3D Workshop/Metal Workshop/Wood Workshop: Badge Experiments

This is working towards objective 4.C.

I had previously noted on previous blog posts that I wanted to create badges as part of my “what’s my name again?!” project, and had previously experimented with Fimo and card stocks, and had enquired with Leon in the Metal Workshop at college about different ways to do so.

This week I spent 3 days using various workshops – 3D, Metal and Wood – in order to create a range of prototype badges which could be taken forward in the future/further development of this project.

I experimented with a range of processes and materials, i,e, wood, pewter, copper, brass, acrylic.

Pewter Badge Prototype:

To create the pewter badge prototype, a mould had to be made from silicone in order to set the molten pewter. To do so, a laser cutting was used with ply wood in order to gain solid accurate shapes to create a mould from. Getting the same accurate was important in order to be consistent with the project aesthetic, branding and other using of the ‘lips’ icon, and having issues previously with using Fimo thought laser-cutting similar to die-cutting will ensure for a perfect shape to be re-created.

This was my first time using the Metal Workshop at the college and my first time using metal in any way so the entire process was a learning curb and a challenge which I really enjoyed.

  1. Set up .ai file on laser cutting software ensuring cut-through options and material set-up have been correctly selected.







2. Laser cut shapes are created. Looking back I would of used MDF due to the wood grain showing on the silicone, however this is something I have learnt through trial and error.


3. The laser cut shapes were set in silicone being supported by a clay-bed. This process was created for both laser cut pieces in order to create two moulds.




4. Below shows the silicone moulds with the wooden pieces. This is when I realised I should of used MDF opposed to Ply Wood, however for prototyping I did not mind the slightly textured grain and also did not have the time available to recreate another mould.


4. Pewter has a low melting point, so sets quite quickly, allowing for inserting the pin back to be quite tricky. It was also quite hard to ensure that the pin back didn’t tilt or sink too deeply into the pewter to ensure that the cover can be applied.


5. The bottom layer worked very well, however due to being a slightly awkward shape and the surface level not being flat the pewter on the second mould over-ran meaning that this would need to be cut off using a coping saw, and sanded down, opposed to being the shape as desired straight away. This defeats the point of the mould however understand that through trial and error in this experimental stage of the process, this can happen as a learning curb whilst also allowing for me to learn how to rectify something should it go wrong.


6. Below shows the cut out and sanded down shapes. The front and backs and have also been sanded down in order for the two parts to sit flat when soldered together.


7. Soldering the two pieces of pewter together was a quick processes using a heat torch and a flattened silver wire to solder between the two objects. It was important throughout and particularly at this stage to wear PPE.



8. Below shows the soldered and finished pewter badge. Looking back I should of used the smaller laser cut lips to use as moulds opposed to a larger shape, as the final product is quite heavy and would really need two pin backs to hold weight on a garment and feel if this process was to be repeated then I would trial this as the next experimental process. However, overall I am happy with the object produced but do not feel it is as clean as I had envisioned nor being as aesthetically pleasing. I feel that this perhaps would be a cost effective way of producing badges should they be smaller and a larger mould is produced perhaps with a series of badges inset opposed to simply one, to also make this process more time effective as overall took around a day and a half with waiting for the silicone to set and cool.




Copper and Brass Badge Prototype:

The next process and materials to try were hand-cutting and finishing copper and brass. I really liked the colour contrast and felt this lifts the aesthetic, gives a clearer sense of what is is and is more resonant of the icon used throughout my project and in respect of the source of inspiration, Kylie Jenner.

This was a new process to me so I feel as though I really learnt a lot in the metal workshop and was able to apply this is prototypes I am happy with and could further develop.

  1. Sheets of 0.5mm copper and brass were supplied to draw my designs on using a thin marker pen. These shapes would then be carefully cut out using a coping saw and wax to protect the blade, ensure it doesn’t snap and to also ensure it cuts through the material smoothly. PPE is worn here to protect hands and workbenches are used to ensure the materials are steady and that you have concentrated light and focus. I found the drips quite tricky to cut out snapping a blade, however through trial and error eventually got the hang of the best angle to cut at, 90 degrees and managed to finish without snapping any elements or being too far off my original markings.


2. The slides were sanded down slightly on a band sander and using very fine sandpaper, before using hand files to ensure the curves on the inner drips are smooth. Fine sandpaper and water is also used across the front and back of both pieces until clean and shiny – this ensures the solder works to the best of its ability as the Flux only takes to clean surfaces. I learnt throughout this process that good preparation ensures for a better result.


