Aaron Skipper

Brief 05 - Page 01/02

OUGD301

Manchester Book Fair The Moving Finger writes; and, having writ, Moves on:

Design and print a limited edition run of hand printed posters, using hand drawn letters. Using Typography Gallimaufry a brief written by Ken Garland, during Typography Summer School 201 1. The vertical progression throughout the poster shows how the two hundred year quote has reached the present day, with type from pre, during and post 20th Century.

Hand Printed Two Colour Poster

A manual two colour blend, screen printed poster, using fluorescent pink and orange.

Aaron Skipper

Brief 05 - Page 01/02

OUGD301

Manchester Book Fair The Moving Finger writes; and, having writ, Moves on:

Hand Printed Two Colour Poster

Hand rendered type produced using a stage of sketches, before scanning in to digitally compose the layout, before producing the final layout produced by hand.

Aaron Skipper

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Visiting Professionals Studio Talk Posters

Design and print a promotional poster for weekly visiting professionals. Each professional must be contacted in order to adhere to any content or direction within the professionals practice.

Ric Bell

A poster which looks purely at contemporary type and layout, along with the consideration of colour. Overlaying body copies shows a chronological journey and the studio talk circle, offers a platform for weekly posters.

Aaron Skipper

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Visiting Professionals Studio Talk Posters

Generation Press

Using the existing brand identity and taking it to a three dimensional level, to incorperate a functional poster from two different angles on the course notice board.

Aaron Skipper

Brief 07 - Page 01/03

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Bespoke Typefaces

Design a series of typefaces specifically for particular briefs and/or clients

Flower/Corsano/Hejnowski Vinyl Cover Type

A geometric type face exploring the relationship between the two key members of the band, who for this recording have drawn upon another party.

Aaron Skipper

WA L L PA P E R COLLECTION

WA L L PA P E R C O L L E C T I O N

WA L L PA P E R C O L L E C T I O N

CUSHION COLLECTION

GIFT CARD COLLECTION

AC C E S S O RY C O L L E C T I O N

S TAT I O N E R Y C O L L E C T I O N

Brief 07 - Page 02/03

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WA L L PA P E R C O L L E C T I O N

WA L L PA P E R C O L L E C T I O N

CUSHION COLLECTION

GIFT CARD COLLECTION

AC C E S S O RY C O L L E C T I O N

S TAT I O N E R Y C O L L E C T I O N

Bespoke Typefaces

Louise Tiler Surface Pattern Branding

Two proposals looking at a handwritten and a classical option. Both can be applied acorass a range of products, with the incorporation of graphic elements denoting the particular product.

Aaron Skipper

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Bespoke Typefaces

Charles Dickens 200th Anniversary Typeface

A bespoke san-serif typeface, heavily influenced by Caslon Egyptian, the first ever (what we now know as a) san-serif typeface to be cut, in 1812 - the year of Dickens birth. Further bespoke display versions were created to use for the main branding and text highlights throughout. These were based on three dimensional wood cut type of the time, with the diagonal partitions creating a modern spin, suggesting the development of the two hundred year legacy.

Aaron Skipper

Brief 08 - Page 01/01

OUGD301

Leeds College of Art Symposium

Design a series of products for a collge symposium

Programme, Leaflet & Postcards

A set of ephemera which comuincates the promotion and organisation of the symposium. The two elemnents of the same event are communicated by a reversal in reading, where each piece of print read from front to the middle, from each end.

Aaron Skipper

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Shore Book Publishing

Typeset multi-page novels and reference books, and design artwork for covers.

Stand & Deliver

Typeset a reference book, using, tabbing and margins effectively to allow for a complex arrangement of buleted lists.

Aaron Skipper

Brief 09 - Page 02/02

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Shore Book Publishing

Stand & Deliver

Cover design, which typographically represents the title and typeset pages using Avenir Book Regular.

Aaron Skipper

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Web Design

Design, code and develop fully functioning, multi-page websites for myself and a music management company.

Sounds Unique Entertainment

Six page website featuring text, navigation, images, videos and links to multiple media platforms.

Aaron Skipper

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Web Design

Personal Website

Three page website, with a contemporary layout across a vast artboard. Along with a drag and drop functions on all images, the audience can interact with the website in the same manner of which it was originally constructed.

Aaron Skipper

Brief 1 - Page 01/06 1

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Wven Branding

Brand identity proposal

Concept #01 Logo

A bespoke produced typeface, based on Neutra Bold, but with modification suggesting the flowing, interlocking nature of the directional/locational influences within the brand, from both the production of the fabric and the locational interest from Scandinavian inspiration to production and sales. The logo itself could come in various weight options, or could have one final option decided upon. The key element in this concept is how the crossbars of the A and E create a symmetrical weave in and out of whole word. The ring above the A and its woven crossbar could also function alone, and become the brands symbol.

Aaron Skipper

Denim Pockets with gold embroidery

T-shirt pocket with white print

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Wven Branding

Concept #01 Application of Logo

The brands symbol offers a strong visual, to apply to clothing elements, particularly that of the often embroided part of the jean back pocket. The woven crossbar of the E could offer a symmetrical counterpart for the opposite pocket. The same could be applied to the chest of a pocket tee, a garment which seems to be currently on trend. The brand symbol could also function at different sizes and style variation depending on the use of the logo throughout the brand.

Aaron Skipper

Skinny

Regular

Bootcut

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Wven Branding

Concept #01 Garment sizing

The as a letterform, lends itself potential to suggest the shape of a pair of jeans, and along with the ring above it, this combination seem the perfect platform to create sizing signifiers. The keyline of the ring could simply be in staged widths, to denote the sizing, and each verical stroke of the could be manipulated to form a suggestion of the cut of each jean. The options above, show how the could be manipulated in two different ways - one adhereing to the nuances within the construction of the letterform, where the sizing modifications only happens to the lower half of the letterform and the other where the sizing variation begins in the vertex of the letterform. Both could work with or without the woven crossbar.

Aaron Skipper

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Wven Branding

Concept #02 Logo

A bespoke produced typeface, based on Neutra Bold, but with modifications looking at the angle of each letterform and its curved underline, suggesting the depth and dimensionality nature of woven fabric. This interesting angular approach could be taken across the brand, with products, such as swing tags, and look books, being heavily considered around this particlar angle.

Aaron Skipper

skinny regular
OUGD301 Brief 1 - Page 05/06 1

bootcut

Wven Branding

Concept #02 Photography and Garment sizing

The angular direction fo the brand materials could be eveident in the all brand photography as well, All images could be shot from this angle, creating an image where the viewer is looking up at the jean product, suggesting the superiority of the brand. The curved underline fromt he logo, could offer a systematic appraoch to sizing, where the tighter the curves are together the slimmer the jean product.

Aaron Skipper

Brief 1 - Page 06/06 1

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Wven Branding

Concept #03 Logo

A completely bespoke logotype, which uses a geometric, almost zig-zag like construction, which creates a set of letters tightly interlocked, like that of the construction of denim. The largest option above is arguably unreadable, but with the interesting subject area of location and language, there is potential to create a brand identity, which is almost creates a symbolic image, until the letterforms are more apparent, upon closer inspection. The smaller three options are similar to the larger, in the terms that each letterform is constructed in the same fashion, only they sit apart from each other, to allow for greater readability, whilst still close enough to to suggest the interlocking nature of fabric.