Flight Centre Travel Group own a number of brands. My role at Flight Centre was to create publications from inception to print-ready for brands such as Escape Travel and Student Flights. The images shown are a cross section of these publications.
Also featured is the 200pp Leisure Brand Book which highlights Flight Centre's leisure brands such as Travel Associates, Cruiseabout, Escape Travel and Student Flights. The publication outlines each brand's target audience, USP, overall performance, and marketing campaign collateral including digital, print publications, retail fit-out, OOH and TVCs.
When I commenced my role at Designworks I was asked to rebrand the college. My idea was based on the ethos of craftsmanship where students would take absolute pride in the work they produced.
Pictured (along with rebrand rollout) is the old logo and the new logo. The new logo incorporates customised shared strokes between the 'N' of 'DESIGN' and the 'W' of 'WORKS' representing student and trainer working side by side. The typeface Akzidenz Grotesk originally designed in 1896 pays homage to a time of absolute craftsmanship.
The two slashes from the logo are used as a support graphic on a number of brand elements.
Images shown include triplex letterpressed business cards, website, hand-stiched course guide, wiro bound student visual diary, envelopes and t-shirt.
COLLECTIVE DIGEST APP
Collective Digest is an app I designed and developed for Designworks College of Design.
The interactive app includes selected features and videos from the past six issues from Collective Magazine and is now available for free on the App Store for iPad here.
BRIEF: The Southport Surf Life Saving Club required external and internal wall graphics for their restaurant and bar to be designed to reflect the historic nature of the club and its involvement with the Main Beach area. Images included the original Jubilee Bridge opened in 1925, recreation snaps at the beach and park from circa 1930s and beyond.
IDEA: My idea was to incorporate a mix of surf club members and beach goers on the external walls to reflect the relationship between the volunteers and public. It was important to utilse aussie colloquialisms to engage and inspire a sense of the club's culture and personality with the punters who love a day at the beach.
The interior walls (currently being printed) focus on the club's successes in both competition and beach patrols. These remaining walls will be uploaded on completion of installation.
STUDENTS OF DESIGN2 BOOK
Students of Design2 is a limited-run, 128pp hardcover, full-colour book that I coordinated, art directed, designed and published through Designworks College of Design.
The book profiles internationally acclaimed designers critiquing case studies from our graduating Diploma of Graphic Design class of August 2014 at Designworks.
Recent one colour A5 letterpress invitation I did for our graduating students portrfolio night and official launch of Collective issue two. Deboss effect achieved by a blind impression on the reverse side. Printed by our inhouse letterpress facility Impressworks, on K.W. Doggett's Keaykolour stock.
Intro to Graphic Design Process
BRIEF: To create a campaign to promote a six week introduction course to Graphic Design for Designworks College of Design. The design brief – to promote the introduction to graphic design course to our Brisbane campus – required print and digital marketing material that would cut through and create enrolments into the course as a way of introducing the college to the Brisbane audience.
APPROACH: The question I asked myself when attempting to analysis this brief was how to connect the target audience in a unique way that would look at the problem of engaging potential students to the Introduction to Graphic Design course – a different perspective was required.
There was little budget allocated, a short lead time and I needed to clarify the offering in a way that would engage the target audience – that being people who work for PR and/or marketing companies who wanted to hone their skills with graphic design and potential students who wanted to know more about graphic design before committing to a full-time course.
DESIGN PROCESS: Once the objectives of the brief were established, I began to explore a range of creative thinking techniques to generate ideas through a method know as forced connection. Forced connection (white board process pictured) is when you look and list the attributes of an object – in this case a mounted projector – that has nothing to do with the brief. Once these attributes are listed you trawl through the words and see how you can relate them to the brief. This technique I felt was the most appropriate and the result was a number of solutions that challenged the existing boundaries of a possible otherwise pedestrian solution.
This unfamiliar source of inspiration enabled a lateral approach. The aim was then to analise the results and be able to draw inspiration to a solution – to make connections and associations from things unconnected.
TESTING: As a result of the forced connection technique I then set about indentifing the range of different solutions to challenge the best way forward. Three separate ideas emerged: 1. Gaps – Gaps in knowledge 2. Reflection – Personal reflection 3. Smoke and mirrors – The perceived illusion of aspects of visual communication.
After evaluating and refining the three ideas, I settled upon the idea of Gaps in knowledge – in that Designworks could fill those gaps when it came to graphic design. I tested this solution on a number of my peers to gain feedback. The feedback proved very useful with the only concern as to how you demonstrate ‘gaps’ in knowledge in both a print and digital marketing format. After deciding on a very literal approach to a very lateral solution, one comment was made that I had to address, how to make the message of ‘R U I N’ not look like RUIN. It was decided to make the ‘R’ and ‘U’ in capitals and the ‘i’ and ‘n’ in lower case. This feedback helped me inprove the end result.
The tricky part here was how the idea of filling in the gaps could be utilised across print and digital while still maintaining consistency. e.g. If you received a printed version how would receiving a digital version maintain consistency with the central idea of 'gaps' in knowledge.
APPLICATION: Based on this I created a literal interpretation of the idea in a way that would force the recipient to engage with either the printed or digital marketing material.
The printed version would be sent out as a DL invitation (pictured) with gaps in the title of the course name on the cover (and a branded Designworks pencil, these were cheap to produce and sourced with a local pad printer) that were required to be filled in by the recipient. By leaving out the letters ‘R’, ‘U’, ‘i’ and ‘n’ there was a second hidden message in that not only were they completing the title of the course but at the same time we were literally asking them if ‘they were in’ ‘R U in?’ They could then open the DL to reveal the course infromation. These DL’s were personally addressed and sent to PR and marketing companies in the Brisbane area.
The digital version (pictured) would engage the recipient to click and drag the required missing letters to expose the message, as shown.
RESULT: The course attracted a good cross-section of the intended target audience and raised the awareness of the newly developed campus in Brisbane.
COLLECTIVE – ISSUE SIX
Collective magazine is a quarterly publication that I design and art direct for Designworks College of Design. The magazine is distributed to a number of design studios throughout Australia. The magazine is also available at selected locations in south-east Queensland including the Queensland State Library.
Students of Design1 is a limited-run, 96pp hardcover, full-colour book that I art directed and designed for Designworks College of Design. Content was drawn from our college produced magazine Collective. Shown are selected photos and print-ready spreads.
Students of Design1 was crafted entirely in Queensland, mixing sophisticated printing technologies with traditional hand book-binding methods.Printed on a state-of-the-art Indigo digital press, the hardcover edition was then hand section sewn and bound by students and staff of Designworks.
You can watch the process of the book from design to completion here.
COLLECTIVE – ISSUE FIVE
Collective magazine is a quarterly publication that I design and art direct for Designworks College of Design. These images are a selection of spreads from Issue Five (the DIGITAL issue) featuring Breeder, Guvnor, Kenny Smith, SouthSouthWest and Brodie Simpson (Student Profile).
I was invited to design a skateboard deck for a cancer fund raiser in my home town on the Gold Coast.
People with cancer PUSH through so much pain, both mentally and physically, hence the analogy with skateboarding, I imagine having cancer is like trying to PUSH a skateboard with great big spikes through it.
Process was to develop a typeface made up of dots, I used Stag typeface as a basis and adapted to allow for holes to be drilled through the deck at a slightly less circumference to the three inch nails that would be hammered into the deck. The board was then sold at auction with proceeds going to the Cancer Council.