Showing posts with label OUPD201. Show all posts
Showing posts with label OUPD201. Show all posts
Tuesday, 7 June 2011
Updated sampler
Ok for the final time this is my PDF sampler. I am really happy with this one, it woks so much better being a square and my branding is more refined. I will be sending this off to companies tomorrow!
Monday, 16 May 2011
Updated sampler
After my feedback from Celine Leterme I have adjusted my sampler to hopefully give a more confident approach and worthy of a placement... I need to print off some other projects and photograph them again as I don't think my images are very impressive. These will be updated by the end of the week and next week I can send off emails to my fresh selection of studios which I found over Easter. A placement would be great, but I have lowered my expectations and any feedback, positive or negative would be absolutely brilliant.
Sunday, 15 May 2011
Feedback from Celine Leterme
Some brilliant feedback from Celine Leterme which came about by ordering Eight:48 through CounterPrint which the design studio Leterme Dowling run on the side. I need to find out a postal address so I can send Celine a thank you card which I have designed also.
No problems Hazel, hope it wasn't too strong. Just think it's not worth sugar coating. It's a good sign that you're even looking for feedback. Keep ups the good work, and best of luck with your career.
Celine
x
Celine:
Hi Hazel,
O.K, so I've looked through your sample and, on the whole, I think it's great that I can see you have an enthusiasm for design and that shows in the work. However, and this is just personal preference, I think you need to tone the CV down a bit.
People want to see that you can do the job, which usually when you leave college means setting type, working with layouts and generally being at the beckon call of the dreaded art director. This art director will receive hundreds (literally) of these a year so, yes yours needs to stand out, but for the right reasons. You need to show that you can be trusted doing the basics. Show you know how to work with good photography, type, illustration, editorial, digital, logos and identity systems.
I like the big type on the front and last page because it's memorable, but I don't really like how you describe your work in general, as it sounds like your talking to a child. Saying things like 'Are the positives clear in my negative type? Created to represent good in bad', sounds a bit cheesy to me and make you sound like you don't have confidence in your work. I know where your heads at with it, but you need to sell yourself more. Maybe for the big type, look at Anthony Burrill's work for inspiration. The fonts he finds from old wood block type are really quirky.
Celine:
No problems Hazel, hope it wasn't too strong. Just think it's not worth sugar coating. It's a good sign that you're even looking for feedback. Keep ups the good work, and best of luck with your career.
Celine
x
Me:
Thanks Celine for such a detailed reply!
I definitely need to work on communicating confidence with my work... many others have told me likewise. I am currently working on a project to truely showcase the two areas which I am most interested in (layout and type) in one piece which hopefully will be a great addition to my portfolio and something I can be confident in showing to others.
I understand where you're coming from about as a graduate I will be doing the basics and will factor this into my future proposals and contact with professionals such as yourself.
Anthony Burrill is someone I hadn't looked into before but the image you sent with this email was perfect. The quote is brilliant and the typography is beautiful! Thanks for suggesting to look at his work.
I do have a Twitter account (@hazelgage) and am currently working on my own website which I hope to be up and running before the summer.
Thank you again, your feedback have been invaluable,
Hazel x
Thanks Celine for such a detailed reply!
I definitely need to work on communicating confidence with my work... many others have told me likewise. I am currently working on a project to truely showcase the two areas which I am most interested in (layout and type) in one piece which hopefully will be a great addition to my portfolio and something I can be confident in showing to others.
I understand where you're coming from about as a graduate I will be doing the basics and will factor this into my future proposals and contact with professionals such as yourself.
Anthony Burrill is someone I hadn't looked into before but the image you sent with this email was perfect. The quote is brilliant and the typography is beautiful! Thanks for suggesting to look at his work.
I do have a Twitter account (@hazelgage) and am currently working on my own website which I hope to be up and running before the summer.
Thank you again, your feedback have been invaluable,
Hazel x
Celine:
Hi Hazel,
O.K, so I've looked through your sample and, on the whole, I think it's great that I can see you have an enthusiasm for design and that shows in the work. However, and this is just personal preference, I think you need to tone the CV down a bit.
People want to see that you can do the job, which usually when you leave college means setting type, working with layouts and generally being at the beckon call of the dreaded art director. This art director will receive hundreds (literally) of these a year so, yes yours needs to stand out, but for the right reasons. You need to show that you can be trusted doing the basics. Show you know how to work with good photography, type, illustration, editorial, digital, logos and identity systems.
