OUGD501 - Context of Practice Essay (Finalised Version)

Is technology a positive advancement for graphic design?

When thinking about what technology is, we can straight away think of several different examples of technology and how beneficial, dependable and necessary it has become to the planet. Over the last century, technological advancements have changed the way society works and the way that we now live our lives. Technology in itself is something that has existed for millions of years, as humans have evolved to learn from the environment and in turn the tools that are required in order to progress. With that said, the objective of the investigation will be to show how far technology has come in recent years and how it plays a part in an ever expanding society. As a result, it may be possible to determine how graphic design is used as a way to demonstrate the advancements in technology, in the modern world. This will in also prove that the changes made by technology are happening for a positive reason, and the changes made in future will only further revolutionize the world of graphic design.

Through the exploration of human technological advancements, it may be possible to determine how technology has gotten to the point it is currently at. It will also provide insight into the direction in which it may be headed in the future. Through the context of graphic design, the exploration will determine the ways in which the creative industry has thrived over many years, the ways in which it has done so and the potential ways in which it could continue in the future. As graphic designers, it is our job to solve problems through a range of creative outlets and to use the tools available at our disposal to adapt and learn from situations. It is also our job to explore new ways to approach a problem, so that in future we are more prepare for a similar task. Technology has played an important factor in graphic design, as it allows for digital solutions to be presented and undertaken in response to problems that face today’s society.

The focus point of the investigation will be to prove how technology is used, how it adapts and how it plays an important part in a changing society. As a result, a graphic design solution can be proposed to meet the demands of today’s society and specific audiences that also demand new and innovative ways of communicating. By looking at different viewpoints on the topic of technology and the graphic design solutions, it will be possible to understand how over time, there have been changes in the approaches to problems. In conclusion to this investigation it may then be possible to determine how graphic design will change in the future, once new technology becomes the norm in society and why they will be vital to our development as a society.

To begin the investigation, it was first necessary to look back to the start of technology and how the first tools became an important factor in human development, this way the difference between then and now could be compared and contrasted, as a way to understand what makes technology a positive advancement. For this, Erik Brynjolfsson's book The Second Machine Age (1) provided a clear view point on where he believes technological advancement first began. In response to the question: “What have been the most important developments in human history?” he says that the domestication of animals is where humanity first began to make advancements in their nature. Over thousands of years, the domestication of animals helped to build societies and allowed for more efficient means of production. Once settlements began to arise, large empires would start to shape the foundries of human settlements and through war; many kingdoms, commerce and customs were transformed. 

In the same way, creativity in human nature has proved that through development and advancements, humanity has been able to thrive and expand its potential. To understand the roles that creativity may have played in society’s early advancements, it would first be necessary to seek out sources that could prove the types of solutions humanity would have taken in order to progress. In Gillian M Morriss-Kay’s article, The evolution of human artistic creativity (2), she explains how over millennia, the human brain has advanced in terms of its enjoyment for creative output. Some of the first known expressions of creativity can be dated back to 164 000 BP from a South African coastal site, Pinnacle Point, where 57 pigment pieces were found. This suggest that body art was probably one of the earliest forms of creative expression. She says, ‘Body decoration is likely to have been an important precursor to the creation of art separate from the body. The use of colour to decorate skin, bones and beads suggests enjoyment of form and colour.’

It would not be until thousands of years later that the development of human creativity, through technology, became more identifiable. Although art and creative output have been present in human behaviour for thousands of years, the term Graphic Design wasn’t identified until 1922 when typographer William A Dwiggins invented the term. This then identified a range of practices that would be used to create logos, typefaces, book covers, magazines etc. Even during this early stage in the 20^th century graphic design would primarily focus on the use of hand printing, engraving, ink drawing, fabric printing and other manual means of production. This was because at this point in the development of society, technology would have still been at an early stage, meaning the efficiency of production was still limited.

