WHAT IS

GRAPHICPRODUCT

YEAR TWO

INNOVATION

?

HEATHROW terminal fiveOur moto:‘Keeping the passenger informed though out their journey at Terminal 5.’

HEATHROW terminal fiveWhilst having a look around terminal 5, I decided that BAA have made check-in very quick and an easy process.

Thinking about where you wait the lon-gest at airports (either security or the departure lounge), I decided that I wanted to join a group that had the same idea to improve either one of those spaces.

Arrive at T5

Travelator to Check in

Check In

Security

Departure Lounge

Travelator to Gate

Gate

PlaneTouch Screen Information

Power save mode - saves energy

Incase of Emergency - shows dirrection to nearest exit.

One to One Information

Pressure Pads

Pressure Pads

Paravision

Paravision

Advertising

Advertising

Creating and storing energy

Creating and storing energy

TERMINIAL 5processHere I created a sort of time line, to view the passengers experience of Terminal 5.(the writing in italic are our final idea’s and where they would come into the journey at Terminal 5.)

TRAVELATORhow to improve itWe believed that one major waste of advertising and information was on the travelators at airports. Valuable space isn’t being used properly. Cricking your neck to see the boards may put you off reading the adverts altogether, so why don’t they follow you?

Also, how can you make travelators sustainable?

Arduino Lasor Sensor Softwear Will activate the sleep mode therefore saving electricity as it wouldn’t be running 24/7. It will also help the adverts run at the same speed as individuals are travelling down the esculator.

Paravision ProjectionDue to the amount of glass at Terminal 5, we decided to incor-porate that factor into our de-sign. By using paravision, adverts can be projected onto glass and therefore no extra material will be needed.

Pressure PadsMovement creating kinetic energy to power the esculator.

TRAVELATORsustainable factorBy adding pressure pads to the bottom of the travelators, an aduino sensor and paravision projection, we will create a new experience for the passenger aswell asthe experience being sustainable.

TOUCH SCREENinformation boardA person information system. Instead of trying to find your information on one, big board, you can scan your boarding card and it will activate the info display system showing information about your flight, gate number, shops and your holiday destination.

FURTHER DEVELOPMENTincase of an emergencyIn addition for both of our idea’s to inform the passenger of details to do with their flight, holiday destinations etc, we also thought about safety.

Incase of an emergency, the touch screen information boards will fold down to floor level and have green arrows pointing to the closest evacuation exit.

Also, the Paravision screens on the travela-tors will show a similar arrow as the touch screens. Once the airport has going into full evacuation, the travelators will auto-matically stop and large green arrows will be projected to show the closest exit.

This animation shows the journey of ‘John Smith’ travelling around the airport to get to his flight. To the theme tune of ‘Thunderbirds’, we show how both the travelator and the infor-mation boards are used.

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LONDON WETLANDS CENTRE, BARNEShide&peakOur brief was to re-create their communi-cation system, while focussing on stainabil-ity and environmental concerns. We would have to concentrate on the users that use the facilities at the Wetlands.

USERSof the wetland’sOnce we had visited the Wetlands centre, we were able to map out all the users that used the site. Below are the map sketches of what users use what part of the facilities.

BIRDS

BIRDERS

SCHOOLS

FAMILIES

SENSUALISTS

RESEARCHof the wetland’sOur research of the area included the following:- Navigation- Signage- Sustainable Factors- Users- Mapping- Facilities

DEFINING THE BRIEFchoosing our audienceOur chosen audience is children.The following factors are want we need to keep in mind:- Sustainable design.- The importance of nature to children.- Showing that education can be fun!- Communication.- Make a constant style of signage.- The importance of child-friendly signage (heights).- Children enjoying interaction.- Own hide for learning and fun instead of sharing with the birders.- Adapt well without disrupting the area and wildlife.

KEEP CHILDREN CONTAINED, BUT ENTERTAINED!

EXTENDED RESEARCHof other locationsWe extended our research by visiting other places aimed at both children and adults. We then looked at the good and bad points of each of them.- London Zoo - London Aquarium- Cotswolds Wildlife Park - Eden Project- Brighton Aquarium - Epping Forest- Wellcome Collection - Science Museum- Pattern Pod - Dean City Farm

The photos above were taken at ZSL London Zoo.

