Page 1

1


2


THE TICKLED COW CHS BRIEF

3


THE TICKLED COW Launching in late 2018, The Tickled Cow is the newest chain of Bar and Grill restaurants to occupy the main stream / Urban dining experience. Company owner Mike Guppy is looking for an agency to help bring his newest venture to life - to design beyond the obvious and create a unique brand, in and already highly saturated market.

PROJECT OBJECTIVE Working in teams create a unique and exciting brand identity for The Tickled Cow. It should work with the project’s vision and aspirations. The brand’s identity then needs to be applied to various assets listed in the following pages. Each pitch should be presented in a 5 minute time slot on the Friday 1st December.


3


LOGO DESIGN We wanted to create a civilised, fun logo that would work on all platforms, whether a poster, signage or menu header this logo will work well. We are in a lot of debate whether we need to introduce some form of icon. However this form is very over done when you think of current restaurants. It can also portray tackiness for example the Nando chicken or The Harvester Corn icon. When you think of classier places like The Stable, Byron and Bills, they have pure typographic logos. Which is the sort of ideology we want to portray. We are currently running with a distressed effect. Like a weathered leather or a worn out stable theme. However we are not sure if this is necessary. It will be a question we will ask the designers from CHS in our tutorials.

4


5


CURRENT MENU DESIGN We wanted our menu to have a system that was easy for everyone to read, as the demographic is so wide. However also be interesting and stylish enough to hold a a current yet different style. We have decided to layer our menu in order to break up the different offerings. This also makes the menu in an order. E.g starting with Starters, to mains, to desserts. We will also probably feature a drink menu that will clip on to the front. Our menu will be attached to a wooden board to protect the menu and make it more of an item, rather than just paper. We plan to laser cut burn our logo into the back of the board to further communicate our rustic theme.

6


MENU SCIENCE No pound sign - Customer will think that they are paying more Limited option of food - Do not overwhelm the customer The initial eye like is the upper right and the centre Draw out high profit items Place expensive next to cheap items - Expensive decoys Long description - Customer thinks they are getting more for their money Tell them what you taste!

7


MID CRITIQUE - CHS CREATIVE DIRECTOR This was a very very useful critique. We talked with the creative Director of CHS. This gave us some really helpful feedback as not only was he our client, but could a lot offer creative input.

MAIN POINTS FROM SESSION: Inject more fun into the menu: We had been focusing on readability and systems, rather than how the menu is read by the customer. Fun was needed. Whether it was puns, Tone of Voice or illustrations, it definitely needed more personality.

COLOUR THEORY: Our menu had a straight forward colour pallet. We were using black, blue and the background white. We were instructed to use colours that make people hungry. Also look at colour theory for our branding and the brand values each colour represents.

BRANDING IDENTITY: As we had set tasks for each other, and worked somewhat individually on separate things, some of our work did not fully link. We were instructed to make sure that we were all on the same page, and all publications linked obviously to one another.

PRESENTING: After we had finished presenting we were instructed that we had thrown information down wrong. We had tried to create a Identity slide, however this ended up shadowing other work. Next time we present it need to be clear obvious and have a lot of space.


WORKING A LOGO INTO THE RESTAURANT We want to show how out logo works across different media when we present our work. We have decided to buy milk bottles to use as water tumblers. We will vinyl print our logo, or maybe an icon onto the bottles. This is just a nice add on, to further get across our message and theme.


DESSERT MENU TRIALS Still trying to keep tis fun, yet smart theme going. I think the layout is good and it has an obvious link to the main menu and branding. However it has been discussed whether the page setup is wrong. The menu is currently the same size as the drinks menu. This might not be the bet method as the two may get confused. Have all the items in on going rows is also difficult to compare. It may well be more effective to have to columns, this sets it apart from the drinks menu and makes the readability easier.


FINAL DESSERT MENU Like I stated in a previous post, we felt that the dessert menu would work better in columns, and present landscape. This is The final version we went wth. Agin linking to the other menus. I would have preferred the other type for the main title, but was out voted by the team. It still links well with the other material tough. Simple, and effective.

11


PERSONALITY.. These are some attempts of injecting a bit more fun into the menu. Our menu was very to the point and one might say boring to look at. Quick note: Sometimes my style of design, is definitely not the route to take. This is why I think this is such a valuable brief. It comes down to what the client wants/design for purpose. My aesthetic may not be the right one. We were interested on how we could incorporate more image/icon/illustrations in. In the end we went for a sketchy look and also overlaid the sketches. 12


DRINKS MENU We noticed that many restaurants have taller drinks menus so that they stand up and out on bar and tables. It is a layout recognisable just for its shape. I decided to align it to the left as it was a lot easy to read then when centralised. Then it was decided to remove the unnecessary photograph. This started a debate in our group as some did not like the large amount of negative space when it was taken out. We hadn’t used photography anywhere else and felt it cheapened it a little. We decided upon some icon/ illustrations, similar to what we had used in the menu.

