal-b hearin a n a e g tr comm learn best ents from paren 1930ts,g’s. ahas ex raged quewnthybora in codusurs besewWend Wexepedriy Tnhdisencou Janet and n th n ti to is a ro o ri rk g n c. child’ u w o s growt enhceand si g in g w w h ith Orff enxperisocial well respe mu nt; mentally, s wilditdevel learn eir socally, ryemot re h nth’seopme thphysi eunltcei se so ly n and to ch ct ionall n , ir r y. o Ja e Seein e co ch d g si the n positi th n a e n il ve round the t and Yearmafter ue toJanet osttionyear n se port m w dimdyeresee w andneWend thee fith win rstathsu orld n music Wendy advoca avenpdcontr -bra leyoung reassuadltds efodra whrioteleandsreancodrdactmivoitiespositi make howibutio hOoarff tedythwseto easily chil and movement o h -b re g th le n o strffyle of o e h m ri so l g d w se in re ca 20 years lv se a n si O . e l e u le re s h th m ch a a it so d n rn g w d heari.ng u es fo wheunrstheework rrie e ca Creiladti’ns growth and g comme dtsWerc y are havthine world ildrenn. ce ndy harvch ritinhave Wend Adaunltds co vneglowpnon Janet YeyaJense from und g fun. f r aftenrinyand eir dsoeChan mewnot;rlmdecreate eriethis net ad,n devel wheoctsh p oped, th p x Ja and a e daareroth run to re ebusin g succe n e in a ts ls r o essesefor n , a ch Janero has wenwcoeull respssful e the last tallaylt, phhoyfsitea th ncip d t ri a n p n u d W a e Orffmstuysileca o ra e ca n e th w g m Abo2ut n ll e is o a d y te d the l d fr , y Arti m Ja so n ca st se rs a o n ro ci e v s e e F ’ n a d . t 0 0 th ll a a n io 3 y y n e o y it 9 e d a ti d p 1 a ct n osithtivee co Wendy to pra rs. music educa anddWeemnotionally. S . rff in t n n O e tr fu n rl f ib a g Ja o , C u in ti W y v ld ce o e a b e e h n music a xperien in thenedfiy Jensenwaansddeveloped nwdhmeon they areing the puosisicatilve through e Jan This ren learn hoveshmaerentthmeasekems to annbeostn ha d il teAabchoinugt. ng childreent leCharn ch ly si a young ve create how ea dults w ndy to ytohu Knowing e Artist dren see first hand d,rcdeesvefolorpchedil,darendn. A ged Janet and We sitive ruconura e po ir chil l resou nts, has en this succye.ssSeelinbguth s with the re origina a young sikenseto experience rite and record mo mments from pare ally and emotionall fu ss fo a m r the last t n e co w ci m g e n to so v , ri e o y a u ll e m n h conti lves and lly, physica ibution music and se ta n m e e m th r t; n tr results fo evelopme e the positive con e last se wth and d ness for th child’s gro r Janet and Wendy essful busi cc su is a e th y d run Year after eloped, an eated, dev cr e v a h n nno 20 years. Janet Cha
CD Design
Aim: To design a CD jacket, tri-fold and CD cover for Ready Steady Go, an exciting collection of songs for children designed to entertain and educate with exercising movement. Solution: I created a logo for the title making it energizing by using the concept of a traffic light. The use of the clowns make it extra child-friendly.
All Around The Ki
tchen
ow stop right still ck-a-doodle-doodle doo nd put your hands on your belly ck-a-doodle-doodle doo nd jump up and do wn ck-a-doodle-doodle doo (repeat chorus ) ow stop right still ck-a-doodle-doodle doo nd put your hands over your eyes ck-a-doodle-doodle doo nd turn all around ck-a-doodle-doodle doo (repeat chorus ) ow stop right still ck-a-doodle-doodle doo nd put your hands on your shoulders ck-a-doodle-doodle doo nd put your foot up in the air ck-a-doodle-doodle doo (repeat chorus ) great song for gettin g up and dancing aro und the chen or anywhere!
