Category: Real Jobs

Reach Out and Connect

Background

A group of volunteers had set up a Facebook page called ‘Mature Engagement’ during the first Covid-19 Lockdown in the UK, the initial idea behind the page was to ‘encourage engagement from mature people who are isolated and anxious’. The purpose of the page was to provide a virtual space for mature people to be able to come to in order to meet new people and create connections that would lead them to feel less isolated during lockdown.

I was brought into the project in order to create a visual identity for the page through producing a profile and banner image as well as offer any design or style advice that the group may need throughout the process.

 

Restated Brief

Deliverables:

  • To design a banner image for the Facebook group
  • To style the site, based on the graphic recommendations above, choosing fonts and images to complement the messages
  • To assist with the development of the Facebook group with design and style advice

The idea behind the group changed as I attended initial meetings with the clients as they chose to widen their audience by changing their name and change from being a Facebook page to a group. However, this meant that they then had a better understanding on how they wanted to present themselves and what was going to be shared on the online platform.

 

Research

I was provided information on what the clients wanted the group to represent and provide for people from meetings I attended with them. The idea of a Facebook page changed to being a group, meaning that I only needed to design them a banner image, they also changed the name of the group to ‘Reach Out and Connect’ in order to sum up their idea better.

I was invited to regular group meetings in order to gather a better idea on what the volunteers wanted to be included and shared in the group. Along with their ideas and information they provided me with I also conducted research into other Facebook groups to see how they used the platform as well as defining the terms ‘reach out’ and ‘connect’ in order to think of other visual representations that could be associated with the words.

 

Design Development

I faced difficulties with the clients as they were undecided on how they wanted the banner image to look, this left me to come up with ideas that I felt most appropriate to the brief whilst trying to include the initial ideas they had mentioned to me. The process became easier when I began to show the clients initial designs I had created and providing small colour and typographical variations so that they were able to see what they did and did not like.  I maintained contact with my supervisor, finding that it was important to ‘provide clients with a controlled set of variations so that you only show what you think is your best work to avoid working on a project you no longer find enjoyable’.

Initial designs for Facebook profile and banner images

As the design process went on, I attended meetings to keep in constant contact with the clients in order to discuss what was happening with the Facebook group and how I could help in any other way, as well as keeping tabs on the ideas they had for me to add to the graphic elements I was creating. The clients and I appreciated the constant contact so they could see what I was working on for them to make changes as well as for me to understand what the group was becoming. As I was able to present approved ideas to the clients they remained happy with my progress and enjoyed the ideas and discussions that I was able to share with them.

Range of developed Facebook banner ideas

Final Outcomes

After providing the clients with design developments and ideas we all finally came to a set of ideas that were most appropriate for the group, once the group had decided that the puzzle banner image seemed to fit the idea and purpose of the group, they requested that the other designs I had created be turned into square images that they could use as posts in the group. After providing them with the final images, they were able to upload them onto their page and provide the group with a visual identity.

Final Facebook banner image
Images to be used as Facebook posts

Reflection

Throughout this project I have come across small challenges such as adapting to the clients changing brief as well as ensuring that I stay on track with the message behind the group they were trying to create. I was lucky in not needing to produce any physical deliverables, meaning I did not have to work with print deadlines or costs. Due to the longer deadline on this project was also a positive as it meant I had time to keep in contact with the clients and my supervisor to ensure I was on track and to fully understand what was required from me in order to complete this job.  When the clients had uploaded the banner image they also posted how happy they were with the final outcome in visualising what the group represented.

Overall, I had a great time working with my clients and have been able to grow in confidence when working with new people and learnt how to contact and have meetings with clients. This has been a fun small project to work on and has allowed me to be able to learn how to organise myself to work on an extra project alongside my third year modules.

Mock up of final banner image and one of the post images

IAWADBD: issue 3 zine

Background

This real job was slightly different than most real jobs. Rather than getting a client brief, we make an ‘I am we are… different by design’ zine, and have done every year since 2017. This zine showcases diversity and inclusion projects from students in the School of Arts and Communication Design and from other significant people in the industry. As students, we go through the entire process of planning, interviewing, writing, and designing. This year, Liselot van Veen and Labiba Haque were team leaders, while Robin Smith and a few third year students had a more general role. Our zine secured the funding to have more copies printed and to be longer (48 pages versus 32), which meant there was more to plan and oversee.

Research

The next stage of the project was to generate some featured article ideas. Our team dedicated one or two meetings to this but, despite the lengthy discussion, it proved difficult.

This issue was longer than the previous two publications. This meant we faced generating more ideas but under the same time crunch. The difficulty also came with thinking of subjects within diversity or projects to discuss that were of enough substance. As well as this, a lot of the ideas had to come from the three of us as a number of the team faced scheduling conflicts and frequently found attending meetings difficult, so this stage took more time than usual. We also were unaware of projects being produced by Film & Theatre students and so had to undertake extra communication tasks to find out. Though ultimately, this hard work paid off as we formed an interesting gamut of topics to discuss.

To start then organising our ideas, we formed a colour-coded document:

Still image of our initial article ideas, taken from our shared Google Doc

The aim was to group articles based on their subject matters for a cohesive reading experience. This was seemingly an effective system as, once shared around the team, everyone was on the same page and knew what was to be included.

Focusing on visual research, we collated idyllic examples on a Pinterest board of other existing spread designs. When making a publication as personal as this, it proved crucial in order to see what was possible and how we can get that emotion and feeling across.

Interviewing and producing articles

We distributed the work fairly among the team. Everyone was assigned with at least two articles to write up. Many of the pieces involved interviews and showcasing the works of others. Therefore, it was essential to follow ethics procedures before conducting interviews. The procedure involved reworking interview questions for review and approval from Jeanne-Louise. After the initial contact, all communications with participants were only to occur through our university email addresses and sent out individually for privacy and data protection. We emailed out specific documents alongside the interview questions to gain informed consent from the participants. Also emailing Victoria the appropriate forms filled out by both interviewers and interviewees as records of participation. Having collected the interview responses, we wrote the articles, sending them to Jeanne-Louise for feedback and worked on correcting them until they could be approved. 

The lengthiest part of the whole process entailed liaising between these various individuals and waiting for responses. However, this was vital in producing quality content at high standards while ensuring everything was ethically and legally secure.

Labiba wrote a think-piece in the zine about decolonising design. Initially, she planned to write about what it was and look into parallels present in Film, Theatre and Television, and Art. However, we did not sufficiently comprehend issues in those disciplines to write about them effectively. Focusing purely on design, she redrafted a more personal response as a designer on this course. As the zine’s purpose is to encourage and highlight diversity in the field, Labiba instead emphasised current issues that we have observed and suggested solutions based on the readings recommended in her article. Unlike academic pieces, writing for editorial purposes encouraged us to consider the audience more and deliver an easy read. Writing the articles enabled us to practice and improve word economy, offering more engaging, impactful and relevant pieces.

Designing

Liselot produced a template with grids to provide guidance for the team’s spread designs as we were making them separately. Though each article was individualised and had a different look and theme – as they should with subjects of this nature as to be personalised to the issue – the zine still needed to be consistent. Having the same grids across each spread meant, though different, they appeared still to belong to the same publication. The template was also useful for a member of our team, Khadjia, who joined from the Art department. She was unfamiliar with InDesign so having a template meant it was easier for her to learn, but also easier for us as typographers to make any fine adjustments later.

Paired with our previous grouping document, we produced a visual pagination to better see the balance of articles.

The pagination for issue 3 – colour-coded to show the balance of the grouping of articles under their umbrella topic

Utilising colour-coding again, we were able to see whether an appropriate amount of pages were dedicated to each group now that we knew how many spreads were required for each article. We ended up with a number of articles being of empowering marginalised groups but, given issue three was being published around the time of BLM and the horrific murder of George Floyd, this was not deemed a problem.

The process by which the spreads were designed was similar to module projects; produce a design, send for feedback, reiterate, and so on. 

The main consideration we had taken from previous years was to rename the paragraph styles to be specific to each article. When collating issues one and two, there was the time-consuming task of resolving the overriding that occurred from multiple files being joined together but InDesign confusing separate styles with the same naming conventions. Whilst significantly better this year as, with the scheduling conflicts of the same team members meaning they also were unable to find time to design their articles, we had fewer people designing and thus less room for error. There were still some difficulties as some had grouped their styles into a folder under their name which, when collated, provided the same issue of overriding. But this did not take as much time to resolve as before. So, if designing issue 4 as a physical zine again, it should be emphasised even more.

Below is an insight into the design process for the spreads we designed: how it started (left) versus how it was when it was printed (right).

‘Ok… you’re letting the grid control the size and placement of the image … think about how the image can be placed so that some of it is in the margin (rather than constrained by the column size) and this will make the layout seem less blocky.’
–Jeanne-Louise Moyes, supervisor, giving feedback on a version of the Toshi Omagari spread design

 

Collating and copy editing 

The three of us were left with the job of collating the entire zine during the summer after the third years had finished their final year. Luckily, Liselot had undertaken this entire job last year as well with Jeanne-Louise so she knew what we should keep standardised throughout the design process to make this part easier. With the knowledge from before, we were able to spread the workload between us while we were on a Teams call, and had a checklist to go through.

Unfortunately, there were still a few unexpected things that threw us off and made the process longer. There were a few spreads that had been made last minute and were claimed to be finished without the correct sign off. This meant that the design process fully moved into the producing stage. While we did expect this to happen in some way while we were going through the spreads to standardise them, we did not expect to design whole new spreads. This taught us that no matter how much planning, explaining, and chasing you do, the process will not always be correctly followed. We ended up trying to finish these spreads, but they still seem to be lacking something. Luckily, there are more good spreads that overshadow these less successful ones. 

After the three of us were done editing all the spreads, Liselot turned the individual InDesign files into an InDesign book since she also had experience doing this from last year. Although this would have been a great skill for others to learn, our deadline was coming up fast. After this stage, the editing continued when Rachel and Jeanne-Louise found some inconsistencies we had missed. Then the edits were to make sure the file was press-ready. While the design stage took quite some time, the editing stage was the one that was the most stressful, but the one that we learned the most from. We were able to find out what does and does not work based on the designs of other people and how they interact with each other. 

The cover was yet another thing that had to be made last minute, although it did still go through multiple developments. At first, many people in the team wanted to design the cover. However, after a team member had been allocated, seemingly nothing came of it. Realising that the deadline was coming up and there was no work, we had a meeting between us to generate some potential back-up ideas. Following this, Liselot took it upon herself to make a cover that could be used if the original stayed uncompleted. Everybody in the team seemed to like the back-up concept (basing it on protest signs as to relate back to the heavy focus on marginalised groups) which led to further development into the finished cover you can find on the zine today. This incident was a case of occasionally needing to ‘jump-in’ despite a colleague being allocated the role to make sure the final product is finalised in time, and is something the team can be proud of.