IDEA GENERATIONpost-itsWe decided to brainstorm our idea’s on post-its, aiming to reach 100 idea’s. We then categorised every idea to see what the most popular idea was and develop our initial idea’s.

INITIAL IDEAhidesAfter planning a lot of different idea’s and disputes in the group, we decided together that a plan to devise hides especially for the children - either on school trips or on a family day out.

THE HIDESviews from the exact locationsThese photos show the locations views of each hide.

Each hide will be colour co-ordinat-ed but will be the same design and made out of the same material.

FINAL IDEAhand drawingThis was my quick sketch to show what each hide would look like.

Our final idea’s for the hides are the following -

Child Friendly : View holes. (various heights)Environmental : Green, wooden hides with slanted roof to drain rain water.Location : 7 different hides so children are in small groups.Secretive : Maze-like entrance.SHHH! : (hide&seek concept) small view holes and only natural light inside.Educative and Fun : Find static bird illustra-tions in the environment and identify the names. Have three activities to take part in.

FINAL IDEA3D VisualsThese stills were designed using Sketch-up to create the users experience.

FINAL IDEAPrototypeThe materials to use this prototype are the following :- Cardboard - Glass fibres - Perspex- Paper - Acrylic Paint

ACTIVITIESfind the static birdEvery hide has a colour coordinated educative activity for them to play and interact with.

Their objective is to look and find the static bird and also see if they can recognise any other types of birds that they may see.

ACTIVITIESidentify the birdsMagnetic boards will be placed around the binocular holes in a circle describing each bird.

We thought it was a better out-come for health and safety issues.

As well as finding the birds, we have also designed a treasure hunt map activities and as well as a teachers’ copy - with the correct answers. There will be a different activity card for each age group. The treasure hunt cards will help them find each hut and therefore will teach them about map reading and for the older children, co-ordinates will be placed on them so they can find each hide with the co-ordinates.

PHOTOGRAPHYelectiveThese next spreads include the following:- 2 Studio Portraits- In the style of...- Post Production- Individual photo’s.

STUDIO PORTRAIT insecure

I believe that the visual language is successfully portraid in this photo. The model is stood at an angle with her body facing the key light and with her arms crossed. I have chosen to have a black background with a background light, lighting it slightly. I decided to do this as I didn’t want the photo to be completely dark and moody, but more shy and insecure about the world. This body lanuage can be seen as either showing clo-sure to the outside world or being fed up. Her facial expression seems unhappy and no warmth is shown in her eyes.

STUDIO PORTRAIT flirtacious

Compared to the previous photo, this one has more of a light and airy feel to it. It has a white background and I used a Key, Fill and Back light. Subtle flirtacious actions can be seen, such as the eyebrows being raised, a cheeky pout / smile and her finger pointing to the right of the camera. She is once again possitioned at an angle but this time she is looking over her shoulder showing confidence.

IN THE STYLE OF richard avedon

The original photo was shot in the 1960’s for a fashion magazine. The majority of Avedons work I like are the fashion shoots (for Vogue and other big magazines) and portraits (The Beatles, Marilyn Monroe etc).

I have decided to concentrate more on the movement of the photo instead of the garments. Avedon has captured his model throwing her-self away from the light. I loved this technique as shadows are cast both on the floor and across her body which gave the photo movement (without having a blurred or fuzzy background). I used a tripod, which Avedon would have used and placed the lighting in the same way as the photo. As it was a light background I used a background light to boost the white. My key light was placed to the left of the photo to define the body and to cast the shadow on the floor. I also had another two lights so the contrast of the shadow on the floor could be seen. I used a quick shutter speed to capture the image as she was moving when I was taking the photo. I then used Photoshop to make adjustments (changing it to black and white, adjusting the contrast and using the clone stamp) to perfect the photo.

The experience I had taking this photo would have been a different experience that Avedon had. I shot this photo in the studios with a Digital SLR camera and got to view the photo instantly. Where as Ave-don would have had to develop it in the dark room, which was a longer process. I also was able to use Post production on my work.

POST PRODUCTION photoshop one

Magnetic Lasso Tool – around the body and guitar. Copy and paste the selected area to create ‘Layer One’.

