Evaluation

Overall I found PPP to be a helpful module, the things I found most interesting were visiting speakers and the workshops they provided, it's good that we have the opportunity to speak to professionals in our own environment. One thing I want to improve on is taking what they teach on board and experiment more within my work, a few of the professionals told us to have fun with our work and stop stressing at university, this really stood out for me because it will be one of the only times we can produce the work we really want to with creative freedom unless we have personal projects or go freelance. I don't believe I have grown as a designer in terms of the work I produce within this module as it isn't about making things, it is about thinking about the future and being knowledgable in things such as networking and getting paid, I found these talks helpful however feel I could probably engage more if I tried.

The creative report allowed me to step out of my comfort zone and get in touch with creatives I admire, this is something I have never done however will definitely continue to ask questions and be curious after hearing back. The personal presentations I feel could have gone better, I don't feel as used to speaking in front of a lot of people due to the lack of critiques in other modules this year in contrast to last year. Due to this I struggled to stand in front of the class and felt a lot more comfortable doing it in front of a small group. This is something I really need to work on and be more confident with the work I produce as well as my presenting skills,  a lot comes down to preparation however it is hard to overcome fear of not being as good as others. I also feel that life's a pitch could've gone a lot better in terms of outcomes, the most part of our ideas were concepts and I feel this was due to the lack of communication within the group. This too is something I want to work on improving as working in a team is essential in the creative industry.

Creative Report

ISSUU

Getting in touch with a creative I have admired for around 2 years really inspired me to want to produce more creative work outside of the curriculum, Adam uses his collaging and Instagram page as a creative outlet, using traditional skills to keep his mind active and original work flowing whilst working in a digital company, with his perfectionist ways the work he produces actually gets mistaken for being digitally edited. The standard of his collages encourages me to aim for higher detail when it comes to hand made techniques such as screen printing, sketching and collage. | aim to start doing something everyday during summer, whether it be a quick drawing, illustration, poster or collage. Adam started producing work as a statement about free publications that are disposable, he creates work that is permanent through posting on Instagram around 3 years ago and has recently been noticed by a lot of big brands, mainly in the fashion industry, he believes this is due to his source material and considering the fact he has now become successful in something he started doing as a side project to his real job this really shows anything can happen if you produce high quality, original thinking work via Instagram. With this module I have also contacted a few design agencies which I admire however haven't yet heard back. This hasn't discouraged me rather makes me want to get their attention in another manner, one that stands out compared to email, for example how alumni Greta send a box filled with her work whilst letting her personality shine through. Throughout this year I have taken advantage of the freedom given within the briefs and produced work I am proud of, work that is relevant to the area of design I would like to work within, because of this I decided to create a website portfolio as I have a fair few strong finished designs in answers to briefs that I would happily show to other creatives and possible job opportunities. I will still remain active on Instagram however change what work I post, such as works in progress to spark more interest, an aim is to also utilise Behance and LinkedIn more to connect with professionals. As well as contacting the daily splice I have been reading a lot more interviews with creatives I admire, as well as tedtalks and tutorials for software on youtube. Another thing I would like to engage more with is live briefs, after the responsive module I realised there are constantly new and exciting opportunities to produce work to a professional level in response to real companies providing briefs, I could take inspiration from design blogs such as It's Nice That and other creatives on social media.

Creative Report publication

I decided to create a short publication containing some examples of the daily splice work and the responses I received from the questions. I restricted myself to printing on my home printer, using normal paper and simple binding techniques, making do with what I have rather than buying extra materials. I thought this relevant and inspired by the way Adam only creates work out of free magazines he picks up on his commute. 

ISSUU

I had to work out the order for the booklet as the printer doesn't have the option for double sided and therefore through InDesign you cannot use the print booklet. I made a small mockup to check what pages should be next to eachother and did a few test prints to make sure the orientation was correct.

I then printed the booklet onto pink and white paper to compliment how the splices are created using multiple elements, I used tape to bind and believe it gives it a handmade feel.

Overall I am happy with the outcome for this as it showcases Adams work whilst giving quotes relevant and that inspire. The only thing that didn't go so well is the quality of the pictures, the ink wasn't the best and if I redid it I would design the order to ensure all of the images ended up on the white pages.

Creative Report brief

Things I would want to find out about a creative I admire would be:

• what did they study
• why do they create the work they do
• who they would really like to work with

In order to decide who I want to contact for the creative report I am going to look at what kind of design I am most interested in, find some examples on Instagram as I feel this would be the best platform to get in touch with people on.

