Real job: A team created illustrations and branding for this local initiative to encourage creativity amongst young people.
Category: Real Jobs
Little Orchard Farm shop & café
Real Job: Issy, Yana and Lachlan took on the branding of a start-up farm shop run by Typography graduate Izzy Wedgwood.
Gifted Boutique Drop 8: Campaigning Branding
Real Job: A team of designers created branding a social campaign for the latest 'drop' from a community interest fashion brand.
GradSpire Logo
Real Job: Chloe Yau branded an innovative graduate development scheme enabling SMEs to attract, recruit and nurture top-talent graduates from across the region.
Georgina Rivers Academy Branding & Web Design
Real Job: Alex Gwynne led a team creating a new website and brand for the Georgina Rivers Academy
Georgina Rivers Salon & Academy – Social Media and Illustration Style
Real Job: Salma Adelwahab worked on a brand launch for a local beauty academy.
Careers in Psychology Animated Video
Real Job: Lamar Kaki worked for the Psychology department at the University of Reading to create an animation promoting a career as a Psychological Wellbeing Practitioner.
Time to Reflect: A collection of personal memories
Background
Often, Ronald Smith was told “You have led such an interesting life, you should write a book”. The memoir consists of Ronald’s life experiences, from the War to COVID-19 and his family and personal life. Working with his daughter Liz, the intentions of this memoir was to give his family and friends an insight into Ronald’s compelling 92 years, and continued, of life. We were asked to design both the interior and exterior of the memoir, whilst deciding on typography and layout decisions and having the chance to edit personal photos from Ronald’s extensive collection.
Deliverables
- Print ready PDF of interior and cover
- Family tree design
- Final printed memoir
Design Process
Format
The first decision made was the overall formatting of the memoir. This involved deciding on page sizes, text justification, typeface choices, as well as the overall style of the project.
initial ideas
To present the client with a range of ideas, we mocked up different styles of text, as well as presenting different pages sizes that are considered suitable for memoirs. The overall aim of presenting the different mock ups was to gauge whether the style would eventually be considered as modern or traditional. After presenting our initial mock ups, our client decided on an A5 size, and initially they were set on having the memoir in a traditional style, with justified text, serif type, and indents. However, after showing our mock ups, the style that the clients began to favour was what we called, a traditional-modern hybrid style, as they insisted to combine a justified text block, with left aligned chapter headings (in a traditional serif), with a sans serif body text typeface.
Cover initial ideas
In terms of the memoir cover, the client wanted to explore one of two ideas. Due to the client’s background these ideas were either a music score that was sentimental to the client, or the use of the stamps in his passport from his travels abroad, both of which are a main feature within the client’s life story.
Initially, we wanted to explore the use of the music score, however there was scepticism with this, due to copyright issues, therefore we guided the client towards the passport stamp concept, which is when we presented them with our initial ideas for this. We were provided with scans of the passport, which we edited, and experimented with different ways to collate them all, which led to the client being in favour of a collage style of background. The design the client favoured is the bottom right, which was eventually developed to be a part of the final print.
Later on in the project, the client suggested some text on the inside of the front cover explaining the concept of the cover design in a few words.
COntents page initial ideas
As our client wanted a contents page, we felt as if we should also give them some options for the design of it, based on the design decisions they had chosen so far.
Family tree design
One of the deliverables for this project was the design of a simple family tree, which we designed from a quick sketch done by the client, seen below in figure 9. The client wanted it to be placed at the beginning of the memoir, and initially wanted it to be landscape, however we designed a portrait orientated one in order to fit the format of the memoir better, and to make the flow of reading easier.
Development
After going back and forth with the client, and our supervisor we made several improvements and additions to the memoir. The biggest change we made was to the margins, where we made them wider to ensure there was enough space around the outer and inner margins. Furthermore, we adjusted the chapter headings to create more space around them in order to make them stand out slightly more. In addition to this, we were advised to edit the cover ever so slightly, making the grey band slightly lighter, as well as removing some of the rules, in order to place and break up text more efficiently.