COVID-19 issues

In previous years, we booked a room in the department spanning over a few days dedicated to zine production. COVID-19 introduced a new challenge: physically preventing face-to-face meetings, thus forcing us to work remotely from our homes. Suddenly, the process became more individualised as teamworking was difficult in this environment and production ‘days’ turned into ‘weeks’. Therefore, our communication and time management suffered while everyone was adjusting to the new ‘normal’.

We lost the benefits of quick communication. The ethics approval process, and giving and receiving feedback on our spreads took much longer. Instead working in a studio environment, we were all directly emailing our pieces back-and-forth with Jeanne-Louise. All work had to be uploaded to our shared Google Drive to see others’ progress or receive any feedback from the team. We resorted to using Messenger for informal feedback, gaining faster responses from each other in order to replicate that studio environment as best as possible.

Following delivery from the press, we found the body text looked slightly large for the format. Although the size was forgivable, being unable to print and proof while designing stressed its importance. The disruptions in postal services, caused by the pandemic, further delayed the delivery of zines and gratitude notes to our participants. The result of this was email responses thanking participants for their patience with PDF versions of their spreads for the time being. In the end, all participants received their physical copies and were very positive about their experiences being interviewed by us.

‘Thank you for sending me a physical copy of the diversity zine – I thought it was exceptionally presented and a really interesting and insightful read.’ – Lizzie Moran, interviewee from MA Creative Enterprise (film pathway)

 

Reflection

After being part of last year’s zine, we expected the process to go more efficiently with improvements. We had noted where things went wrong and made it clear how we could improve those aspects. However, the world threw an unexpected turn, where we all had to work remotely and individually. This brought a whole new area of issues. Although stressful during the moment it is happening, this is where we learned the most. 

We produced a quality zine with engaging content and aesthetics. It is impressive that we successfully handled the challenge of managing a team and delivered a complete zine remotely. Acknowledging the current predicament, we realised transferring to an online platform would be best. Thus, plans for a monthly blog with promotional social media posts are currently underway for 2021/22.

Movie: a journal of film criticism. Issue 9.

Background

The Head of the School of Arts & Communication Design at the University of Reading, Professor John Gibbs, required a student to design issue 9 of Movie: A Journal of Film Criticism that followed Martha Macri’s new design system, created the previous year for issue 8. This journal originated from Movie the printed journal which was published between 1962 and 2000 by the late Ian A. Cameron. It has since been designed digitally for online reading and is a rolling journal, meaning that articles are added to the journal throughout the year. The articles respond to a variety of themes such as focus and contemporary film style and intention in film and television criticism. It is mainly concerned with the aesthetics of film and television-style, theory, analysis, and evaluation of film and television.  Movie issue 9 includes written articles and audio-visual essays. John Gibbs expressed that this issue must follow the new layout designed in the previous year because it enables the film frames to be integrated into the text. The website showcasing the journals also includes eBooks, which John was keen to redesign so that they created a sense of unity with the journal issues.

After the editorial module in the summer term of my first year, I was eager to explore this design field further. It was an exciting opportunity to work with text, image, and layout in a logical way but also to create a visual aesthetic that readers would enjoy. Being able to design for such a broad interest like film instantly grabbed my attention and I was intrigued by the idea of using someone else’s design and making it my own. Designing eBooks was also a completely new field to me, therefore I thought that it would be the perfect opportunity to develop my skills and knowledge within editorial design.

Brief

The objective of the project was to design the next issue of Movie, building on the previous two issues. The images in the issue should integrate with the text so that it relates to written content. Most of the work would take place between November and March but the journal’s practice is to produce a rolling issue. This means that additional articles can be added after the issue is launched at the end of October 2020. A Movie eBook designed as pdf’s was also to be produced alongside Issue 9, following a similar style to the issue.

Process

Initial contact with the client

Collaborating with a client from my University was beneficial to me because it meant that he was accustomed to working alongside students. This also meant that I could meet my client in person because he is based on campus. From our initial meeting, we agreed that our main form of communication would be via email, but we could also meet in person for updates on the project if needed. Email seemed sensible because my client is working with a team of authors, therefore it would be the most convenient way to receive feedback from them that can be passed onto me. The pandemic prevented us from meeting in person, but we were able to converse regularly by email and have Teams meetings if necessary.

The initial meeting with the client gave me the opportunity to clarify what he required. At this point, we did not have a confirmed deadline but I was aware that the journal was a running issue so I would be required to design articles after issue 9 was published. As the process also depended on the author’s confirmation of the design of their article, it became a lengthy progression. This process was also made longer due to the pandemic because it meant the project fell over summer when it was harder to reach the authors.

InDesign files

To begin the design process, I retrieved files from the designer of issue 8. My client requested that I use this design template for issue 9, which meant I had to adapt my design skills into an existing design. However, I was still critical of the existing files in order to improve the design and have control over the work. I spent time analysing the original file to gain familiarity and to ensure I used the paragraph and character style sheets consistently throughout the issue. This also allowed me to gain justifications from the previous designer as to why they made certain editorial decisions and whether these were important to follow through into issue 9 of Movie. Overall, the templates look very similar and I ensured that the images corresponded with the text throughout because the client expressed how vital this was. I used appropriate files and design guidelines such as page layout, the grid, typesetting, images and the cover design.

Design development

When I first started this project, I found it slightly overwhelming because I had never worked with so much text and image. It took me a while to become completely familiar with the paragraph and character styles, as well as finding consistency with spacing and the grid. After becoming familiar with these aspects, it was easier to successfully integrate the images which improved the flow of the text.

I found that feedback was very useful because there were often small aspects that I would miss out due to the volume of text I was working with. Gaining feedback from a range of authors gave me an insight into how feedback is carried out in the editorial industry. I also found it interesting to see how different editors and authors provided feedback. Some were through email with page numbers for reference, whereas others edited the pdfs they had been sent. I have been able to adapt to these different styles and ensure that I follow their instructions carefully, so I did not miss anything. This could sometimes be difficult, especially when explaining where in the text amendments need to be made.

‘Brilliant! Looks great, and the images are grouped and paginated perfectly. Please pass on my compliments to Beth for the design.’ – Article author

Cover experiments for issue 9 of Movie.

Around halfway through the design process of issue 9, I received useful feedback from my supervisor. He expressed that I should improve on the previous students work where I see an opportunity to do so. Until this point I had not been confident enough to do this, even when I may have seen aspects that I knew could be improved. After this, I felt confident in changing these parts to improve the design further for the client. One of the main changes I made was to the opening pages of each article. The idea was to create a clear colour scheme for each type of article that flowed throughout the issue and make it easier for the reader to navigate. I came up with a variety of possibilities and sent these to my client. We decided on a coloured outline box for the title with the name of the movie in that same colour. This corresponded with the running heads. I also adjusted the contents page and the credits, so the text flowed better.

‘This is really good work’ – James Lloyd, Project supervisor

Opening page experiments for the student essays. Experimenting with colour and running heads.

eBooks

Initial design ideas

For the initial stages of the eBook design, I asked my client to send me images of the original Movie books to ensure I included traditional aspects in them. They had to be sent via email due to the pandemic which was a shame because it would have been beneficial to see them in person. After receiving the text, I began designing the books. I used the same square format as the original books but used similar paragraph and character styles to issue 9 because I wanted the issue and the eBooks to look coherent and have a modern twist on the traditional design.

Examples from the original Movie books sent to me by the client.

Development

After the client was happy with the original template, I input the text and images for the other three books. This was time-consuming, but it was enjoyable because I was so familiar with the paragraph and character styles, as well as space between image and text to make sure it flowed. This made the whole process logical and overall, really satisfying. Again, I was working with a number of professionals which meant the process took a little longer. I received amendments back and forth between authors in order to make sure everyone was happy. Most of these amendments included missed italics or grammar/wording that needed changing.

The client requested the addition of keywords to each eBook to aid search engine optimisation. This was a completely new feature to me, but it was a lot more straightforward than I predicted. This provided me with a new skill that I am sure I will use again.

‘I really enjoyed working on the proof. I think your design is excellent, distinctive, and very readable. I tried it on my computer screen and on iBook on an iPad and it worked well in both contexts.’ – John Gibbs, head of the School of Arts & Communication Design

Covers

I then began to work on the cover for each eBook. The client expressed that he would like each of the books to work as a series but also fit with the style of the journal. My initial ideas included showcasing a range of images from each book on the cover or use one large image which would fit the style of issue 9. The client chose a range of images, so I created a simple grid system that would work for each eBook, using the same typeface and rule as the journal to create coherency. I thought showcasing a range of images within the eBook was effective because each book contains a variety of movies and it gives the reader an idea of the content. It also meant that one movie was not more important than the others.

Initial eBook cover experiments for Filmmakers’ Choices using a single image from a movie within the book.

While designing the covers the client and other authors suggested I design a logo for the cover of each eBook. This would show that they were part of a series and separate from the journals. I created a simple logo that incorporated a rule and used the original typeface from the Movie journals. I ensured that it was simple to prevent overpowering the images on the cover.

Experiments with the placement of the Movie eBook logo on the cover of Filmmakers’ Choices.
Final cover designs for Reading Buffy, Filmmakers’ Choices, Movies and Tone, and The Police Series eBooks.

Reflection

The design aspect of this project was quite straightforward due to the existing template. I also used a very similar one for the eBooks, which made it easier for me to design because I was already familiar with the files. This project has been heavily reliant on ensuring all my files are organised. This includes labeling them with different versions (For example Filename_V01, Filename_V02, etc.). This also refers to keeping the existing paragraph and character style organised as I added new styles to the existing ones. This was important to avoid confusion, especially when adding new articles and helped to keep each article consistent. I believe I was able to execute this successfully and I hope that the files will be clear for the designer who takes on the design of issue 10 of Movie. In order to make this easier for the next designer, I have created a template to help them understand the design elements and organisation.

I have learnt a lot from this project. To begin with I found it overwhelming but I have learnt how to work with large volumes of text and image and input them into a document that follows a strict design system. Using another designer’s existing style sheets has also taught me the importance of keeping InDesign files organised and I was thankful that the previous design did this. Having the ability to adapt and use an existing file will be a useful skill to have for future industry work.

I have developed a professional relationship with my client through regular contact via email when necessary. My client has always been easy to reach and was happy to answer any of my questions which made the flow of communication much easier. They have informed me when amendments are needed throughout the process and ensured that I have had plenty of time to make changes before deadlines. This has given me the confidence to develop my communication skills and I feel that I am now able to contact clients on a professional and confident level. This skill will be beneficial to me when developing relationships with clients in the design world.

Overall, I believe that I have met the client’s needs in achieving issue 9 of Movie that aligns with the work of the previous designer by integrating text and image, as well as keeping some original Movie design aspects. I was also able to design four eBooks that took inspiration from the journal but provide a slightly different feel. This project took longer than I had expected, however, this was due to the pandemic and the publication being a rolling issue. This meant that I was working with more authors, who were submitting their articles at different times. I was also really happy to continue working on this project because I have thoroughly enjoyed it, particularly designing the eBooks. Through this project I have learnt how to communicate with clients in a confident and professional manner, learnt how to organise and use InDesign for large files, and learnt how to create consistency between documents. I have received some lovely feedback throughout the process, which has been very rewarding, and I have been thrilled with how happy everyone has been with both issue 9 of Movie and the eBooks.