3. Once happy, flattened silver wire again was used and cut into fine pieces and mixed with Flux – a crystal salt which acts as a binding agent when soldering. These pieces are then places on to the copper where the brass will be soldered.



4. Using a soldering gun and wearing PPE, the pieces are heated until soldered together – this can be seen when soldering as the brass drops slightly when heated. Once soldered together, the material is cooled in water.


5. Once cooled, the material is dropped into the acid bath until clean of any residue caused from soldering.


6. Once clean, the material is again sanded down with fine sand paper and water, and then polished using the machine below which spins the material in a bath of hot water. Once finished the material comes out clean and simply needs buffing or polishing.


7. Once polished, the pin back can be glued on using a strong adhesive called, Evo-Stick.

Final product images can be found below.

Overall I am really happy with the final outcome to say that this was my first ever experience in the metal workshop and feel particularly through this process learnt so many new things from the qualities and properties of metal to how to execute a product beyond my usual capabilities. I do not feel though however that producing these for many promo packs would be viable due to cost and time of producing each one by hand, however as a new process and experimental piece feel it was worth pursuing and feel very proud of the iconic and distinct outcome.

I do not feel as though it is perfect and feel the shape could of been cut slightly more accurately and perhaps been sanded more prior to polishing however feel for a first attempt as though it was a success and can learn from these errors going forward if I was to work in this way again.







Acrylic Laser Cut Badge Prototypes:

 The final process used to make prototype pin badges was laser cutting using 3mm perspex acrylic. After using the laser cutter to cut out plywood shapes for my silicone mould experiments, I knew that this process would be time and cost effective if set up correctly. Therefore, as shown below in order to not waste materials, I would essentially ‘mass produce’ the shapes in order to produce different coloured prototypes. I also decided at this stage to add in the idea of producing key rings and necklaces which could be used as alternates in the promo packs, by cutting additional shapes with a 2mm hole for findings. I thought this would be a time effective way of producing a range of promotional goods from the same materials, at the same time.

  1. The ai. document is set up on the laser cutting software ensuring the cut-through and material set-up is correct.


2. This process was repeated several times with various coloured 3mm perspex acrylics. The cut out shapes can be seen below.







4. Once all cut out Evo-Stick was used to stick the badges together after being informed at Tensol 12, an adhesive is made of very strong chemicals ‘known to cause cancers’ and not really recommended for use by students in an open environment (a needle is used to apply this to ensure it doesn’t get on your hands). Eco-Stick was also used to attach the pin backs to the reverse of the badges also.



Eco-Stick can be seen below – 2 equal parts are mixed together prior to using for a fast-setting adhesive which can be used on most materials.


5. Below shows the finished products prior to attaching findings for keyrings/necklaces. Finished badges can also be seen below in poly bags.



6. Below shows 3 badges which were discarded due to using too much glue on one allowing for seeping adhesive to be seen on the red lip, the silver mirror acrylic is 6mm not 3mm so makes the badge bulky whilst also the backing slightly melted whilst being laser cut due to the heat distorting the mirror effect in places, whilst Tensol 12 can be seen dried over the glitter acrylic badge which went wrong prior to swapping to Evo-Stick.

I had already ordered a 3mm gold mirror acrylic prior to experimenting with these badges as it did not deliver on time, however would like to attempt this again and speak with Johnathon the wood work technician about the settings to see if anything can be done to successfully use the acrylic without damaging it hindering the final outcome.














Above shows examples of a range of final outcomes. I found these really easy, quick, enjoyable and cost effective to produce with a small amount of materials being needed. By planning before hand, I had all of the materials ready and simply needed to book a laser cut slot. I feel going forward out of the 5 or 6 processes experimented with in regards to the promo badges, I feel visually this has been the most effective. I have since posted images on feedback and received positive feedback, particularly in regards to the pink sparkle badges. I also really like h0w laser cutting allows for each product produced or shape that is cut to be exactly the same allowing for accuracy and little waste. Pink sparkle acrylic was used to tie in with the prototypes created using card, and vinyl tote bag experiments whilst also adding a bold and feminine visual dynamic to the project.

