OUGD502 - SB02 - Research

OUGD502 

SB02 

Research

Existing design

Neon signage encased in plastic/glass/acrylic to  make more hardwearing

Colour coded departments

human interaction with wayfinding

Digital wayfinding that responds to the person. Like alexa/siri/amazon dot. if a student asked where a certain room it would respond with verbal directions while also giving an arrow in the correct direction and changing colour to match that specific department.
Could also include a projector to show students work on walls. Instead of having to print off work, just upload to system and they would become part of a slide show.
Interactive system

Lighting defines the colour of the department instead of coloured walls / block colours. This keeps the design clean and avoids over whelming. Subtle.



Neon 

Back lit
inspiration quotes (instagram, get the uni recognised on social media)
The power of social media, gets the school recognised. A better known university will help with graduate employment and work recognition. 

Idea 1
14 Courses and student services
15 colours, each colour will relate directly to a course.

Red
Orange
Yellow
Green
Dark Blue
Light Blue
Indigo
Violet
White

Not enough neon colours for each course.

Idea 2
Each floor has a white neon number relating to that floor. 
Each course has their own colour relating to a light spectrum 

Floor -1,  Blues (film making, fashion branding and communication) Sophie
Floor 0,  Purples (Fine Art, comic and concept art) Stret
Floor 1, Orange / yellow (Creative Advertising, Animation) Emma
Floor 2, Reds (Fashion Design, Printed textiles) Lorna

OUGD502 - SB02 - Considerations and requirements

OUGD502

SB02 

The Brief 

This brief is to create a wayfinding and imagery for the building and the various courses and facilities. 

The work should cover all areas of this wayfinding and human interaction and will be to proposal level. A rationale of who and where we can connect with staff, visitors and students.

Consider BIG IDEAS and try to be innovative, creative in all areas. As mentioned, manufacturing is NOT essential, concepts that cover the brief in the most 'fresh' creative and reasoned way.


Requirements
Evidence of research into appropriate online social/professional/creative networks.

You must make reference to the module resources materials, books and web sites to demonstrate your understanding of basic marketing and business principles.

You should ensure that any material, discussions and reflections generated during taught sessions, workshop and group critiques are evidenced for assessment.

Considerations

• What skills and services do you have to offer individually and as a group?
• Who is your target market?
• What form will your showcase take?
• What are your costs, charges and financial considerations?
• How will you structure your collective?
• Who will be responsible for what?
• How will you promote your showcase? To who? Using what media?
• Is it set in a physical location ? then where?
• How will you manage communication through the group
•  All areas of interaction
• Human Iteractions (connection with staff, visitors and students)

Deliverables

A 10 minute Deck/pdf or similar presentation (including 3 minutes of Q&A)

Appropriate visual aids and printed material to support your presentation.

Evidence of the research and development of your presentation and visual material should be posted to your PPP blog and labelled with the module code. You should also post pdf versions of your presentation, notes and handouts to your PPP blog. Please save a PDF for submission.

Jobs:
Research (Existing designs, different texture, how plants will be used, number of colours/textures, human interaction with wayfinding,  recycled materials from courses - primary research) (Sophie and Lorna)
Methods of productions (how interchangeable signs will be made, what materials will be needed, prices of neon lights) (Stretton)
Contracts (Emma)

Lorna
Existing design
Neon 
human interaction with wayfinding,

Sophie
Textures / recycled materials 
How plants will be used

Plan: meet on Friday

OUGD502 - Copyright

 OUGD502

 Copyright

No one company, studio or agency can claim the work as their own unless they have a signed copyright document.

Never breach another's copyright, it can cost a lot of money and can damage your reputation. 

Your work is under protection as soon as you have created it. (keep all your work files) and is fixed in a tangible format that is perceptible either directly, or with a device or machine. 
Meaning anything like a website, image, photograph or video etc. is protected by your copyright and does in actual fact NOT need to display the copyright mark. The copyright is ‘implicit’ in it’s creation. 