Something I really admire in terms of creatives is people who create something new everyday aside for their actual job, they take the time out to do something fun. An example of this is Adam Hale - Instagram name 'the daily splice'.

Adam takes free magazines from around London each day and creates a 'splice' using images found in the publication. He has produced over 1000 splices, and does one each day so has been at this for a very long time - he started in 2015. I first noticed him around 2 and a half years ago, and since then he has really got noticed in the Instagram community as well as by big brands, Adidas, YouTube, Mulberry, Christian Louboutin, and ELLE magazine.

Another creative who takes the time to create something everyday is Baugasm. 

Design a poster every day for 1 year. The first years has finished after publishing successfully every day a poster in Instagram @baugasm Now you can check on Instagram the second year.

I reached out to both creatives however only heard back from the daily splice as baugasm is too busy. I can however gain an insight into his creative process through skillshare. 

'hiya! been a big fan of your work for about 2 years now and seen it progress in detail as well as getting noticed and doing amazing work for some brands, the fact you take the time out each day to create something interesting is an inspiration to me and i just wondered if you could answer a few questions for me!

so just wondered what made you want to start creating the collages? what is it about the splice kind of design that excites you? where did the idea of just using free magazines come from? where would you like to go with the splices i've seen your work for ted baker and virgin atlantic which is really exciting, and last but not least how do you select the images for collage? do you have inspirations? thankyou so much for your time!'

Greta Madline

John organised a skype call with alumni Greta, who studied on our course a few years ago. The talk was interesting and gave us an insight into life after university if you really push yourself and go for your dreams.

The Kennedy’s

A small group of creatives from a range of creative background who culminate together and live in Amsterdam for 8 months and work on interesting briefs. There are no rules, they are all put together for one reason and that is to create.

She mentioned there was a struggle to get to know people in the beginning, with lots of different personalities clashing it is difficult to hit the ground running. Greta said for her it was a realisation that a lot of creatives come from different cultures and backgrounds.

Approaching other creatives

Greta has taken on the advice given to her by John because she too reiterated some of the ideas that John talks about.

Greta got in touch with the Kennedy’s, expressing her interest through the means of a big cardboard box filled with insight into the type of creative she is. Utilising an interest way to get in touch with a creative can make you stand out and give you a better opportunity of getting your desired role.

This taught me that to be noticed by someone who you really appreciate as a creative you have to make a bold statement, something other than just an email expressing interest.

Why did Greta choose the Kennedy’s

“It is an amazing, creative accelerant, life doesn’t exist when you are there, you meet a range of new personalities, work on amazing projects and also get paid too.”

Was university enough to get Greta going in the creative world?

Greta struggled being at university, however said that this university gives you great opportunities to do the kind of work you are interested in as a creative.

I very much agree with this statement especially through second year I have been able to produce the kind of work I am interested in and proud of.

Progression after University

It was a roller coaster, really hard at the start. Had no clue where she wanted to end up, a lot of ideas going through her mind but no means to solve them. Began working freelance and move around the glove a bit which crated the way the industry could work for her. Trust your cut instinct. Make sure that you talk to the right people, make friends and listen to any advice that is given to you and to take any criticism the same way and make sure that it influences your practice.

Tips and tricks

• Create your own job 
• Question everything and everyone
• Be silly
• Make sure what you make is golden - It is important to put everything into the project that I conduct.
• Personality in projects
• Think about the journey that has taken place to get into the position that I find myself at the moment, it wasn’t easy, and it isn’t going to get any easier with time, it is important to work hard on any work that I make and to make sure that I relax and enjoy myself

The Kennedy's

LinkedIn

In order to be aware of other creatives in the industry, as well as possible job opportunities I decided to create a LinkedIn account and will start to post my work regularly. I have connected with tutors and all my peers both on my course and on other courses to ensure I stay in contact with them in the future, you never know when they could need your help or want to collaborate.

How to get paid

Getting your ducks in a row/process you should go through

Initially

• find out budget 
• negotiate budget/price 
• write an estimate for job and itemise that it will take a full day to complete etc. 
• estimate includes 3 changes 
• estimate is fluid, quote is legally binding 
• require 50% upfront and need purchase/ order number (legal requirement, paper trail)
• balance paid on supply of files 
• copyright will be releaser on FULL and FINAL payment (must be done in writing can be done in an email)
• any additional chances will be charges at £xxx per hour and they would be informed before doing any more work/undertake changes. Make them aware 

KILL POINT:

• project is killed before completion all fees will remain chargeable to that point 
• work is charged for until the work is complete or stopped 
• send client full breakdown of your terms, ask for purchase order and approval of items 
• wait until confirmation until the work is complete. 

