Tagged: inspiration
promotional material
I particularly like the idea of creating an innovative takeaway as a form of physical promotion. After researching into creative business cards and printed matter, I’ve decided to create simplistic business cards that match my online identity and colour schemes. In terms of packaging, I was particularly inspired by this example of visual identity created by Swiss graphic design studio Badesaison for Metzg, a speciality butchery.
Their cohesive identity includes simplistic business cards in mini envelopes, notecards and paper, and matching food packaging. The themes of food I have incorporated into my current work mean I want to start thinking more about creative packaging as promotional material.
The Cook Book Zine by Olivia Park is a publication centred around food and cooking. Packaged in a small paper bag reminiscent of grocery, bakery or sweet shop bags, it features surprise inserts, for example, a small portioned bag of cereal. This made me think more about novel material and items I could use to create a ‘promo pack’ of sorts, if not now then in the future.
This ‘Box of Books’ by publishing press Tiny Splendor, consists of a screen printed pastry box holding 20 different mini zines by different artists. This could be an interesting way of presenting work, perhaps experimental pieces or mini projects as zines, and holding them collectively in a creative piece of packaging.
the physical portfolio: inspiration
I began researching into the presentation of physical portfolios to think about how I want to present my work physically. I have never wanted to use a typical portfolio folder, binder or box as I feel this better suits two-dimensional work or image-based pieces. The work I want to include in my graduate portfolio includes a selection of zines and booklets I have created, as well as some photography and other print-based work, so I want my portfolio to reflect my love of materials, printing and tactility. I started to look at innovative packaging for portfolios, for example, envelopes, bags or obscure packaging.
We Sow is a project by French graphic designers Léa Beaubois, Marion Cachon and Paul Faure, who ‘sow’ packages of printed matter throughout Lyon and Ghent, of reworked pieces of text in the form of pamphlets, flyers, zines or little scrolls of paper. The packages of risograph prints will be left on streets or in public places, or hidden and left to find by passers by.
Other forms of packaging that have inspired me include >>Robynne Redgrave’s portfolio<< which has a similar aesthetic, placing all elements of her portfolio and documentation into a transparent package, almost like an evidence bag or important piece of mail. I like the idea of using bulldog clips or other basic stationery fastenings, to allow the recipient to take apart the portfolio and look through it in whichever order they like; being able to look at items up close, touch them and turn them over.
>>This stationery packaging I discovered on Pinterest<<, (but unfortunately cannot find the original source or designer) uses playful links to food and eating, packaging a notebook in what looks like a takeaway box or lunchbox with a branded cardboard band around it. Linking this to the food/fashion concept of my final major project and where I would like my future work to go, I like the idea of using food packaging within a visual portfolio. (Even rolling up a CV or cover letter like a napkin could add to this effect?)
initial portfolio research/inspiration
I began my research into online portfolios by taking a look at some that I find visually inspiring or pleasing, by artists and designers that I admire, to see what elements I could use (or should avoid) for my own website development.
Marleigh Culver is a graphic designer and illustrative artist, and her online portfolio showcases the combination of these two disciplines. Her website is simple but colourful, mirroring the use of bold colour, shapes and type in her work. It doesn’t feature any unnecessary details, animation or extra pages, simply a description of the artist and her work, and pieces separated by clients/projects. Her about page is a chance to see a more in depth description, list of contact points/social media platforms, experience, clients and features. Her descriptions are humorous, giving a personal insight into the artist’s personality and life, e.g. “SHE SPENDS MORE WEEKENDS OUT OF TOWN THAN AT HOME AND HAS AT LEAST FOUR PROJECTS HAPPENING AT ONCE. HER SINK IS ALWAYS ROTATING DISHES FROM A LABORED DINNER OR BAKING SITUATION AND HER PLANTS KEEP EACH OTHER COMPANY WITH HALF FINISHED PAINTINGS AND KNICK KNACKS FROM ANTIQUE MALLS,” which is a creative way for visitors to the website to feel like they know the artist a little more, and get to know about other interests/activities they engage in.
I’ve followed photographer Chloe Sheppard’s work for years on Instagram and through various publications, but had never taken the time to view her portfolio. It is very simple in design, splitting photographs into projects or clients and viewing them in a slideshow – however I feel the titles on the sidebar are a little confusing – it would be difficult to find a particular piece of work on the website. None of the type stands out to separate it from each other, or highlight particular works above others. However, I do like the dramatic landing page when you first reach the website. A full screen slideshow of images appears, allowing you to enter the full website. I think that having an eye-catching entrance to the website could be something I can take on board, but also to make sure the entire site is cohesive and one page isn’t more impressive or polished than the others.
I love Grace Miceli’s childlike, girlish and humorous illustrations, and so I was interested to see how this could be presented on a polished digital platform. Her website is bold and simple, reflecting the nature of her work. Her homepage consists of large images which show a heading when hovered over, which I like as headings can sometimes ruin the aesthetic impact of a page, so hiding them until hovered over is something I’d like to incorporate. Her about page contains a short bio and email address, but also shows a link to her Instagram and online shop to promote her other platforms. She has also included a CV, which is useful as this displays the large number of exhibitions and publications her work has been a part of (this has made me think about whether I will need a CV or not on my website – I feel it is only particularly useful once you have enough experience or exposure to showcase).
brand identity and development with Teresa Havvas
T U T O R I A L : T E R E S A H A V V A S
My tutorial with brand consultant Teresa Havvas was particularly motivating and inspiring in thinking about what my project could become and where I want FILLER to go.
We discussed the existence of ‘feminist’ publications and decided to avoid categorising it as feminist/anti-fashion, and instead let it organically develop with things that inspire or interest me.
Feminist connotations I originally gave the word ‘filler’ can now also mean ‘filling’ the space in our heads/time. The publication could include powerful thinkpieces, not necessarily related to the ‘angry’ feminist discourse. We discussed the possibility of perhaps not putting out a call for submissions and instead focusing on the unknown, letting people be surprised by the content. Each issue could be a surprise in terms of theme, format, content and release date.
To progress with these ideas and allow my project to be a lot freer and organic in its development, I aim to take in everything around me that inspires me – visiting London to see more exhibitions as well as book stores to think about design, formatting and brand identity. I have a trip to Berlin coming up which will also be a great opportunity to collect inspiration (fashion, visual or otherwise) and allow me to collect research and ideas from different contexts and surroundings.
North: Fashioning Identity @ Somerset House
I visited the North: Fashioning Identity exhibition at Somerset House to collect ideas around how I can research within fashion and culture and curate a creative outcome. The exhibition was curated by Lou Stoppard and Adam Murray, and Lou Stoppard is a constant source of inspiration to me in the fashion journalism and curation world. The exhibition was a vast, detailed display of how the fashion and art industry has taken inspiration from the culture and history of the north of England.
The exhibition space was curated into sections that unpick different areas of how the North is depicted and drawn up – looking first at documentary and fashion photography throughout the ages that has featured recognisable symbols and stereotypes (architecture and landscape, ‘the quintessential Northern woman’ and the Northern family and lifestyle).
illustrator research
I researched emerging illustrators whose work would fit with the theme of my zine – work that focuses on life, vitality, positivity and mental wellbeing, to collaborate with the ‘Take Care’ campaign and design illustrative prints/posters that could be pulled out of the zine.