13


14


15


16


BLUE: We decided we waned to use blue early on. When looking into colour theory for brand identity, we found that it held many values that we wanted to portray. Blue portrays, trust, dependability, strength and honesty, which agin are definite value The Tickled Cow should hold. We did however try and reduce the use of blue in the menu in order to hold back form it looking more like a seafood menu. We went for a greyish blue. This worked well as is a stylish, sleek colour which is very readable next to black.

ORANGE: We have decided to use orange throughout our branding and menu for a few reasons. It is an excellent colour to use throughout our branding as it hold connotations such as, happiness, friendly, cheerful and confidence. These our all ideologies that a family friendly restaurant should hold. Another benefitting factor is because orange is proven to make people more hungry. We are going to inject this colour into our menu in order to up sell products. The orange we featured was a high saturated one. this is because the higher the saturation the hungrier the colour (subconsciously) makes the customer.

CREAM / OFF WHITE: We went for this off mainly for readability. We needed in white in order to read text and to keep clean and fresh. We went for an over white in order to keep this rustic, worn theme going. Otherwise the bleach of the white would look unnatural and tacky.

BLACK: Again we went for this off mainly for readability. We needed in black for our text. Its to the point and easy to read on a light background.

17


TONE OF VOICE Written tone of voice is simply the ‘personality’ of your brand or company as expressed through written words We wanted to create a fun and inviting atmosphere. We wanted to be current but also cool. We decided to incorporate quick, witty snappy remarks that will be looked over, but give the customer a positive feeling about the institution.

FOR EXAMPLE: “Sharing is caring” “And now for the main event” “Where there’s a grill there’s a way” “Just when you thought it couldn’t get any better” “Thirsty?” and of course our slogan “Rasing the Steaks”

18


SOCIAL MEDIA With social media being one of the main platforms for advertising in the modern world, we wanted to make sure we covered all the main application. Namely Instagram, Twitter and Facebook. We wanted to keep our accounts clean and sophisticated, however still inject that tone of fun. We would showcase food and event on these medias. We would also promote any offers or occasions too. The more social interaction the better, to further grow the brand. We wanted to start a hashtag or encourage customers to post and tag us.

19


1

2

3

4

MENU DEVELOPMENT We developed our menu nearly every day of this week long project. It became one the main aspects, that we somewhat built the brand around. Each 5 images is a development of our menu decide. I will go through the images accordingly.

20


MENU STYLE For the body copy and prices numbers we went for Monsterrat. This is a font I am familiar with using. It has many variations and is easy to read. It also worked very well with out heading which was also good. We started to introduce our first colour choice, this really brought the menu to life. We also started setting in dietary requirements. Our main aim at this point was to get all the text onto the document and set, the creativity could come later. The CHS Creative Director. He liked our layout and system, however said we needed to inject personality and colour psychology. We arrived at our final colour pallet and then added more dietary requirements and used symbols to do so. We needed one more aspect to lift info from the page. We then overlay images over our text boxes to bring them out even more. This also offered more texture and made other aspects easier to define. We added a diet key and changed the bottom page to have a blue strip at the bottom, as then is was the focus. As The Tickled Cow, was after all, a grill. 21


22


23


24


25


26


FINAL MENU We then printed our menu on a nice, grained paper. We maid sure the gsm was not to high. This allowed for the paged to be curled up and over the back without folding. The grain was to carry on our rustic vibe, this also matched our background colour. We also added our icon logo on the reverse of each sheet, as you fold over this was revealed. We then added our mock up to our wooden board ready to present the next day.

DIETARY ICONS Using icons as well as type was good way of making these requirements immediately visible This was also achieved by presenting them in the lesser used colour so they would stand out.

27


WEBSITE Our main website followed the same conventions as our social media pages. Easy to read, but still fun. Relevant information focused on at the top. We made sure to feature obvious call to actions across the site.

POSTER DEVELOPMENT I like this poster and think it ties in nicely. However it needs a call to action and a little bit of work done on hierarchy. The boarder was a nice tie in to the menu. 28


29


30


THE CORREX Outside the restaurant we needed something to draw in customers. This would be very simple as information would have to be read and understood in very small periods of time. This is due to people walking, running, or driving past. We set out to portray the most of The Tickled Cow, in as little as we could. First, we invited the customer in, stated our name and what we offer. Then we injected fun by using puns, this would let the customer know the vibe inside.

31


32


VISUALS FOR CLIENT These are our milk bottle water tumblers. This was a nice indication of the style of restaurant we wanted to show CHS. It was also so we had something to give to the client, as it is easier to understand if they have physical things. We originally printed the cow onto a water droplet but found this just confused things so decided to go for the cow icon. Using milk bottles for water gave the client an idea of our tone of voice without having to actually use words. The client took the bottles, along with our menu back to the agency to show the creative team.

