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PORTFOLIO and SAMPLE WORK for

LAWRENCE OLIVER RICHARDS INTERDISCIPLINARY DESIGNER London, UK dt901lr@gold.ac.uk +44 (0) 7791 638071 Lawrencerichards.info _


“LAWRENCE WOULD LIKE YOU TO BELIEVE HE IS A COMPETENT AND ENTHUSIASTIC MULTIDISCIPLINARY DESIGNER. BUT WE ALL KNOW THAT IS NOT THE WAY IT WORKS IN THIS GAME.”

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HELLO THERE: HOW DO YOU DO? A QUICK RUN THROUGH ABOUT ME, AND THEN, MORE OF THE SAME

This is my portfolio, hope you like it. This document is intended to give you an idea of the scope and level of skills I have, whilst looking visually tidy to boot. I decided to go for a magazine feel, why you might ask? Well, for starters I’ve worked in publishing and am already ahead on that front, secondly I think the format suits the purpose, a document that is full of content (my work) that is presented in easy to read, well formatted manner. A LITTLE MORE ABOUT ME I’m a 23 student of design at Goldsmiths college. Being 23 is only a number, but it does befit me with some extra experience outside the realm of academia that is a useful real world practice. I’ve spent a lot of time outside of my home country and find it both relaxing and empowering to travel, experience and be culturally challenged. That said, I always return to design and the facets that relate to it. I have a passion for most of the disciplines associated with design such as photography, illustration, model making, graphic design and design theory. I’m not going to go into details here (see my cv) but I’ve been involved in the industry in most of those capacities. I like to think these skills will make themselves known through a practical oulet (i.e. in this portfolio).

“There was something about him, he seemed to be good at everything! And great with tea and coffee.” This has never actually been said.

I HOPE I’M MORE THAN A NUMBER. My skills in design are one thing,

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but i’d probably never wholely rely on them as my sole personality trait. My interests are wide ranging and varied, I try and be involved in as much as I can when not engrossed in work. I like to think I have a decent sense of humour (this portfolio could not have been made without one) and a personable and easy going demeanour. Having spent a fair bit of time in various countries and environments I feel like I have a relatively well rounded and broad spectrum of knowledge. What I may lack in specific skills I make up for in vision and diversity, and I at least think that is something more valuable than a mere competency. WHAT I’M NOT GOOD AT I’m taking a relatively bold punt at this, but in the interests of being transparent it would be nice to say what I’m not great at. Like any human I can struggle with a steep learning curve but I like to think I can work effectively without guidance or excessive management and come to a conclusion on my own. I have a lot of energy but on occasion this can become out of control and less focused. I like to think that all time spent working towards something (and end goal) counts towards the process. I’ve come to realise in recent times that although it can be disheartening to work at a task for a long time and not receive the exact outcome you desired, the knowledge, skills and other outcomes along the way more than make up for it. At least I hope I’m right in thinking that.


Logo

Live project

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1 Publishing

Acrophobia

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2 Web work

Superordinary

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3 Personal

Typologies

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CONTENTS These are my projects, They range from physical product design to visuals, Graphics and film. The majority were undertaken at Goldsmiths college, The others are a range of personal work and freelance.

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L O R LOGO This is my logo. I’m not sure about it, currently, but I guess it’s good for the time being. You can ignore that for now, I’m sure it won’t matter too much.

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THE LIVE PROJECT: FINDING A PUBLIC VOICE LIVE PROJECT

STUDIO

CONCEPT

PRESENTATION

This was my most recent and most well regarded design project whilst being at Goldsmiths. It was an industry led project taking place live with two clients, LAND SECURITIES and PAICE DAP. Land securities are a large, influencial and rather corperate investor in properties and PAICE DAP are an art collective who work with various outside artists and designers to improve the urban spaces around us. The task was a difficult compromise between the forward thinking and concept based work of the DAP and the money driven concrete reality of the world of LAND SECURITIES. We felt this discrepancy between clients was something of a major issue and also conversely an interesting to explore aspect as a direction itself.

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We found the difficulties in working with a stimulus, and an interesting aspect in itself.�


A PLACE FOR RESEARCH IN NEW STREET SQUARE The first part of the project involved a large amount of research, into the current client of the site, the user of the clients (shop clientele) and the site itself. We organised independantly several interviews with shop owners and users of the site, whilst simultaneously recording as much information as possible.