I like the big type on the front and last page because it's memorable, but I don't really like how you describe your work in general, as it sounds like your talking to a child. Saying things like 'Are the positives clear in my negative type? Created to represent good in bad', sounds a bit cheesy to me and make you sound like you don't have confidence in your work. I know where your heads at with it, but you need to sell yourself more. Maybe for the big type, look at Anthony Burrill's work for inspiration. The fonts he finds from old wood block type are really quirky.
Overall, be serious in your tone. If your work is fun and creative it will speak for itself. Don't be afraid to revisit projects with your CV in mind. This is a major selling tool for you so you need to slave over it and keep tweaking.
Try and show a couple more picks of the Ted Baker project, as I think this is strong and try and apply your typography project to something. Get a little book printed and photograph that, or animate it and show it on an i-pad. It will have more impact. Also, if you don't have one, get a website with your work on, a related Twitter account and start networking.
I think the 'Layout' page is good because it shows practical skills that an employer can use. Maybe expand on this. Then one or two more projects would be ideal and a page with your CV details – what year you're in, where you're studying etc
Hope this helps! I'm sure some of this might be a bit annoying but I thought I'd give you a warts and all analysis.
Celine
x
Try and show a couple more picks of the Ted Baker project, as I think this is strong and try and apply your typography project to something. Get a little book printed and photograph that, or animate it and show it on an i-pad. It will have more impact. Also, if you don't have one, get a website with your work on, a related Twitter account and start networking.
I think the 'Layout' page is good because it shows practical skills that an employer can use. Maybe expand on this. Then one or two more projects would be ideal and a page with your CV details – what year you're in, where you're studying etc
Hope this helps! I'm sure some of this might be a bit annoying but I thought I'd give you a warts and all analysis.
Celine
x
Friday, 22 April 2011
Smalls
This is brilliant! A great way to get yourself noticed and actively complete briefs set by studios. As they are limited to 140 characters it wont take long for the studios to set and it would show them alot about how he interprets the brief.
Using whatever media you feel appropriate tell us all the story from your birth to this brief, it can be as detailed as you wish.
The perfect breakfast.
"From the 14th March to the 12th May I will complete any short brief (small) set by people working within the creative industry. The only constraint to these briefs is that they are small, no longer than 140 characters in length and define a time frame to be completed in, either 1, 6 or 24 hours. Once receiving the brief, it will be entered into the calendar so you know when I will begin working on it. Updates on the various briefs can also be followed on the blog.
As a way of thank you for setting me a brief, my response will be posted to you within 48 hours from starting the brief.
At the end of the seven weeks my responses will be collated in the form of a magazine, Smalls (Issue 1). The second part of this project is to get a number of people from the creative industry to set a small, and pair these with young creatives willing to tackle them. These responses will form Smalls (Issue 2) and will form a collective of young creatives wanting to create an impression."
As a way of thank you for setting me a brief, my response will be posted to you within 48 hours from starting the brief.
At the end of the seven weeks my responses will be collated in the form of a magazine, Smalls (Issue 1). The second part of this project is to get a number of people from the creative industry to set a small, and pair these with young creatives willing to tackle them. These responses will form Smalls (Issue 2) and will form a collective of young creatives wanting to create an impression."
This is his calendar for April, really impressive!
Make Comic Sans cool
The letterhead is no longer a viable or relevant graphic design format. Announce its death to design students. It’s banned.
Using whatever media you feel appropriate tell us all the story from your birth to this brief, it can be as detailed as you wish.
Thursday, 21 April 2011
50 things to know
Great little post from Jamie Wieck...
44. If you’re going to fail, fail well.
Being ambitious means you have to take on things you think you can’t do. Failures are unfortunate, but they are sometimes necessary. #the50
45. Be an auteur.
Regardless of who you’re working with, speak up if something’s not right. Take it upon yourself to be the barometer of quality. #the50
46. Take responsibility for failure.
If a job’s going wrong take responsibility. It feels counter-intuitive, but responsibility means you can do something about it. #the50
47. Share your ideas.
You’ve nothing to gain from holding on to your ideas; they may feel precious, but the more you share, the more new ideas you’ll have. #the50
48. Get out of the studio.
Good design is crafted from understanding the relationships between things. These connections can’t be found when locked in a studio. #the50
49. Awards are nice, but not vital.
Awards look good on the shelf, but clients seldom pick up the phone because of them. Solid work encourages that. #the50
50. Don’t take yourself too seriously.
Take your work seriously, take the business of your craft seriously, but don’t take yourself seriously. People who do are laughed at. #the50
The 50
From speaking to friends, colleagues and recalling my own experiences I’ve complied The 50, a list of 50 things I believe every graphic design student should know on leaving college. Some of these points are obvious, others less so – but all are brief, digestible nuggets of wisdom that will hopefully go some way to making the transition from graduate to designer a little bit smoother.
