Card Badge and Packaging Prototypes

This is working towards objective 4.C.


Following on from the FIMO Badge Experiments and planning to use the Metal Workshop this week to hopefully create further prototypes, I decided to further experiment with different card stocks to trial out colours and packaging ideas, whilst also creating a range of badges to take to the workshop to help explain to Leon what it is I want to create, what I want it to look like as well as working out the dimensions of the badge itself.

To create these prototypes, I die-cut several different coloured card stocks, in order to layer, build up and create badges. This can be seen below – the lips/drips separate with a long bar for the relevant text, i.e. “self perception”.

The coloured card stocks used were used to represent colours already used throughout the project to be associative to the viewer.

  • Gold Metallic
  • Gold Mirror
  • Red Mirror
  • Red Matte
  • Pink Glitter
  • Pink Matte
  • Nude (LIPS)
  • White (BACKING for coloured stock for additional support, especially for the drips following the FIMO experiments)

Each colour was backed onto white card using Permanent Spray Mount to ensure that the two pieces of card are smooth, and in perfect line with each other. By die cutting and using this process, it ensures each badge is exactly the same size and shape, and by backing with white adds additional support to the badge as noted above. This will also help with attaching the pin badge itself and supporting the packaging. I found that by backing also this made the badges heavier resembling what would be more like the final outcome of laser cut acrylic (post wood work induction) or using pewter or silver for example, in the metal workshop.

A glue gun was then used to secure the pin badges themselves on to the back of the badges once assembled. Each badge which has been created is different to the other, using a combination of different card stocks to produce different outcomes during this experimental process. I found that the Mirror Gold and Red stock lost its colour coating and turned silver if touched the spray mount glue, so therefore this caused a few problems initially as I had to work out a way to ensure that the glue did not seep whilst settling on the spray bed. To resolve this each was placed on grease proof paper individually  prior to spraying and assembling.

I also experimented with glitter glue which can be seen below on top of a gold ‘drip’ however, I didn’t feel this worked aesthetically and didn’t give the polished finished I was looking for to coincide with the other products and printed elements. I also felt that the gold mirror and metallic gold stock were much more effective and appropriate to the audience and were not as child like, with the card being a much more subtle and true reflection of what I would aim to achieve as a final outcome for this particular project of badges.

In regards of the packaging, I also found that the boxes being so small, didn’t work very well and didn’t appear to give the visual outcome I was looking for. I do think that this is due to the card being matte for one, and also due to the felt not lining the entirety of the inner box, however, in comparison to the card backings with die cut holes for the pin bar, I feel these are much more suitable, in-line and appropriate whilst also being more time effective and cost effective to make with such a variety of badges and possible combinations. I also like that with these sets of 2 can be created and used in the same packaging as 1 saving waste, and could even hold 3, or 4 badges at most in order to create an ‘ultimate sharing pack’. Again like the A6 Digital Print sets have included poly bag sets with a sticker label and some with a mountain-fold label. Unlike the A6 Digital Print sets, I feel the stickers do work with these badge sets well, allowing the product to speak for itself, however again similarly to the print sets, the mountain-fold adds that extra visual dimension to the product.

It is apparent also from the images below that I have not included the text on the lips as shown on the other materials to date being very small when finished and not being legible at a distance. I feel as though therefore, these badges should be complementary to the tote bag sets opposed to be given out or sold for example on their own, and therefore the packaging explains what the purpose and meaning of these badges are, as well as the association with the colour coded shades shown on postcards, prints and posters.

I am also planning on speaking to Leon in the Metal Workshop about the possibility of producing a typographic badge showcasing the “what’s my name again?” phrase as a representation of the project and concept as a whole, whilst also adding a different dimension and sense of diversity to this element of the project.


























FIMO Badge Prototypes

This is working towards objective 4.C.

As proposed through CAD designs, I had developed a range of badges which I noted I was going to initially prototype through using FIMO as I could obtain all of the necessary colours, whilst using a new process which is quite cheap and un-time consuming. I decided to this through using stencils cut out on my Silhouette Cameo die-cutter, which would then be placed on to rolled out FIMO, cut and shaped accordingly. However, upon actually carrying out this process, I actually found this much harder than anticipated, and not at all as accurate in execution as planned nor desired. I also found that the drip on the lip once ‘baked’ in the over for half an hour may fall off especially if handled heavily or caught on packaging or a garment for example.

Overall, I didn’t find that this process is right for the desired outcome which I aspire to achieve and have decided to try alternate processes.