I plan on creating card backs for the pin badge as seen with the card prototype badges to improve the aesthetic of the poly bags, making them more presentable for photographing and recording for this project, portfolio, development and submission boards really allowing for the product to be seen in a commercial context. Furthermore, I would also like to photograph these products being worn/in-use.

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Social Media Wellbeing Campaign: Instagram Post Development/Facebook Mockup/Advertising Mockups

This is working towards objective 4.B.

After working on the initial idea for the social media wellbeing campaign, I wanted to develop further collateral to support this and form a fully developed idea with visual references. A real campaign would be formed of more than posters, and being a campaign focusing on social media, I feel that social media is a platform which should be utilised in regards to reaching the right target audience – those who follow bloggers, icons, celebs and trends, and those that use social media on a daily basis specifically those who are actively following and engaging with beauty and fashion-led accounts.

It was at this stage I asked for feedback on my concept and initial work, and asked both Scarlett Carson and Bobbi Gastall from the MA also individually for feedback.

Scarlett noted that, “they’re great! So much better than just photos, with them in-situ (social media) plus the stats makes it all really poignant” whilst Bobbi agreed but added that I should include a slogan/caption which summarises the concept to tie in with the fake barbies and the idea of what is real vs what is fake/not real. This is where the copy, “don’t let them tell you what’s real” came from, and has since been applied to the posters accordingly.

In réponse and in relation to the social media aspect of the campaign in regards to collateral, I began to work on ideas for social media posts, whether be on Instagram, Twitter or Facebook for example. As a start I took the posters and began working with layout and composition on a 600 x 600 px art board to create such artwork. This can be seen below.

I did not feel the typography below worked aesthetically with the composition and decided against this alternate layout, and kept more inline with the posters allowing for visual balance. Even though very similar to the poster designs, I felt that this layout was the most effective due to at times having long sentences which suit a more linear approach.








In regards to the poster designs which have previously been created, I decided to mock these up on various platforms where if in real life may be situated to be seen by the associated target audience.

The posters have been mocked up in everyday places such as the underground and bus shelters allowing for a wide range of people to see such campaign materials, which also being in ideal locations for young females to see whether going to school, to work or out shopping in the city for example.

I feel it is important to consider ‘real’ advertising spaces opposed to just social media, as the effectiveness of a campaign is only as effective as how much it is seen and engaged with, and if people don’t search for the hashtags used for example, or are not aware of such campaign to search, follow, like and share for instance the campaign will not be effective therefore different platforms need to be used.

Going forward I would use social media handles on the printed campaign materials such as posters, however at this stage want to focus on the idea as I do not have time to fully develop the concept and all aspects of the social media campaign in order to do so accurately and effectively. I would also like to gain more feedback before rolling out across all social media, and feel for now focusing on the concept of this campaign is key, opposed to rushing all of the collateral prior to hand in. I would rather wait and develop this idea further in semester 2 when I can fully consider all options.

This is also why I will not be able to develop the booklet and other printed leaflet collateral for example at this stage due to time constraints and the need to prioritise. This however is something again I would like to revisit in semester 2.



Bus stop with a blank billboard


As noted above, I feel as though due to time constraints I do not have time to fully develop ideas or set up social media accounts in order to effectively apply handles to my works and feel by doing so now would be misleading anyone who sees the development of this project throughout feedback and feel it is right to wait until I have time to develop such platforms properly before applying this to my work. This being said as an initial prototype, I have mocked up what a cover image and avatar could look like, however do not feel as though this is the best it could be and feel as though more time, and thought needs to be put into this side of the campaign before moving forward.

Again, this is something I wish to revisit in semester 2 as I feel I have a strong concept and initial idea which needs to be built on and further realised through working social media accounts to engage with the target audience to be effective and in order to gain real feedback, thoughts, options and therefore also gaining practice based research strengthening my research question and current practice.

I previously noted booklet and leaflet based collateral as part of the printed campaign materials, and again feel before launching social media effectively should have enough research to have supporting campaign materials and feel without such materials can have a working and most-effective campaign.

Overall, I feel as though I have a clever idea which perhaps needs refining in regards to execution in order to be the best and most effective that it can be.











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Social Media and Mental Health Facts/Context

This is working towards objective 4.B and 1.

The below facts/quotes have been taken as research and potentially for use throughout the Social Media Wellbeing Campaign I am currently exploring and experimenting with. I found that these facts and quotes are resonant with my research question, understanding how and why social media, along with magazines for example, can affect our self-perceptions. This particular Campaign project also focuses on Mental Health issues which can come hand-in-hand with the over-use of social media.

