Public Health Wales – Improvements

I had reflected upon the outcomes I had designed for the campaign and had noticed several things I could have changed. For the plasters and stickers, I changed the image of the jabber to go with the theme of the game to the germs which popped out the game. Another benefit of using the characterised germs as the ‘mascots’ for the campaign was that the campaign could be developed and built upon in numerous and adventurous ways. Keyrings, plushies, colouring books, and animations could be developed as part of the identity for the campaign, which would above all make the campaign family friendly. I had then changed the hashtag featured on the pale blue plaster to #jabthegerm. These small difference had made a significant improvement in image to the identity of the campaign, making everything fit together.


Having changed small features of the plasters and stickers according to the design of the identity of the game and the characters within the game, I then changed the colours of the game to fit with the background colours of the plasters. I didn’t however change the colours in the logo. I attempted to replace the yellow with the blue, however, when placed against the arcade game it blended seemlessly which made it hard for it to stand out against the background.



CSAD Degree Show 2018

Taking a break from the rush of work at the end of my second year, I decided to take a look at the Graphic Communication Undergraduate Degree Show of 2018. I was really impressed with how much larger the space was for the graphic communication course which was a huge improvement from the cramped space the class had last year. Everything was spaced out nicely so that it gave viewers space to walk around without bumping into one another. I also feel it gave the viewer breathing space. The variety of work was really refreshing and every student had a different outcome to the previous work I had looked at.

Several features that made the exhibition more interesting to look at compared to last year included a cluster of prints hanging from the ceiling, a timeline designed in the shape of a donut, and a number of dissertations designed into a book written by each of the students. I have focused on three pieces of work by students that had caught my interest at the show.

The first piece of work that caught my eye as I entered the exhibition space was this spread of colourful and vibrant typographic posters. I like how different modifications were made to the words on the posters according to morphing the text, the layout on the page, the typefaces used, and the colours which reflected the issue of equality for women.

Another piece of work which had caught my eye in the same space of work was a piece of editorial named ‘Journal of Unexplored North Wales‘. What caught my eye into wanting to look at this piece of work were the stunning photos that were presented on the wall along with a journal on a pedestal. As I delved deeper into the journal I had come across countless pages which had featured sophisticated stylistic typography which had reflected the very essence of what ‘unexplored’ adventures there were to find in the North of Wales. The photographs were edited to match with the stylistic type created for the journal. Small maps had been carefully constructed to encourage viewers to read on to the adventures within the book. I really liked how text had twisted round each other and been placed in photographs as well.

As I stepped into the other space I had found another piece of design which had immediately caught my eye. This piece of design was titled ‘The Space Race‘. It was an editorial piece on The Space Race during the Cold War of which is focused on the political issues between the USA and the Soviet Union. What I like about this piece is how bold the typography was within the editorial. By combining that with black and white images, it made for an interesting piece of communication.34199980_1754922131252152_1286036358019678208_n

ADZ5888 Reflective Writing

The field projects I had decided to study on for my second year of study on the graphic communication course, were Circle Line and the Morocco project. They both provided me with useful knowledge and I had learnt very valuable lessons from them both which would then enable me for future projects of working in groups, which would include project within the subject module. Not only have both of these projects helped in shaping me as a designer, but also as a team player and manager.

Circle Line was by far my favourite project of my second year, having reflected on projects from the field and subject modules. This had opened my perspective on cinematography and the art of perspectives. I was really lucky to have been placed into a group with fantastic people who I got along with really well. We collaborated thoroughly on all aspects of the project, which included research, development of ideas, and finishing through to the outcomes which were experimental film documentaries.

Skills I had acquired in this project mostly included working with new people and how to work with them. Academic skills included taking and editing videos, as well as being more adventurous with projects. Journeying by train to the valleys has encouraged that part of me to grow for the future by forcing me to be more adventurous with what I do for projects. Filming and editing is something I would very much like to explore further for other projects and it was something I decided to collaborate on for the Morocco project with one other group member the next term.

