Leandro Assis

The delectable lettering of Leandro Assis is a vibrant reflection of his own journey

Lettering artist and illustrator Leandro Assis knew he was gay from a very young age, an experience he strongly believes brought him to his specific niche of the creative sphere in more ways than one. Growing up in a “giant family” in Rio de Janeiro, when he was around nine years old, he remembers feeling different yet wanting to blend in, and attempting to do so through his handwriting. “I understood I was trying to simulate different types of writing considered less feminine, to escape being mocked,” he explains. In doing so, Leandro feels he “was forced to reinvent the way I write,” and, unknowingly at the time, picked up invaluable skills in creative observation and portrayal.

“I see now that this exercise made me open up a world of possibilities,” Leandro tells us. “I ended up watching the way my friends write and that made me understand more about the connection between the person and their personality in handwriting. I believe it has a lot to do with what I do today. I always try to understand what kind of feeling I want to awaken in people through the typographic style of my letterings.”

With Leandro Assi it is all aspects of the composition that are personal to him - the idea that he creates his typefaces with the idea of presenting, 'what kind of feeling I want to awaken in people through the typographic style of my letterings' is amazing to me, having such a. thoughtful and genuine approach to his design adds another dimension to it, create am even greater sense of personality to his already vibrant typefaces. This is something I want to work on emulating in my process of working. 

AUDIBLE BRIEF - THE FARAWAY (DUE 23RD)

 Entry link ( New Blood Awards entry site)  - https://entry.dandad.org/new-blood/entry/edit/1078/step2/ 

What’s the challenge?

Design a visual identity for a fictional* Audible Originals title that stands out and makes some noise.

At Audible, designers might not have the full text available to listen to before they
create an identity - instead they will have the title, synopsis and a clear idea of the target audience. To replicate this process, you have a selection of four fictional* audiobook and podcast titles, synopses and core markets to choose from. You’ll need to get into the mind of your audience and design a digital book cover and series of visual assets to promote your title.

This brief is all about design craft, so consider how you can make your visual identity arresting and convince your audience to tune in

The Faraway

Target Audience: 18-34 year olds without kids, who are looking to escape.

Genre: Fantasy/Adventure (Audiobook)

Synopsis: Daniel has always been described as someone with their head in the clouds. Working in a local store, they are always dreaming of far away adventures until a new visitor comes to town and those dreams start to become a reality.

Influence your audience

Think about the space you’re designing for and who might be searching for this content. What would make them stop and take notice of the audiobook/podcast? People make split-second decisions from designs, about the genre, tone and who they think the content is for, so how can you express that your title is for them? 

Make your identity work hard

The identity needs to live in a sea of tiny squares but also be able to stand alone both as a virtual and physical asset. The entirety of the design will be visible on the product description page that draws the reader in or as an ad on Instagram. Think about the wider ecosystem of the design and all the touch points it will cover. If the title feels too long for the small space, feel free to abbreviate it so it can be legible.

Deliverables

You must use the templates included in the brief pack to ensure your designs fit in the relevant Audible spaces. Your visual identity must include:

• Title ‘cover’
• Product description page (full bleed background)
• App banner
• An example of your identity across three different Out of Home spaces such as buses, bus shelters or transport gates (please note, these templates are not included in the pack as you can choose any three spaces that are relevant to your target audience and title)
• Online assets (cover, product description page and app banner) must include the Audible Original badge as shown in the templates. Your Out of Home responses must also include the Audible logo (included in the brief pack).

What and how to submit: Read Preparing Your Entries before you get started for full format guidelines.

Main (essential):

• JPEG slides (max. 8), showing your solution.
• Optional (judges may view this if they wish):
• Interactive work (websites, apps, etc); video (max. 1 min total). 

Moodboards

Charlotte Ellis Maldari VP Talk - Task 4

Visual Manifesto

In Latin, Manifesto stands for ‘Clear and Evident’

Your manifesto isn’t a mission statement because they are designed do be very comprehensive and very general at the same time, so can stand for everything but can also t the same time stand for nothing.