When comparing the practice of the past to the practice of today, there is significant differences in the ways in which design is produced. With the introduction of modern technology, problem solving has become a more approachable task when considering the different solutions that are currently available to us. As evidenced in Natalie Norcross’ article from 2017, How Graphic Design Is Evolving (3), ‘technology has enabled brands to have more exposure online, allowing businesses to interact with their clients and consumers, which has also allowed us the ability to review and analyse real-time data to measure and see what sources are driving more traffic.’ Therefore, we can see that technology has not only opened up opportunities to work differently but has also opened up opportunities to work professionally and engagingly with an audience. It also proves that today there is more efficient ways of using technology to communicate with one another, primarily through the introduction of the Internet. This is something that has drastically changed the way society works and has allowed for technology to thrive as a result.

Before understanding how technology has gotten to the point it is currently at, it would be beneficial to first understand the intentions of technology and why it was created. As explained in Mark Graham and William H. Dutton’s book, Society and the Internet (4), ‘Technologies do not just spring into being, but are invented, designed, implemented, and used by people in particular social contexts. It is because these technologies matter that it is valuable to understand why technologies emerge and are designed and used in particular ways.’ This proves that the invention of these technologies would bring with them meaning and purpose, much like the introduction of new techniques when it comes to design. By providing the option to adapt and develop skills through technology, design can begin to find new ways to bring about solutions to problems.

If we think of the revolutionary technological advancements of the modern world, we can see that they clearly all have purpose and were made with the intention of solving problems that society faced. Looking back to the early stages of technology in graphic design, we can see that there are many limitations in the processes that were available before the introduction of more advanced technology of today. This is evidenced in Alan Pipes book, Production for Graphic Designers (5), where he says, ‘When the first edition of this book was published, way back in 1992, computers were rarely seen in graphic design studios – there were some expensive turnkey systems around, mainly used for producing national newspapers – but the predominant means of layout was the mechanical. Now computers are not only ubiquitous in every area of the design-to-production cycle, but it is hard to imagine how books and magazines were ever produced without them.’ This proves that the production methods used as late as 1992 were for the most part inefficient in comparison with the computer technology available at the time of the book being rewritten, in 2005.

He then goes on to explain the reasons for this drastic change in process, within the world of design. With the introduction of the Internet, there have been countless opportunities opened up in the design industry, including the vast amount of resources available to people wherever they where in the world. The introduction of the Internet also brought about new changes in the approach to printing, as Alan Pipes goes on to say, ‘In the past few years a completely new medium (to designers at least) has shot to prominence – the Internet. There was no mention of the Internet in the first edition of this book. In the second edition (1997) it was deemed important enough to deserve its own chapter, now renamed Digital Design. Through the Internet, designers are able to break the boundaries of traditional print and incorporate dynamic online resources that could only be dreamt about when the first edition was put to bed. Despite the rise of the Internet, print is still a large part of our lives.’ This proves that not only has the production methods of graphic design changed significantly, but it has done so for the better, with new and innovative ways of creating design through digital medium. This also provides proof of the claim made earlier that technology advancements have allowed the industries and society to thrive as a result.

To understand fully how design is changing and how this will be beneficial for the future of design, looking at the different forms of design that are currently in use today will provide evidence of the techniques and processes that have stood the test of time. By identifying these processes, we can see which elements of design are likely to still exist in the future and why they may still be used. As already established, the Internet is one of the primary tools of today’s design industry, making resources widely available and information easier to gather. However, processes such as printing, are seen as a fundamental part of graphic design even to this day. This is because information in physical form is something that audiences can often interact with, as well as perceive in person. For example, printing design for public viewing allows people to engage with the design through viewing it on billboards, advertisements, shop windows street signs and reading material etc. Typography is also a staple part of graphic design, even though methods today involve digital processes. This element of design has proved to be an important factor in communication and is likely to remain close to its original processes in the future.