33


34


35


36


NOTES TAKEN FROM CHS PITCH Ben started by congratulating us all on our presentation, and the work we had shown him. He seemed overall impressed, however put forward some ideas or questions to help our process. He really liked the fact we had provided not only a menu but the milk bottles too, showing how our logos would work on different media - Clients always like something to hold while you present. We needed t work on timing. Although we practiced, we didn’t keep within the five minute mark. Ben said we could cut things out. Only include the main points, and explain them well. Lastly, be prepared for any questions. The client will always ask questions about your work. We did prepare for this and made sure we could answer his questions. He was impressed with how we flipped his question into positives, providing good solutions. Overall I was proud with what we had to show and think the client was impressed. This was a really useful experience, and one that will help in the future, whether interview or pitch .

37


38


D&AD ANTALIS BRIEF

39


New Blood Awards 2018

Background Here in London, we don’t simply tolerate each other’s differences, we celebrate them. Many people from all over the globe live and work here, contributing to every aspect of life in our city. We now need to make sure that people across London, and the globe, hear that #LondonIsOpen. – The Mayor of London, Sadiq Khan

Brief set by JCDecaux In collaboration with Mayor of London; Nadja Lossgott & Nicholas Hulley, AMV BBDO

#LondonIsOpen is a simple but powerful campaign to send a positive message to the world: London remains entrepreneurial, international and full of creativity and possibility; a place of welcome, where discrimination will not be tolerated. The city is comfortable in its diversity, proud of its history, and optimistic about its future. And as the UK’s number one outdoor advertising company, JCDecaux has the perfect platform for this message.

The Challenge

Tell a story with Oxford Street’s digital billboards to show the world that #LondonIsOpen

You have a unique opportunity to get their attention: JCDecaux’s 50 synchronised digital screens at bus shelters up and down the famous street, offering real-time, dynamic communications. The cutting-edge of digital out-of-home (DOOH) advertising. Put the power of this platform to work with an innovative campaign using these screens to show the world: #LondonIsOpen

Related Disciplines Graphic Design Outdoor Advertising Digital Advertising Integrated Campaigns

Who is it for?

Additional Prizes The chance to work with JCDecaux to make your winning idea a reality; the chance of a paid work placement; your portfolio shown to the world on JCDecaux screens. Deadline 20 March 2018, 5pm GMT

Oxford Street is a world-class retail and cultural hub, drawing over 500,000 visitors a day. Tourists, shoppers, students, commuters... it’s a true melting pot, bringing together people of every gender, sexuality, age, creed, class, religion and race, from every corner of the globe.

Think about the millions of people, from all places and walks of life, who’ll experience your campaign first-hand. Will you target a particular audience group with a specific message, or connect with everybody?

What to Consider • What’s next for the #LondonIsOpen campaign? How can you take it further? It’s a broad message, an open book for people to take on and make their own. Think about the people who live in London, and what it is about the city that inspires people worldwide. You won’t be able to do everything in one campaign, so make sure you nail what it is you want to make people do, say and feel.

• DOOH offers incredible potential. Push the limits of what it can (or could) do. For legal and safety reasons, you can’t use motion in your creative for the screens: any content shown needs to be static and remain on-screen for at least 10 seconds. Beyond that, the possibilities are huge. Will the screens work together or individually? A full-street takeover with all screens showing the same message, or a story that unfolds as people travel the street? You could use APIs to plug in to social media, weather updates, and more for tailored messaging that responds to its environment or viewers... How could smart use of data bring a little bit of magic to the lives of passers-by? Think about creating something that will stand out visually, make the news or inspire your audience. • Your campaign must be delivered through these screens – but how might you reach further afield? How could DOOH integrate with other media for global impact? • Not a Londoner? Never been? Don’t let that put you off. Use your unique perspective and existing perceptions to your advantage. How could an activation in Oxford Street connect with you and your community, wherever you are? • This is a chance for big, bold thinking, so you don’t need to be restricted by budget – but do consider the practicalities, and how your idea could be made a reality.

What’s Essential JCDecaux’s Oxford Street bus shelter screens must be the main media channel for your campaign. Only static content can be used on these screens. See Further Info included in your brief pack for everything else you’ll need to know.