The Morocco project was possibly one of my least favourite projects, considering how stressful it was to work on based on the students I was working with. Two of them were from Fine Art, and one was from Product Design. By collective group choice, they had decided they wanted to work on individual outcomes instead of group outcomes which had made everything much more difficult concerning what outcomes were possible to create with such a limited amount of time after we had come back from Morocco. Fortunately, one group member was willing to work with me on an experiment film documentary which we had both contributed our own videos and photographs to. Many of the group had created observational drawings and chronological accounts in sketchbooks of our time spent in Morocco, however I had decided to focus on the film and photography element of telling the story of our trip in Morocco. The experimental film which we had edited was based from films and sounds that we had recorded while in Morocco. I felt as though I had been challenged on this project, however I don’t think I went far enough with my outcomes and development to succeed that challenge. On reflection, I don’t feel like that project suited me because of how many practical things were expected of us to end the project. However, it was a lesson well learnt, that not everyone is willing to work well with each other, and that I should always aim to exceed the expectations of tutors, clients, and colleagues.

Although these projects required much more practical outcomes, I am proud I have finally learnt how to create a film out of clips that perhaps aren’t a standard quality but a different perspective of how I see things. Perspective is perhaps the ultimate skill and lesson that I have acquired in both of these projects, which I hope to use in all future projects. Not everything has to be understood. Some things you can just see for what they are.

On Display – Final Poster Designs


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Before thinking about how I was going to incorporate information into a poster together with the pattern, I first looked at how I could minimise the amount of infomration on the poster. By doing this it would follow the minimal style that I had looked at in my typographic poster research, by using negative space by giving the viewer breathing space. The complexity of the pattern would counteract with the minimal amount of information on the poster creating a nice contrast, yet ultimately complimenting the texture of the concrete building photographed in the background. By only using the marque I had created for the exhibition, the date it would be opened, and the location it would be held in,it made the event seem like more of an iconic event, making the poster memorable.

By making use of the pattern and the single poster, I designed a triptych of three posters. On the far left poster I placed the marque of the exhibition that I had designed. The middle features the stencil of the original pattern, and the far right featured the opening date and location of the exhibition. I had used the whole photograph taken of the Hayward Gallery which I had used for the identity of the exhibition for the background of the triptych. I also decided to place the stencil of the pattern in the center poster because there were more white areas within that area of the photograph. This then allowed for the texture of the concrete to peek through what holes there were in the stencil, as well as allowing the minimal amount of information on the side posters to compliment the texture and structure of the building.

Because the pattern within the stencil had formed a path that anticipated to had been carried further onto the side posters, I then used the original pattern to carry that pattern on. This would make the posters seem more like a set of posters rather than seperate ones.

On Display – Poster design development

By using the image I had used for the background in previous designs, which I took off the Hayward Gallery website, I first started to create a pattern in Illustrator and adapt and change it to suit the style and construction of the image. I had to keep in mind that I didn’t want to direct the viewers attention to somewhere other than the black and white photograph, which was extremely hard to do, so I had to change the position and complexity of the pattern to compliment the detail within the photo of the concrete building in the background.

At first I worked with a stencil of the pattern, which featured the letter ‘L’ placed amongst each other, rotated into the crevices and joints of the rectangular elements of the letter. I had not yet started to place information into the design of the poster because I wanted to learn how the design of the pattern wouldn’t gain more attraction than the photo. I worked with the colour I had used for the design of the logo so that the style of the posters would remain consistent with the design of the remainder of the identity, ephemera, and signage I had created for the exhibition. After a reflection of the stencil of the pattern that I had placed on top of the photo, the design was far too eye-catching compared to the black and white photo in the background of the poster. Unless I perhaps wanted to produce a series of posters which would be placed together.

