Brief 6: Harrison France Branding - Evaluation

The proposal created for Harrison Frances personal branding is simple yet contextually appropriate and succeeds in generating a strong identity for his practice. The abstract combination mark is boldly engaging and creates a point of difference that will stand out against the plethora of typography and script logos that is commonplace amongst the industry. The concept is further contextualised as it takes inspiration from the Linden Staub identity in which the client identified as inspiration to base his concept from, demonstrating a critical ability to listen to the clients direction and execute a appropriately professional output. The simplicity of the identity allows a range of variations to develop that are essential to ensure each application of the brand is appropriate to its platform and reproducible over a variety of physical scales and brand extensions. 

The geometric aesthetic of the logo keeps the concept simple, refined, and structured. Although the client works predominantly with fashion photography the resolution does not feel feminine and still reflects Harrison's practice holistically. Conceptually the abstract shape creates Harrison's initials, the H is defined within the negative space and the F is built up of from the original square creating a geometric symmetry within its composition. Furthermore the shape of the F is also representative of the Image Quality shoot mode on the DSLR camera which creates subtle connotations back to photography and Harrison's practice subliminally stating this is of a high quality. There are infinite opportunities to extend the identity utilising textures often shot by Harrison to fill the icon creating bold and unique variations that can be tailored to each shoot and bring the identity to life beyond a 2D platform, this creates the basis for a strong identity that can be used over a long ranging lifespan due to its flexibility, innovation, and simplicity. 

Unfortunately the client changed his mind on the direction we signed off on and having confided in tutor feedback decided to continue the project independently. I can strongly say the identity is successful in promoting Harrison as an innovative photography student thats mix of media and unique style is accurately portrayed within my brand proposal. Harrison's decision to pursue other design directions is his own decision as he is the client he needs to feel comfortable with the output and unfortunately I wasn't able to deliver this for him. Learning from these experiences in the future I will ensure that clients I work with have a holistic understanding of my practice so to understand the type of resolutions I will produce and ensure we are a good fit for each other as opposed to trying to make something work that as a designer I cannot stand 100% behind. Irrespective of these client differences I worked professionally through the project meeting deadlines and communicating effectively with Harrison. This brief I feel accurately mimics a real life design process managing clients and learning form their feedback allows me to understand the different visions that can be developed during the design process and as a result of this am better equipped to deal with this in the future. 

Brief 6: Harrison France Branding - Contextualisations

In order to demonstrate the success of the branding concept I applied the identity to a range of extended brand collateral. Contextualising the appropriateness of the identify reinforces its success within a real world environment and demonstrates its ability to seamlessly translate across a print and digital forms. 

Watermark: The watermark is a simple contextualisation that that uses the icon in isolation with reduced transparency to create a small watermark in the bottom left corner. This is non-invasive and doesn't impair the image however adds a branded mark so to ensure the image cannot be taken without permission, which incredibly important and ensures the client will receive full credit and exposure for any use of his work. 

Business Card: The business card design utilises two variations of the logo, on the front of the card a full bleed image provides insight to Harrison's creative aesthetic with the overlaid combination mark identifying his brand at a glance, the contrast between the image and mark works to create visual interest and will inspire the audience to engage with the business card and look closer. The reverse design is intentionally minimal with a large percentage of white space, this allows the option to hand write messages onto the card to keep a record of personal conversation. The typographic variation creates symmetry with the contact information presenting a balanced composition that is aesthetic engaging.

Digital Platforms: Applying the branding to web platforms was a simple process due to the logo variations created within its development, The single typographical variation was selected to mimic the form of the established website and doesn't draw any unneseccay attention away from the content. Translating this into social media links utilised the icon in isolation which is particularly effective at a small scale perfect for profile pictures to be viewed at small mobile resolutions. 

These contextualisations demonstrate the breadth of the identities ability to translate across a multitude of platforms and the variations are essential to ensure each application of the brand is appropriate to its platform so to not feel out of place, this creates the basis for a strong identity that can be used over a long ranging lifespan due to its flexibility, innovation, and simplicity. 