Layer OneEraser tool – delete excess brick wall – diameter 30px, hardness 38%Layer – New Adjustment Level – Exposure – 0.20 and Gamma Correction – 0.88.Clone stamp – Spot on chin, spots on neck, hair on right of forehead, getting rid of white spots on the brick wall.

BackgroundLayer – New Adjustment Layer – Levels. White balance from 255 to 220.Image – Adjustment – Curves – Output : 97 and Input : 112.Filter – Blur – Lens Blur.Layer – New Adjustment Layer - Hue / Satura-tion.

I wanted to emphasise the blue on the shirt, clear the spots on his face and neck and to make the models body and guitar stand out more than the brick wall. I used Adobe CS3 Photoshop for my post production.

My inspiration of this photo was to create exciting move-ment. To capture movement, I had to move the camera whilst taking the photo. I found it tricky at first but once I worked out the correct aper-ture, shutter speed and ISO, I captured a handful of successful shots. I have chosen this photo for my portfolio as I think the shape of the mini works well with the vibrant colours in the blurred background.

PHOTO one

I created ‘Depth of Field’ in this photo by concentrating on the one icicle with a raindrop about to fall off. I still wanted the background there but only wanted one icicle and raindrop in focus. I found it tricky to control the aperture function as I had to capture this photo quickly to get the raindrop in its fullest form.

PHOTO two

PHOTO three

I wanted to capture the busy-ness of a building site but I don’t think that this photo is perfect. Walking down the street, the colours of the sign and work jackets caught my eye. To improve this photo I should have focused more on the man holding the sign instead of the surroundings.

one we don’t like + one we likeone serif + one san serifgiddyup std + helvetica

COLLABORATIVE PROJECTcreating a typeface with chris sayers

giddyup std and wingdings

giddyup std and impact

giddyup std and arial

giddyup std and rockwell

INITIAL IDEA’Sexperimenting with fontsChris and I decided to both experiment

with fonts. I chose to always use giddyup std as my main font that I was going to mix in to another font.

helvetica overlaying giddyup.

giddyup overlaying helvetica.

giddyup overlay coloured white.

helvetica overlay coloured white.

DEVELOPMENTexperimenting with coloursWe then played around with colours to see what kind of affect it created to the fonts if one was white and the other was black.

FINAL PIECEhelvetica & giddyup std

FUTURES

FUTURESmovies in the next 30 yearsI originally started this project in a group then decided to split off and work individually. I decided to look into how much the movie experience will change in the next 30 years.

Philip Clarke Executive Producer of ‘Time Team’

Experience of going to the cinemaIt is a business, I believe that isn’t going to change. Cinemas make the most money from Box Office views. Increase of smaller cinemas will happen. Even though they are more expensive, the experience will be better. Making the experience bet-ter means less pirate copies on the market and more money for the movie industry.

All movies in animationI know of 5 movies that are being made with the same technology as Avatar so yes there will be an increase of animated movies, however I would never want to com-pletely see movies without actors. For example, the Kings Speech – the way the acting was and the lack of CGI in the film still gave an effective and gripping film. However I do believe that if there are more animated movies then more publicity to animators and designers will increase and that would be a positive step towards more jobs.

Smell – O – VisionI think in the next 25 – 30 years, there won’t be the technology developed for smells in cinema. But I do think that it will happen in the future – maybe in 50 – 100 years time though. I strongly think that the idea of smells will not happen in larger screen cinemas but in smaller and more intermit cinemas.

In-touch with your emotionsMixed opinions – viewers may be put off with going to the cinema and the box office wouldn’t like it if movie income decreases.

Peter Salter Matchmove Technician Director - The Moving Picture Company

Experience of going to the cinemaThere is always new innovative tech that we dont know about thats behind closed doors from the public, but one of most exciting thing for me thats coming out in a few years time is holographic cinema, true 3d no need for glasses or polarised screens. There are also prototypes of holographic displays which are 360 degrees to this could change how cinemas look instead of just a front viewing screen, the cinema could be be arranged around a giant tube, people from the otherside of the cinema would see it from a totally different per-spective. This would also bring a lot of new challenges to the entire industry

All movies in animationThere will always be traditional movies I dont think anyone doubts that, avatar was done via motion capture so the characters movements all came from the actors, as computers get more powerful and it gets cheaper to make movies like Avatar I think there will be more full CG movies.

