End of Module Self-Evaluation

What skills have you developed through this module and how effectively do you think you have applied them?

My contextual knowledge of graphic design, both past and present, has grown considerably throughout this module, along with my general knowledge of art practices and theories. I have developed the skills of critiquing and analysing work and being able to coherently comment on art works with a fairly strong vocabulary. I feel as if I have developed the skill of interpreting theories, such as in my essay, and applying them to different concepts and images. 
The publication aspect of the module has helped me with technical skills, such as working with InDesign and putting together a publication. I read heavily into the subject and attempted to condense the information content I was putting into the book to fit the concept of the publication which was to present semiotic theory to design students in a way that was easy to understand and follow. I think I successfully managed to break down the topics and give a brief, basic overview of the subject, and I feel as though I managed to turn theory into practice in the way that my publication still looks like a textbook as it should do, but where the layouts and colours have added more of an interesting, visually appealing side to it. 

What approaches to/methods of design production have you developed and how have they informed your design development process?

The approaches to and methods of design production I have developed throughout this module have come in the publication part. I have learnt how to take content and develop it into a publication which fitted my original concept. Before the publication brief I had very little knowledge of how to set out a book properly in InDesign, and although we had been taught how to use grids for laying elements of an editorial design out earlier in the course, this has been my opportunity to take what I had learnt and put it into practice. I can definitely see an improvement in my skills with layouts and using type and colour from the beginning of the course because of the publication brief. 

What strengths can you identify in your work and how have/will you capitalise on these?

I think one of my strengths in this module has been with theory and how it relates to practice. I was pleased with the essay feedback I received as it had been my chance to use a subject I studied in school, Social and Cultural Anthropology, and apply it to art practices. Theories are a particular interest of mine and I enjoy reading further into them than just what we are given and taught in lectures and seminars, so in the future, I want to be able to take theories and express them through graphic design, such as I did for my publication, but also to apply them to graphic design. I intend to read further into semiotics and bring the theory side of the practice into my work. I also feel that one of my strengths is essay writing and this module has been the chance to show that. I enjoyed writing the essay and the topic I chose and this is an area which I want to look in to again. Also, the essay writing element is a step of preparation towards writing my dissertation in third year so the feedback I received for my essay has given me more confidence towards the essay/dissertation writing elements of second and third year. 

What weaknesses can you identify in your work and how will you address these in the future?

Although I feel I am generally quite competent with understanding and applying theories, one thing I have struggled slightly with in this module is classifying designers and their work under different categories, such as modernist or post-modernist. I enjoyed the 45 Designers task, yet did find it surprisingly difficult in certain areas, so in future, I would use my lecture notes as more of a resource for further research and start my own investigations into each subject.
I also felt that one of my weaknesses was thoroughly putting the theory into practice. Knowing what I know now from completing the publication, I would have done something which would have allowed me to express theory through practice more if I could go back to the beginning of the brief again. I could have created a publication about modernism in a modernist style to put more emphasis on the putting theory into practice element of the brief. 

Identify 5 things that you will do differently next time and what do you expect to gain from doing these?

- Use lecture notes as a starting point for more thorough self initiated research to gain a stronger understanding of each topic.


- Keep a more comprehensive list of designers/artists for reference back to as this will aid my contextual research in the future in all areas of the course.


- Read more into the subject of essays to give myself a wider range of content to use to further my understanding and to make my essays more comprehensive. 

- Research further into different designers when I come across them to gain a wider knowledge of the graphic design scene at present. 


- Plan out publications more thoroughly before digitalising them to avoid printing/binding problems.

5= excellent, 4= very good, 3= good,  2= average, 1= poor	1	2	3	4	5
Attendance				x
Punctuality				x
Motivation				x
Commitment				x
Quantity of work produced			x
Quality of work produced			x
Contribution to the group				x

Printed and bound book


- front and back cover:

- binding:

 - content:

Digital version of finished publication

Open publication - Free publishing - More ougd401

Finished Essay
- changes from original essay are in red (quotation marks plus one reference on a quotation)

Open publication - Free publishing - More essay

Feedback from first draft & changes to be made


Feedback form from Richard:

I'm really happy with the feedback I got as I wasn't expecting to have done so well, and Richard said there wasn't much to change within my essay for the final hand in. I enjoyed researching and writing it because it is a topic I am genuinely interested in and in which I can use the knowledge I have of social theories from when I studied Anthropology at school. 