From speaking to friends, colleagues and recalling my own experiences I’ve complied The 50, a list of 50 things I believe every graphic design student should know on leaving college. Some of these points are obvious, others less so – but all are brief, digestible nuggets of wisdom that will hopefully go some way to making the transition from graduate to designer a little bit smoother.
Share the 50
The 50 has been crafted to be shared, spread and debated. Each point has been synthesised intojust 140 characters (complete with a #the50 hash-tag) making them memorable and Twitter friendly. Tweet your favourites, share them on Facebook, and send this URL to your friends –The 50 needs to be seen by as many students as possible – because feedback is crucial for the next step…
The 50 has been crafted to be shared, spread and debated. Each point has been synthesised intojust 140 characters (complete with a #the50 hash-tag) making them memorable and Twitter friendly. Tweet your favourites, share them on Facebook, and send this URL to your friends –The 50 needs to be seen by as many students as possible – because feedback is crucial for the next step…
The 100
Ultimately I want to have 100 points in total. This list will no doubt throw up debate and I’m sure many will have questions and queries that have yet to be answered. So please email me, tweet me or leave comments and have your say on what the next 50 points should be, and together we’ll write The 100 – a condensed primer for students and graduates-to-be.
Thank you, I look forward to working with you.
1. You are not the first.
There are very few ‘firsts’ these days. Countless others have started studios, freelanced and requested internships. It can be done. #the50
2. There is always someone better.
Regardless of how good you are, there will always be someone better. It’s surprisingly easy to waste time worrying about this. #the50
Ultimately I want to have 100 points in total. This list will no doubt throw up debate and I’m sure many will have questions and queries that have yet to be answered. So please email me, tweet me or leave comments and have your say on what the next 50 points should be, and together we’ll write The 100 – a condensed primer for students and graduates-to-be.
Thank you, I look forward to working with you.
1. You are not the first.
There are very few ‘firsts’ these days. Countless others have started studios, freelanced and requested internships. It can be done. #the50
2. There is always someone better.
Regardless of how good you are, there will always be someone better. It’s surprisingly easy to waste time worrying about this. #the50
3. Success is not a finite resource.
College fosters a zero-sum mentality: that someone has to fail for you to succeed. In truth, another’s success doesn’t limit yours. #the50
4. You cannot score without a goal.
If you don’t know what you want, then how can you pursue it? Having a goal defines an end point, and subsequently, a place to start. #the50
5. Starting anything requires energy.
It takes more energy to start than it does to stop. This is true for physics, your career, and that idea you need to work on. #the50
6. The path to work is easier than you think.
To get into the industry you need just three things: great work, energy and a nice personality. Many forget the last attribute. #the50
7. Have a positive self-image.
Your self-perception is your most important asset. See yourself as the person you want to be and others will see this too. #the50
8. Get a clean, simple website up.
An online portfolio is the alpha and omega of your career. With a wealth of web services, there’s no excuse for not having a website. #the50
9. Curate your work.
Never stop editing your portfolio. Three strong pieces are better than ten weak ones – nobody looks for quantity, just quality. #the50
10. Listen to your instincts.
If your work doesn’t excite you, then it won’t excite anyone else. It’s hard to fake passion for mediocre work – scrap it. #the50
11. Make your work easy to see.
People are lazy. If you want them to look at your work, make it easy. Most of the time employers simply want to see a JPG or PDF. #the50
12. Hand-write addresses.
Clients, prospective employers and potential clients gravitate to letters with handwritten addresses. The personal touch goes far. #the50
13. Time is precious – get to the point.
Avoid profuse humour or gimmicks when contacting studios for work, they’ve seen it all before. Get to the point, they’ll be thankful. #the50
14. Never take an unpaid internship.
This is not necessary evil – a studio that doesn’t pay their interns (at least the minimum wage) is studio not worth working for. #the50
15. Do as many internships as you can stand.
Internships are a financial burden, but they are vital. They let you scope out the industry and find the roles that suit you best. #the50
16. Don’t waste your internship.
A studio’s work can dip, as can its energy. Ignore this and be indispensable, the onus is on you to find something that needs doing. #the50
17. Make friends with a printer.
A good relationship with a printer is invaluable – they will help you save money and the environment. #the50
18. Find your local D.I.Y. store and pound shop.
These places are invaluable resources of cheap and ready-made artifacts ripe for tinkering, re-decoration and re-contextualisation. #the50