Invoice

• invoice number 
• date 
• reference number (my ref)
• Client 
• Contact details 
• itemise work:
• all the work 
• upfront payment 
• balance due 

Form of payment

• bank transfer 
• no cheques (just paper might not clear) 
• once paid email say received payment, heres copyright now belongs to you 
• invoice goes to the account department not originator of brief
• do it cheap this time and give more work in future:
• this never happens
• NOW: min £30 an hour at the minute 

F You Pay Me (video):
Mike Monterio - Mule
https://creativemornings.com/talks/mike-monteiro--2/1

Top things about contracts

• they protect both parties as what to do if anything happens in contained within the contract 
• don't start work without a contract 
• don't blindly accept their terms, often clients don't know whats in the contract 
• anticipate negotiation but don't back down on important aspects 
• ip/copyright transfers on full payment only
• kill fee/point 
• liability, broad term that means if somethings gone wrong you may bear reasonability 
• be specific and confident about money, don't hesitate 
• contracts up front 
• make internal allies 
• work with advisors 

Copyright Talk

If someone steals your work:

• Contact the person in question and explain
• Make decision if you feel they've stolen it

Copyright:

• You don't need to register your work, its your copyright as soon as you create it.
• Keep files, dated and time stamped 
• No-one can take copyright off you unless they've got written permission that you've assigned the copyright to them 
• If your self-employed or intern you usually own the intellectual property even if your work is commissioned by someone else 
• If your a freelance and work within someones studio the copyright belongs to the studio. 
• NEVER breach someones copyright. 
• Email work to yourself so you have time and date recorded
• Just because it doesn't have a copyright symbol doesn't mean it can be used. 

Why Bother?

• Just because its in the public domain doesn't mean there free to use.
• Only works where the copyright has expired or has been assigned, been donated to the Internet for use.  
• Generally runs out 70-90 years after creation or 70 years after your death. 

Reproduction Rights:

• You own both the copyright and the right to reproduce your work.
• what is reproduced on, sold on anything, internationally.
• Be careful when assigning copyright, be clear that once its handed off your involvement ends.  

Limitations:

• Can't copyright facts 
• Conceptual ideas 
• Expired items/public domain 

Clients will say:

• 'I paid you so I own everything'
• Just because you physically own the work doesn't mean they intellectually own it automatically unless you have it assigned in writing.

Licensing your Work:

• Keep images as mine but allow other to use it for a fee. 
• You can limit license for a single use or multiple times or period of time. 
• Gain a fee for each use.
• More info copyrightservice.co.uk 

Can be a useful tool to gain:

• Only get copyright after full and final payment.

What about music and sound: instead of a C the symbol is a P 

Make sure you put the symbol and date and email original copy incase. 

Presentation Tips

Prepare:

• Know what you’re talking about 
• Plan to a story you want to tell and break down slides to remind yourself
• Use imagery to enhance what you’re saying and reinforce points you’re covering 
• Limit text as lots of text takes away from what your saying 

Relax:

• Fight or flight reaction to facing crowds
• Easiest way to relax is to prepare and rehearse so you are fully conversant with what your talking about 
• Keep it simple

Other top tips:

• Speak Clearly
• Take your time and try not to read from notes.
• Introduce yourself, simply tell people who you are .
• Smile!
• Tell them what they're going to see
• Set out what you want to cover during the presentation 
• Make eye contact, pause and relax and remember to smile 
• Take your time, theres no need to rush
• A few pauses will relax you and helps people catch up and consider potential questions 
• Tell it as a story: Beginning, middle, end 

Checklist:

• why am I doing it 
• what am I trying to get over 
• what do I need to show 
• get a rough draft together, time it out and refine 
• check quality of images 
• spell check if using words
• check files on more than one computer 
• save as a pdf

PPP Presentation

Produce and present a 7-10 minute Powerpoint/pdf or similar presentation that reflects on your experience & response to the PPP and Responsive modules. You should aim to understand who you are as a learner and a creative as well as how the things you have experienced over the past nine months have affected your current aims and ambitions. You should also identify creative concerns, personal aims and professional ambitions that you intend to explore further over the Summer and during Level 6 of the programme.