Changes to be made:
- a few small stylistic changes concerning quotation marks
- referencing a quotation in the 2nd body paragraph as I was unsure where the quote was from and referenced it as 'Anon' as the website I found it on had no author
- could rewrite sections to make it more coherent, yet it works as it is so it would just be touching up and refining sentences
- could expand the bibliography by researching more into the subject and rewriting sections in more detail, but the problem with this is the word count constraint 

5 Graphic Designers Relating to the History of Type


Adrian Frutiger
- Switzerland - 1928 to present
- Typeface designer who influenced the direction which the modern digital typeface and typography scene took in the second half of the 20th century. Best known for creating the Univers and Frutiger typefaces.


- "I first experienced the power of type to make the whole intellectual world readable with the same letters in the days of metal. This awakened in me the urge to develop the best possible legibility. The time soon came when texts were no longer set in metal types but by means of a beam of light. The task of adapting the typefaces of the old masters from relief type to flat film was my best school. When we came to the “Grotesk” style of sanserif, however, I had my own ideas which led to the Univers® family. Technological progress was rapid. Electronic transfer of images brought the stepping, followed by my feelings for form. But today, with curve programs and laser exposure, it seems to me that the way through the desert has been completed.
From all these experiences the most important thing I have learned is that legibility and beauty stand close together and that type design, in its restraint, should be only felt but not perceived by the reader. In the course of my professional life I have aquired knowledge and manual skill. To pass on what I had learned and achieved to the next generation became a necessity."

http://www.linotype.com/720/adrianfrutiger.html

http://theredlist.fr/wiki-2-343-917-998-view-type-profile-frutiger-adrian.html

- "Adrian Frutiger (b. 1928) is one of the most prominent typographers of the twentieth century and the designer of one of the most notable typeface families ever to be created—the sans serif Univers. As a young boy, he experimented with invented scripts and stylized handwriting as a negative response to the formal, cursive penmanship being enforced at the Swiss school he was attending. At the age of sixteen, he began a apprenticeship as a compositor with an Interlaken printer. During this apprenticeship, he also learned woodcutting, engraving, and calligraphy."

http://www.rockpaperink.com/content/article.php?id=59

Claude Garamond

- French - circa 1490 - 1561
- One of the leading type designers of his time, is credited with the introduction of the apostrophe, the accent and the cedilla into the French language. Many contemporary typefaces, such as Garamond, Granjon and Sabon were based upon his work and influences. 
- http://garamond.org/
- http://www.pointlessart.com/education/loyalist/typetalk/garamond/biography.html

- "Claude Garamond – born c. 1480 in Paris, France, died 1561 in Paris, France – type founder, publisher, punch cutter, type designer. 1510: trains as a punch cutter with Simon de Colines in Paris. 1520: trains with Geoffroy Tory. 1530: Garamond’s first type is used in an edition of the book "Paraphrasis in Elegantiarum Libros Laurentii Vallae" by Erasmus. It is based on Aldus Manutius’ type De Aetna, cut in 1455. 1540: King Francis I commissions Garamond to cut a Greek type. Garamond’s ensuing Grec du Roi is used by Robert Estienne in three sizes exclusively for the printing of Greek books. From 1545 onwards: Garamond also works as a publisher, first with Pierre Gaultier and later with Jean Barbe. The first book he published is "Pia et Religiosa Meditatio" by David Chambellan. The books are set using typefaces designed by Garamond. After Garamond’s death, Christoph Plantin from Antwerp, the Le Bé type foundry and the Frankfurt foundry Egenolff-Bermer acquire a large proportion of Garamond’s original punches and matrices. The typefaces Garamond produced between 1530 and 1545 are considered the typographical highlight of the 16th century. His fonts have been widely copied and are still produced and in use today."