I then used the original pattern I had created and not the stencil. Again I had changed the position of the pattern on the page. I repeated the pattern as well so that it would layer on top of each other to make an interesting jumble of cubic shapes to reflect on the unicity of brutalism. It felt like a jigsaw at this point, and even looked like a map. And then I considered how the pattern could reflect the texture of concrete used in the design of a brutalist building.

I had then changed the opacity and positioning of the repeat of the pattern. I felt it added an unwanted amount of attention to the pattern because it created a certain amount of depth by layering it with the original pattern by making it seem oddly blurry from a distance. And by leaving it by itself in the centre of the page, I thought the identity of the exhibition would be ruined because it didn’t draw the same level of attention to the beauty of concrete and it’s texture as a the opaque pattern. By making the pattern almost translucent, it would make the viewer think as though brutalism should be translucent itself and that it shouldn’t be seen as a thing of ‘beauty’ or complexity, making it something that should be forgotten about.


On Display – Poster design research

Reflecting on the design of the posters I had created for the London in the Raw exhibition to be exhibited at the Hayward Gallery in the Southbank Centre, I had received feedback after I gave a presentation on my work to say that the variety of colours that I had used within the posters singularly and collectively as a series of posters directed viewers attention away from the ‘beauty’ of the black and white photo of the Hayward Gallery that was featured in the background.

The original designs for the posters I had created are below.

The colours I had used within the poster designs corresponded with the colours I decided to use within the digital piece of ephemera I designed. I had conceptualised an app which I looked at an idea for the main menu and the Kids section of the app which would allow a younger audience to become engaged in the theme of the exhibition.

Based on the feedback I had received for the design of the posters, I wanted to keep the colours the same within the app. I had decided instead to change the design of the posters. By changing the design of the posters, perhaps the design for the opening title of the app would change, or the design of the wayfinding and signage would change.

Before progressing further into redesigning the posters, I needed to look thoroughly at designs of other posters, and I more specifically wanted to look at how typography was used in the design of posters I had found online. I put together a Pinterest board and had chosen several that had drawn my interest to them.

The first poster that had caught my eye was this typographic poster which taken my eye to focus on the ampersand placed in the very centre of the poster, between the two strips of text which had been cut off to create the impression of the letters being ‘CUT’ as put in the poster, and the word ‘RUN’ which links to the strips of cut text running diagonally across the poster. I liked how minimal the design was due to the sharp monochrome use with the san serif typeface that had been used throughout. The words within the poster ‘CUT & RUN’ remind me of the phrase ‘hit & run’ because it is so commonly used. Instead, this is advertising a creative exhibition. The lack of a variety of words direct my eye to look at the small description sitting in the bottom left hand corner of the poster.


Instead of looking at a poster, I also decided to look at a double-page layout which featured black and white photos and bold monochrome san serif text. What I liked about the design of the left page is how the model is blocking out the centre of the word ‘WHIITE’. The image of the woman direct the viewer to want to look at the details of the woman’ face closer, guiding you to look at the photo on the next page and then the strip of texture in the background of what looks like vegetation. What really intrigues me about the design of the right page is how the text looks as if it’s been intentionally cut off by the image so the text doesn’t fit around the cropped image in the centre of the page.


The design of the poster below reminds me of the design of the original posters I had created because of the diagonal strips on the page. Instead of using bold and vibrant colours, the designer of this poster has decided to use white to direct attention to the colours of the photo behind the shapes to form a sufficient background for the san serif text in the foreground which is advertising the glasses the model is wearing. What I don’t like about this is how the thin white strip blocks out part of the glasses, which detracts attention from the glasses. However, I do like how the design of the logo in the foreground of the first letter, ‘V’, is incorporated so well into the shape the designer created. It really creates a strong sense of value of the brand, making it seem like a luxurious eyewear brand. It seems as if the supreme design of the poster reflects the quality of the eyewear brand.