Creative Report

Building on your continued familiarisation with the creative industries and prompted by the need for even more engagement with professional contacts, you are required to seek out an industry practitioner or practice who you will base a report on.

The completed report should utilise your skills as both a creative and a researcher and make use of material drawn from at least one personal interview with an appropriate spokesperson to then culminate in an insightful overview of a contemporary industry figure or organisation. Your interview can be carried out in person or via phone, Skype or email. Supporting sessions will offer guidance regarding the approaching and interviewing of subjects

You should aim to subsequently develop a report that is engaging in terms of both its style and content. The completed report should be submitted as a digital Issuu publication posted to your PPP blog and needs to communicate your interview subject's route into industry and identify where their creative practice is currently situated.

Best piece of advice:
People can see how you behave, brand is a form of behaviour and very few understand how behviour is seen.

How and where:
Needs consideration prior to you approaching of potential interviewees. Skype/ Facetime is an option.

Why do you want to speak to a creative hero:
have a valid reason why, got to have an answer e.g; need some help, working on a brief etc.

Plan:
requires good planning, proper questions and the nature of an interview itself
e.g:
background
describe yourself as a creative while at college
what do you wish you'd known before leaving uni
most memorable experience since uni
why was it good? why bad?
best achievement so far
always ask why!!!

Empathy:
be sensitive to what there saying, show feeling. if there a hero tell them why.
Manage silence, use prompts, probs and checks

Probes:
ask for an example, clarification, more detail.
Checking:
summaries the interviews thoughts, check you understand what there saying.

how?
written notes, harder to connect
Audio recording
online record (email interview)
make them fully awear of what your doing

Getting Started:
use the first question to put them at ease
something they will have little issue talking about
use notes and tick questions off as you go

Finishing:
remember to thank them, tell them why
reassure your not going to publish without telling them
good opportunity to get a second interview if sending info back

Transcription:
take a long time, be mindful of this when you consider interview length
try keep conversation going
check grammar and spelling

Too good to waste:
allow to inform practise, can inform other modules

Networking Talk

Methods of networking:

• email
• phone
• facebook
• Linkedin
• Behance
• mail
• real life events

What networking isn't:

• forced
• about getting instant work
• handing out business cards and hoping people get in touch

It is:

• making recommendations
• sharing all accounts
• meeting people and sharing interests

Be proactive, write a post about something you are passionate about and post the link to any form of social media, other creatives want to collaborate and it works both ways others can see your work too. Join in discussion for areas you are interested in, mention to friends and family anything they do that interests you as they may have contacts and tips.

I have a lot of friends who are also doing design/art subjects as I kept in touch with people from photography/art at alevel as well as people from art foundation year. This proves useful when asking for feedback and learning new skills and other creatives worth following.

Study Task 02 - Manifesto

Main Goals:

• travel and work abroad
• get a job in a company i am passionate about
• go into packaging/branding 
• keep a good work/life balance
• be more confident with my own work/ not afraid to get feedback on WIP

Smaller Goals

• network and get in touch with people on instagram
• collaborate more
• develop presentation skills
• get feedback from my peers and tutors more often
• go out of my comfort zone with design work

What I've learnt

• try and produce work in the area of design i want to go into after university in order to develop my portfolio
• it isn't hard to still have a social life and produce good work as long as i am passionate about it and stick to time managment
• i work better at home, sat at the desk on my Mac rather than on a laptop in uni or in bed - for design work
• i also work well in a coffee shop/library - for blogs/essays
• research is one of the most essential steps to design, my most successful pieces have developed from a strong concept 

Manifesto

• to develop skills as a designer and go out of my comfort zone by trying editorial more often, as well as typography
• attention to detail
• travel
• experience
• enjoy
• speak to anyone who's work interests me 
• take inspiration from everything around me
• research

Professionalism Talk

In the session today John spoke about professionalism, as creatives we should be acting in the correct way to come across well to any potential clients.

• Amateur - An amateur doesn’t get paid for the work in which they produce, they tend to produce work purely for personal reasons.
• Semi-Professional- A semi professional gets paid but doesn’t solely rely on this money in terms of an income.
• Professional - The stage that I want to be working at upon the completion of this degree, a professional produces work that requires a specific amount of specialist training into the chosen subject area, and a professional generally engages in a specified activity as their main paid occupation.

What are we as designers?