‘Thanks very much, Beth – they look great!’ – John Gibbs, head of the School of Arts & Communication Design

‘Wow! I am THRILLED by the layout! Please tell everyone involved how much I appreciate their ingenuity and vision. Their solution overlaying the grid atop the frame is both elegant and convincing. I am so moved that I wish I could hug everyone in thanks.’ – Marshall Deutelbaum, article author.

Read issue 9 here.

Read the eBooks here.

The opening page for the first article in issue 9 of Movie.
A page from the eBook of Filmmakers’ Choices.

That Marketing Blog

To visit That Marketing Blog, go to: http://thatmarketingblog.com/

Background

That marketing blog began as an idea of a collective place of resources for students. It grew from ideation and research to include more useful information to a larger group of audiences. ‘That Marketing Blog’ is now a webpage with regularly updated posts, career tips, university advice resources and fun marketing updates. The main goal is to provide information to prospective students about the route of learning, but also to discuss marketing devices used in real life for students already studying. The project began with a marketing student who felt the resources she had found were lacking and was inspired by other students studying marketing who had produced blogs on the subject. 

 

Primary deliverables:

  • Website
  • Branding 
  • Illustration

 

Secondary deliverables:

  • Social media content
  • Client-facing videos
  • PDF templates

 

The aims were:

  • To allow the audience to use the site to gain general knowledge or find study material.
  • To be functional so the user can find the information aimed at them.
  • To be functional so the client can continuously update the site with new content.
  • To provide an appropriate brand identity that is informal enough to show a ‘personality’ so marketing is not portrayed as ‘robotic’. The personality must also represent the feminine side of the client but maintain a professional appearance.
  • To present the brand accurately and in an appealing way through social media and aid with the production of templates for future posts on these sites.

 

 

Research

Target audience

From initial meetings with the client, we had detailed conversations about the specific audience that they wanted to aim at. The primary audience was students studying marketing who may be interested in the content as an additional resource outside of their degree. Since the client is a university student herself, she drew from her own experience and conversations she had with colleagues to evidence the users. It was decided that the blog site would be a resource for:

  • University students studying marketing
  • Graduates and ‘up-and-coming’ professional
  • Prospective students looking to study marketing

The overarching purpose of the blog site is to support extracurricular reading around the subject area with the sharing of course content and key learning outcomes. For prospective students, we decided to include ‘uni advice’ content so that advice can be given retrospectively from the client who can give information based on her own experiences.

The client also stressed that they wanted to target women more than men as they wanted to produce content about women in the marketing industry and have the brand being woman empowering. We took this on board and researched competitors with this in mind and built this user group into our design work.

 

Competitor research

When researching existing marketing blogs, two direct competitors focused on women in the industry of marketing. These were Pretty little marketer and Girls in marketing. After studying both these brands’ content, we gained a good understanding of the conventions of independent blog sites, types of engagement and activity on social media and how content was grouped and structured within the website. We also looked at the stylistic way that they marketed themselves to the target demographic. As we researched this, we found norms that lay beneath the surface, most notably the use of an approachable visual style that was engaging and ‘girly’ while remaining classy and ‘business casual’ in aesthetic.

 

Visual style

Since the target user would be using the blog as an extracurricular activity that is closely linked to their subject area, we felt that it was necessary to make the designs seem lighter-hearted and fun rather than heavy and serious. This seemed important to engage the user by creating a more humanistic experience. 

 

Primary Deliverables’ design Development

Information architecture

For the design process of the website, we began by discussing with the client and analysing what content needed to be included (this information is shown in fig. 1). Once this was confirmed, we drew various iterations of a site map to decide how would be best to structure the information, so that it logically made sense and could be found with ease. For this, we considered two potential user flows; browsing for leisure and researching for specific content. Taking into account both of these, we made sure the navigation headings were self-explanatory in their naming. A problem that we came across was that the client wanted to fix the uni advice and career tips information. But after having some discussions we settled on having two separate pages as the sections, although similar in content, catering for 2 different user groups – prospective students and graduates.

Fig. 1 First version of the site map

 

Ideation

Once we finalised our information structure, we began to brainstorm ideas for how to best target the demographic and the types of styles that might work best. For this, we created a series of moodboards (shown in fig. 2-5), each focusing on the various deliverables to look at how we could span a visual style across all outcomes. Again, with the moodboards, we thought a lot about how best to capture the type of message and user group. After discussing with the client, the two main stylistic elements to be decided from the moodboards was the use of contrasting thick and thin strokes and the use of irregular shapes to create sectioning. An idea to further this concept, which was eventually discarded, was the use of the irregular shapes  in the illustration style too. Another illustration style that we considered was the use of photography with graphically drawn enhancements to create a balance between professional and casual through the use of contrast with a more professional photography element.

Fig. 2-5 images of moodboards

 

Low-fidelity designs

Based on our finalised site map and moodboard ideation, we produced some diverging wireframe idea (shown in fig. 6-8). Through this, we explored different ways that we could layout the information that was to go on each page as well as playing around with rough ideas for the user interface. The main focus for the wire-framing state was to decide how we would lay out the website and where the information and images would be placed. One thing that we didn’t take into account, that should have been considered was how the layouts would transition to mobile and tablet versions. This was something, that we had trouble with later in our design process and upon reflection should have been thought about at this stage.

 

Fig. 6-8 A selection of the initial wireframes

 

Identity design

Following on from our exploration of graphical styling with our moodboards, we began the identity design by discussing how the logo and illustration would work together. From this, we decided to have a typographic logo to complement the illustrations and shapes. With a typographic logo in mind, we drew up sketches of layout and arrangement ideas based on the name ’That Marketing Blog’, (shown in fig. 9). The logo was then iterated in black and white as we wanted to ensure that the contrast worked before experimenting with colour variations. The client suggested that they wanted a neutral colour palette heavily featured with shades of beige. While we experimented with this, we thought that some more contrasting colours would work better and achieve the more ‘neutralised’ look by muting the tone.

For the logo, we initially produced the logo (fig. 10). However, we found that when testing the legibility, due to the great contrast from thick to thin, the thin lights become invisible and smaller sizes and so we had to make adjustments. To solve this issue, we increased the size of ‘that’ and ‘blog, which we think was effective (fig. 11). In addition to the main logo, we produced a circular logo variant that just included the ‘MB’ initials for social media profiles, where the space is rather limited. For this, we struggled with whether to include the initial ‘T’ as well since it seemed counterintuitive to leave it out, but after testing with users and discussing both at the real jobs meetings and with the client and supervisor, we decided that the ‘MB’ alone worked best and was most suitable. 

The second element of the identity we designed was the illustration of the client and the shapes that were to feature on the website background as well as the social media content in the end. While we did not have an exact idea of what needed to be drawn, we finalised the general concept of how the shapes would be used and how they aesthetically would work within the brand identity. While this seemed like a more secondary idea at the time, this came to be a strong aspect of the brand as it is more unique and creates a recognisable quality and fluid atmosphere to all the deliverables.

Fig. 9 Initial sketches of logo

 

Fig. 10-11  Before and after of adjusted logo

Fig. 12 Brand guidelines

 

Overcoming technical barriers

Previously to building the site neither of us on the project had any experience with WordPress or how to go about constructing a successful site. We, therefore, began by watching a variety of tutorials to get the best outlook on where to start. After a few failures by going in the wrong directions with free templates and plugins, we found that to achieve a strong design the Elementor plugin would be the way to go. By going down this route, we needed to weigh up the pros and cons based on cost and other achievable ways to present to the client. We decided that to achieve the various elements required, Elementor pro was a useful solution.

Later down the line, we found we had a significant issue when applying the shape backgrounds to the site. We used trial and error to find a solution that would place the shapes behind the right sections, including changing the background colour to an image that included these shapes, adding background images to certain sections, and placing them as individual shapes behind other elements. There were various problems with all of these solutions, but the most significant is that we hadn’t found a way to make the shape grow with the text and fit a mobile screen. After troubleshooting, we found a solution to separating the parts of the shape into a ‘top’, ‘middle’, and ‘bottom’ section (shown in fig. 13). The middle would be a square set to the background of the element, with the other two set as shapes that would sit above and below it. This allowed the shape to grow with the text and avoided shapes moving in awkward places when applied to mobile.

We also reached difficulties when it came to applying the designs on mobile. As well as the shapes rescaling (which was fixed in the solution above), the text needed rescaling for different screen sizes and the margins too. We have learned from this issue, the significance of the transforming of information, and how it is essential to go into the production knowing how these will affect the designs. If we were to do this again, we would consider working with percentages of element sizes – so they scale automatically.

Fig. 13 Shape backgrounds applied

 

Website design 

When designing the site, we had a strict list of elements that needed to be included based on the site site maps. We added this based on what was available via the Elementor plugin and styled them with our branding choices already previously decided.

When making choices around the blog posts, there was a lot to consider in terms of pages, number of posts and how each would relate visually to its section. We began with the main blog posts and sectioned them by their categories. These would sit on the main blog post page. We decided each category would highlight the most recent three posts and keep the remaining in its’ sections archive, which could be viewed by clicking the ‘view more’ button. We decided on this number as it allowed the overall blog page to not become too difficult to navigate through, which would be much easier for the user to browse. After trying out different numbers of posts on a single line, we came to the conclusion that three gave a good size to balance out nicely with the rest of the site (shown in fig. 13). Posts on the ‘uni advice’ and ‘careers tips’ pages needed to be distinct from the regular blogs pages, as these were set to be ‘extras’ that are separate from the regularly updated blogs page. These were therefore styled in a two column grid, of which the posts were much wider individually.

We added pictures for mock up to give the client a recommendation on how the types of images that work with the colour scheme and the effectiveness of well chosen photographs. As these are only placeholders and the client will be replacing them, we recommended that images like the ones chosen would be ideal and talked through how to find good quality material (image placeholders shown in Fig. 14). Though we cannot be sure this advice will be followed, we felt it was important to have this discussion and felt it was well received.

Fig. 14 Post widget previewing three most recent posts

 

When making choices on how to present certain information, we looked carefully at the elements available from the Elementor plugin. Sometimes, particular elements would be a more user-friendly experience than placing the information naturally. For example, the carousel being used for introducing highlights from the site was more engaging than to use text alone (shown in fig. 15). This was due to the short snippet of information it gave, with it changing at a regular pace. The ‘FAQs’ element (shown in fig. 16) allowed us to use information in a way that is interactable, as the section could be clicked on to reveal the answer. Although this could be produced in an alternatively engaging way, the interactivity certainly gave a strong impression to receiving information.

Fig. 15 Image of the carousel section

 

Fig. 16 Image of the FAQs section

 

After deciding on the blog posts styling, we kept the layout in groups of three where applicable. For example, the PDF download section under ‘resources’ has a similar weight to it from these blog posts (shown in fig. 17). The footer text was also similarly positioned in this way, but with the key difference being size of text to balance with the small amount of text, as well as achieve a lower hierarchy.