What and How to Submit Read Preparing Your Entries before you get started for full format guidelines. Main (essential): Either a presentation video (max. 2 min) OR JPEG slides (max. 8), showing your solution. Optional (judges may view this if they wish): Interactive work (websites, apps, etc); physical supporting material; if your main piece is JPEGs, you can also submit video (max. 1 min total); if your main piece is video, you can also submit JPEGs (max. 4).

dandad.org/new-blood-awards | @DandADNewBlood | #NewBloodAwards

40


THE STORY SO FAR… #LondonIsOpen is a major campaign – launched by the new Mayor of London, Sadiq Khan. Its aim is to show that London is united and open for business, and to the world, following the EU referendum. It shows the world that London remains entrepreneurial, international and full of creativity and possibility. It reassures the more than one million foreign nationals who live in London that they will always be welcome, and that any form of discrimination will not be tolerated. Sadiq is urging all Londoners, organisations and businesses to show their support for the #LondonIsOpen message via social media and other creative ways. “We don’t simply tolerate each other’s differences, we celebrate them. Many people from all over the globe live and work here, contributing to every aspect of life in our city. We now need to make sure that people across London, and the globe, hear that #LondonIsOpen. I urge everyone to get involved with this simple but powerful campaign to send a positive message to the world.” - Sadiq Khan

41


IDEA GENERATION D & A D Re-expression - say it differently Random links - join 2 random things together (George’s favourite) Related worlds - borrow an idea Revolution - turn it all on its head (most powerful for ideas) Wild card - chuck a wild idea in there Idolise - what would an idol do Personality - put some of you into it Good - how would your solution do good such as charity or environmental

42


TUTORIAL IDEAS A written out version on my ideas presented at tutorial one. I found it was easier to get everything down on one page, and then I could access the feedback altogether. Most of the difficulties with my ideas were because they did not meet the technicals aspects of the brief. E.g only static imagery could be used and each image must remain on the screen for 10 seconds before changing.

43


ndon/

ayoral/ o-the-

LXk4q

Network) • 25 double-sided motion digital panels at bus stops up and down Oxford Street, 50 screens in total. • Positions include prime locations outside key retailers, including Selfridges, John Lewis and TopShop. • Screen size: 6-sheet screen, w1080 x h1920 pixels movements) or content that represents any form of danger. Images must remain • See images included in Brief Pack for on-screen for at least 10 seconds before billboard location map, diagram with changing. measurements, and more. Find out more: • Safety first: Your creative must be static motion), and must not resemble any • (no jcdecaux.co.uk/news/oxford-street-live traffic sign/signal, distract any motor or pedestrian through contrasting • vehicle jcdecaux.co.uk/news/synchronisationcontent oxford-st(such as flashes, sudden

pen • jcdecaux.co.uk/advertise-with-us/ dandad.org/new-blood-awards | @DandADNewBlood | #NewBloodAward cities-presence#street-furniture-channel trations

d Pack, open these

Dynamic content

JCDecaux bring technology and creativity together, with billboards that can draw in / respond to social media posts, or adapt to things like weather, temperature, location, date and time, flight data, and more. dynamic.do

44


CHANGING D&AD BRIEF I have not only decided to switch D & A D Briefs, but I have also decided to work with another student. As two heads are better than one. When I decided to chose the JCDeaux brief, I had a far few concepts that I was excited about. However, when i looked into the brief more I found it was very limiting. The fact the billboards could only feature images that changed every 10 seconds really capped most of my ideas. I now know that I should never chose a brief before I have read through all the guidelines correctly. I am now switching over to the Antalis brief. Another student was telling me what the brief was about and it really interested me. I then had an idea that I thought was too good to pass up. After explaining this idea to him, we started firing ideas of each other, and both thought it could give for some really interesting outcomes. He was prepared to drop his project and work on this new idea with me.

45


New Blood Awards 2018

Background We’re living in a so-called digital age, and now more than ever our lives are lived out and represented through digital conduits. The world is fast and ever-changing; transient, fleeting, and restless. But in this digital world we live in contradiction. In a digital world we are physical beings with physical senses and needs. Paper is a creative technology that has evolved alongside us for centuries. It offers a physical sensation of touch and feeling; weight, texture, smell. The nature of paper appeals to us in ways we almost can’t comprehend because it’s been with us so long – but also because paper is the fundamental creative material.

Brief set by Antalis In collaboration with Craig Oldham, The Office of Craig Oldham

Conquer digital dominance with a creative paper experience

Antalis, proud supplier of Conqueror creative paper, believes it’s time to explore and celebrate the physical in a digital world. It’s time to show how creative paper can be, and how paper can express things that its digital counterparts never could.

• Explore, embrace and celebrate techniques and finishes and what they can lend to the experience. • Keep things physical. Your solution should be something that would inspire those who value craft and creativity to share and show off over social – but that’s the closest to digital it should get. • Think about the best way to reach your audience, and more to the point connect with them. How and where would they experience your idea? • Think outside the box. For example, origami-based ideas are a go-to for paper – that doesn’t mean they’re off limits, but if you use them it needs to be in a way that’s original and perfect for the context.

What’s Essential This brief is all about the tangible. So although it’s not mandatory, do submit a mockup or physical prototype if you can.

The Challenge

What and How to Submit

Create a physical experience for Conqueror that explores and celebrates the possibilities of paper as a physical, tactile, and creative material for design. Create the unexpected and the imaginative, the inspiring and the innovative – but create it using paper, in a way that brings the medium back to the forefront of creative minds.

