N. 2012/2013 Collection
Nicole Yi Ling Foo
CONTACT INFORMATION N I C O L E Y. L . F O O email@example.com cargocollective.com/nicolefoo Hong Kong (+852) 94304162 London +44 (0)77 92 903 747
ABOUT Nicole Yi Ling Foo was born in Singapore in 1993. In 2005, she migrated to Hong Kong with her family and grew up in the international community there. During that time, she came to love and understand more about traditional Cantonese and Chinese culture & history. She became curious about understanding other cultures, and travelled to Yang Shuo, Kathmandu and Sabah, among many other places, living amongst the communities there over her summer vacations. It was the history and diverse range of peoples & cultures that drew her to London, where she is currently pursuing a bachelorâ€™s degree in graphic design at Central Saint Martins College of Art & Design.
This catalogue is a collection of her work, academic and personal, created over the first year of her graphic design course.
UNIT THREE 8 Lehti an informative poster researching an exhibit from the V&A in context of the modern society 12 DARKER THAN FICTION
book design, layout and typography project 18 KX to ARCHWAY
a ‘hand-made’ video of time based screen printing
UNIT FOUR 24 THE GRAPHIC KITCHEN
design and interaction project involving the creation of an event that brings a community together 32 LILY & LIONEL
fashion advertising project 38 SUmo Surprise
moving image film based around an inanimate object 42 CIT Y FARM
advertising project with Kentish Town City Farm
OTHER 46 BUS RIDE
moving image film based on pet peeves 48 DEMOCRATICA
a poster which embodies the style and emotions of a given typeface 50 MEDUSA
following an illustration created during an etching induction
LIVE BRIEFS 54 BARNARD & WEST WOOD greeting card design with specialist processes 56 HTC BILLBOARD
artwork/ advertising design for HTC ONE smartphone 58 LOGO DESIGNS
various logo designs for clients
78 FILM UNDER WATER
66 NOODLE HAIR
experimental photography, sequel to film under water
illustrations inspired by vicious animals
a series of eccentric illustrations 70 DRIP
typography and photography in situation 72 SKINS
images exploring colour, texture and properties of skin
82 SUBMERGED LIGHTS
86 DOUBLE EXPOSURE
experimental photography 92 RAIL TICKET CARDS
playing card designs printed on old rail tickets
UNIT THREE ACADEMIC
LEHTI â€œLehti represents the desires of modern society. In the 21st century, our general aim is to make our fast paced lives increasingly convinient. The features we look for - light-weight, sturdy, strong, beautiful - all of which can be found in this elegant work of art.â€?
Close up of poster text
Pick an object from the V&A Museum to research about and create a large format poster, integrating 1500 words of information about this object in the context of past and present society. My Poster
The object I chose was ‘Lehti’, a fruit bowl, by Maria Juhiainen. It was innovatively made of a leaf-thin sheet of brass, which had been photoetched, and allowed to soak in acid. The acid ate away at unprotected parts of the metal, leaving only the beautiful lines of the drawing of a decaying leaf skeleton.
I researched into it’s making process, and realized Lehti’s characteristics of being light-weight, strong and beautiful is what humans look for in the modern day society; and the reason they look for these traits: convenience. This lead me to research and write about Lehti in relation to the context of innovation and convenience in the modern day society. The illustration on the poster stemmed from one particular observational drawing of the fruit bowl (fig. 1). I wanted to draw attention to what I loved about this object - the delicate details of the leaf patterns. I also admired how it was handmade and created my poster in a screenprinted style (fig.2) to showcase this.
DARKER THAN FICTION â€œBooks are the quietest and most constant of friends; they are the most accessible and wisest of counselors, and the most patient of teachers.â€? - Charles William Eliot
Experimental Drafts for Book cover design
Final book cover design
Book cover design
Darker than Fiction was a typography focused project in which students were given the manuscript of a book, and were left to design both the content of the book, as well as its cover. Darker Than Fiction by Marcus Bastel is a very dark collection of short stories which bring up the taboo subject of death. The short stories slowly submerge the reader into the dark topics. Therefore I created a more subtle image based on one of the stories about a young girl and a little bird she rescues and becomes attached to, but later dies.
title page t ypface: Baskerville
Contents t ypface: Fenix
Used because of its beautiful form, legibility in print and dark character
Chosen for easy, comfortable reading and legibility in print
A short film in which each and every frame was lovingly and thoughtfully hand printed for your enjoyment.
