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.

OUGD203, Evaluation and boards

Evaluation and final boards for Design Practice 1 and 2:

DP2

DP1

Messages to Stockholm

"Being provoked stimulates creativity"

The idea behind the 'wavy' type is that it is supposed to 
represent the phonetics of the sentence.  Intonation and 
enunciation.  
There is a reason behind it.


So, I chose this look for my work because I felt it was what 
the studio would respond to having it sent to them.  Taking 
an existing quote from them in an interview you have to 
actively seek out shows that I know what they are about, 
and they know that I am a professional.






"I'm trying not to be so fucking boring."


The idea behind this poster was to send it to SNASK in 
Stockholm.  Again, the type represents enunciation and an 
audio focus on certain parts of words.


The idea for this poster came from my research into SNASK.
-  they had tweeted that they had been interviewed yet the 
    swearword had been edited out:

I'm going to Sweden....trying not to be more interesting, THUS

resulting in not being so fucking boring....hopefully.

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.