And here it is....

Personal Branding / /

Business Card:

Letterhead:

Creative CV:

What does an invoice look like?!

LIKE THIS APPARENTLY:

http://www.smashingmagazine.com/2009/11/05/invoice-like-a-pro/

- this probably helps a little more than the above.

1. / /  Their details and yours.

2. / /  Itemised list of services.

3. / /  Include your terms.

4. / /  Let them know how to pay you.

5. / /  Numbers and numbers an records and books.

6. / /  Thank them and ask them to thank you.

7. / /  Don't forger your a designer.

         Remember all of this please.

I got me a website for some schmoozin!

Until summer i'm not even going to think about tackling 
CSS and coding.


So, I opted for CargoCollective.  It existing layouts that 
look professional and simple, exactly what I want whilst 
trying not to communicate my personal branding too 
much because of the transient nature of it.

I am pooblished...

I've designed the cover for the music zine 'Musical 
Mathematics', to be distributed throughout record 
shops and selected bars.  In other words, my work 
will be seen not solely by people in my studio.


This was important to me because of the conceptual
nature of the design.  It was an interesting project to
work on because of the nature behind the zine itself,
alongside my designs for the cover.  It all seemed to 
work nicely because of relevance to brand and 
audience.

I love GFSmith / / ...and so does Kirsty Fruin

Today, after a very much gushing conversation on GFSmiths 
consistently outstanding collaborations within the design field, me and 
Kirsty decided that we wanted to pay them a visit in the not so distant 
future.  And why not together?  It seems, that a lot of the time, given 
the competitive aspect of our degree people generally want to do 
everything solely on their own.  But two heads are generally better than 
one, and with previous experience, we've found that when it comes to 
me and Kirsty, two heads are always better than one.  


Our plan is to send out a ...something to GFSmith to grab their attention, 
we don't want to just send a PDF in an email, whilst we've got the man 
power, we may aswel smash it.






- First of all, we needed a name, a contact of someone who would be 
legitimately interested in what we sent it.  We also needed it to get to 
them directly.  So I rang the London branch, spoke to a few people and 
got the name of the head of marketing.


- Next, we began coming up with a concept.  It really just isn't enough to 
design something pretty and send it over there.  It needed to have a 
strong and creative enough concept that reflects GFSmiths collaborations.  
It needed to be amazing.

End of Year Show / / Proposal

I was having lunch with Joe Warburton when he brought up the End of Year Show competition for Leeds College of Art.  We got talking about it and came to the conclusion that we would work well together on this.  So, me and Joe are now collaborating to pitch the marketing and promotion for the Show.

So here's the brief:

 March 2012

Chloe Ackroyd – Marketing Officer

 chloe.ackroyd@leeds-art.ac.uk

0113 202 8044

End of Year Show Competition Brief
To produce designs for End of Year Show promotional materials that will be used by the marketing team to send out to key contacts and to promote the event. The aim is to encourage as many people to visit the show as possible and to engage a variety of audiences; general public, alumni, local businesses, prospective students, staff and industry.

Prize
£500  

Background

Leeds College of Art held its first end of year show in 1997.  A degree show has been held in June each year since, with local employers, communities being invited since 1998.  June 2000 saw the first College-wide End of Year Show, incorporating Further Education courses as well.

Tone of Voice

·       A friendly and informative tone of voice should be used.

·       Consistency of visual identity between the entire promotional End of Year Show materials, as some guests will receive the complete pack of material in one envelope.

·       It should be professional, considered, and innovative whilst portraying the College as a leader in art, design, media and communications education.

Mandatory Requirements

·       Poster/Leaflet - innovative piece of promotional material that demands attention even when in an environment highly saturated with other flyers and information, poster must fold to fit in an A5 envelope.

·       Private View Invite – high quality, innovative design, must fit in an A5 envelope.

·       Email Invitation – low res graphic detailing key info, to send in an email

·       Web Button – low resolution EOYS button for our college website and other social media platforms, must be (5cm x 5cm).

·       Any other supporting material that may complement the promotional range.

Deliverables for competition submission

A2 concept presentation boards identifying:
Concept and content for Poster/Leaflet, Private View Invite

Deadlines

·       Submissions to marketing by Wednesday 28^th March

·       Winner announced week commencing 2^nd April

·       Winner to present full suite of promotional material week commencing 16^th April

·       Print deadline 1^st May 

I like you / / This is me

Simplicity is key when communicating a message.  
Especially translating another language- don't cloud 
the message with terms and phrases that could be
misinterpreted by people of another culture.