chen or anywhere! great song for gettin g up
and dancing aroun d the ck-a-doodle-doodle doo (repeat chorus ) nd put your foot up in the air ck-a-doodle-doodle doo nd put your hands on your shoulders ck-a-doodle-doodle doo ow stop right still
CD Design
(Chorus) All around the kitche n cock-a-doodle-dood le doo All around the kitche n coc Fak-a nc-do y od Dale-ncdoeodle doo No w sto I can right stapmp mystil feel t, (echo), coc k-awr I can -doigg odlele-my dood do,o(echo), thulemb AnI can d pupat yo ur ha t my chendeks s on , (ecyohour),hips coc k-arub I can -dood le-tum do eleKi dotc , (ec Thod ho ),o hen nd oumy Ar Al An dl let I can yoch ur up rea right higfoo t slip h, (ec ho ), coc k-a I can -do le-ha dond s)podmy ods,le(ec orucla (Ch doho o (re ), peat chorus) n che I can kiteye wi d the unpnk All No (echoo), warosto rigonhtedo stilod l , le do An d ledo od the -do fancy dance, (echo). k-a-doodlecock-a do odlendoo che Fanaro kitigg cyun dad thewr All An le, o d pu t yonce ur hado ndodon dour head le yo Fank-a lecy od da nce -do mo coc ve, k-a-doodle-doodle do Fan cy da nce igg o And ndstopu trigyohtsqu urstil othl erle,on e on your No Fanwcy dapnce toe gro ov doo coc k-a ode,lele do -do dood odle-do coc our(rehip Wrk-a igg-do pesat chorus) le from the bo ttoyo s on m, nd ha ur yo t pu d An No Wrwigg stoleptorigthe ht stil topod l, le doo odle-do -do k-a coc Fank-a cy-do daod ncele-wr od slip leletan do foo do htigg rigdo ur yo let AnFan dd pu cy tdayonce at chorus) ur ha sto nd o (re p!odonle yo dour do knpe leee od -do k-a cock-a-doodle-dood le doo And wa stiller hand ht oth rigur Now stovep yo doo high cock-a-do od doodlele do cock-a-doodle-do o (re adat chorus) on your hepe And put your hand o do le od do lecock-a-dood er on e on your toe And nd put your oth ) le doo (repeat chorus cock-a-doodle-dood Now stop right still le doo cock-a-doodle-dood your knee on nd ha ur yo t And pu doo le od do lecock-a-dood odle-doodle dondo (re h at chorus other ha higpe ur And wave ve yo )) your other hadondo (re higpe h at chorus odle do lecock-a-dood odle-doodle doo And put your hand on your knee cock-a-doodle-dood le doo Now stop right still cock-a-doodle-dood le doo (repeat chorus ) And nd put your oth er on e on your toe cock-a-doodle-dood le doo And put your hand on your head peat chorus) cock-a-doodle-doodle doo (re le doo cocwk-a-dood No stop rigur stil othler hand high And wave yoht odle doo do -dood cock-a-do odlele-doodon eeat cho le yo knpe dour o (re nd ha rus) ur yo t And pu let your right foot slip Fancy o do da le nce od sto do p! leod -doodle-do k-a coc -do od doo Fancy rightwrstil iggl lelean d A stodapnce
Now stop right still cock-a-doodle-dood le doo And put your hand s on your belly cock-a-doodle-dood le doo AnJid jump up and do ngle Hop wn cock-a-doodle-dood Put your right arm le doo (repeat chorus) up No stourp rig right Puwt yo ht arm still down coc Puk-a le-do t yo-do urod le doo stilodl up ht arm right p rig No An pustolet t yo Dodwn’t urdro hado s ov o ur eyes it doyo le er p leod ndod -do coc k-a -do It’s time tooddo le-dondodJin doyoHo ourp!belly s leon gle ur hathe punt yo An d tur all arounod odle-dop,d le doo Hok-a -doun p aro coc -do oddle-(ho p,doho dodod p, hop) lewn o (re doho at chorus) Upd an jum d pdoup An wnan(hop, hop,oho(rep,pe do pehoatp)chorus le No od w lerigrig Kek-a hthtdo -do epsto stilarm