LO4: Reference your practice within professional, economic and social contexts, and show an ability to comment and reflect on the theory of graphic design
Now that you have reviewed your feedback and revisited work produced earlier in the unit, we would like you to create a ‘Process’ book. So what is a process book? Quite simply, a process book documents your research, development, experimentation, use of materials and mediums, testing and finally, resolution. So what is the difference between your OCA Learning log and a process book? Not a great deal with regard to content, however, a process book allows far greater control of how your material is designed and presented. It gives you complete control of layout, typography, format, paper stock and length. The proliferation of digital printers, such as Blurb, allows your process book to be printed as a one off very cheaply. Alternatively companies such as Issuu, can publish your process book as an interactive flip book. So why should I design a process book? As well as giving you complete freedom and control, a process book can become a tangible part of your portfolio. A carefully designed book showcases not only your thinking but your practical command of graphic communication skills. This might seem a daunting task but you already have the written and practical content from the exercises and assignments. So it just becomes a question of organising and editing the material and then creating a layout. To get you started, you will need to use a layout programme such as Adobe InDesign, QuarkXPress or Affinity publisher. All three have powerful tools that will help you to complete the book with speed and consistency. Once you have created the process book, it can become a template for subsequent units.
Things to consider:
Unlike your OCA Spaces Journal, a process book has a front and back cover and also a spine. The front cover can include your brand identity, created earlier in the unit.
Create master pages (parent pages). This will aid consistency and save you time
Create a grid to include columns (all can be altered, if necessary at a later point)
Create character styles. Restrict yourself to four or five. Again this will aid consistency and allows you to make changes universally to the document. As an example, I might create the following: Character styles for titles, body copy, sub-heads and captions.
Page count: Remember this is entirely up to you but don’t cram too much material into the spreads. Allow the work enough room. A page could just be a single word.
To help you get started:
Firstly, create a folder on your desktop and title it, Process book assets.
Next start to populate the folder with images, development work, (photos screenshots) finished pieces etc.
Next copy and paste all your written pieces into a Word or Pages document and then put the file in the assets folder. You now will have all the material in one place which will help you populate the book.
Next open a new document in your chosen software and indicate size, pages, columns etc. See the example below using Adobe InDesign.
Once you have done this you will have a document ready to populate with your assets. The first page is your front cover. Consider how you want to organise the pages, for example in chapters or the 10 project assignments. You could at this point create a flatplan made up of thumbnails to help with this.
Now that you have started to add content (two or three pages), create four or five character styles as mentioned earlier. Once you have done this, experiment with your layout by editing the character styles, for instance change the title size colour and font — you will see that this will change all instances of titles throughout the document. This allows you to edit a document universally, saving you time and providing consistency to your book.
Spend some time creating alternative layouts and then finally save the document as a PDF.
Upload it to your learning log. Below are some useful links that will help you create your book:
A process book is a structured and reflective document that records the creative journey behind a design or project. It includes all stages of development such as initial research, brainstorming, experimentation, testing and refinement leading up to the final outcome. The primary purpose of a process book is to show not just the end product but the thinking, problem-solving and decision-making that occurred along the way. It serves as a portfolio piece, learning tool and demonstration of creative strategy and professional workflow (AIGA, 2021).
In educational and professional design settings, a process book helps to articulate and communicate how and why certain choices were made. It can take both physical and digital forms and may include sketches, mood boards, notes, feedback, annotated visuals, and technical development (Shillington Education, 2023).
Inspirations: Analysing some designs
Pinterest, 2025
What I really appreciate about this brandbook is how well it balances clarity with visual storytelling. The clean grids and soft lavender tones create a calm and inviting atmosphere that makes the content feel digestible. I also love the consistency in how the visual elements flow, icons, photos, type and shapes all work together in harmony. It inspires me to be more intentional with structure in my own process book, using thoughtful colour palettes and repeated design elements to make everything feel cohesive and easy to follow.
This one immediately grabs my attention with its bold use of orange and black, it feels modern, confident and energetic. I really like how the pages showcase different applications of the brand across posters, merchandise and layouts. It feels alive and connected to real-world use. For my process book, I want to bring that same boldness into how I present my outcomes maybe through mockups, printed material examples or large-scale visuals that make the design feel tangible and impactful.
Pinterest, 2025
Pinterest, 2025
What really grabs me here is the bold use of typography, how the word “Analog” dominates the page and feels almost sculptural. It’s clean but dramatic and I love how type alone becomes the main visual. This reminds me that I don’t always need images to make an impact. In my process book, I’d like to experiment with oversized type and negative space to create visual pauses between sections or to emphasise key ideas in a way that feels confident and modern.
This layout has a quiet structure and thoughtful pacing. I like how it breaks everything down clearly with clean grids, earthy colour accents and soft photography. There’s a calm, instructional tone that doesn’t feel overwhelming. I want to bring some of that clarity into my own book, especially when explaining my process steps. Using consistent page structure and minimal design will help my content feel more approachable and grounded.
Pinterest, 2025
Pinterest, 2025
This design just feels joyful and expressive, it’s full of colour, energy and personality. I love the illustrated portraits and how they pair with bold backgrounds to make each section feel distinct. It celebrates individuality in such a playful way. I’d like to bring some of this boldness into my book, especially when showcasing my final work. Even just using bright colour blocks or layering hand-drawn elements could give my layout more warmth and emotional connection.