My idea is to stick to two main phrases:

They have to be short to communicate my simple 
question, but also have to put my personality across 
at the same time.  These two bold statements say a lot 
about me.  I think they communicate confidence and 
friendliness- traits that (from my research) the designers 
I want to visit hold in a high light.

I like you:

Jag gillar dig

This is me:

Detta ar bra

Some initial design ideas for my PDF mail out expressing 
my interest in a studio visit.

SNASK / /

Another Swedish agency based in Stockholm.

http://ilove.snask.com/

WHY

Why do you need samples of your work?

Why do you send samples of your work?


What do you send?

Position Statement / /

Write 10 short but informative statements that identify your distinctive ‘positioning’ as a Graphic Designer. Your statements should consider your ambitions, skills and areas of creative interest in relation to the market, your clients, competition and possible collaborators and should be based on the information that you have collected in response to the set tasks.

You will need to compare a list of your skills and services against customer/client needs to those of your competitors, this should help you determine how your company is unique.

/  I want to work for someone with the same positive ethos as me.
/  I combine Type, layout and image.
/  I want to have a close relationship with printers and paper stockists to gain as much knowledge as possible on the process of design.
/  I am interested in Type; branding; editorial and design for print as disciplines.
/  I don't want to  be involved with purely illustrative work.
/  I want to work as a collective in a studio.
/  I want to work for smaller clients that have money to spend, but aren't so big that I couldn't have a direct relationship with them.
/  Eventually, I want to set up my own studio with people I know work well as a creative collective.
/  I don't want to work alone.
/  I am concept driven, and use this to create designs that not only look good, but communicate my message in an innovative way.

Where are they / / STOCKHOLM

The plane is booked.  This is all very much plausible.

STUDIO SM
/ /


'Being provoked stimulates creativity."

LUNDGREN + LINDQVIST

/ /

Project: Maru

Maru is a showroom and online boutique selling high-end Japanese design objects ranging, from delicate porcelain to handmade stationery. Founded and curated by Japanese architect Motoko Yoshida, the Oslo based boutique has a clear aim of offering high quality Japanese goods to Scandinavians with a taste in good design.

We were approached by Maru to design the boutique's identity, ranging from logotype, stationery, packaging and signage to the design and development of the online shop.

When designing the identity we knew from the very start that we wanted to merge Japanese and Scandinavian design values which, to us, in many ways are closely related, yet in other instances may seem worlds apart.

Identity & Stationery

Maru means 'circle' or 'correct' in Japanese. In Japanese schools, teachers indicate that an answer is correct by drawing a circle next to it. We used this in the identity by placing the products in the webshop in circles of different colours (indicating which group of products they belong to) proclaiming that the product is approved by Maru.

With the logotype we wanted to visualize the story of Maru and illustrate the act of setting up a Japanese boutique in the capital of Norway. We found a quite literal way of doing this by integrating the Kanji symbol for Maru in the middle of the wordmark, replacing the A and R.

By doing this, we made the wordmark bilingual and avoided the need of having to have two separate wordmarks, one for the customers (mainly from Scandinavia) and another one for dealing with distributors and manufacturers in Japan. The wordmark was drawn with rounded turns and ends to make the Kanji symbol feel less aggressive and the two different entities are separated by a combination of embossing and debossing throughout the printed matter.

A colour palette based on traditional Japanese colours was selected and two different typefaces, Gravur Condensed for Western characters (replaced by Din Rounded online) and ProN W4 for Japanese characters, is used throughout all branded material. The main colours used are off-white and

grey and Jinzamomi / Thrice-Dyed Crimson.

We searched long and hard to find the right paper stock for the stationery, looking at a number of options including the Japanese Takeo paper. We found what we were looking for in the then just released Keycolour Particles Snow. We managed to get the 100g weight (although not available for the Swedish market), resembling the feel of a traditional rice paper, which we used for the letterhead and correspondence card. For the business card, we used the more sturdy GFSmith Pristine White 540g.

The logotype deploys a combination of embossing and debossing which is used throughout the printed matter.