yopurod l up do coc n’t let it drop coc oddole-the Whk-a ile-do we o p now… l legledoHo stilod Jin htdo p rig Nodwpustot yo An .STOP ur hado ndod s on yoour shoulders ! le do od Puk-a -do t yo-do urod coc lefletle-arm up s eye do ur od yo le er do nds ov o yolefurt ha pu yotturyo AnPudtpu armt up do indothe ur foo o air doodlewn od Puk-a -do t yo-do urod coc lefletle-arm up do od un aro d le doo (repeat chorus) n all Dodn’t turlet An it dro p le doo (repeat chorus AIt’gre do at-do leson forthe tim getod e toodgdo tingle cocsk-a g upHoanp!d dancing aro Jin und the kitchen or anywhere! l stil ht p rig CHwOR stoUS No (left arm) o do le od k-a-doodle-do coc Put your rigurhthaleg s on your shoulders ndup d put yo An Put your od doo lewn rig od ht do leg ledo k-a-do coc Put your rigurhtfoo up in the air d put yo legt up An at chorus) Don’t let od p odle doo (repe le-do k-a-doit dro coc It’s time to do the Jin d the gle Hoan p!d dancing aroun g up great song for gettin ACH ORnUS (rigyw hthe legre!) kitche or an Put your left leg up Put your left leg do wn
kitchen or anywhere! APugret yo at ur sonlefg tfor legget dotin wng up and dancing aroun d the Put your left leg up coc k-a-doodle-doodle doo (repeat chorus ) An d putUS CHOR yo(rig ur foo t up) in the air ht leg cock-a-doodle-dood o It’ s tim tourdo the JinlegledoHo And puteyo hands on yourp!sho Dok-a ulders n’t-do let od it dro coc p doodle doo Puwt your rigleNo leg up stop right ht stil l Put yonurorrig re! hedo anhtywleg kitche wn and dancing around the coc up Puk-aat-do tin get ur fordo rigg leht od sonod leg legdoo (repeat chorus up A gret yo And turn all around rus)) CHk-a od) le doo (repeat cho OR-do USod (leleft do -do coc arm od ledo odle do e air
Fancy Dance I can stamp my feet, (echo), I can wriggle my thu mb, (echo), I can pat my cheeks , (echo), I can rub my tum, (ec y Dance ho), IFa canncrea ch up high, (echo), (echo), II can urmy lef mp stat pyo legs,t, up my canPucla hatfee nd (echo , (ec), ho), mb Do thu n’t my II can let le it igg wi dro wr nk p one eye, (echo), can ), ho (ec , It’ eks s tim che An e d to t myfancy doda pathe thence I cando Jin, gle (ec Hop! tumigg, (echo), ho). Fan my da rub nce I cancy wr CHORUS (left le, leg ho), Fan dach nceupmohigve,h, (ec) I cancyrea s, (echo), nd ha Pu Fan t my yo cy p ur squ dance smile I can cla iggup le, , (echo), e eye Puwida Fan ongro t nk yonce ur sm ile I cancy ove,down, (echo). cyiledaupnce Wr the dolet yo frourmfan sm dPu Anigg the bottom, iggple, Do wr Wr n’t igg nce let le da dro Fancy to theittop , ve, It’ mo Fan e towrdo nce Fancysdatim iggthe Jindgle Hop! le an squp!iggle, Fan nce sto Fancy CHdaOR US (smile) e, Fancy dance groov ttom, Wriggle from the bo Wriggle to the top, and Fancy dance wriggle p! sto Fancy dance
Silly Monkey Monkey with a coc onut was sitting in a tree. Monkey with a coc onut was making fun of me. I told him that I’d like to have a coconut too . He said if you want it this is what you’v e gotta do. He said clap clap cla p. He said clap clap cla p.
He said clap clap cla p. He said clap clap cla p. do. Fancy dance stop! He said if you want it this is what you’v Fancy dance e gotta I told himwriggt I’led an likde to have a cocon Wriggle to thetha ut too. , Monkey witop th a coc on ut was making fun of Wriggle from the bo me. Monkey with a coc ttom, Fancy dance groove, onut was sitting in a tree.
