OUGD603 - Extended Practice - LCA 170 Years - Final Design

Composition

Due to the fact that the purpose of the final design was to act as a form of artwork, concentrating on form solely over the function of the design the illsutrations of the different trains were aligned and composed using a simple grid system that allowed the print to work as a complete pattern with each of the trains distributed evenly throughout the composition. This helped create harmony between the pattern due to the ratio of illustrations to negative/white space.

Illustrations

Finally due to the fact that decision was made that there was no necessity to create contextual link between design and content through the colour of the final design instead the colour decision was made due to a solely aesthetic reason.

Because of the fact that the final artwork was going to be housed in a public location, bright and vibrant colours were implemented in order to ensure that it attracts the eye of anyone passing by.

OUGD603 - Extended Practice - LCA 170 Years - Train Preparation

To prepare for the commencing of the designing stage a number of the train classes of which were used popularly within the last 170 were illsutrated so they could be included as graphic elements within the final design.

Each of the trains were illustrated as simply they could so that the illustrations work well within the final deisgn while ensuring that they wee illustrated in enough detail so that they remain easily recognisable.

These different train illustrations were then digitialised within illustrator for use within the final design.

OUGD603 - Extended Practice - LCA 170 Years - Research - Visual Research - Sony Xplore

The first area of visual design research that was partaken in was a look at the sproject shown here by Justyna Sastik called Xplore City. This examples of visual research perfectly show cases how simple yet effective monoline illustrations can be used to convey a sence over familiarity to a certain place through a small illustration.

Each of the illustrations relating to a different global city with only small graphic element to signify the location of the city.

The mono line illustration is combines with an aestheticallt pleaing choice of colour to create an overall deisgn treatment that is not only informative through imagery alone but it also striking and eyecatching.

The example shown also clearly conveys how a small illustrative design canbe both information and creative visually. This will be crucial for me to take on from this section of the research as the illustrations within my final deisgn will have to do exactly this, it wil need to be accuarate enough in illustration to be recognisable while ensuring it still remains visually pleasing.

OUGD603 - Extended Practice - Leeds 170 Years - Visual Research - Porto Identity

For the final aspect of visual research now that there has already been a look at the visual style in which the final designs could manifest the next stage was to look at some visual examples of research where the illustratins hold equal precedent to the contextual backing.

The show example was used as the brand identity for the city ‘Porto’. The comnbination of aesthetically pleasing illustrations with geographically linked symbolism combinds to create a simple yet effective brand identity for the city of ‘Porto’. With the illustration picking up on the visual identity of the city itself, by replication of the buildings found within the city.

This example of visual research perfectly depicts how symbolist illustrations that link contextually to a city; in this case Porto can be used with striking detailed illsutration to create a brand identity that represents both the historical and contemporary side of the city contectually.

OUGD603 - Extended Practice - LCA 170 Years - Content Research - BR Class 43 HST

"The British Rail Class 43 (HST) is the TOPS classification used for the InterCity 125 High Speed Train (formerly classes 253 and 254) power cars, built by British Rail Engineering Limited from 1975 to 1982. The class is officially the fastest diesel locomotive in the world, with an absolute maximum speed of 148 mph (238 km/h), and a regular service speed of 125 mph (201 km/h). In the early 1970s, the British Railways Board made the decision to replace its main-line express diesel traction. Financial limitations were tight, so mass electrification was not possible. As a result, a new generation of high-speed diesel trains had to be developed. Experience with the high-speed Class 55 Deltic locomotives had shown that a low axle weight was essential to avoid damage to the track at sustained high speed, and that high-speed engines were the only way to provide a good enough power/weight ratio for diesels. To power the HST at up to 125 mph (201 km/h), each power car had a new diesel engine, the 12-cylinder Paxman Valenta, running at 1,500 rpm and developing 2,250 bhp (1,680 kW). The 70-tonne weight of the power car gave it a 17.5-tonne axle loading."