Evidence to support this claim can be seen in The Complete Book on Printing Technology (6), where it says, ‘The invention of typography has been called the beginning of the Industrial Revolution. It is the earliest mechanization of a handicraft: the handle lettering of books. Typographic design has been closely bound to the evolution of technology, for the capabilities and limitations of typesetting systems have passed constraints upon the design process. At the same time, typesetting has offered creative challenges as designers have sought to explore the limitations of the available systems and to define their aesthetic and communicative potential.’ From this we know that typesetting is something that has allowed designers to explore new boundaries and ways to create type within design practice. It is also evident today, that typography has utilised the digital technology available to us, with potential for further creative challenges to be undertaken by designers in an attempt to push boundaries even further in future.

One thing that cannot be certain at this point in time is whether design will change drastically as the technology available becomes the default option for creating innovative design. One thing we can be certain of is the new platforms that are likely to be introduced more widely to society in the near future. As new technology develops, so do the options for communication. One example of this would be the recent introduction of virtual reality and 3D rendering, particularly in the entertainment industries. This relatively new medium has opened up new opportunities for design to be used in a way that fully emerges the audience within a virtual space. Proof that virtual reality may be the future of design is discussed in William Sherman and Alan B. Craig’s book, Understanding Virtual Reality: Interface, Application and Design (7). They say ‘Artists working in any given medium seek to exploit the specific qualities of that medium in their work. Virtual Reality has many features that combine to make it a truly unique medium. These features include the ability to manipulate the sense of time and space, the option of interactivity and of multiple simultaneous participants, and the potential for participants to drive the narrative flow of the experience. VR brings all of these components together into a single medium, creating the opportunity for a dynamic relationship between the recipient (participant) and the medium.’ Therefore, it is evident that in order to extend the boundaries of design, virtual reality offers the opportunity to engage audiences in a more immersive experience. Creating work through this medium may prove to be a popular form of design in the near future.

In conclusion to the exploration of technology when it comes to graphic design, there is clear evidence that technology has not only improved the processes and efficiency of design, but has also encourage new ways for designers to pursue creative challenges through new medium. However, it has also clear that the processes and methods used before modern technology, are simultaneously useful tools to have along side technology. This includes the use of printing methods and typographical knowledge, as they are fundamental elements of modern design and are useful for approaching different design problems. We may however, see a change in the way that printing and typography is typically considered, with the advancements of technology making processes easier and more efficient. As graphic design continues to change and introduce new ways to revolutionise creative output, there will certainly be changes to the way in which the industry will operate. As the Internet has become a dependable tool for today’s society, as well as improving communication with others, it is likely that graphic design will continue to thrive as a result and open up new ways to communicate and engage audiences with creative ideas.

Bibliography

     Erik Brynjolfsson, Andrew McAfee – The Second Machine Age: Work, Progress, and Prosperity in a Time of Brilliant Technologies – (W. W. Norton & Company, 20^th January 2014) (1)
Natalie Norcross, How Graphic Design Is Evolving (Forbes October 9 2017) (3)

Gillian M Morriss-Kay, The Evolution of Human Artistic Creativity (12^th January 2010) (2)

Mark Graham and William H. Dutton’s book, Society and the Internet (Oxford University Press, 2014) (4)

Alan Pipes book, Production for Graphic Designers (Laurence King Publishing, 2005) (5)

NIIR Board Author, The Complete Book on Printing Technology (ASIA PACIFIC BUSINESS PRESS Inc., 2^nd July 2003) (6)

William Sherman and Alan B. Craig, Understanding Virtual Reality: Interface, Application and Design (Morgan Kaufmann, 2003) (7)

OUGD502 - SB2 - PPP presentation feedback

 After presenting our ideas, we received feedback on the ways in which our idea worked and how it could have been improved. In terms of our research, it seems that the concept of our idea was successful. However, the way in which this concept was proposed could have been more specifically improved. One way that this could have been improved, would be to explain how the 'neon jungle' theme would work in the environment it is placed. For example, there was concern over the way in which the concept required darker hallways, so that the lights would be easier to see. Had there been an alternative solution to this issue, then the concept may have come across more strongly to our audience.