Brief 6: Harrison France Branding - Independant Development

Developing the identity for my own portfolio I identified that the icon could not function in isolation and quickly began developing logotype I could pair with this. Due to the strict geometric nature of the icon it was identified the type could have to be a relatively thick sans serif to complement this and not get lost when placed with the symbol as a combination mark. Exploring a range of typefaces I took preference in selecting geometric fonts that would structurally reflect the design direction and accentuate the simplicity of the brand. 

Narrowing the type selection down to Circular and Campton I struggled in identifying a final font, they both work appropriately when placed with the icon and reinforces the identities geometric nature. The decision to use Campton came down to the X height of the typefaces, particularly when looking at the R character it is identified that Circular creates an oblong shape whereas Campton creates a square, this is more aligned with the overall aesthetic of the symbol which is entirely made up of 1x1 squares and this subtle link within the overall aesthetic of the typeface complements the icon more appropriately.  

Exploring how to pair the type and icon together in creating a combination mark I trailed a range of combinations however quickly identified that the far left trial was significantly the most successful as this further placed with the negative space to create the full H within the icon making this more obvious to see. This also fully incorporates the type into the composition without making it feel awkward and out of place as so many combination marks tend to do in just placing the type directly underneath the icon. 

Happy with this result of the combination mark I chose to develop this further creating a range of variations to use as brand guidelines. These will be used where most appropriate  and include the full combination mark, icon in isolation, and two typographical variations that works one one and two levels. Creating variation within the identity ensures that the a form of the logo will appear appropriately in whatever collateral it is used and provides variety within the brand that will succeed over multiple brand extensions. 

Brief 6: Harrison France Branding - Feedback

Client Feedback: Consulting Harrison on my further development he was still unsure of the aesthetic and felt it might be best to change direction all together. He said because he does fashion photography he wanted it to be 'fancier' and said he felt it looked 'like an animated face' however I don't see this personally. I was unsure about developing a new concept for Harrison as I felt this direction worked really well as a bespoke identity that is simple in its aesthetic yet can be applied over a range of iterations to create unique repetitions of the standard form.  

Tutor Feedback: Unsure about how to develop this project further I consulted tutors to see how they would approach the situation, They felt the identity worked appropriately and was something innovative and fresh as opposed to hand rendered type which is what they see 100 times over with students personal branding. They really liked the direction I took and suggested that although it is produced as a client lead brief the resolutions still needs to be representative of my design style as it will be used within my portfolio also so there needs to be elements I can stand behind as a designer.

Based on this tutor feedback I decided not to create a new direction for Harrison as a designer I am confident to stand behind this identity and say it creates a unique platform to brand himself from. Tutors suggested that with the amount of work I still have left to do for my Extended Practice module it maybe personally more beneficial to cut my losses and continue this project as an independent branding concept. This was a difficult decision to make because I felt like I had failed the client however I didn't want to waste time producing a second concept which wouldn't be as contextually relevant and add no personal benefit to my portfolio or academic submission.

Brief 6: Harrison France Branding - Further Icon Development

Keeping to my original concept I explored ways in which I could develop the icon to better engage Harrison and try and remove some of his hesitancies. Exploring colour for the first time this helped bring the icon to life and make it appear less clinical. using the F in isolation I then began to develop ways to incorporate type into the icon, this initially worked appropriately creating a range of further developments the explored type within the shape however I identified this would be less effective when reproduced at a small scale and concluded that the initial direction was the most appropriately informed execution of the concept. 