OUGD603 - Extended Practice - LCA 170 Years - Content Research - BR Class 97

British Rail reserved the TOPS Class 97 designation for departmental locomotives, which were used for special or engineering duties. They were therefore of several different classes, lumped together for numbering purposes. Some locomotives were converted from redundant engines, whilst others were purpose built. In 2008, Network Rail once again used Class 97 for signalling test locomotives (Class 97/3). Built by Ruston & Hornsby in January 1957 with the serial number 408493, this 0-4-0 shunter was ordered specifically for departmental use by the Signalling & Telecommunications department of the Western region at Reading Signal Works. The transmission was diesel mechanical, although the wheels were chain driven from the gearbox and the loco was rated at 88 bhp (66 kW) for a weight of only 17 tons. Tractive effort was a maximum of 9,500 lbf (42,000 N). Delivered to the WR with the number 20 it was renumbered to 97020 in May 1980. However withdrawal came in April 1981 and it was scrapped on site in August 1982 by Cartwrights of Tipton. For refuelling, it had to go via the main line to the depot at Reading.

OUGD603 - Extended Practice - LCA 170 Years - Content Research - LNER Class A4 4468

"London and North Eastern Railway locomotive numbered 4468 Mallard is a Class A4 4-6-2 Pacific steam locomotivebuilt at Doncaster, England in 1938. It is historically significant as the holder of the world speed record for steam locomotives at 126 mph (203 km/h).

The A4 class was designed by Sir Nigel Gresley to power high-speed streamlined trains. The wind-tunnel-tested,aerodynamic body and high power allowed the class to reach speeds of over 100 miles per hour (160 km/h), although in everyday service it rarely attained this speed. While in British Railways days regular steam-hauled rail services in the UK were officially limited to a 90 mph 'line speed', pre-war, the A4s had to run way above 90 mph just to keep schedule on trains such as the Silver Jubilee and Coronation,^[3] with the engines reaching the magic three figures on many occasions.^[4][5] Mallard covered almost one and a half million miles (2.4 million km) before it was retired in 1963."

OUGD603 - Extended Practice - LCA 170 Years - Content Research - GWR 4076 Class

"The 4073 Class or Castle class were 4-6-0 steam locomotives of the Great Western Railway design built between 1923 and 1950. They were designed by the railway's Chief Mechanical Engineer, Charles Collett, for working the company's express passenger trains. The origins of this highly successful design date back to the Star Class of 1907 which introduced the basic 4-cylinder 4-6-0 layout with long-travel valves and Belpaire firebox that was to become synonymous with GWR express passenger locomotives. The Star class were designed to take the top express trains on the GWR with 61 in service by 1914, but after World War 1 there was a need for an improved design."

OUGD603 - Extended Practice - LCA 170 Years - Content Research - Northern Rain Class 153

"The British Rail Class 153 Super Sprinters are single-coach diesel multiple units converted from two-coach British Rail Class 155s. The class was intended for service on rural and branch lines where passenger numbers do not justify longer trains. Pre-privatisation, British Rail operated all Class 153s under their Regional Railways division and were used on many branch lines throughout the Midlands, Wales and Northern England. Due to their multiple working ability, Class 153s were often seen in multiple other classes of sprinter units such as Class 156s and Class 150s. Class 153s were often found working services from"

OUGD603 - Extended Practice - LCA 170 Years - Content Research - GWR Iron Duke

"The Great Western Railway Iron Duke Class 4-2-2 was a class of 7 ft ¹⁄₄ in (2,140 mm) broad gauge steam locomotives for express passenger train work. The prototype locomotive, Great Western, was built as a 2-2-2 locomotive in April 1846, but was soon converted to a 4-2-2 arrangement, with the leading wheels set rigidly within the sandwich framing, rather than in a separate bogie.^[1] The remainder of the class entered service between April 1847 and July 1855.

Locomotives of the Iron Duke class were extremely fast and had an estimated top speed of about 80 mph (130 km/h). They were used to haul the Flying Dutchmanexpress train which, for several decades, was the world's fastest train. In 1852 the daily service from London Paddington Station to Exeter (194 miles or 312 km) was achieved with an average speed of 53 mph (85 km/h); with the flatter section between London and Swindon covered at an average speed of 59 mph (95 km/h)."

OUGD603 - Extended Practice - LCA 170 Years - Research - Train Research

The next preliminary stage of the research process was to ivestigate the different classes of trains of which were used on the Great British Rail between 1846 and 2016 in order to identify which of them could be further taken on into the designing stage and used illustratively within the final artwork.

