Wednesday, 26 February 2014



Today we had an interim crit for the 505 Study Task 1, whereby our research booklets and corresponding mockups/nets were looked at by other students and tutors to gain constructive feedback.

I felt the crit ran smoothly and I managed to ask questions about the booklet which I was unsure about. These were:

- Which style slipcase is most preferable/suitable to the Vogue brand?
- A4 or A5 format?
- Binding technique? Stapled or Coptic Bound?
- Does it look like a Vogue magazine 'style' layout?

I received my feedback sheet and typed up the comments. These are shown below:


- Interesting back page, really sets the scene
- I like the Vogue cover, it's very striking - bind is off so middle pages aren't aligned (this is something I was aware of prior to the crit, however didn't feel new mock-ups were needed to show layout and overall design ideas).
- Slipcases - corporate and westernised design, with a smart, sleek aesthetic (black vinyl, on black stock). Appropriate globally and at any time of year, whilst gold stock is more seasonal
- Like the headings on the top of each page giving direction
- Well executed mock ups and good range as well
- Black on black slip case is the best and reflect's Vogue's aesthetic and branding
- I like the layout, interesting and appropriate as well as the imagery
- Stock feels appropriate and feels good to touch
- Good use of grid and structure 

Areas for Improvements:

- Point size and packaging size - need confirming to the finalised scale
- Prefer the A5 size publication however as already discussed point size to be increased
- A5.5 Size will work best, being half way between A4 and A5 - will also fix problem of point size
- "aResponsibility" - a space?
- Too many typefaces?
- Some images are pixilated - consider resolution
- 1st page title bleeds into header, point size is quite small, may need to move further down as "anIssue" gets cut off.


- Point size - scale magazine to between A4 & A5. The type would be more readable and legible.
- Perhaps consider less amount of typefaces in publication
- Type of "luxury stats" is the only different typeface, it could be the same as "a history, 122 years of fashion"
- 'Taking it further' could also be changed to "issues and criticisms"

Overall Thoughts:

Overall I feel that the feedback given was very successful and answered all of my posing questions. Points such as increasing the point size slightly and suggesting a slightly bigger size for the booklet would enhance the layout and overall design. Comments made on pixilated images were also appreciated as this is something I'd recently missed. I received really good feedback about the layout and the slipcase, stating high quality mock ups had been brought to the table. With the help of my fellow students I resolved issues such as format and the aesthetic of the slipcase to be used, as well as deciding to go with the hand-stitched coptic binding. 

There is one point which I disagreed with however, which was no spacing between "anIssue" for example. This was purposely done, as this is adapted from existing Vogue layouts and remains to be a common feature they still use today.

Points of Action:

- Size and format
- Point size in relation to scale of final outcome
- Slip case to be re-sized and re-designed.
- Alter typefaces throughout, ensuring more continuity throughout  the layout design
- Check images for pixilation and alter accordingly
- Add page numbers
- Add barcode
- Contents page?

Tuesday, 25 February 2014



Below are the outcomes to the one day brief.

The PDF of the inDesign document created during the session is shown below, along with additional changes which were later added. 

I am happy with the minimal design for the concertina booklet, I feel it is fresh, minimal and clean cut allowing minimal type and imagery to stand out and speak. I feel I have used hierarchies with type, and guides the reader across the spreads through the layout and flow. 

I decided to adapt the leaflet design into a poster also, which is seen below.

- - - -

Once I had completed the digital design process I wanted to test the design when printed, and produced a mock-up of both the leaflet and the brochure. 

Photos of both can be seen below.

When I was printing the mock-up out I discovered that the back cover was on the wrong side, and should be swapped with the right hand side image (this can be seen on the digital version above). When printed it made it easier to notice any visible mistakes such as this which is harder to work out on screen, as well as checking type legibility, readability, and the overall layout design.

I would like to further expand this mini-project, and create tickets, private invitations and a web mock-up to show a broad range of skills as well as showing how I can adapt to set briefs and challenges.


In a studio session today with Phil and Lorraine we were given a one day brief, which consisted of two parts which can be found below. The exercise was to show form, function, layout, type, and image placement as well as gaining a sense of being confident with layout design by being pressured to work to a time limit. This personally made me work faster, to achieve a good outcome for the task.