This one feels friendly and hands-on. I like the muted navy and mustard colour scheme, it’s calming but distinct and the hand-drawn illustrations add a personal touch. What stands out is how it combines information with visual storytelling so naturally. For my process book, I want to incorporate small illustrations or diagrams too, especially when explaining abstract ideas. It makes the content feel more handcrafted and personal, which I think suits the spirit of a creative process.
Pinterest, 2025
Pinterest, 2025
I love how expressive and bold this design is. The bright imagery and clean layouts feel experimental but still readable. It plays with alignment, scale and colour in a way that feels playful and contemporary. This makes me want to loosen up a bit with my own layouts maybe allowing myself to be less rigid to experiment with layering and asymmetry in places where I want to communicate creativity or emotion.
This one feels lighthearted and fun and I love the pastel palette, it gives the whole portfolio a dreamy and approachable tone. The use of colour blocks, clean fonts and personal imagery makes it feel very connected to the designer’s personality. I think this could inspire the more personal parts of my process book, like the introduction or reflective sections, where I want my voice to really come through in a friendly and honest way.
Pinterest, 2025
Pinterest, 2025
This design has a really strong presence with the dark backgrounds and punchy contrast. I love how it feels confident and stylish, especially with the graphic elements like arrows and bars. It reminds me that bold colour and sharp layout can create a powerful mood. For my book, I might use this kind of approach for chapter dividers or to highlight final outcomes, anywhere I want the viewer to feel a sense of polish and impact.
What I really like about this layout is how warm and inviting it feels. The soft pinks paired with natural photography give it a calming, almost spa-like quality that feels personal. I also appreciate the structured grid, it balances text and imagery so everything feels easy to read but still visually engaging. For my process book, I’d love to adopt this balance between calm colour palettes and clear sections to make my work feel approachable and well-organised.
Pinterest, 2025
Pinterest, 2025
The use of flowing lines and minimalistic vector shapes in this design really caught my eye. It’s elegant, fresh and professional without feeling too rigid. I like how each cover has its own unique twist while still feeling like part of the same family. I think I could use similar wave motifs or soft geometric accents throughout my process book to add some visual rhythm and cohesiveness from page to page.
This layout is sharp and striking, especially with its use of diagonals and bold pink accents. It has a more dynamic, energetic feel that contrasts nicely with some of the softer designs I’ve seen. What I want to take from this is the boldness, it reminds me that structure can still feel exciting. I might incorporate some of these angular layouts in my chapter dividers or intro spreads to add more energy to my process book.
Pinterest, 2025
Pinterest, 2025
There’s something really dreamy and modern about this one. I love how the pink tones are softened with gradients and how the use of circles and overlays gives a futuristic vibe. It feels like something from a digital product brand or startup pitch and that’s inspiring. For my own book, I think I’ll experiment with layering elements like this overlapping shapes or photos to give certain sections more depth and visual interest without overcomplicating the layout.
After spending time looking through all these visual references, I’ve realised that a soft, minimal layout with warm pastel tones, especially pinks, feels like the right direction for my process book. I’m really drawn to that mix of clean structure and gentle, welcoming design. I want the book to feel polished and professional, but also have a personal, approachable touch. Using warm colours, subtle overlays and carefully chosen typography and imagery will help reflect both my thought process and design style. My aim is to keep everything clearly organised while still creating a visual flow that feels calm and engaging throughout the book.
Mind-mapping
Thumbnails
Typeface
For the typeface in my process book I want something to reflect both clarity and calmness. I lean towards clean, modern typefaces that are easy to read but still have personality, nothing too sharp.
I chose Playfair Display and Fira Sans because together they felt like the right balance between personality and simplicity. Playfair Display has this elegant, slightly classic feel that gives my titles a bit of presence without feeling too formal. It adds a nice contrast to the clean, modern look of Fira Sans, which I used for body text because it’s super readable and easy on the eyes. I didn’t want anything too stiff or too plain, just something that felt thoughtful and well-matched to the soft, minimal style of my book. This combo let me keep things looking clear and structured, while still bringing in a bit of character where it counts.
Putting this process book together really made me stop and appreciate how much I’ve grown throughout the unit. It’s not just about the final designs, though I’m proud of those, but also about how my thinking and approach have developed over time. Looking back through each project, I can see how I’ve become more confident with research, sketching ideas and making design decisions that feel intentional. I’ve also tried to keep the layout of the book clean and consistent, which I think reflects how much more attention I now give to the overall presentation of my work.
Each project had its own challenges and learning moments. The 21st Century Zoo branding made me think beyond just a logo, and the Spin the Bottle project helped me understand how design connects to everyday use and user experience. I think the self-promotion piece was the most personal, it really made me reflect on who I am as a designer and what I want my work to say about me. Putting that part together felt honest and surprisingly fun.
One thing I noticed while building the book is how important it is to not just show the work but also explain the thinking behind it. If I were to do it again, I’d try to include more notes about the early stages and what was going through my head as ideas were forming. But overall, I’m really happy with how the book turned out. It feels like a true reflection of my journey, not perfect but thoughtful, honest and full of growth.
