Self Initiated Brief - Accessorize

To create the retail graphics and branding for the Autumn / Winter collection, looking at products in store for inspiration on pattern, type, illustration and colour.

Designs for stands, tags, hangers, windows, floor and walls need to be considered, along with advertising and packaging.

Create something new and different which hasn't been done before, but can still be recognisable as that of Accessorize. 

A lot of primary research needs to be done in order to simulate branding. Research on past designs and collections is important so you know whats been done before.

IOM Brief - 12 / 10 - Food on the move packaging design

Food on the move

Benson Group, one of the UK’s leading privately owned carton printers, is delighted to be able to confirm its sponsorship for both the Schools and Student Starpack Awards for the third year running. The company is providing a £500 prize for the winning student. The company, with headquarters at Bardon, Leicestershire, produces carton packaging product for both the food and pharmaceutical industries for a wide range of UK and European customers. Food carton production facilities are based at Bardon, Gateshead and Newcastle. Pharmaceutical packaging production takes place in Crewe.

With our lives busier than ever, often the British consumer is required to eat whilst on the move. The High street is full of café shops and sandwich outlets offering cuisines from around the world as a grab and go lunchtime option.

The filled wrap has been a popular lunchtime option, but often the packaging is not inspiring and doesn’t show the product to its full potential. Individual cakes such as carrot cake and brownies have also grown in market share as a treat during the working day. Somehow the element of “a treat” is not communicated fully by the packaging.

the brief

This challenge is to redesign the packaging for a lunchtime wrap and an individual cake.

points to consider

1. Protecting the product from food factory to store and then to where the consumer eats the product.

2. Product visibility – allowing the consumer to see the product they are buying. Consumers buy with their eyes!

3. Easy to open – making the packs tamper evident in store, but then easy to open once purchased.

4. Sit within the food to go market, aimed at a target age of 25 to 40 years old.

5. Not use excessive packaging and be easy to recycle at the end of its use.

• Provide a model with graphics for both your wrap concept and your cake concept.

• Provide 3x A3 supporting development boards.

materials to use

Use cartonboard as the predominant material. Plastic film window material can be used to improve product visibility.

http://www.iom3.org/content/student-starpack-2012-brief-a-winners

To Summarise:

Redesign packaging for a lunchtime wrap and individual cake

could make a line / series different sizes and shapes

Consider product visibility

Easy to open

25 - 40 year old

Development boards

MEDIUM

IOM Brief - 11 / 10 - Premium end packaging for wine

Premium end packaging for wine

Logoplaste are leaders in plastic packaging, providing an overall service for packaging R&D, in-house production and quality systems, backed by technical support and advice.

An increasing numbers of wine producers and retailers are converting from glass bottles to alternative packaging.

the brief

Your challenge is to design and model a premium end packaging for wine to be filled into; moving away from the glass bottle; and one that offers a distinctive unique shape, using a suitable raw material.

points to consider

Wine is predominantly filled in glass bottles today but more and more wine producers are converting to plastic and carry-boxes.

• Does the packaging influence purchase? How much wine should it hold? Can the packaging be used again and support recycling?

• Does the design show practical consideration for the full supply chain?

• Safety – a move away from glass promotes health and safety on the production line, transportation and for the end user.

• Light-weighting saves money. • Marketing opportunities and a visual

‘shelf’ appeal.

• Shelf life of the product must be maintained or improved – product quality must not be risked.

• Environmental sustainability.

• A suitable closure that effectively gives the packaging that ‘wow factor’ whilst not compromising the above values.

materials to use

A suitable raw material.

To Summarise:

Design packaging for wine to be filled into
Move away from glass bottle
Unique shape
Use raw material
Recyclable ?
Practical
Light weight

HIGH

Tigerprint brief - 10 / 10 - Design a day

http://giftedcompetition.tigerprint.uk.com/the-brief-2012/

* THE CRITERIA

1) Sign-up and Register Online - your first step to showcasing your brilliance!
2) Download the template - a simple guide to make sure we keep things simple.

You must design to this size.

3) A Design A Day - literally! We will give you a different theme per day from the 27th June to the31st July, there will be fun things aplenty and lots to keep you inspired!

4) Create something amazing, wonderful, unique based on the THEME, whether you sketch, doodle, stitch, collage, paint, photograph, embroider, type, render, sculpt...... you get the idea, anything goes!

5) USE ONLY BLACK & WHITE or FULL COLOUR!! (NEW - Due to popular demand :) ) 

6) Submit your design - no two ways about it, you’ve got to be in it to win it! ( And please, please,please upload your files as instructed! -  your_name_theme.jpg )

Enter as many times or as little as you like, it’s free! So go for it!