Another typographic poster which had caught my eye was a poster promoting a Bachelor of Design Show at the University of Washington. The choice of the sharp san serif typeface showcases the subject of design smartly and effectively. I really like how fragments of letters have been cut out and the opacity has been adjusted to focus on the curves, edges and corners of the shape. However, when you look closely at the opaque fragments of the letters they seem to be crosshatch lines. The letters spaced out in the top half of the poster spelling out the words ‘THE’ and ‘SHOW’ makes the poster especially eye-catching, particularly where small details have been added. I like how the poster would work well as a cluster of posters put together, when looking at where the ‘W’ has been placed at the top linking to the bottom of the poster. It breaks up the poster nicely and directs the viewers’ eye to look back on the details within the poster. What would be interesting to see is how primary colours could work in the larger letters which have been spread across the poster.


What I liked about the poster below was the flash of moroccan blue which layered opaquely on top of a corner of the black and white photo behind. The name in the top left hand corner of the poster in san serif typeface in white has also stood out to me. That same colour has been translated to the small piece of text sitting in the bottom left hand corner of the poster. I would like to consider how the identity of the London in the Raw exhibition could be changed by transforming the vibrant yellow of the logo and type to white to attract less attention to the colour and rather to the beauty of the black and white photo I would have placed in the background.


The poster below, again presents a strong sense of attention to the detail in typography, however the letters have been used and developed in the poster in an interesting way. By using the outlines of the letters the designer has created layers of the letters to create interesting new and unique shapes. The hierarchy of the poster is confusing, however the misleading hierarchy confronts the rules of design and instead questions how the subject of fine art can be used within the development of graphic design.


Finally I chose a poster that didn’t contain much information, nor many interesting elements. It was simple, minimal, and monochromatic, featuring a san serif typeface and an arrow pointing to the bottom left. I liked this poster for it’s simplicity. It has encouraged me to consider what small sentences I could use to represent the subject of London in the Raw. And the simple design of the poster has intrigued me as to how simple the posters I design could be to represent the exhibition, and particularly how a series of simple posters could promote the exhibition in a more effective way than individual posters.


The design of the poster below had differed greatly to the mainly typographic posters I had chosen above. I liked the minimalistic approach it took to the subject of a series of classical orchestral concerts, one of which was a piece by Beethoven. The shapes used in the pattern reminded me of a vinyl record or a pattern from the 1960 which reflected a similar style to that of brutalist architecture. In the design of my posters, the design of this poster has encouraged me to look at how patterns I create could reflect the theme of the exhibition in an interesting and more artistic approach.


With several of the elements which had interested me from the posters above, I would like to explore similar techniques and tools that designers of those posters had used. These elements I would like to attempt to recreate to make the posters more interesting to promote the exhibition.



DigitalMe – Personal Manifesto

Upon reflection of my second year on the graphic communication course at CSAD, my final academic project of the year would require us to think to ourselves as to what sort of designers we wanted to be.

Upon the reintroduction of writing a manifesto, I looked back to a blog post named Design History Made I had written in my first year on the First things First manifesto, first published in London, 1964, and then republished in 2000. At first designers pleaded to organisations from across the globe to recognise the importance of images and their makers to sell or promote services. But in 2000, many more designers had then asked for their skills to be put to more essential use, to change the world in different and more effective ways so designers jobs wouldn’t be wasted on selling inessential products.

By reading back through this manifesto, it had given me inspiration into what to put into my own personal manifesto which I had written. By writing this it would give me a strong sense of direction as to what to put in my curriculum vitae in the future. It would give employers a strong sense of what values I have as a designer.

Within my manifesto I had discussed what passions I had, what experiences had influenced my decisions as a developing designer, what changes I wanted to make in the world through the power of being a graphic designer, what effects my designs would have on the world according to my passions, and what motivated me to want to become a designer. Most of my decisions within the manifesto I had written were based on the lack of inclusivity that graphic design offers to their audience and the consumer. And I also discussed the environmental and economical impact graphic design has on the world, and whether it is effective or not.

Below is a copy of my manifesto.

Jennifer Taylor – Personal Manifesto