OUGD603: Brief 06 - Small Brands_01_Lex Fitness // Client Suggested Research

Conversing with Lex, over email, he outlined a business which used a similar design to his 'vision' for the identity; Sick Silk. Which has a very elegant clean logotype, as you can see below. Using calligraphy to represent an upmarket brand. 

Calligraphy is quite an old technique, done by hand, which usually is associated with traditional methods, equality and care. This in some ways conflicts with the current logotype used by BB! Clothing. As pictured below.

Which is quite blocky and solid, using a modern gothic font, which represents modernity, structure and simplicity. Perhaps there might be a way to bring the values of the logotypes together. 

The Sik Silk website showcases the design and the minimal aesthetics, being very clean and elegant. Which works with the elegant simplistic logotype, really focusing and drawing attention to the products, rather than the surrounding design.

OUGD603: Brief 06 - Small Brands_01_Lex Fitness // Brief and Initial Mind Map

Speaking with a new client, Lex Griffin who is a former UKBFF physique champion, and entrepreneur. Who has curated his own clothing line, 'Boom Baby! Clothing'. Also working with several supplement and gym fitness orientated companies as an ambassador – fairly accomplished to say the least.

Lex is about a launch a new diverse line of clothing – I stumbled upon some concepts for a logo, for the clothing line. I thought the existing designs were very weak, and under developed. So I offered my services as a designer to Lex. Pinged over and email with a proposal, and I received the following, in return.

Yeah I threw up that super rough design to get a reaction more than anything as we’d already vetoed anything like that (Sik Silk Esq) but just wanted to get people talking and getting ready for release J

However we have not quite dialled in what we want in terms of design….its pretty open to interpretation at this point although we do have a number of ideas we do like.
We are moving in a completely different direction now and creating clothing which is engineered to be able to train in but cut to High Street fashion. Elongated Curved hems, seam detailing, tapered lines and light weight custom blend materials that will and accentuate the body.

Target audience is the 20-early £30’s fashion and body conscious men and women

We’re different in the fact we’re bringing fashion INTO the gym as well as making it cross back in to the street. Our products will be able to be worn where ever you are and even by people just into clean cut fashion and not so much the gym.

My long term thought process was to create more of a symbol than just the !BB (the ! mark was intergrated into the original subtly and would be good to keep but not a deal breaker).

– Lex Griffin

Following his email, I threw together a mind map, expanding on the direction which Lex would like to take this logo. Outlining the target audience, their income, age and gender. Which outlines the direction this project should head in.

OUGD603: Brief 05 - No. 7 Antiques // Initial Collateral Research

After sending over the logo amends to the client, which he was very happy with – now signed off! I have been given the go ahead to develop the collateral for the brand, pushing the new identity. 

Since this project is rather small, and No. 7 is one my clients, all I'm certain of at this point is that I won't need to create any identity guidelines, as there won't be any other designers working on the project any time soon. 

I've begun to look at what other designers have created, in terms of collateral, for projects of similar scale. 

Scott Hill creating a series of simple colour oriented range of stationery. Using the orange throughout, accenting and highlighting areas. Such as the lip on the envelope and the edges on the pencil. Which helps push the presence of the identity where the logo might become lost due to size or unnecessary because of redundant placement. 

Brice Beasley has created a small collection of collateral from Henry & Co. Using patterns of the different logo variants which would be used across the brand, from the full elegant circle logo, to the initials and the clean typography version. Which might not be relevant to this particular project, as the logotype being used in this case is restricted, so it's reduction would only consist of removing the word 'antiques', reducing it to stand alone as 'No. 7', which would be used where appropriate. 

On the back of the pattern pictured above, Fuzzco™ uses objected tiled out as a pattern with collateral for this project. Using the two different tones of green to show a subtle contrast.

Looking at the business cards of Ryan Putnam, using two colours to create a sharp contrast and excitement into business cards. Inverting the colours used, the blue and the white. Which creates a bold and beautiful contrast. 

Colin Tierney has created a collateral set for a 'save the date', for his own wedding. Aiming for a rustic traditional theme, similar to what I would want in this project. Using stamps and shades of brown throughout the design and the stock, to achieve an aged look. 