Building on the research and writing you have already done, create a final draft of your 1,250-word critical review, or 10 minute visual presentation. Before you forward your Critical Review to your tutor, please ensure that you have:
Spell-checked your document.
Used Harvard referencing for any essay quotes.
Created a bibliography citing all the books, journals, or other documents you have made reference to in your text (Your bibliography is not included in your 1,250-word limit or 10 minute audio/visual presentation). Saved it as a PDF, a powerpoint or a recognised video or film movie format.
Most of the coursework you’ve created so far has been a result of specific tasks with clear objectives defining the outcome. However every design or image you produce has a potential value or use beyond the completion of an exercise or assignment. At the end of Unit 1.1: Elements of Design, we asked you to go through the artwork / designs you’ve created throughout the course, and we would like you to repeat this task for this unit. Review your sketchbooks, working drawings and thumbnails as well as the more ‘resolved’ or finished design work. Try to step back from each task’s original context, and its success as measured against your original intentions and aims, and make your selection purely on whether you enjoy the outcome aesthetically or conceptually. Photocopy or scan a selection from your exercises and assignments to make a sample ‘portfolio’ of sketchbook work, images or designs as a showcase for your different visual approaches and styles. Make notes on your choice, it will be a valuable step towards making your selection of creative work and learning log entries when you submit for assessment.
Over the course of Projects 1 to 9, I’ve explored a wide variety of design approaches, from branding and visual identity to layout, campaigns, and interface design. Looking back now, I wanted to take a step away from the original briefs and objectives and instead focus on the work that still resonates with me on a personal level. These are the pieces I either enjoyed creating, learned something important from or still feel proud of whether they were fully finished or just an idea that stuck. What follows is a selection of those moments, showing how my thinking and style have developed throughout the unit.
Project 1: How the Industry Works
This piece helped me make sense of how broad and interconnected the design industry really is. It was a bit of a brain-stretch at first but once I started mapping things out, it became clearer and quite fun. I liked finding a way to visually untangle all that information. It reminded me how much I enjoy turning complex ideas into something people can actually see and understand.
Project 2: Promotional Posters & Your Town Onstage
Promotional Poster
I chose this piece because it was one of those moments where I just let myself play with type and see where it went. I wasn’t overthinking it, I just liked the contrast between the bold, textured letters in the background and the clean, bright text over the top. It ended up being a fun way to explore type as more than just words, almost like shapes or visual elements in their own right. I like how strong and graphic it feels, even though it’s quite simple. This one reminded me that sometimes the best ideas come from just experimenting and enjoying the process.
Assignment 2: A Sweet Identity
This piece was a fun one, I got to experiment with mixing hand-drawn elements and digital polish, which felt like a good balance between playful and put together. It was one of those moments where the design came together in a way that felt light and approachable but still intentional. I like that it has a bit of personality while keeping things clear and clean.
Project 3: 21st Century Zoo (Logo Evolution)
This was my first real attempt at building a visual identity system and I approached it with the idea that a modern zoo should feel warm, accessible and connected to nature not corporate or cold. I chose a hand-drawn style for the logo to reflect that organic, approachable feel and the large paw print helped ground it in something playful and immediately recognisable. I really enjoyed combining earthy textures with a clean layout, it gave the whole look book a friendly tone. This project made me think more deeply about how design can carry a message beyond just aesthetics, in this case, communicating care for animals and the environment in a way that feels genuine and family-friendly.
Assignment 4: Getting to Know You
I chose this piece because it feels the most me. It was the first time I really leaned into my own visual style, soft, expressive and handcrafted. And let that guide the design instead of trying to match someone else’s expectations. The combination of delicate watercolour textures with clean typography struck a balance I really love: gentle but confident. It felt like I was introducing myself not just with words but with design that spoke for me. This assignment helped me clarify the kind of designer I want to be; someone who values detail, emotion and a strong personal voice.
Exercise 5.1: Spin the Bottle
I chose this work because it pushed me to think more commercially and creatively at the same time. Designing for a real brand like Evian made me look closely at how subtle things, like colour, texture or typography can change the feel of a product. I experimented with different visual styles to see how each version could still feel “on-brand” but offer a new twist. It was one of the first times I let myself go through a proper trial-and-error process, exploring multiple outcomes rather than aiming for a single “right” answer. That freedom made the whole project more playful and rewarding and I ended up with results I was genuinely excited about.
Assignment 5: Redesigning a game
I picked this project because it was genuinely fun to work on. Redesigning Dobble into something that teaches maths felt like the perfect mix of creativity and purpose. I liked the idea of making learning feel playful, not like a chore. Playing around with different fonts, colours, and numbers let me be a bit more experimental and I added equations and math symbols to add an extra layer to the game.
Exercise 6.1: The Front Cover – Reading Matters
I picked this exercise because it reminded me how much I enjoy working with stories. Designing a book cover meant thinking about how to capture a whole mood or message in just one image, no pressure! But honestly, I loved the challenge. I spent a lot of time tweaking the layout and typography until it felt balanced and I found myself really caring about the little things. It was one of those projects where I felt more in control of my choices and more confident in trusting my instincts.