YES it is protected. (If you have a recorded instance of creating it…on a blog, a dated file, an email etc). 

Why?

you can only use other peoples work when the copyright has expired or under public domain.

Public Domain:
Generally speaking, artworks fall out of copyright and enter the public domain in the UK 70 years after the death of the artist. or 75 - 90 years after creation.

Expectation:
Sound recording, broadcasts, cable protected.

Artworks that are made in an industrial process and marketed in sufficient numbers may only be protected for a shorter period of 25 years.

Copyright in typographical arrangements of a published edition lasts for 25 years from the end of the year in which the edition was first published. 


Limitation:
Facts
Conceptual ideas not expressed in a tangible forms
public domain
Expired iteams

Reproduction Rights
YOU own both the copyright AND the rights to reproduce your work.
What it is reproduced on. On anything sold with your work applied. 
International reproduction. 
Indemnity from those who incur you legal costs. ie: A child chokes on an item that carries your work. Bankruptcy of the users. 
All advance payments of work cancelled to be retained.
 The right to have books audited on company failure. 
No sub licensing of your work without permission and fee. Retention of all original works (if agreed)

Licensing your work: 
In some cases you may be asked to ‘licence’ your work. ie: A stock illustration/image/design on which you may wish to retain the copyright.
You can ‘limit’ the license you allow to that of single use, meaning that they can use it for a single time, as opposed to using it on printed material, website and say, exhibitions as well. This mean you license and gain a fee for each use. 
See: www.copyrightservice link website for full details

“If I paid for it… …I must own it?” 
Because you ‘physically’ own the work, it does NOT mean they intellectually own it automatically unlessYOU have it assigned in writing to them.

On your invoice you may express your willingness to assign copyright on the point of ‘FULL AND FINAL PAYMENT’ of your invoice, meaning, until you are in receipt of all owed funds, you still hold copyright. (Suggesting they can not use it without a potential copyright breach.)

This in my view should be an integral part of your ‘terms and conditions’ for your creative practice.

OUGD502 - SB01 - Responses from Australia

OUGD502 

Responses from Australia

Confetti Studios

Lorna, thanks a bunch for your letter in the post. 

Unfortunately we’re not hiring at the moment but we’ll keep your details on file.

Feel free to check back with us at any time.

Hope all is well in rainy england.

Tomas Shanahan

Director

OUGD503 - Australian Placement

OUGD503

Australian Placement

If possible I would like to do a placement in Melbourne, Australia over the summer.

I began researching agencies I would like to work for. 

I thought it would be a good idea to send a letter by post, including a screen print. The hope was this would make me more memorable and stand out against the huge amount of emails an agency must receive. 

I wrote to 10 agencies. 

Studio Brave
Point of Contact: Tim Sutherland
Email: hello@studiobrave.com.au

Studio Brave

Confetti
Point of Contact: Tom Shanahan and Kevin McDowell
Email: info@confettistudio.co  or  applications@confettistudio.co

Confetti

Motherbird
Point of Contact: Jack Mussett, Chris Murphy and Dan Evans
Email: Work@motherbird.com.au  or  studio@motherbird.com.au

Motherbird

SeeSaw
Point of Contact: Matthew McKenzie and Anita Ryley
Email: hello@seesaw.co.au

SeeSaw

Alter  
Point of Contact: Jonathan Wallace
Email: folios@alter.com.au  or  alter@alter.com.au

Alter

Design by Bird
Point of Contact: Luke Carson 
Email: studio@designbybird.com.au

Design by Bird

Liquorice
Point of Contact: Scott Bonanno
Email: enquiries@liquorice.com.au

Liquorice

Love and Money
Point of Contact: Charl Laubscher
Email: hello@loveandmoney.agency (see website) 

Love + Money

Studio Round
Point of Contact: Michaela Webb  or  Bianca Georgiou
Email: bianca@round.com.au

Studio Round

A Friend of Mine
Point of Contact: Suzy Tuxen
Email: us@afom.com.au

A Friend of Mine

In my letters I used a letter head that is part of my brand identity. I also included a screen print.

