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My name is Elisabeth Taylor and I am currently entering into the
third year of my degree - Graphic Design at Leeds Col...
L E T T E R I N G is one of my absolute
is something that I find fascinating.
I have ...
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  2. 2. Hi, My name is Elisabeth Taylor and I am currently entering into the third year of my degree - Graphic Design at Leeds College of Art. I work in a very practical way, always looking for an opportunity to do something hands on. I think there is a lot of inspiration to be found by doing something physically: be it drawing or one of the more analogue forms of printing. However, for me, the real attraction of Graphic design, and the creative industries generally, is the people. I love collaboration and the impetus gained by working with others. More than anything I think the work created by using more than one mind, more than one perspective, is always best. I hope you will give me the opportunity to show you how I can make your team stronger!
  3. 3. L E T T E R I N G is one of my absolute favouritethingstodo.Typography,also, is something that I find fascinating. I have focused much of my degree on these disciplines, in the hope of someday mastering them. If that is even possible! As well as practical work such as brand lettering, signage and one off pieces, I have also spent some time examining the theoretical backbone of typography, which has proved complex and deeply rewarding. B R A N D I N G comes predominantly from my lettering. I find it a great context in which to analyse and strip back a design. I love the way branding makes you consider the smallest of details. It feeds my inner perfectionist! Creating a brand also involves restrictions that are instrumental in shaping typographic considerations. For me, these limitations create the environs for some of the best creative thinking.
  4. 4. I L L U S T R A T I O N Is something I greatly enjoy, mostly because of its freedom from the screen. I specialise in using pen and ink with small additions of charcoal and sometimes watercolour but I would be happy to turn my hand to anything. I tend to focus on natural subject matter, such as plants and insects,simplybecausethesethingsare most interesting to me at the present time. W E B A N D D I G I T A L really interestsme.Makingthetransitionfrom design for print and design for digital platforms was tricky but surprisingly rewarding. A personal and warm tone of voice was the by product of making my illustrative style digital. Although I have very limited experience with coding, I do have experience designing for web and am familiar with the limitations of doing so.
  5. 5. B E L Y N D A S H A R P L E S : I spent two weeks with a wallpaper designer/ painter and illustrator, in which I learned about the printing processes involved in bulk production, as well as the design considerations of scale and pattern behind wallpaper design. To see some of Belynda’s work visit www. theartofwallpaper.com P A R A L L E L I am currently working with parallel magazine (a feminist magazine start up) in the form of an online internship. This work experience came from a hypothetical re-brand I did for them as part of my college work (detailed in following pages) . www. theparallemag.com EXPERIENCE
  6. 6. WORK S T U D E N T S U N I O N : I am now working as the communications officer for the Leeds College of Art Students’ Union. This involves creating all freshers print material and dealing directly with printers on the behalf of the students’ union. I will also be working on any other material that is required by the SU in the coming academic year. T H E L E E D S A R T S P A R T Y : throughout my second year I was taken on as the graphic designer for a conference to celebrate arts education. This included creating brand guidelines and creating all of the promotional and organisational material on print and digital platforms.
  7. 7. REFERENCES S T E V E P A I L I N G - B E Y O N D T H E C L I C K stevepailing@beyondtheclick.co.uk I did some logo design work for beyond the click, based on brush pen calligraphy. F R A N C E S B A I L E Y - T H E L E E D S A R T S P A R T Y leeds.arts.party@gmail.com As previously mentioned I worked as the graphic designer for The Leeds Arts Party Conference. Fran, as the project manager, was my main point of contact throughout.
  8. 8. EDUCATION A - L E V E L S AS biology A A-Level media studies B A-Level English Literature A A-Level Graphic Communications A* I also gained well above the English Baccalaureate at GCSE level. D E G R E E As you know, I am just entering the third year of my Graphic Design Degree at Leeds College of Art. In my first year I averagedahigh2:1at68%andachieved a first in my second year at 71.8%.
