Costa del Sol Chadwick level 6 graphic design

Today's session was all about money and how to price ourselves within a professional context. The task, in general, made me realise (as I already knew) that I am undervaluing myself in regards to freelance. However, to quite the extent I may be underselling was interesting and the methods of quotation I'm using were called into question. I currently do the majority of my month to month quotations on an hourly basis for returning clients so maybe losing out on revenue due to low hourly rates. Also, it was said that an upfront down payment should be taken before projects and then a larger payment on completion. These factors often come down to my commitment to the projects I take on and a slight lack of confidence in my ability to create a perfect solution for all clients. This will come with further experience. Alec also talked about the accumulative value of each graphic outcome. Valuation shouldn't necessarily come down to hours spent and outcomes produced but instead, the

Video from the CEO of Skillshare:  3x3x3 method = 3 priorities for the day, 3 priorities for the week, 3 wins for the week  Set large yearly goals that are reviewed quarterly   Develop positive new habits one at a time  Don't try and change things overnight Prioritise tasks by their individual worth to you or your project, work from the most important tasks to least.  Plan > Do > Evaluate Pomodoro technique:  Work in 25-minute bursts, followed by a 5-minute break, Each fourth cycle, take a 15-minute break Try chrome extension Marinara Eat the Frog:  Start the day with your most daunting task Give it 100% of your focus until it's complete Get Things Done: Organise tasks into 'next action', 'someday maybe' and 'waiting for' Helping with prioritisation and workflow. Annual goals: By Christmas finish COP and COP practical to a standard where I feel the topic has been fully explored and I have some valuable work for the i

Who's in Charge? Who was involved in the study?  Postgraduate designers and foundation staff what arguments does the article make?  Psychographics Personality, values, opinions, attitudes, interests and lifestyle  Nike has a split demographic between leisure and sportswear however there is overlap between the two cultures, therefore, their branding can be fairly generic.  Qualitative/quantitative data analysis  Quantitative data describes responses in a numeric fashion for example a percentage of yeses on a questionnaire.  Qualitative data cannot be expressed numerically and therefore can be harder to analyse. For example Other (please specify). 

I went down to London on Friday afternoon to meet Emanuele Piarulli as a precursor to our collaboration as part of my COP practical brief. The meeting was a success with clear insights into Emanuele's practise as well as a chance to grab some pictures of his manifesto produced last year. Currently, he is working for a 7-year-old sustainable fashion startup to pay his rent in the capital but he of course still plans to push his own fashion house and solely focus on that as soon as possible. The way I can help out is through bringing the professionalism and brand continuity of a type family to be used on a variety of print and eventually visual mediums. Gaining an idea for Emanuele's personality and how it rationalises a lot of his work was a vital step within the project.       Here are some notes I made during the meeting: Preference for handwriting Cococaptain   French type serifs for height in headlines   Courier - Typewritten serifs, traditional forms   Arts

“All design is political” Patrick switched from commercial design to peruse personal projects and developed this new mantra. Radio 4 front row interview on his project Breaking News originally in Liverpool using post-it notes to express concerns of local people in a projected stream of consciousness. Project then when’s to V&A for a digital version using QR codes and then on to Manchester. Investigating truth decay. Protest tool kit - interesting project in semiotic combination that allows the user to create their own protest message via stencils. Open collab The overlaying of a set collection of images to create new forms via screen print of digitally. Screen prints on news print @open_collab @klassethomas #trainsnotplanes

D&AD  Typographic Notes: The Empowerment of Music     (Competition brief)  Find a genre, song or musical movement that best represents a cause and use typography to bring it to life.   Typography can express rhythm, culture, local aesthetics, traditions, humour, quirks, places and people - in any language. Utilise these benefits to highlight a cause of the present using the music of an artist, genre or festival that you feel is empowering (from any time period).   Create a typography-first campaign with both physical and digital elements to inspire your audience to discover more about the issue(s) and, where relevant, spark a call to action. " A typography-led, integrated graphic design campaign that uses Google Fonts, a library of 952 free licensed fonts. Though not a requirement, you may also consider the use of a variable font." - this section of the brief concerns me, does it mean that a Google Font HAS to be used? I must enquire on the exact deliverables a

In today's session, we went over a series of articles to get a general grip of how research can be packaged. This gave an understanding of the do's and don't of information presentation from a very general standpoint. I need to do more of this analysis for more relevant texts.   Graphic Design for the Real World?   by  Katrin Bichler & Sofie Beier What is the main argument of the article?  "it is critical that visual are aware that apart from communicating a clients' message or voicing their own agenda, they can create design that is a service to the reader."  The designer should always have the end-user in mind.  What is the main theoretical framework for the article?  Papenek "Design for the Real World" What types of design do they critique?  Advertising campaign design, with reference to informative/persuasive techniques.  What might you as a designer take from this?  The consideration that a designers purp

This afternoon we had our cop presentations so I put together this 12 slide presentation to accompany the script I wrote this week. Quickly it became apparent that doing the two activities in that order would result in some disjointedness between the very regimented script that answered all the questions we were given and the presentation slides which I felt had to in part be visually interesting. In the past I have added too much text to slides so I tried to really condense it down as many visuals as possible that would, in theory, jog my memory. I ended up not using the script at all really and although I may not have remembered some of the official names for types of analysis etc the overall flow of the presentation wasn't bad. With regards to feedback, the main positive was probably the practical idea and contact established with the fashion industry. It was also agreed that it's a workable topic and playing the divide between form and function could be both visually a

Arnheim provides a comprehensive overview of Gestalt theory and its application to our perception of art and design. Naturally when reading such a big book the officiant way of processing the information is to break it down into relevant subsections and chapters. As my first study within Art and Visual perception I'm looking at the only glossary noted section for the word 'typography' which comes under the chapter 'Balance' and subsection 'Top and Bottom' Within this section, Arnheim comments on the balance between the 'top' and 'bottom' of forms and our tendency to concentrate the centre of gravity below the midpoint, he rationalises this via our relation of 2D art and design articles to 3D objects that act under the rules of gravity. Even physical objects can appear lighter at the top when in person due to our sense of perspective as described by Horatio Greenough: "That buildings, in rising from the earth, be broad and simple at th

Question: The typographic relationship between form and function within the fashion industry   I am intrigued by the contemporary rise in custom typography as viewers have a better knowledge of type than ever before. One of the foremost questions that I aim to answer is ‘has our relationship with legibility and therefore the function of letterforms changed?’ If everyone’s comprehension of typographic techniques is improving then do we ‘read’ a logotype, for example, increasingly via its forms or still in a traditional sense entirely by its linguistic connotations. The positioning of the question within the fashion industry incorporates my main passion outside of Graphic Design and provides a wealth of branding, advertising, publication and wearable typography to analyse and reference throughout. The first consideration of my practice has been typography for some time now but this project will allow me to explore its application to fashion and hopefully gain some insight into the