Read Preparing Your Entries before you get started for full format guidelines – we won’t accept work that doesn’t meet these specs.

It needs to be something that creatives can experience first hand, that inspires them to use paper, whilst challenging their understanding of its possibilities.

Main (essential): Up to 8 JPEG slides showing your solution. Optional (judges may view this if they wish): Physical supporting material (mockups, prototypes etc) is encouraged; you can also submit video (30 sec. max.)

Who is it For? Creative people and creative practitioners that have been lulled into a digital comfort zone. Time to get physical.

Related Disciplines Graphic Design Packaging Design Environmental Design

What to Consider

Additional Prizes The chance to work with Antalis to realise your idea. If you win a Yellow Pencil you’ll also get your hands on the latest Arjowiggins Paper Book.

• Your solution could be anything paper permits, from installation to direct mail, product, packaging or publication, or beyond… • You’re promoting Conqueror paper to the creative industry using Conqueror paper as your medium. So think about discovery and re-discovery of the world of paper and the possibilities of print.

Deadline 20 March 2018, 5pm GMT

dandad.org/new-blood-awards | @DandADNewBlood | #NewBloodAwards

46


LETS GET PHYSICAL Antalis - “Conquer digital dominance with a creative paper experience� Our idea is to use humour in order to tackle this brief. Sexual innuendos are quite often used very successfully in advertising and marketing and we think this could be applied to a campaign that drives to get people off of their screens and back into paper. Sexual innuendos can be very effective in advertising. I think that this is a good route to take. Using double meanings that initially draw in the audience, only to mean something completely different. This could be really effective, and definitely very funny.

47


D & A D TUTORIAL Working on a joint project over the break was rather difficult. Therefore when we were back and saw we had a tutorial it gave us something to work towards and get our ideas back on track. This imagery is a mood board of the general style we are aiming to achieve. We want to go for a very minimalist editorial, heavily using black and white. We have decided to used Helvetica Bold, as this is if not the most readable and loved typeface. We wanted something simple as we are talking about manipulated some of its form. The layout will be simple, as we do not want to take away form the main focus, which is of course the paper itself. We cerated a very early days mock up, using mainly hand rendered type. This was a method of communicating our ideas. We spoke of some corrections that could be made right off the back of this. A good idea was to include a black piece of stock every other page. This is a sample book at heart, granted a very crude and humorous one, but still a sample book. It does make sense to proved pull out sheets that the consumer could test themselves! (Seeing as this is being created - for the creatives). The bind was also an interesting talking bond. It might be nicer to not have properly binded, but to have a bind that allowed paper to be taken out, used and played with. Which is what we are trying to achieve.

48


49


INITIAL IDEAS Here are some initial ideas and visuals we tried to create to indicate the style we were going for. Clean type on white. Our one priority was not distracting from the main focus, the paper. These were some early sketches and image mock ups we took into our tutorials to give an idea of our vision.

50


"Between the sheets is a sample paper book for Antalis Paper. This creation will use sexual innuendos in order to show the masses why we need to get off screen and back into paper. This is a creative piece, made for the creatives"

51


SCREW ME Some experiments on how text could be manipulated in the book. We are still discussing whether we even need to manipulate the type, as the consumer will be doing it themselves. We are trying to find ways to make the sheets even more exciting, rather than all similar type. This style may end up working better in a poster format. In tutorials we discussed approaching this like a campaign and also creating posters. This would be real nice along side our book. A series of posters would communicate our idea further and would mean you wouldn’t have to have the sample book physical.

52


53


BINDING POSSIBILITIES Binding is something that has changed throughout this project. At first we were talking about having a clean perfect bind, or even an open stitch bind. After our tutorial it became apparent that if we want people to really play with the paper, tear it apart, screw it up, scribble on it etc. Then paper would have to be taken out of the bind. We are now thinking of going for a bind that can be un-done. This examples seen above are systems that could work extremely well. They work as tight binds, but also can be used as individual sheets. This would allow people to tke paper out and really play with it like we instruct them to. Seeing as we are also putting in black test sheets every other page for the consumer to use we need to consider open bindings. I think this method is the one to take. 54


ARJOWIGGINS PAPER INFORMATION Looking on the Arjowiggins site for the types of conqueror paper that are available we were struck by the interesting way they set the type on the sample pages. it’s clear and succinct while still being irregular, once we get our sample packs we may experiment with printing over that text. If we used the large, bold Helvetica type but at 50% opacity we could print over the paper information but it would still be visible under the text

