EGRD3013: External Positioning

RICHARD TUBB

EGRD3013

Contents

Puffin Brief

RSA Brief A: Social Mail

Freelance Work

Personal Evaluation

Puffin Brief

To begin with, I did some research into what children’s books look like at the moment (right). As you can see, they are all very brightly coloured, with vivid imagery and often quite rough writing, as opposed to ordinary fonts. I wanted to avoid going down this route as it is very much the default and, to me, boring choice.

On the left is the work of Colin Thompson, an illustrator that has inspired me from a young age since I bought some of his books. This shows the general feel that I am after with my cover design - much more intense and interesting than the majority of children’s book covers around at the moment.

I chose this brief because the Brothers Grimm fairy tales have always interested me in their original forms, and I remember them from my childhood. I believed that this brief was perfectly suited to illustration; due to the history behind the tales it seems almost wrong to give it a minimalist and clean cover - I wanted it to be intense and bewitching, just like the stories themselves. I also felt that this brief gave me freedom to use my illustrative skills to their full potential.

I began by sketching out some rough ideas (left), playing on the theme of history and roots. The roots would come down from the

words and spread out, covering the page. The letters themselves would be illustrated in the same way as the rest of the cover, utilising a typeface I created previously (right). I did also consider drawing the roots in a different style, such as realistic or simplified, but I felt these didn’t link in quite as nicely, and they didn’t interest me as much.

Another idea (far right) was to have the letter G (for Grimm) taking up the whole front cover, surrounded by what I call my ‘swirly drawings’ - the same style as used in my font. However, I didn’t feel that this advertised the fact it was for Brothers Grimm and their fairy tales, so I decided to move on.

I thought about my ‘swirly drawings’ and really wanted to push them further, so I decided to illustrate the entire front cover with them. However, I felt that this would be either too intense or lacking in the portrayal that this is a book about fairy tales, so I decided to make an alteration. Amongst the illustration would be much simpler drawings of animals from the fairy tales, almost hidden within it. I chose animals due to the fact that so many of the stories featured one animal or another, and they also stand out and are popular with children.

In order to get started, I laid out the positions of the text on the cover (right), enabling me to illustrate around it later on. I chose a Blackletter font due the Brothers Grimm coming from Germany (although the country as we know it didn’t exist back then). I tried using it for the blurb on the back, but it was too difficult to read, so I decided to use a much simpler font. In the final design over the page, I changed the font on the back again to one that was subtly influenced by Blackletter, so there is a link between the two.

These are the drawings of the animals and other things that will appear hidden amongst the more detailed illustrations. I tried to get a real mix of different ones, as well as a few other things that appear prominently throughout the stories. I also chose some lesser known animals, to make sure that it didn’t appear to tacky and obvious. I really enjoyed drawing these, as it was challenging but when they were finished it was definitely worth it. The drawings were then scanned in and placed onto the template with the text on it, ready to be printed so I can illustrate onto it and know where everything goes.

Let the Brothers Grimm take

you on an amazing adventure . . .

From the land of fantastical castles,

vast lakes and deep forests, Jacob

and Wilhelm Grimm collected

a treasury of fairy stories, full of

giants and dwarfs, witches and

princesses, magical beasts and

cunning children. From classics

such as ‘The Frog-Prince’ and

‘Hansel and Grettel’ to the delights

of ‘Ashputtel’ or ‘Old Sultan’, all

hold a timeless magic that has

enthralled children for centuries.

FINAL COVER

WITH BOXES

(NET)

To the left is the final cover design for the brief. I am extremely satisfied with how it turned out - it is exactly as I pictured and wanted it. I feel that the intensity of the main illustration contrasts well with the more simplistic line drawings of the animals. I didn’t want to add colour to it for two reasons. Firstly, I

felt that it would detract from the actual design and the illustration itself, hindering the viewers ability to let their eyes wander over it. Secondly, as I currently work in a library part time, it is interesting to see the amount of children’s books that are festooned with bright colour to attract children to

them. I felt that this would almost work in the opposite way - being black and white would make it stand out from the rest and draw people to it that way.