I am hoping that I can take elements of these facts/figures to use in posters and informative booklets for example.

“In fact, in 2012 a team of researchers in the UK surveyed users, 53% of whom said social media had changed their behavior; 51% said it was negative behavior because of decline in confidence they felt due to unfair comparisons to others.”

“A paper linking social media usage to the Freudian ideas of the id, ego, and super-ego cites many examples of positive psychological effects of social media. Perhaps one of the most important points is that social media doesn’t necessarily take us out of the real world. It can instead be used to revive and preserve relationships with other people. Research presented in the journal The British Psychological Society found that students who experience low self-esteem can take advantage of social media and its capability to bond them with others in order to pull themselves up from slumps in their mood.”

Unknown. (2015). 10 Ways Social Media Affects Our Mental Health. Available: http://blog.degreed.com/10-ways-social-media-affects-our-mental-health/. Last accessed 12th November 2016.

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Social Media Wellbeing Campaign: Initial Idea Development

This is working towards objective 4.C.

I stumbled onto the idea for my social media wellbeing campaign after researching the Barbie store in Tokyo, Japan. Whilst researching images of life-size Barbies in-situ came across a wealth of images via a Google search of ‘Barbies’ and was astounded by how many different Barbies had been around and are currently are for sale. It was at this stage that I began to note how various Barbies reminded me of different bloggers or well-known icons for example whom are representative of social media in particular which therefore sparked this idea. The image below reminded me of Sarah Gonzalez, the beauty blogger discussed in relation to Tarte’s Influencer trip to Bora Bora and the idea of ‘Natural Beauty’.

I thought that by using the Barbie dolls to represent real figures, and by placing them in their known contexts of social media, photography, photo-manipulation and their chosen ‘locations’, the message, facts and figures being relayed will be perhaps more resonant and coherent with the target audience understanding the link between visual and said message at hand highlighting how social media may affect ones self perception and in turn could affect their mental health.



Image Source


Image Source


The barbie doll was then photoshopped over a beach background, giving a false aesthetic enhancing the message.

The same process was carried out with dolls representing a Beauty Barbie inspired by the likes of Zoella and a Fashion blogger Barbie inspired by enhanced, lavish and unattainable lifestyles of many extremely successful bloggers and icons for example showcased on Social Media and in more ‘highbrow’ magazine such as Vogue.

Quotes, facts and figures were added in based on the visual at hand and based on previously collated research prior to starting the visual process for this project. The header “#NotReal# stemmed from the build up of the idea and how this was generated, whilst being represented through a smartphone camera, represents a not real image whether it is staged or photo-manipulated intern affecting perceptions for personal gain.

To keep in-line with the previous works created throughout this semester so far stemming from the Instagram Post project, small illustrative marks have been taken and used as minor background detail, to add a pop of colour and to draw attention to the centre of the image. I wanted to keep this aesthetic and colour scheme going receiving a good reception whilst building a brand identity almost for this collective, series of work focusing on similar issues and contexts. This is also why Futura has also been used for the main copy keeping in-line with the initial Instagram posts, whilst working aesthetically with the tone of the work.



Image Sources: Barbie, Beach





Image Sources: Heidi Klum Barbie Doll, Papparazzi Background

Different dolls and backgrounds were experimented with in order to find combinations which work visually. Layout was also explored here as can be seen below, giving the option to include further text at the bottom of the poster (initial starting point for the campaign materials), however decided against this after re visiting my visual references and realising that most of the wellbeing campaigns are minimal in regards to text and simply feature a logo/caption and one sentence of to-the-point copy.





Image Sources: Wall Texture, Moschino Barbie


After initially thinking I would keep inline with the colour scheme of the “what’s my name again?!” I printed off the posters to see how they would look in print, and felt alongside my other series of work did fit in but also looked too similar, and felt that being associated with Barbie, perhaps going pink opposed to peach would change the tone and aesthetic, without changing typography or layout.

I felt much happier with this colour change, and decided to use tonal colours of one pink shade for the background, whilst using swatched colours from the “what’s my name again?!” theory based lipstick shade concept for the typography and illustrative details adding a subtle connection between both projects. These were selected again based on what aesthetically worked whilst keeping inline with the newly chosen and confirmed colour scheme for the wellbeing campaign which going forward would also apply to various other forms of digital media and printed collateral.