We are creative for money, providing a service/skill that has been worked on - in terms of many years of practice and specific training. Our work is often called 'commercial art' and is used to sell, promote, explain, narrate and inform the viewer of the specific subject manner. Graphic Design, the name itself for the trade came into fruition in the early 1920s.

Working with clients:

• creativity is a subjective matter
• colour is often a massive factor in terms of disagreement
• important to rationalise any work produced

There are downsides to client work/ freelance:

• not getting any work
• poor quality clients
• clients who don't listen
• lapse in communication with the client
• poor and negotiated outcomes
• not getting paid

Dalton Maag

Dalton Maag is an independent font foundry with offices in London, UK, and São Paulo, Brazil. It designs fonts for use in corporate identities, logos, and other text uses. Dalton Maag has a library of 30 retail fonts as of 2016 and offers custom font creation and modification services to its clients.

An introduction in to type design:

1. When getting a new client they have a workshop to determine what existing typefaces they like, looking at the characteristics. 
2. They then present a series of images and ask the client to pick those which best represent their values, on the back of the images are typographic representations of the image which allows Dalton Maag to make the transition from values into typographic characteristics. 
3. Another exercise is a font grid, the client is asked to add cards to the sections wihch is most important to their brand. 
4. After the workshop Dalton Maag go back to the brief and go through discussion, sketching and design. 
5. The sketches are then digitalised on Postscript, which involves describing the outline of the letters with as little nods as possible.
6. The font is presented to client using TrueType, it allows control of the pixels within each letterform.  The font would be made in regular weight which is developed into extreme weights after the client has signed off.
7. After the font is designed, kerning needs to be looked at.
8. Once all of this is completed the font must be engineered to work on all platforms, coding is used to control the metrics of the font.
9. Final delivery comes in the following forms: desktop - TTF, web - EOT, TTF, WOFF, WOFF2, app - TTF

This talk was very interesting as I hadn't previously looked into the process involved in making a typeface. I learnt from this that the research is a crucial stage in creating something suitable for the clients. As well as this it is interesting to see how much work goes into the final product, as multiple options are developed to present to the client. 

Village Bookstore

Village is an independent bookshop and gallery based in Leeds, UK. We offer a curated selection of contemporary art, design, fashion and photography books and magazines. We also source self-published and small press zines from artists around the world.

The talk really inspired me to want to explore editorial/zine layout and publications as before it intimidated me, since this talk I have collaborated twice to create look books. 

Village Talk led by Ben Holmes

About Village: They started in the Corn Exchange near the end of 2012, with the aim to create a space in which independent and exciting publications would be easily accessible to the public. The publications would come from around the world whilst also focusing on bringing artists/publications in Leeds into the spotlight. With doing this they wanted to create a permanent creative community in Leeds. Another perk of Village is the incorporated non-profit gallery space, giving opportunity for emerging creatives to gain exposure. 

What is a zine? A simple staple bound publication, anything which is independently published could fit under the umbrella term. 

Why should you self publish? 

• creating something permanent
• making a book you've got a passion for whilst showcasing your skills as a designer
• age of internet makes it a lot easier to get your work out however as this is what everyone is doing, it is harder to be noticed
• allows the opportunity to collaborate

What do Village look for?

• they specialise in photography books
• an object created in which each element says something about the content

Speaking of the concept of a book:

• the concept is the foundation of any book
• is the concept obvious?
• it should be more than its content, it should have a purpose
• the format of a book is important and can communicate a lot to a potential buyer
• format should drive idea

Speaking of the design of a book:

• how the work can be perceived through design
• layout, how content is presented on the page
• printing method must fit the book, as can change how the book is percived
• paper stock can change throughout the book

Speaking of binding:

• there are multiple binding methods, think about how time consuming and cost effective they are
• a book doesn't necessarily have to be bound
• details: spot varnishing, foiling, embossing
• must fit the content/concept
• not just a gimmick

Commercial considerations:

• price tag
• exposure is just as valuable as sales 
• the book is a product, how will it look on the shelf and next to other books

Secret 7" Submission

Secret 7” takes 7 tracks from 7 of the best-known musicians around and presses each one 100 times to 7” vinyl. We then invite creatives from around the world to interpret the tracks in their own style for every 7”. 700 sleeves are exhibited and then sold for £50 apiece.

You don’t know who created the sleeve, or even which song it’s for, until you have parted with your cash - the secret lies within.