Even though all of this research into the train types will manifest itself not within the contextual backing of the project but instead within the designing stage as a visual element, the look at the history and purpose of the trains will help to inform the latter stages of the brief.

OUGD603 - Extended Practice - LCA 170 Years - Concept Research

For the conceptual aspect of research for the design brief I partook in some specific research regarding the history of Leeds and more specifically the history of Leeds over the last 170, relating to how long Leeds College of Art has been open.

During this research I identified the fact that although Leeds as a city in relation to LCA can be viewed as a artistic/creative city its roots lie very heavily within industrialism withi its historical past. Through the research it was discovered that in 2016 along side it being the 170 year anniversery of LCA it was also going to be the 170th year anniversary of the Train Station on the site that it is still on today. This fact will act as the initial point of conceptual research for this design brief.

Due to the revelation outlined in this conceptual research working perfectly appropriately for the design brief the decision was made that the artwork would feature design that pays influence to the heritage of both the creative and industrial history of Leeds.

Focussing on creating a peice of artwork of which is informed by this fact, and ensuring that the conceptual backing is reflected within the design.

The next stage of the research process will be to look at and identity a number of different train types used on northern lines within the last 170 years for use within the design project.

OUGD603 - Extended Practice - GoodBurger Co - Printed Collateral

To finalise the whole design brief a final few crucial aspects of restaraunt collateral were deisgned in order to ensure the completing of the whole brand identitiy. This collateral incudes printed menu’s for both food and drinks and then the greaseproof paper, printed paper bags and addition stickers for the use of catering.

OUGD603 - Extended Practice - GoodBurger Co - Menu Design

As it comprises the most crucial part of the brand identity, enabling the restaurant to fill its purpose by selling food the menu design was the next obvious stage of the design process. The design for the menu was kept simple and structured in order to promote overall professionalism. The menu was adorned with the company logo and type set in a simple and geometric typeface that both complimented the brand identity of the restaurant but also was effective in being legible and successfully full filling it's purpose.

The menu was then finished with the brand identity colours and relates addition illustrations on the back of the menu. This was implemented in order to achieve maximum coherence between all elements the brand identity. Two different alterations of the menu were created one for four and another for the drink, with the drink menu mimicking the style of the main menu but just inverted in the use of colour.

OUGD603 - Extended Practice - GoodBurger Co - Final Branding

Final Branding

Now that the decision had been made to go with the minimalist styling within the final brand identity the logo including logo mark and logo type was finalised. This was achieved by recreating the burger illustration with more accuracy, ensuring that it was recreated using a grid system to aid the professionalism.

The final branding was finished by combining the recently recreated illustration with some simple typography outlining the name of the restaurant and the opening year. The decision to use the typeface Din Condensed was informed by the nature of the illustration itself. The uniform structure and condensed nature of the letter-forms perfectly compliments the burger illustration.

illustrations

To finalise the brand identity a number of different small illustrations were drawn for use as additional graphic elements. These illustrations were drawn so that they would mimic the style of illustration founf within the logo, helping to create a coherent brand identity. They were then completed by recreating them digitally to a simple grid so that they worked coherently as a set.

Colour

The decision for colour within the brand identity was made by looking at the colour of various different foods that are natural within burgers and was informed by the mass market research into how primary colours are used for subconsious recognition. The decision was made to use a mustard yellow colour along side black and white to complete the identity.

OUGD603 - Extended Practice - GoodBurger Co - Idea Development

To culminate the idea generation stage of the process three of the potential sketched ideas were further developed digitally, one from each of the three theme/concept categories. With the most informed and rationalised option for this brief going through to the final design stage.

The first of the possible design treatments pertains to the ‘Americanism’ theme that was proved vastly popular within the UK within the statistical research. The design treatment incorporates this theme by the inclusion of the American flag aesthetic through the implementation of simple geometric shapes. This was then paired with some simple but striking typography.

The second of the design treatments with the ‘Minimalist’ styling matched straightforward typography with a simple geometric mono-line illustration and masses of empty space to create a balanced and successful identity

The final treatment is one of which focusses on using typographic elements only to comprise the brand identity. The typeface choice was made due to create a contextual link between the branding and content by using a typeface that replicates the type found on cattle stamps.

The decision to take forward the minimalist styling in to the final stage of designing was made due to the fact that the typographic treatment didn’t create a coherent enough identity and the American styling is far too overused in the restaurants of this type.