55


“Bend me over” - A thick paper (120 - 135gsm) to be folded inside book “Flick my pages” - In corner of pages “Lets get physical” - Front cover? “Nothing is better than the real thing” - N/A “Screw me” - (60gsm) - Light paper stock so can be screwed up “Flip me on to my back“ / “read me from behind” - Back covers “Own me” - Next to bar code or price “Do dirty things to me” - (Thick rough, artist paper) “It can be rough if you like” - (Thickess/roughess paper) “Paint me like one of your french girls” - (Water coulour paper) “Talk dirty to me” - Lined paper “Pull me off” - Post it note “Put your digits in me” - Yellow news print (liek yellow pages) “Size doesnt matter” - (Large sheet that folds out of book) “What goes on between the sheets” - Centre spread “Open me full spread” - Across a double spread “Run your hands down my spine” - Along spine of book “pull back the covers” - book cover “pull my top of” - Book sleeve “Tear me a new one” - Half perferated ‘New One’ on one half “Show me what’s underneath” - tracing paper

56


57


58


PAPER DELIVERY

These images are of the paper stock Antalis sent us. Seeing as there are two of us working on this it also mean we have double the paper, as we both sent off for a pack. This means we will be able to create two books. Our plan is to make one fresh off the press book, one that has not had anything done to it, and another that has been abused. Something really nice we can take from these samples is also the design. I like the text used for the labels and think we could definitely incorporate this is some way. Perhaps even having the stickers on our own sheets. We also think that a cardboard slider, like the one that housed the samples would aid our own book nicely. To the untrained eye just a posted sample books, but then you open up to reveal its a little more. We also wanted to make sure that we create our book out of the paper that Antalis have provided. There is something really nice about receiving the paper and sending it back in a whole new form.

59


60


61


62


63


64


65


66


BETWEEN THE SHEETS - INTERIM CRITIQUE These were the images we presented in our interim critique. I also had our physical copy mock up to pass around. The slides were images of how are booked works, these played as I spoke about our concept over the top. The project seemed well received and everyone seem to like the concept. However artistic direction was discussed a lot. This was valuable to us as we are unsure which design route to take.

67


68


POSTER POSSIBILITIES This Idea cam about when we were creating scanography for the potential content of the book. We decided we wanted to keep the book clean and fresh and allow the consumer to mess it up themselves. We still really liked the style so we looked for ways we could incorporate it, but not in the book. We decided a campaign running along side the book might work well. These are some of the posters we created that could work well.

69


BINDING We have chosen a binding method that allows paper to be easily torn out but also provides the viewer a smaller sample book at the end. As we want the audience to really feel and play with the paper, it is understandable pieces will be ripped out. We wanted to created a bind that this could be easily done so we decided to perforate the spine. Once all the pages have been taken out, the reader is left with strips of paper stock held together with a rubber band. We will set type along the bind as well as the paper, therefore the reader can still flick though paper stocks if they have destroyed the book. These are a couple of mock ups we have created. We are happy with the slight larger than A5 sizing, and think the bind works really well. It also allows for a really large open spread which is nice.

70


PACKAGING IDEA I like the way that they package their paper packs I thought that we could do something similar to the books that we are sending to D&AD. We’re making two versions of our book, one that will be untouched and another that will have been ‘destroyed’ by following all the phrases. It may be nice to package the untouched one similar to the photo to really pull together the idea that its a real product. 71


HOW THE BIND WILL WORK The bind will be able to unattached from the rest of the book. The information will run along the bottom of the main pages, but also along the strips of stock underneath the rubber band. Giving the reader a smaller strip sample book.

72


SAMPLES This is how some of the perforated strips will look once removed. We think this is a really nice add on to the book. The publication is a bit of fun. Its crude, its funny and we want the consumer to destroy the book in order to play with the paper. However it is still a sample book, therefore, the consumer can always find the paper stock and use it again if they want to.

73


74


THE FINAL BOOK We wanted to send two books off to D&AD. One that was in pristine condition, like the consumer would first have it. We then created one that had been torn limb from limb. This was to show how the book functions

75


76


77


78


79


80


81


82


83


84


85


86


87


88


IDENTITY PERSONAL BRANDING

89


90


91


92


IDEA GENERATION SESSION A useful session that proved to me that sometimes you can be more efficient with pen and paper. We created an a lot in a short burst of time. I do however think my digital creations are far better, however I like the direction that some of the more dynamic mark makings were going in, and definitely think something like this will be involved in some way.

93


94


SELF BRAND TUTORIAL These are some slides and took into my first tutorial. My first slide was inspiration, followed by drawn and digital experiments. I am definitely leaning toward a minimalist and ordered identity. I think this reflects me well. These slides are messy at this point however these are all experiments, some not great, but wanted to get them all down to compare.

FEEDBACK Thoughtfulness - every design decision that is made should reflect you. Make your specialties more obvious. For example would you include photography? 3D? Reflect your own style/talents. The basic rectangle is very generic, play with it a little more. With the slanted rectangle the idea of a slanted photo frame was put forward. The idea that I as a design notice things and want to fix them - Design solutions.

KNOW WHAT YOU’RE NOT Potentially play with the bar height between the lowercase f & t a little more. This is the simple part, the exciting bit it was it in the portfolio Overall they thought I was in a good place, and my experiments were justified. Just need to work out what I want to say, and how I want to say it.