http://www.linotype.com/414/claudegaramond.html

http://garamond.org/

Erik Spiekermann
- German - 1947 to present
- Graphic designer credited with designing many popular typefaces, such as:
Berliner Grotesk (original is from 1913, digitization is from 1979)
Lo-Type (original is from 1911/14, digitization is from 1980)
ITC Officina Sans (1990)
ITC Officina Serif (1990)
FF Meta (1991–1998)
FF Govan (2001)
FF Info (2000)
FF Unit (2003)
FF Meta Serif (with Christian Schwartz and Kris Sowersby, 2007)- http://edenspiekermann.com/
- http://spiekermann.com/


- "Erik Spiekermann, born 1947, studied History of Art and English in Berlin. He is an information architect, type designer, and author of books and articles on type and typography. He was founder (1979) of MetaDesign, Germany's largest design firm. Projects included corporate design programmes for Audi, Skoda, Volkswagen, Lexus, Heidelberg Printing and wayfinding projects like Berlin Transit, Düsseldorf Airport and many others.
In 1988 he started FontShop, a company for production and distribution of electronic fonts. Erik is board member of ATypI and the German Design Council and Past President of the istd, International Society of Typographic Designers, as well as the iiid. In 2001 he left MetaDesign and is now managing partner and creative director of Edenspiekermann with offices in Amsterdam, Berlin, London and San Francisco.
He redesigned The Economist magazine in London for its relaunch in 2001. His book for Adobe Press, "Stop Stealing Sheep" is in its second edition as well as published in German and in Russian. His corporate font family for Nokia was released in 2002. In 2003 he received the Gerrit Noordzij Award from the Royal Academy in Den Haag. His type system DB Type for Deutsche Bahn was awarded the Federal German Design Prize in Gold for 2006. In May 2007 he was the first designer to be elected into the Hall of Fame by the European Design Awards for Communication Design.
Erik is Honorary Professor at the University of the Arts in Bremen and in 2006 received an honorary doctorship from Pasadena Art Center. He was made an Honorary Royal Designer for Industry by the RSA in Britain in 2007 and Ambassador for the European Year of Creativity and Innovation by the European Union for 2009."
http://www.identifont.com/show?12X

http://theredlist.fr/wiki-2-343-917-998-view-type-profile-spiekermann-erik-1.html#photo

Gustav Jaeger
- German - 1925 -

http://www.identifont.com/show?13W

- http://www.identifont.com/show?13W
- "Gustav Jaeger (born 1925, died in July 2010), son of a printer, studied at the Hochschule für Gestaltung in Offenbach am Main. An enthusiast for type and typography from an early age, he started his career at the Bauer typefoundry, where he developed type specimens promoting the work ofKonrad Bauer and Walter Baum. Encouraged by the former, he designed contemporary 1970s display types for H. Berthold AG. He progressed to text types, the first of which, Seneca® BQ, was released by Berthold in 1977. Many others followed, highlighting Jäger’s ability to experiment successfully with letter forms for text use, and contributing significantly to the Berthold library. Jäger’s typeface Catull™ is currently being used in the logotype for the search engine Google.
In 1980, Gustav Jäger designed Becket™ for Linotype. Becket embodies a retro-medieval aesthetic. Base letterforms that might have been at home with a writer of Irish uncials have been streamlined according to late 20th century tastes to create a timeless effect. Becket is the perfect font to set headlines and logos for clients in the music industry."

http://www.linotype.com/2687/gustavjaeger.html

Stanley Morison 
- English - 1889 - 1967
- Typographer, designer and historian of printing. He was a founding member of the Fleuron society (fleuron = typographic ornament) in 1922 and while in the role of typographical consultant to the Times newspaper, he designed the typeface and font family Times New Roman. 
- http://www.pointlessart.com/education/loyalist/typetalk/timesnewroman/main.html