I am booked in the Metal Workshops this coming Wednesday to discuss with the technician Leon, the ways in which I could create metal pin, metal cast or enamel badges for example. I did not think I would make use of this particular workshop being completely new, however discussed this idea with Leon after the workshop induction last week, and this conversation on different possibilities excited me to try new things whilst I am able to. I feel this will allow me to learn something new, whilst also hopefully being able to produce a good prototype for this part of the project.






What is “Satire”?

This is working towards objective 4.A.

I wanted to look at the definition of Satire, and encompass what this is as the Instagram Post/Poster Brief, Zine and planned future projects encompass this as its main theme along with parody and sarcasm.

This was further highlighted upon finding the work of comedian Luisa Omielan, as discussed in previous posts and found that my work resonated with the definition shown below especially in regards to using “humour, irony, exaggeration, or ridicule to expose … topical issues” for example.

Upon further research, I found it interesting that Harold Rosenberg (1960) noted that humour is the oldest form of social study. In a way I feel as though I am working with “tongue-in-cheek” humour in order to study society at this moment in time, as well as to put my ideas out to the public/target audience.

Furthermore, the idea of using parody and humour without legal constriction came to mind whilst reading the below quote stating that “satire benefits not only of the protection to freedom of speech, but also to that to culture, and that to scientific and artistic production.” This led me on to look at Parody Law in relation to my own work which I will discuss on another blog post.

Definition (Oxford Dictionary):
“The use of humour, irony, exaggeration, or ridicule to expose and criticize people’s stupidity or vices, particularly in the context of contemporary politics and other topical issues.”

Harold Rosenberg, 1960:
The oldest form of social study is comedy… If the comedian, from Aristophanes to Joyce, does not solve sociology’s problem of “the participant observer”, he does demonstrate his objectivity by capturing behavior in its most intimate aspects yet in its widest typicality. Comic irony sets whole cultures side by side in a multiple exposure (e.g., Don Quixote, Ulysses), causing valuation to spring out of the recital of facts alone, in contrast to the hidden editorializing of tongue-in-cheek ideologists.


“For its nature and social role, satire has enjoyed in many societies a special freedom license to mock prominent individuals and institutions. In Germany, and Italy satire is protected by the constitution.

Since satire belongs to the realm of art and artistic expression, it benefits from broader lawfulness limits than mere freedom of information of journalistic kind. In some countries a specific “right to satire” is recognized and its limits go beyond the “right to report” of journalism and even the “right to criticize.” Satire benefits not only of the protection to freedom of speech, but also to that to culture, and that to scientific and artistic production.” (Wikipedia)

Oxford Dictionary. (2016). Definition: Satire. Available: Last Accessed: 30th October 2016.
Rosenberg, H. (1960), “Community, Values, Comedy”, Commentary, The American Jewish Committee, 30:155.
Wikipedia. (2016). Satire: Legal Status. Available: Last Accessed: 30th October 2016.

Terry Richardson Photography/Sam Roddick and the (Sexual) Objectification of Women/Male Gaze

This is working towards objective 1, 4.D.

Terry Richardson has always been seen as somewhat of a controversial Fashion Photographer, working with the worlds icons and elite in order to create sexually provocative and objectifying imagery of mainly women, which has become his trademark.

I wanted to look further into this after deciding to use some of his recent works in a developmental and experimental pieces of work – a satirical Kylie Jenner zine as discussed in my previous post – whilst noticing also how pivotal this is to the current industry of fashion and occasionally beauty, especially with adverts for items such as Shampoo and Fake tan. This is shown in the example of a St. Tropez advert featuring Kate Moss in a provocative, sexual pose, highlighting her breasts through the cut of dress, angle of photography, and also heightened further through the crop of the image making this along with her face, the most prominent and ‘appealing’ elements of this advert, sexually objectifying Kate.


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Frederickson and Roberts (1998) noted in their writings, “Objectification Theory” that when “women are objectified, women as treated as bodies – and in particular, bodies that exist for the use and pleasure of others”. I feel as though this is represented in the small selection of photographs shown below of both Kylie Jenner and Kim Kardashian, as well as in the St. Tropez ad shown below which all portray women to be objects for the pleasure of men. The images below feature Kylie Jenner using her body and her figure as the key of the photoshoot, with all focus being on her breasts. Furthermore, the images of Kim Kardashian are playful and provocative, whilst sexually objectifying herself through the use of prop and pose choices, hinting at the idea of sex in a not so subtle way. I feel in the way that this shapes the idea of our self-perception and in-turn the perception of others, allows for sexual objectification to become the norm and to taint what we see as ‘ideal’, especially if one already feels vulnerable in the sense to complying to norms and fads to appeal as to what is seen as ‘attractive’.