Smell – O – VisionI really hope not! The views from MPC is that it has happened before and it will never happen again as it does ruin a film if it has too much interaction.

RESEARCHprimary researchI started this project by interviewing a producer and a technician director who both have had experience working in television and movies.

RESEARCHtried and testedI then researched on the internet about how much the movie ex-perience has changed in the past 70 years. I also looked into idea’s that had been tried and tested and failed.

Nickelodeon tried to carryout smell-o-vision by using scratch and sniff cards in the late 1990’s.

Smell-o-vision first came to the movies in the 1960’s for the movie “Scent of Mystery”. However there were major problems as many smelt the smells too late!

1940

2035?

2010

THE EXPERIENCEhow it has changedI then researched on the internet about how much the movie experience has changed in the past 50 years. Theatres have become smaller, chairs have become larger, sound has improved dramatically and the layout of cinema’s have improved.

CONSTRAINING FACTORmotion captureBE PART OF A MOVIE! Have a library full of every day people and their movements and body language. Will be able to help with technology such as the one that helped make Avatar.

Social:Not everyone will be interested

Economic:More money going towards movies being made and not paying actors millions of pounds to act in a movie.

Human Behavior:Exciting to use. “Become a movie star!” However it may cause copy right issues. Children may start idolising a char-acter that isn’t real and not a human movie star.

CONSTRAINING FACTORcinema seatingLarger seating for everyone and more leg room. Not having to stand up to let someone pass.

Social:Less interaction with other people. Less people, less noise

Economic:More luxury at a cost of a more expensive ticket. May lead to more pirate copies of movies on the market. and there-fore the movie industry will loose out with more money.

CONSTRAINING FACTORmulti perspective cinema viewingHaving a 360 degree screen that will enable you to view all angles of a cinema. You may either be watching a 360 degree screen or have glasses that can make you swap and change the angle that you are watching.

Social:Could be optional. Can be distracting, However, different perspectives in movies have already been made in films like Donnie Darko and Sliding Doors but it does not give you the oppotunity to swap between different angles.

Economic:Expensive (as well as time-consuming). Having to film many scenes over again to get the right perspective.

WHAT DOES TYPOGRAPHY TELL US ABOUT A PLACE?brixtonI chose to look at typography that is present in Brixton, South London.

As a method of responding to the essay questions, I am concentrat-ing my research on Brixton, London. I have chosen this area because I travel through Brixton roughly three or four times a week so I am very familiar with the area. Typography can be found in any town or city around the world, and most of the time it goes unnoticed as it is a norm to see type everywhere we go. ‘Type well used is invisible as type, just as the perfect talking voice is the unnoticed vehicle for the trans-mission of words’ (Beatrice Ward). I aim to look at the official (shop signs) and unofficial language (graffiti) found in Brixton. I will also be looking at all different types, fonts and wording found on shop fronts and buildings, weathering type and seeing how a multi-cultural society like Brixton can be seen through its typography.

The history of Brixton Market and Reliance Parade provides some interesting insights (figure 1). The shop stalls were saved by the shop-keepers in 2007, whose dedication and commitment to the parade can be seen through the type. The majority of shops and stalls in the parade have professional shop fronts and signs and only a few are hand-written signs.

The lack of handwritten signs in the parade shows that Brixton is changing. Hand written signs are an inexpensive way of advertising, but can put shoppers off entering a store as they may question the quality and reliability of the stock inside. Shops and stalls with homogeneous machine set type demonstrate that money has been invested on creat-ing a trustworthy and reliable image, as well as being more aesthetically pleasing to the eye.

Brixton can be seen as becoming an up and coming middle-class area. Traditionally, it has been a deprived area of London. But since the mid 1990, renovation work has taken place on the buildings and roads and improvements on transport links to central London. A rise in property sales/ rented accommodation to young professionals has taken place in Brixton over the current years. This has lead to an increase of high-street shops taking over some of Brixton High Street. For example, Marks and Spencer’s, Boots, H&M and McDonalds. These type faces are recognisable to the inhabitants of any town or city in the UK. FIGURE 1

Brixton High Street does have as much graffiti as you would expect. Most areas that have the same negative media attention to crime as Brixton (such as Peckham and Hackney) seem to have the same amount of ‘tags’ and all round street graffiti. However, when you do look closer at the graffiti street corners and shop fronts, you do see a lot of clever unofficial language that has been produced. The one graffiti ‘tag’ that stands out is ‘Daniel Stone Rocks’. This can be seen on Elec-tric Avenue, by Brixton station and on the top of bus shelters. This can be found as media publicity through its repetition around the area and prompting people to find out who he is using the internet. Graffiti can also be seen on shop shutters. Not all of it is rushed ‘tags’ but some has had time and effort put into it using different colours and styles of font.