Assignment 6: Professional Bodies and Graphic Design Competitions
I picked this assignment because it really challenged me, in a good way. Trying to redesign the cover for Sapiens meant boiling down a huge, complex story into one simple, striking image. I played with the idea of human evolution running along a DNA strand and that visual just stuck with me. It felt like a way to show both where we came from and how far we’ve come, all in one. I ended up making a few versions because I couldn’t settle on just one direction but I actually enjoyed that part of the process. It pushed me to be more critical and intentional with my choices.
Exercise 7.1: Bon Voyage!
I picked this exercise because it just felt really meaningful to make. Designing something for Istanbul Duty Free gave me the chance to represent a place that’s full of personality and culture and I wanted the logo to reflect that without feeling too corporate. The tulip felt like a natural choice, it’s simple but says a lot and adding a hand-drawn touch made it feel more personal. I also played with the lettering to keep it loose and welcoming, almost like a signature. This project reminded me that design isn’t just about looking good, it’s about capturing a feeling, a sense of place. And I really loved that challenge.
Assignment 7: Unlikely Alliances
I chose this project because it let me bring together two things I didn’t expect to combine, a modern cafe brand and the timeless elegance of William Morris–style pattern design. I’ve always loved his work and using that as inspiration gave me a new way to think about texture, detail and how visual identity can create atmosphere. The floral pattern I created felt like a natural fit for Megan’s soft, handcrafted and a little nostalgic.
Exercise 8.1: Taking Creative Risks
I chose this piece because it represents one of the biggest creative risks I’ve taken and also a big step forward. It’s a complete reworking of a design I made in a previous unit but this time I approached it through the lens of surrealism, which gave me the freedom to be more expressive and instinctive. I let go of structure and focused instead on atmosphere, symbolism and emotion. The melting clock, the black hole, the calendar marked with 13, all of it was my way of visualising time as something fragile and distorted. It’s a bit unsettling on purpose. What made this one so important for me was not just the final image but the process of reimagining an old idea in a completely new way.
Assignment 8: Working with a Difficult Client
I chose this project because it tested more than just my design skills, it really challenged my ability to listen, adapt and stay patient. The fictional client had strong opinions and while that was tricky at times, it also pushed me to think more deeply about the purpose behind every design choice. I leaned into bold, gold visuals and ancient textures to reflect the richness and history of the Incan culture, while keeping the layout clean and clear for a public audience. Even though the process felt a bit tense, I actually learned a lot from trying to meet those expectations while still staying true to a vision I could stand behind.
Assignment 9: Take a Stand
The reason I chose this project is because it felt like I was designing with real purpose. Creating a campaign about sustainable fashion gave me the chance to speak up about something that matters to me, not just as a designer but as a person. I wanted the visuals to be loud and hard to ignore, so I went for strong colours, bold typography and simple but impactful illustrations. The idea was to make people stop and think about where their clothes come from, who makes them and at what cost. What I loved most was using design as a tool for awareness and change.
When you have completed the assignment, take some time to write a 750-word reflection about your experience of this unit as a whole so that your tutor can see it before you include it in your assessment submission. If it’s useful you could reflect using these questions as a starting point:
What does Graphic Design mean to me?
How did my creative approaches to graphic design develop over the course?
Did the use of creative strategies like mind maps and spider diagrams help the development of my ideas?
What do I feel and think about the processes of experimentation I have undertaken with a range of materials and technical approaches ?
How has looking at other creative practitioners’ drawing and design and reading about their work expanded my understanding of visual communications?
There is time between completing your final project and the assessment event to rework your coursework. You may want to revisit and improve on some of your earlier projects, or think about how best to re-organise your portfolio once you’ve received feedback from your tutor.
Remember to give yourself a final self-assessment check against the unit learning outcomes before you submit your work for assessment. Make adjustments if you think there are any areas you can strengthen.
Final Reflective Statement
Now that I have reached the end of this unit, I have had some time to pause and really think about everything I’ve learned, not just in terms of skills, but also in how I approach graphic design as a whole. This experience has shifted the way I see design, creativity and even myself as a designer.
What Graphic Design Means to Me Now
When I started, I thought graphic design was mostly about making things look good: clean layouts, strong visuals, good use of colour. But over time, I have come to understand that it’s so much more than that. Graphic design is a form of communication. It’s about telling stories, solving problems, and connecting with people. Every design choice, whether it’s the typeface I use, the composition, or even the materials, says something. Now, when I approach a project, I think first about what I want to say and then how I can say it visually. That shift in mindset has been one of the biggest takeaways for me.
How My Creative Process Evolved
Looking back, I can definitely see how my creative process has changed. At first, I would rush to the final idea, eager to start making something. But now, I’m more patient. I spend more time exploring and playing with different directions before committing to one.
I also started taking more creative risks. In the beginning, I stuck to what I knew, mostly digital tools and clean, minimal styles. But through the unit, I started mixing media more, experimenting with texture, collage, even going back to hand-drawing at times. It wasn’t always comfortable but it was worth it.
Using Mind Maps, Diagrams, and Other Creative Tools
I will be honest, at first, I did not like doing mind maps or spider diagrams. They felt like extra steps. But after a while, I started to see the value in them. They helped me slow down and really dig into the why behind my ideas. Laying things out visually gave me clarity and sometimes led me to unexpected concepts that I would not have found just by thinking in my head. They became part of my workflow, not just a requirement but a tool I actually used to build better ideas.
