2015/16

Pecha Kucha

Catharine Slade-Brooking

Practice into Research

Research into Practice

Research Practice

Personal Reflection Industry & Academia

Synopsis:

A snap shot of a personal creative journey

Exploring the relationship between practice & research

Defining future approaches and practice

Phase 1.

Background & Interests

Natural History: Animals and botanical subjects

Illustration: Keith Brockie, Albrecht Dürer

Calligraphy: Sarah Midda, Irene Wellington

First Professional Portfolio: Illustration

Phase 1.

Practice: Publishing

Apotekets Urteloft. Norsk Farmasihistorisk Museum, 1995

BBC Gardening Year Book. BBC Magazines, 1994

Flowers. Harper Collins, 1994

The Boarders Book. Dorling Kindersley, 1994

Mushrooms and Other Fungi. Reed International, 1992

The Concise Guide to Mushrooms and Toadstools. New

Holland, 1990

Phase 1.

Practice: Design and Exhibitions

Packaging: Glaxo Smith Kline, National Trust

Typography: Lloyds Bank, Lowe Howard-Spink

Illustration: Sunday Times, WWF, Zenica

Member of the AOI & SBA

Mall Galleries,

The Westminster Gallery,

The Chris Beadle Gallery,

Norsk Farmasihistorisk Museum Oslo

Phase 2.

Practice into Research: Writing

“The Encyclopaedia of Illustration Techniques”

Running Press Book Publishers (April 1997)

Whether you are a graphic artist or just want to draw like one. Illustrated with hundreds of colour photographs, this book offers an A to Z directory of a wide variety of media and the skills and techniques for using them.

“The Artists & Illustrators Magazine”

A regular feature for the magazine over 4 years giving advise to illustrators on style & marketing to develop their work as a professional illustrator.

Phase 3.

Research: MA

Dissertation: Brand Management Case Study

Focus: The design process used by Landor to reposition a

National into a pan-European brand

Working as a consultant to the Hamburg studio design team.

The outcomes of the project develop techniques to improve

the re-branding design process to embed cultural sensitivity.

Phase 4.

Research into Practice: Teaching

Curriculum Development:

GC Pathway: Branding & Packaging

Implemented MA research to support development of a 2 year

subject specific choice for GC students at Farnham.

Unit : Cultural Packaging Design

Implemented outcomes of MA research to write and deliver

a unit exploring the issues of designing brands and graphics

appropriately for other cultures.

Papers Given:

“Languages Without Words” UCCA Ceramics symposium

“Borrowing Heritage” October ’07

“Learning Cultures.” Master class Surrey University, “Learning

for a Complex World” June ’07

Creative Leaning Cultures.” Sussex University, EU, LINKS

Conference, June ’07

Phase 4.

Research into Practice: Print Making

A body of work created through the integration of western

print making techniques and traditional eastern calligraphy and

brush making processes.

The technique employed etching zinc and steel plates with the

designs created using stopping out varnish applied with tradi-

tional Chinese and Japanese brushes.

The stock used ranged from western print making papers and

Japanese and Chinese papers such as washi.

Phase 5.

Practice into Research: Pedagogy

UCA Teaching Fellowship: 2 funded projects

Title: “The Nature of Creativity.”

How research into the use of visual enquiry methods revealed

distinct differences in the creative process of art and design

students.

Papers given:

“Curiosity, The Nature of Creativity” UCA Teaching and

Learning Conference ” British Library January ’09

“The Nature of Creativity” 2009 MeCCSA Conference at the

National Media Museum, Bradford.

“Creativity: accident or design?” Teaching and Learning

Conference ” British Library January ’08

Phase 5.

Practice into Research: Writing

MA Research + Teaching Practice

Title: ‘Creating a Brand Identity: A Guide for Designers’

Creating a brand identity is a fascinating and complex challenge

for the graphic designer. It requires practical design skills and

creative drive as well as an understanding of marketing and

consumer behaviour. This practical handbook is a comprehen-

sive introduction to this multifaceted process.

http://www.laurenceking.com/en/creating-a-brand-identity-a-guide-for-designers/

51BRANDING STRATEGY50 CHAPTER 3

StylePhotographers and illustrators develop unique styles to ensure that their work has a creative differentiation, but the styles they use can also have semiotic significance. Cartoons are an interesting example. The simple, rather naive style used by illustrator Lauren Child for Charlie and Lola is usually considered most appropriate for children, and if used on adult products would insinuate that

the consumer was juvenile. However there are comic styles that have been developed specifically for adults. Photography can also employ styles to add symbolic meaning, such as the mimicry of hand-tinting, to express nostalgia or tradition. Understanding the meaning your image conveys is vital when choosing a style for your brand.

Top, left: Lauren Child’s distinctive illustrations combine drawing, photography and collage to create a style that has a childlike, naïve quality, perfect for its intended readership of 3 to 7-year-olds.

Above, left: Double Fine Productions, an American videogame company, employs a quirky, eccentric but sophisticated cartoon style for its brand, appealing to adults rather than children.

Above: The retro shoe brand Swedish Hasbeens have employed a hand-tinted effect for this promotional image, to reflect their vintage brand personality.

case study

Milka chocolate

The first Milka chocolate bar, with its distinctive cow, was launched in Switzerland in 1901. Since then the cow has become as much an icon of the brand as the distinctive lilac colour of the packaging.