Working to develop the initial design direction further I took inspiration from Harrison's practice as in his recent shoots texture plays a large role in his aesthetic. Taking samples of textures he has worked with i.e. glitter, velvet, fur and lace I used these to fill the logo, the results of this were distinctly bold and visual iterations of the logo that really brings the identity to life. The bold iconic shape can be used to fill in a range of textures to create unique and individual logo variations appropriate to whichever shoot / project he is working on. This can be very avant guard with the use of glitter for his more experimental shoots or stripped back to a black on black for his more serious corporate shoots. Excited by this development I felt this was a winning direction that is unique, bold, and fluid in its ability to create a simple identity and explore copious iterations of this. 

Brief 6: Harrison France Branding - Icon Development

Developing the icon I wanted to keep it as simple and geometric as possible, therefore  I based its whole development upon a 1x1 square, this creates a simple design aesthetic that can be easily replicated across print, screen and hand rendered forms, this is designed within a simple grid in order to accurately space the components creating a balanced composition that works holistically together.

Feedback: Showing this development to Harrison he backtracked slightly from signing off on the concept stating it was difficult to grasp at a glance. This set back my development as I was really happy with the way the identity was developing however will trial a range of alterations to see if these fit any better. I am hesitant as to Harrison's Feedback as the nature of the design is simple, masculine, and rigid therefore by nature will be difficult to make 'fancy' as suggested. 

Brief 6: Harrison France Branding - Concept Development

The concept for Harrison's personal branding is simple yet contextually appropriate over a range of conceptual levels. The abstract shape is boldly engaging and creates a point of difference that will stand out against the plethora of type only photographers that is commonplace amongst the industry. This is further appealing as it takes inspiration from the Linden Staub logo in which the client identified as inspiration to base his concept from, demonstrating a critical ability to listen to my clients direction and execute this professionally. 

Conceptually the shape also makes up Harrison's initials, the H is defined within the negative space and the F is built up of from the original square creating a geometric symmetry within its composition. Furthermore the shape of the F is also representative of the Image Quality shoot mode on the DSLR camera which creates subtle connotations back to photography and Harrison's practice subliminally stating this is of a high quality. The logo works appropriately as a simple icon that will be easily reproducible across any scale from tiny water marks on picture to billboards while its simplicity will vectorise perfectly to translate seamlessly across print and digital platforms. 

Brief 6: Harrison France Branding - Client Feedback

Arranging a client meeting I was excited to show him how I had initially interpreted his personal branding and to see which initial ideas he wanted to explore further. Harrison responded positively to these initial design proposals, talking through them I identified I felt the strongest concept was the was the icon, as it was inspired by the form of the Liden Staub logo Harrison presented as part of his inital inspirations. The abstract form is simple, engaging yet totally unique and would allow his brand to stand out, Harrison agreed he liked the concept and signed off on me developing this further into a sophisticated design concept.

Brief 6: Harrison France Branding - Initial Ideas

Initially I really struggled with idea generation in regards to this brief, Harrison expressed that he wanted a logomark as opposed to logo type which made it more difficult as the predominance of the research collated worked with logotype as a form of personal branding.  Furthermore Harrison initials didn't inspire a range of initial sketches. I wanted to work away from script logo marks as Harrison stated he didn't want his signature to be incorporated into his brand. 

With initial sketches limiting my design inspirations I started to develop a range of ideas digitally. These experimented with a range of forms including type only options, symbol, and combination marks which is inspired by simple shapes. The result of this initial development is promising as it suggests a range of design directions all of which can be developed further. I plan to propose these to the client in order to establish a particular direction to delve further based on which concepts he responds most positively too. 

Brief 6: Harrison France Branding - Research: Inspiration

Client Inspiration:

From our until first contact I felt it would be beneficial to ask Harrison to collate a range of logos that he found personally engaging  and inspired him, this would help to get on the same page and understand the type of design he is looking for and would like his identity to be similar too. 

This exercise was really beneficial as it produced new areas on inspiration that I wouldn't have considered within my design process. He said he loved the Linden Staub logo as he felt it was simple and elegant. I hadnt considered researching modelling agencies within my initial forms of research however this is particularly appropriate to the style of photography Harrison incorporates into his practice. I love the simplicity of the logo and how it would work over print and digital platforms and at all scales. The abstract interpretations of Linden Straubs initials works effectively as a visual symbol that becomes synonymous with the brand. 