OUGD603 - Extended Practice - GoodBurger Co - Idea Generation

Concept Generation

Now that the research stage had come to an end the next logical stage of the process is to begin to generate multiple different themes and concepts that the branding of the restaurant could adhere to. Leading on from this directly an additional stage will then be to decide on a few themes/concepts and to begin to sketch out multiple visual ideas that are generated from the concepts/themes.

During the concept generation stage multiple appropriate themes were considered. These themes are Americanism, outlined as a growing trend within the UK during the statistical research stage. The second theme is minimalism/simplicity allowing the importance of the food to speak for itself outlines within the statistical research and finally Geographic themes, where the branding of the restaurant is depending on the restaurants geographic area.

Idea Generation

Following on directly from the previous section in which a number themes that could be adhered too during the designing stage were identified it was then time begin to explore a few of the possible options. The decision was made to explore multiple sketched ideas of which gain their aesthetic from the themes of ‘Americanism’ by implementing symbolistic illustrations of American styling, ‘Minimalism’ by ensuring the branding remain structured and simple & ‘Illustration’ by implementing hyper-realistic illustrations of burger products.

OUGD603 - Extended Practice - GoodBurger Co - Byron Concept Research

The final example of research looked at the brand identity of the chain Byron Burgers or more accurately the lack of brand identity.

Rather than focussing their brand identity on one singular theme like Red’s True BBQ identity instead the Byron Burger identity is ever changing. Since the opening of their first burger restaurant in 2007 Byron burger have approached their brand identity for each establishment dependant on its own geographic location. With each of the different identities becoming informed by the history and influence of its local area.

This offers an interesting perspective in to how brand identity can be influence by geography, and how this can help to brand an establishment successfully.

“For the past few years the British hamburger chain Byron, which launched in 2007, has had an approach to identity design that flies in the face of branding fundamentalism, and reflects the more current notion of ‘dynamic identity’.

Yet ‘dynamic’ is not quite correct to describe an identity, steered by designer Ben Stott, for which there’s no logo – and no easily describable ‘house style’. Stott has taken a playful approach to every aspect of a chain in which the most consistent elements appear to be the hamburgers themselves, and the word ‘Byron’, with the branding for each restaurant designed in relation to its geographical area. Such ‘anti-branding’ appears to have worked well for a chain that in six years has grown from a handful of London burger joints to 35 in the UK.”

OUGD603 - Extended Practice - GoodBurger Co - Red’s Concept Research

The final two instances of research will help to inform how appropriate themes can be combined with graphic elements to create a coherent and successful brand identity. The first example of this is for Red’s True BBQ of which has a brand identity that revolves around biblical themes.

The biblical themes are first manifested within the logo for the establishment and the rolled out coherently throughout all other print and web matter to create a complete identity rife with biblical themes. Thus creating a well rounded effective brand identity.

This research offers a great insight in to how a theme can be incorporated throughout an entire brand identity, and offers a thought to have a theme can be worked in during the designing stage.

“Originally based in Leeds since 2012, American smokehouse Red’s True BBQ moved its concept to London’s Shoreditch in 2015.

The restaurants have a tongue-in-cheek evangelical theme with employees described as ‘believers’ and the tagline ‘Let there be meat’. Each year the company’s founders, James Douglas and Scott Munro make a ‘pilgrimage’ across the southern states of America to seek culinary inspiration, with spaces up for grabs for the best performing sta . Claiming that

the sensory theatre of the barbecue is completely unpretentious, the devout tone of the restaurant caters to the demand for real, unpolished and authentic experiences from diners in the current UK market.”

OUGD603 - Extended Practice - GoodBurger Co - Consumer Statistic Research

Food Preference

For the first section of research of which doesn’t pertain to the analysis of visual aesthetics it became evident that it was crucial to investigate in statistic research that will identify current trend regarding restaurant participation.

The first thing that become immediately apparent was the fact that not only was American style food a major trend within the UK in 2016 making it the perfect choice to brand for but the fact that the taste of the UK is vastly multi-national. This meaning that international food pays a high precedent within the UK. Thus leading to no favouritism which could be conveyed further through branding design

Target Audience Age

The second and most crucial aspect of statistical research that offered most knowledge to inform the final design decisions was the are range of people who eat at restaurants in the UK. The research informed me that age of the population that eat out the most range between 18 and 55. 