Experimentation and Working with Materials
Experimenting with materials was a huge part of this unit and one that really opened things up for me. I tried working with combining hand-drawn elements with digital ones. Some of it worked, some of it didn’t, but the process always taught me something. One of the most surprising things I learned was how imperfections can add personality and depth to a piece. Not everything needs to be polished or slick. Sometimes the rough edges or mistakes bring out the emotion or rawness of a message.
I have also become a lot more comfortable using programs like Illustrator and Photoshop in combination with physical materials. That hybrid way of working feels like a space I want to keep exploring.
Learning from Other Designers
Researching other designers was a major source of inspiration throughout the unit. Seeing how different creatives approach their work helped me understand how broad and expressive the field of graphic design can be. It’s not just about following trends or making something “cool”: it’s about having a voice. Learning about designers like Paula Scher or Saul Bass gave me insight into how powerful visual storytelling can be when it is driven by a clear idea and a strong sense of purpose. It also made me think more critically about my own work, asking myself what story I’m telling and who I’m telling it to.
Looking Back and Moving Forward
As I prepare my portfolio for assessment, I have taken time to look back over my earlier projects. It is clear to me now how much I have improved, not just technically but in how I think and reflect on my work. I’ve gone back and reworked some pieces with a better understanding of layout, hierarchy and how to make my message clearer. Getting feedback from my tutor was incredibly helpful and reorganising my portfolio has helped me tell a more cohesive story about my development.
Final Thoughts
This unit has pushed me to think more deeply, experiment more freely, and work more intentionally. I have learned that graphic design is not just about visuals, it’s about communication, emotion and connection. I am proud of the work I have done but even more excited about where I can go next. I know there is still a lot to learn but I feel more equipped now with better tools, better habits and a better sense of who I am as a designer.
You may or may not have an online presence, so it is worth reviewing your current options. There are many platforms available, offering different levels of interactivity and functionality. Increasingly, the importance of being ‘smart’ on how you share your work on social media platforms is also key. Below is a list of some of the better known platforms. Do some research on these and then review the pros and cons of each platform. For instance, Instagram may have a huge number of active users but is rigid in format and is perhaps more geared towards photography (or pictures of your dinner). If you are using a different platform then also include this.
Behance
Dribbble
Adobe Portfolio
Coroflot
Portfoliobox
Instagram
You should treat your portfolio like a bestselling biography. It needs; history, nostalgia, growth, progression, excitement, energy, relevance, development and most of all, a clear and compelling story.
Behance
Behance is a free platform run by Adobe, and it’s really popular among designers and artists. It’s easy to upload your work, and other creatives and clients can discover you through tags and categories (Skillshare, 2023). But it can feel a bit stiff. The layout is the same for everyone, and while it’s great for visibility, it doesn’t give you much room to tell the deeper story behind your projects (Boelter, 2024).
Dribbble
Dribbble is perfect if you want to show off small visuals like icons, branding, or UI elements. It’s more like a gallery of highlights than a full portfolio, but it’s great for getting noticed and even finding design jobs (Skillshare, 2023). The downside is that it focuses on visuals only. There’s not much space to explain your thought process or showcase full case studies (UX Playbook, 2024).
Adobe Portfolio
If you already use Adobe Creative Cloud, Adobe Portfolio is a bonus feature you can use to build a simple, clean website for your work. It looks professional, connects easily to Behance, and is easy to set up (UX Playbook, 2024). The only catch is that it doesn’t give you a lot of creative freedom with layout and design, so it might not stand out from others who use the same templates (UX Playbook, 2024).
Coroflot
Coroflot is a lesser-known platform, but it still has a job board and basic portfolio features. It’s straightforward to use and aimed at designers just starting out (Vardot, 2024). However, it’s not very active anymore and lacks the modern features or large audience that platforms like Behance or Dribbble offer (UX Playbook, 2024).
Portfoliobox
Portfoliobox is a good option if you want more control over your site without needing to code. It has clean templates, and you can add features like blogs, contact forms, and even a shop (Vardot, 2024). It’s more flexible than Behance, but the free version comes with limits and branding, so you may need to upgrade to make your site look fully professional (UX Playbook, 2024).
Instagram
Instagram isn’t a portfolio in the traditional sense, but it can be a powerful tool to share your work and personality. It’s great for quick updates, behind-the-scenes content, and building a following (Skillshare, 2023). However, the format is limited—you can’t organise projects or explain your process easily, so it shouldn’t replace a real portfolio site (Boelter, 2024).
Summary
A strong portfolio should feel like the story of your creative journey. Think of it like a biography, it should show where you started, what you’ve learned, the problems you’ve solved, and where you’re going next. For each project, try to include the background, your design process, the results, and what you took away from it (Bridgegood, 2024). People aren’t just hiring your skills, they’re buying into your growth and vision.
Self-Reflection
Doing this research task really helped me get a better understanding of the different platforms out there for showcasing creative work online. I already knew about some, like Instagram and Behance, but I’d never really compared them properly or thought about how each one could shape the way my work is seen by others, especially potential clients or employers.