The WINNER will be the designer who shows great creative, intuitive and innovative talent,
receiving £500 and a 3 month paid placement in our studio.

(Plus many more opportunities for freelance work, commissions and placements)

So what are you waiting for! Get yourself registered and if you're there, head over to the Gifted Competition stand (S2) at New Designers!

To Summarise

Pick a theme to do a 'design a day' project

Could be a hand rendered type project

A range of media

either black and white or colour

Create a media for my design to be put across

HIGH

Tigerprint brief - 9 / 10 - M&S Giftbag

To Summarise:

To create a M&S gift bag

I could create a theme

Create a series of shapes and sizes for bagging different products

HIGH

Tigerprint brief - 8 / 10 - Christmas at M&S

 The Brief

Using your unique style, flair and creativity, design one (or all!) of the following products for Tigerprint’s 2012 Christmas range.

Combine commercial awareness,
Christmas trends and innovation to create the perfect “Gift of Christmas”.

One winner in each category will receive a cash prize of £500,

plus a 2 week placement in the Tigerprint studio; the winning designs will also be sold inMarks and Spencer stores nationwide.

To Summarise:

Card, cracker and decoration design (work as a series or pack)

I could create a them , do a range of series, the advertisement material

HIGH

ISTD Brief - 7 / 10 - 100 - 2010

100

If you live to be one hundred years old in the United Kingdom you should receive a birthday card from the Queen. If you are the fastest person on earth it is because you have run 100 metres faster that anyone else and, if you get 100% in the assessment of this project – you are (to say the least) an excellent typographic designer. 100 is a benchmark for achievement.

The decimal system is integral to how we lead our lives but 100 has a certain aura – it is a special number. Similarly the word century has an historic significance. The Romans organised their troops into centuries of up to 100 men, with a centurian in charge of them. We distinguish dates and history by centuries and a century in cricket merits special applause as does a player’s 100th goal for their team.

The Brief

You are required to interpret the number 100. Widely available research resources offer you reference and data that offer a broad spectrum of opportunities. Content could be educational, explanations of events, historical or social discoveries or developments, sporting records or achievements. We want to see an innovative idea that not only intrigues us but also informs us.

Choose a format that is appropriate for your subject matter and your target market. You could create a timeline in a broadsheet, a time-based piece, a website, a series of booklets/leaflets, a part-work or a complete publication containing all the content.

The main criteron is that your design should reflect the significance of the number 100 and that you express clear typographic control of the navigation of the information content.

Target Market

Define your market, and how you will target it, in your Strategy.

Requirements

• Research and Development • Strategy • Specifications/Grid(s) • Dummy/Prototype(s)

• Presentation

To Summarise:

The meaning of 100

Research

Content upto you

Choose a format suitable for chosen target market

Typographic control of the naviagtion of the information content

HIGH

ISTD Brief - 6 / 10 - 'Doing my nut in' Publication 2008

Doing my nut in ...
Print or Screen Project

‘... whenever people begin to talk about their own language, they all have something to offer – favourite words or sayings, dialect anecdotes and observations, usage likes and dislikes.’ David Crystal, The Cambridge Encyclopedia of The English Language, Second Edition, 2003

This project is a further celebration – of language in its local* forms. It is a theme that we regularly return to as a fundamental typographic focus – how we use words to communicate. You may consider the vernacular, the slang, the argot of a specific location, area or group and typographically express the meanings and, if possible, the derivation of the phrases.

Similarly it may interest you to consider how phrases are interpreted in different languages. Is there, for instance, a Spanish or Dutch equivalent to ‘it’s doing my nut in’? Maybe we are using translations of phrases that originated in other languages, without knowing their provenance. We use a saying that translates into English from its original Arabic as ‘The straw that broke the camel’s back. With interesting variations it translates into –

Spanish Dutch German

la gota que colma el vaso the drop that spills over the glass. de druppel die de emmer overloop maakt the drop that makes the bucket overflow der Tropfen, der das Fass zum Überlaufen bringt the drop that makes the barrel overflow

Extend this research and you could examine the variations in punctuation between languages and the impact on typographic usage. Whatever approach you adopt must visually stimulate and inform the reader. * Local could be where you live – Barcelona, Bournemouth, Belfast, Brisbane, Bloemfontein, Beirut . . .

The Brief

Design a publication or screen-based piece that uses at least six examples of your chosen area of language usage and typographically interprets – and celebrates – their richness. Incorporate informative text with each example or combine these as a summary that covers all examples. This must express a typographic hierarchy and continuity through layout. The format is your choice – book, broadsheet(s), website, DVD... but must reflect a consideration of production opportunities.