Above shows me seeing what the cover would look like with a bit more order to it. All the text

has boxes surrounding it, making it stand out more from the illustrations. However, I felt this made it seem a bit more mundane and like all the other books out there, so I decided to stick with the original and more fluid design.

RSA Brief A: Social Mail

I did some research into stamps and was amazed at the variety of them. I thought they would have all been similar and reasonably dull, but if anything it was the complete opposite. On the left is my favourite one from the stamps to the right - I love the feel of this stamp and the detail that the artist has managed to capture despite its tiny size. This is something I want to try and emulate in my own designs, as I believe it makes it really stand out from the rest.

I chose Brief A: Social Mail due to the fact I found the idea a lot more interesting and original than Brief B: World with a Future. I began by making a lot of rough sketches and ideas. I struggled at first, as it is such a specific brief and the scale is so small. One of my main initial ideas was to design the stamps in a similar way to the new designs on coins: each stamp would be different, but if you joined them all together they’d make one large design.

However, I couldn’t think of anything to actually put on the stamps that would inspire people to use the post, so I began thinking of the content more than the design.

Eventually I came to the idea of the journey of a letter, showing each of the main segments of its journey - and having worked at a postal sorting warehouse there are a lot of energy and resources that go into sorting and delivering letters.

I began by writing down the six mains steps the letter takes, and began sketching out how these could be conveyed on a stamp. There were many things to take into account, such as the angle of the objects in the stamp, the scale of it, etc. Once I had a good idea of what they were to look like, I began illustrating stamp one. This was to show a person’s hand writing out a letter. I created it by looking at my hand and drawing it whilst it was drawing, which was a

weird sensation but turned out surprisingly well. Next, I used watercolours to add the colour to it, as I wanted to keep a hand rendered and non-clinical feel to it. This was a great learning experience because I have never properly used watercolours before, and they were interesting to work with. Next, I scanned the image in and altered the levels of colour in Adobe Photoshop, whilst making sure to leave any mistakes and colour-bleeding to maintain the hand-made feel.

These are the other stamps that I have begun to date. On the left is a Royal Mail HGV, and I drew this to give a sense of the scale that the postal service works on. It was drawn and coloured in the same way as the previous stamp. I decided to leave the Royal Mail logo blank as I will paste it on digitally later, thus keeping its clarity and prominence.

To the right is someone posting a letter into a postbox, and this is a mock-up to show how it will look. This will then once again be coloured using paints and then scanned in to enhance certain aspects of it.

This shows where I want to take this project next. The idea is that each of the illustrations I create will be placed onto one of these coloured squares. The squares will all flow continuously and link to each other, whilst being different colours to help with the differentiation of

the stamp’s value. Text will also be added to further link them together, although I am unsure whether it will be abstract or actual sentences from a letter. The final versions will probably be created using watercolours, linking them much better to the illustrations.

Freelance Work

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INTERVIEW Words by Words by Darin & Lance Bradley Images by Simon Miskelly

You’re well known for being a petrolhead and loving EVOs - how do you rate the Evo X FQ-400 against previous models? I’m really pleased with the Evo X FQ-400. It more useable than the original FQ-400, but still, as the name suggests, ‘Fantastically’ Quick. I’m also pleased that in the design of the bonnet and front of the car we gave a nod to the Evo VI – my fi rst and probably (with the Makinen) still favourite Evo.

When did you think you wanted something more than a ‘standard’ Evo X FQ-400? My car is pretty standard apart from the wrap. It has uprated brakes, but that’s all.

What gave you the idea to have the car wrapped in chrome vinyl? It was my partner who suggested chrome. The previous one I’d had in matt black, which looked quite evil. So I was happy to have something completely the opposite this time.

Is the fi nished car how you imagined it? Yes it is. We asked Graphic Vision Application Ltd to do it, and they did a super job. Mind you – it took them a week to do.

Are you pleased with it or do you wish you’d have gone with Plan B?! Very pleased. It’s good to have a car which generates so much interest, even from people who aren’t usually interested in cars.