In terms of the presentation itself, it seems that the ideas of the concept were successfully communicated to our audience and there was still time left for questions. However, there could have been a more structured approach to the presenting as there were times when we were questioned about certain things that we were unable to back up with evidence. One way that this could be avoided in future would be to look at the project from the audience's point of view and see whether there are flaws in the concept that are likely to be questioned.

At the bottom of the feedback were several points that could be used for future presentations, as a way to thoroughly explain your ideas and the reasons behind the choices made. This was helpful as it gives the opportunity to look at a presentation from the audience's point of view and understand what they may ask.

OUGD505 - SB1 further idea generation

Continuing the experimental design stages of the project, the adapted style from the initial stages was then used for identifying different areas of London which have been connected to drill music. More specifically, the areas predominantly found within popular drill music videos, often referred to as 'hoods' or 'blocks'.

By experimenting in this style, the aim was to show drill as a dark genre that is mostly devoid of any happy themes. Therefore by showing the audience the imagery as black and white, they can understand a feeling of emptiness or rawness. However, it was also suggested by peers that looking into how drill conveys colours in its formats would further develop the project direction.

Therefore, by analysing different popular drill videos it would be possible to gather an understanding of the type of colours used in the visually representing the genre. These could then potentially be used at a later stage in the development.

 Looking at several examples of the cinematography involved in the music videos, it became clear that neon colours were often a recurring element of UK drill videos.

In particular, red or blue would be used to light up dark lit scenery within the videos. This gave them a more celebratory representation of the genre, in comparison to the more popular way of filming, on the streets.

This element of the music videos also gave viewers a similar presentation to how a club or bar may look. This would be fitting for the context, as many of the artists in drill perform in clubs.

Other videos would often be quite experimental with the visual presentation. This includes many of the videos found on LinkUpTv's channel on YouTube. These videos were often reminiscent of the dark nature of the genre, but also the ways in which it is glamourised with expensive clothes, cars etc.

Some videos, such as Loski's Teddy Bruckshot, were set in gritty locations, helping to further place the viewer in a scene that relates to the rawness of the genre. For example, in Teddy Bruckshot, several members of the gang can be seen in a dim lit basement, with the only source of colour being from a red light in the room.

Although this does give the genre some form of substance, it cannot be entirely recognised as possessing this style of cinematography. This is because other genres of rap and hip hop have previously used the same techniques in music videos before drill music came about. Therefore, to use the aesthetic of many high production drill videos, may become ill-informing when it comes to communicating the ideas of the genre to audiences.

An alternative to this, would be to apply these colours to existing design from the initial stages, to see whether they work well in celebrating the genre.

 Until this point in the project, the designs had been limited in terms of colour application. This was however seen as less celebratory in nature when reviewed by peers. Therefore, the designs would need to find a different approach.

Before applying the colour, many of the ideas that had been previously experimented with were  combined to one design. This way it would be easier to envision the genre in one image, making it more understandable to the audience.





The idea of the design was to use words associated with the genre and colour them using the most popular colours found in the drill music videos. Having the words displayed within a balaclava would give the audience some idea as to what the themes of the music would be. They may also recognise some of the slang used in the genre, as it is used in other forms of rap, such as grime.

Using these bright colours from blue to red, would mimic the neon lights that are frequently used within drill videos. It could also be seen as a representation of the 'glamorisation' of UK Drill in recent years.

After sharing the ideas with peers during critique, it was suggested that the design could be made using a different format. They suggested displaying an object that would be related to the genre and have it coloured using the same colours as the designs made digitally. This way, the object on display could show the audience how the genre is glamorised, even though it is a gritty and raw type of music.