Fig. 17 Image of the downloadable PDFs

 

When introducing the blog creator on the ‘about’ page, we decided it would be essential to use the illustration effectively with some strong introductory text. This would be important to capture a users’ attention that they may otherwise not be interested in viewing otherwise. The ‘about text’ (shown in fig. 18) that follows from this needed to be similarly short, to keep engagement with the user. We decided to use two text boxes balanced in weight which fit neatly all on the screen with the shape background. By placing the social media links on this section with the description, a more personal connection was created in representing the blog creator as an individual who runs the pages.

Fig. 18 Image of the ‘about text’ section

 

Forms needed to be functional and friendly. We applied it as the Elementor plugin allowed us to and styled it with the branding. Having the styles applied to this and being able to keep it minimalistic really helped to keep a nice balance with the style (shown in fig. 19).

Fig. 19 Image of a form

 

Extra elements such as social icons, buttons and the search bar needed to be consistent with the branding. This was done by making choices that fitted with the overall feel of the site. For example, we began by using squared social icons in their original colour. After revisiting, we decided when set as rounded, they fitted with the curves on the site, and the colours being in line with the site’s made the overall appearance more fluent with the site visually.

Introductions to the content on each page seemed needed once reflecting on the quick jump into various elements on most pages compared to the necessary introduction on the ‘home’, ‘blog’ and ‘about’ pages. This, although functionally not necessary due to the underlining reminder on the header, allowed consistency visually, with a more natural user flow into the content.

To ensure our colour palette didn’t need altering and was suitable for colour blind users, we checked our website designs on a colour blindness checker to ensure we had enough contrast (shown in fig. 20).

Fig. 20 Example of the colour blindness tool applied to the site

 

Secondary deliverables’ design development

Social media content

A part of the project’s goals was to maintain the style across other platforms, such as Instagram and LinkedIn. This included creating styles for the banners and highlights. We decided to take our shape styling and apply this to these sections as this met the goals of consistent branding and being appealing for the social media sites (shown in fig. 21).

Fig. 21 Image of shape styling on social media sites

 

To maintain the brand identity, we started the client with a set of templates to use for all social media sites. We produced these on adobe sparks as the client had access to this programme. Later in the project, she decided to take the production of the posts in a new direction. She wanted to use already produced templates on a different programme, Canva, as this gave more creative flexibility. We decided as a group to continue in this direction but it would not be practical for us to apply these styles to every post going forward in the future. We, therefore, decided to give her the information of colours, margins, typefaces, alignment and logos to be able to apply the identity herself (shown in fig. 22).

Fig. 22 Example of a later template used

 

PDF templates

A part of the project involved creating a template for the client to use to create PDF resources for a section of the blog. This involved breaking an example of a document into a simple hierarchy. This needed to be clear for the client to use, as the aim was to allow ease of consistency. We decided Word would be the best programme for this as it was easily outward-facing for the client to access (shown in fig. 23 and 24). A big aim of the template design that the client needed solving was to apply the branding styles to the document. This was applied so the client would not need to change any values independently.

Fig. 23-24 Image of the template given next to a document that uses this information

 

Client facing videos

For the client to continue with the site independently, certain aspects would need to be updated within the Elementor pro plugin, separate from the blog post area that would be used as standard regularly. We first wrote steps with accompanying screenshots for uploading a blog post, as this was mainly information-based. For the technical areas within the site design itself, we felt explanatory videos would be most effective for the client to follow the information. This is because most processes were relatively simple, but would be most difficult to follow the positioning of the information. A video successfully solved this problem as the user could follow along easily.

 

 

Reflection

It has been a great experience to work with the client on this job. We have both learnt a lot from it, especially with the technical issues that we encounter along the way. Through a lot of troubleshooting and research, we were able to solve all our issues and find effective solutions. Overall, we believe that we have produced a strong visual brand that is flexible enough for the client to use on the various platforms while remaining consistent and standardised for maximum recognition. The target user group was carefully considered throughout and we believe that our designs have successfully struck the balance between professional and casual as we set out to do. Our client was very pleased with the deliverables and her ability to weigh in on the design process and put her ideas across, which we always worked through and experimented with. The collaboration was very helpful for us and our working relationship with the client as we were able to glean information from the client with her extensive knowledge of the user group to optimise our designs for our target audience.

 

Reflecting on the design process, the most challenging obstacle for us was the conversion from desktop design to mobile. We realise now that this should have been a part of our early considerations, but regardless we overcame this issue and produced a website that was versatile for all screen sizes which we believe to be very important for the times we live in with such diverse technology from one person to the next.

Supervisor review

“@isobeladcock and @emilybagnall1 produced a really good first draft of the restated brief. One of the most professional and comprehensive ones I have seen for Real Jobs projects. Well done both.”

 

Client review

“I am really happy with the designs and website that Emily and Isobel produced. The website is really well put together and looks great! The design process and meetings with them went well and was smooth sailing for the whole duration of the project.”

Fast turnaround logo design project 2021

Brief:

The brief for this project was a bit different from the ones I have previously worked on; this was a two-week turnaround project to create two sets of simple logo guidelines. These guidelines were to be used by part 1 students in their TY1INT mobile design module, and so we had to consider usability for a less experienced group, and how they would go about using these guidelines.

The two brands I would be designing for were ReadiFood (Reading food bank) and Mobility Trust.

 

Organisation background:

ReadiFood is Reading’s food bank, run by Faith Christian Group. They provide emergency food parcels, sent in crates, to rough sleepers, and others who have been referred (referral only service). 

They have schools, and donators who contribute to the parcels; tins, biscuits, and teabags are some of the most commonly given items, but there are also some toiletries available upon request.

“Urgent Food needs are; Tinned vegetables, tinned fruit, tinned potatoes, packets of biscuits and packs of teabags (80s’ & 160s’), Tinned meat meals (mince& onions, hotdogs, meat pies etc.)”ReadiFood website.

ReadiFood is a member of the Independent Food Aid Network and not affiliated to the Trussell Trust.

People that use the organisation are rough sleepers / homeless people in terms of the receiving side, and then donators and schools will use the service for donating and aiding those in need. 

 

Mobility Trust provides wheelchairs and scooters to those in need, who may not have the funding.

“Mobility Trust provides powered wheelchairs and scooters for UK residents who have severe disabilities and who cannot obtain such equipment through other means. We aim to reach and help people who, quite simply, have nowhere else to turn. We are the only UK charity that provides such broad support, regardless of age or cause of disabilities.”Mobility Trust website.

 

 

Initial Ideas:

With this being a very short project, the initial ideas stage was important in being concise and straight to the point; having a solid starting place for these logo designs would be beneficial in moving forwards at a good pace. I tend to do my drafts/form ideas digitally, as opposed to on paper, as it allows me to copy elements across and re-use them in different ways easily.

 

ReadiFood drafts
Figure 1: ReadiFood initial drafts, icons and line drawings
Mobility Trust drafts
Figure 2: Mobility Trust initial drafts; imagery and type

 

 

 

 

 

 

 

 

 

 

 

 

Initially, I was more comfortable designing for ReadiFood, as I had a strong concept of the food being heart-shaped, really obviously a charity, or having an apple icon as it was defined, recognizable, and legible. Mobility Trust, I felt should be more type-based due to the lack of imagery involved with inclusivity and the general topic of the charity. I had general ideas (fig 2) like the wheelchair, the wheelchair’s wheel, and a ‘badge’ style design to link closely to the “trust” aspect.

 

Development of ideas:

Figure 3: Mobility Trust development

 

Clearly, Mobility Trust was not in a good position, however, I needed to make rapid decisions in order to get the deliverables finished in time. I combined the type and the imagery together (fig 3), to try and form some designs which could be used as logos, with potential stand-alone logos within.

Figure 4, 5, 6: ReadiFood in ‘strong’ colours, ReadiFood in ‘soft’ colours, ReadiFood in ‘soft’ colours combined with type

 

Figure 7: ReadiFood logo to develop

 

Feedback at this stage for ReadiFood, my supervisor selected one of my logos to go forwards with (fig 7), and gave the following points:

“In the timeframe, I think this idea has the most potential. I suggest you work on:

1 – typeface choice (something that suits the illustration style)

2 – strengthen the outlines used in the illustration

3 – consider colour palette, is the brown the most suitable?”

 

Figure 8: Mobility Trust logo to develop

And for Mobility Trust, my supervisor done the same, and selected a logo with the most potential (fig 8):

“I think this has the most potential. Consider the following:

1 – typeface choice to suit the wheel, which is currently a solid line of the same thickness, the current typeface has slight contrast between thick and think strokes

2 – detail on the wheel, consider how small this logo might need to be and, therefore, the loss of detail in the wheel spokes. You may need to reduce the number (making sure it is still recognisable as a wheel)”

 

 

Improving developed logos:

The three things to change up with ReadiFood are the typeface, the outline of the illustration, and consideration for the colour palette. Therefore, I brainstormed with a wide range of typefaces (fig 9) in combination with the illustration (which was altered to have a thicker outline), and came up with a colour scheme which could be used. From here, I picked which I thought the strongest choices were for the typeface (fig 10), and pitched them to my client/supervisor.

Figure 9: ReadiFood development, illustration and range of typefaces

 

Figure 10: Refinement of ReadiFood logo

 

Feedback at this stage:

“all the colours need to have the same strength. At the moment the lime green needs slightly more strength (probably some black) so that it holds up against the other colours,” and there was a reference for the top left typeface (Amatic), which has a comment icon attached in figure 10. And the selected logo “demonstrates a good choice of typeface to accompany the illustration”

 

For Mobility Trust, the typeface was also a problem that needed refining, and the detail of the wheel needed exploring. Therefore, I added swatches of two separate monoline typefaces (fig 11) in different weights (Avenir and Futura), in an attempt to match the typeface to the illustration style. Also, I experimented with different levels of detail in the wheel illustration, as well as trying to put together a cohesive and appropriate colour scheme.

Figure 11: Refinement of Mobility Trust logo

 

Feedback at this stage:

I expressed a preference for the coloured, 10 section Futura swatch, which my supervisor agreed with:

“Agree, this is the stronger idea. Suggest increasing the weight of the lines on the wheel spokes to strengthen these.”

And regarding the colour palette, minus the green swatch, “These seem a strong set to me. They have equal prominence in terms of their brightness, and similar salience (which you want in a colour palette where colours may need to work together and alone).”

 

Working with guidelines

The sample set of guidelines was provided, so it was a case of changing images and typefaces, and colours, whilst keeping the same standard framework. The following images are the guidelines I submitted, and the guidelines which the part 1 students would be required to choose from (amongst others).

 

Final feedback from client(s):

“The Readifood one is great. It’s a heart, it’s an apple, it’s a friendly font, its format means it works well in a mobile website header area.”