Jingle Hop Put your right arm up Pu yole ur rig Hohtparm down Jitng Put your right arm ur right up Putn’tyolet Do itrigdro ht parm down yo t It’Pus timeurto do the Jinup ht arm gle Ho rig t yo Pu Mo nkurey with a coconut p! p was sitting way up dro it Ho let aro un Do d high, Anpn’t p, hoey d the silly(ho p,ha ho Ho Jingle dp,p! thenk a ho twp) do mo Up inkle in his eye. town anddeI do tim It’I ssai p, ho want a(ho p, ho p, coconut, I’m huho KeHeepsai p)p)ry don’t you see? yodurif rig p, hong hon’t ht p, do arm houp p, nt d (ho unyo u wa itp)edro Hopilearo it, the np,yolet u’v Wh gopt to follow ho we ho do p, the ho mean w…it.ST Up . d down (hoJinp,gle Hopn’tnolet OP p! dro ht arm up do rigarm Pu urdurlef Ke Hetepyo upmp saiyo stotmp w….STOP! no p sto Ho gle sto Jin mp the . Pu doarm do we yo Wh Het ile saiur wnsto d lef stotmp mp mp. Put your left armsto t arm up lef ur yo t Pu Mo Do n’tnkleteyitwi th a coc dro on p wn ut do wa arm s sitting on a limb. t lef yo Mo nkeureytowi It’Pu s ttim a coc doththe onutHohap!d made me upgle Jin t yo. ur left arm mad at Pu him p CH it(ledro OR US n’tdlet Do ft arm I sai ) don’t try p! to stogle Ho, I’ll leave no p me e to do the Jin matter s tim It’wh at.ur Pu t yo right leg up He ) saiur arm d rig wa Pu (lehtitftaleg US yo mido nuwn CHt OR te if you want a coc onut. PuHet yo upp jum saiur d rig htpleg jum right ur jum yo t Pu p. Do itrigdro Hen’tyo sailet htppleg urd jum jumdo p wn jump. It’Pus ttim e to dohtthe up Jin gle leg rig ur yo t Pu Monkey with a coc Hop! CH it drohtpleg) onut was sitting in a tree. US n’tnklet Do MoOR ey (rig withthe gleutHohap!d got the be Jinon do a coc to e tim s st of me. It’ I him Putol t yodur leftha t legt I’m up leaving and I’ve made up my mit OR ) nd leg , ht Pu (rig US yo CH ur left leg down He said ‘fore you lea leg up ve me won’t you try it one Pu mot yo re ur timlefe.t leg down t lef ur yo Put He said clap clap cla p. He said clap clap cla p. Put your left leg do wn Put your left leg up down CH t leg USlef your (rig PutOR ht leg ) up leg t lef ur yo Pusttim It’ e to do the Jingle Ho p! Do USit(rig ORlet drohtp leg) CHn’t Put your right leg upgle Hop! e to do the Jin sttim It’He Pu yo saiurd cla ht leg p cla p pdo clawn itrigdro p. let n’t Do Pu Het yo rig saiurd cla ht leg up p cla leg p ht clap. rig ur yo t Pu leg down CH US motOR yo (le re ur Pu timrig e.htft arm) ht leg up rigre urd ‘fo He yo t sai Pu you leave me won’t It’s time to do the you try it one Jingle Hop! mind, ft parm) Do n’t USit(ledro ORlet CH I told him that I’m lea Pu t your le ving p! an
Put your left leg up Pu yolet ur lef it dro t legp up Dotn’t Hop! Do do the e toit dro timlet p Jingle It’s n’t It’s time to do the Jin gle Hop! CHORUS (left leg) CHORUS (left leg) up Put your smile Pu down your smile up Putt yo Pu upwn your sm ile do Putt yo Pu yolet ur sm it dro ile pup Dotn’t Hop! Do do the e toit dro timlet p Jingle It’s n’t It’s time to do the Jin gle Hop! CHORUS (smile) CHORUS (smile)
Silly Monkey Silly Monkey
a tree. onut was sitting in Monkey with a coc king fun of me. ma s wa ut on Mo coc a nk Monkey with a coconut wave too. ingon a coc inuta tre to ha s sitt e. Mo d like ey witha th taI’coc d him I tolnk onut waisswh gotta e u’v yo ma at kin g fun this of me. it nt IHe tolsai d him yout wa d if tha I’d like to have a coc onut too. He do.said if you want it this is what yo u’ve gotta do. p. He said clap clap cla clap. He clapp cla said cla p cla He sai p. He said clap clap cla p.