Obviously the problem of collating and reflecting upon such a large volumn of data is a tough task, and we went about setting up an ad-hoc community site where we could upload research and allow other members of our team to work alongside or seperately.

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newstreetsquare.tumblr.com

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IDE AGOR A S

PIR AT E R ADIO

Our research and personal tastes led us to follow three distinct paths. The first grouping ‘Ideagoras’ was the culmination of the perceived need to allow collaboration in a space otherwise devoid of creative direction. We looked into previous examples of tools and instruments that used collaboration in their design, i.e objects required more than one person for anything to happen. Our ideas centred around digitalizing the square itself and making interaction with certain parts lead to a artistic outcome.

The theme of pirate radio came out of our concern with creating a physical presence in the space. It seemed relatively straightforward to create a system of public communication that was invisible to everyone but the users. This also had a extra bonus of being anonymous to all apart from the users, making it s

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BC BL IN D COM MUN IC AT ION

Blind communication is the name we had given to the idea that people could communicate without necessarily knowing that they were, or without others knowing. Our intentions were to create a pseudo world that could be influenced, modified and experimented with, in the square, that would not impact physically only virtually. We realised the predominance of actions could have an alternate action to them. The idea was to get people to vote with the way they acted, the places they frequented, the things they ate and the way they threw things away. All these votes could be used to create messages, or act merely as a statement themselves. Then after time and exposure the public would be invited to create their own polls and the cycle would become internal, with no need for outside influence or administration.

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LIVE PROJECT

{ 1

The aim of the live brief was to bridge the gap between public art and industry develo pment. We were tasked by Land Securities (a prestigious land developer and investor) to provide a place for a public voice. In our invesigations we searched for a method to allow public interaction whilst retaining anonymity. We felt this was important to aid the reduction of inhibtions and aid a more open space. We also noted the cold and intense environment of the square and wished to rectify that.

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WEBSITE {A

The website incorperated the need to confess, and therefore become a public voice whilst retaining the anonymity of the confessional.

NEW STREET SQUARE’S

Grow my Confession

U

U

Garden of Confessions

U

U

f

NEW STREET SQUARE'S

You're confession is being sown

U

U

Garden of Confessions

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insular behaviour that is prevalent in the square. We had the interface complete from the previous incarnation of the concept. We looked into a method for making tangible the link from submitting a confession. It utilizes these existing technologies. SEED DISPENSER. Used by the RHS for acurately dispensing the exact amount of seeds per click. This would allow the correct seed to be used.

Our plan was to solidify the concept of a garden that was created from the seeds of secrets, a garden of confessions. The concept focused on the core drive to turn something negative, a secret/confession into something beautiful, and in turn encourage more people to interact with the space and defy the quiet,

the technological bent of the design worked well in juxtoposition with the organic nature of the garden being reared of its own accord. TWITTER. We of course used twitter to get the confessions in their infancy out to the people, creating a feedback loop which people can access and also if they feel obligued, can show others their confessions.

We proposed having these on a 5 way arm that would be able to allow the user to choose the seed they preferred. SKYCAM ARM. Used currently for the sports industry including the superbowl and sky sports. It would be implemented to allow the seeds to be placed anywhere in the garden, on an arbitrary grid. We felt

OUR FULL PRESENTATION CAN BE FOUND AT ISSUU.COM/LAWRENCERICHARDS/GARDENOFCONFESSIONS 16 _


“HOW WE IMPLEMENTED THE INTERFACE INTO PREEXISTING TECHNOLOGY.”

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CLIENT: LAND SECURITIES

CLIENT PRESENTATION STILLS FROM THE CLIENT BRIEF PRESENTATION. We presented our final concept to Land Securities and PAICE DAP at their main office in the strand. The presentation contained the bulk of our relevant research towards the space and the renders and illustrations pertaining to the garden and greenhouse structure and planning.

ISSUU.COM/LAWRENCERICHARDS/DOCS/GARDEN_OF_CONFESSIONS

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Images from the final render of the garden in situ at the site in new street square. Greenhouse and environment handmade from scratch in google sketch up.