Production and Print Finishes
As our client wanted only a small number of copies, the printing of the memoir was done on campus with CPS. In terms of paper finishes, we showed our client several examples, as well as them showing us an example of a book that they were keen on. In the end the client chose white silk coated paper, and this was also recommended by Geoff because it aided with giving the images some lift, as they are an important feature of the memoir.
In terms of the print finish, the client’s example was a laminate finish, however due to the choice of silk coated paper, laminate finish was not possible, as well as it being a much more expensive option. Considering this, we guided the client to a more suitable finish, being a spot UV across the band of the front cover to give that section a subtle lift from the background.
Final Deliverables
digital MOCKUPS
Prior to sending the memoirs to print, we felt it would be beneficial to the client to see a digital mockup of the memoir.
PHYSICAL Object
Figure 16 shows our final printed book. After seeing it on screen for many months, it was very rewarding to finally see all of the design components pieced together for this final outcome.
Reflection
Our client got back to us once she had picked up the printed books and said “We are delighted with the results – thank you for all your hard work”.
Having finally received the printed book ourselves, we were so pleased to be able to hold our design in our hands! We were so excited to see how the print finishes looked and also to see our design as a physical object, rather than a flat image on our screens. We were initially rather sceptical about how the format would look once bound, as we were unsure whether our margins were too small or not, but in the end they were a good size. Furthermore, it was also really rewarding to have a written letter from our client all the way from South Africa, as well as from his daughter saying how pleased they are with the printed product.
PLACEing Objects: Artist’s Publication
Background
This Real Job required us to design a publication for the PLACEing objects exhibition that ran in March 2020. The exhibition was part of Julie Brixey-Williams PhD requirements and showcased a selection of multidisciplinary artists. The client wanted a publication to showcase the both the work displayed at the exhibition and the workshops that occurred on the “Day of Dialogue”.
The brief
There was a selection of deliverables for this Real Job that adjusted slightly throughout the timeline. The main deliverable was a 48 page printed publication. The key unique aspect the client was interested in was that all pages in the publication must have equal importance. This meant we had to come up with a way to ensure the binding didn’t force a linear format, and that the users could rearrange each page.
The secondary deliverable was a logo that client would send off to be cast into a concrete block. The block was a structural part of the publication, giving the printed publication a stand.
Alongside these primary deliverables, we also designed an invitation, an acetate ingot – replicating the glass one used in the exhibition – and a pocket page to hold both of these.
Research
User personas and interviews
The initial stage of research was looking through the early content and images of the exhibition shown to us by Julie. We wanted to get a thorough understanding of what the meaning of the exhibition was and what it was showcasing before starting any design work.
The next stage was considering the types of users within the audience that would be consuming the publication. We created a set of interview questions to get an insight into what potential audiences may expect to see in an exhibition publication. We set up 3 key user personas and conducted interviews on real life people that fit those categories.
Mood boards
Initial research required both me and Amina going away and looking at examples of existing publications. We made 4 mood boards,. We then explore different approaches to this, including an abstract approach to the publication design, a clean cut approach and an approach where text or images commonly overlapped. Finally, we looked into existing editorial design for artists and exhibitions, examples of publications that could be considered a direct competitor. We sent these mood boards to the client to get an overview of the style she liked and allow us to begin some sketching.
Design
Deciding on formats
The client had used an iPad mini as part of the exhibition and wanted the publication designed with these dimensions, even down to the rounded edges.
The client also wanted a way to hold the publication together without it being physically bound. While this was initially intended on being a belly band we eventually designed for a screw to be drilled into the top. A screw was used in the exhibition and the client felt this was another way to integrate the physicality of the exhibition into the publication.
Testing layouts
Designing the pages for the publication was the main part of this project. We trialed different layouts and sent them to the client so she had options to choose from and discuss what she liked and what she felt didn’t work. Once we knew what the client wanted we created a grid and paragraph styles that all pages would utilise. This required a lot of testing as the content for each page was vastly different, yet it was important to keep a clear consistency throughout.
Concrete block and integrating a logo
The client came up with the concept of a sculptural way to hold the publication rather than a band to hold it together. Julie wanted to have the publication sit in between 2 concrete blocks working as bookends that she would get cast by a professional at a later date. We were tasked with the responsibility of finding a way to anchor the title and branding within the design of said concrete block.