Above: Beauty Blogger Barbie


Above: Natural Beauty Barbie


Above: Fashion Blogger Barbie

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Social Media Wellbeing Campaign: Photo Editing

This is working towards objective 4.C and 1.

The below quotes/facts/figures has been taken from an article written by Daily Mail, leasing with a Clinical Psychologist, Dr Vivienne Lewis in regards to body-dissatisfaction and self-perception issues, in relation to social media specifically. As this campaign is aimed particularly at young women, whom actively use social media, I thought that the below are key pieces of information which can be relayed back through the campaign materials.

Furthermore, I also found this article interesting in relation to topics previously discussed and researched, such as photo-editing apps and the impact that this can have on one how one perceives themselves due to being faced with “the expectation to use them”, as noted below by Dr. Lewis.

I also found interesting that Carli Alman noted that through the research of BeautyHeaven, it is apparent that there are “double standards when it comes to photo editing” noting often the criticism of celebrities doing so, however 57% of the women spoken to admitted to doing so themselves.

In addition to this, I also found that 18% of women noted that their social media profile pictures are not genuine representations of themselves in regards to being edited to enhance their appearances, whilst 2/3 of women would also need to ask approval from a friend before actually sharing such images online. This shows alone, that social media has a huge role to play in our changing perceptions of not only ourselves but of others. As noted earlier in this semester, with the Fashion and Beauty Industries going more digital in regards to publications and advertising alike, it is important to remember that social media is becoming a magazine such as magazines are turning into social media, therefore to me, it is important to notice how the impact of new technologies is altering and shaping our perceptions and ideals more, and more over time, and therefore why I am working on this project. I do not think that this has been helped by bloggers and vloggers also, whom like celebrities are all for the photo editing ways of life, and only post ‘perfect’ photographs throughout the day, again tainting ideas, norms and unrealistic nor unattainable expectations of women.

New research has shown that over two thirds of women interviewed “believe it’s wrong for magazines to edit photos before they go to print. However 57 per cent of these ladies also admitted to altering their own pictures before posting them on various social media sites.”

“18 per cent of the ladies surveyed admitted that the profile picture on their social media page is so heavily edited it’s a not a realistic representation of them. Further to this almost two thirds of women surveyed force friends to show them photos for approval before they’re posted online, and 60 per cent untag themselves from images they aren’t happy with.”

“‘It seems there are double standards when it comes to photo editing,’ Carli Alman, Editor of beautyheaven said of the research. ‘They’ve seen celebs like Beyoncé and Miranda Kerr looking perfect in their social media snaps, knowing many of these images have been edited and now there is a copycat effect.’ Carli added.”

“Dr Vivienne Lewis, a Clinical Pyshcologist at University of Canberra, who specialises in body image issues, said body image dissatisfaction is ‘becoming more and more of a problem for women. The thing is they’re constantly having to meet unrealistic standers of beauty, women in particular who are very concerned about their bodies can spend hours editing photos. Social media is certainly putting us under more and more pressure to look our very best, and that often falls in line with the sort of ideals we see elsewhere.'”

Dr Vivienne Lewis added that, “because there is access to photo editing apps, there is an expectation to use them. But she said women need to embrace the way they – and those around them – look. It’s the judgement of others that women get concerned about and comparisons to other women. It’s all about celebrating body diversity and embracing your own uniqueness. The more and more people who are able to accept others for what they look like.. the more likely we are to do it to ourselves”

Noble, F. (2015). Double standards? More than half of women admit to editing their social media photos before posting despite over two thirds thinking it’s wrong for magazines to do it. Available: http://www.dailymail.co.uk/news/article-2948410/More-half-women-admit-editing-social-media-photos-posting-despite-two-thirds-thinking-s-wrong-magazines-it.html#ixzz4PZ3krcW6. Last accessed 10th November 2016.

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Metal Workshop

This is working towards objective 4.C.

Today I visited the Metal Workshop to discuss options regarding making pin badges, which look more substantial and professional as commercial products. Below shows the prototype badges made from card. I took one in to show my idea and talk through the different ways of recreating it, whilst learning about the costs involved and the best materials used to gain the result I am looking to achieve.