19. Be patient.
It’s not unusual to complete several internships and not find ‘a good fit’. Try applying to a studio you hadn’t considered. #the50
20. Ask questions.
Assume nothing. Ask questions, even if you think you know the answers. You’ll be surprised at how little you know. #the50
21. Ask for opportunities.
It will feel cheeky, but ask for things. Ask to be included in exhibitions, magazines, pitches – if you don’t ask, you can’t get. #the50
22. Seek criticism, not praise.
You learn nothing by being told how great you are. Even if you think your work’s perfect – seek criticism, you can always ignore it. #the50
23. Make friends, not enemies.
The creative industry is a small world: it’s a network where everyone knows everyone else. Remember this before pissing someone off. #the50
24. News travels fast.
A good intern will find their reputation precede them. Jobs are nearly always offered on this word-of-mouth evidence. #the50
25. Don’t get drunk at professional events.
There’s a difference between being ‘merry’ and ‘paralytic’. The latter costs you your dignity, your reputation and possibly your job. #the50
26. Network.
There’s some truth in ‘it’s not what you know, it’s who you know’. Talk to people, send emails; at the very least sign up to Twitter. #the50
27. Dress smart – look business like.
Take your work seriously? Then take your appearance seriously. Clients are more likely to deal with people who look like they care. #the50
28. Never work for free.
Not only does this devalue the profession, but it makes you look weak. Even a ‘nice’ client will take advantage of this. #the50
29. Negotiate.
If you really have to work for nothing, negotiate. Clients and studios have access many resources that can be viewed as ‘payment’. #the50
30. Read contracts.
Never sign a contract before reading it. Subsequently, don’t begin any job without a contact – you may have to write one yourself. #the50
31. Make your invoice stand out.
Businesses are deluged in invoices. Make yours stand out with colour or shape and it’s likely to rise to the top of the ‘pay’ pile. #the50
32. There’s no such thing as a bad job.
Always push yourself to do your best. Logically, there’s no way you can be dissatisfied with ‘having done your best’. #the50
33. There’s no such thing as a bad client.
The onus is on you to make the client relationship work, not the other way around. If it’s not working out, ‘fire’ them as a favour. #the50
34. Embrace limitations.
Limitations are invaluable for creating successful work: they give you something to push against. From this tension comes brilliance. #the50
35. The environment is not a limitation.
The environmental impact of your work isn’t a fashionable consideration – as a creative, it’s your most important consideration. #the50
36. Boring problems lead to boring solutions.
Always interrogate your brief – re-define the question. No two briefs should be the same; a unique problem leads to a unique solution. #the50
37. New ideas are always ‘stupid’.
New ideas are conceived with no context and no measures of success – this falsely makes them feel silly, awkward or even impossible. #the50
38. Do not underestimate self-initiated work.
Clients get in touch because of self-initiated work. Ironically, business is excited by ideas untouched by the concerns of business. #the50
39. Justify your decisions.
Clients fear arbitrary decisions – they want problem solving. Have a reason for everything, even if this is ‘post-rationalised’. #the50
40. Show sketches, not polished ideas.
Clients often mistake ‘rough’ digital work for the final design. Show sketches for as long as you can, it makes them feel involved. #the50
41. Work with the client, not against them.
You may think you’re right, but look at the client’s solution along with yours. Occasionally you’ll be surprised. #the50
42. Don’t always take no for an answer.
Fight for superior solutions. Demonstrate your thinking to your client, take them through it – it’s hard to argue with logic. #the50
43. Pick your battles.
The creative industry is often infuriating, but not every argument is an argument that needs to be had. This takes time to learn. #the50
College fosters a zero-sum mentality: that someone has to fail for you to succeed. In truth, another’s success doesn’t limit yours. #the50
4. You cannot score without a goal.
If you don’t know what you want, then how can you pursue it? Having a goal defines an end point, and subsequently, a place to start. #the50
5. Starting anything requires energy.
It takes more energy to start than it does to stop. This is true for physics, your career, and that idea you need to work on. #the50
6. The path to work is easier than you think.
To get into the industry you need just three things: great work, energy and a nice personality. Many forget the last attribute. #the50
7. Have a positive self-image.
Your self-perception is your most important asset. See yourself as the person you want to be and others will see this too. #the50
8. Get a clean, simple website up.
An online portfolio is the alpha and omega of your career. With a wealth of web services, there’s no excuse for not having a website. #the50
9. Curate your work.
Never stop editing your portfolio. Three strong pieces are better than ten weak ones – nobody looks for quantity, just quality. #the50