In Collaboration with Tiffany Chan, Lily Paget, Jessica Hook. Music: Up the Spout (instrumental), Mateo Messina
TIME BASED SCREEN PRINTING
In our modern world, everything has become digitalised; people want things done in an instant. For this project, we created a handmade video of our journey from King’s Cross to Archway. Our video is made of hundreds of images each lovingly screen printed by hand, experimenting with different paints and colour mixtures. Through this process, many prints were not complete and ‘imperfect’. This did, however, make our video look more organic and unique.
After the project, I felt it was a waste to throw away the hundreds of beautiful prints we created for our animation. Using the opening title of the video, I created a logo and labels, using these to package the sets of prints. A corrugated cardboard box was chosen for its organic feel and warm colour, which complemented the prints.
Packaging design for screen prints
UNIT FOUR ACADEMIC
the graphic kitchen clos
se up the Graphic Kitchen â€œThere is no love sincerer than the love of food.â€? -George Bernard Shaw
Spoon Design for event invitation & promotion
The Graphic Kitchen [thuh graf-ik kich-uhn] .noun
1. An event where CSM graphic designers cook up some aesthetically delicious foodie goodies for your purchase 2. An outlet for graphic designers of CSM to promote their culture, their work and experience running a business in a safe and comfortable environment. 3. A place for gathering, socialization and networking.
What is it? CSM boasts the diversity of close to 60 different nationalities and a ridiculously long list of famous alumni. However, being a student in college, I felt that this was something most students never noticed or had the chance to experience. I plan to set up the Graphic Kitchen once a month so that students have a platform to share and educate others about their culture through food, learn how business works in the first hand, and also allow students to network and socialize. But the Graphic Kitchen will not sell ordinary food. Students are encouraged to do what they do best - design. By adding design into their cooking, students can create brand identities,
packaging, visual merchandising and aesthetically pleasing food designs which would not only help to feed their wallets, but could also be a part of their CV and portfolio. Students will also be able to learn how to run a business, in a safe, comfortable, low-risk environment, which will prepare them for the real world (opening their own studios, companies, etc). Because the KX campus is strict with health and safety of food, I have decided to start this event on a smaller scale (just with the graphics department), in the Graphic Design studio of the KX campus. In the long run, I hope that this event will extend, not only to the other departments of CSM, but to the other colleges of UAL as well.
Website Design home page:
Wooden background and cooking utensils used to highlight the idea of a kitchen table top. Cursor turns into a pencil when the mouse button is held down. This helps to bring together the idea of graphic design and cooking. Cooking utensils are rollover navigation buttons to other pages of the website. When the mouse cursor rolls over the utensil, an illustration of the utensil pops up.
Mobile App/ website design
LILY AN CLOSE SPREA
ND LIONEL E UP DOUBLE AD
LILY & LIONEL “Each and every print that you see on our scarves tells a story... Perhaps it was inspired by our favourite painting, a photo we took on holiday, a vintage print found in a market. Combining that with the best textiles, from the moment you wrap yourself up in your Lily and Lionel scarf you are enveloped in comfort and meaning.”
This advertising project involved picking a fashion brand to advertise with a concept, instead of using vapid idea free fashion shoots. We decided to pick this luxury scarf brand, Lily and Lionel, founded by Alice Stone. After some research, we found that this brand is one that not only weaves beautiful scarves, but also beautiful stories.
The designs of the scarves are all inspired by Alice’s travels and daily life. Each scarf has its own story and is a wearable art piece in itself. Because of the simplicity of the scarves’ stories, many can relate to them, making these scarves not only personal to the maker but to the consumers as well. The Idea
We felt that the campaign should reflect the warm and personal quality of the brand and products. With all this in mind, we came up with the Share Your Story campaign.
Our idea is to open a pop up shop/ exhibition, which will allow people to share their stories, on beautifully handmade postcards, and send them to loved ones. Alternatively, they could place their written postcards (with their addresses) into a giant ticket tumbler, and in exchange, pick out someone else’s postcard (A story swapping activity which could also link up new pen pals and new friendships).
Poster/ Billboard Design
This is a billboard and poster design to advertise the brand and also the pop-up shop. The back of the postcard features a letter from Lionel to Lily.