95


SELF BRAND - ANOTHER TUTORIAL These are some more of the experiments that I brought along to second tutorial. Some of these were dismissed immediately, however the majority were well received. I need to find out what I actually want to say, as these are saying quite different things. The group was split about the slanted logos, and so am I. I like them but am worried that some are not going to understand. It comes down to whether I’m brave enough to run with it and take the risk. I also do still like the simple folded paper F, and think it is something that would work well across ephemera, it always portrays my profession and creativity and the same time as being very clever in hiding an F, which is the image I want of myself. 96


97


THE SLANT This logo is trying to imply I am creative, notice things and want to correct them. The concept behind it is a slanted photo frame, that one on the wall you just really want to fix. The slant also holds the ideologies of being a little out there and abit different. I’m not sure whether to run with it, because its very hard to set and also just looks off to some.

98


SELF BRAND - EXPERIMENTS I have decided to go forward with the slanted logo. Its bold and different which is what I want to portray. I also like the concept behind it and think this could be a nice talking point with future employers etc. I am now trying to refine a style. I have decided to keep the box slanted but match the type to it. It bothered me far too much not having a bass line for the text to fall on.

99


CONSITANCY Line thickness fixed - 4pt matches Helvetica Bold. Keep on silhouetted one sizes are the same.

100


SELF BRAND - COLOUR I definitely want to use colour in my brand. I use black and white so often and do not want to get pinned to one style. I also think using colour can make you stand out and just seems a little more fun/playful. I have been considering blue as the route to take. With connotations of trust, loyalty, order, confidence, communication and success. Which seems pretty idyllic. However, after looking colour psychology tables, I find my self interested in red and how that would work. With themes like passion, ambition and confidence.

WORKING COLOUR PALLET I have always been interested in colour injection. I think this works well as it enables me to keep everything easily consistent, but still look slick. This may change however, as it may well limit me. I have decided to go with blue. It holds all the correct physiological factors that I want to portray. Its also a type of blue that I personally associate with design. Its like the blue ink of a pen or cyanotype printing. Its is also the blue in RGB Colour pallet so is easily identifiable.

101


COLOUR EXPERIMENTS A few experiments to see how my logo takes to the primary colours. I think my logo is stronger with an outline around it. The filled in shapes are nice, however the outline is a better reflection of me I feel. I understand that sometimes the logo will have to be inverted if set on colour.

102


SHORTLISTED COLOUR Shortlist of colour choices. Although I am drawn to black or blue, my decision will fall on which will work across the rest of my branding.

103


50 SHADES OF BLUE

Trialling some shades of blue that could potentially used throughout my branding. Surprisingly I find myself

being drawn to the deeper navy’s and royal blues. I like the fact the first three could have almost have been cyanotype printed. Stylish and sophisticated.

104


50 SHADES OF RED

The same experiments in red. I am slight preferring the blues. These look a little aggressive. Also share a huge

similarity to the Hasbro logo. Which is one i do not want to associate with. I am aware that the gradients do not

work. It would be interesting to see how my favoured colours would work through other aspects of branding.

105


MOO - BUSINESS CARD SAMPLE PACK This sample pack from MOO was a really useful aid when deciding not only sizing of my business card, but Gsm and finish. In terms of sizing, I have decided to go for the standard card size. 84mm x 55mm. This is a nice size in the hand and fits well in a wallet or purse. This is a little bigger than some of my trials, which will give me more space to play with. In terms of Gsm, I really like a heavy card. One that’s going to last a little longer than the rest. I think anywhere above 400gsm will be fine. I hadn’t really thought about a finish until I had these cards in my hand. However I do really like an uncoated finish. It has that raw ideology to it, like it was done by you, by hand. Saying this it would be really interesting to see my logo embossed onto the blue background.

106


107


BUSINESS CARDS These are some initial business card layout ideas. I wanted to keep the design of my business cards quite minimal, as the logo does most of the talking. It is important I printed these as the text that boarded the logo was far too small and did not look as strong as on screen.

108


I do really like this minimal business card. It is not over designed, but clean and to the point. I think this is the route I will take. Some final tweaks to type placement will be made

I like the bordered concept and think this idea of a flipped business card is different and would stand out. However the boarded text does not look as nice printed as on screen. 109


110


111


112

Whether the slant is too drastic and needs to be brought back ever so slightly.

I may have lost some of the concept behind my brand by putting the text on the baseline?

points taken from the session were:

I presented my inspiration, followed by part of my process and then some outcomes in situation. The main

INTERIM CRITIQUE - SELF BRANDING


First CV layout design. I new what I wanted it to look like early on, so i created this first draft I could refer to. It as changed a lot since then but it was a useful starting point thinking about position and not type setting.