Whilst this touches on Frederickson and Roberts (1998) theory of Objectification, this theory also coincides with the idea of the Male Gaze. Another theorist, Shields, noted that “[the] ‘male gaze’ transforms women into objects of the heterosexual man’s eye [74] … advertisements and other images of women are shot in such ways that encourage female audiences to adopt a certain perspective when looking at other women and themselves [77].”

I feel that this quote backs up the ideology of the Objectification theory, where women become objects to satisfy the male gaze. I feel through Fashion Photography such as the examples of Terry Richardson’s work, powerful photography in established, powerful magazines and campaigns, can truly impact upon one’s self-perception, and that of others also internalising these visuals and processing them as ‘the norm’.


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Furthermore, there have been Feminist perspectives discussed by Sam Roddick, a photographer, whose recent works also explore the idea of the ‘male gaze’. Roddick is not only a photographer, but also to the provocative lingerie store, Coco de Mer, which encompasses this as it’s selling point, knowing that women seek approval of males, whilst also in turn, sexually objectifying oneself as an ‘object’ for such pleasure.

A recent exhibition in 2015 titled Hidden Within, showcases her works inspired by work of the designer and architect Carlo Mollino whom throughout his lifetime collected polaroids of women which he kept at a house he didn’t live it. This obsession with women as objects, and in turn understanding how the control of the male gaze has affected such perceptions is important, as this itself is reflected through Roddick’s work.

Roddick noted that, “I came across Carlo Mollino when I opened Coco De Mer … there’s a lot of boring down days working in retail, you know, and that’s when my book collection in the shop was my sanctuary. I’d study his pictures and after a while, I realised the models weren’t posing as themselves; he’d posed them and he’d repeated the poses. Their hands were held in the same manner, flipped at the wrist and after a while you realised that he was sculpting them.”

Examples of Roddick’s work which recreate the sexually dark and controlling work of Mollino.

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Roddick continues to note that, “Terry Richardson is a wounded man. His sexuality is definitely wounded. There’s a sexual aggression in his pictures that’s obvious. From an artistic perspective I like his pictures, from a feminist perspective, he’s an arsehole. I think he wears his damage on his sleeve whereas I feel Carlo Mollino’s damage is way more hidden. When you look at his photos, they’re a lot more respectful than what you see today.” I found this comparison with Terry Richardson to be very interesting in the idea that due to an artistic approach from Mollino and Richardson there works can be said to fall in line with each other, however on a sexually derived level for the pleasure of a mass-audience of males, Richardson’s photographs put out a negative ideal of women to feminists, being more perversive, and objectifying opposed to empowering.

Fredrickson, B & Roberts, T (1998). Objectification Theory. Psychology of Women, 22: Printed in the United States of America. 173-176.
Klein, K. (2013). Why Don’t I Look Like Her? The Impact of Social Media on Female Body Image. Available: Last accessed 12th November 2016.


Professional Context 1 Presentation: Formative Feedback

Today I delivered my first presentation for the Professional Context Module. I chose speak about my Professional Practice within context of my Research Question for this first presentation.

In general I received positive feedback regarding the content I had presented, with some constructive criticism to note going forward in regards to finalising this presentation, the upcoming Theoretical presentation, and the report which I am yet to deliver. I also found that my presentation sparked several ideas from tutors and colleagues in regards to further research references in relation to my practice and research question.

  • Time Keeping: I was over the 5 minute limit delivering my presentation and feel this is due to the amount of content I had written to relay in that time. I had pre-empted that I may of written too much, and feel is due to not being selective enough in what I may of said – I was told I had delivered the ‘breadth’ and now should focus on the ‘depth’. I will note this going forward when revising my presentation prior to submission, whilst taking this feedback on board in advance of the second presentation in a few weeks time. Looking back, I feel as though the way in which I wrote my presentation was perhaps written to much in a ‘formal’ style I am used to, and perhaps could of noted some points on the presentation itself, opposed to feeling the need to relay everything verbally.
  • Ethics: This was noted by tutors during the formative feedback, and was directed to the Ethics Policy the College has in place in regards to warning the viewers on sensitive issues, and how going forward during my research I will ensure Data Protection and Confidentiality for example are thoroughly looked at and embedded in my practice. The ethics I noted during my presentation, and as discussed after regarding working with underweight models caused my own responsibilities and ethics as a designer to come into conversation, especially focusing on the moral issues I face via working in the industry without damaging my reputation, brand or business as a designer and without constricting my audience, whilst staying true to what I believe in. Going forward I will focus on using the Ethics Policy firmly when carrying out any further ‘sensitive’ presentations, showcasing content or conducting research with the public for example. I have downloaded the Ethics Policy and have began reading through and taking in the points and policies which are relevant to my current practice especially in regards to planning my research trip to Japan.
  • Cross-Cultural Understanding and Japan Trip: Noted a positive that I am going to Japan myself to conduct research, but as only going for a week was told to plan an itinerary accordingly, and get in touch with people now in regards to whom I am going to visit making them aware of my research project, and what I am looking to achieve and how I will this information accordingly (ethics, data protection and confidentiality). I was told also to have a contingency plan incase I do not gain the information I am seeking whilst I am there. It was also noted to look for Japanese Institutions for example in the UK, which work with people of the same target audience to that I am seeking. If anything this may add a different dimension to this part of my research project in order to see the differences between Japanese people who live in their native country, oppose to those whom live in the UK.
  • Looking at the Communication Theory was also noted in context to my field as a Graphic Designer/Digital Illustrator.