Anthony Lane, similarly to Putnam and Hill, uses the red to highlight areas of the design. Which helps push the presence of the identity further, where the logotype or icon would lack or become lost. 

Melodie Eve Pisciotti has created a vast range of collateral for Street Car. Using the blue strongly throughout the design of every entity within the range. Creating promotional items which will be used by customers or staff, to represent the brand everywhere. 

OUGD603: Brief 02/03/09 & Design Publication // Designing for UX critical research 01

I understand this post is practically an essay, so I've bolded all the important works and phrases.

In this post, there won't be many images to be seen. It's mainly documenting research undertaken regarding designing for user experience, or UX for short. Although one of the briefs tagged in this post has been completed, OAC Photography. I think this post will bear relevance with the brief from an evaluative standpoint, and for the briefs which are in motions, the website for Coffee Culture, SAC Ampleforth and my design publication, which will take the form of a digital publication, this research will be implemented into the design process. 

It's mailing links and paraphrasing of blog posts, but it's important information which will change the way I design.

The first of which, titled 'One Magic Formula to Calculate UX? (click to see full article), is about the different elements of user experience, the things which impair and enhance our user experiences. To summarise; 

The first point of contact and engagement with a website relies on the digital loading speed. "If software is slow users become cranky, and if the speed is too slow they may abandon your product altogether." You need to consider the internet connection, the speed of which is out of our hands, the device the user is using, the server which the website is being hosted from and the code. Impairment or improper treatment to any of the above can hinder the loading speed, which will compromise the experience.

Secondly, the cognitive loading speed – I didn't know what it is either. "The cognitive load theory was first mentioned by G.A. Miller in the 1950s; he mentions in a paper that the working memory of humans seems to have an inherent limit. He states the working memory seems to be capable of only holding 7 (±2) chunks of knowledge at a time, being numbers, words or visual elements. The working memory of our brain works exactly the same as the working memory of computers. It processes all information inputted. Dr. Graham Cooper created this explanatory image in his 1998 research paper that makes it understandable:"

On the back of which, you must recognise that the interface complexity also plays a part in the experience of the user. Interfaces which are too difficult with too much information will overwhelm the users. Similarly to the digital experience. An abundance of content flooding the page will become too over powering for the user. "When a product has a complex interface, but the user has previous experience with this or similar products, the cognitive load can still be low. If there is a lot of previous experience with the product, the complexity might not even matter. This can result in  the fact that a product with a complex interface and experienced users can be more effective than redesigning a product to use a simple interface that sets all legacy user understanding back to zero."

The purpose of a website must also be taken into account. "A digital product must have a purpose to provide value. Without a purpose there will never be a user to experience the user experience at all." The website must benefit the user. "The most important thing for a user to use a particular piece of software is that they believe there is a benefit in using it. This can be acquiring information, social interaction, (digital) goods or just good old fun." A factor that can’t be ignored since we are dealing with human behavior here is status. Status can be a strong force that drives people to take action. If a product has the power to increase someone’s social status then it boosts the intrinsic motivation of your users.

Finally, the most important part of a website, the interaction. The aesthetics of a website are not as important – which is difficult to level with as a designer. However the do play a role in the experience of the website. It's a team effort with all of the other elements discussed. Last but not least is communication. By communication I mean everything from the copy used in your interface to the emails from customer support. The way you communicate with users should be human, kind and understanding, with a dash of humor. Every human being likes to be treated nicely, your product is your voice, so use it wisely and kindly.

OUGD603: Brief 10 - Japan Rugby World Cup // Further Logo Development

After some sizeable time off this brief, due to other group projects and competition briefs – all with earlier deadlines, Ewan and I put this brief on hold for a few weeks. We're just gotten back into it.

We had failed to decide on a logo for the RCW 2019 Japan, so we spent a couple of hours putting together designs and quick animation concepts for the logo. 

We tried to manipulate the Japanese flag, taking the red solid circle and transforming it into something which represents the sport of rugby. Adding rugby posts, well, subtracting them from the red circle to see if we could create any sort of effect. 