10. Listen to your instincts.
If your work doesn’t excite you, then it won’t excite anyone else. It’s hard to fake passion for mediocre work – scrap it. #the50
11. Make your work easy to see.
People are lazy. If you want them to look at your work, make it easy. Most of the time employers simply want to see a JPG or PDF. #the50
12. Hand-write addresses.
Clients, prospective employers and potential clients gravitate to letters with handwritten addresses. The personal touch goes far. #the50
13. Time is precious – get to the point.
Avoid profuse humour or gimmicks when contacting studios for work, they’ve seen it all before. Get to the point, they’ll be thankful. #the50
14. Never take an unpaid internship.
This is not necessary evil – a studio that doesn’t pay their interns (at least the minimum wage) is studio not worth working for. #the50
15. Do as many internships as you can stand.
Internships are a financial burden, but they are vital. They let you scope out the industry and find the roles that suit you best. #the50
16. Don’t waste your internship.
A studio’s work can dip, as can its energy. Ignore this and be indispensable, the onus is on you to find something that needs doing. #the50
17. Make friends with a printer.
A good relationship with a printer is invaluable – they will help you save money and the environment. #the50
18. Find your local D.I.Y. store and pound shop.
These places are invaluable resources of cheap and ready-made artifacts ripe for tinkering, re-decoration and re-contextualisation. #the50
19. Be patient.
It’s not unusual to complete several internships and not find ‘a good fit’. Try applying to a studio you hadn’t considered. #the50
20. Ask questions.
Assume nothing. Ask questions, even if you think you know the answers. You’ll be surprised at how little you know. #the50
21. Ask for opportunities.
It will feel cheeky, but ask for things. Ask to be included in exhibitions, magazines, pitches – if you don’t ask, you can’t get. #the50
22. Seek criticism, not praise.
You learn nothing by being told how great you are. Even if you think your work’s perfect – seek criticism, you can always ignore it. #the50
23. Make friends, not enemies.
The creative industry is a small world: it’s a network where everyone knows everyone else. Remember this before pissing someone off. #the50
24. News travels fast.
A good intern will find their reputation precede them. Jobs are nearly always offered on this word-of-mouth evidence. #the50
25. Don’t get drunk at professional events.
There’s a difference between being ‘merry’ and ‘paralytic’. The latter costs you your dignity, your reputation and possibly your job. #the50
26. Network.
There’s some truth in ‘it’s not what you know, it’s who you know’. Talk to people, send emails; at the very least sign up to Twitter. #the50
27. Dress smart – look business like.
Take your work seriously? Then take your appearance seriously. Clients are more likely to deal with people who look like they care. #the50
28. Never work for free.
Not only does this devalue the profession, but it makes you look weak. Even a ‘nice’ client will take advantage of this. #the50
29. Negotiate.
If you really have to work for nothing, negotiate. Clients and studios have access many resources that can be viewed as ‘payment’. #the50
30. Read contracts.
Never sign a contract before reading it. Subsequently, don’t begin any job without a contact – you may have to write one yourself. #the50
31. Make your invoice stand out.
Businesses are deluged in invoices. Make yours stand out with colour or shape and it’s likely to rise to the top of the ‘pay’ pile. #the50
32. There’s no such thing as a bad job.
Always push yourself to do your best. Logically, there’s no way you can be dissatisfied with ‘having done your best’. #the50
33. There’s no such thing as a bad client.
The onus is on you to make the client relationship work, not the other way around. If it’s not working out, ‘fire’ them as a favour. #the50
34. Embrace limitations.
Limitations are invaluable for creating successful work: they give you something to push against. From this tension comes brilliance. #the50
35. The environment is not a limitation.
The environmental impact of your work isn’t a fashionable consideration – as a creative, it’s your most important consideration. #the50
36. Boring problems lead to boring solutions.
Always interrogate your brief – re-define the question. No two briefs should be the same; a unique problem leads to a unique solution. #the50
37. New ideas are always ‘stupid’.
New ideas are conceived with no context and no measures of success – this falsely makes them feel silly, awkward or even impossible. #the50
38. Do not underestimate self-initiated work.
Clients get in touch because of self-initiated work. Ironically, business is excited by ideas untouched by the concerns of business. #the50
39. Justify your decisions.
Clients fear arbitrary decisions – they want problem solving. Have a reason for everything, even if this is ‘post-rationalised’. #the50
40. Show sketches, not polished ideas.
Clients often mistake ‘rough’ digital work for the final design. Show sketches for as long as you can, it makes them feel involved. #the50