A manifesto has a focus and an impact that tells your audience:

• Why you exist - as a designer, what you’re here to do, what you can bring, what I have to offer. Unconventional thinking. Does it link to my identity?
• What you’re passionate about
• Why they should care about what you do.

Start to think about why you ate doing what you’re doing.

The Task:

Create a PDF presentation communication your manifesto

Think about this as a pitch you would make to a potential employer/studio manager/art director/ client - *not tutors*

The presentation should include your manifesto statements and be made in the style of your own personal branding /identity, it may also include images of your work.

The presentation should last 10 mins max.

Group presentations - W/C March 15th.

PRESENTATION BELOW 

• Founder of Caffine, deals with marketing for Creative Studios
• Went to Leeds Uni, Fashion Communication Manager
• First job was a company called Rainmaker
• Wanted to work in a creative space, but couldn’t be on the creative team.
• Worked at Brand Opus, a big brand packaging and design agency. Small agency when she started
• Raising the profile of the agency, needed retained clients, they decided that you’re their brand design guardian that would pay you on a ,monthly basis.
• Took business calls, rising budget etc. Hosting events, abroad, in the UK etc.
• Left Brand Opus to work with a more diverse client base
• Coaching 1 on 1 agency founders or marketing people they’ve appointed in smaller agencies, 2 - 20 people. Also creating resources people can buy on a smaller budget.
• Centres around gaining more clients and doing the right kind of stuff.
• A lot of agencies she works with is a trend of those agencies starting from a younger age.
• Works with failing agencies and showing them how to grow without a lot of money.
• Have to do a lot of work to get clients and business.

Advice:

• Be simple, don’t be afraid to niche down, say if you work within a specific place
• Stranger & stranger, premium spirits branding for example. Very specific that’s all they do.
• Hone in on what’s important to me.
• Think about what’s of interest to the client, where are they hanging out, what do they think, what do they need to know, building a relationship with them
• Listening to their challenges and coming up with intelligent solutions before they even start paying you.
• Best place to build a client base (freelance). Look at the smaller companies, the start ups, because the advantage you have at this stage is you’re willing to work for less money.
• Linkedin as a creative resource. Thinking creatively about where you’re finding people.
• Look at graduate competition winners and see what their websites look like.
• Squarespace is easy to use, but Wix has a lot more flex - coming from people 15 years in the industry.
• Look into graduate programmes for branding agencies. Don’t be disheartened. Client’s haven’t had the time to spend it on initiatives.
• Places 2-10 employees, you’ll get more hands on experience.
• Smaller agencies more likely to give you full time employment from internships
• Never charge for your time (freelance), Charge for the value you’re bringing then the time, you’ll never be able to move past a certain level otherwise.
• Never be afraid to ask what their budget is, or say that you’ll never accept less than (x), be always thinking about ‘project based’ rather than ‘time based’
• Applying to people directly not just relaying on graduate shows. Make sure you’re reaching the right person. Loads of different ways to look into it.

PDF Presentation

Hi I'm currently studying Graphic Design (graduating 2021) at Leeds Arts University. I have experience in collaborating across a number of practices; including an internship with Raise Digital web design, which involved meeting clients and adapting their website around their aims in an aesthetically unique way.

I'm practiced in typography, publication production, projection mapping. I'm passionate about design that has interactive/experiential elements to it. 

• Interactive projection based work, alongside publication designed to go alongside the projection - made from the same materials produced within Kelham island (the focus of the content in the projection & publication)
• Link to video - https://www.youtube.com/watch?v=ozbwmTffbp8

• Projection for a 'Lush' product launch, incorporating their branding/aesthetic which would be presented at the product range launch. The video aims to present the visuals seen by people with synesthesia (blurred bright colours) and how these morph and change depending on different sensory stimulants. 