The brief:

Jackson Rising

Task 2:
This text/image heavy layout will ask you to utilise body copy, title, date, and location, heading, sub heading, imagery, indexes, highlighted quotes. The amount of text allows for the use of imagery and the type to serve as the main visual elements.

You are to layout and design a 10-page concertina folded brochure for a forth-coming exhibition titled ‘Jackson Rising’ at MoMA, New York. All images, copy and branding are included. You have to create a visually stimulating layout that showcases the artists’ imagery but does not sacrifice important information in this process. The images and information must flow harmoniously and offer a taste of what is to be expected during the exhibition.

Branding elements must be kept to black and white. Images must be unaltered and in colour.

Headings, headlines, body copy, grid, type, colour, image sizing, bleed, margins, flow, audience, narrative, language, purpose, size, external print methods, preparing for print, stock, distribution.


Format: A5 x10 – Portrait – Concertina spread (front and back).

Title: Jackson Rising - Curated by Jenny Dowd
Dates: August 3, 2014 - August 31, 2014
Location: 11 W 53rd St, New York, NY 10019, United States

Four artists met at an artist residency at the Ucross Foundation in 2013, now they come together to inhabit at MoMA, New York.

List of artists:

Ruth Boerefijn
Lindsey Glover
Mayme Kratz
Jenny Dowd

Ruth Boerefijn:
My process is experiential. I make visits beyond my self: to Iceland, to the store where the fishermen buy their supplies, to the library.
The feel of manuscripts, photographs and maps give my hands something to articulate when later, in my studio, they work knotting and looping lengths of fishing line. It loses form over time, and can be reshaped; it is resilient. The line is a symbol of connection, of reaching into the depths for nourishment.

The colored paper is cut from my own drawings from nature-imprinted with other narratives and perceptions-through which I punch holes as a way of forging through them to get to the act of new expression.

Text is also a material with a memory and a shape. I struggle to arrange words so they can articulate beyond history to character, story, felt experience, and new possibility.

Lindsay Glover:
Using multiple projections, Lindsey Glover transforms the Loft into a space for the exploration between perception, memory and experience. She collects photograph and video images that are later re-examined to find parallels in context, all the while focusing on the capture and storage of time.

Mayme Kratz:
Mayme Kratz creates art from the natural life of the desert that surrounds her Phoenix home and studio. Viewing collecting as a way of archiving memory, she assembles a variety of natural forms—tangled birds’ nests, feathers, bones, seeds, snakes, and cicada wings—and captures them submerged in resin to create rhythmic, abstract sculptures and reliefs. “My collected specimens celebrate the endless cycles of change and rebirth in nature,” Kratz has said. In addition to these hanging and freestanding works she has also created a variety of videos and installations, including an interactive outdoor sculpture made of found tumbleweeds meant to disintegrate over time.

Jenny Dowd:
Jenny Dowd explores space and movement with a series of steel and Egyptian Paste vessels. The boats hover, dive and flock overhead while exploring the gallery in a playful dialogue.

Ruth Boerefijn:
Lindsay Glover:
Mayme Kratz:
Jenny Dowd:                                                                   

Jackson Rising ident / MoMA logo / NYU logo
Multiple Artist imagery
(Use embedded InDesign file and follow grid.)

Save as PDF file.
Print proof copy if possible.

Layout 1 – Minimal Text / image:

This simple layout will ask you to utilise a short amount of body copy, title, date, and location. The minimal amount of text allows for the simple use of single imagery and the type to serve as the main visual elements.

You are asked to produce a simplistic flyer design for Jackson Rising Exhibition at MoMA (Museum of Modern Art – New York) using the instructions below.


Format: A5 – Portrait

Title: Jackson Rising
Sub-Title: Curated by Jenny Dowd
Date: August 3, 2014 - August 31, 2014

Copy: Four artists met at an artist residency at the Ucross Foundation in 2013, now they come together to inhabit at MoMA, New York.

Location: MoMA, New York.


Image: Jackson Rising ident / MoMA logo / NYU logo
Use of two colours only: Black and white
(Use embedded InDesign file and follow grid.)
Save as PDF file.