How long has the car been wrapped for? Since I got it, about two months now.

I imagine you do a lot of miles as MD - is the wrap standing up well so far, or has it needed ‘some tlc’ to keep it looking its best?The wrap has stood up very well – not even a stone chip so far.

Is it a problem to maintain and keep clean? If it got damaged it would mean replacing the wrap on the whole panel, but apart from that it’s fi ne. It’s no more diffi cult to wash than any other fi nish.

It’s fairly commonplace for Evos to get a reaction from other drivers and pedestrians, but I’d imagine this must be on a completely different level regardless whether you’re driving the car or it’s just parked! Does this make the owning / driving experience of this particular car more or less enjoyable? It is on a different level. I’ve never been particularly shy or retiring, so I love the attention it gets.

What are the most memorable reactions you’ve had?When I fi rst took it home there was an older couple walking down the road who literally stopped and stared, open-mouthed, as I drove by. And I’ve yet to park it anywhere and come back without fi nding someone staring at it.

It’s not all good though. My partner’s 13 year old hates it when I pick her up from school in it. It’s SO uncool and embarrassing, apparently.

Have you had any ‘interest’ from the Police - unwanted or otherwise? Not so far, fi ngers crossed. I did get stopped in my matt black one because my “rear number plate was dirty”. The policeman was alright, though. He just wanted to see the car. He asked me if it was quick. I told him was usually, but not once I’d seen him in my mirror.

Is the wrap the only other modifi cation from the ‘standard’ FQ-400 spec?Uprated front and rear brakes.

How long do you intend to keep the car as it is?I keep my cars for about 9,000 miles, so maybe four months. The wrap will be staying on .

Do you have future plans for the car or will it just be replaced when the time comes? Probably just replaced when the time comes. I’ve already had three offers to buy it. But we might keep it. We do have a few interesting Evos we’ve kept

Will the vinyl be stripped off before selling the car, or will it be sold wrapped? If we sell it the wrap will stay on.

What plans do you have for your next car - something more striking (if that was possible) or something a little more subtle?! Haven’t really thought about the next one. So if any of your readers have an idea I’d love to hear it. They can reach me via Twitter @Lance_Bradley_

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INTERVIEW Words by Words by Darin & Lance Bradley Images by Simon Miskelly

Name Lance BradleyTitle Managing Director

How long have you worked for Mitsubishi Motors?Eleven years. I was with Ford for twelve years before that.

What were your previous roles before becoming MD? I joined Mitsubishi as General Manager of Sales, then Sales and Marketing Director, before becoming MD in 2009.

What do you feel is the most challenging part of your role?At the moment, dealing with the exchange rate caused by the weak pound and the strong yen.

Now CCC has become Japanese owned, has this strengthened ties with Mitsubishi Japan and made business easier? CCC is now owned by Mitsubishi Corporation (which is not the same company as Mitsubishi Motors). Having such a successful, well funded shareholder has lots of advantages. Our relationship with Mitsubishi Motors has always been pretty good, and it still is.

How important is (was?) the Lancer Evolution to Mitsubishi as a company and as part of their current model line-up? There’s no doubt that Evo has been an iconic car for us for a long time. Sadly, despite ongoing support from enthusiasts, the demand for this type of car has

waned as fuel prices and road tax increase, and the economy has got more diffi cult for everyone.

Being an avid supporter of the Lancer Evolution for a long time, I’m sure you would like to see the model continue. Do you have any input into this process with Japan? I do indeed hope it continues, and I know that’s a view I share with Mr Masuko, who is the President of MMC. We do have input into future product development. I go to the R&D centre in Okazaki at least once a year to review and drive future product. And because the UK is such an important market for Evo, I’m sure I’ll get to have an input.

With the current focus on environmental issues these days, do you see the Evolution model continuing, either as part of the Lancer family, or a smaller variant? My own opinion is that it will always be part of the Lancer family. I think that’s where its heritage is and where its future lies.