When travelling into Brixton from Streatham, historical and old type can be seen. For example, the ghost sign advertising Bovril can be seen at the end of Effra Road. Being able to see it in its weathered condition shows that Brixton has decided to keep its history and not to get rid of it. The church and council building with type set in stone and brick also shows its permanence in the town – both stating the importance of being there for over 80 years. (Figure 2)

The permanent type engraved in stone not only shows the history of the place, but highlights the continuing importance of the building. Alan Fletcher asserts that ‘Roman inscriptions were carved in capital let-ters into stone. The effect of the light and shade was enhanced by rain which washed down the vertical strokes and the dirt which collected along the horizontal. As an early scribe eloquently put it, the beauty of the lapidary letter resides in a principle as simple as it is inspired: a stroke of shade, a flash of light.’

Many artists and typographers have shown through their work that typography has an important influence on a place. ‘Type design is a cul-tural act, not just a few lines of data in the corner of a hard disk.’ This quote is by Jean-François Porchez and it can be seen that typography in a certain place can instantly give the viewer their first impression of a place.FIGURE 2

Much of the type in Brixton may be seen as possessing individuality or even be considered un-tasteful. Typography on privately owned shop, bar or pub signs can always cause a difference in opinion as to whether it is good or bad type. Paul Rand has acknowledged a similar view and stated ‘a typeface that sometimes is described as having character is often merely bizarre, eccentric, nostalgic, or simply buckeye.’ (Figure 3)

However, ‘Legibility, in practice, amounts simply to what one is accus-tomed to.’ This quote from Eric Gill can help defend the shop signs and typography found on roads that the viewer may find distasteful. This could be simply because the viewer is not used to seeing that style of font and they therefore find it unusual. It would therefore automatically be classed as ‘bad typography’ to some people. Gill’s quote can also be related to street graffiti. What some people may see as graffiti and ruining either public or private land, others may see as street art which gives the area its own individuality. (Figure 4)

Many people may see what they think is illegible text on the railway bridge in Brixton. ‘Bourguest’ is written on both sides of the bridge, but these days it is covered in graffiti. Artist, Jason Gibilaro completed this public art work in 2004. The type itself can be seen as unfamiliar to personal taste and is not the same homogeneous type that most individuals are used to in a urban town. (Figure 5) However, it can be disputed that all font is legible whatever style it is in. Peter Mertens wrote the following - ‘Letters are legible. If some things are not legible then they are not letters. Illegible letters do not exist. Illegibility does not exist.’

When you walk around the back of the parade and the market streets, the environment changes and this can be seen through the graphics. Illegible and old type appears on either shop signs or in shop windows. (figure 6) ‘Typography is a beautiful group of letters, not a group of beautiful letters.’ Like I have previously stated, many viewers will judge their first impressions on a shop or area by what they see. If they see a shop front that is run down and has been badly maintained then their judgment will be negative. Where as, if the viewer sees typography that has had care and thought put into it with time and money, then their view maybe different. “When a type design is good it is not because each individual letter of the alphabet is perfect in form, but because there is a feeling of harmony and unbroken rhythm that runs through the whole design, each letter kin to every other and to all.”

In conclusion, typography can tell us about a place, and my research has showed that typography tells us a lot about Brixton. Type in a place can show anything from its history and how the environment weath-ers away type to showing what type of society a place is. “Typography needs to be audible. Typography needs to be felt. Typography needs to be experienced.” Experiencing the different styles of typography used in a place like Brixton has shown that it is a multi-cultural soci-ety which keeps on growing and using its old, current and new type to show the viewer their history and individuality.

FIGURE 3 FIGURE 4

FIGURE 5 FIGURE 6

MY MANIFESTOsustainabilityAfter interviewing Gemma Edwards, a Graphic designer, I was able to design my manifesto. It’s aimed at business companies to become more environmentally friendly. I projected my paragraph onto the classroom’s wall and using charcoal, I wrote out the manifesto.