“I find the Mobility Trust work a bit cold and hard. The wheel looks like a wagon wheel or something from the industrial revolution, and the use of Futura is again rather mechanistic. The overall impression is more machine than human, which is obviously problematic. So do try to ensure that you map out any sensitivities among your stakeholders carefully, and don’t fall into obvious traps.”

From reviewing my work based on these comments, I also felt that the Mobility Trust logo lacked the charity aspect which ReadiFood has, and should have more movement. I aim to progress further on this logo and create something more usable for the charity when I come to submitting my work.

 

Feedback from Part 1 student/guidelines in use:

As the Part 1 students hadn’t done anything like this before, I was interested to see how they would have used the guidelines which were provided. I contacted 10 part 1 students, 1 of which had used my ReadiFood guidelines.

The questions I asked all students were:

  • Which set of guidelines did you use? And why did you choose those over the others?
  • Did you have any issues with using the guidelines? e.g any colour matchups, live type, etc.,
  • When choosing colours from the palette, did you find yourself having to add more, or struggle to use the colours provided?

One part 1 student, Naomi, came back to me with the following:

I am using the ReadiFood one. Your design attracted me the most at the very first sight haha maybe that’s because of my personal preference, but I really like how simple the logo is and also I think the Amatic font also matches with the logo style. Another point is the heart shape of the logo represents the image of a food bank in my opinion.  As a food bank is a charitable organisation, what they are aimed to do is kinda like ‘spreading love to the people who are in need’. I found your logo is comparatively meaningful so I chose to use it in my prototype.

The guideline is pretty clear, at least I did not struggle with any confusion when using it. About the colour palette,
I think I did add a few more shades when using it, but I am not too sure which colour I added. Maybe I can go and check my file later and see if I can screenshot the palette to you, if that can help with your report! Apart from that, I think I struggled with the font more than the colour. Amatic font has pretty thin strokes. I nearly made all Amatic font in bold to make the text legible enough. Overall, I think you design has a really nice branding for ReadiFood and I enjoyed using it a lot:))
Naomi also attached her prototype and has given me permission to use it here.
It was really helpful to get feedback from someone who used my guidelines, and how I could improve in the future. From looking over the prototype provided, I saw the added swatches which Naomi had put in; all of which were different opacities of the existing swatches, or some which complimented the palette.
I was very pleased to see that Naomi had no issues when implementing the guidelines, and used the colours as intended. I added the blue swatch to act as an action colour, which is how she used it, and the lime green was meant for the background (which was altered to create hierarchy throughout the site). Off the back of this, I probably would have added another green swatch into the palette, as the user had to do this themselves.
Furthermore, Naomi managed to use the typefaces in the way that I intended; with Amatic for the headings, although, she said that she didn’t tend to use the regular weight, so in theory it could be removed from the guidelines. Overall, I am very pleased with how my guidelines were used, and think that this demonstration by Naomi really shows that they were easy to use and implement.
           

Reworking Mobility Trust:

I was unhappy with how Mobility Trust turned out, and so I chose to re-do my design as if I had more time. Notably, a lot of the issues which cropped up were because not enough thought had gone into the user and their needs, as well as the small time frame we were working in.

The main things to address were the overall feel of the logo; it was too rigid and mechanical before, and it should be full of life and movement. To do this, I had ideas of implementing a wheelchair and the acts of movement through italics.

Looking at the typefaces Co Headline (top) and Silicone (regular in centre, bold at the bottom), I liked how they were more rounded and had that movement which Futura does not. I wanted to combine this with a form of illustration, and revisited an earlier idea to have the wheelchair implemented.  I like that Silicone is more friendly and is still equally weighted throughout to emphasize the consistency and trust in the organisation. The colours previously were working well, and so they stayed the same in these reworked ideas.

 

                 

 

 

 

 

 

 

 

 

 

 

 

These logos of fluidity and movement, as well as a friendly and uplifting nature which Mobility Trust requires. When testing this on a sample of 10 people from different backgrounds, 100% of them recognised this as a wheelchair-orientated charity. And with that, I present my refined guidelines for Mobility Trust.

 

 

Showcase

     

Summary

This Real Job was challenging due to the time constraints, but I had a lot of fun doing something I was familiar with doing. It was really rewarding to see my guidelines in use by another student and get their opinions on the work I had done.

 

Undergraduate recruitment

Overview

Third year students Ruth and Maya and second year students Lucy and Grace were selected to form the ‘Undergraduate Recruitment team’ to increase applications to the BA Graphic Communication course throughout the 2020/21 yearly cycle. The deliverables for the project were to be determined by ‘blue-sky thinking’ and the innovative ideas that were generated, with a variety of possible outcomes, including social media posts, digital or physical brochures/leaflets, presentations and the organisation of online portfolio days. The success of deliverables was measured by the number of applications that the course and department received for the academic year, aiming for a greatly increased number than that of last year.

Aims

  • To increase undergraduate applications for the BA Graphic Communication course
  • To raise awareness of the course to students who may not think of it as a viable option for their career or university experience i.e. those not currently studying art or design
  • To generate innovative and creative long-term methods of promoting the department across the UK
  • To effectively encourage prospective students to apply through the emphasis of key statistics and facts about the unique academic and creative aspects of the course
  • To ensure portfolio days are run in the most effective way despite COVID-19 and so that they are run as similar as they would be if they were in person
  • To increase the use of student-fronted promotion of the course 

Target market

  • Students in their last two years of schools who are preparing for open days and beginning to think about their UCAS application
  • Schools who hold career/university days to help their students explore many different degree paths and specific universities
  • Not just art students but also the academic students who may not have even considered Graphic Communication because they do not yet understand what the course is really about
  • Three specific target groups; prospective students, applicants and offer holders. These groups will all be at different stages of the applicant journey, so it is important that our approach is appropriate for each one
  • Additional considerations for parents, who are interested in the application process for their child

Roles and responsibilities

The roles and responsibilities of the design team varied per deliverable and each team member was heavily involved in the idea and design generation process throughout the project. Additionally, each team member had a specific role that allowed for better team organisation and understanding of individual responsibilities. Ruth was project manager, being the point of communication between the design team and the client, Maya was finance manager investigating the realistic costs of implementing ideas, whilst Lucy was creative director supported by designer Grace. 

Lucy and Grace will continue the project into their third year with new team members in the next academic year, carrying our ideas forward for the next recruitment cycle.

User research

In order to fully understand the deliverables that were required at each point of the applicant cycle, a user journey was developed, mapping the various points at which we could interact with potential applicants and the language that would be used to target them. Figure 1 demonstrates how target users move from being prospects to applicants to offer holders throughout the year and the outcomes involved at each stage to promote the department. Figure 2 explains how this journey fits into the academic recruitment cycle, which is repeated each year, starting in September.

Undergraduate recruitment user journey flow
Figure 1: the user journey undertaken by prospective students over the course of the recruitment cycle and the corresponding actions of the recruitment team to meet their behaviour

 

Academic Recruitment cycle diagram
Figure 2: how the applicant journey fits into the annual academic recruitment cycle

Outcomes

As the project progressed, a number of outcomes were developed and explored. As a team we were involved in the development of a Facebook group that was aimed at applicants. The purpose of this Facebook group was to create a platform for applicants to ask questions and to engage with the content that we posted. The Facebook group also enabled applicants to link with other students on the course and begin to recognise names from portfolio mornings and applicant sessions. Additionally, we helped to create posts for the department Instagram to promote the course, examples of which are shown in figure 3.

The portfolio mornings and applicant sessions were arguably the biggest part of this real job where most Saturday’s two members of our team would join our supervisor and tutor James and help him run the session. We felt having existing students have some alone time with the applicants helped to make the applicants more comfortable and gave them time to ask us more general questions related to university life. Following each portfolio morning, a personalised mailer was written and sent by Ruth to each applicant turned offer holder, commenting on their individual portfolios and aspects of the course that were discussed in the session. A copy of the departments diversity zine was also sent out, as seen in figure 4. These were also supported by emails and phone calls to the applicants, a personalised approach that proved popular and received positive feedback from the students.

Aside from portfolio days and running the Facebook group we were also tasked with smaller jobs to promote the department. One of these tasks was to create a promotional video for applicants that had a brief introduction about some of the students in the department (including ourselves). The creation of this video had the purpose of showing potential applicants that it doesn’t matter what background they have come from, graphic communication may still suit them. Using a variety of students helped to highlight our range of backgrounds despite still ending up on the same course.

As a team we also created a mailer that was to be sent out alongside our course brochure. We decided as a team that we wanted the mailer to be integrated with the brochure, and thought we could achieve this by creating a folded ‘R’ (for Reading) to sit on the corner of the brochure (figure 5). The ‘R’ contained a personal message from ourselves and also some information about the typeface of the ‘R’.  Although this design was not produced for this year, the concept may be used within the next academic cycle.

Instagram posts
Figure 3: The series of posts designed for social media to promote the course

 

Image of the mailers sent to students
Figure 4: the mailer containing a personalised written note and a copy of the diversity zine sent to offer holders

 

The 'R' mailer
Figure 5: the ‘R’ mailer concept that would accompany a course brochure and intended to be sent out to prospects

Team work

As the yearly recruitment cycle progressed, it became clear that working as a team and delegating roles efficiently was the best method of ensuring success. The portfolio days that were held every Saturday from December through to April were mainly hosted by Ruth and Lucy to ensure consistency and so that each week ran smoothly. Ruth and Lucy formed a partnership and by the end were completely confident in running a portfolio day alongside James. Despite Maya and Grace not being involved in all the portfolio days, Ruth and Lucy had briefed us on what we needed to do so that everyone was able to step in if needed. 

Aside from the portfolio days, working as a team was important when trying to create an innovative method to recruit possible students. In our weekly catchup with James we were often briefed with a task to prepare for the following week. We decided it best to think of our own ideas ready for a team meeting where we could then collaborate and develop our ideas further. We found this the most useful method to generate ideas as we sparked thoughts of each other. 

Not only did we work as a team of four but James was also an element of our team where working with him was crucial to progressing through the recruitment cycle. James’ advice and insights into his previous experience of the recruitment cycle was helpful for us when pitching our ideas as James helped us to fine tune our thoughts into a successful plan.

Reflection

Working on this project during the Covid-19 pandemic created various challenges, mainly in generating and implementing mostly digital ideas, compared to the physical and more personable approaches used in previous years. As a team, we were required to adapt past outcomes in order to provide a relatively similar application experience for this academic year and we were conscious of increasing prospect participation at online portfolio days and continued interaction over social media and mailers. 

Measuring our success was slightly different and more difficult compared to other design projects we have worked on in the past, as we were more focused on applicant numbers and response rates, which we did not always have immediate access to due to confidentiality issues. However, it could be considered that this academic year is not comparable with other years due to the pandemic, which will result in changes to applicant behaviour despite our work to improve prospects. 

Overall, we worked coherently as a team throughout the year, having the opportunity to develop our creative thinking and strategy generation within the constraints of a mostly digital space. The project provided experience of working as part of a wider marketing team, as designers, consultants and idea generators, roles that could help inform our practice in our future careers. Personally, I (Ruth) have been able to improve my confidence and social skills in talking to a range of people online, especially at portfolio days answering applicant questions and promoting the department, which I can apply to upcoming job interviews. 