Now having seen all of my colleagues’ presentations, I feel it is very interesting how diverse a group of practitioners we are in regards to our methods used, however have similar thought processes and underpinning theories or ideas which make us all connect in some way, whether this be relevant contemporary or traditional artists for example, such as Barbara Kruger which was also references in regards to several other interdisciplinary practices.

I also found it touching how many had related their current practice back to a previous or even current personal experience. I found also that these colleagues would be good to work with potentially in the future on a collaboration, or even if simply for interdisciplinary discussion and idea building.

It also came to mind that many are conscious of ethical issues in their own and surrounding practices, and how this reflects on their own work as well as how it is perceived. Cross-cultural issues were also raised along with colleagues also looking at the contrasts between the East and West in context of the positioning, inspiration or audience of their work which I resonated with in regards to my practice.

I found these sessions very informative and inspiring in regards to collaboration, discussion and research and feel I can also really learn and develop my own practice through working with such an eclectic, diverse and interdisciplinary group of practitioners.

Zine Project: Development

This is working towards objective 4.C/D.

I had originally planned on this initial zine to include much more research based content, however, feel that as the emphasis so far has been developing the Instagram/Poster project which has unexpectedly taken off, I feel it is more relevant and appropriate at this moment in time for the zine to coincide with this project also. This allows for the idea of a zine-like publication to actually have a real purpose where at this moment in time, I do not feel as though I have enough research which I would want to include in the zine, and feel it would be better to wait to develop this when I have carried out more primary research and conducted my interviews, whilst also waiting until I have been to Japan and carried out the planned field-research there.

Therefore in response to this, the zine which has been produced is respective of the work done to date promoting the concept and idea behind the “What’s my name again?” campaign, including an overarching theory on ‘Identity’ based on previous research and posts regarding this in context to the findings of Turner and Tafjel (1986). This is emphasised by the quote by German Philosopher Friedrich Nietzsche regarding the idea of ‘power’ which I found particularly relevant to the context and subject matter at hand. Furthermore, the idea of using the lipstick shades again as a basis for reflecting ideas and theories has been used throughout in an advertising style reminiscent of that of Barbara Kruger using Tabloid red and white typography to showcase key pieces of typography and relay the message at hand.

“All things are subject to interpretation. Whichever interpretation prevails at a given time is a function of power and not truth.”
– Friedrich Nietzsche

In addition to this, I have also touched on the topic of social media and how this affects our self perception, the perception of others and in turn how this makes one feel and act being an ‘icon’. I feel as though I have also reflected this in a satirical manner, creating a parody towards Kylie Jenner and her influence on a mass-public audience which is also reflective of the rest of this collective project. To represent the ‘icon’ an ‘icon’ as been created which is similar in aesthetic to that which Jenner is associated, highlighting the shades/theories even more allowing for the target audience to follow the concept, understand and share the message via the use of the various forms of promotional collateral designed, prototyped and produced to date.










Below shows photographs of the perfect binding binding process which I experimented with, however due to having a small amount of pages (16) in total with 9 spreads, it became evident that a different form of binding such as stapled or coptic stitching would be better suited.

Photographs showing this can be seen below. It is evident that using this method benefits from using a larger amount of stock, as previously noted during the initial postcard book development also. I do not feel that visually this prototype lives up to the standard or quality of the other products and printed collateral created, and taking this forward will also experiment with thicker stocks and gloss stocks to again sit better inline with the remainder of the product, whilst giving more weight to the product and helping it feel much more substantial as a publication.








Image and Quote Sources:, Last Accessed: 28th October 2016×800.jpg, Last Accessed: 28th October 2016
Nietzsche, F.. (2016). Quote. Available: Last Accessed: 1st November 2016.