OUGD503 - Module Evaluation

As a result of the module, there have been several opportunities to understand new and innovative ways to respond to set tasks. This includes working individually and collaboratively, which both provide different results in terms of the experimentation and end productions. When working on Studio Brief 1, it was important to make sure that each of the briefs were given enough time management so that there would be enough time to come to conclusions at the end. Switching between briefs in this way also helped to transfer ideas from one to another and by using inspiration from a brief, it would then be possible to develop another.

Working on a number of individual briefs for Studio Brief 1, meant that further insight into these tasks proved rewarding, in that they would require a level of contextual understanding and first hand experimentation. From these briefs, an understanding of how professionals may work individually was then established. Throughout each brief there were several similarities, including the need to explore appropriate typeface and colour schemes. As a result, the finding and applying of these rules became an important factor of the design process.

With studio brief 2, working with a project partner proved that idea generation was a lot broader and provided more initial planning that could later be pursued thoroughly. We also found that by working on certain elements on our own, then sharing them later on would provide new and alternative ways to solve the brief. When working in this way, it was easier to receive feedback from other peers during critiques, as there would then be several approaches to present and propose.

When working collaboratively on a brief, it was important that we assigned roles of the project early on. This way we could avoid confusion and make sure that there were ideas being generated on different stages of the project. The roles for this include, managing time effectively in preparation for critiques, researching Bumble’s app features, researching past campaigns and implementing a design plan for developing the project. By organizing the brief into singular roles, it was easier to manage time more effectively and leave time for improvements to be made.

In addition to time planning, it was also important to make sure that we would follow the same aesthetic to start with. This was done during the early stages of the project and from there we could then find our own direction in which to take the development. When this was done, we could compare and contrast the outcomes of our exploration and decide on which elements would be appropriate to pursue for the final outcome. As we had both agreed on a photographic primary focus, the designs were in fact more common than anticipated, which allowed the outcome to be more refined when deciding on what to do.

Overall, the module has provided several ways in which to approach briefs and how communication and time planning were important factors to consider throughout. In future, independent and collaborative briefs will be made easier by the skills learnt and the understanding of how to resolve them, using a graphic design format.

Studio Brief 2 - Evaluation

As a result of Studio Brief 2, it was possible to work on a substantial brief with a project partner and understand new ways to come to a solution to a set problem. In this case, designing a campaign for dating app Bumble required research from different angles at the same time. This way collecting evidence and ideas was more efficient and broad between both participants. These ideas could then be discussed and refined as a team, to come to a conclusive solution to the problem.

With the audience in mind, it was also necessary to understand what kinds of activities female students partake in together. Therefore by conducting surveys and discussions with this particular audience it was possible to understand what changes could be made to the designs and how this would appeal to other female student. The design approach then changed as a result, bringing photography in as a primary focus of the project.

Through planning and allocating certain roles to one another, it was possible to understand each persons individual responsibility. This then made the project easier to manage and where feedback was needed, it could then be applied at different times. Overall, Studio Brief 2 has introduced new ways of working in graphic design and new skills that will prove useful for future briefs. The idea of working collaboratively provided the opportunity to see how graphic design professionals may work together with people who have a different skill sets, in order to complete a project.

Studio Brief 1 Evaluation

After working on a number of different individual briefs, it was clear that new skills had been learnt as a result. The first brief that was chosen was the Penguin Book Cover brief. As a similar brief had previously been completed, there would be some ideas as to how to tackle the problem of the project and how research could be conducted. From here, looking into the origins of the book and the inspirations for the story brought about ways to approach the design. Therefore, the design would be reflective of the time periods in which the book is associated with. In this case, Russian propaganda from the revolution and WW2 provided an idea of the type of style to use.

This was then better refined once peer reviews were conducted, providing more ideas and ways to improve the designs. From this brief, it was possible to understand how professional practitioners would use research to communicate the ideas that the client intends to portray to their audience. It also provided a look at how publications should be considered in terms of how they should be printed and the appropriate materials, fonts and layouts that should be used.