The transition of adapting social skills to work online I (Maya) found initially nerve wracking, however as we began the portfolio days I began to develop more confidence. The skills I developed through the portfolio days will be transferable as I begin to apply for jobs and undergo interviews. Overall, I feel that this job was an exciting job to be a part of, as the success of this real job has a direct impact on our own graphics department, which is unlike other real jobs.

— Ruth Bartley and Maya Goddard

 

‘Destination’: travel journals book design

Background

Over the last thirty years in the label and packaging printing industry, Swiss-born Bernhard Grob has travelled across the world to promote and sell flexography printing presses for the company Edale Ltd. of which he was a co-owner and Managing Director. During these travels, Grob has written a series of annual travel journals, detailing his experiences, and the developments and issues in the printing industry that he came across, now collated into his book; ‘Destination: Travelling the world for the printing industry.’

Grob enlisted third-year student Ruth to design the inside pages of his book with the main aim of producing a consistent layout appropriate to the content. This would involve proofreading, editing and typesetting the text, and sorting, editing and arranging corresponding imagery. Clarity needed to be achieved, whilst also ensuring that the book remained engaging and interesting. The client stated that they were aiming for this project to be ‘something that is not the norm, something that is different to everything else on the bookshelf, something unique’ and hoped that, as a student designer, Ruth would be able to expand her knowledge of the subject matter whilst also bringing a more youthful and on-trend approach to the design.

 

Additional stakeholders

The book was originally intended to be printed as part of a live event at the international Drupa print exhibition in Dusseldorf, Germany, initially due to take place in April 2020, then pushed back until 2021, until it was eventually cancelled entirely until 2024, due to Covid-19. Belgium-based digital printers, Xeikon, agreed to produce and print the book, to demonstrate their leading technology and highlight their high-quality digital colour printing.

After printing, the sheets were sent to be bound by book manufacturers Mueller-Martini who produced the final outcomes ready to be distributed. Professional designer Richard Jones was also part of the project as the designer of the book cover.

Throughout the project it was important to consider the various factors and influences on the production of the final book, whilst also maintaining necessary contact with the relevant stakeholders. These industry professionals allowed me to gain valuable insights into the publishing sector, improving my communication skills and expanding my technical knowledge.

 

Target audience

The publication is aimed at professionals within the printing industry, specifically those producing self-adhesive labels and packaging. The book will help to inform their practice, provide technical knowledge, be a reference point on the development of printing processes and most importantly, detail the entertaining experiences of the author on his travels around the world. It also includes articles from prominent international figures within the industry, whose inclusion will help promote the publication. As the book features many technical aspects, it is unlikely to appeal to the general public who have little knowledge of printing processes, and is therefore not for sale, but rather distributed with financial donations to the department of Typography and Graphic Communication at the University of Reading being welcomed.

 

Deliverables

  • Proofreading and editing of all text and imagery
  • Design of inside pages for the entire book, specified to be in full CMYK throughout to highlight the high-quality colour printing of Xeikon
  • A loose bookmark that is printed separately and fits into the front of the book containing information regarding donations
  • Input on the design of the cover

 

Design process

 Research

Receiving and writing the brief was straight-forward in content yet complex in compiling as information was provided in small sections and by a number of stakeholders which I then had to combine into a succinct single brief. After clarifying the responsibilities of each party involved, I had a much clearer understanding of my role within the whole project and what each stakeholder was expecting of me.

Taking inspiration from the Swiss heritage of the client, I carried out research into interesting book layouts (figure 1), within the theme of travel (figure 2), and examples influenced by the famous Swiss style (figure 3), particularly editorial work by Jost Hochuli who is from the same town as the client, St Gallen (figure 4). Additionally, as the chapters of the book were organised by country, I had the idea of incorporating travel stamps into the chapter openers, inspiration of which can be seen in figure 5. Eventually these involved a mixture of illustrated stamps and photographs of the real stamps taken from the client’s various passports over his years of travelling.

Research into the client’s company, Edale Ltd, and the other stakeholders involved (Drupa, Xeikon and Mueller Martini), was also carried out to gain a better understanding of how the book would be produced and distributed, technical aspects involved in the project, and the motivations for each stakeholder in the project. I was also able to broaden my knowledge within the area of flexography and print exhibitions, having the opportunity to collaborate with international companies leading the sector.

Moodboards
Figure 1: mood boards demonstrating research into interesting book layouts
Mood boards on the theme of travel books
Figure 2: research into the design of travel books and journals
Figure 3: research into Swiss style book design
Figure 4: research into the work of Swiss designer Jost Hochuli
Travel stamps inspiration
Figure 5: inspiration for the concept of creating illustrated travel stamps for each country chapter
Content structure

The next step involved the client sending across all of the copy, which included a large text document and a series of photographs, sent both digitally and physically. I then organised these into their relevant country chapters, scanning in the physical photographs and ensuring all images were in CMYK and at least 300ppi, as requested by Xeikon to demonstrate their high-quality digital colour printing. The text was proof-read to ensure typographic consistency, such as capitalisation, the use of commas and correct use of hyphens, and to check for minor grammar errors given that English is the client’s second language.

Having read through the entire text, it was agreed with the client that the order of the content could be moved around slightly. Organised alphabetically by country, the book also contained additional articles written by friends and colleagues of the client, which originally interrupted the main text and disrupted the flow of reading and therefore the potential design and hierarchy. The client therefore allowed me to rearrange these articles to the end of each country chapter, with the addition of short descriptions of the external authors.

This initial stage of the project required great organisational skills, as there are around 60 chapters in the whole book, with a range in the number of images per chapter. This would later demand selective skills, ensuring that the best quality images were included next to the most relevant sections of the text. It also allowed me to fully experience the whole process of copy creation and editing alongside designing, a role I am now more familiar with and can build on in the future if I become a professional editorial designer (a career option I am currently considering).

 

Initial ideas

Using the content structure as a basis for the design, I created a number of initial layouts using a sample chapter from the text and accompanying images. Figures 6-10 demonstrate how these ideas progressed from initial sketches to digital iterations, experimenting with the grid system, number of columns, image placement, chapter openers, measure and typeface combinations. A key concept that was taken forward from this initial ideas stage was the inclusion of similar serif and sans serif typefaces for the different authors of the book, a serif typeface would be used for the main author (the client) which would be differentiated to the articles written by other authors with a sans serif typeface, ideally within the same type family.

Initial sketches
Figure 6: sketches exploring initial ideas of layout
Initial ideas
Figure 7: digital iterations of initial sketched ideas (ideas in same order as in figure 6)
Chapter opener idea
Figure 8: chapter opener design from idea four, which became the basis for development
General ideas mind map
Figure 9: mind map of general ideas to apply to the design of the book
Typeface exploration
figure 10: initial exploration of typeface combinations and hierarchy

 

Design development

Over the course of six months, the design progressed substantially. Frequent online meetings with the client proved extremely useful in the development of the design, as a wide range of options were shown and then narrowed down based on personal preference and effectiveness for the large amount of copy.

Taking into account the various levels of text and inspired by the ‘step’ approach often used in Swiss design and by Jost Hochuli, figures 11-14 shows how this typographic design was applied to the content.

After a design direction was established, I attempted to apply it to the copy of the entire book. This highlighted some challenging issues, mostly the unnecessary length of the book created by paragraph spacing (479 pages without images), which was resolved by using indents (figures 14). Additionally, the large number of images sometimes proved difficult to match up to the relevant paragraphs efficiently, however detailed notes from the client helped solve this. Further considerations were then also made, regarding the use of colour throughout the book, the chosen display typeface, spacing between headings and prelims design (figures 15 and 16).

At this point, I referred back to only making amendments to a smaller sample of the book, roughly the first 75 pages, to allow for quicker changes to be made whilst still designing enough of the varying types of content to understand how these would work throughout the rest of the book. After these issues were resolved, the new system was applied to the rest of the content, with only more minor alterations then being carried out afterwards (mainly moving some images around, some grammatical changes, addition of more images that better illustrated the content etc).

Throughout the design process, when it was realised that the book was going to be unnecessarily long, the dimensions of the pages were changed to a more effective size (from 160mm (w) x 200mm (h) to 170mm x 240mm), but all other aspects of the original print specification remained the same.

Design development
Figure 11: experimenting with different chapter opener layouts and text block placement
Design development
Figure 12: testing out using coloured pages to differentiate new chapters, which although bold and eye-catching would result in clashes with the coloured imagery, makes the first page of each chapter appear separate to the rest of its content and was turned down by Xeikon due to the cost of ink
Design development
Figure 13: comparing display typefaces and colour options for new chapters. Gastromond was eventually chosen for the display type, although at a smaller size than shown above, due to supervisor feedback that as a heavy font with only one weight, it should not overpower the rest of the text and should therefore have less prominence on the whole page.
Design development
Figure 14: the development of the design from using paragraph spacing (left) to indents (right) to reduce the overall length of the text. This was implemented after the full book had been formatted and was found to be far too long (479 pages without images) so indents were preferred to cut down on the number of unnecessary pages. The right image also demonstrates the ‘step’ approach used to create hierarchy within a Swiss style.
Design development
Figure 15: some example spreads that demonstrate developments in the use of colour in the text, image treatment, running heads/feet, measure, text placement, type size, display text spacing and the contrast in typefaces for different authors. At this stage, the main body typeface was also changed from Skolar Latin to the more consistent and ‘classic book’ typeface Georgia based on supervisor feedback, which was still paired with Skolar Sans Latin for external authors (compare the body type in figures 14 and 15).
Contents development
Figure 16: the development of the contents page matching developments to the overall design, with the last image being preferred for clarity, length and navigation
Bookmark design

In addition to the design of the inside pages, the client requested the design of a bookmark style slip that would be inserted into the front of the book informing the reader of the possible donations to the department rather than the book being for sale. This used text provided by the client which was then organised typographically to match the design of the inside pages, changing from a horizontal to vertical format to aid the reading experience. The developments of the bookmark can be seen in figure 17.

Figure 17: the different iterations of the bookmark donation slip design, with the final outcome on the right

 

Production

Professional designer Richard Jones created the cover of the book, combining the themes of travel and printing, through the use of reflected type representative of letterpress processes. I was able to offer some input on the design of the cover, and made some changes to the back and spine, changing the metallic effects to a more legible navy, as can be seen in figures 18 and 19.