Exploring the concept of modelling agencies further Harrison suggested SUPA models logo engages him, I like the use of the wide sans serif typography paired with the large kerning to create a sense of space within the logo type. This feels assertive and a bold use of type within its identity which again translates appropriately over a range of platforms. 

Finally he suggested the likes of Acne Studios for its successful use of branding, celebrated as a brand for its sophisticated art direction the brands refresh is based an a custom typeface commissioned by the Swedish label and paired with its signature salmon pink to fully engage its audience. The geometric nature of the typeface works appropriately to create a minimalist aesthetic, this paired with its signature colour scheme allows the brand to evolve while staying true to its heritage and works successfully as a logo and identity. 

Personal Inspiration: 

Analysing a range of personal inspiration aids my design process to inspire new directions to consider, these inspirations sit outside the field of photography welcoming new stylistic ideas to delvelop and avoids the research appealing two dimensional by restrictively only analysing photographers branding. 

The Smiths logo type is engaging while sophisticatedly simple. The geometric sans serif creates a clean aesthetic while the ascender of the T is elegantly connected into the title of the I with script detailing. This adds subtle personality to the logo making it unique while retaining its original simplicity. 

While not a logo I was attracted to the form of this typographic form, the typography are distorted into a contorted form that is simple yet stylish in its aesthetic. The mid weight sans serif works appropriately with the manipulation to create an innovative form that would stand out as a personal identity due to its point of difference within the industries standards. 

Exploring the use of combination marks that succeed in not overcomplicating the original type. The branding for 'Circa Noon' is instantly engaging, the simplicity of the neon styled style is reflected into the icon which reinforces the properties of neon through the use of an outlined stroke, this can be used in isolation or equally effectively with the logotype to create a memorable identity. 

Brief 6: Harrison France Branding - Research: Photographers Branding

Researching a range of professional editorial photographer's branding revealed insight as to the conventions of self promotion within this field as I was unfamiliar with this prior to the brief. I was surprised with how little promotion and branding is used by photographers within this field often using standard typography that blends in with their site and appears work processed. Typographic logos take up the vast majority of this field and as seen below vary from serif and sans-serif typefaces for example the Patrick Demarchelier logo feels very Vogue in its connotations whereas the Mario Testino logo contrasts this using a clean geometric sans serif to create a clean minimal brand. 

Exploring other forms of logos within this field I found the use of script typography was equally popular using the photographs signature as their logo. While this is personable and creates personality it becomes redundant when every student creative embeds this strategy into their personal branding, it becomes less engaging and unexciting, I wanted my strategy for Harrison's brand to be as engaging and contemporary as his portfolio and feel a signature logo wouldn't reflect this appropriately. 

Finally I explored the use of combination marks within y exploration of editorial photospheres branding, this was by far the hardest to find examples of as the vast range of professionals utilised typographic forms. I think the MAJA Daniels logo is appropriate as it works simply with the type to create a strong identity that can simply be developed across print and digital platforms. I find the Sam A Harris logo less engaging as it appears relatively generic and doesn't add anything to the identity, the type works better in isolation whereas the imagery wouldn't establish a brand by itself which makes it feel redundant. 

Brief 6: Harrison France Branding - Research: Harrison France

In order to create an appropriate resolution for the client it is important I holistically understand his practice so that his brand is reflective of his personal style and Harrison as a creative. Exploring his website I really connected with his style, this varies dramatically within his portfolio from stripped back minimal portraits to bold provocative imagery that plays with contrasts in texture, colour, and materials. This makes it more difficult to design for as the resolution needs to be representative of the breadth of work within his portfolio, furthermore he works predominantly with high fashion editorial which tends to feel feminine however it is important to remain true to Harrison as a creative within this process. 