The next brief was to create a Student Art Pass for Art Fund. The intention of the brief was to attract students from all over the country, to get them to visit more galleries and museums. As the campaign was targeted at freshers during fresher's week, it meant there would need to be research into the ways in which competitors target the same audience, in the hopes that they will buy their products. Throughout the project, it was possible to gather an understanding of the audience that would be designed for, as a survey provided feedback from this particular age group and what their interest were. This proved useful because then the designs could be focused on how to attract the students that may not have taken much interest in the Student Art Pass. As a result, the brief provided the opportunity to gather research from the intended audience and then restructure the plans to meet the needs of that audience.

For the KFC brief, it was possible to understand how a professional may approach a brief that requires them to design packaging for food products. In this case, the redesigning of the KFC bucket required an understanding of the company's principles and aims, as well as the designs that were previously or currently used. From this, several experimentations allowed for feedback to guide the project to a conclusive design that promoted the brand as celebratory and family friendly.

Overall, the skills learnt from Studio Brief 1 will be useful for the future when approaching a brief of a similar nature. It will also prove useful for future discussions with peers when deciding on which designs will work appropriately for a project.

Studio Brief 1 - KFC bucket design Outcome and Evaluation

For the outcome of the project, ideas taken from the initial stages were then applied to the bucket template. This allowed for the variation of the designs to be visible from different angles on the bucket. As a result, the audience would then be able to see different elements of the design, depending on what angle they look at it from. As discussed during critiques, this design also felt more celebratory in its approach, in comparison to the alternative version. 

Improvements: The design could have been improved further by trying each of the initial ideas within the template, as a way to find out whether one would look better than the others. It could have also made the design more visible from a distance, had the stars and banners been made more prominent within the template.

As a result of the project, it was possible to understand how different approaches can be taken in order to find a conclusive design. Constructive feedback from peers during critiques also proved useful for the development of the project. However, limited use of idea generation made the project brief and not as broad as anticipated. Had there been further research into the principles of the brand, then there may have been more opportunities to find design ideas appropriate for the KFC bucket.

Studio Brief 1 - KFC bucket design development

After discussion with peers about the existing designs for the KFC bucket, they suggested an alternative option should be designed. This way there could be another way to think about the design for the brief. For the alternative version, the colour for the design could be limited even further, focusing only on the red that is found in the brand's image. The idea would be to use different shades to distinguish between elements of the design. For example, the text would be displayed as a darker shade from the background red in order to make it stand out in a subtle way.

To develop the ideas further, the focus would be on the logo used in KFC's branding and to alternate the colours used within it. From here, it may be possible to understand which colours would work well with one another.

They could also be assessed on how well they communicate, to the viewer, a sense of togetherness or homely feeling. In most cases, design that uses warm and rich colours can often reflect a sense of togetherness or love in some way. The deep red used in much of KFC's existing branding could be the best option to use when designing.

As a result of further feedback, the most favoured way to approach this would be to use the original red background and a slightly darker shade throughout the logo and text.

This would also be tilted slightly, so that the design could fit within the bucket template.

As a result of the development, the KFC logo was then applied across the template, making it the primary focus of the design. The Colonel Sanders logo had also been slightly altered, as this brought more attention to the lettering on the bucket. When compared with the previous designs, using stars and banners, this development seemed to be a more minimal approach to the design. It was also seen as a more simple design, as it focused mainly on what already exists on the current bucket. In conclusion to this, another bucket design using the stars and banners would be a better option to finalise, as it received more attention during critique.

Studio Brief 1 - Animal Farm Outcome

To conclude the project, one final discussion with peers would allow the design to use the most appropriate font, from the selection of fonts during development. It was decided that Century Regular was the best option because it was seen as a compromise between Garamond and Bodoni 72. This font was suitable for both the front and back cover, with the colours alternating in certain areas. By showing the famous quote at the top of the back cover in red, it would draw the attention of the viewer to this as an important line in the book. 