In a similar vein, do you believe there’s still demand for EVO - and performance cars in general? I think demand is reduced at the moment, but that it will come back as the economy improves. Most things are cyclical in the car market. Making the next car more effi cient, and therefore cheaper to fuel and to tax, will also help. The over-riding caveat, of course, is that it still must be an Evo.

I was told sometime ago that EVO was very important to Mitsubishi and they would

continue the car’s development with the aim of producing another EVO which was environmentally sound, when green technology allowed them to do so. Are you aware of any such developments? There’s a duty on all manufacturers to make their vehicles as environmentally responsible as possible. So, while nothing is confi rmed, I would expect the next generation of Lancer Evo to be produced with that in mind. I know there’s talk of a hybrid Evo. There are hybrid race cars now, and you’ll be aware that Mitsubishi raced a specially developed pure electric Evo a while ago, so anything is possible.

In the meantime I’ve heard rumours that a face-lifted Evo X could be produced in Japan - do you know if there’s any truth in this? I haven’t heard anything about a facelifted Evo X.

In your own opinion, how important are organisations such as the MLR with regard to promoting the brand, maintaining brand loyalty, understanding customer satisfaction etc? Without the MLR there would be nothing like the following for cars like Evo. It’s a great way for us to keep in touch with what Evo enthusiasts want, like, don’t like etc.

Finally - what would you choose as a company car if a Lancer Evolution wasn’t available?L200 Walkinshaw – the one Tom Walkinshaw developed for himself, with the Walkinshaw Performance suspension upgrade. Not sure if I’d have it chromed, though.

PROFILE

42 MLR

INTERVIEW Words by Words by Darin & Lance Bradley Images by Simon Miskelly

MLRSSRound 6: SnettertonSnetterton was the second new circuit for the MLRSS in 2011, and as we were using the new ‘100’ circuit which had only been opened earlier in the year, it was really was ‘new’ in every sense of the word. At just under a mile long it was just long enough and with the fast new tarmac with a variety of corners it looked ideal for the MLRSS... but would the drivers agree?!

Judging by the number of bookings and a full paddock of 50 cars it looked like they did, and once we’d got past the briefi ng and sighting laps which took a ‘tad’ longer than expected, the practice runs were upon and for the fi rst time since the MLRSS has been running I was concerned we might see a Guest class car take FTD thanks to P20SPD bringing ‘the banana’ - a rudely quick Impreza which just happened to take the TOTB title earlier in the year - as that ended up leading the way going into the lunchbreak!

Concentrating on more positive things the competitive runs got underway and at the end of the fi rst run it was... the banana once again in P1, albeit in only slightly ahead of Richard Marples! Luckily Markmec had taken his quick pills in the lunchbreak and at the end of R2 found he’d gone 4.5s quicker than his previous run to put himself in the top spot with a time of 42.81. Taking that enthusiasm to R3 was too much though and after a momunemtal launch, his transfer box decided it didn’t want to play anymore which meant Mark was out - but still in the lead.

Unfortunately Neverneverman’s Evo6 also succumbed to a rare but terminal failure and had to sit the afternoon out, but everyone else was clearly trying to wring the best times from their cars - with one even spinning after crossing the line and causing me more concern than usual... eh Baz?! and Blacky accelerated so hard off the start line his number plate fell off, but approx 44seconds later he was able to collect it on his way back to the paddock!

At the top it was a free for all between Class D & C cars but further down the fi eld it looked like Peeler was showing Class B the way home, whilst Class was having a dice of its own between Chaz83, Corky and GumEvo and with all of them taking it in turns to lead the class it was still anyone’s for the taking.

Back at the top Baz got into the 43s in R3 and Richard Marples dipped into the 42s in R4, Mark’s lead was looking pretty safe - until R6 arrived. Richard managed to get everything working and equalled Mark’s time of 42:81s making it a tie for fi rst, that was until P20SPD broke the fi nish beam in a time of 42:76s and putting the Scoob back on top by 500ths of a second. It looked like it was going to be another close one!