Brief 6: Harrison France Branding - Initial Client Contact

Identifying Harrison to work with we met up to discuss his goals for the project, He initially wanted a simple identity package consisting of a logo, and business cards. This needed to work well in print and digital forms to complement his existing website. We talked about extending this into a small zine of his favourite works but concluded this would be something that we added on at a later date. With regards to his aesthetic style he told me simplicity was the key, he was looking for something that wasn't too over the top and would work simply with his editorial style. Based on this initial point of contact I can begin researching a range of inspirations to inform my design process. 

Brief 6: Photography Student Branding - Brief

Briefed as an opportunity to work with a live client tutors arranged a meeting with the level 6 photography course that let us independently identity photographers we would like to work with and create their personal branding for. I felt this was a good opportunity to gain some client experience and create connections with photographers as for my portfolio I plan to photograph my resolutions professionally and this is something they could help me with. Based on producing just an identity for the client I limited the project to 2 weeks, this would allow for a good deal of client feedback ensure the direction works for then. The tone of voice should be fine-tuned to the client and appeal to an audience dependant on their practice i.e. freelance work or a particular area such as fashion photography. I am excited to work with a client as branding is something I have strongly developed into my practice and will be good to include a live context of this within my portfolio. 

My initial research plan is to firstly identify a photograph student to work with, this will inform the context of the brief, identifying audience, tone of voice and aesthetic style. This with then progress into researching the client to gain a holistic understanding of their practice. From this I can then research different areas of branding to gain inspiration, looking at areas of the clients aesthetic interest, my own areas of interest as well as successful industry examples of branding that could inspire a range of initial ideas. 

Client meeting 
The initial meeting to establish who we would work with was very independent, tutors arranges a time and room to all congregate in which we sat around tables and essentially pithed to the photography students. I showed a range of my work that was most focused towards branding and they showed a range of their work, we were looking for people we felt we could work with and liked their aesthetic style. This was a really beneficial activity as it was basically selling yourself which improved my confidence and would prepare for an interview style situation where I have to talk confidently about my practice.  From this Harrison France contacted me to see if we could work together, I really liked his aesthetic style and he works with professionally already therefore is a good contact and client to work with for future projects. 

Brief 5: EOYS Brand Proposal - Evaluation

Although my proposal was not selected to be developed further the concept works appropriately to engage the target audience and create a strong identity for the 2017 EOYS for Leeds College of Art graduates. Working to overcome creative differences I merged from a creative team to an individual resolution as I really felt I could work particialry well with the Limited Editions concept, however this reduced the time frame in which the resolution was required within. Never the less worked efficiently to create a fully functional and impressive proposal in a number of days. The concept is simple, refined yet highly appropriate to both the institution and its students to accurately reflect the breadth of talent and creativity LCA produces. The tag line is creatively considered to holistically represent the ethos of the institution and is successfully translated across a range of extended collateral. 

This concept is successfully applied to a range of deliverables which all work holistically together through the use of a strict grid and consistent aesthetic direction. This is boldly colourful to engage the audience at a glance, this colour palette is informed by the Leeds College of Art brand guidelines to create harmony within the colleges portfolio while utilising the vibrancy of the scheme as a focal point of the campaign. The use of Blackletter typography running through the proposal is boldly attractive in its aesthetic, producing connotations of tradition and craft yet remaining contemporary encapsulating colleges core values. Furthermore, this creates a sense of continuity within its aesthetic with the mosaic iconography running through the College’s branding, generating a bold and fluid identity for the end of year shows. Finally Student work is presented as the focal point of the poster series to suggest the student's are at the forefront of the exhibition and represents colleges ethos in putting the students first, furthermore utilising student work allows each poster to become a limited edition, linking back to the overarching concept.