The final books were printed in Belgium and France on Xeikon’s SIRIUS and CX500 digital presses, before being sent to Switzerland to be finished by Mueller Martini on their SigmaLine. 1000 copies of the book were produced, 500 for the client and 500 for Xeikon and Mueller Martini to use as technical demonstration pieces for their industry-leading machinery. The production of the book also featured in an international webinar by Xeikon Cafe TV, which can be viewed here: https://go.xeikon.com/l/61642/2021-03-30/3sp4lx2

Although I was not immediately involved in the actual printing and crafting of the final books, it was important that I understood the production processes used and that my files were well-organised and print-ready, to ensure understanding and clarity across the different nationalities involved. Receiving copies of the final book was a really satisfying experience, and it feels like a great achievement to have produced a physical item in a year where digital deliverables have been prioritised. The full book was larger (in depth) than I had expected, as this was the first time I was able to fully visualise all 355 pages, but this only added to the overall feeling of satisfaction in holding something so large that I had designed. I had been slightly worried about the inner margins, but the main text block was appropriately placed on the page, with only some headings reaching into the margin on right-hand pages. However, as these are headings and are therefore in larger coloured type, these are still very legible and do not hinder the reading experience. Some of the images printed quite dark, although these had already been edited to be brighter and was more due to the actual printing outcome rather than the images supplied.

Cover version one
Figure 18: the cover design by Richard Jones
Cover design two
Figure 19: the final cover design, edited by myself, changing the back and spine coloured blocks to navy for improved legibility. Additionally the author’s name was changed to white on the front and spine, and spine text was reduced in size. The text on the back was also edited for clarity and consistency.
Print ready page
Figure 20: an example page from the press ready PDF file, sent over in single pages and will all printers marks included, as requested by Xeikon
The final book
Figure 21: the final books

The final book

The finished book

The finished book

Destination book design

The finished book

The finished book

The finished book

The finished book

The finished book

The finished book

The finished book
Figures 22-32: spreads from the finished book
The finished book
Figure 33: the finished book

 

Promotion

The client’s extensive connections within the label and packaging printing industry provided the opportunity for an article in Labels & Labelling to discuss his career and promote the release of the book. Pages from this article can be seen in figures 34-36, in which I provided the images that were used. This article was later translated into Russian for their equivalent magazine, again with further images that I provided.

Spreads from Labels and Labelling

Spreads from Labels and Labelling

Spreads from Label and Labelling
Figures 34-36: spreads from the article featuring the client in ‘Labels and Labelling’, including images sent by myself

 

Reflection

Overall, although a long and sometimes challenging process, the actual designing of the book was interesting and fun, especially as the use of colour in the text was encouraged, something unexpected and different to other books I have designed. Organisational skills were a must-have for this project given the large quantity of copy provided, alongside effective editing and selection skills, which I was able to develop.

It was a pleasure working with the client, his own knowledge of design helped facilitate the process and his feedback was always constructive and honest yet friendly. It has also been a great experience for me to work with industry leading printers, gaining a better understanding of large-scale production processes and technical considerations. I am grateful to have had the opportunity to work on such an international project, with the production, promotion and distribution of the book involving many countries.

As an individual project, I have been able to greatly improve my ability to make critical design judgements, now having more confidence to work independently on such large deliverables and becoming more efficient in managing my workload. I have also developed my professional communication skills, having a great relationship with the client, feeling more authoritative in justifying my design decisions and ensuring effective communication between the various stakeholders involved. I am very pleased with how the final book turned out and feel grateful to have been part of this large-scale project, providing a valuable learning experience that I will be able to discuss in job interviews, something that many students will not have had the opportunity to experience.

If you are interested in receiving a copy of the book please contact bernhardgrob.destination@gmail.com.

Client reflection

“After a relatively short online introduction (as it was during the pandemic), Ruth grasped the ideas and intention of my book quickly, coming up with a detailed brief to ensure we both understood each other. The next step included her various design ideas which we talked through and again, quickly agreed on the chosen version. The real work started once I transferred the 140,000-word document, together with numerous photographs in electronic form, as well as some historic actual photographs and documents. It was a real minefield to put all this into the right order and sequence, but Ruth tackled it in a confident, efficient and prompt manner, with fewer queries than I had anticipated.

Dealing with Ruth throughout the lengthy process was a great pleasure and I much appreciated her professional punctuality, accuracy and attention to detail; something I considered rare in a final year student at university, eager to enter the real business world. Her keen creativity and understanding of the author’s mind-set played a key part in completing the design in such a short period of time, leading to the finished file, ready to go to the digital printing press manufacturer for printing. The only negative outcome is that the planned live book production during Drupa 2021 at the digital press manufacturer’s stand was unable to happen due to Covid.

In conclusion, I can highly commend Ruth as an excellent designer with an understanding for the bigger picture. A competent, driven young person with ambition who can lead from the front in the interests of the customer. I am sure she will go a long way in her future career making full use of her skills and entrepreneurial spirit.” — Bernhard Grob, BMGrob Consulting

Bernhard visiting the department
Figure 37: Bernhard visiting the department and Ruth receiving the finished book

Cowrie Scholarship Foundation

Background

The Cowrie Scholarship Foundation was set up to allow economically disadvantaged black students to attend UK universities and with the foundation being very new our client needed a brand that looked youthful and energetic but professional and as a continuation from the branding project the website for the foundation needed to be upgraded to match the brand. The website needed to appeal to students and stakeholders alike therefore we needed to create a striking balance between the two to attract scholars and investors which is our client’s main goal.

Brief

The brief was to develop a website on an easily workable and adaptable platform. The client would be adding more universities and business they would need a website that they can easily add on to whilst still maintaining a good user experience. The secondary deliverable was to design social media posts for his Instagram and LinkedIn. The brief stated that the success of this project would be measured by the ease of use by the client to add on to and edit. This was essential to make sure there was consistency within the quality of the design and making a website that the client can use and work with without affecting the design quality. So far since the launch of the website the client has had no problems with adding unto and editing the website.

Communication

Throughout the design process, we had regular meetings with our client. This allowed us to keep our client up to date making progress by having weekly feedback session to creating a website the client was happy with. On the other hand, our contact with our supervisor was not as frequent as we would have wanted it to be although, in the sessions, we had our supervisor was happy with the progress we were making.

Schedule

The deadline for the website completion was met following the guide of the restated brief. During the second week, there were fears that the website would not be completed on time before the submission deadline due to complications of which programme we would be using to develop the website. During the real jobs meeting, we spoke to Geoff about the possible programmes we could use to develop the website and our choices were narrowed down to Squarespace and WordPress and we, therefore, needed to propose both options to our client. This process delayed the schedule by a week however once the client responded with Squarespace, we were then able to begin the design process and get back on track. After this, we had weekly feedback where we were able to progress weekly to provide the website that the client would be happy with which enabled us to hand over the website on the deadline.

Design process

The problem

  • 5% of British students from black Caribbean families gained places in “high tariff” universities, compared with more than 10% of all students. While many issues are at play in why more Black British students do not enter university – the Cowrie Scholarship Foundation seeks to address one part of the jigsaw – the financial cost of university education.
  • Richard set up the Cowrie Foundation because of the murder of George Floyd in May 2020. Richard was inspired to create this foundation after being influenced to create change following the death of George Floyd. Cowrie is a very fresh organisation therefore there is an opportunity to bring something exciting and distinguishable as a brand. Cowrie Scholarship Foundation was set up to allow economically disadvantaged black students to get a university education at a Russell Group university.

The users

We identified three user groups: The student, the parent, and the shareholder. Each user group would have specific goals within the website. The student’s main aim is to apply to the scholarship through the website. The website needed to make this process as easy to understand as possible as one of the client’s aims is to get scholars into the scholarship. Secondly, the parent main aim is to provide opportunities for their children therefore the parent would be looking to the foundation values but also on past scholars to see if the foundation would be the right fit for their child. Lastly, the shareholder’s main purpose on the website would be to donate to the foundation however the process before that would be important. The shareholders would need to understand what the foundation is and how their money could help change lives.

Fig1 The site map showing how the target audience would navigate throughout the website.

 

Wireframes

Initial sketches

Fig 2 Initial sketches for the website testing user experience and format.

 

Fig 2 Initial sketches for the website testing user experience and format.

Developing the website based on the specific needs of the user was important and the layout for each specific sector was the most important. The hardest part was making the website more concise with a lot of relative information it would be easier to have multiple pages however, this makes the website look unappealing therefore we decided having drop-down menus would make the website look less cramped together and more spacious. We decided on having a scholarship programme, about us, contact us and news.

Lo-fi wireframes

Fig 3 usability testing and the results
Fig 3 usability testing and the results

Now that we had a plan with the initial sketches, we decided to create lo-fi wireframes via XD to test the user experience of our proposed design layout. Following the user testing we able to identify what needs improvement and what was good to create a workable website that the users can use easily. With this information, we decided to start designing the high-fidelity website on Squarespace. The process of testing the prototype was a little bit tedious because we struggled to find a user that was similar to the target audience, but we eventually found someone.

The brand

During the branding project, we produced new logos for the client however the client decided to keep their current logos that we had to use.

The typeface that the client wanted us to use was Arial for the website. We selected a few weigh and size variants to differentiate headings, body and captions. Arial is a very legible sans-serif typeface and allows the users to easily gain and digest the information provided by the website.

The client requested us to make heavy use of the black and yellow colour scheme used for the initial website. After we utilised some of our colour schemes to help differentiate web-page’ sections or to help the overall design being more engaging. As previously mentioned black and yellow were the defining colour of the branding. Other colours such “Blue Magenta” or “Harvest Gold” were used respectively for clickable links or illustrations and elements throughout the website. Squarespace offers the possibility to choose a colour palette as one of its tools made of 5 colours and allowed us to create different colour themes to chose depending on what page or section we were working on.

The process of image selection started with us using license-free pictures mainly depicting black students revising, working or at university. All the images were then shown to the client for feedback and approval. This happened a few times as the images had to be appropriate for the website, not too corporate but the pictures also had to be relevant in the context of education, achieving and hardworking which are some of the core values of the foundation. The illustrations present on the website are the tiles and one illustration designed from the previous version of the website we developed for TY3BP that the client liked and wanted us to keep it. The tiles were made on Illustrator and they are part of a larger group of traditional Ghanian symbols called Adinkra symbols that represent concepts and aphorisms. The tiles are used to divide the first elements of each page from the rest of the content underneath.

Final design

The design of the final website was clear and accessible for the client and the user. The overall design was successful as the client was happy with it. We had an initial plan an idea that we felt could have enhanced the outcome however we were limited by the software and our ability to recreate the XD prototype. The design decisions were moderately made by us however the client had the final say in the majority of the final design decisions. This led to elements of the website that we did not particular felt met the quality that we felt was needed however we found ourselves having to put the client’s needs first which we felt we could have been more critical and outspoken for our own design decisions however, overall, we were mostly happy with the outcome.

Feedback

The feedback we received was mostly positive with the client writing; “It has been a pleasure to work with you both. The level of work, attention to detail and willingness to incorporate requested changes was greatly appreciated.” We have not yet received official feedback from our supervisor yet although from the last feedback session she advised us to take more control of the project as the designers which I believe we did towards the final week of the project.

Conclusion

The feedback shows that the website is effective and easy to use. This implies that we have been able to achieve the aims listed in our brief and seeing the website go live was a proud moment for both of us. We believe our client is happy with the outcome and we have seen that he has comfortably been able to make changes to the website which was his main aim for the brief. Overall creating the website has taught us important skills within UX design and development that we can both use in the future.