‘Lily was a dressmaker with a flair for design, creating and making all of her own clothes, whilst Lionel supplied apparel to some of London’s most glamorous boutiques and stores. They were Alice’s grandparents and are the namesake and inspiration for the brands commitment to quality that has led to their trademark scarves.’ - lilyandlionel.com
In Collaboration with ISHA Jhunjhunwala
Sumo SuRPRISE When creativity runs wild and strange things happen
How to make kinder Egg Sumo Pants
Create a 20 second animation, bringing an inanimate object to life and giving it emotion and a character. Using these characters, depict an argument.
Kinder eggs are getting picked out of a circular ring (sumo ring) in a white box one by one. When only 3 eggs are left, 2 step into the ring at the same time and start to argue about who should be picked first. One egg becomes so angry, it strips its wrapper down to a pair of sumo pants. The other follows suit, and they begin to fight and wrestle to the death, all the while the third egg is watching anxiously. In the end, both eggs are destroyed, and as the hand comes back to pick another egg, the third egg steps into the ring to be chosen.
We had a million and one ideas of what objects to choose for this brief, from vacuum cleaners to cups. We researched and explored what an argument was: that it builds up in tension and often ends in fights. During a creative block, we took a break and came across a box of kinder eggs. We each reminisced stories of kinder eggs in our childhood, and somehow, almost miraculously, came up with the idea of kinder eggs turning into sumo wrestlers.
A collaboration with Moeka Ui, Miho Okuzawa, Eunice Hsu, Katerina Fridlyanskaya
CIT Y FARM Quirky Advertising for Kentish Town City Farm in Central London
In Collaboration with Etienne Leung and Tiffany Chan
While doing research and visiting Kentish Town City Farm, we wanted to find out what the selling point of the farm was, and why people wanted to go there. All three of us (in our group), grew up in cities and it was the animals that attracted us the most, because it isn’t something we usually come across. While most of the visitors are toddlers, children and parents, we did feel that the city farm was a place we would like to relax at. With this in mind, we aimed our
advertisement at a general broad spectrum of city dwellers. We felt that the animals were hilariously comic in their behaviour and movements, giving us the inspiration for our silly claymation animals. We also realized that the city farm was very colourful and fresh for the eyes, in contrast to the dull grey buildings of London. With all this in mind, we created two “Colour London” Ads.
Opening scene, dull grey city scape stop motion. Sounds of busy city roads and cars. “Tired of the dull scenery?”
Scene 1a: Soft background music starts. Sheep walks in, baa-ing.
Sheep roll around and tumble across screen, bringing colour along with it.
Scene 2: Chicken and Ducks quack and chirp as they waddle into the frame from both sides
Ducks and chickens do a little dance and start to leave to right side, one silly duck continues to dance on its own, and is left behind to chase up
Scene 1b: pigs, snorting and bouncing up and down as they pass through the fram
Final scene: horses neigh, and turn around to show their backsides, swinging tails. Logo appears with slogan “Let’s colour London”. End.
BUS RIDE A 10 second animation about a certain pet peeve
Pet peeves, we all have them. In this stopmotion, we depict the annoyance one feels in an extremely crowded bus, and how he or she is irritated when a stranger chooses to sit next to them in an empty bus. A collaboration with Eva Cisse, Suhan Cho, Nina Hagen and Louise Depledge
DEMOCRATICA A poster which captures the character and history of the typeface, Democratica (Miles Newlyn)
Democratica was designed by an exCentral Saint Martin’s Student, Miles Newlyn, in 1991, for Emigre. He was tired of the modular typfaces designed using the cut-copy-paste method on a Mac, which was the prevailing trend of that time. He felt that typefaces designed in that period of time were losing the structural beauty of Roman Oldstyle typefaces. Because Democratica is very recognizable, it is used mostly to be seen, in places such as album covers, as book titles, magazine covers, etc. Personally, I feel that this typeface is quite feminine due to its rounded
edges and easy transitional flow of thicks and thins. In certain letters such as the lowercase ‘p’ and ‘q’, there are unexpected sharp edges (in ‘p’ and ‘q’on the upper curve of the bowl), created to resemble Russian letterforms. This makes the typeface seem slightly foreign, yet still look familiar as a character of the alphabet. The alienness gives the typeface a slight air of mystery, allowing it to work well in darker sinister situations. I was captured by how Newlyn wanted to conceive the letters to look like people who wanted freedom.