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THE ANTISOCIAL A SERIES OF INTERVENTIONS IN THE CANNON STREET AREA

he antisocial was a project based on territories, and the inherent problems and unplanned behaviours that occur in them. The intent of the project was to locate an activity, or many, that could be interpreted as antisocial, or even prosocial. These would vary from the obvious and common to the more symbolic and subtle. I was given the Canon street area in London’s financial district. After spending many many days there I felt a more deep connection with the location and its given features.

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lounger which seemed the most incongruous device to attract the most attention. Using James as a lure, complete strangers became interested in participating and the isolated space in the middle of the road suddenly seemed an enviable place to be.

INTERVENTION A This was to reuse urban space; introducing some incongruous objects to create a new usage. I had seen a few people use the islands in the centre of road as places to walk. These areas all along the main road were almost rendered useless due to the large amount of traffic I wanted to reappropriate the usage of the area. I put down a sun

INTERVENTION B Iimproved signage, indicating service information. ONe of the primary problems with the area is the difficultly in get around when on foot. I investigated the use of service information signage for pedestrian usage. The sign mimicked the london underground livery, with the intention that the public would be used to the INTERVENTION C Road crossing prototype. The road crossing on Upper thames street is completely unfriendly to the pedestrian. With construction work littering the traffic islands

THESE STILLS ARE FROM THE ANTISOCIAL CONCEPT MOVIE THAT CAN BE SEEN ONLINE AT LAWRENCERICHARDS.INFO

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and fast moving traffic in each direction it can feel completely isolated trying to cross, and as a pedestrian you feel unwanted. I tried to make the user feel more in control with the use of a prototype shield that would be used to offer a psychosomatic cure to the fear of crossing roads. INTERVENTION D I had also seen tourists in the area, and as it’s mainly a business district this seemed strange for them to want to be in such a place. I decided to try and map out new routes they could take, accommodating the main historical areas and missing out the noisy areas of construction. Using the symbol i envisaged walking routes in the same style as london transport routes. these would Appropriated transport device for pedestrian/tourist usage.


THESE IMAGES ARE FROM THE WEEKS OF RESEARCH THAT TOOK PLACE ON THE STREETS OF CENTRAL LONDON, TRYING IDEAS, INTERVIEWWING THE PUBLIC AND GENERALLY TRYING TO CREATE AS MUCH CREATIVE CHAOS AS POSSIBLE.

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MAPPING

TERRITORIES

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A SOLUTION ON A THEME MY INTIAL EXPERIMENTS LED ME TO PRODUCE AN MAPPING BASED OUTCOME. The project culminated in the creation of a fabricated map, and the usage of that in the given area. It mirrored existing metro maps – and metro pastiches – such as the Edinburgh Innertube.

OUTCOME B Short concept film displaying potential usage and integration with existing schemes and institutions to provide an alternate mapping tool and pedestrian advantage. This was used for the final presentation as a means to convey how a potential system would be implemented, based on existing schemes and utilising already developed iconography.

OUTCOME A Reappropriated transport map, accommodating pedestrian routes, impedances, problems and highlights, based on observations of area.

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The finished print, folded and positioned like a real tube map. The Pinnoccio of transport maps if you will. _


THE SUPERORDINARY

A SYNESTHETIC EXPERIENCE

THE SUPERORDINARY

was a study of the subjective, how do you define the superordinary? That is, something not ordinary, neither extraordinary, but the impression of something very ordinary. My process led me to define what I believed to be a valid and acceptable sentence to describe the implied meaning. It was on the extrapolation of counterintuition, and that

something must exist at the furthest position from what is defined by the ordinary. My definition was as follows. For my outcome I began to toy with the idea of altered perceptions and became slightly obsessed with the notion of synesthesia and the cases of natural altered perceptions that exist commonly

“SUPER ORDINARY IS THE ELUSIVE ENTITY THAT CAN MOST EASILIEST BE CATEGORIZED BY A LACK OF CONTEXT OR REVERSAL OF NORMALS. IT IS A PHYSICAL AND THEORETICAL PERCEPTION THAT CANNOT EXIST WITHOUT A REFERENCE TO AN ORDINARY. ON A SCALE SUPER ORDINARY COULD BE SEEN TO BE AT EITHER ENDS, WHERE ORDINARY REMAINS IN THE CENTRE.”