The meadowAlthough lilac in the illustration, the lush Alpine meadow that the cow stands in symbolizes the fresh grass from which the cow will create the milk used to make Milka chocolate.

The mountains Jörg Willich, Landor’s Creative Director in Hamburg, who lead the rebrand in 2000, highlighted the significance of the mountains, explaining that the Alps symbolize nature, an unspoilt environment and purity, signifying the Swiss heritage of the brand and the wholesomeness of the product.

The use of colourDuring the rebrand the creative team identified the colour lilac as the most significant element in communicating the brand’s heritage. This colour has been associated with the Milka brand from the start, although over the 100 years of the brand’s history the shade has changed, finding its final tone in 1988. The impact of this symbolic brand language was revealed a few years ago in an art competition in southern Germany; when 40,000 children were asked to draw a picture of a cow, almost a third of them painted it lilac!

The typefaceThe Milka typeface is as unique to the brand as the lilac colour, and has been associated with the product since 1909. The white, soft, curved script has the appearance of being created from a puddle of spilt Alpine milk, given enhanced three-dimensional qualities by a drop shadow of darker lilac.

The iconSince being domesticated in the early Neolithic Age, cattle have played a unique role in the development of the human race, having provided us with food, leather and labour for thousands of years. The dairy cow has particular significance, as the provider of one of our simplest, purest and most useful products – milk.

In this illustration, created for the rebrand of Milka in 2000 by Landor Associates in Hamburg, a Montbéliard cow (known for its quality milk) has been depicted in a semi-realistic style, with its horns, udders and nose highlighted, and the facial details and texture of its coat and tail clearly depicted. The usually brown-and-white Montbéliard, though, has become lilac. She also sports a bell around her neck, used by dairy farmers in the Alps to locate their animals.

Phase 6.

Research or Practice?

Short Term Goals:

1. Launching & marketing new title

2. Ceramics Symposia UCA: Paper April 2016

‘Material Symphysis’,the second phase of the collaboration

between UCA & TUA Geidai, Japan after Ashley Howard’s &

Risa Ohgi’s joint project Shima Kara Shima E.

In the spirit of growing together, ‘Material Symphysis’ opens

the opportunity for collaboration for staff from both institutions.

Research Practice

Phase 1. Phase 2. Phase 3. Phase 4. Phase 5. Phase 6.

Practice Practice into Research Research Research into Practice Practice into Research Future Approach?

51BRANDING STRATEGY50 CHAPTER 3

StylePhotographers and illustrators develop unique styles to ensure that their work has a creative differentiation, but the styles they use can also have semiotic significance. Cartoons are an interesting example. The simple, rather naive style used by illustrator Lauren Child for Charlie and Lola is usually considered most appropriate for children, and if used on adult products would insinuate that

the consumer was juvenile. However there are comic styles that have been developed specifically for adults. Photography can also employ styles to add symbolic meaning, such as the mimicry of hand-tinting, to express nostalgia or tradition. Understanding the meaning your image conveys is vital when choosing a style for your brand.

Top, left: Lauren Child’s distinctive illustrations combine drawing, photography and collage to create a style that has a childlike, naïve quality, perfect for its intended readership of 3 to 7-year-olds.

Above, left: Double Fine Productions, an American videogame company, employs a quirky, eccentric but sophisticated cartoon style for its brand, appealing to adults rather than children.

Above: The retro shoe brand Swedish Hasbeens have employed a hand-tinted effect for this promotional image, to reflect their vintage brand personality.

case study

Milka chocolate

The first Milka chocolate bar, with its distinctive cow, was launched in Switzerland in 1901. Since then the cow has become as much an icon of the brand as the distinctive lilac colour of the packaging.

The meadowAlthough lilac in the illustration, the lush Alpine meadow that the cow stands in symbolizes the fresh grass from which the cow will create the milk used to make Milka chocolate.

The mountains Jörg Willich, Landor’s Creative Director in Hamburg, who lead the rebrand in 2000, highlighted the significance of the mountains, explaining that the Alps symbolize nature, an unspoilt environment and purity, signifying the Swiss heritage of the brand and the wholesomeness of the product.

The use of colourDuring the rebrand the creative team identified the colour lilac as the most significant element in communicating the brand’s heritage. This colour has been associated with the Milka brand from the start, although over the 100 years of the brand’s history the shade has changed, finding its final tone in 1988. The impact of this symbolic brand language was revealed a few years ago in an art competition in southern Germany; when 40,000 children were asked to draw a picture of a cow, almost a third of them painted it lilac!

The typefaceThe Milka typeface is as unique to the brand as the lilac colour, and has been associated with the product since 1909. The white, soft, curved script has the appearance of being created from a puddle of spilt Alpine milk, given enhanced three-dimensional qualities by a drop shadow of darker lilac.

The iconSince being domesticated in the early Neolithic Age, cattle have played a unique role in the development of the human race, having provided us with food, leather and labour for thousands of years. The dairy cow has particular significance, as the provider of one of our simplest, purest and most useful products – milk.

In this illustration, created for the rebrand of Milka in 2000 by Landor Associates in Hamburg, a Montbéliard cow (known for its quality milk) has been depicted in a semi-realistic style, with its horns, udders and nose highlighted, and the facial details and texture of its coat and tail clearly depicted. The usually brown-and-white Montbéliard, though, has become lilac. She also sports a bell around her neck, used by dairy farmers in the Alps to locate their animals.

Thank You!

Happy Christmas All.