Screen Print Positive

I have yet to receive a response from any of the studios. I will send follow up emails within the next 2 weeks.

OUGD502 - Getting Paid

OUGD502

Getting Paid

1) Write out an estimate. An estimate is fluid, quotations are legally binding.

2) Explain as a new client, your terms are 50% up front with a purchase order required.

3) The balance on supply of final files

4) Copyright will be released on FULL and final payment

5) Any additional work will be charged at £?? per hour and that they would be informed before doing any more work.

6) Kill Point. A project shall be 'killed' before completion, all files will remain chargeable to that point.

OUGD502 - SB01 - Joshua Noom

OUGD502 
SB01

Joshua Noom

Joshua Noom is an Illustrator and designer from Florida. His work if hand drawn, with an organic feel. I have been following him on social media for many years and really appreciate his style. 

Interview via email

Initial Email:

Hi Joshua,
My name is Lorna Milligan, I am currently studying Graphic Design at Leeds Arts University. As part of my personal and professional development I would love to do a short interview with you, to find out how you got into the creative industry and to chat about your career so far and where you envisage it in the future. I am a big fan of your style of illustrations and typography. It would be great to know a little more about how you got involved with these projects.
Thanks,
Lorna.

Response from Joshua:

Hey! 

Thats awesome. Yeh, I'd be happy to help. I cant promise I'll have the best answers, I'm still trying to figure some of this stuff out for myself haha. 

Interview:

Cool, here you go:

Where did you study and what were some of your first jobs?

I studied at a local technical school in the area. It was a 2 year course and walked away with a certificate in Commercial Art, which I'm pretty sure means nothing hah. My first and only design job, other then freelance, was working for an automotive advertising agency. I was the guy putting together those horrible looking car ads that you seen in the newspaper. 

How did you develop your style as an illustrator and what tips would you have for others?

I think the my style has just kind of developed over time and I think it will probably keep evolving. After many attempts of trying new things and figuring out what works for me and what doesn't work for me, I've just kind of ended up here hah. 

Only advice I have would be to just keep working away. Try new things, until you find that thing that's fun. and you're kind of good at, then just run with it.

Where do you take your inspiration from and are there any designers out there right now that you really admire?

 I think you can find inspiration anywhere you let it. I try to pull inspiration from music and other art, but I think its best when it comes while just hanging out with my wife or with friends.

For sure, there are some many excellent designers out there. The obvious ones that come to mind are the groups like LAND or Young Jerks. But i've also been getting into the illustration side of things a little more, and one guy that I've really been diggin' is Mark Conlan.

What work excites you the most?

The work that excites me the most is probably the work that comes naturally, when it just kind of flows and I didnt have to stress or try too hard to put something together. That's always the best.

Do you have any advice for students or recent graduates?

It would probably be similar to my earlier advice.  Just keep at it. The more you put into the more you are gonna get out of it.

What would you like to achieve in 2018?

Well, its nothing crazy, but in 2018 I'd love to have the opportunity to work on some skate decks haha, I think that would be such a fun project to be a part of.

OUGD502 - SB01 - Interview Questions

OUGD502

SB01

Interview Questions

Interview questions were inspired by existing interviews on youtube and interviews with individuals and studios on The Design Kids.

Where did you study and what were some of your first jobs?

How did you develop your style as an illustrator and what tips would you have for others?

Where do you take your inspiration from and are there any designers out there right now that you really admire?

What work excites you the most?

Do you have any advice for students or recent graduates?

What would you like to achieve in 2018?

Can you explain what you do in a sentence?

What have been your highlights since starting out?

How would you describe your role at Backwash? (Chris McClean)

What is the most challenging job you have worked on?

What have been some of the biggest lessons you have learnt since starting out?

Could you describe 2017 in a sentence?

Could you describe 2017 in a word?

Do you have a must read book for creatives?

What was your original plan for when you graduated and what really happened?

What has been the best advice you have received?

Where do you gather inspiration?

What do you love about your job?