Target Audience

Designers, design students and lovers of language

Requirements • Dummy/Prototype – Refer to Requirements

– Text–RefertoRequirementsandAssessmentCriteria. • Research and Development/Grids – Refer to Requirements and Assessment Criteria. • Specifications–RefertoAssessmentCriteria. • Strategy – Refer to Assessment Criteria.  • Presentation – Refer to Requirements and Assessment Criteria.

To Summarise:

Language and Dialect research project

Typographic Focus

Slang, phrases of a location

How its translated across into other languages

Publication

atleast 6 examples of chosen area of language, celebrating its richness

Incorporate informative text

Book

Target audience: Designers, students and language lovers

HIGH

ISTD Brief - 5 / 10 - Collection - 2008

Collection

Print or Screen project

Stamps or badges, kitsch souvenirs or tin toys, postcards or sweet wrappers. For the visually aware these things are a delight to collect and serve as useful reference and inspiration for the designer.

Aspects of colour, typeforms and idiosynchratic design provide nostalgic references to the quirkier aspects of life and commercial goods. These things make interesting and sometimes historical collections.

The Brief

This challenge is to design a catalogue for your collection. Consider this as an information system and apply the necessary logical clarity to inform as well as enthuse and delight the reader.

As an information retrieval system a catalogue records, dutifully and in detail, an inventory of any number of objects or products, stating size, weight, colour, price or whatever set of vital statistics you feel is relevant to the objects.

Roles and hierarchy of information, typographic clarity and coherent layout are key elements of this brief.

The format of your catalogue can be very liberally interpreted. You might for instance, choose to express the collection as a wall-chart, book, brochure or in a screen-based format. However, you should research, consider and address the norms of catalogue information and captioning. A presentation container for the collection is required.

Target Market

Collectors, Archivists, Designers, Artists . . .

Requirements • Dummy/Prototype – Refer to Requirements

– Presentation Container – The proposal for a presentation container should be submitted with the dummy/prototype.

• Text – Refer to Requirements and Assessment Criteria. • Research and Development/Grids – Refer to Requirements and Assessment Criteria. • Specifications–RefertoAssessmentCriteria. • Strategy – Refer to Assessment Criteria.  • Presentation – Refer to Requirements and Assessment Criteria.

Please ensure that you cross-reference this project brief with the ‘Requirements’ and ‘Assessment Criteria’ sheets.

To summarise:

Design a catalogue for chosen collection

Presentation container

Nostalgic elements

state all specifics about each product

Target Market: Archivists, designers, Artists

HIGH

ISTD Brief - 4 / 10 - Exhibition 'Type Factory' 2009

TYPE FACTORY

The Type Factory is a new museum and gallery space being developed in a location of your choice. Offering an exciting resource and experience for designers, school-children and discerning tourists, its mission is simple: it aims to inform and enthuse its visitors about all aspects of type and to promote all things typographic. The factory will house a range of artefacts and displays that demonstrate the history of type and typographic design, while the gallery space will host temporary exhibitions of contemporary type design and typography and offer a venue for talks by some of the leading advocates of design as well as emerging talent.

The factory will also house a café and book- store which will encourage visitors to meet, share their thoughts and aspirations.

The Brief

Design a visual identity and range of promo- tional materials. You may use Type Factory as the name or create an alternative.

The identity must capture the essence of the experience that the visitor will have. You should express its use across an appropriate range of applications and show how it will work across media. Rather than specify the uses, we want you to consider the best range of uses – signage, web pages, display panels, ambient media . . . the choice is also an opportunity for an innovative approach to presentation.

Promotional material for print submissions should include a booklet that will be used to promote the venue. This should include treatments for cover, venue information page(s) and at least three spreads. Local outdoor advertising requires a poster – at least 4 sheet size (present a scaled-down version with images of its use in possible locations).

Screen-based submissions could be a website which would include the identity, appropriate information, examples of promotional events and merchandise and equate with the volume of print requirements.

Target Market

Designers, school-children, tourists

Requirements

• Research and Development • Strategy • Specifications/Grid(s) • Dummy/Prototype(s)

• Presentation

Cross-reference this project brief with the ‘Assessment Criteria’ sheet.

Submissions will only be accepted in one robust portfolio no larger than a2.