POP-UP INSTILLATIONcolumbia flower market

These photos were taken on my first visit to Columbia Flower Market, London when I went by myself in mid January 2011.

The group unanimously agreed with the theme of phobias. We wanted to show the negativity of the flower market, instead of the positivity (like what we thought most groups would do).

When doing my own research, I was looking into the dark and eerie side of nature. I re-searched about roots, ivy and other plants that ‘took over’ something else and leaches on.

An artist that I was influenced by was Banksy.

I then looked into different patterns and the personal vibes that you could get from colour.

I also looked at open spaces that can be seen as instilla-tions. I looked at Sanderson Hotel designed by Phillip Starke. When looking around the hotel, I liked the way that items were strategically placed. At first glimpse, I thought the lobby was very cluttered with different chairs and stools.

But looking into it with more detail, I realised they all blended in well together.

All of these influences from my own research helped me devel-op an idea for our instillation. I, therefore had the idea of having an instillation that wasn’t busy and packed & also showing the negativity of nature.

Influences

LOCATIONour chosen spaceOur space is located at the bottom of the Workshop Block at LCC (University of the Arts, London). It is a small alcove between the stairs.

73 inches

47 inches101 inches

113 inches

LOCATIONdimensions of areaMeasurements to scale. Diagram not drawn to scale.

INITIAL IDEAsense of phobiaUsing the space - boxing it up to show enclosure. One side will have 8 large holes, and the other side will have lots of small holes.

Using the 5 senses by having 5 different boxes in holes

Having three more holes to see the walls and floors - Influenced by the historical photos of Columbia Market.

Light will be created by having L.E.D tea-lights in jars and from natural light that will be able to come through one side of the enclosed sides

MDF

Holes in the wood to be able to in-teract with what is inside the space.

Wood with holes in to let in natural light.

INITIAL IDEAmain structure

This photo was taken on my first trip to the market and helped influence me into the structure and history of the market. The bricks have a lot of texture and colour to them - some more worn than the others. Another group member created a number of screen prints to do with bricks too and we all believed that this was a stronger idea than having flowers on the wall.

FURTHER DEVELOPMENTchanging the spaceWe all agreed that we liked the idea’s of the phobias being in a closed space so keeping the idea of the boxes is important. But we all decided that an open instillation will look better than a inclosed instillation.

DEVELOPMENTphotographI then spent time photoshopping the photo of the gentleman sewing out of the window and opposite was the final outcome that I liked.

I was influenced by the history of the market, so decided to make it black and white and sketchy. Not using colour also creates a bland and eerie feel to it - a response we wanted to achieve to match our theme.

SUSTAINABLE MATERIALSfor our instillationWe decided to keep our materials as sustainable as possible. Therefore, the majority of our materials used were collected or re-cycled.

BoxesCrisp boxes collected from Chris’ work.

WrappingCling-film wrapping collected from the deliveries from my work.

CrateFound in a skip.

TrolleyFound and borrowed from LCC.

FlowersOld bouquets of flowers from a member of the group’s gran.

Cigarette ButtsCollected from outside LCC.

OUR FINAL PIECEphobiaWe decided to concentrate on the negativity of Columbia Flower Market. We found the market to be busy and dark. Reason being is one the day we went, it was a dark, wet, winters morning and the only way you could see the colourful flowers were through the hustle and bustle of crowds. We decided to concentrate on phobias hence the boxes. The boxes represent suffercation that someone can suffer if they have a phobia of busy crowds.

There are 5 boxes with different senses in them. The walls are influenced by the architecture around East London and the historical photos of the market. The crate and the items on the ground represents the amount of rubbish created and left after the market ends every Sunday.

EXPERIENCING MY DAY WITHOUT VISIONtotally blindI experienced a Sunday totally blind. With the help of my boyfriend, I made it to Wembley Arena and back with a blind fold on.

It was a very weird experience, my other senses felt like they were working over time to make up for not seeing.

I had to guess what I was eating by the smell and texture, at the concert, the music felt too loud and over-powering, and panic set in when I was walking down the street on my own as I didn’t know if someone was behind me or if I was going to walk into the middle of the road!

RNIBbranding using a I decided to attempt to brand myself.