One of the biggest things I took away from this was the idea that a portfolio shouldn’t just be a collection of finished projects. It should actually tell a story about who I am as a creative, how I think, and how I’ve grown. The “bestselling biography” idea really stuck with me. It made me realise I need to be more intentional when presenting my work, talking through what the brief was, what problems I solved, and what I learned along the way.
I also learned that not all platforms are built for that kind of storytelling. For instance, Behance is great for exposure, but it’s quite structured and doesn’t leave much room for personalisation. In contrast, tools like Adobe Portfolio or Portfoliobox give more freedom to explain your process and add your own voice. That made me realise there’s real value in using a mix of platforms, one that tells the full story and others that help get it seen.
Something that surprised me was how useful social media, especially Instagram, can be when it’s used thoughtfully. I used to think of it as more casual, but now I see how it can support a personal brand and give people a window into my process and personality. It’s not a substitute for a proper portfolio, but it definitely plays a role in building an audience and connecting with people.
Overall, this task made me think more clearly about how I present myself as a designer. It pushed me to be more strategic with the platforms I use and to think beyond just showing finished work. I feel more confident now about creating a portfolio that’s not just visually polished but also meaningful and personal.
Following each of the projects you would have received formative feedback that outlines the strengths and weaknesses of the work you have produced. Critique, as already discussed earlier in the unit, is an important part of your development. Of course, feedback needs to be constructive and provide genuine objectivity. Alongside tutor feedback, you will have no doubt received opinions from people you may know, friends or family for example. This can often be subjective and based on simple personal preferences. You need to be able to make this simple distinction in order to develop your work further. Identify key words and advice from the feedback provided by your tutor(s). What are the main strengths and weaknesses? What actions have been suggested to improve your work? Are there any recommendations that are along the same lines?
Once you have done this, collate the data and produce a simple two page spread, using the left page for strengths and what you enjoyed, and the right page for weaknesses or what you could improve.
My tutor’s feedback
Strengths and What I Enjoyed
I consistently show strong initial research and thoughtful design development.
My use of mixed media and experimentation has been praised, especially when I step beyond digital solutions.
I have a clear and effective visual style across my projects.
Personal interests come through in my branding work, which helps strengthen the authenticity of my outcomes.
My confidence in thumbnails and design progression is well recognised.
Weaknesses and What You Could Improve
Avoid jumping too quickly to digital; spend more time on experimental or analogue techniques.
Extend my research by analysing why I’ve selected examples and how they influence my work.
Develop more variations in my early-stage designs (e.g., lettering, colour palettes, patterns).
Be more visually playful: explore alternative materials, scales, and media combinations.
Improve navigation of my blog by breaking tasks into individual links.
For this exercise you will design the interactive touchscreen interface for a self-serve store or restaurant checkout.
Identify any local shops and restaurants that have SCOs, visit these shops and see what you can find out about the terminals used. Explore the visual design as well as the function. What does each screen look like? How easy is it to navigate? What happens when there is an error or store personnel needs to be called to help?
Based on the research, identify the problems that you might be able to solve with better design. Then explore a number of possible solutions.
Mind-mapping
Research
Features of a good SCO interface
A good Self-Checkout (SCO) interface should balance speed, clarity, accessibility, and error recovery. As these systems are often used by a wide range of people in busy environments, a well-designed SCO interface needs to guide users through tasks smoothly and with minimal friction. Below are the key features of an effective SCO interface, supported by relevant academic and professional sources.
1. Clear and Consistent Navigation
Users should always know where they are in the process. A good interface includes clear progress indicators (e.g. Scan → Bag → Pay → Receipt) and consistent layout and terminology across screens. This helps reduce cognitive load and prevents user confusion (Nielsen, 1995).
2. Accessibility Features
SCO interfaces should support users with visual, motor, or cognitive impairments. Features like text-to-speech, adjustable font sizes, high-contrast modes, and tactile feedback are essential. According to the Web Content Accessibility Guidelines (WCAG), ensuring at least a 4.5:1 contrast ratio and offering keyboard/touch navigation alternatives are crucial for inclusive design (W3C, 2018).
3. Large, Readable Touch Targets
Buttons and interactive elements must be large enough for users to tap accurately, ideally around 9–12mm in size. This helps reduce user error and improves speed, especially for those with limited dexterity (Norman, 2013).
4. Simple and Familiar Language
Text should be easy to understand, avoiding technical jargon. Using familiar phrases like “Place item in bag” or “Insert card” ensures users don’t get lost in complex instructions (Krug, 2014).
5. Effective Error Handling and Recovery
Good interfaces provide helpful feedback when something goes wrong, such as “Unexpected item in the bagging area.” Importantly, they should offer clear options to resolve the issue, like a visible “Call for help” button. Unclear or generic error messages can increase frustration and slow down the checkout process (Dix et al., 2004).
6. Fast and Responsive Performance
Interfaces should be fast to respond to touch inputs and display changes immediately. Delays can frustrate users and slow down queues. Real-time feedback (visual or audio) helps reassure users that their input has been registered (Rogers, Sharp & Preece, 2011).
7. Multilingual Support
In multicultural environments, providing language options at the very beginning of the process ensures that non-native speakers can navigate the interface with confidence (Tidwell, 2020).
