The brief was to create a flyer to promote the adaption of Alice In Wonderland by Peter Courtenay and Juliette Malan that will be performed at The Life Center in Bournemouth on the 23rd and 24th of March. To to this I started off with a meeting with the clients to discuss what they wanted out of the flyer design in the way of what message they wanted to send, and what sort of design they wanted. The message of the flyer, they wanted it to be able to communicate to a family audience, making the show enjoyable and suitable for adults and children. By doing this they didn’t want the design to be too dark and spooky however still keep that feel to it at the same time. To do this I suggested using brighter colours and a simple design so the flyer communicates to a variety of ages. Coming to a design, they had a very simple idea which was a good starting point for myself, It was a very simple image of a keyhole and the title running through it. They also displayed me images from previous adaptations of the story which they really liked and wanted theyre flyer to communicate.

DIRECT THEATRE SCHOOL

Working on this brief, I initially looked at Ministry of Sound’s previous designs to gain an insight on how I could make my designs fit into their style of mu-sic and atmosphere to the event they will be holding. Looking at their first designs created for the company, the typographic style and choice is very strong and has very minimal imagery to make the presence of the logo stand out. These designs really inspired me and I wanted to make my designs stand out in the same way. My first set of designs revolved around simple one colour themes based around the col-ours we were given in the brief. After developing my ideas in the type design and colour choices, I made my poster slightly more complex and gave it more charachter to give it more of an urban feel and make it stand out. The dates and artists are layed out very simply to be easily read and not to be lost in the overall design.

MINISTRY OF SOUND

The task of this project was to develop business stationary for a certain person we picked out of a hat. I picked out fa-mous Cuban revolutionist, Ernesto Che Guevara. Once I started, I wanted to fig-ure out what kind of business stationary I could use to portray him. I came up with 3 main pieces of stationary I could create, which are a business card, let-terhead with matching envolope and also a propaganda poster. So after my 3 basic pieces of stationary, I started to find out more about this mysterious, re-bellious character. Building good basic research about him definitely gave me a good insight about what he was stand-ing for and rebelling against. I found out also a lot of personal information about the man, which was other peoples opinion of what he thought of him, his personality and passion for what he was doing. All together, I think my designs have come out fantastically and I have produced a very well thought out final piece for this unit.

BUSINESS IDENTITY

Type Radio was a brief concentrating on typographical layout work. The outline of the brief was to take an interview from Type Radio, transcribe it, and then make it into a finished article. Doing this I looked at Christian Schwartz and his interview with them. I found out interesting pieces of information which I could use in my design work such as some background knowledge about his work and also his childhood to get a good idea of what sort of person he is like. Going forward with this informa-tion I started to create the work out of typefaces I think would suit him best based around his personality and cur-rent typographic work he has done. After organizing whings like layout with main quotes as almost an image in the article, I came to a final product. Over-all I think it is a well layed out piece as it reflects him as a typographer and a person.

TYPE RADIO MAGAZINE

What is your dearest possession? Umm… I guess people aren’t so uhh,

I dunno, my books. Theres the miller and Richard book I really love and the backup hard drive, but that’s not really a prized possession its sort of just a tool… I don’t care about the hard drive itself that much but the stuff on it is pretty important. Are you religious?Uhh no, not really at all. My Dad was raised phenomenally Jewish. His parents wanted to do it similarly and his mum

thought that Christmas was more fun than Hanukah so as soon as she moved out from her parents house was get a Christmas tree, forget the menorah and so now we have our big family Schwartz Jewish Christmas every year which I think is kind of hilarious.You have a large family?Not such a big family, I have 2 brothers and then my parents each have 3 siblings so quite a few cousins but not a huge family. Do you have a hero?Uhmm… yeah, I have a few heros. Julia Childs

americans respect eating as something you can enjoy and cooking is something that is fun and you can do it at home, and Carl Loggerfelt because he’s so completely ridiculous and he just does his thing, and he’s very unapologetic about it and its hilarious. Actually we were at the contemporary art museum the other day and they had a button making machine so I made this. [shows button]It’s like the face of carl loggerfelt looking sort of surprised. I think its just severe, wearing his sunglasses…its from an h&m ad in a magazine and they just had all these buttons that people

How was your collaboration with Paul, you said you never worked with him before?We knew eachother a little bit and we had corresponded some and we have similar taste and I think that’s a big part of it and we found that we have a similar sense of humor and I think to be able to work with paul effectively you have to appreciate and enjoy his sense of humor.