Below shows a scan from my notebook, noting options and quick drawings of them. Options include:

  • Using silver & copper with a soldered butterfly pin and clasp on the back.
  • Using just silver and etching processes to allow for enamel to colour the lips, leaving a shiny silver drip. Again a soldered butterfly pin and clasp would be used on the back.
  • Laser cutting: using a range of 3mm acrylic (Workshop). Again a soldered butterfly pin and clasp would be used on the back.
  • Silver Clay using a vacuum formed mould. Again a soldered butterfly pin and clasp would be used on the back.

The costs and suppliers were also talked about and considered, whilst also noting that silver can be expensive if bought quite thick (0.5mm +), where as copper is cheaper and available at college. Silver would need to be purchased from Cooksongold. A photo of this and the estimated costs for the amount of silver required is also shown below.

At this stage, I am currently considering what to purchase, and will purchase alongside fellow MA student Bobbi whilst experimenting to ensure the costs are kept low. Once ordered I plan on visiting the workshop next week to explore a few of the processes noted above in order to see which is most viable to take forward in the future, especially in semester 2.


Following the session, Bobbi and I visited Hobbycraft to see if we could purchase silver badge pins, however as we need real silver-plated pins due to not being able to solder non-silver pins due to the high-melting point. These could not be found and have been sourced online instead.

However, I also came across several items as documented below which could also be cost effective and low-cost in time also in regards to producing further prototypes in different ways. This involved that of a silicone mould which could be used for the Silver Clay process experiment rather than vacuum forming as another option. However, a vacuum formed chocolate-pop mould has also been documented below, which shows how this could work in regards to making identical badges.

Silk Clay was also found which could be used to experiment with being different to FIMO, however I am more interested to try professional and commercial options at this stage which test and push new skills, opposed to working in a similar way to a previous experiment.






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“What’s My Name Again?!” Printed Zines






As shown above, the zine previously shown digitally, was printed incorrectly at first due to errors in exporting the PDF, which meant the front and back covers exported on portrait spreads, opposed to landscape spreads. However this was resolved through trial and error with printing, whilst also printing from InDesign directly, using the ‘print booklet’ tool, opposed to exporting a PDF.

The zines which were printed correctly are also shown below. These were then stapled, after previously experimenting with perfect binding but due to a only have 16 pages didn’t taken well to this method. Furthermore, stapling implies the traditional aesthetic of a low-cost zine, whilst perfect binding insinuates a more high-end lookbook aesthetic. These were then trimmed down accordingly. 2 zines of 4 printed, were used to form ‘Promo Packs’ including a range of printed collateral such as A6 Digital Prints and A5 Posters to share amongst friends. This is described on the back of the zine, as well as on the mountain-fold label designed in conjunction with the other labels designed to date for consistency. The other 2 zines will be submitted as 2 individual zines in their own right without taking the shape of a ‘pack’.

The A5 posters and A6 prints included in the pack have been taken from my previous post of ‘final print tests’, therefore are gloss in regards to stock, whilst the zine being low-cost and easily reproducible by nature, is printed on a 90gsm matte finish stock. This is also to again stay true to the aesthetic of traditional zines, whilst also again aiming to not look like a lookbook in design or aesthetic.

I had some spare A5 and A6 prints spare so created additional packs of these, and used stapling opposed to double sided tape, as once the label is taken off it can rip apart the card meaning it is unkeepable, and will leave both paper and glue residue on the plastic poly bag which may want to be kept by the end user to store prints/zines etc that are not in use. Initially I thought that this would cheapen the aesthetic however I actually prefer it due to being more ‘standard’ and also as it preserves the ‘inner’ and ‘external’ packaging opposed to ruining both once initially opened.














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Final Digital Gloss Print Tests

This is working towards objective 4.C.

Below shows final gloss prints tests of the “what’s my name again?” campaign developed and experimented without throughout this module to date. I realised however upon organising my work to date and reviewing it prior to photographing it in the studio ahead of submission, that the way the documents had exported with crop marks when printed on the A1 printer, had scaled down the dimensions of the print, and therefore, what I thought to be A3, A5 and A6 prints were intact slightly smaller. Therefore, these were chosen to reprint to scale on gloss stock, as noted through previous research and experimentation that the colours and depth of gradients came more to life whilst also being much more professional visually and aesthetically pleasing in forms of a poster print or a postcard, for example, staying true to their traditional print format, print choice and stock choices.

The prints with and without crop marks can be seen below.

These were then taken and re-packaged in poly-bags and re-labelled as seen previously, however using the mountain-fold label opposed to the sticker label, again for added aesthetics and value.