With P20SPD sitting out on R7 it was all to play for for Richard, and with everyone watching the results screen (both at Snett and numerous PCs around the UK) we all knew the answer 42.46s later - he’d snatched the lead back by an even smaller margin of 300ths of a second, and

with it had piled the pressure back on to Steven. R8 and the fi nal run of the day. It wasn’t long

before the yellow Impreza was back on the start line. You could almost cut the atmosphere with a knife as absolutely everyone knew this was the only chance that Richard would be beaten, but sadly (for Steven) it wasn’t to be as he crossed the line in 43:01... close but no cigar!

However, there were a handful of drivers who put in their quickest time on the last run and seeing them work their way up the leaderboard a bit further... Rodney 44:65, Liddy 44.96, Gary@APT 45:83, Bloodspeed 47:11, Dusty Floor 47:18 and possibly the most important quickest last run going to GumEvo who quite literally stole the win from Chaz83 by a mere 0.19s!! To say he was pleased would be an understatement - I thought he’s had news he’d won the lottery!

FTD / Class DRichard Marples 42:46

Class CBaz25 43:36

Class BPeeler 45:70

Class AGumEvo 47:53

Class GP20SPD 42:76

50 MLR

EVO MOTORSPORT Words by Darin Photos by Monkeynuts & Raptor

MLR 51

This is some freelance work that I have been doing with my brother. It is for a magazine called the Mitsubishi Lancer Register (MLR), which is a dedicated magazine for enthusiasts of the car.

It involved using a lot of Adobe InDesign for the layout and text and Adobe Photoshop for altering the images, and this really enabled me to polish up my skills in these programs.

I found it great to be doing work in ‘the real world’, and although in reality it isn’t the most exciting thing to be doing it is a good back-up to have and there is often work for magazine layout to be taken. I will continue to help my brother out and build on my skills and networking further.

It all started in 2008 when I made a promise to my wife and family that I would leave the Evo 8 260 I had just brought completely standard... Oh dear another broken promise, being a serial car modifying I couldn’t help myself, it stayed standard for all of two days, starting with a set of lowering spring, soon followed by an exhaust, filter and remap all within week two of ownership.

After a couple of months of tweaking I was invited on a trip to the motoring Mecca, the Nürburgring, the Evo seemed the weapon of choose to take. After a successful 5 days of lapping it soon became clear what was needed for the car for my new fix. On went the R888’s, AP Racing brakes, BC coilovers and more power as soon as I returned home. Now I found myself in Germany more than I did in the UK, with the addiction of wanting to lap the Nordschleife quicker and quicker, the Evo’s power was up to near 400bhp. It stayed like this for the next 10 months, while not lapping the Ring it was used as my wife’s daily to commute to work. In early 2009 things changed, I brought one of the first Ford MK2 Focus RS, it went through the same process as the Evo, developed for my Nurburgring fix and with 1000+ laps in just 18 months, the Evo had been pushed to one side.

With the Evo sat in the garage, I couldn’t bring myself to sell it but instead plotted the idea of building it into a caged track car. So in went the Safety

Devices bolt in roll cage, light weight seats and harnesses, before it had the chance to get its first outing though in its new spec I decided to up the power again. Indigo GT was left in charge and built a long rod forged 2.0 with a S205 turbo. The moment the new engine was run in, Indigo kindly drove the car over to Rockingham circuit for me to try the Evo out with its new 500bhp engine on a trackday. Wow I was impressed, straight away falling back in love with the Evo.

It didn’t take many more trackdays before I wanted to use the Evo on a more competitive level, I really wanted to use it for the Nippon Challenge but with a late rule change that scrapped the GT500 class I decided to give Time Attack a try. At this point the Evo was wrapped in the Monster Energy livery not only because I was a big fan of Mr Block but it was also a way of protecting the paintwork.

The Evo had its engine rebuilt again ready for TA, this time with a dry sump fitted but after several delays it was only run in on the dyno the evening before the first round at Oulton. Other changes was the ABS removed, light weight fuel tank, fully poly bushed, RS rear diff, Hydra ecu and after working with KW Suspensions in Germany with the Focus I changed to their flagship Competition suspension for the Evo.