Further Development: Colour Perforated and Die-Cut Postcard Books

This is working towards objective 4.C.

Following producing blank card prototypes of the perforated postcard books I had developed, I wanted to further take this forward using printed stock to visually mockup the final product and to further test binding processes.

The postcards were printed double sided with the addition of a postage stamp outline on the top right hand corner of the reverse.

To to do so, the postcards were laid out on Silhouette Cameo die-cutting software in sets of 3s to ensure that the cut-lines when re-run through the machine post-print would be in-line. With this prototype as shown below I struggled with this slightly at first as each seemed to be slightly of by 1 or 2mm apart from 1 sheet of 3 A6 postcards. I wanted to test this visually at this stage more than anything, and will re-do this process to achieve a perfect outcome.

I also made an error in that I printed the wrap cover in 3 panels opposed to one wrap cover, so when constructed looked bulky and not as neat as I had wanted at the top. Going forward I will ensure a wrap cover is printed on A3 stock which can be trimmed to size once secured in place at the spine of the postcard books.













Following my comments noted above, the process was carried out again and was carried out again however, I only used the die-cutter to perforate the card which allowed for more control over where the cutting was going to take place. This was tested on black card prior to cutting to avoid wasting printed stock. Once perforated, the postcards were cut by hand using a metal and ruler and scalpel for precision. I found this process to work better and more accurately, however it is more time consuming. In addition the wrap cover, as shown below, was also printed and used as noted above in order to achieve a more seamless and professional finish.

I found that the second time around I applied the findings of my own errors to ensure a better result was realised, and tested myself on finding new ways of creating this product, as discussed above, as this is not something which I had tried, nor considered before as a viable process until I had to re-think my processes and methods.



DYLON Tote Bags

This is working towards objective 4.C.

In a previous post, I noted that I was unsure of the colour of the natural tote bags used and was planning on dyeing them with DYLON dye.

I attempted to do so using 3 different colours, ‘Powder Pink’, ‘Velvet Black’ and ‘Pebble Beige’ as shown below, and followed the instructions – also shown below – intently, as I had never done this before. I was unsure at first how the fabrics would take to the hand dye, and in retrospect feel that a machine wash dye may of been better suited.

The results as shown below, show that in some places, particularly on the black tote bags, the colour is uneven and not a true black which was not the desired outcome. I feel this is due to the process and the fabrics being quite thick, and therefore may of benefited from a different process. However, I am glad I have tried this process as it enabled me to test different vinyl colour combinations to choose one or two to take forward if this project is to be further developed next semester. However, I would choose to purchase pre-coloured tote bags, or dye my own bags using a machine wash process. In addition, I would also purchase cotton tote bags opposed to natural canvas as also feel aesthetically these are more suitable and suited to the end user, and would also take the colour pigment better.

I also found that when washed the tote bags shrunk slightly in comparison to the none dyed bags. This is due to the fabric being porous and natural, and therefore again feel this is another reason to use cotton bags going forward.












A6 Digital Print Set Mockups

This is working towards objective 4.C.

In addition to the A3 posters, A5 Prints and A6 Postcards, I also wanted to include a range of A6 digital prints. This allowed me to further test digital printing processes and stocks – gloss 120gsm paper has been used for these prints – whilst also trailing other forms of packaging, using stickers opposed to mountain fold labels, in order to test visually which is more effective and suited to the target audience and purpose.

The same principal is in mind with these prints, with the target audience being those whom are engaged with the beauty industry and most likely in their teens to late 20s, may want to stick these on their walls, put them on their notebooks and share them with friends – once again keeping the ‘sharing idea’ in line throughout all of the products associated with this project.

Poly bags were used again, however this time sticker labels were created on my Silhouette Cameo die cutter which were then transferred onto the back of the bags. Prior to this I tested the colour of the prints on the stock on my laser printer and found the black to be quite patchy. Furthermore, I felt the pink was more in-line with the brand and that black should be included more but in a different way and using a different stock. I would also use a different print process such as Ink Jet potentially or Screenprinting to ensure that the black is a true black, if I was to use black as a key colour again on printed materials. The process chosen would depend on the amount of artwork which would need to be created to make the process, cost and time viable and appropriate. For example, screen printing would not be suitable here to produce 1 or 2 labels due to the timely process involved and would be better suited to a different digital print process upon further experimentation.

I am happy with the final outcome as the packaging feels secure and allows the artwork itself to speak to the end-user, however feel that the mountain-fold label allows for a more visually appealing product and also reiterates the brand, idea and product purpose more instantaneously with more impact.