They are quite interesting, very simple. However, we don't feel that they're vert strong. They lack any real application and longevity due to their simplicity. If the lines are too thin, the design doesn't work on a small scale, if the lines are too thick you lose the shape of the circle. It just wasn't really working. 

On the back of that, I jumped into after effects. In the earlier sketches, we played with the idea of transitioning the red circle into the shape of a rugby ball. Experimenting with how that could then interact with other objects and typography to further suggest the theme of rugby. 

OUGD603: Brief 06 - Small Brands_02_Galactic Republic Rugby // Initial Ideas/Research

With the Rugby season coming to an end, 7s tournaments are popping up all over the country. A group of friends an I are organising our own tournament, as we're all keen enthusiasts/players. We also share a love for the science fiction franchise; Star Wars. 

So we decided to combine the two. We're calling it 'Galactic Republic Rugby 7's'. As sad as it sounds. Based on the Galactic Republic which is the fictional collection of the star systems within the Star Wars universe. (Before the events following Order 66... See Star Wars: Episode 3 – Revenge of the Sith) As you might imagine, this brief is an opportunity to merge two three passions. Star Wars, Rugby and Graphic Design.

As I've been asked to design the logo for the tournament.

To cover all the bases for the tournament, I threw together two spider diagrams to flesh out the individual elements of each aspects – Star Wars and Rugby Union. Aspects which are prominent and different to the world we live in. The space travel, diverse species, technologically advanced and futuristic. 

Rugby tournaments, and aspects of the rugby world. Aspects which are unique to the sport. 

I tried sketching out a few ideas, off the back of the mind map. Trying to include the Galactic Republic symbol, which should be intertwined into the logo. Quite blocky logotype based designs were all that could come to mind at the time.

So I jumped online and started to crack some research. 

A clean logo designed for Rugby Nation USA. A very simply design, combining the eagle, the onomatopoeic icon for North America. Combining that with a rugby ball – although it looks more like an ball from American Football, rather than a rugby ball. Based on the vertical stitching, which isn't often seen on typical rugby balls. 

A simple logo for the North Sydney Bears. The logo used as their club symbol is very simple, being very straight forward and using a bear as the main imagery within the logo. Using a simple illustration of the bear, which allows the illustration to work on small scales. 

A fairly generic design for a rugby cup using the branches to add a sense of prestige and honour to the logo. With a shield – or a cup, not quite sure, in the centre framing a ball. Not a Rugby ball, again. An american football. It doesn't really stand out as a logo, it looks very generic and boring. The typeface reflects this. 

The super rugby tournament logo works much better than the logo pictured above. To start with it actually uses a proper rugby ball in it's design. The white typography standing out against the blue background of the shield. In a large point size, relative to the design which makes it seems almost as if it's jumping out at you. 

The Global Rugby forum logo, less of a tournament logo works well due to it's low colour count. Keeping it simple and professional. The trail of movement which follows the rugby ball adds a new dynamic to the logo. Adding as sense of motion, which helps associate it with sport, rather than a static logo, which can look quite dull. 

Scrum and Co's logo using a greyscale monochromatic colour scheme, works quite well. It has some creative typography, creating a rugby ball out of shapes which also resemble an S and reflect the contours and the three-dimensional elements of the rugby ball. 

OUGD603: YCN – Yorkshire Tea // Competition Submission Boards

Below are the boards which were submitted to YCN as part of their competition.

Based on the advise which was given to us when a member of the YCN team came and spoke with us, in December last year. Combining that with what we have been taught last academic year by Fred in the Design Principles module, and Phil and Lorraine in the Design Practice 2 module.

The YCN advice was as follows, in a nut shell.

• Creating 8-10 boards
• 1-2 Research
• 3-6 Product Journey
• 7-10 Present
• Show originality and conceptualisation

Combining that with the methods which have been engraved into my brain from last academic year, such as large visual images, impact boards and concise copy. Avoiding any waffle or irrelevant dialogue. 

Which lead to this, in collaboration with Adam Garbutt.