The aesthetic and concept are boldly informed by the collage as an institution and creates a strong platform for the college to subliminally market itself through the show which appealed to the marketing depart however client feedback identified that while conceptually the concept was viable, practically there were still problems to overcome such as ensuring its production methods here holistically aligned with the concept and realistically this was unfeasible to achieve within the campaigns allocated timeframe. This feedback was invaluable to understand the shortfalls of the campaign, this critically presented opportunities to reflect on the proposal and in further projects fully consider the time scale, budget, and production methods to ensure they are appropriate  to both the client and the brief. Working to a tight timeframe allowed me to work quickly with the developmental stages of the project however this felt rushed at times and I would have liked the opportunity to develop certain elements of the collateral further and explore how the concept could be extended beyond the mandatory components into extended signage, way finding, and merchandise. 

Brief 5: EOYS Brand Proposal - Client Feedback

Unfortunately my proposal was not selected to move forward to the next stage of development, which was disappointing because I felt my concept was genuinely appropriate for an EOYS identity over a range of contextual levels. We were given the opportunity to gain feedback from the Marketing Team and Peter and Paul which was a great opportunity as it allowed me to answer some of the questions that I had outstanding, and will allow me to grow from in future live briefs. 

They were generally positive about the concept itself and said it showed real premise, they said it certainly could have worked however their main hesitation was the practicality of the production. Due to the concepts name 'limited editions' they felt the production methods should reflect this so to not diminish the authenticity of the concept, they considered methods such as screen printing the invitations to ensure each one was unique and personable however identified this was unfeasible in the available timeframe and revealed they had a series of tight deadlines to meet to ensure the marketing materials are ready in time. They further questioned how this concept would be represented digitally when consisting the authenticity of the concept and concluded conceptually it was great however practically there were still problems to overcome. 

This feedback really helped me to understand why my concept was not selected to move forward into the next stage of development. This critically presented opportunities to reflect on the proposal and in further projects fully consider the time scale, budget, and production methods to ensure they are approbate to both the client and the brief. 

Brief 5: EOYS Brand Proposal - Pitch

Creating a pitch to send to the client I collated the proposal into a succinct presentation that highlights how the concept worked and why it is so appropriate for the EOYS branding. I feel confident in my approach and hope the Marketing team and Peter and Paul like the work I have produced in such a short timescale. 

Brief 5: EOYS Brand Proposal - Extended Development: Poster

Taking on board feedback from tutors I felt it was appropriate to create a poster that incorporates the tag line to sit along side the already successful poster series. Introducing this type into the posters grid works effectively to create a focal point while adhering to the continuity of the series. As each course is prescribed a colour palette identified from the collages branding I didn't want this poster to get confused within this therefore opted for a black background with the collages trademark pink colour palette. This differentiates this poster from the rest of the series and allows the type to have most impact set against the monochromatic background. 

While the poster works in context and appropriately fits in with the rest of the series, as a poster design it doesn't jump out and engage the audience. It falls flat and appears very two-dimensional. Exploring how to bring the design to life I experimented with taking the mosaic from the LCA rebrand and using this to inform the text colours. Overlaying the pattern and creating cut outs of this to generate bespoke type that feels more exciting  and appropriate within a poster design. 

I took inspiration from the The Event Sculpture exhibition in the way Music developed a unique identity using old posters overlaid to create unique pieces of art. Due to the sporadic nature of mosaics this design could be recreated as limited edition prints with a range of compositions and colour palettes informing the final resolutions. This appropriately links to the nature of the Limited Editions concept and provides a contemporary and engaging identity that will engage the client and is reflective of the collage within its approach. 

Brief 5: EOYS Brand Proposal - Tutor Feedback

With a sophisticated campaign developing through this developmental process I asked tutors for critical feedback regarding the overall direction and improvements on any aspects of the proposal before submitting it to the marketing team. The feedback was generally very positive, Amber said it was very different than things that have been chosen in the past which initially made me nervous however I feel this is a good thing to design a concept that is exciting as opposed to same old. The concept was universally like it was suggested it was so simple why hasn't it already been done? Simon partially loved the tag line and suggested this could be more incrementally included within the poster design, it was pointed out that at the minute they look like who separate campaigns united by colour however if there was a further poster developed to act as the main campaign poster which incorporated the black letter type then this would make the whole campaign feel more holistic and well rounded.  

