Indiewood is a film festival run every year by the British Film Institute. The BFI is the cinephile's destination in the UK, running a range of seasons and festivals as well as hosting the prestigious London Film Festival every year. Each season requires a specific identify appealing to very different audiences with each festival focus.
Indiewood Film Festival brings together the cream of the crop from the independent film scene each year. The festival identity needed to bring out a flavour of what sets independent cinema apart from Hollywood. What is often frustrating for non-Hollywood films is that they are often lumped together in the 'independent' genre even though they are often so very different from one another. Independent film, as a genre, is also where audience would expect something unexpected - to be surprised, challenged, shocked.
With two days to deliver the identity and flyer, I developed a pattern for each film in the festival, bringing them together into a design that would be lively, on the edge of chaotic and off-balance. Something to unite but also reflect difference.
The fold of the flyer was crucial to the idea of surprise and difference, each layer revealing more patterns, more information, more detail.
Rolled out across the festival, the patterns can be used individually or brought back together across posters, tickets, t-shirts, tote-bags etc.
Working in a small creative team at The Mix, I was project lead on the refitting of our office space. With a small budget, we wanted to turn our single-space open plan office into a more dynamic working environment with different spaces allowing for people to get away from their desks to be able to sit and read, hold meetings, present and welcome clients into a space that represented the tone of the agency.
Dividing the space into three key areas, I created the Reading Room, Hard at Work and Hanging Out Together spaces. Each space serves a different function and the tone is set through the furnishings and colour pallette. The Reading Room is full of dark rich colours and textures, cosy armchairs to curl up in and a handing drinks trolley. Hard at Work is the only place with screens. Standing desks were introduced so that staff were encouraged to move away from their desk when not working directly on screen. Built from scaffolding and using natural wooden tops, the area is the brightest lit space in the office using metals and plastics throughout. Finally, the Hanging Out Together space is lit by festoon lighting, introducing plants and trellis, as close to being outside as possible in a basement office!
I created the design plan, managed the budget, ran the fitting schedule and finalised all the buying.
With two days to develop the hotel name and identity, I began by pulling key words from the brief - boutique, modern, quality - and working through various word-maps. Competition research revealed a trend for type-dominant brand marks, often with the name couched with 'the .....' or '.... house'.
The hotel was to feel British, cultured and needed to balance a sense of tradition with the hotels' modern twist. Ambry - a old-English word for wardrobe, pantry or closest - felt traditional and reflected the hotels boutique size with an air of sophistication.
The final mark is created from using the opposing corners from a cuboid - reflecting the name of the hotel and the hotel's boutique dimensions. A sans-serif font brings a sense of modernity balanced with a muted, warm and sophisticated colour scheme.
Rolled out to the full 'welcome' experience, the guest would receive a personalised key and welcome postcard. Every morning, they would receive an itinerary with suggestions from the hotel of activities for the day.
Underwire Film Festival is a client close to my heart. Having co-founded the film festival back in 2010 with a view to providing a showcase for women working across the crafts of filmmaking in the UK and having directed the festival for 3 years it was a pleasure to return as the festival designer for the 6th edition in November 2015.
Working with the new directors of the festival, I wanted to create a look and feel. The festival has a bold voice, taking a stand against the woeful statistics on gender equality in the film industry and to take this through into the look of the fest I restricted our colour palette to black and white only.
Supporting the team with the copywriting, we created a set of postcards to promote submissions and to catch the eye of the casual passer-by with some spiky film-related slogans. Moving through into the assets for the festival itself we wanted to create a programme that people would want to spend time looking through, not simply an information pamphlet, something the filmmakers involved would be proud to see their name in. Using a editorial style and bringing through that same spiky tone of voice, I developed an A5 brochure, which for the first time for the festival carried advertising space.
Taking care that the visuals for the festival where consistent across every platform, I rolled out assets for social media, badges, tickets, wayfinding, posters, advertisements, awards mugs, volunteer t-shirts and laurels.
Thickets are a three-piece alternative-folk band. Working closely with the band on creating their first artwork, I spent a lot of time listening to their tracks and trying to get to the heart of their beautiful music. I wanted to create something that was gentle yet fierce, beautiful yet sinister, vintage yet modern.
Hear their music at www.thickets.co.uk
One of a series of books created as part of the team at The Mix, I fully illustrated our Three Islands book - a thought piece dispatched to clients.
Azuki is a new high-end Japanese restaurant opening in the heart of London's Mayfair. It serves modern contemporary Japanese food to local business people and residents. The restaurant has a centrally located grill which allows diners to sit and watch the food preparation.