My characteristics are the following:Shy. Insecure. Suffering from depression. Loving.Loyal.

INITIAL DESIGNSanalysing myselfI normally draw using stick men. My favourite colour is blue. I have bold and large handwriting. My favourite font is helvetica.

catherine.macdonagh@gmail.com

FINAL DESIGNcatherine.macdonagh@gmail.com

INVISIBLE IDENTITYmi-viI created a brand called MI-VI (Material Infor-mation for Visual Impairments). It was originally based to help a 22 year old female who suffers from Glaucoma and Cerebral Palsy to be able to read the material and washing information on clothing tags.

RESEARCHvisionI began my research by looking at different types of visual impair-ments and what the RNIB does for society. For the rest of my re-search, I have been concentrating on tunnel vision and how that can affect reading and the frustrations of living with it.

INSPIRATIONpersonal reasonEvery week I volunteer at a special needs college and one of the students I look after is a 22 year old female who suffers from Glaucoma and Cerebral Palsy. When we were discussing what she will be doing on the weekend, she said that she was going to go shopping but it would be highly unsuccessful that she will find anything as she gets no help. She then said that she’s getting ever more frustrated of people telling her to only go online to shop. She said that if she always goes online to shop, then she will feel like she will be even more segregated.

I therefore decided to create a book to help this individual with shopping.

What she need help doing:- Reading the material tags to know what fabric.- Seeing the clothes size.- Able to see the washing instructions,

MATERIALSmiviAfter online research, I decided to do my own primary research. I tally-charted 4 different wardrobes, both male and female clothes. That helped me come across the 15 most popularfabrics for clothes.

For the development of the material book, I have decided to use these 15 different materials to help with shopping.

DEVELOPING THE BRANDmiviI then went on to look at how different shops interact with their buyers who have disabilities.

I decided to create a way that can help buyers with visual.

My initial idea is to create a shop that only sells high street clothes for women but have larger tags etc.

INTERACTIONshop @ miviI devised three plans on how a buyer can purchase clothes.

1) With help, choose from mate-rial boards and a computer touch screen system to custom make a certain item in the material and colour they want.

2) One on One help

3) Large fabric tags which also include braille.

FINAL IDEA’Smivione - labeltwo - bookthree - hanger

one

three

two

SERVICE BRIEFpaternityThese photos are from our first lesson about Service Design. The brief is to create a service to influence more fathers to take longer off on paternity leave.

ABCDad is our website that helps fathers adapt to the change of having a child. It is based on the worry some fathers have when having a child and are scared of doing some-thing wrong.

The website will have everything from tips for changing to routine times and a gallery.

You have to log in to access the website as it makes it personal to the father and his baby. The mother will also have access to the web-site, enabling her to input information such as feeding times, emergency numbers and play date days and times.

To promote the website, we will also we de-sign a campaign that will shown on transport etc.

SERVICE BRIEF

TIME LINEto publicise

On the adjacent page shows our time line. It will show at what stages the father will be using the website and is able to get facts and helps from it., as well as their child(ren)s schedule.

THE LOGOabcdad.com We all decided that we wanted soemthing simple yet affective for our logo. We also wanted to state in the logo that our website is for fathers and their child.

This was when we decided to look into road signs and saw how affective the stick men are and decided to develop on that idea.

Starter Page.

Login.

Home Page.

Emergency Contacts.

Changing Tips.

Play Dates.

Gallery.

WEBSITEstillsThese are stills from our website.

Allergies.

Routine.

Sleeping Tips.

Safety.

SCHEMESto publicise

We came up with the idea of involving nectar points with our website. Everytime you get a rating on the forum about how helpful your post was, you get a nectar point to spend in Sainsbury’s, Homebase and other places where the nectar scheme is used.

Having links to Nectar will help the publicity of ABCDad as we would be able to promote in the shops. - especially where males would shop (e.g hardware stores such as Homebase) and also it will help towards discounts off food shops with the points.

Tube stations Newspapers

ADVERTISINGto gain a wider audienceI decided that the best places to publicise the website would be where men who may not think about taking paternity leave would be. Tehrefore, I designed posters that would fit best on tubes and in newspapers.

MY FRIENDS, WASAND THAT,

GRAPHICPRODUCT

YEAR TWO

INNOVATION

!