41. Work with the client, not against them.
You may think you’re right, but look at the client’s solution along with yours. Occasionally you’ll be surprised. #the50
42. Don’t always take no for an answer.
Fight for superior solutions. Demonstrate your thinking to your client, take them through it – it’s hard to argue with logic. #the50
43. Pick your battles.
The creative industry is often infuriating, but not every argument is an argument that needs to be had. This takes time to learn. #the50
44. If you’re going to fail, fail well.
Being ambitious means you have to take on things you think you can’t do. Failures are unfortunate, but they are sometimes necessary. #the50
45. Be an auteur.
Regardless of who you’re working with, speak up if something’s not right. Take it upon yourself to be the barometer of quality. #the50
46. Take responsibility for failure.
If a job’s going wrong take responsibility. It feels counter-intuitive, but responsibility means you can do something about it. #the50
47. Share your ideas.
You’ve nothing to gain from holding on to your ideas; they may feel precious, but the more you share, the more new ideas you’ll have. #the50
48. Get out of the studio.
Good design is crafted from understanding the relationships between things. These connections can’t be found when locked in a studio. #the50
49. Awards are nice, but not vital.
Awards look good on the shelf, but clients seldom pick up the phone because of them. Solid work encourages that. #the50
50. Don’t take yourself too seriously.
Take your work seriously, take the business of your craft seriously, but don’t take yourself seriously. People who do are laughed at. #the50
Oh bugger...
I am a bloody idiot. For some stupid reason I thought that Eight:48 was made by Form Fifty Five, which also ran Counter-Print. I have no idea how I made this connection, the only thing I can think of is the numbers in each of the companies.
Email from Counter-Print clearing up my mis-guided and somehow confused mind!
This is how we get in touch. I bought issies 1-4 of Eight:48 from Counter-Print and recieved this email and subsequent emails back...
Celine:
Hi Hazel,
Thank you for your order.
Your 4 newspapers will be posted out to you today.
If you have any queries please do not hesitate to contact me.
Kind regards,
Celine
PS. May I ask where you heard about us? I look forward to hearing from you.
Me:
Hi Celine,
I think I found alike on the Form Fifty FIve website... however I cannot find it now!
Just had another peek at your site and I love it! I will definately be ordering many more things from you in the future! I can't seem to find Elephant or Futu which are 2 magazine I am trying to get my hands on currently. Do you think in the future you would stock these?
Thanks,
Hazel.
Celine:
Hi Hazel,
Thank you for getting back to me. Sorry for me oh so late reply! We have been very busy over here!
If we come across the requested magazines I will get in contact with you.
Have a lovely weekend.
Kind Regards,
Celine
Me:
Thanks Celine, that would be great!
Is counter-print in conjunction with Form Fifty Five? I am interested about learning more about them and possibly getting some feedback on my work, as I am a Graphic Design student, anything like this would be amazing and so helpful to my future development.
Thanks for all your help, brilliant!
Hazel.
Celine:
Hi Hazel,
No we aren't anything to do with FormFiftyFive I'm afraid, what made you think that out of interest?
Sorry,
Celine
Me:
Oh sorry for the miss-interpretation!
Simply because you both have quite prominent links to one another on your sites, and on yours, not directly to others apart from blogs, apart from the link to Leterme Dowling on the left. Also that Eight:48 has a prominent positioning on the page and seems to be the only regular magazine that you stock.
I miss-understood, oops!
Hazel.
Celine: Hi Hazel,
In your original email you said 'FormFiftyFive', not 'Eight:48'.
I think this is where the confusion lies, as FormFiftyFive is another blog which we don't have anything to do with.
Yes, we are affiliated with Eight:48. It is our sister magazine.
Basically it goes like this… we run a design company called Leterme Dowling, that's the day job and pays the bills, we also set up Counter-Print to sell vintage books and Counter-Objects to sell prints, posters and stuff.
Eight:48 was set up as a sister magazine to Counter-Print and Counter-Objects, in which we would promote the work of people we admire and people we've met along the way. It's a bit confusing I know. Next year we want to streamline the whole thing.
Feel free to send your work to us at this address, and we'll let you know what we think!
Hope this clears it up,
Celine
x
Me:
Oh dear I am so sorry!
Email from Counter-Print clearing up my mis-guided and somehow confused mind!
Basically it goes like this… we run a design company called Leterme Dowling, that's the day job and pays the bills, we also set up Counter-Print to sell vintage books and Counter-Objects to sell prints, posters and stuff.