Website design & development

The Maru website consists of two main sections. The first one being the online store which is Maru's main exposure reaching all of Norway and residents in the neighbouring Nordic countries. The second one is a blog in which Maru can promote Japanese design, upcoming events in the showroom and highlight new products in the webshop.

Focusing on Japanese design products, with a tradition of clean and elegant solutions, we wanted to use a similar approach for the Maru webshop. A major challenge when designing e-commerce sites is presenting the product listing in a visually compelling way. For the Maru site, we solved this using an image listing with a flip-card solution for displaying the product details. This help displaying the products in a

clear and well structured way, while still adding an element of fun when flipping the images. On the front page, the visitor can choose to display a curated mix of products or the products most recently added to the web shop.

Another important aspect of a webshop design is the check-out process. It should be easy to go from any part of the site to your cart. In the Maru shop, the cart details and the link to the check-out page are always displayed. Initially displayed at the bottom of the page, it shifts to a more prominent position right under the header when browsing a single product or when you have added items to your cart.

The webshop is built in the Swedish e-commerce system Textalk, and the Maru blog is built in WordPress. Both share the modular grid for products or posts, but where the

webshop products are always presented in squares, the posts in the blog vary in size.

DIN Rounded (replacing Gravur Condensed in online applications), is loaded using a '@font-face' import via Typekit.

A set of icons were designed - some with the specific purpose of being used as part of the UI in the webshop and others with a more general purpose appearing across both digital and physical environments.

An illustration, deploying the dot based grid used throughout the printed matter, depict the Oslo and Osaka (Motoko's hometown) skylines.

Promotional material

Apart from the aforementioned printed matter and online applications, we have designed a range of promotional material including a poster, invitations and flyers. In more dynamic applications like these, we extended the use of the accent colour in order to separate it from the more static material.

Product photography is displayed exclusively in grey scale, multiplied to the background. In some applications, a raster is used to mimic folding and origami while other pieces are actually folded. Many pieces, including packaging and signage, are still in production and we will update this presentation with new material continuously.

This is my new favourite place.
http://konst-teknik.se/

'In 2007 the editors of SITE decided to abandon its bilingual form and publish the journal exclusively in English. With the characteristics of the former SITE in mind, we designed the new format with more white space, an openness towards the use of imagery and updated typography.
Based on the journal’s name, concept and Swedish origin, the typeface SITE Specific — with clear references to Tratex (the typeface used on all Swedish road signs) — was designed for use in headlines and image captions.

In late 2011 a second re-design was commissioned, in order to meet new economical and practical requirements for the publication. The new version of SITE is published biannually and is printed on demand by Lightning Source.'

'Don’t hesitate to contact us if you have questions or are interested in a commission, collaboration or studio visit!' 

This is more important than it being accepted that they are happy to have studio visits.  The sincerity of the statement is exactly what I am looking for at this time.  I want to work for people who are interested in collaborating; (it shows their open-mindedness and want to create something new with someone new) willing to learn, and people who are actually interested.  Good ethos.  Their passion comes through with this one sentence- that and the fact that everything they've designed is amazing.

Studio SM:

"Being provoked stimulates creativity"
http://vimeo.com/31166776 

Source

Botkyrka Community Teater
Publication showcasing the collected shows/performances/activities of Botkyrka Community Theatre & Dance from 2008 – 2011. Spring 2011.

Economic state of country:

'Because Sweden, as a neutral country, did not actively participate in World War II, it did not have to rebuild its economic base, banking system, and country as a whole, as many other European countries did. Sweden has achieved a high standard of living under a mixed system of high-tech capitalism and extensive welfare benefits. Sweden has the second highest total tax revenue behind Denmark, as a share of the country's income. As of 2010, total tax revenue was 45.8% of GDP, down from 48.3% in 2006.'

Source.

Sweden is an export-oriented mixed economy featuring a modern distribution system, excellent internal and external communications, and a skilled labor force. Timber, hydropower and iron ore constitute the resource base of an economy heavily oriented toward foreign trade. Sweden's engineering sector accounts for 50% of output and exports. Telecommunications, the automotive industry and the pharmaceutical industries are also of great importance. Agriculture accounts for 2 percent of GDP and employment.

Real GDP growth in Sweden 1996-2006:

 

daniel carlsten
martin nicolausson
masheen
zion graphics
http://visuelle.co.uk/