This aspects of statistic information is crucial to remember through the designing stage as it further intensifies the need for the branding of the restaurant to be most appropriate to a wide range of ages.

OUGD603 - Extended Practice - GoodBurger Co - Independant Market Research

Contrastingly to the previous section of visual research this section will now investigate the brand identity of a number of independant burger restaurants rather than mass market ones. The three examples of independant food establishments all showcase how a combination of vibrant and professional illustration can be combined with informed typography and a creative aesthetic to create successful and striking design by straying away from mass market normalities. 

These first two examples of branding by The Twisted Burger Company and Almost Famous achieve this by the use of detailed illustrations of appropriate related matter in order to gave an insight in to what the restaurant/company offers and combining this with aesthetically pleasing and appropriate use of typography to act the signifying or of the restaurant/company name as its sole purpose.

The final examples of effective branding is for the restaurant Boeuf & Bun. Rather than conveying company ethos and values through detailed illustrations and assisting typography instead the branding plays upon symbolism to convey the purpose of the establishment. This is achieved by using typography to comprise the main component of the logo and then incorporating symbolistic graphic elements to allude to the purpose of the branding and restaurant.

OUGD603 - Extended Practice - GoodBurger Co - Mass Market Research

The first component of visual research for this design brief entailed an investigatory look at the existing branding for a number of mass market burger restaurants and fast food chains in order to identify what they achieve successfully and what they lack visually, from a designers perspective.

The first two instances of research regard a look at the branding for Five Guys and Burger King. Both of these examples of logos show how simple yet bold typography and related imagery can be used to create an example of effective branding through their own notoriety. The additional use of vibrant colours adds to the eye-catching intention of the branding and actually through the knowledge of colour theory subconsciously makes us relate to them through the use of primary colours. Although these examples of branding are for vastly successful establishments they lack a creative contemporary touch and aesthetically pleasing design in turn for an added emphasis on marketing strategy.

Contrastingly to these logos the third and final example for the restaurant ‘Handmade Burger Co’ instead utilised a much more creative pleasing aesthetic that plays on characteristics of successful contemporary graphic design, straying from the normality of how mass market food branding normally looks.

OUGD603 - Extended Practice - Eden Photobook - Production

Print

Due to the face that the publications purpose was to support the clothing range of a Leeds College of Art Level 6 fashion designer who’s graduate fashion range is going to Graduate Fashion week, London it was vital to ensure that the professionalism of the publication was evident while ensuring the production cost remained as low as possible so that they could be constructed on a smaller budget.

After looking at a variety of stocks the decision was made to use a 120gsm matter stock as it was of high quality, cheap to produce with and thick enough to ensure that the papers aren’t translucent at all.

The final publication was printed on the zine printing machine as this added to the ease of printing, enabling it to be printed on a slightly larger scale if necessary.

Bind

The publication was hand bound by the method of a saddle stitch bind with thread for two distinct reasons. The first of the reasons came down to the ease of binding. Due to the fact that it is a simple, effective and cheap method of binding it allowed for the publication to be bound with a low budget. This tread also worked successfully as it added a further contextual link between the publication design and the content of the editorial. Alluding to the tactile and textured nature of the fashion designers work.

The book was finished by hard backing a front and back page with a velvet flock material. This was done due to the fact that the added harder front and back added structure to the bind, therefore helping with the professionalism but also the fact that the velvet texture further reinforced the link between the tactile fashion design and the publication.

OUGD603 - Extended Practice - Eden Photobook - Final Design

The final design achieved its intended purpose by featuring and showcasing the photography and furthermore fashion garments perfectly. The composition of the editorial feature a simple treatment that offered a model shot on one side of the spread, identified by the border. This was them combined with a full bleed detail shot that complimented the model shot sucessfully. The decision to have the images within the editorial as large as possible came from the necessity to show case the detail of the content, and so by not scaling down the size of the imagery this detail was most evident.

The cover was adorned with one of the detailed images that came from the content of the publication to give an insight to the reader the content of the book and finsihed with the logo,branding of the clothing range. The first spread houses a statement of intent regarding the clothing range and was set in the typeface Courier to match the brand identity of the clothing range, that was predecided by the designer.