To summarise:

Type factory is a museum and gallery space

location your choice

aims to inform and enthuse its visitors about all aspects of type and to promote all things typographic

gallery will house a range of displays demonstrating history of type and typographic design

Exhibitions housed

venue for talks

Design:

Visual Identity and range of promotional materials

Identity to capture esence of experience

applicate it across range of media

consider best ranges to use e.g signage, web pages, display panels, ambient media

Print material - booklet to promote venue - cover, venue info, atleast three spreads

local outdoor advertising - poster, 4 sheet size atleast with scaled down version

Website - identity, events, merchandise, 

Target Market - Designers, children, tourists

istd2009type|layoutspecifications1 International Society of Typographic Designers

Gutter

4mm

Caption

8 pt Foundry Sans Italic 10pt body/2pt leading colour: 100% black

Head margin

15mm

Folio

6 pt Foundry Sans Demi colour: 50% black

Rule

4pt x 3 column colour: 50% black

Heading 1

36 pt Times Italic 3 column measure colour: 100% black

Paragraph

3-line drop cap Foundry Sans Demi colour: 100% black

Body Text

9pt Foundry Sans Normal 12pt body/3pt leading Ranged Left 57mm measure

3mm paragraph indents colour: 100% black

Heading 2

9pt Foundry Sans Demi 12pt body/3pt leading colour: 100% black

Demonstrate your use of all typo/graphic elements in your layouts by detailing their use through annotated specifications. The diagrams below and on the following page give guidelines for possible methods of annotation.

Grids should detail all measurements of your document/screen grid – horizontal and vertical grid spacing (margins and gutters). The sample below shows the use of the baseline grid. This is not mandatory. Column/text block measures should be included.

Typo/graphic Specifications should detail your use of type/glyphs and other graphic elements. The main focus is your typographic treatment of texts – particularly the hierarchy of information. Consider, for instance, your

Running Headline

6 pt Foundry Sans Normal colour: 100% black

detailing for headlines; sub-heads; body text; cross-heads; standfirsts; call-outs; captions; headers; footers; folios; bullets; rules; fleurons and any other typographic devices that may be used. In all instances give the size, body/ leading, weight and colour.

Media differentials will determine the appropriate information for your specifications. The list above relates to print-based matter. Your specifications for screen-based type should include the appropriate information and terminology for that medium.

Type and lettering used as illustrative matter need not be specified.

HIGH

ISTD Brief - 3 / 10 - 10 things you should know about - Publication 2009

10 THINGS YOU SHOULD KNOW ABOUT ...

The basis of this project could be the Dewey Decimal System with which you have become closely engaged during your study – we trust. However we are using its principle of classifica- tion of subjects into divisions and sub-divisions of ten rather than its application for organising your library.

We want you to consider the publication (through print and/or online) of a source of information on a series of subjects – not encyclopaedic – that will simultaneously inform and enthuse its users.

The Brief

You are going to publish under the title

10 things you should know about . . .

using one of the following 10 categories –

relevant to the understanding of the subject and must express the hierarchy of information.

In addition to your main piece, design two other covers in the category, plus a folder or container for point-of-sale and/or mailing. Similarly if you propose a partwork strategy, consider some- thing that will contain all 10 items within the category.

Alternatively, a web-based approach could use its inherent hierarchical structure to develop a resource that could even adopt a wiki approach for development – the choice is yours. However, the strategic and visual strengths of the proposal are our main focus – not programming.

Although the use of illustrative material is encouraged to, firstly, increase visual interest and, secondly, to make aspects of the facts easier to understand (particularly tactics or rules) the way typography is used to create an interesting visual publication should remain your main focus.

Target Market

Teens onwards

Requirements

• Research and Development • Strategy • Specifications/Grid(s) • Dummy/Prototype(s)

• Presentation

Cross-reference this project brief with the ‘Assessment Criteria’ sheet.

Submissions will only be accepted in one robust portfolio no larger than a2.

Dewey Decimal System

10 things you should know about....

in addition to main piece design 2 other covers plus folder or container for point of sale

consider something that will contain all 10 ites within the category

HIGH

ISTD brief 2 / 10 - Annual Report brief

Not just another Annual Report . . .

Print project

The documents known as Annual Report and Accounts are published by companies required by law to submit an audited set of profit and loss accounts, together with details of income and expenditure. These are normally published at the end of the financial/fiscal year. Copies are sent to all shareholders as well as Companies House, where they can be inspected by the public. The Report will also include statements from chairman and directors which tell shareholders how the company has performed over the last twelve months and what they expect to do, in terms of business development and growth, in the coming year.

Traditionally, the presentation and design of Annual Reports have been very staid and ‘corporate’ in approach. At one time, it was considered the norm to produce them with a royal blue cover – so everyone did. As a result, this ‘accepted’ way to present the information produced many that were visually similar, with little character or personality.