p. He said clap clap cla p. cla He p sai cla d cla p cla sai p clap. He He said clap clap cla p. do. e gotta it this is what you’v nt do wa . u yo if d sai He too. ut on coc a ve like to ha He I’d nt d if yo thaut wa d him I tolsai it thiwa of me. fune go s isswh kinyogu’v at ma ut on tta IMo coc tolnk a d him tht I’d like to ey witha e. ha inuta tre ve ing a coc sitt s on wa ut too on . Monk cocon nkey with aa coc Mo ut was making fun of me. Monkey with a coc onut was sitting in a tree. Silly Monkey
Silly Monkey
y up high, onut was sitting wa Monkey with a coc eye. his in le ink had a tw And the silly monkey don’t you see? ry ng hu I’m ut, on I said I want a coc n you’ve got to follow d ifwiyothu want it, the saiey Mo He nk a coconut was sitting way up high, An med. the silly monkey had a twinkle in his eye. . I said I wastontmp mp sto mput, I’m stoon He said a coc He said ifstoyomp mphu. ngry don’t you see? sto mp sto u wa nt d it, then you’ve got to fol He sai me. b. a limlow onut was sitting on Monkey with a coc d at ma me de ma d He said sto ha ut onsto cocmp th asto mp. Monkey wimp He said stomp stomp stomp. ve no matter him. , I’ll lea me p sto try to d do Mo I saink ey n’t with a coconut was sitting on a limb. at. Mo whnkey with a coc a coconut. want yodu ma nuonteutif ha de me mad at him He sai . d wait a mi I said dojum p jum p jum to sto p mep., I’ll He said n’t try what. jump jump jump. leave no matter d He sai He said wait a minu in a tree. te ut sittntinga coc if yo wauswa on on Monkey with a coc best ofut.me. the t go d He said jum ha a cocp on p jum jumutp. Monkey with up my de ma I’ve d He said jumtha ving an I’mplea jum p. I told him p tjum Mo mind nk,ey with a coconutme won’t you try it one re you leave was sitting in a tree. d ‘fo saiey Mo He nk with a coconut had got the best of me. e. tim tha Imo tolre d him t I’m leaving and I’ve made up my mind, clap clap clap. He said He said ‘fo p. cla p re cla yo p u cla lea d ve me won’t you try He sai it one more time. He said clap clap cla p. He said clap clap cla p.
p. He said clap clap cla p. He said clap clap cla more time. it one He saidd cla ve me won’t you try leap. yopu cla p cla He sai ‘fore He sai, d clap clap cla p. mind made up my t I’m leaving and I’ve I tolred him mo time.tha t the best of me. go d ha ut on coc a with nkey Mosai He d ‘fo re you leave was sitting in a tree. nk, ey with a coconutme won’t you try it one Mo mind p. I told him thaptjum I’m pleajum ving and He said jum Monkey jump. I’ve made up my withp jum a cocpon ut had got the best He said jum Monkey with a coc a coconofut.me. on waus wa teutif yo sittnt ing in a tree. He said wait a minu
Aim: To design a series of adds for Hotel Chocolat. Solution: Each add has ‘congratulate’ words with a matching picture to encourage each audience to celebrate with Hotel Chocolat.
Advertising
Advertising
Aim: Gondola, an Italian restaurant requires a menu design. Solution: Pasta - italalian food used as the background is the giveaway of the Italian restaurant.
Menu Design
nis, PPaanniin is, ndwiches
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Menu Design
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Aim: Nosher’ s requires a new menu design which will be welcoming to customers. Solution: Using the Nosher’s logo bend and colours makes it more apealing together with the images which are most appetising.
Color compositions PALETTE 1
Monochromatic composition based on color palette 1
Colour Exercise
PALETTE 1
PALETTE 3
Complementary composition based on color palette 2
Analogous composition based on color palette 3
Colour Compositions