I’m moving on. My new blog can be found here: http://jakehollands.wordpress.com/
Currently I’ve posted some of my freelance projects done over summer, as well as the start of my 2nd year at Chelsea.
I’ll continue to post links here to new submissions on WordPress, but will eventually stop posting here altogether.
The new blog is going to be more concentrated on my time at Chelsea, with separate blogs attached containing content about my theory classes. I’ll also be making posts describing the creative process in both my freelance and personal work, and there will be personal updates too.
It has been fun here and I have no plans to delete this blog.
Sorry. My mind hasn’t been focused on you much this summer. In June I ended my first year at university happy with what I had achieved and looking forward to getting started on second year. I stayed in London for a while working to gain some money, went home, met up with old friends, got lazy, played too many games, went to the Lake District to climb England’s mountains, go gorge scrambling, abseiling, windsurfing and take photos (to come soon), did some freelancing, moved into my new place in Peckham with some friends, watched too many films, put up my new portfolio website, went to weddings and parties, threw a party and all of a sudden I’m back at Chelsea starting my second year.
Second year certainly seems extremely promising. Over the next few days I hope to get the work that I did over summer posted on here, then it’ll be on to university updates.
Things are looking good~
Congratulations on getting the place! Why anon?! Such a let down!
I don’t know much about CSM or LCC’s courses but can tell you that Chelsea’s small classes are a massive benefit. Your tutors will really get to know you and work out your advantages and where you need to improve.
I know a fair few people at Camberwell (they also take on small classes), which seems to be a much more traditionally-based course - students there appear to have their graphic design history and theory down really well and projects are based more around identity, logo and traditional design. At Chelsea it seems to be based much more around idea-generation and much more crazy briefs. I’m only about to start second year though, so I really can’t talk about the course as a whole and am still working out exactly what it has to offer me.
Pick up this month’s issue of Creative Review - it’s the graduate issue and features an interview between a London-based studio and one of this year’s Chelsea GDC graduates (as well as other graduates from other universities).
A quote from the interview: “Our tutor always said it needs to be about big ideas, beautifully made. They did say the aesthetic was important, but if the idea wasn’t there, the aesthetic would bring you nothing.”
I think that this says a lot about Chelsea’s course.
I hope this has helped a little bit. Enjoy your first year, it’s great fun and Nigel’s a great tutor. I can’t wait to get into my second year - I’m sure that it has a lot to offer me.
Hope to see you around!
Hey, sorry for my late reply.
I’ve had a great first year at Chelsea, and at the end of it I don’t think that I can give much advice to someone considering going there.
I’ve learnt a lot, had great fun, met a lot of lovely people, and am confident that the course will only get better and that it’ll eventually land me in my dream career. After speaking to classmates, 2nd and 3rd years though, opinions really vary on the course.
It’s an odd course with a very different approach to graphic design than other universities - whenever I tell someone that I’m studying graphic design communications I usually have to add “but it’s not really graphic design - it’s crazy”.
I really don’t know what to say about the course to be honest - I’ve really been thrown off in terms of my views of it over the last couple of weeks, but not necessarily in a bad way. I would still strongly recommend applying to Chelsea if you have a strong and passionate interest in graphic design, but you’re not sure exactly where you want to work in the industry. Also, being a little bit crazy probably helps on this course.
I guess that my rocked views are based on me realising that it doesn’t matter what course you choose to work on. As long as you work hard, you’re going to be good at the work and get a good job. When you choose a university, you’re paying for its reputation on your CV and the connections that it’ll give you more than anything.
Of course, I can’t say this with too much confidence as I haven’t been on another university’s graphic design course. Maybe some of them are utter shit and will cause hard-working students to crash once they step into the industry.
Sorry if this hasn’t been much help - my mind has been in a bit of a mess lately. Good luck with it though.
Record Sleeve Project (Final)
A POPULAR BRIEF
FORMAT 12” ALBUM
So, I didn’t keep my blog updated with the progress on this one. Here’s what happened…
After looking through my photography-dominated portfolio, Peter Chadwick insisted that my record cover can’t be photography. I thought this was a great idea - I needed a push out of my comfort zone, and needed more confidence in graphic design.
Before you continue, I should draw your attention to the almost-invisible, thin and pale horizontal scroll bar at the bottom of your browser window. You’ll need it later. It’s down there somewhere.
First of all, I settled on redesigning Sigur Rós’ INNI. I started by going to the band’s roots, and looked at traditional Icelandic patterns.
I then created some covers based on them.
After recovering from the crippling depression that those ideas caused me, I decided to get my hands dirty. I grabbed some cartridge paper, charcoal, inks, water colours, my desk lamp and my camera and macro lens, and started to experiment:
Using the Roman-style typeface felt too similar to the original record sleeve, and the cleaner ideas appealed to me much more than the gritty ones. I decided to look at how I can use ‘INNI’.
Clearly I quite liked the IXXI motif. It was made through duplicating and flipping ‘INNI’. After this I had a feedback session with Peter Chadwick, who suggested that I experiment further with the IXXI motif. I decided to try it with some of my initial ideas, and take it a little further.
The 3D-like affect that the soft shadows on the last one cause gave me the idea of recreating INNI in 3D in various ways.
I’d just like to point out how fucking tediously tiny that second one was. Each character was about 2-3mm wide. It was horrible.
After messing about a bit more, I discovered that through having ‘INNI’ twice, I could make it pop-up to form the motif, making the origin of the motif clear to the consumer. It also leaves the word ‘INNI’ behind, underlined with some lovely shadows when lit correctly.
I could make this mechanism happen when the consumer removes the inner sleeve, pulling the motif up. After another feedback session with Peter Chadwick, I was told to develop this idea further and experiment with how to place the ‘Sigur Rós’ type, what typeface to use and to look into colour further. I was advised to use Gill Sans, and that a strong contrasting black and yellow would look good. Ignoring the motif, I tested these on a rough version of the sleeve once the motif has been erected.
I was having trouble with the type, and felt that the black & yellow combination was putting me off. It also wasn’t giving me a good idea of what the final result may be, so I experimented further using After Effects:
Hadn’t tried something like this in After Effects before, so I was pleasantly surprised at how bad-ass I felt when it actually worked.
During my next feedback session, I was advised to try going for more cool colours to better reflect Iceland’s climate. While the red and white had been my favourite so far, it was too strong. I cleaned up the render and tried white and blue.
I was pretty much satisfied with this, but then realised that I had totally neglected the spine and back cover. I started working on designs for them. I was advised to base it around the negative space in the X/N’s counters.
My apologies for the terrible image quality. These pictures are getting too big. I quite liked a lot of them, so I decided to work on the spine and pick a combination that worked.
I chose these three to go together:
I then printed and assembled the record sleeve, with this being my final result:
Overall, I was really pleased with how this came out. The experimentation led me to places that I hadn’t expected to go, I went out of my comfort zone, and I came out with a result that I’m actually quite happy with.
Unfortunately, due to booking a ridiculous amount of shifts the days following up to the final brief, I passed out at home after 48 hours of working at events, was late to the final brief and got a D for being late! Which I actually quite like - being treated as if you’re actually working for a client. Clients should rightfully be pissed at you if you’re 5 hours late. I was told that it would have been a B if it had been handed in on time, however.
If you’ve read this far, whoa.