At this stage of the project a logo was one of the deliverables. The client did not have a specific use for the logo at this time and therefore we discussed using this on the concrete block make the entire project more cohesive. The logo used on the block would showcase the name of the exhibition while also adding an element of design to the block. We tested various versions to see how different layouts could work but eventually settled on a logo where the title would be split in 2, ensuring the audience would know the block was one of two.
While we initially considered applying a vinyl sticker with the logo design on it to the concrete block, we eventually decided that getting the actual logo cast into the block would be a more subtle way to showcase the logo and create the sense of it being ingrained within the whole publication concept.
This was a unique request and required some specific conditions such the files would have to be sent in. However, after close conversations with Jon, the caster, we were able to get the logo cast into the block exactly how the client wished.
Finalising
Iterations
Meeting regularly with the client was key to the success of this publication. We would ensure that we were sending updated iterations of the project and having meetings in order to confer and review decisions about each page. We made a lot of alternations but this lead to a strong design that conveyed each artist honourably, in the way the client wanted.
Paper decisions
A large part of this project was the physical feel of the publication. We had a lot of conversations with the client about the shade and thickness of the paper. We printed out pages on a variety of different paper stocks to allow her to choose the one she felt represented her exhibition best. This was especially important as the main publication was printed on different stock to the invitation and the ingot. It was key to get the stock right so that they all worked together.
Production
The publication was a short run, but due to the variety of complex printing elements such as the acetate insert and pocket page we decided the Design Print Studio in the department was the most appropriate printer. It made the communication regarding all printing easier as we could talk directly to DPS and had Geoff to advise about complex parts of the publication.
Reflection
This Real Job was the first one I picked up. This meant it was a lot of new experiences for me, from working with my first client to sending my first job to print.
This project was incredibly large and intensive with lots of contributors. It took a lot longer than initially intended as we had to wait for different pieces of content alongside working to create a highly physical piece of work over multiple lockdowns. Additionally, much of the content can in different formats so it took a lot of time to work to standardise all copy and images.
Working in a group also had a lot of added complications. We couldn’t meet in person so everything had to be done over zoom which occasionally meant their was communication issues. Additionally, we could not work on a file at the same time and would have to ensure the latest file was uploaded to OneDrive at all times. Reflecting on this project, I think there could have been more appropriate ways to divide up workload to be more efficient, however this experience has helped guide future Real Jobs and other group projects.
Overall this has been an incredibly educational experience, providing me with invaluable opportunities and a printed publication that I am very proud to have collaborated on.
. 
ICPH 2022 Conference Branding
Background
The biennial International Conference on Polyphenols and Health is the most important international forum to discuss the latest developments in the field of polyphenols, food, science and health. The conference changes location internationally every two years and is due to next be held in London in December 2021, however due to the coronavirus pandemic it was delayed until April 2022. We were approached by the co-presidents of the organising committee Jeremy P. E. Spencer, a professor of cardiovascular and metabolic research and Gunter G. C. Kuhnle, a professor of food and nutritional sciences, at the University of Reading. The main reasoning for the conference is so that professionals in the sector can come together to educate, share and learn from each other about the current developments in the Polyphenols and Nutritional Sciences industry.
Brief
The clients required a brand identity which communicated its London location and its contents roots in polyphenols – a chemical compound found in only plant-based foods. Additionally, the clients required a programme template (to add the details of the event themselves at a later date), that would utilise the brands identity, and communicate the details through a simple typographic system.
Deliverables
Primary deliverables
Our deliverables included a logo, and a document that demonstrated a systematic approach to the application of the brand – the brand identity guidelines.
Additionally, the clients wanted a medium that could be used to communicate the event’s details – through our process and discussions, we agreed that designing a programme was appropriate.
Secondary deliverables
Initially these deliverables were not outlined by the client, but to display the brands adaptability we also provided some mock ups of merchandise, social media, business cards, as well as the programme (as this was specified not to be printed).
Research and Ideation
Our initial approach to this project began with an introspective research phase. We wanted to liaise with our clients in order to get an understanding of the users who would be attending this event. From such discussions, we drew up personas on our clients, which could extend onto the general audience – as many of the attendees were also in similar professions, but from different nations. We approached this by developing a series of questions that were semi-structured, as it would allow us to extract valuable information for our value proposition canvases. In retrospect, our value proposition canvases were surface level, but still allowed us to draw useful ‘gains, pains and jobs’ and develop an approach to visual identities concepts.