Therefore, I designed the letters in my poster to be ‘escaping’ from the wood. I decided to use wood for my poster because it is made of the same material as paper, but it is more raw, unexpected, and depicts growth and growing. The illustrations make the letterslook like they are dreaming. the little hands in the illustration are reaching out to freedom. By using transparency, light can pass through the cuts in the wood, especially when the poster is placed on a window, reflecting an image of hope.
Lit tle Medusa A different take on the villainous mythical character Originally started from a quick illustration created during the etching induction.
original etching, the starting point of this project
Etchings in black have always seemed to hold some sort of sinister and dark effect to me. The gray-ish tones, smudges and layers than can be created pull together to bring out a gloomy atmosphere. And so I created little Medusa. I became quite fond of this character, and how her snake hair had a life of its own. One day, rummaging through my room, I found some long forgotten porcelain markers and decided to put them, and this design, to use. From there, I developed the design to this final digitally rendered version.
BARNARD & WEST WOOD Design a greeting card using specialist processes, such as embossing, die-stamping and letterpress
barnard and westwood
Top 5 finalists
envelope: die stamped in white or clear foil logo: die-stamped or foil blocked in gold
hand: deboss and letterpress
HTC ONE Artwork competition submission created to promote the speaker system of a new smartphone for a billboard in Brick Lane, London. Runner up for Peopleâ€™s Choice Prize
BB57 Logo BB57 is a new resort in Bintan, Indonesia, planned for completion in 2014. It will be a part of the worldâ€™s largest eco theme park, Funtasy Island, by Warner Bros. This resort will have plenty of sun and sea, a perfect place to relax. The overall design and atmosphere of the interior design and architecture is luxurious, modern and sleek, mainly composing of white and earthy tones. Their target market will be prime and middle aged adults. The client wanted an elegant and simple logo which would be easy to remember. This logo design is a play on typography, creating an image. It resembles windows or doors opening outwards, welcoming guests to go out to explore.
WOmen of East Women of East (WE), is a new clothing brand focused on women’s apparel and accessories, initially for the Australian Market. The designs will be the fusion of Middle eastern, indian and Australian fashion. For my submission, I created simple forms of the letters ‘WE’ in triangles. Because logo has an easily recognizable shape, it could be cut out of different images for each season, or left in a solid colour for signs and tags.
Pilots Batch 235 This logo design was created for the 2012 batch of graduating captains of Singapore Airlines. The final design (top) was inspired by soaring eagles and the trademark Singapore Airlines colours. I also integrated the four lines of the captain’s epaulette into the logo (yellow lines).
Claudia K Claudia K. is an upmarket optical boutique. The client requested a simple, minimalist, recognisable symbol in square format, that doesn’t have to be entirely eye related. Their corporate colours: white, dark grey (charcoal), orange. My submissions was slightly more abstract, featuring a pair of glasses from a side view.
HoneyBe Wedding Co. For this competition submission, the client requested a vintage style or simple logo playing around with the idea of honey bees (the animal, but also the slang ‘honey’. The first submission (left) was based on the shape of honey combs and how they resemble the shape of the diamonds on engagement rings. The second submissions (right), I illustrated two cute lovedovey bees, replacing their wings with ribbons.
BOOM Series An on-going series of illustrations for iphone covers and prints. Inspired by the artwork submission, Boom Shark, for HTC One billboard competition.
Noodle Girls A series of illustrations which began from the eccentric thought that it would be nice to have silky smooth hair like ramen noodles. These illustrations have been made into framed prints and iphone cases.
DRIP! Type in situation; using image and words to change an area or a situation.
SKIN A collection of images visually exploring the colour, textures and properties of skin
Film under Water An experiment using a disposable camera. The disposable camera was submerged in water before the film was exposed, creating an interesting effect.
SUbmerged Lights Second Film Under Water series
In this experiment, hot water was used to submerge the disposable camera instead of cold water. The damaged film captured abstract images and luminous colours.
DOUBLE EXPOSURE Photography experiments in layering images.
Rail Ticket Playing Cards
Tickets from the 70s
I happened to come across a giant stack of old British rail tickets from the 1970s and 1980s at a car boot sale. Intrigued, I bought them all for less than a bargain. With so many tickets, I wondered what I could do with them. I recalled my parents telling me of how they always had a deck of playing cards with them during their travels back in the day, since they had to smartphones or gaming devices. I decided to design a one-of-a-kind deck of playing cards, which I then screen printed onto the back of the old rail tickets. This way, I was able to preserve the unique qualities of the front of each ticket, but also give these cards a new life and purpose.