Looking ahead into next semester, any further collateral produced in regards to this particular project/brief will also been taken forward and applied as necessary.








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Well-being Campaigns: Visual Research

This is working towards objective 4.B.

Below shows a range of visual research carried out whilst building an initial picture for the well-being campaign project I have just began working on. Pinterest and Behance have been used heavily for visual research, allowing to see a wide range of aesthetics, ideas and the work and ideas of interdisciplinary artists broadly yet precisely in context and topic.




My ‘Well-being Campaign’ Pinterest Board can be found here.

I have included this in my references due to the concept and idea more so than execution, opposed to resonating with my work design aesthetic as many lay heavy with advertising-campaign style photography, however as a whole find this collection really inspiring in regards to execution and idea generation.






“beYOUtiful is a social campaign program to sensitize young women that beauty in the media is not always true. Most women have a great attention to their physical appearance . Therefore, they often compare the physical appearance of their particular body shape with the actress or whoever they see in the media.  The results of that dissatisfaction can be a source of disappointment and ultimately can lead to the formation of body dissatisfaction.
Body dissatisfaction is not only experienced by women who are obese , but not a few teenagers who have a healthy weight , or even below average also experience body dissatisfaction.
So this social campaign aims to convey the message to girls who experience body dissatisfaction in order to know that the image of beauty they see in the media is not all good and true.
Based on the target, we use a girlie colour to reach out target.”

Above shows a Social Media campaign which I came across on Behance, targeting body image issues and body dissatisfaction as an outcome to over exposure to social media. As extremely relevant to my practice, I felt that the work of Jessica Jean should be included. Even though different to my aesthetic of work, I love the concept and find this work extremely inspiring for this particular Social Media Wellbeing project targeting similar issues of body image and self-perception due to over exposure to beauty and fashion-led images on social media.

More of Jessica’s work can be found here.













Source: Personal Archive of Work

Above shows a previous piece of my work from my BA(Hons) Graphic Design degree whereby I looked into how the public perceived themselves through anonymous research and expressive photography. I have included this due to the way in which this was a research-led project which informed a practical outcome, and also being different in terms of being a publication, or book, opposed to a digital campaign as mainly shown in the examples above. I am still considering options of a digital or printed campaign for this particular project at hand, however feel that this could be a good source of inspiration going forward, whilst also being a solid form of research in regards to useable quotes. In regards to this, all of which have all been agreed for use in regards to data protection, ethics and confidentiality prior to designing the book originally whilst carrying out research, with each participant agreeing on such terms of consent if used anonymously.

“Today’s society dictates how we should feel, look, act, walk, talk and speak. Not only being dictated to by new norms and conventions, we are told how we should shape ourselves to fit in and be the ‘ideal’. The media plays a major role in self-confidence and body related issues, more so now than ever before, which has contributed to the rise of ‘ideals’. On the contrary, we never get the chance to express how we feel about ourselves, and our conttibution to society.
As a result of conflicting interests surroundng the public, an anonymous survey was created and shared internationally allowing people to be honest, truthful and emotive. 
The survey was one question: How do you as an inidividual, pecieve your own body image? 
The Rules:
1. State Age
2. State Gender
3. Remain Anonymous
Over 100 responses were recieved from both males and females, ranging between the ages of 15-70.
The results were compiled with imagery associative of the issues within society, as well as showcasing two complimentary, yet contextual and critical essays developed for further academic reading.”
Source: Personal Archive of Work
Above shows another of my own works, however this was created off my own back for a previous employer, however was never finished, nor used. I have included this in my references due to the aesthetic being more inline with my style of work, opposed to the heavy advertising campaign aesthetic as seen often in examples shown in my Pinterest board, however they were selected for concept and idea more so than execution. Furthermore, the context is very relevant to this project, and was based around common mental health problems in the workplace, and was backed up by celebrity images and quotes, whom have experienced the same illness.
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Social Media Wellbeing Campaign: Initial Thoughts, Ideas and Planning

This is working towards objective 4.B. and 1.


Above shows my initial thoughts and ideas to kick start the Social Media Well-being Campaign project. The execution is still in the idea process, which I am also looking into more via research to see whether this project would be better suited to print based outcomes, digital outcomes, or a combination of both.

The above will act as an initial starting point for planning and research.


Above also shows my initial project plan looking at time management and how I will break this down over the next few weeks. This will help me plan individual tasks on a daily basis.

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