TYPE CHOICE I have decided to feature Helvetica and Monserrat in my CV. They are very similar fonts and work well as a pair. I have also bordered my headings. This links back to the logo and keeps a constant hierarchy though out. I have tried to use fonts that I feel reflect me best.

113


114


115


CV Development I think my CV is actually starting to take shape. Its quite difficult trying to fill spaces, but now I have centralised it its a little better. Needs more work but nearly there.

116


117


ABOUT ME

Fergus Tillyard

C O N TA C T M E NAME

Fergus Tillyard

My name is Fergus. I am a 21 year old student currently studying BA (Hons) Visual Communication at AUB (the Arts University Bournemouth). I am a hard working creative with a great work ethic. I take pride in putting maximum effort into anything thrown at me. I enjoy working with a team and communicate well with others. My drive is my passion for design and the creative industry. I specialise in Graphic Design, Branding, Illustration and Photography. Please feel free contact me with any questions or queries.

WORK EXPERIENCE 2018

CHS AGENCY CHS came in to Visual Communication with a live brief in late 2017. Since then they have offered me a work placement commencing in 2018.

DOB

02/11/1996

ADDRESS

2016

PHONE

2017

S PA C E W O R L D W I D E

2017

GLAXOSMITHKLINE

2014

D E S I G N D I S T I L L E RY

Stokes, Bosham Lane, Chichester, West Sussex, PO18 8HG

07947 727 837

Work placement, London. I had the pleasure of working with the research team and creative team on the Oxfam Lifesaver campaign and the (RLFI) H2Only campaign.

EMAIL

fergus.tillyard@hotmail.com

WEBSITE

www.fergustillyard.com

@fergustillyarddesign Fergus Tillyard

Freelance work, Brighton. Space Worldwide often use me for their projects.

Worked with GSK in order to create a new business card for GSK STEM (early talents) manager.

Work experience shadowing the Creative Director.

SOCIAL @fergustillyarddesign

THE GOOD AGENCY

Q U A L I F I C AT I O N S 2016/19

V I S U A L C O M M U N I C AT I O N B A ( H O N S ) Received a first grade for my first year at AUB (The Arts University Bournemouth)

REFERENCES References available upon request

2015

F O U N D AT I O N D I P L O M A - A R T & D E S I G N

2014

A - LEVELS

Received a Distinction grade, awarded at AUB.

Graphic design, Media Studies and Theology.

2013

AS - LEVELS

2 0 11

GCSE’S

Graphic Design, Media Studies, Business Studies and Theology.

Graphic Design, Media Studies, Art, Maths, English Literature, English Language, History, Science, Applied Science and Religious Education

118


119


FOLDED CV My final folded CV. The idea behind this is that my CV portray a little more about me. Its also something a little stand out and different. The idea is you have a straight logo only to open it up and find the slanted one inside. 120


121


Fergus Tillyard

Home

About

Hello, my name is Fergus, I am a UK based designer, specialising in Branding, Graphic Design, Illustration and Photography. Here is some of my work

Fergus Tillyard

Home

About

Hello, my name is Fergus, I am a UK based designer, specialising in Branding, Graphic Design, Illustration and Photography. Here is some of my work

Fergus Tillyard

Home

About

Hello, my name is Fergus, I am a UK based designer, specialising in Branding, Graphic Design, Illustration and Photography. Here is some of my work

Menu Design

INITIAL WEBSITE LAYOUT I initially mocked up my first Web-page design using inDesign. This allowed me to use shape, image, type and colour in order to give myself a rouge plan of what I wanted to achieve. I wanted to go for a minimal but satisfying website. One that was clean and easy to navigate. I think in these early trials I was trying to force too much of the blue in and am glad I toned it down a little. I think the widgets are the things that make a good website. Things that can change or animate when you interact with them. This is why I wanted to have the logo shift and blue overlay of imagery. 122


MUSE This was the first version of my live website that I created in muse. Although very minimal it allowed me to get the foundations down and see how my design would work on an actual web-page.

123


SETTING THE BLUE This is something I had to battle with on my website. Using the correct amount of blue was tricky as I did not want to over do it. As it is a deep blue and can distract from information. In the end I went for a even balance between the blue and white. A white panel also follows you up and down the pages in order to split up the colours and also for navigational purposes.

124


125


126


127


PHONE WEBSITE This is how my website works on a phone screen. It adapts to fit all dimensions. The type looks relatively large, but this is because it must work on all sizes, and some screens are a lot smaller. It has the exact same ages and navigation as my website, however the phone format offers a little more. I have added three contact buttons along the bottom. These follow you as you navigate the website. 128


SOCIAL MEDIA It is important I keep up to date on social media platforms. This helps me stay current and relevant. On this Instagram account I will post everyday inspirations and outcomes. This will help me network and build as a brand.

129


130


PORTFOLIO IMAGES CONTACT SHEETS

131


132


PORTFOLIO IMAGES CONTACT SHEETS

133


134

Process Book  

2

Process Book  

2

Advertisement