- "It is almost impossible to go through daily life without seeing testimony to the work of Stanley Morison, however it is so familiar to us that it mostly goes unnoticed. The Times New Roman font is around us everywhere, from newspapers to books, advertising to company reports. It appears as the font of choice in virtually every word processing program that we open up, yet what is known of it’s designer?"

http://www.rodwell.pwp.blueyonder.co.uk/morison.htm

http://theredlist.fr/wiki-2-343-917-998-view-type-profile-morison-stanley.html#photo

5 Graphic Designers Related to Advertising


George Lois
- American - 1931 to present
- Art director, designer and author, Lois is best known for the 92 Esquire magazine covers he designed. 
- http://en.wikipedia.org/wiki/George_Lois
- http://www.georgelois.com/

http://www.georgelois.com/

http://www.georgelois.com/esquire.html

http://www.georgelois.com/ad_campaigns.html

David Oglivy
- British - 1911 - 1999
- Advertising executive, often called "The Father of Advertising", who uses the style of direct advertising.
- http://en.wikipedia.org/wiki/David_Ogilvy_(businessman)
- http://www.ogilvy.com/#/%7Bfilter:The-Work%7D
- http://www.thedailybeast.com/newsweek/2009/02/11/the-original-mad-man.html
- http://adamrice.typepad.com/kristinarice/2008/08/david-ogilvys-most-famous-advertising-campaigns.html


- "In his agency's first twenty years, Ogilvy won assignments from Lever Brothers, General Foods and American Express. Shell gave him their entire account in North America. Sears hired him for their first national advertising campaign.
"I doubt whether any copywriter has ever had so many winners in such a short period of time," he wrote in his autobiography. "They made Ogilvy & Mather so hot that getting clients was like shooting fish in a barrel."
In 1965, Ogilvy merged the agency with Mather & Crowther, his London backers, to form a new international company. One year later the company went public - one of the first advertising firms to do so. Soon Ogilvy & Mather had expanded around the world and was firmly in place as one of the top agencies in all regions."
http://www.ogilvy.com/about/our-history/david-ogilvy-bio.aspx

http://www.ogilvy.com/#/%7Bfilter:The-Work%7D

Bartle Bogle Hegarty 
- British advertising agency since 1982 - founded by John Bartle, Nigel Bogle & Sir John Hegarty - The company has worked for brands/products such as  Audi, Vodafone, Levi Straus, British Airways, Johnnie Walker, Omo/Persil & Axe/Lynx. 
- http://en.wikipedia.org/wiki/Bartle_Bogle_Hegarty
- http://www.bartleboglehegarty.com/
- http://www.hegartyonadvertising.com/


- "John Hegarty is one of the world’s most awarded and respected admen. Over six decades he has been at the forefront of the creative advertising industry from the early days of Saatchi and Saatchi to Bartle Bogle Hegarty, the global company he runs today.
In 1982 he founded Bartle Bogle Hegarty with partners John Bartle and Nigel Bogle. The agency swiftly became one of the most talked about and awarded advertising agencies in the world. BBH has won every Agency of the Year accolade and every creative award possible and has been at the forefront of the industry for twenty nine years.
John has been responsible for campaigns for Levi’s such as the ground breaking commercial starring an unknown model called Nick Kamen who stripped off down to his boxer shorts in a launderette. He introduced the British to the phrase 'Vorsprung Durch Technik' for Audi and picked a young model/actor called Brad Pitt to star in a commercial for Levi’s. He pioneered the importance of music in commercials which has earned BBH nine number 1 hits. John also oversaw the first viral phenomenon to hit the headlines, the furry yellow puppet Flat Eric for Levi’s, who kicked Eminem off the number 1 singles slot in 1999.
BBH now has offices in London, New York, Singapore, Sao Paulo, Shanghai and Mumbai and John oversees the creative output of all these offices. This unique global structure also contributed to the company winning the Queen’s Award for Export Achievement twice, in 1996 and 1997.
John has won golds at every industry awards including D&AD, Cannes and British Television. He has been given the D&AD President's Award for outstanding achievement and was admitted to the US One Show Advertising Hall of Fame. He has also been voted as one of the most influential people in fashion thanks to his work with Levi’s.
In 2006, he was awarded honorary doctorates from Buckinghamshire Chilterns University College and Middlesex University and sits on the Board of Trustees of the Design Museum"