Eight:48 was set up as a sister magazine to Counter-Print and Counter-Objects, in which we would promote the work of people we admire and people we've met along the way. It's a bit confusing I know. Next year we want to streamline the whole thing.
Feel free to send your work to us at this address, and we'll let you know what we think!
Hope this clears it up,
Celine
x
Oh yeah... and it turns out Celine is Celine Leterme, Founding Partner.
I really haven't presented myself in the way I wanted when getting in touch with Professionals in this instance, but I have been myself and not false, she has seen the ditsy side of me and hopefully she isn't offended!
This is how we get in touch. I bought issies 1-4 of Eight:48 from Counter-Print and recieved this email and subsequent emails back...
Celine:
Hi Hazel,
Thank you for your order.
Your 4 newspapers will be posted out to you today.
If you have any queries please do not hesitate to contact me.
Kind regards,
Celine
PS. May I ask where you heard about us? I look forward to hearing from you.
Me:
Hi Celine,
I think I found alike on the Form Fifty FIve website... however I cannot find it now!
Just had another peek at your site and I love it! I will definately be ordering many more things from you in the future! I can't seem to find Elephant or Futu which are 2 magazine I am trying to get my hands on currently. Do you think in the future you would stock these?
Thanks,
Hazel.
Celine:
Hi Hazel,
Thank you for getting back to me. Sorry for me oh so late reply! We have been very busy over here!
If we come across the requested magazines I will get in contact with you.
Have a lovely weekend.
Kind Regards,
Celine
Me:
Thanks Celine, that would be great!
Is counter-print in conjunction with Form Fifty Five? I am interested about learning more about them and possibly getting some feedback on my work, as I am a Graphic Design student, anything like this would be amazing and so helpful to my future development.
Thanks for all your help, brilliant!
Hazel.
Celine:
Hi Hazel,
No we aren't anything to do with FormFiftyFive I'm afraid, what made you think that out of interest?
Sorry,
Celine
Me:
Oh sorry for the miss-interpretation!
Simply because you both have quite prominent links to one another on your sites, and on yours, not directly to others apart from blogs, apart from the link to Leterme Dowling on the left. Also that Eight:48 has a prominent positioning on the page and seems to be the only regular magazine that you stock.
I miss-understood, oops!
Hazel.
Celine: Hi Hazel,
In your original email you said 'FormFiftyFive', not 'Eight:48'.
I think this is where the confusion lies, as FormFiftyFive is another blog which we don't have anything to do with.
Yes, we are affiliated with Eight:48. It is our sister magazine.
Basically it goes like this… we run a design company called Leterme Dowling, that's the day job and pays the bills, we also set up Counter-Print to sell vintage books and Counter-Objects to sell prints, posters and stuff.
Eight:48 was set up as a sister magazine to Counter-Print and Counter-Objects, in which we would promote the work of people we admire and people we've met along the way. It's a bit confusing I know. Next year we want to streamline the whole thing.
Feel free to send your work to us at this address, and we'll let you know what we think!
Hope this clears it up,
Celine
x
Me:
Oh dear I am so sorry!
This is classic example of me miss-understanding things! I completely get it now, a huge thank you!
For some reason I thought Form Fifty Five made Eight:48. My brain probably made a strange connection because of the numbers... thats the only way I can explain it!
For some reason I thought Form Fifty Five made Eight:48. My brain probably made a strange connection because of the numbers... thats the only way I can explain it!
Ever so sorry but yes of course I would love your feedback! I am following Leterme Dowling on Titter and I was intending on emailing them soon with a sampler of my work.
Thank you once again for explaining everything, and again I am sorry for my stupidity!
Thank you once again for explaining everything, and again I am sorry for my stupidity!
Hazel.
Monday, 18 April 2011
Working format
Brillaint use of typography throughout their work... shame they are based in Canada!
"Working Format is a Vancouver-based design studio founded by Abi Huynh, Grace Partridge & Ross Milne specializing in graphic design, art direction and type design for print and screen. Working Format collaborates with creative agencies and clients throughout North America and Europe, producing a diverse body of work across cultural and commercial fields."
"Working Format is a Vancouver-based design studio founded by Abi Huynh, Grace Partridge & Ross Milne specializing in graphic design, art direction and type design for print and screen. Working Format collaborates with creative agencies and clients throughout North America and Europe, producing a diverse body of work across cultural and commercial fields."
Saturday, 16 April 2011
Studio sweet studio
Someone posted this on Facebook, great little resources for seeing how other designers work, however most of them do appear to be freelancers, it is good to see how other work in an environment.