Driving the Evo for the first time in several months at round one and not having time to test the car, I really

struggled, it didn’t help that the brake bias was sending all the braking power to the rear wheels and the centre diff was not working correctly, I battled to keep it in a straight line! Then disaster stuck in qualifying with the turbo failing. So I left round one with a sour taste in my mouth but with a good idea of what was needed for round 2 at Knockhill.

First jobs were to fit a new brake bias, adjust the wheel alignment, fit a huge rear wing for stability and replace the blown turbo. That all went ok apart from the turbo, Turbo Technics couldn’t supply a replacement turbo of the same spec in time, so to help me out they made me a turbo up from parts they had spare to get me to Knockhill. The only downside was that I couldn’t run no more than 1.2 bar of boost due to the turbo not being as strong, there for only making just over 400bhp.

So then it was the long trek North to knockhill, a circuit I had never driven before but it was disaster again, the turbo didn’t even last past practise, I was reduced to tears, so much effort went into getting there and for that to happen! Time Attack was proving quite stressful! Next day the turbo was off and back to TT but still they couldn’t replace the turbo in time for the double header event at Brands Hatch, so I brought a stock location ATP GT35 but this only arrived the week before Brands, a last minute pattern was now becoming the norm. By the time it was fitted and mapped it was only 1 day away from

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FEATURE Words by Marc Kemp Images by Rich Sams

SPECIFICATIONS

Engine

Drivetrain

Suspension

Wheels & Braking

Exterior

Interior

Other

36 MLR

FEATURE Words by Marc Kemp Images by Rich Sams

Brands, I did get the chance to have a test day at Rockingham for the first time of the season to get use to the car but there was a massive problem, the engine wasn’t making the power it should of, only 430bhp and was dropping off power at 6000rpm. It turned out to be the cams restricting the power but with no time to change them, I had to go to Brands way down on power compared to the rest of the TA pack.

Driving the socks off the car all weekend I was gutted to miss the

podium by 0.2 of a second on both days but it was a great chance to get even more use to the car.

On to Cadwell and with the new cams fitted and the Evo making 530bhp I was feeling more confident, especially with Cadwell being my home circuit. All was going well, in qualifying I posted the fastest ideal sector lap time and knowing I had more in reserve for the final but my run of bad luck continued, this time the engine blew due to an oil issue and for the third time it was a non finish. By

now I was ready to throw in the towel on TA but the week before Anglesey, Robin Duxbury gave me a much needed life line, he had his spare FQ400 engine sat in the workshop and in a last minute decision it was fitted the day before Anglesey. So it was straight from the workshop to the track again, another circuit I hadn’t driven before!

Lady luck was finally on my side and with 560bhp I powered home to a second place finish, words couldn’t describe how happy I was.

Ending the year at Snetterton, I know I was going to struggle against the bigger powered cars being a power circuit, I fitted a Magnus inlet and throttle body but I was still way down on power to the lead cars. In a attempt to gain a bit of top speed on the straights I fitted a standard rear spoiler but I soon discovered how much stability the big rear wing gave! Despite some sideways driving I was holding on to third place in qualifying, it was soon final time, with a whole second off first place the boost was wound up, the race fuel was added and the big rear wing fitted, I was ready to do business in the final. Well that was until a boost pipe came off when exiting the pits on the first lap, despite my Dad and the Wallace Performance boys who was in the pit garage next door to us trying in vain it didn’t go back on in time to get back out. Gutted again, my time in qualifying would of been good enough for third in the final.

All wasn’t lost, so much has been learnt this year, the Evo is currently being rebuilt for next season to a new improved and hopefully more reliable spec! I hadn’t planned a second season in TA, as I wanted to drive in the German VLN endurance series but after such a poor season I’m desperate to have another crack at it!

Thanks to: Tracktive Solutions; Indigo GT; KW Suspensions; The Sign Team; Roose Motorsport; Carbon Goodies; Robin Duxbury; Mum & Dad!