• Link to Video - https://youtu.be/Q0XGobRCSyE

• A (20 page) saddle stitch bind publication featuring Will Finns photo's from Nowa Huta which have been cutup and laid out in compositions that leave empty spaces in amongst the imagery leaving the audience with the task of coming up with the rest of the form themselves; along with Wills own description of Nowa Huta and why he was drawn to the city and it's history. 
• Alongside the publication, a projection of Rory reading the publication, creating another interaction presenting how the user could create their own narrative as they read the book, which is then being live streamed onto a projection behind him. The movement of Rory's hands then directly correlates to the movement of the still imagery (snippets of Will Finns photographs), which is layered over the projection of his hands (programmed using isadora software) - this allows the audience to directly impact the imagery that is seen on screen/projected. 
• Link to video - https://www.youtube.com/watch?v=9qe29nd2T0s

• Branding and social media promotional work for a start techno/house music record label, Rohan Resonance Records. 
• Promotional posters; Record Logo; Website; instagram design @rohans_resonance_records
• Website video link - https://youtu.be/ZYFKXB4ju6M

 

A Home Away From Home (collab brief)

Updated Brief 

Research

Imagery 

Research into vintage family photo-books, looking at particular elements; finish/filter on imagery (grainy, worn, washed out), the positioning of the photo's (some uniform in their pattern - more formal, others more irregular), and the paper stock (close to a news print finish) and joining materials (stickers-sometimes branded, parcel tape). 

Layout

Could the cover be a full bleed image, further promoting the retro aesthetic Will Finn is aiming to present through his edited imagery.

Positioning of imagery/photographs here in the foreground is irregular, contrasted to the grid lined paper in the background brings a sense of unity to the composition - could use similar design language in the publication design. 

Research into scrapbooks and layering of imagery and the loose structure presenting type and imagery. 

Type

A retro Italian Gelato poster. A type of this style could compliment the faded aesthetic of Will Finns toned down imagery. The colour palette isn't to imposing either, red and green could further communicate the vintage aesthetic Wills presenting in his edited imagery.  

Classic stencil type aesthetic could worked with grainy worn textures in finish of paper stock and imagery - would have to use it sparingly though as the imagery needs to be the focal point of the composition.

A more fluid, lax typeface, but again a typeface like this would work well with a grainy texture. 

This poster screams out family holiday, while having this retro feel to it, could present the family photo album aesthetic with elements of fun family holiday posters such as this. 

Clean, refined typeface with bit of a more contemporary look to it.

Initial Ideas

Wireframes (initial)

These preliminary wireframe sketches present the front cover and two potential compositions for inner spreads in the booklet. The front page features the two potential names for the book, inspired by research into retro Italian poster designs, the front cover compoition is split in two by the shapes, in the top half, around shape with the logotype in the centre, and the bottom half featuring a rectangle with again the other logotype inside. The aim would be to present these in worn aesthetic, aligning with the dated look to the photographs on the inner pages. 

These wireframes are likely to be refined and altered in digital developments, when all of the photographs are considered and present on screen. 

Collating Will Finn's edited Images 

After going through 100's of photos, this is the collection of photos we decided upon to be feature in the publication. 

Photographs with Will Finn superimposed onto

Landscape photographs 

Landscape imagery we picked out from the vast selection of photographs. These will potentially be used alongside the portrait photos, with the aim of potentially resenting them chronologically. 

Typeface(s)

Two variations of type, one san-serif and the other serif. These sketches will be developed further on illustrator, where I can make more precise changes to the type-forms. These initial sketches simply present the start of what could be edited on these simple forms, i.e. the stem thickness, the arms and serif length and height etc. These will work as bases for what typeface I want to use as my base for adapting on adobe illustrator.

 

Textures for background of inner & outer pages (developed)

Here, some scans of different materials found around uni. I wanted to attain textures, paper stocks and finishes that were naturally made and not uniform in their alterations (i.e. ink drips, crinkles in paper stock). These scans will be used one way or another in the background of the publication inner & outer pages. 

Wooden Board

Wooden Board (with ink on)

Brown Paper

Bubble Wrap

Greaseproof Paper

Tape (Scans)

Scans of tapes to be collaged over imagery in the publication to further present the family photo book aesthetic. These will be used alongside bespoke logo sticker designs of mine. 