To keep the design minimal, the choice of colour was limited to just 5 colours throughout. This way the design would remain as close as possible to the posters it was inspired by. This design was also the most well received during critiques and therefore was used as the final option for the cover.

The design was then applied to a mock up template to see how the cover would look if it were printed on a book. The best option to choose for the novel was a hardback cover, as it gave a more traditional feel to the design and reminded viewers of how the book had previously been printed. Overall, the outcome of the project has been a success, as it has provided a further understanding of ways in which research plays an important role in the design stages. It also provided different options to pursue when it came to how the book cover would be designed and ultimately which design would work best to represent Animal Farm.

Studio Brief 1 - Art Fund Outcome

Applying the design to different mock ups, would allow for further analysis of how the advertising may look for the campaign.

Here the design has been applied to a bus stop advertising board. This could work well as people who are waiting would have enough time to stop and study the design and its meaning.

As the survey proved students were likely to go shopping during freshers week, this campaign poster was placed within a shopping centre in an attempt to target the audience. This way the audience could consider saving some of their money for the Student Art Pass. 

Placing it in a shopping centre also allows the campaign to compete with other brands that students are likely to buy from.




Many students are likely to find offers during freshers week on social media sites like Facebook. Therefore a mock up of the advertisement was created within a mobile device to see how it would look to the audience.

On a mobile device, the audience is also given the option to further explore the advertisement shown to them. The design is therefore likely to be most effective on mobile devices.

Overall, the Art Fund brief has provided a look at how a campaign could be made in order to target female students, on freshers week. Through discussion with peers, it was possible to understand how the designs had an impact on a viewer. From that, it was then easier to establish ways that the design could be improved and applied to appropriate advertising mock ups.

Studio Brief 2 - Collaborative Practice Evaluation

Looking back at how the brief was initially perceived during the early stages of the project, it is clear that the ideas that were applied were much different from the ideas that first came about. During the research stages, exploring the Bumble app and its features allowed us to find out what aesthetic the app reflects to the viewer and the ways in which it attempts to reach its audience. From this, further research could be made into the principles and aims of the app itself. What was found was that the app was different to other dating platforms, as it gave female users the ability to make the first contact with other users, in an attempt to filter any unwanted harassment. This feature is what made the app popular among women but it also meant that there were many male users that found it was unfair to create the app that way.

As the purpose of the campaign was to attract female students to the BFF and Bizz features, the project would need to look at ways that the features could be approached. Further research was then made into the platforms that female students use, as well as the things that were inspiring to them on social media. This brought about the idea to use quotations by iconic females of today, in the style that the quotes are likely found on Instagram, Twitter and Tumblr etc. At this stage in the project, further development could have taken a different direction, where the designs follow the Tumblr style posts. This could have also taken a more minimalistic approach to the designs, as several initial ideas showed ways that the signature illustrative style of Bumble could be manipulated, in a way that brought focus to the ideas of friendship and collaboration.

Throughout the project, there were several stages at which feedback was given in order to progress the designs. One decision that was well received was the idea to use photography in the background of each design. This was because it gave viewers an idea of the activities that people do with their friends or contacts they make through Bumble. It was also made as a way for the audience to imagine meeting others and doing the activities themselves. However, this idea could have been improved if the designs had all been tested on different mock ups, as well as how they may have looked if they were applied to the Beehive website, mobile advertising or in the app itself.

During the final stages of the project, the designs were altered slightly to fit the mock up templates, which meant they wouldn't look exactly as they were imagined. Had the templates been viewed prior to the final stages, the designs may have been created with the shapes of the templates in mind. This would have also allowed the developments to be tested in the templates, before coming to the decision on which to use for the final designs.

In conclusion to the project, there were several opportunities to work collaboratively with the project partner, which brought about ways to further develop and improve the ideas that were discussed. It also brought about ways to consider typeface within the project and how studying the Bumble app would bring about similar fonts to use. As a result, we were able to envision a campaign that reflects the principles of Bumble and how it may target its audience using graphic design formats.