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in plenty of people. Synesthesia is basiscally the occurence of a mixed signal in the brain where once a relatively normal (now subjective) interpretation and perception would be garnered, instead a mixed up perception would be recorded, one imbued with extra data, that is not necessary for the person, but becomes the signature of the condition. I wanted to produce something that instead of fully altering someones perception, removed a part of their vision, so as to make each time using it a different experience add an exra layer of sensory experience that a normal user would not achieve.


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SYNESTHESIA COLLECTION AVAILABLE ONLY FROM MY ROOM The secondary outcome was an infographic to motivate and inform people of synesthesia, and encourage more general interest in the subject. I worked as a culmination of my research and a way to present it that had further implications than merely being printed - that had a longevity to it.

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My love of typography has been a long and relatively illustrious. I started making fonts purely as modes of procrastination. As ways of filling the void between jobs or actual work, I quickly realised they were themselves their own projects with motivations, briefs and intentions. And as stand alone products of research and experimentation. I firmly believe in the power of typography to influence, affect and add a dynamic to the text it is used in. That said it can also merely be an aestheticly influenced piece of visual art. The examples here are from my personal works, some were born from other briefs, others merely done for a bit of fun.

“TYPOGRAPHY IS A SUBJECT CLOSE TO MY HEART. ALTHOUGH I MAKE MAINLY CONTEMPORARY CHARACTERS, A LOVE AND UNDERSTANDING OF THE HISTORY UNDERPIN THIS.” MADE WITH ILLUSTRATOR AND A FEW THOUSAND CALORIES.

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LO

SELECTED LOGOTYPES VARIOUS LOGOS AND BRAND IDENTITIES FROM FREELANCE AND PERSONAL PROJECTS (THE ONES WHERE THEY DON’T PAY YOU ENOUGH)

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GO


Cirriculum Vitae an infographic representation

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My cirriculum vitae was a product of my contiuning and burgeoning obsession with infographics and similar visual themes. I wanted to basically create a resumĂŠ that focused on what I had done and skills I had learnt whilst displaying them in a way that actually justified the information. It was basically a meta-cv. Inspired by the a variety of sources from information-is-beautiful to the ok-cupid blog it was a nice illustrative project that also happened to satisfy my need to be part of the real world.

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AN EXCERCISE IN GRAPHICS

COUNTING FLOCKS IS AN IMAGINED TITLE, BORN FROM WHAT I IMAGINE WOULD BE POPULAR, CURRENT AND IMPORTANT

COUNTING FLOCKS BOOK DESIGN Counting flocks was a ficticious book created for a proposal to Phaidon. The style mimicked the trend of similar covers. Stylistically it focused on truncating the

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essentials of the story into a succinct package. The fonts were chosen to complement the simple graphics rather than overpower them.


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MOCHA BRIDE MAGAZINE WHILST LIVING IN SAN FRANCISCO I WAS THE JUNIOR DESIGNER AND ILLUSTRATOR FOR THIS BAY AREA MAGAZINE

or the start up magazine I worked as their layout designer, marketing assistant and illustrator. I assisted the art director Lauren Golik in producing print friendly page layouts and advertisement material. I worked alongside photographers in optimising the spreads and worked directly with outside clients for the advert designs. All graphics and illustrations were original and bespoke for the magazine.

M B

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Examples of page spreads and layouts from the magazine and client based advertisements. _


WEB I have for a long time run and managed my own personal website, under various monikers over the ages. From the original incarnation ‘desiccatedpears v1.1’ to the current ‘lawrencerichards.info’ I have always maintained a web presence even if no one is actually watching. In this time I have learnt to use various platforms and discovered the magic of coding the hard way, through trial and error.

LAWRENCERICHARDS.INFO

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Thank You!

If you would like to get in contact about anything, design, philosophy, the world, maybe something preferably relevant to this portfolio, then that would be great. Links are down bottom. Thanks for at least getting to this part.

This document was made using a 9 column grid with 4mm gutters at a cost of many low quality energy drinks. It took a number of days and I would like to thank Adobe InDesign CS4 for not being compatible in any way with CS5.

http://issuu.com/lawrencerichards +44(0) 7791 638071 dt901lr@gold.ac.uk www.lawrencerichards.info

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Lawrence Richards | Portfolio 2011  

My design work portfolio.

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