Parcel Tape

Gaffa Tape

Bespoke Typefaces (developed)

The first typeface is an adaptation of 'Arial Black', from the initial ideas I knew I wanted to have one typeface to be san-serif and the other serif, for variation. Furthermore arial has great characteristics for publications, for example, its clarity and structure will allow for ease of legibility for headings, and will contrast & compliment the toned down imagery and textures used throughout the design of the book. 

The 2nd developed type-form is an adaptation of serif font, 'Times Romans'. I chose to adapt this typeface as Times' arms and serifs are very distinct, which would align with sometimes gaudy/art deco typefaces used on photo albums. I wanted to adapt into a type-form that still had these distinct characteristics to it, but would be able to fall into the background of the composition, and wouldn't dominate the visual hierarchy of the book, as the imagery is the key component of this publication. 

Logo & Sticker Design

Bespoke logos made by me, all of these designs reference elements of Will Fins photography, whether it is the camera logo in the top left, made from abstract forms and shapes, or the silhouette of someone jumping into water. These Logos could also works as sticks throughout the book, placed upon photographs to present the look of hand made family photo-book. These could always be printed as stickers in further developments, as due to COVID restrictions this outcome will be solely digital until facilities are accessible. 

Front Cover 

Experiments with type setting and imagery. These front covers designs for the family photo book incorporate elements of the colours in the Mediterranean aesthetic seen in my contextual research, the aim is to make an enticing, eye catching front cover that will reference the vintage aesthetic. Just two colours were used on the cover as the imagery doesn't need to be overwhelming an noisy, as it wouldn't coincide with the tone down aesthetic within the book, the imagery within the book needs to be the stand out aspect of this book, so finding the middle ground between eye catching colours and textures and a retro toned down aesthetic is key. 

Initial 

Developed

Incorporating elements of colour seen in the retro Italian posters from research onto the front cover. Also here, a bespoke logo made by me, creating a split in the composition, the top half being the name of the book and the bottom half, a logo referencing camera with abstract forms. The scan of black vinyl was used as background to compliment the colourful foreground, it also compliments the black edges to Will Finns imagery. 

Developments into using more negative space while still presenting the split in composition in a less abrasive style. Scans of a news-print paper stock were used in these developments, as to create a contrast to the black type and black abstract shape camera logo. 

Final

For this development the simple two way colour palette, with a the 2nd bespoke tyoeface covering the breadth of the cover, this is more legible and still isn't overwhelming or taking away from the toned down imagery inside.  

Inner Page Tests 

Here, some examples of tests with different paper stock finishes, with the aim of finding the right stock that wouldn't look too dated, would have enough character/texture to it to compliment the retro images, and fit the general look of a family photo-book. 

News Print - A clean look to it, with light hints of wear and texture. 

White Cartridge paper (crinkled) - Again, clean look to it, the creases in the paper are bit too deep in this scan, which takes away from the digital imagery, as the clash in texture breaks the illusion of the digital mockup.

Bubble Wrap - The digital imagery doesn't conform/integrated with the bubble wrap texture, still a good scan that could be implemented into future designs.

 

Black Vinyl scan - This texture fits the imagery the best creating a cohesive composition. The vinyl texture could simply be replicated on thick paper stock with rolling ink and sand paper roughen the finish.

Blotting Paper scan - Minor details in the blotting paper give this composition an authentic look. Further, the light colour would be great to add texture too. 

Savoye LET 

Final Publication (with bespoke stickers

Savoye LET typeface was used in the final publication, along with the bespoke serif typeface (for the front and back cover), and the bespoke serif font for the back cover. 

I used Savoye LET the tags for the photos, as I felt they more accurately presented the hand written element to the scrap-book/family photo-book. This design choice with the addition of parcel tap and bespoke stickers placed on imagery, as to replicate the hand made analogue quality of a family photo book, helps present the mockup in an authentic light.