I had one week to produce a logo, colour palette, menu and business card for the restaurant. It was important for me that the restaurant's cuisine be quickly identifiable for prospective customers without being kitch. In choosing the Letter Gothic Std font, it brought together a strong, modern typface that incorporated soft rounded lines in the K, echoing Japanese characters.
Looking to the menu design, given the high-end nature of the restaurant, I wanted every aspect of the customers experience to be considered and have them interact with the restaurant from the moment they sit down. The origami menu brings a simple and attractive decorative aspect to the table design, and immediately brings curiosity to the dining experience.
A new industrial and product design festival was being established in London in 2015 needing a name and a visual identity. I developed the Artefact Festival after exploring definitions around craftsmanship. Artefact in essence means an object made by a human being. I felt strongly that this was a great name for this event. As with many areas of design, the humans behind industrial and product design are often invisible to end users. I wanted to use this name to make the connection between those humans and the designs that were to be showcased - a platform celebrating the makers of Artefacts.
It's a name often associated with museum pieces, and rather than avoid this association I embraced it inspired by the glass boxes used to house artefacts particularly in Victorian design. Using strong geometric shapes to house splashes of colour representing imagination I created the visual look and feel for the festival, rolled out into posters and website suitable for both desktop and phone browsing.
I was delighted to work with author Frances Booth on her second non-fiction book for publication in early 2016. The book was due to be published first as an ePub for download which proved an interesting challenge for the design - it had to work strongly as a postage-stamped sized thumbnail on amazon as well as full-size in the bookstore.
Working closely with Fran, I wanted to bring out the human element of the book - the tone is very much from one writer to another imparting advice and strategies to get started and also to keep going with your writing.
Fran says of the project "It was a pleasure working with Gemma. She's great at ideas, easy to work with and hardworking. She thought about the project carefully and created a really original book cover design. Thank you!"
Working with the incredible Fred Deakin, of Airside and Lemonjelly, in his current role as UAL Chair of Interactive Digital Art I produced Collabology April 2015.
Collobology is an experimental education initiative setting out to ready the next generation of creative graduates for the real world. As a bridge between academia and industry, Collabology is an intensive, collaborative workshop that introuces hand-selected students to the fast-paced and cross-disciplinary environment of modern professional practice.
For our April workshop, we received funding from Creative Skillset to not only deliver the workshop to a real-world London hub with University of the Arts London participants, but to role out the workshop into the digital space with online participants joining from Manchester School of Art and Falmouth School of Art.
Partnering with Makerversity and Somerset House, guests to the programme included Nat Hunter of The RSA, Liam Fay-Fright of Semoaphore, Joel Gethin Lewis of Hellicar and Lewis and Hem Patel of Signal Noise.
For more about the project visit http://collabology.org/
Sunder is a contemporary culture magazine for the iPad, taking a unique editorial perspective on news, politics and culture. With a name and their first editorial pieces, they required a masthead and interactive articles.
Sunder is a new magazine for iPad, targeting an 18-35yo culture-vulture demographic. Taking the definition of Sunder - to separate; part; divide; sever - I developed a masthead that is strong yet divided, that would allow breathing space for photography and full-page taking advantage of the iPad ratio and functionality. As an iPad magazine with a tech-savy audience, it was important to take advantage of the technology to deliver an enhanced experience of the editorial. Each article has it's own defined style and colour-pallette relevant to the content.
The New York Public Library required a new print campaign to push new visitors and membership. With copy already in place, I initially devised a resolution for the trifold leaflet, and rolled this campaign out to additional assets including a bookmark, poster campaign and tote bag collection.
For me, the New York Public Library is synonymous with the city itself - no visit to New York would be complete without a visit to the magnificent building. When I think of New York you cannot escape the birds-eye-view grid of the city map, tall towers of glass. I created this irregular grid structure to echo these structures of the city. Black and white at its base, the two yellow lines only cross at the junction where the library is - a beacon in the city for inspiration, discoveries and connections.
Donna Tartt is one of my favourite authors and with the release of her third novel it was time to develop a collection identity bringing her series of novels together. The project was set with one challenge - to create something handmade.
The Secret History was the first of her books I read so I took on this concept development first. A story about a close group of friends, a murder and a timely snowfall and themes of rational vs emotional states I developed concepts based on materials that would change from solids to liquids to reflect the move from a rational to an emotional state of being.
Working with various mixes of icing and PVC glue I created a series of falling snowflakes.
Creating a rule for the subsequent covers I developed concepts that would work in white and would always involve a state of falling.
The outcomes are created from a falling white sheet, and falling plaster.