  9. 9. CONTACT Please don’t hesitate to get in touch . www.elittlebethdesign.com 07870747171 eutaylor1995@gmail.com
  10. 10. Examples of Lettering and Calligraphy
  11. 11. This was a self initiated project that started simply with a small doodle that grew into the lettering of the word adventure shown above. The quote is from one of my favourite films ‘UP’ and the map background, although totally relevant to the quote, proved the most challenging aspect. Creating a strong type hierarchy on such a varied background required constant re-evaluation.
  12. 12. The first sketch is the larger of the images. I had to re-shape the flourishes, which mostly extend from the curved strokes, a number of times to achieve a smooth enough finish to fit with the pointed curves of the serif brackets. The lines and shadows used on the interior of the letter forms worked best when they finished just short of the edges, almost allowing the eye to complete the line through suggesting it. This proved a much better way of creating the effect of three dimensions.
  13. 13. When it came to pairing something with these dominant capital forms I knew I needed something that contrasted, but also fell slightly into the background to allow the hierarchy of the words to become established. My intention was that the lower legibility of the lettering would also contribute to this hierarchy. However, it is arguable that the flow created by the italicised and cursive forms created a readability that overrides the reduced legibility.
  14. 14. The ‘is’ needed to be on a separate line to the ‘out there’ because of the space available on the map. However, because of its smaller size compared to the other components, I added some ornamentation to draw the eye to it and once again get it in the right place in the information hierarchy. I took hints from the letter forms themselves and made soft plant like curls of a consistent line weight, so not as to be too visually dense and detract from the type itself. In the end I went for a considerably reduced version of theses early sketches, because on reflection I felt that they were far too dense.
  15. 15. For the large part of the previous academic year I was acting as graphic designer for the Leeds Arts Party Conference. One of the pieces I designed for them was a flyer that was used very early on in the promotion. It needed to explain and communicate the values of the conference (to celebrate the arts in education). I came up with a slogan for their campaign (as shown on the designs) and a lettered design for the flyer.
  16. 16. Because of the collaborative nature of the organisation of the conference, the project started with a lot of very rudimentary sketches that were done during meetings. To start with people wanted to communicate variety. However, I felt that the concept felt a bit messy, so suggested choosing one lettering style and running with it fully to gain a more coherent design and therefore message.
  17. 17. I went with the dripping, paint-like lettering because the visuals fitted with the celebration of the visual arts. I played around with several textures that could create a sense of depth. This was intended to create continuity with their existing logo, which can be seen in the sampled ‘Arts’ on the flyer. The very soft drop shadow adds to this effect. However, this felt too dark and a bit sombre, so I looked into colour changes that could help the tone of voice fit the cause (positive activism).
  18. 18. A light blue soon evolved which fitted this tone of voice perfectly, the main difficulties at this point were balancing the complicated silhouette of the letter forms with the added complexity of the texture. I made myself step away from the design for a while and when I came back it became clear the texture was completely unnecessary. That lead to the last tweaks and the final designs on the first page of this project.
  19. 19. This was a branding project for a new feminist magazine. The identity of the magazine needed to be feminine but strong without alienating a male audience. The project required flexibility of format, so I had to constantly be aware of the digital applications the design had to have. Working heavily with vectors seemed the best solution, in terms of a smooth professional finish and unlimited scaling possibilities.
  20. 20. Sample web application as website navigation bar.
  21. 21. I started by creating small thumbnail concept sketches to gather whether there was any possibility of development in each idea. The dominant concept drew on aspects of handwriting and a soft round cursive lean. This had a sense of humanity and people, while still being assertive and distinctive enough to work as a logo.
  22. 22. I then looked at scaling up these ideas, regulating the angle of the letters and the width of stroke. Adding details like the breaks in stroke, suggesting a fold or sense of depth in aspects of the letters. However, the legibility was significantly reduced by this. I looked into using the shaping of the letter P to guide me to other possible designs, in the hope that it could be used as a monogram aspect of the branding. However, this lost all the message that the other lettering designs achieved.
  23. 23. Taking one of the more successful early sketches into a digital format, I drew the vector atop the design and smoothed out imperfections. These included adhering to a distinct base line and ensuring the angle of the letters was consistent.
  24. 24. I then looked at how the lettering could interact with a more image based aspect of the logo, that I new I wanted to incorporate for flexibility of branding.
