Costa del Sol Chadwick level 6 graphic design

A couple of weeks ago I emailed a portfolio to Rob Boyd as a reply to an open call for type orientated graphic designers. It was a nice affirmation for him to ask for one based on my Instagram profile but I haven't heard back from him so I'm assuming he wasn't interested as he knows were to find me. Rob is a fashion designer with a passion for technical wear, I have been following him for a while and free like I could provide some interesting designs for his specific industry. He was asking for logotype work for 'soar' a running brand for whom he is the chief designer. With this in mind, I compiled a custom portfolio to send to him with a rethink of a tiny personal brief that I did over summer for my dads running club. This practice in tailoring a portfolio for a very specific industry is a useful development for me and hopefully, I will be in his mind a tiny bit even if my work wasn't right for the call in question. Here are some Instagram screenshots and t...

For a while, I have been exchanging pleasantries with SE London artist and videographer Cal Beasley. Cal has worked with a host of streetwear industry names from Nike to Samuele Ross to Liam Hodges. I understand he works as an assistant to Will Reid on shoots. Will does photography for one of my collaborators/clients from this year DENIAL so I presume this is where the connection started. I am a fan of Cals work and recently was invited to participate in a publication he is compiling featuring images of creative in quarantine, so I obliged a somewhat cringe image of myself for the publication and asked if he'd be down for some collaborative work in summer. I think the fact that Cal is linked to Liam Hodges whose name keeps coming up through different projects is a good omen and I'd love to work for Liam one day, perhaps with Lou Alsop if that comes up. Anyway, any project with Cal is as yet unconfirmed and I need to set the ball rolling with ideas as I was the one who suggested...

Following on from my collaboration with Emanuele Piarulli before Christmas and acting on my secondary passion, continuing to target interaction with fashion designers and those working in the industry. I generally believe that if I can get a foothold through projects with designers I respect then I can grow a reputable name within the industry at whatever level. From my experience so far word of mouth appears to be the best way to get my name out there.  I have had a few interactions with Lou Alsop since before Christmas as I featured her in my COP essay. As a continuation of this over the last couple of months, I have been reacting to her stories and generally trying to be kept in mind for an internship of sorts whenever that may be possible. I asked after my essay if working with her would be possible and she replied a bit delayed but didn't shut it down suggesting she would give me a shout if she needed some help with graphic elements. Working with Lou would be a dream on tru...

As part of my 'fashioning the industry' PPP project, I have produced a logotype for Gramm. the Manchester-based fashion/street and techwear house. I included these below images in my recent studio practise crit but here's the information for my PPP blog. The prospective work came about through a friend and LAU alumni who does 3D work for Gramm. He said they enjoyed my response and would be in touch but still nothing. I think in hindsight the response was too dated and needed some refining. Hopefully, I will work with Gramm in future and get another chance to innovate. With regards to the Gramm. logotype I submitted as part of their competition. I showed the brand Instagram as well as a means of gauging how appropriate the identity was. The crit group appeared to agree with me that maybe it was a little too true to my calligraphic style and not digital enough for the brand in question. I think the dynamism of the type fits the fast pace of a streetwear brand but just ...

Yesterday I got back from a very fun yet somewhat disappointing visit to Berlin. Starting with the fun bit I left Berghain at 12pm yesterday and have been discussing the project that I'm going to do with my friend Zoe all week so I'll try and do a separate blog for that studio development. However, the disappointment comes after my studio visit and work at artist collective Live From Earth with Tim Linacher fell through. I had been preparing for this by listening to the released tracks by the collective and delving into Tims typographic style. Unfortunately, as I travelled to the studio address in west Berlin Tim informed me that he had been taken ill and wouldn't be able to show me round, this was frustrating but it happens. Hopefully, I will be in his mind for any subsequent work as I grow by craft and keep producing work. I am also kicking myself that I didn't manage to at least find the studio and get a tour but I asked around at all of the offices in the complex a...

I attempted to illude to the draping of fabrics employed within Emanuele's practice when photographing my final outcomes. The interplay between the printed forms on both the drape and the interview book is particularly pleasing as the book is semi-transparent, allowing for subsequent pages to be seen through the fore ones. The way the heaver dwill cotton drapes is beautiful in a different way as it maintains more of its structure allowing for forms to collide on the surface of the item instead of through it. The biro drawn distortion of the pixelated letters collides with the precision of the vector type, creating new and abstract forms.   *retrospective add to #fashioning the industry*

How does your approach to fashion design influence your graphic outcomes and vice-versa? I feel really lucky that I come from a Fashion Design background and now work as a freelance Print/ Graphic Designer. My fashion degree taught me how to create ideas from original sources and develop these ideas in very experimental ways. I don't feel as though one is more important the the other but go hand in hand. Fashion design enables me to be mindful of placements for graphics and which fabrics could be great, and graphic design has taught me attention to detail. You can transform garments with the right print or graphics. Do you think the importance of legibility is changing with regards to typography? There has been a shift which has seen less legible type's printed on garments but it think its just a trend right now...  To me the words or text used on clothing have meaning, to me thats why they're being put on a garment. The garment i...

Hello Emanuele, Here’s where I’m up to at the moment and a set of 5 questions for you to answer please.  I have included 2 variant T’s for the high form, less legible typeface, with one of them featuring a traditional circular bottom, let me know what you think! :)  The more functional body text is also fully type-able although some of the kerning might need a little work so by all means try it out! Also which of these martial’s do you think best reflects your craft? (I appreciate none are perfect but I’m going to try and get something better in to make a screen printed flag):  Pigment cotton (sateen)  reactive cotton (poplin)  reactive cotton (dwill) reactive silk (twill)  reactive silk (organza)   Here are the 5 questions: How important is contrast of forms within your work?  Do your garments have a life when not worn on a human body or is the body a vital element? ...