8. Brand Alignment with Functional Simplicity
While aesthetics matter, the interface should never sacrifice usability for appearance. A design that reflects brand identity, such as colour schemes or tone, can build trust, as long as it doesn’t overwhelm or confuse the user (Cooper et al., 2014).
Local shops and restaurants
1. Sainsbury’s Water Lane
Interface: Standard Sainsbury SCO: flat colour scheme, small on‑screen buttons, limited contrast. Flow: Scan → Bag → Pay → Receipt. Pain points: Small targets make it hard for users with motor/Dexterity issues. Error screens show terse messages “Unexpected item in bagging area” with no clear help instructions. Staff nearby but “Get assistance” button is subtle and not spoken aloud.
2. Waitrose (The Hart)
Inference from role description: Staff help customers with SCO systems: indicates their presence. Likely issues: Similar to other mid‑range supermarkets, accessibility features are minimal (e.g., no text-to-speech, height-adjustable screens).
3. McDonald’s
Interface: Large icons, rich visuals for meal customisation. Flow: Select meal→ customise → upsell prompts → review → pay. Pain points: Touch sensitivity varies, causing mis-taps. Users report laggy animation, confusing upsells, and lack of explicit cash-payment support. Error recovery isn’t friendly, e.g. failed payment shows “Transaction not completed” with only back/exit options.
Janine Shroff, 2025
Key UX & Accessibility Issues Identified
Tiny touch targets & poor contrast; difficult for users with vision or dexterity impairments. Sparse error messaging; vague phrasing, no next-step guidance, unclear path to help. Hidden accessibility and language options, buried in menus, not available upfront. No audible guidance; those with visual impairments or literacy challenges struggle. Uncertain payment options, cash or card choice isn’t clear; some users unsure if cash is accepted.
Design Recommendations
To make these self-checkout systems easier and more inclusive for everyone, a few simple design changes could make a big difference. First, the screen should start with a friendly welcome and clear buttons for choosing a language, turning on accessibility features, or just getting started. If someone needs extra help, an accessibility mode could switch on things like bigger text, high-contrast colour, voice instructions, or even the option to speak instead of touch. The whole process should be broken down into easy steps, like Scan, Bag, Pay, and Receipt, with a progress bar to show where you are. If something goes wrong, the error messages should be clear, helpful, and easy to understand, with both text and sound, plus a big, easy-to-find button to call for help. When it’s time to pay, the screen should clearly show all the payment options, like card, cash, or contactless, and guide you to a staff checkout if needed. These changes would make the experience smoother and less stressful for everyone, especially those who might find the current systems confusing or hard to use.
Proposed screen flow
I chose Waitrose for my self-checkout (SCO) redesign because it’s known for being a high-quality supermarket that cares about customer experience. However, during my visits to the store, I noticed that their self-checkout system felt a bit outdated. While the design matches their clean and simple brand style, the interface lacked important features like clear navigation, helpful feedback, and accessibility options. This can make things harder for first-time users, older customers, or anyone with visual or mobility challenges. By focusing on Waitrose, I saw a great opportunity to improve an already trusted shopping experience by making it easier, more inclusive and more user-friendly for everyone.
Sketches
Colour palette
Google images, 2025
Typeface
I chose Roboto as the typeface for my self-checkout (SCO) interface redesign because it’s modern, highly legible and designed specifically for digital screens. Its clean, geometric structure makes text easy to read at various sizes, which is essential for users who may be standing at a distance or using the interface in a busy environment. Roboto also has a friendly, neutral tone that fits well with Waitrose’s calm and professional brand identity. It supports a wide range of weights and styles, allowing for clear visual hierarchy and consistency throughout the interface. Most importantly, it’s accessible and screen-optimised ensuring that all users, including those with visual impairments can navigate the system with ease.
Design process
Final designs
Mock-up
Self-reflection
Working on the redesign of Waitrose’s self-checkout interface was an interesting experience. For this exercise, I knew I wanted to focus on making the system more accessible, clearer to use, and friendly for a wide range of people, whether that’s older customers, first-time users or anyone with different abilities. I also wanted to keep the look and feel true to the Waitrose brand, while making the whole experience more inclusive and intuitive.
Looking at my final designs, I feel like I’ve created a visual language that’s clean, consistent, and easy to follow. I chose Roboto as the typeface because it’s modern and super readable, which really helps with accessibility. I paired it with calming green tones to reflect Waitrose’s trusted and natural vibe.
I made sure the journey through the interface is broken down into simple, logical steps: starting with a welcoming screen, followed by options for accessibility, language, scanning, payment and error messages. I also kept the layout clean, with clear spacing and simple icons so it doesn’t feel cluttered or overwhelming.
If I were to keep developing this, I’d want to explore how the interface could adapt to individual needs more dynamically for example, offering voice input or scaling text automatically based on user settings. I’d also love to test it with real users, especially those who face accessibility challenges, to learn more about what works well and what could be improved.
Overall, this project really taught me that good design isn’t just about how something looks, it’s about how it works for real people. It made me think more deeply about everyday usability and how small design decisions can have a big impact on someone’s experience.