Reports may be heavily illustrated, showing anything from manufacturing processes to exotic export locations and many, sometimes unintelligible, graphs! They may have pages and pages of dull text and images of grinning employees and may also be reliant upon an (un)healthy use of stock ‘business images’!

The approach to the publication of the Annual Report has changed. It is now seen as a vehicle for, not only presenting the legally required information, but also for reinforcing a company’s positioning strategy in the global market – as well as its public face.

The Brief

Design a company Report and Accounts that breaks away from the sterotypical – something more creative and individual – something with flair.

Choose an organisation or business. Alternatively, take a commodity such as wood, soap, metal, elctricity, oil, water, plastic, paper, paint, rubber, cloth... and develop a document focused on that particular industry.

Target Market

Shareholders/Financial world

Requirements • Dummy – Provide a client-quality, bound, dummy of 16 pages plus covers. The content

of the pages is for you to determine, but one double-page spread must clearly show your intended treatment of typical, required financial information. Data for this should be sourced from existing report(s) and be acknowledged in your Strategy. Size, format, materials and production factors are open to your choice but should be demonstrated in the dummy.

• Text – You are required to incorporate at least 500–1,000 words of text matter into your design. This must be formatted to express a typographic hierarchy (subsequently detailed in your Specifications).

• Research and Development/Grids – Refer to Assessment Criteria • Specifications–RefertoAssessmentCriteria. • Strategy – Refer to Assessment Criteria  • Presentation – Refer to Assessment Criteria 

To summarise:

A report

16 page bound

Content determined by me

One double page spread must show intended treatment of typical required financial information

Data should be sourced from existing report

500 - 1000 words

no

ISTD Brief - 1 / 10 - tu, Brute? Shakespeare Typographic Publication 2007

tu, Brute?

Print project

Take a look at the ampersand in the title above. What do you see? The quote, of course, comes from Shakespeare’s Julius Caesar . . . ‘Et tu, Brute?’ The ampersand is an adaptation of the Latin word et (meaning and), the transformation of which can be seen where the ‘e’ and the cross of the ‘t’ are ligatured. Further research reveals that the ampersand character is sometimes called the Tironian sign, named after Marcus Tullius Tiro (a Roman slave and later freedman of Cicero) who invented an early form of shorthand. Asterisk, ellipsis, diphthong, double-daggers, etc are other typographic characters with equally interesting backgrounds.

Research into the derivation of words in contemporary language makes for fascinating study, revealing streams of information that link, sometimes disparate, seemingly unconnected, treasures of information. The world of typography is full of fascinating, mysterious words and phrases, traditions, histories and characters (both human and typographic) that populate nearly six hundred years of practice.

The investigation of the history of ‘printing types’, for example, leads us to a series of inter- connecting facts, ie The Great Fire of Chicago 1871 – destruction of Marder Luse & Co type foundry – Nelson Hawks – establishment of Anglo-American point system. Another example might be ‘Gill Sans’ – Eric Gill – Edward Johnston – Johnston Typeface – London Underground – Harry Beck and his famous map.

Any one or a combination of the examples above could form the basis for an informative typographic treatment in a publication.

The Brief

Design a ‘collectable’ publication, a light-hearted reference work which takes cognizance of the world of typographic practice, both historical and contemporary. An encyclopedia/almanac/ lexicon – a compendium of typographic miscellany? Call it what you will and surprise us with what you can unearth!

Target Market

Those with a discerning eye for good typographic practice – professional graphic designers, typographers, educators, design students, etc.

Requirements • Name – Create a title for the publication. • Dummy – Provide a client-quality, bound, sixteen page dummy of your proposal.

Cover and end-papers, if proposed, will be in addition. Size, format, materials and

production factors are open to your choice but should be demonstrated in the dummy. • Poster – Design a collectable poster to accompany the publication. Size/format at your

discretion, but the final submission should be within the confines of an A1 sheet – you may

wish to consider long and thin, portrait/landscape, square, etc • Research and Development/Grids – Refer to Assessment Criteria • Specifications – Refer to Assessment Criteria. • Strategy – Refer to Assessment Criteria  • Presentation – Refer to Assessment Criteria

To summarise:

Design a collectable publication focusing on the history of type

Light hearted to typographic Practise

Historical and contemporary

Target Market : professional graphic designers, typographers, educators, design students, etc.

Create a name for publication

!6 page, bound dummy for client covers and end papers

Poster - Collectable poster to accompany publication - A1 largest

MEDIUM