  25. 25. Using reduced opacity created an increased sense of the strokes used to construct the letters, as the overlaid aspects accumulated intense colour. This in turn created a stronger message of handwriting and a human process used in creation.
  26. 26. I really felt that the complexity of the lettering and the shape aspect were fighting one another, so I stripped back the design, in an effort to simplify the visual and the message. This meant removing all but two of the lines, allowing the lettering room the breathe.
  27. 27. This was a brief that followed directly after the ‘Salt of the Earth’ website design that can be found on the following page. The website informed people about walks available along the North Norfolk coast. The brief was to create print promotional work for the website. I made a coaster, a table sticker and a magazine insert. The coaster and the table sticker were intended to work in local cafés and bars where wifi is strong enough to support the Layar app and the augmented reality software that works with the coasters. The table sticker is a visual play on the name of the website and the context of the sticker draws attention by creating the effect of lettering made by spilled salt on the table.
  28. 28. To provide context for the printed lettering, this is the design for the website that the printed material was intended to promote.
  29. 29. As with a number of my projects I started with a large sheet of thumbnail designs that I then took to crits. Bringing together other peoples’ opinions and my own favourites, generally proves effective. In this situation I up-scaled a few design options until a clear front runner became apparent - the more whimsical cursive lettering with distinct contrast in stroke weight. It expressed a sense of the outdoors in a more genteel fashion, which matched exactly with my target audience.
  30. 30. Going from drawing to vector proved particularly challenging because the contrast in weight was so prone to looking imbalanced. Re-allignment of the axis of the ‘s’ in particular had to be done so that the incline of the baseline didn’t mess with the overall effect of the type. The lower case ‘r’ also proved tricky. Eventually I found that increasing the weight of the stem allowed it more presence next to the other letters, improving the readability and general balance of the word.
  31. 31. After the digital logo design had been done for the website, I decided to create the logo out of salt for a table sticker to promote the website. I started with sugar because the grains picked up on the camera better than actual salt. However, the larger grains meant that accuracy when pouring was at a minimum. I found a solution by following the design as closely as I could and then using a composite of edges from the vector design and the salt lettering.
  32. 32. This was a project to explore some theoretical ideas I had identified in one of my essays for college, looking at Jameson’s theory of ‘Pastiche’ in relation to typographic practices. In my essay I questioned the idea that pastiche reduces our historical awareness. I took a typographic, or rather lettering practice, that is often used in constructing pastiches and created my own piece of lettering pastiche with the skills I had learned. Learning a practice completely, introduces you to its limitations, and challenges you in ways digital and other newer production methods cannot. The process is also akin to experimental archaeology by physically placing you in a historical context, forcing you to understand the background of what you are doing. In this sense it fosters historical curiousity on the part of the designer. This is true of any practice emulation, not just limited to calligraphy.
  33. 33. The first of these videos is perhaps the one I am most happy with. I like the way it clearly depicts the thought needed to construct a pastiche well. It also shows the essential changes that have to be made in the letter-forms of the past to make them readable to modern eyes. Often the most important aspects of a letter, as dictated by sans serif fonts, are reduced in scale in original calligraphic forms and must be accentuated to address a modern audience effectively. This raises the question of whether these are actually pastiches anymore? Once again this theme of innovation in tiny increments, in this situation because of a change in audience, suggests pastiche could be a stepping stone on the way to something completely different and new. vimeo.com/127413909
  34. 34. This was a slightly slower video, showing the detailed experimentation that makes up the majority of most projects. I chose to experiment with the isometric grid because this innovation came from seeking to understand the typographic structures closely, and therefore the process needed to create them. vimeo.com/127426003
  35. 35. This video details the furthest removal from traditional practice of calligraphy, by implementing different tools. This is a more decisive parallel of something I observed in my essay. The absinthe bottle I analysed, by Stranger and Stranger Studios, used half tone dots to emulate the effects of a de-bossed shadow. This time I used a large paint brush to emulate the shapes created by a quill pen. However, something darker, messier and more exciting was created. vimeo.com/127465462
  36. 36. This is the end product of the videos. Although, in my opinion, it is really not that great, learning the process and really experimenting with the scale of typographic forms, was invaluable. I feel that the videos express this better than the piece its self.