Studio Brief 2 - Collaborative Practice Outcome

To begin finalising the project, the last step was to apply to designs to the mock up templates and then analyse whether the designs were successful in reaching the intended audience. By applying different designs to the same advertisement, it would then be possible to see which ones work better than others for the environment in which they are placed. For example, some advertisements will be placed in crowded public places, meaning they must be quick and easy to understand to those passing by.

1. 1 x London underground advert - 6 sheet (1200mm x 1800mm) - For this advertisement the ad would need to be placed in a portrait position. 

After discussing with the project partner, we decided to use these two designs for the London Underground mock up, as they both show relatively short quotes by iconic female figures of today. Within the space that they are found, the designs work well because they are easy to understand when glancing at them and the text within them stands out well against the saturated background images. The simplicity also brings attention to the bottom of the posters, which gives viewers an idea of what the advertisement is, while providing them with a link to where they can download the app. 

The design could have potentially been improved further by linking a scannable code or web address for the audience to follow. This could have also provided viewers with links to the Beehive website, were they could find out more information.

2. 1 x bus advert - superside (658mm x 6108mm)

From the design aimed at festivalgoers, the mock up on a bus would require a different layout in order to display the designs. This meant removing the quote from the photographic background and placing it to the left of the design. Sectioning the design into two parts, then allowed viewers to read the text from the left of the layout to the right, where they would see the photo. As the text on the original design was white, it meant placing it over a black background that would make it visible from a distance. With the public placement of the advertisement in mind, this design needed to be visible from short to medium distance, which was possible through the rearrangement of the design and text.

Alternatively, the design could have been improved by darkening the colours used in the photograph, or by adding the colour of Bumble BFF to the background of the text. However, this could potentially have limited the legibility of the text and in turn weakened the advertisement.

3. 1 x billboard - 96 sheet (1219.2cm x 304.8cm)

This advertising billboard also required the design to be altered in order for it to fit the layout. Where the text was once placed central to the background image, the space was opened up. This allowed the background image to be more visible, as the text would be made smaller and placed above the people in the image. Considering where the billboard would be in public, this design works well as it is placed next to a public walkway. This means that people walking towards the billboard would have enough distance to read the quote as they pass by it. 

Alternatively, the billboard would also work in a central street within a town centre or busy shopping location. To add to this, the design could have also been improved by either shortening the quote or by adding a link for viewers to follow.

4. 1 x 30s video advert (storyboard acceptable) - Story board layout

5. 1 x 10s video advert (storyboard acceptable)

As a result of the storyboard for a video, it was possible to imitate some of the ideas that we had about the app and how users might utilise its potential. In this case, we considered what many students would do when meeting a friend, where they may go and how they would communicate with one another. As the focus of the app is to help people communicate, we believe that by showing the interaction between two people in minute details would resonate with viewers and how they act when contacting people. It also sets a scene in the viewers mind about how they could relate to the situation themselves and what they would do during a coffee date with a friend.

Alternatively, had there been more time put into this idea, there could have been a video produced to replicate the scenario and show viewers exactly how the storyboard would work out. 

6. Instagram/snapchat story advert, in gif or video format - aspect ratio 9:16 (1080mm x 1920mm) - For this a gif was made. 

Much in the same way that the designs showed celebrations, the gif showed snapshots of friends at a nightclub. This would remind viewers of the nights out they may have had with friends, as well as the nights out they will have in future, potentially with people they could meet through Bumble. The idea behind the gif was to replicate how people post compilation videos of themselves and their friends, using mostly photographs. 

Alternatively, the video could have shown a series of photographs taken in one location and then split up using a strobe effect. This would show the photographs as moving between each frame and make the people within the pictures look as though they are moving or dancing. This would have been a better development option, had we provided ourselves with more time for improvements to be made at the end of the project.