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FEATURE Words by Marc Kemp Images by Rich Sams

Monster

Attack!

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FEATURE Words by Marc Kemp Images by Rich Sams

Personal Evaluation

Digital

Illustration

Book binding

Painting

Packaging

When I first began at university I didn’t have a clue about what was going on in the industry, whereas now I would like to think that I have a reasonably good idea of what’s going on.

I have started researching into companies and agencies that interest me, potentially as a place to work. The first is called the Central Illustration Agency, or CIA, which is based in Mayfair, London. They represent such a large range of different styles and skillsets that it would be inspirational and career changing to be a part of them. Another illustration agency that interests me is Lemonade, which is global and has a huge wealth of talent and methods.

I have also been looking into packaging as a career choice, and the first company I came across was Smith & Milton, which has over 30 years of experience and a very impressive portfolio of clients.

Also, another packaging company is James Knowles Ritchie, or JKR. Many staple brands of the UK have used them to redesign their

products, and the designs are brilliant and motivational.

I also want to freelance for various clients, and building up my own identity is what I plan to do next. I would also love to have my own company, but what it would be focused on isn’t clear, and so it is a long way off yet.

Looking back at when I started in year one, it is interesting to see how my practise and my views of the industry have been altered. When I first began, I was using a lot of digital programs such as Adobe Photoshop and Illustrator. I was still excited about using them and exploring all what they had to offer. I still did illustrations, but not as frequently and more as doodles than any actual piece of work. My book binding skills were non-existant, and I didn’t really like or enjoy painting. I remember having an interest in packaging, as I enjoyed the technical aspects of it making sure everything fits and comes together correctly.

Moving on to the present day, it is obvious to me that there has been a seismic shift

away from the digital and towards the more traditional aspects of illustration and painting. Whilst I still use digital programs, it is usually in tandem with an illustrative piece of work, i.e. altering the colours of it, etc. I have gained some book binding skills, and although they are still very basic I would like to expand on them more and gain some more knowledge and understanding. Packaging has increased in interest to me, and this is something I would definitely consider a potential career in.

2009 2012

This unit has enabled me to really focus my practise and decide where I want to direct myself. It was odd at first looking at myself, but it was useful in the sense that it enable me to stand back and look at my journey through university as a whole, and how I have progressed and changed whilst I’ve been here.

The RSA and Puffin briefs have been excellent and I’ve really enjoyed the challenge of them. The fact that they are professional real-life briefs means I can really focus my skills and give it my best, and I have been extremely pleased with the results. I intend to carry on developing both briefs and to submit them when the time comes.

Working alongside my brother doing freelance work for a magazine has been a great experience, and it has really enabled me to get a taste of what it is like to be a graphic designer and to work with clients. I will continue to do more projects like this, and I aim to expand my presence online by creating my own website in the next few months.

All in all, I feel that this semester has really propelled me towards where I really want to be, and has enabled me to hone my skill set and know what various potential employers are after in the competitive world of graphic design.

BIBLIOGRAPHY

The Book People.(2011). The Book People - Children’s Books.http://www.thebookpeople.co.uk/(Last accessed 8th December 2011).

Creative Review. (2011). Creative Review.http://www.creativereview.co.uk/(last accessed 28th December 2011).

Klanten, Robert. (2009). Papercraft: Design and Art with Paper. Berlin: Gestalten

Penguin. (2011). Penguin.http://www.penguin.co.uk/(Last accessed 30th December 2011).

Royal Mail. (2011). Royal Mail.http://www.royalmail.com/(Last accessed 29th December 2011).

Stanley Gibbons. (2011). Stanley Gibbons - The Home of Stamp Collecting.http://www.stanleygibbons.com/stanleygibbons/view/content/sg_homepage(Last accessed 14th December 2011).

Thompson, Colin. (2011). Colin Thompson - Author and Illustrator.http://www.colinthompson.com/(Last accessed 3rd December 2011).

Thompson, Colin. (1996). Looking for Atlantis. London: Red Fox.

Thompson, Colin. (1999). The Tower to the Sun. London: Red Fox.