The website link: https://www.cowriescholarshipfoundation.org/

– Peter Rosanwo,  Edoardo Sarli

@uortypography: the student-led Instagram account

Background

The student-led Instagram has been operational since 2018 when a group of students rightfully decided that it would be a great tool to promote the work that goes on in our department. I joined the team in the spring term of my first year with my responsibilities increasing until, this year, it was my turn to lead the team. This job involves posting on the account for the duration of the year, covering the ongoings of the department anywhere from projects to events.

In addition to the focus of promotion previously, this year it was decidedly more of a recruitment and networking strategy. We wanted to showcase more the work that prospective students could anticipate, as well as giving more of a focus on the ‘who’ and not the ‘what’ of the student work we posted.

Learning from previous years

Two years of experience gave an opportunity to look at what strategies were undertaken prior and assess their effectiveness.

As written about previously, Sophia discussed the branding of yellow featuring in posts to represent our vibrant front doors. 

Screenshots of the account featuring some yellow – but not enough that it appears as a ‘brand’ choice across the whole feed

Though a nice idea, in practice this detail was perhaps too subtle when looking at the earlier feed. It was also quite limiting in what was ‘fitting’ to post. Therefore, this year we decided to ditch this approach and aim for engagement through a vibrant, multi-coloured approach. When posts were being created by those outside of our team who would not have been briefed on the yellow branding, this was seemingly a more appropriate solution.

Summer preparation

Knowing that both I and my team had busy years ahead, I felt doing the bulk of the preparation that was able to be done in the summer would reduce time strain later.

To improve on the lack of clarity of individual responsibilities in previous years, I created a rota for each regular task outside of the ongoing role of keeping tabs on upcoming deadlines and events. This is definitely something I recommend the team take on next year as it made planning time around this job much easier, ensured all jobs were covered each month, and allowed fairness of task distribution. However, creating a rota for each term would probably be a better solution than making it in the summer as done this year. Changes of availability and circumstance meant the annual rota needed to change more frequently. In theory, a shorter time scale would allow for better accuracy and reduce need for change.

Once it was finalised which ‘types’ of posts would be a regular feature on the account, we set out to make post templates. Previously, all posts would seemingly be stand-alone if looked at from the feed and the user would be required to read the caption for context. However, we decided Baseline Shift events and announcements of open/portfolio days would benefit from being easily distinguishable – but in different ways.

Rejected regular post template layouts – most being deemed unsuccessful based on colour choices
Chosen template designs as decided amongst the team

Open and portfolio days feature large text so this can be read from the thumbnails, in the scenario that a user wants to find it quickly to see timings, for example. However, with Baseline Shift, the guest speakers’ work would be the main feature rather than our branding. Thus, using brand guidelines from the Baseline Shift team, I created this more understated ‘label’ that means it is still clear on the feed, but not overpowering due to its smaller scale. A set of instructions on how to use the templates were provided on the packaged file in case team members were unfamiliar, and to prevent any changes that risk consistency.

Posting more

One big goal we established early in team discussions was to post more frequently – namely on the main feed.  From being on the team in the previous year especially, I knew this was flagged by our client as something important to them and so made this a high priority. Looking at the balance of posts made across all three academic years of @uortypography, this is something we did achieve:

This goal ultimately improved our engagement and follower count. Starting at 1687 followers at the beginning of the 20/21 academic year and ending with 2030 followers at the time of submitting this post, I definitely think having more content and thus more with which to engage will have contributed to this uptake. Having the aforementioned rota was also very helpful in ensuring we had at least one post to send out every week rather than posting more sporadically as done prior, and thus I cannot recommend this approach enough to the 21/22 team.

That being said, something to improve upon would be the variety within the feed content:

There is a distinct lack of Part 1, Part 2 and Real Jobs engagement compared to that of Baseline Shift, Part 3 and Postgraduate work. This may be down to several factors:

  • the way in which Part 3 and Postgraduate work were posted in some cases: both saw week-long daily features of work at one point
  • we did not recruit any Part 1 team members as early in the year as had been done prior, and so were unaware of their deadlines until much later
  • being occupied with other responsibilities around the time of submission given many projects are often due within the same week, and thus Instagram posts are not seen as high of a priority

Either way, the solution to these gaps are clear for the 21/22 team – one of which being to recruit Part 1 students as informants earlier in the year. Given they will not have been briefed on Real Jobs until the end of the year, it would likely not be fruitful to try and get them fully on board with the team until later as it will seem as too much of a commitment. This thinking is why the current 20/21 team delayed recruitment in the first place, to our detriment. But by taking a more informal approach with Part 1 students acting more as informants initially and keeping the team updated on their projects, this year group can be featured on @uortypography more and earlier.

Another solution would be to post more of the same projects, as done with the Part 3 independent magazine project this year:

Screenshot of the feed during the week of posting Part 3 magazine projects after formative submission (edited for clarity)

Drawing out posts in this way means more content, more appreciation and exposure for the individual designer as was an aim of the team this year, and hopefully more engagement as a whole. There is risk involved, however, as overindulgence can be perceived as irritating rather than engaging to followers. By selecting only the most visually exciting projects to feature in this way rather than taking this view to all deadlines, it is more likely that the right balance can be struck.

Improving engagement

With higher frequency of posts and more followers naturally came a higher amount of engagement. But, the same could not be said for the regular Baseline Shift posts. These were one of the most frequent post features, but were usually the worst performing with a few exceptions. My perception is that this is due to an overabundance of posts harming variety that followers are after – seemingly an obvious conclusion. However, having enough to post around them with no upcoming deadlines during term time, and COVID severely reducing the amount of events in the department, was decidedly difficult. Based on the number of posts we made this year, we did manage to find enough content, but I think perhaps not posting about certain Baseline Shift sessions would relieve some of this strain. For example, Instagram’s insights on the ‘feedback jam’ sessions showed the worst engagement, and these are the least visually exciting posts. Muting these may leave room for our guest speakers to benefit from a better performance.

Screenshot of one of the feedback jam session posts. It only received 26 likes which is very uncharacteristic of our usual engagement numbers

With the success of Shout Out Saturday, we wanted to engage more in a similar way with the work of our staff and lecturers and promote their interests. This was a vessel to get-to-know more about those teaching us and celebrate their achievements. 

Different colour versions of the ‘staff projects’ regular post idea. Their colours and layouts were tested in the context of Instagram’s story function in order to see if they were appropriate
The decided design that was used as a proposal to send to staff, gaging interest in the idea

We ended up posting one of these as it quickly came to light that, especially during the pandemic, the format we proposed to interview for content – via email or Teams – would be too time consuming for staff. A more informal approach could be tried post-pandemic – if we hear about a staff project, we could then ask in-person for quick information so the process is less committal. However, this could unfortunately not be attempted this year as we simply did not see anyone enough gain any insights on current projects.

It is important to also objectively review our most engaging posts (calculated via numerical data) in an attempt to figure out what made them so successful, and use this information to decide what to post more frequently. Looking back at this academic year, the following was the ranking of our most favoured posts:

  1. The infamous ‘Geoff celebration’ (341 likes, 22 comments, 12 saves)
  2. ‘Welcome back to summer term’ (181 likes, 1 comment, 4 saves)
  3. Showing the diversity zine (174 likes, 5 comments, 14 saves)
First, second and third most popular posts (left to right). The actual second most-engaged-with post was the memorial tribute to one of our own, Nick Selensky – but for the obvious reason of respect for him, it is not appropriate to analyse this based on its popularity

For the crowning most popular post, the reasoning behind its influx of engagement is seemingly because… it is Geoff. But in more digestible terms, users typically respond positively to nostalgia and the personal touch that comes along with this (Bradic, 2015). This may also explain the popularity of the ‘welcome back’ post, given many generations of students have been through the iconic yellow doors of our building numerous times, and they feel it is theirs. But the community feeling of our department means students were also able to become much closer to our staff and lecturers. Thus, seeing someone or something that reminds them of their time here is a good way of driving followers to engage and retell their experiences of T&GC – something that could be taken forward more for next year.

For the diversity zine post, the popularity could be due to the overall aesthetic – the styling, vibrancy of colour and heavy contrast with the white background. It could also be the nature of the zine content itself – our followers may be overall interested in what we are doing to promote diversity in our department and the design world. Alternatively, given the vast number of people involved in the project, this may have caused a ripple effect amongst the collaborators’ followers. The creative discussed in the article shares the post to their followers, and brings their network to our account in the process. While it is difficult to say for certain, this offers a potential set of ‘rules’ for posts:

  1. Edit photos to be their most vibrant and contrasting as this is more engaging. This also means creating variety, established as important previously, within the feed as a whole: something we were not always successful at, and should make a conscious effort to do more in future. Simply: if the previous three posts use a lot of white and yellow, make sure the next post does not predominantly use these colours. This will make the experience of visiting the profile as a whole rather than on an individual post basis more enticing.
  2. Talk more about what changes are being made in the department to promote more diversity within the course – it may encourage similar changes in other departments or universities as an added bonus
  3. Promote more work that engages with creatives outside of the university to reach a wider umbrella of users. A more obvious solution would be to have a regular post highlighting ongoing or completed Real Jobs, tagging the client and designers to encourage reposting in stories.

Another change that we undertook this year was utilising hashtags much more. Focusing now on our top ten posts from this year, these were the hashtags utilised in their captions:

Word cloud showing the hashtags used across our top 10 most popular posts in an attempt to find similarities

While some of these are naturally very content-specific, a number of the frequent hashtags used were more under the umbrella topic of design. Those that are outside of that broad topic open the account up to more exposure from a wider range of followers, but appealing to those directly interested in design is also not a bad idea. Based on the word cloud, the most popular choices used across our top ten posts were ‘typography’ (8 uses), ‘design’ (3 uses) and ‘illustration’ (3 uses). Given these are, as established, more general and could apply to the vast majority of our posts, it may be worth considering including these as a baseline for all captions. While unable to distinguish which hashtags offered the best engagement specifically, having a consistent set alongside additional content-specific choices would be more likely to generate follower traffic.

That being said, based on the built in ‘insights’ feature on the app, some of the posts did not boast many additional likes via the hashtags anyway. Our main engaging demographic are those following the account already – though not true of posts such as the aforementioned ‘Geoff celebration’ which saw 984 impressions via hashtags. Therefore, the team next year may benefit from brainstorming new and additional ways in which the account could reach a non-following audience alongside these hashtags.

Reflection

As a whole, I am pleased with the progression we have been able to achieve over the last year. I think we were better organised than previous years in terms of our team dynamic, distribution of work, and the consistency of our posting schedule: seemingly having a good impact on our follower engagement. 

This role is different to most Real Jobs listed in our department, and has the slightly odd aspect of wanting to generate more of a handbook of ‘rules’ for future teams to utilise within these blog posts. Hopefully the findings over this last year will provide good guidance – but as a final word of advice, these kinds of analytics would be best curated periodically over the year now that there is this established benchmark.