Another way in which we addressed our research phase was by analysing the industry and the comparators’ visual identities. We categorised the different visual identities and analysed them for their logo (shape, semiotic meanings), colours and typography. This informed us on our initial ideas phase.
From our context and research, we developed a series of colour palettes from a wide scope. With the intention of using greens (seen amongst comparators), using our design knowledge of colour psychology that green reflects health.
Typeface selection for the brand began from the informed basis of our research. We looked at 4 different potential avenues. We drew on using typefaces to reflect the underground’s Johnston, however this is not available due to copyright. https://www.whatdotheyknow.com/request/new_johnston_typeface_opentype_f – some food for thought and controversy for designers who want to use this typeface.
Instead we looked at other types of sans serifs that reflected a more scientific, ‘personality’. There was also an issue that we needed to address that the ‘I’ needed more than a single stroke, to reduce confusion of a lowercase ‘L’.
Our ideation phase commenced by drawing on the visual identity categories and producing some sketches. It was evident (from our feedback) that all parties had a tendency to favour logos which drew on the idea of polyphenol structures.
Design Development
We developed our colour palette with the proposition of making it seem ‘earthy’, and arrived at our green and brown colours – a development from green and black. Interestingly, we base our colour pallete on one found through refinement, called ‘avocado’, ironically relating back to the idea of polyphenols found in plant based foods.
We resolved the issue of letters confusing the I and L, by revisiting earlier suggestions of typefaces from research: Noto Sans. The typeface also provides a simple, and legible read.
The logo solution drew on the two key concepts: London, and polyphenols. The logo could be criticised for being meaningless to those outside the industry, but from feedback we had got from our clients, they understood it exactly. We also received peer feedback from designers, and non-designers to see what they associated the logo with. It was successful in communicating the ‘London’ concept. We note that this is limited by our sample being exclusively familiar with London, and the underground.
The programme’s development was a consequence of the visual identity. It produces a very simple typographic layout to communicate the event details, as this was what was requested by the clients. Criticism has to be given to how the visual identity had not created a ‘style’ for imagery or illustration, which could be used within this document.
Reflection
As this was the first real job for both of us in our design careers, we were inevitably going to run into some challenges. Nevertheless, we embraced this throughout the project and it has definitely helped us grow as professional designers.
One of the most prominent challenges that we ran into, was creating an identity which communicates the conference’s location internationally, without clichés. As the conference changes location every two years it was important for the client that we reflected that year’s location (London) without adding common London features, such as the Shard or the London Eye. After excessive ideation and sketching we developed a logo using visual aspects of Harry Beck’s London Underground Tube Map to reflect the city. Although the clients loved this concept idea, in retrospect we believe that it does not succeed in its international communication of London. This was a compromise we actively made as without clichés it is difficult to reflect London to an international audience. However, on the other hand, we feel the decision was valuable as it is conveniently compatible with the chemical structure of Polyphenols and was too big a chance to miss.
On account of the coronavirus pandemic the conference was pushed from December 2021 to April 2022. This offered its own challenges in the fact that all aspects of the design relating to 2021 had to be adapted, however, the most difficult challenge that arose from this was the difficulty in communication with the clients. As the conference had to be delayed this caused numerous issues for Gunter and Jeremy that were more prominent than that of the visual identity design. We struggled to receive contact from them at times due to scheduling issues, however on reflection there is more we could have communicated to them, to fast-track the answers we needed instead of waiting on their response. With hindsight, it helped us understand the importance of communication between designer and client and how essential it is to maintain this relationship.
“We both wanted to say how pleased we are with the design and its outcome. The identity perfectly reflects so many aspects of the conference in a simple visual way. We look forward to seeing you at the event”
– Jermey Spencer and Gunter Kuhnle, co-presidents of ICPH.
Although we were faced with challenges, our visual identity was happily received and commended by Jeremy and Gunter, which was a fulfilling outcome of the project.
By Rebecca Allen and Alex Gwynne