We're proud to have worked with some of the world's great music and visual art talent to create the show; including The Cure, Elton John, Black Sabbath, The Rolling Stones, John Lennon, Massive Attack, Diana Ross, Public Enemy, Peter Gabriel, Sir Anish Kapoor, Ai Weiwei, Sir Peter Blake, Gilbert & George, David Shrigley, Yoko Ono, Sir Paul Smith, Jenny Holzer, Sir Antony Gormley, Jeremy Deller, Jake & Dinos Chapman, Martin Parr, Gavin Turk and many more.

To date we have produced over 3,500 one-of-a-kind record sleeves and sold every single one, raising over £175,000 in total for four brilliant charities.

GUIDELINES

• Your design must not include the artist’s name or the song title
• Concentrate your design on what will be the front, only this will be visible
• in the exhibition
• Dimensions should be 182 x 182mm + 3mm bleed on the top, bottom and right
• hand side. The bleed won’t be visible, so bear that in mind
• Your file must be produced in CMYK so it’s set-up to be printed. Any PMS
• specials will be converted. Metallic or fluorescent inks cannot be reproduced
• Your file must be 300dpi
• Your file must be saved as either a Tiff, JPEG or PDF
• Do try and reduce the size of your file as much as possible
• - 10MB maximum
• You can submit a sleeve design for as many of our tracks as you like, and more
• than one design for each track
• You must have until 23:59 GMT on 24 April 2018 to upload your designs. Late
• submission will not be accepted. We advise that you don’t wait till the last few
• minutes to upload, as the site will be busy
• Last but certainly not least - if we email you with the good news that you’ve
• made it into the show please keep it a secret. It makes for a much better project!
• Design inspiration must be 140 characters (including spaces) or less.
• Avoid unusual characters, and remember, your artwork is the priority,
• keep the description simple
• This year we’re supporting Mind, the mental health charity. Every year, one in four of us will experience a mental health problem. Mind play a crucial role ensuring anyone with a mental health problem has somewhere to turn for advice and support.

There are a few different song options listed below:

• Jimi Hendrix - Castles Made of Sand
• London Grammar - Help
• Eurythmics - I Saved the World Today
• The Clash - I'm Not Down
• Jeff Buckley - Lover, You Should've Come Over
• Primal Scream - Damaged
• Manic Street Preachers - No Surface All Feeling

I have chosen to design a cover for the London Grammar song 'Help'

I really enjoyed doing this brief as there was a lot of freedom, with the fact the artwork shouldn't give too much away it allowed me to research further into the song and meaning and allowed me to produce some conceptual art, which I am not as used to however I believe I would enjoy doing a lot more of it. Although the piece is conceptual, once explained it does have meaning. This brief had a few restrictions, you weren't allowed to include the artists name or song name however I found this to be an aid in the design process. When it came to submitting the piece I struggled to make sure it was the right specifications needed to enter; I had designed in illustrator put struggled to export it from here as 300dpi whilst keeping it the right dimensions and colour mode (cmyk). I got there in the end with changing the dpi in preview and saving as a jpg to keep the correct colourway, as well as resampling to get the original size back with the correct bleed. Overall I have learnt how to use research effectively as well as incorporating the scanner and sticking with an original piece of work the whole way through no matter how bad it looked at the start, I managed to make something I am proud of in the end. 

Catherine Kelly Look Book Collaboration

I was contacted by a level 5 photography student with an opportunity to collaborate. Her brief was fashion in the city and involved creating a short film (1 minute) as well as producing a series of photographs, with the option to put into a publication. Catherine created the film first, along with a long for her brand. After viewing the film and being sent the images I started to draft the look book.

I took inspiration for layouts from other look books that are feature models in the city, after looking at the first draft I thought the first picture didn't go with the rest as it features a different model. Another thing to change with the next draft is grouping all of the colours together, the sequence will match the film as Catherine showcased yellow, red and blue. I will also add some text and block colour to give the publication a bit of life, as Catherine doesn't have any copy I will just use place holder text to showcase how the typefaces chosen compliment the overall look.

Catherine had designed her own logo so I added this to the document, whilst also adding the extra pages at the beginning and end to create the covers. The finished layouts are featured below.

Overall I was very happy with the finished product, the images were a high quality and easy to work with and it has given me a real insight into what it is like to collaborate with a creative that isn't on my course, and isn't a graphic designer. The project taught me about communication and time management as Catherine had a strict deadline, whilst I also had other work going on I had to juggle, without letting her down.