How were you put together in the first place?On Monday the guardian in London, a wonderful left leading newspaper re-launched in the new Berliner size, they were broadsheet before and it was just too big, a lot of their competition had just gone to tabloids and they considered going to tabloid but the guardian just isn’t a tabloid paper and theyre not the kind of paper that can reduce the days is story to one splashy front page. They’re a little more thoughtful and so they knew they had to get smaller because its too big to read on the tube, comfortably and the circulation was going down so they went to the Berliner size which is the same as le monte and el paice in

Excuse me, whose Paul?Paul Barnes is a magazine designer and consultant and a vastly underappreciated type designer. I guess a lot of people havnt herd of him because he doesn’t realease fonts and he doesn’t come to confrences and he prefers to stay home and work there and enjoy life with his family. So he and I knew eachother a little bit because I guess, I don’t remember if I contacted him when I saw that he had launched a website and wa wondering what it was all about, moderntypography.com which has been coming soon for about 3 years. Orange Italic changes every two years if were lucky because my partner and I have been really busy which is really good but it means we don’t get to devote as much time as we would like to our funny little website.

spain and I think, il republica which im not sure if that’s rome or Milan. Le monte was sort of the first big Berliner and I think some of the papers in Switzerland switched first but le monte was the first really visible paper to switch to this new size, and so the guardian bought new presses and invested a whole lot of time and money and effort into re-launching as a Berliner and I havnt seen the Saturday paper yet, its sort of the last big test of the format but so far the response has been really good by large and I think it was a less radical change than the one in 1988 because you sit down with the paper and really get absorbed in it it still feels like the guardian and still has the same voice even though it looks pretty different and it’s a totally different size and they have colour on every page now which is a big selling point for them.And the project was that you and …?Yeah the project was that Paul and I would design or sort of morphed because these sort of things…

myparentsdiscouragedmefrombeinga type

designer

“”

Christian Schwartz A graduate of the Communication Design program at

Carnegie Mellon University, Schwartz first worked at MetaDesign Berlin, developing

typefaces for Volkswagen and logos for various corporations. He has been most

well known for his work for The Guardian which he collaborated with Paul Barnes, a

designer. We had the oppertunity to speak to him about his work.

Are you afraid? Uhmm… yeah. America’s a pretty scary place right now. Would you

move? I’ve thought about it. Ive spent some time in London in the past year and really liked it there so….You lived also in

berlin didn’t you? Yeah I lived in berlin for the summer. Your used to living abroad? Yeahh, so London would be easy because when I moved to berlin I spoke basically

stuff and it was really a good time… I learned a lot from him.If you had a chance to do something

else, what would you do?

I don’t know what else I could do. Umm… I sort of fell into type design by default and I went to school planning to be just a graphic designer and my parents discouraged me from being a type designer because they… its funny because they were concerned that I could make a living, but they were concerned that I would get really bored.But then you parents were aware

of what type design was?

Yeahh, my dad is an animator so uhmm… my earliest memory of letters was doing drawings when

I was about three or four and he had all this leftover dry transfer lettering and so he gave some of it to me to play with so I would do all these drawings and carefully label what everything was, and my kerning wasn’t very good because I was like four. Is there someone you really hate?

Uhmm… yeah. All those people in positions of power in the us who want to make it so that I can’t get married just to energize their base and have an easy scape code…. You’re looking very puzzled.

bassel you need to meet wolfgang vineguard because he’s amazing” and I said, yeahh sure if im ever in bassel, ill meet him, and uhh… that guy can drink. We went to his favourite bar two nights in a row, ‘the

the river and he said “the beer here is a little bit different because they make it in the back so sometimes it is strong,

and sometimes it is very strong” and it was aparantly very strong that night but he’s used to it so we

trashed, and he basically told me his entire theory of design education and all this great

no german, I could count to three and I could say hello, and I could say thankyou and that was about it so by the time I

by. How long were you there for? Just three months and

admitted to design at the time so I ended up leaving my internship a little bit early and doing some traveling around to paris and I had a really good time in bassel becaue

bassel you need to meet wolfgang vineguard because he’s amazing” and I said, yeahh sure if im ever in bassel, ill meet him, and uhh… that guy can drink. We went to his favourite bar two nights in a

right by the river and he said “the beer here is a little bit different because they make it in the back so sometimes it is strong, and sometimes it is very strong” and it was aparantly

-Christian Schwartz

America’saprettyscaryplaceright now“

”

Food ‘on the go’ is a group project we are doing to try and create a new sort of food that we can take with us ‘on the go’. It doesn’t have to necessarily be something completely new however it does need to fill a gap in the market. We came up with an idea for a new breed of sandwiches to hit the market. These sandwiches are plain and simple with nothing but whats on the pack-age. This will take out all of the fussi-ness within sandwiches for all those people who hate mayo, ketchup or any other kind of sauce that has already been smeared all over the filling of their sandwich. So after coming up with the idea we thought about packaging for our product. To match it we wanted plain and simple so we thought of dif-ferent sorts of paper stock to use. We also wanted it to look good and match our design.

FOOD ‘ON THE GO’

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