http://www.hegartyonadvertising.com/

http://www.hegartyonadvertising.com/

http://www.bartleboglehegarty.com/#!/global/work/print

Raymond Loewy
- France/ United States - 1893 - 1986
- Loewy is most noted for his designs for the Shell and BP logos, the Lucky Strike packaging and the Coca-Cola bottle. 
- http://en.wikipedia.org/wiki/Raymond_Loewy
- http://www.raymondloewy.com/
- http://www.raymondloewy.org/


- "After a brief but promising career as a fashion illustrator, Raymond Loewy dedicated his talent to the field of industrial design. Loewy's creative genius was innate, and his effect on the industry was immediate. He literally revolutionized the industry, working as a consultant for more than 200 companies and creating product designs for everything from cigarette packs and refrigerators, to cars and spacecrafts. Loewy lived by his own famous MAYA principle - Most Advanced Yet Acceptable. He believed that, "The adult public's taste is not necessarily ready to accept the logical solutions to their requirements if the solution implies too vast a departure from what they have been conditioned into accepting as the norm."
A popular lecturer as well, Loewy spoke at institutions such as the Massachusetts Institute of Technology, Columbia University, and the University of Leningrad. He founded three design companies: Raymond Loewy and Associates, New York; Raymond Loewy International, London; and Compagnie de I'Esthetique Industrielle, Paris. His writings include The Locomotive: Its Aesthetics (1937), the autobiography Never Leave Well Enough Alone (1951) and Industrial Design (1951)."
http://www.raymondloewy.com/about/bio.html

http://www.raymondloewy.com/exhibit/photos.html

http://www.raymondloewy.org/gallery/gallery_misc.html

Alan Fletcher
- "Alan Gerard Fletcher (27 September 1931 – 21 September 2006) was a British graphic designer. In his obituary, he was described by The Daily Telegraph as "the most highly regarded graphic designer of his generation, and probably one of the most prolific"."
http://en.wikipedia.org/wiki/Alan_Fletcher_(graphic_designer)
- http://designmuseum.org/design/alan-fletcher
- http://www.alanfletcherdesign.co.uk/

- "Synthesising the graphic traditions of Europe and North America to develop a spirited, witty and very personal visual style, ALAN FLETCHER is among the most influential figures in British graphic design as a founder of Fletcher/Forbes/Gill in the 1960s and Pentagram in the 1970s."
http://designmuseum.org/design/alan-fletcher

http://designmuseum.org/design/alan-fletcher

- "Alan Gerard Fletcher (27 September 1931 - 21 September 2006) was a British graphic designer. In his obituary, he was described by The Daily Telegraph as "the most highly regarded graphic designer of his generation, and probably one of the most prolific".
He founded the design firm Fletcher/Forbes/Gill with Colin Forbes and Bob Gill in 1962. An early product was their 1963 book Graphic Design: A Visual Comparison.
Clients included Pirelli, Cunard, Penguin Books and Olivetti. Gill left the partnership in 1965 and was replaced by Theo Crosby, so the firm became Crosby/Fletcher/Forbes. Two new partners joined, and the partnership evolved into Pentagram in 1972, with Forbes, Crosby, Kenneth Grange and Mervyn Kurlansky, with clients including Lloyd's of London and Daimler Benz. Much of his work is still in use: a logo for Reuters made up of 84 dots, which he created in 1965, was retired in 1992, but his 1989 "V&A" logo for Victoria and Albert Museum, and his "IoD" logo for the Institute of Directors remain in use."

http://www.logosdesigners.com/#alan-fletcher

http://amodernistsina21stcentury.blogspot.co.uk/2011/05/alan-fletcher.html

http://marika82.wordpress.com/2009/05/10/discourse-module-dv-1101-alan-fletcher/