Critically reviewing the tutor comments I agree with Simon's suggestions and feel the introduction of a further poster than incorporates the tag line will help ensure the campaign is consistent across every form of extended collateral. 

Brief 5: EOYS Brand Proposal - EInvite

Developing an invitaiton was relatively straight forward having defined a clear aesthetic direction, The E-invitation for the Private View is confident in its approach. The high impact colour scheme will immediately separate the invitation from SPAM and Newsletters, exciting its audience to engage with the invitation. Extending upon the campaigns contextually relevant aesthetic the display typography immediately informs the user as to the subject of the email, again confidently juxtaposing key information within the minimalist sans-serif which is presented within a clear linear format. The EOYS branding is again central to create continuity with other branded extensions demonstrating the concept and directions ability to translate seamlessly from print to mobile and web platforms. 

Brief 5: EOYS Brand Proposal - Flyer Development

Applying the text into a poster composition took the placement of the Limited Editions branding from the poster to aid the consistency across these forms of collateral. I have also taken the bold block coloured aesthetic from the poster and translated it into the flyers design using juxtaposing colours for the type to ensure they stand out and fully engage the audience even from first glance. Working with the flyer I used the wide leading to place the detailed information. This works appropriately to balance the composition through the use of complementary typefaces and colour and creates an evenly distributed flyer design. 

Happy with the design I took feedback from students and made small final details such as making the Limited Editions logo white to match the posters and changed the typeface from DRUK wide to Campton as this geometric typeface more so complements the black letter. The information is further centred to keep create consistency with the centred branding and created interesting visual variation as when the type was all fully justified it before rigid and unengaging.

The use of Blackletter typography is boldly attractive in its aesthetic, producing connotations of tradition and craft yet remaining contemporary encapsulating colleges core values. Furthermore, this creates a sense of continuity within its aesthetic with the mosaic iconography running through the College’s branding, generating a bold and fluid identity for the end of year shows. This is juxtaposed against the clean lines of the sans serif body copy creating a sense of contrasting balance within its composition. This element of contrast is reinforced through the use of the  striking confident colour palette consistently running through the Limited Edition Identity, which ensures a playfully creative approach to each aspect of its branded material.

Brief 5: EOYS Brand Proposal - Flyer Type

With the newly conceived tag line I was eager to incorporate this within the flyer design. I began by exploring how this tag line could sit within the flyer, initially utilising the logo grid to create a logo extension to incorporate the tag line. This worked successfully and would create consistency with the collateral however for the flyer I wanted the tag line to be the main focal point that engages the user. 

Exploring similar concepts, with the proposal names 'limited editions' I created a stamp to reinforce the 'one of one' tagline. This could physically be created as a brand extension and applied to a range of marketing applications to add humanist qualities to the design aesthetic and further reinforce the concept within its design treatment. 

Questioning how the tag line can be used as a focal point within the flyer I samples a range of display typefaces which would aid its impact within context. Sampling a range of contemporary fonts including DRUK, Circular and Gothic black letter creates continuity between the aesthetic styles of the poster and flyer and reinforces the tone of voice of the whole proposal. This experimentation concluded blackletter as the most approapte type format to use within the flyer design as it is  boldly attractive in its aesthetic, producing connotations of tradition and craft yet remaining contemporary encapsulating colleges core values. Furthermore, this creates a sense of continuity within its aesthetic with the mosaic iconography running through the College’s branding, generating a bold and fluid identity for the end of year shows. 

Arranging the tag line into a similar geometric composition as the logotype ensure continuity across the proposal, initially struggling with how to align this type, the LCA logo is utilised to complete the square aesthetic. The LCA logo itself complements the typeface as appears cohesive in its approach to engage the audience with the stage line of the event whist reinforcing the personality of the institution within the EOYS branding.