Friday, 15 April 2011
APFEL feedback
Pretty limited but its nice to hear anything back at all! A little gutted that I have no feedback, especially when he has viewed my PDF, even a thumbs up or down. I will be sending out a thank you mail out to them anyways and hopefully another attempt via email later in the year, as I do bloody love their work!
Tuesday, 12 April 2011
25ah
This is the style I want for my own identity. Created by 25ah, unfortunately a Stockholm based brand identity studio. This identity was created for the Hairdressing salon “You Stockholm”.
Designer designed business cards?
Great article found on Design Assembly.
"I’m frequently asked this question by design students, and cut short by the paradox. In today’s digital age, designers have a plethora of ways to get their names out into the world: personal websites, design blogs, LinkedIn, Facebook, Twitter, etc. The idea of the business card has certainly become a bit antiquated, despite its significance. When I meet a designer for the first time—particularly a student, a junior designer, or an interviewee—leaving with a business card is a great token of memorability. In fact, the more personal the cards are, the more engaged I am, and the more likely I am to check out their work. But should they be ‘designed’?
In Ellen Lupton’s book D.I.Y.: Design It Yourself, she introduces ideas for business cards which can be done with readily available typography in Microsoft Word. This is spectacular way to polarize young designers and their beliefs about design, typography and computer programs. After all, it’s much easier to learn to use InDesign and Photoshop than it is to learn how to set elegant typography or, dare I say, come up with an actual idea. She went on to explain that business cards act as a portrait of oneself, and I could not agree more.
My cards become an extension of who I am, which ultimately embodies my spirit as a designer. And that’s difficult to accomplish, which is why I think some designers, especially students, fall back on unneeded die cuts, heaps of embossing, or oversized cards. Unless I have an awesome idea, or I’m a specialist in hand-lettering and/or illustration, focusing on making them cleverly simple is a challenge in and of itself. I can still create cards that feel like “me” without making them labored.
Below are some of my personal favorites; an eclectic collection of cards that are participatory, wildly flamboyant, highly conceptual, ridiculously tasty, or just plain funny. All are smart, all are beautiful, and all are supreme examples of what a designer can do when they turn up (or down) the volume. Unless you can rock them like this, I’d be careful with any embellishments."
I have no idea if this guy is serious... I kinda hope so for comic effect and maybe one day I will get to put his head in a toilet where it belongs.
"I’m frequently asked this question by design students, and cut short by the paradox. In today’s digital age, designers have a plethora of ways to get their names out into the world: personal websites, design blogs, LinkedIn, Facebook, Twitter, etc. The idea of the business card has certainly become a bit antiquated, despite its significance. When I meet a designer for the first time—particularly a student, a junior designer, or an interviewee—leaving with a business card is a great token of memorability. In fact, the more personal the cards are, the more engaged I am, and the more likely I am to check out their work. But should they be ‘designed’?
In Ellen Lupton’s book D.I.Y.: Design It Yourself, she introduces ideas for business cards which can be done with readily available typography in Microsoft Word. This is spectacular way to polarize young designers and their beliefs about design, typography and computer programs. After all, it’s much easier to learn to use InDesign and Photoshop than it is to learn how to set elegant typography or, dare I say, come up with an actual idea. She went on to explain that business cards act as a portrait of oneself, and I could not agree more.
My cards become an extension of who I am, which ultimately embodies my spirit as a designer. And that’s difficult to accomplish, which is why I think some designers, especially students, fall back on unneeded die cuts, heaps of embossing, or oversized cards. Unless I have an awesome idea, or I’m a specialist in hand-lettering and/or illustration, focusing on making them cleverly simple is a challenge in and of itself. I can still create cards that feel like “me” without making them labored.
Below are some of my personal favorites; an eclectic collection of cards that are participatory, wildly flamboyant, highly conceptual, ridiculously tasty, or just plain funny. All are smart, all are beautiful, and all are supreme examples of what a designer can do when they turn up (or down) the volume. Unless you can rock them like this, I’d be careful with any embellishments."
I have no idea if this guy is serious... I kinda hope so for comic effect and maybe one day I will get to put his head in a toilet where it belongs.
Build
Based in London...
"Founded in 2001, we are a London-based graphic design agency.
We believe in the importance of intelligent design, the integrity of original design,
and the virtue of beautiful design.
We believe exceptional design is all of these things.
And this is what makes people take notice."
"Founded in 2001, we are a London-based graphic design agency.
We believe in the importance of intelligent design, the integrity of original design,
and the virtue of beautiful design.
We believe exceptional design is all of these things.
And this is what makes people take notice."
I really like the work they are producing and that they do not have a set style, but work well to each brief.
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