References
Cooper, A., Reimann, R., Cronin, D., Noessel, C. & Csizmadi, J., 2014. About Face: The Essentials of Interaction Design. 4th ed. Wiley. Available at: https://www.wiley.com/en-gb About+Face%3A+The+Essentials+of+Interaction+Design%2C+4th+Edition-p-9781118766576 (Accessed: 21 June 2025)
World Wide Web Consortium (W3C), 2018. Web Content Accessibility Guidelines (WCAG) 2.1. Available at: https://www.w3.org/TR/WCAG21/ (Accessed: 21 June 2025)
How Does the Appropriation of Cultural Symbols in Contemporary Graphic Design Impact the Authenticity of Visual Communication?
Introduction
In a world where images circulate more rapidly than ever and visual culture evolves continuously; graphic designers are increasingly drawing inspiration from a wide range of cultures. Whether through patterns, symbols, or stylistic references, such borrowing can produce work that is powerful and clear, but it also raises ethical questions. This review explores the fine line between cultural appreciation and cultural appropriation in design, and how this tension can affect the authenticity and meaning of visual communication. Drawing on examples such as Shepard Fairey’s politically charged artwork and the commercialisation of Indigenous motifs, I examine whether designers are genuinely honouring cultures or merely using them for visual appeal, often without a full understanding or acknowledgement of their origins.
Chapter 1: Cultural Appropriation in Visual Culture – A Theoretical Context
To understand how cultural symbols operate within design, it is essential to define cultural appropriation and distinguish it from appreciation. Cultural appropriation involves the use of elements from one culture, typically one that has been historically excluded, by individuals from a more dominant group, particularly when done without context, credit, or consent (Scafidi, 2005). This becomes particularly contentious in design, where visual choices often hold deep symbolic meaning. Stuart Hall’s (1997) theory of representation suggests that meaning is constructed and interpreted through systems of representation such as language and imagery. Meaning is not fixed; it is shaped by social and cultural contexts. Consequently, when a symbol is removed from its original cultural setting and reinterpreted elsewhere, its meaning can be distorted. Similarly, Bell Hooks (1992) highlights how dominant cultures often commodify the ‘other’ by borrowing visual elements from marginalised communities, while disregarding the deeper cultural or political meanings behind them. Together, these theoretical perspectives lay the foundation for examining how appropriation can compromise, or even erase, the authenticity of visual communication.
Chapter 2: Shepard Fairey and the Use of Propaganda-Style Design
One designer frequently implicated in this debate is Shepard Fairey, best known for his Obey Giant project and the Hope poster created for Barack Obama’s 2008 campaign. Fairey often references propaganda art from Soviet, Chinese, and Latin American contexts, adopting revolutionary aesthetics to infuse his work with a bold, rebellious edge. While visually striking and instantly recognisable, his style raises ethical concerns.
While Fairey claims that his work aims to spark conversation and challenge power structures (Fairey, 2009), critics argue that his use of politically charged imagery can reduce complex histories to trendy visuals. Naomi Klein (2000) notes that when radical imagery is used without genuine engagement with its cultural or political roots, It can strip the imagery of its meaning and turn acts of resistance into something simply used for style or profit. Whatever his intentions, Fairey’s position as a white Western designer using global symbols of struggle remains controversial. His example shows that good intentions aren’t enough, how the work is interpreted and the cultural context in which it appears are just as important.
Chapter 3: The Commercialisation of Indigenous Motifs in Branding
While Fairey’s practice is rooted in activism, appropriation in commercial design often lacks such critical reflection. A notable example is the fashion retailer Urban Outfitters, which faced significant backlash in 2011 for using Navajo patterns on clothing and accessories, going so far as to label products with the term “Navajo”. The Navajo Nation subsequently filed a lawsuit against the company for trademark infringement and cultural misrepresentation (The Guardian, 2011).
This example shows how Native visual traditions are often treated as just decorative, rather than as meaningful expressions of identity, culture, or spirituality. Roxanne Phillips (2005) points out that using these designs without permission or context continues patterns of cultural disrespect and inequality. Elizabeth Tunstall (2020) adds that designers have a responsibility to understand and respect the cultural meaning behind the symbols they use. In response, more Native designers are calling for collaborative and inclusive approaches that give proper credit and voice to their communities.
Chapter 4: Comparison and Discussion
When looking at these two examples, Fairey’s politically inspired work and the commercial use of Native motifs, both raise similar concerns about authenticity. Even though Fairey explores political themes, he still uses cultural symbols from communities he isn’t part of. On the other hand, companies like Urban Outfitters use cultural designs mainly to make a profit, often without considering their original meaning or significance.
In both cases, context is stripped away. As Mattern (2013) notes, when cultural symbols are reused carelessly, they risk becoming decorative rather than meaningful. Root (1996) also warns that when cultural meaning is lost, entire cultures can be reduced to just visual ‘flavours’, making deep traditions seem like nothing more than passing trends.
Still, there are more ethical ways to approach design. Designers can focus on collaboration, honesty, and giving proper credit. Working directly with artists or communities from the cultures they’re representing helps keep the work rooted in its original context. It’s also important for designers to think about their own background, especially when working with cultures different from their own, and to be aware of the power dynamics that affect how their work is understood.
Conclusion
Borrowing from other cultures in design is a complex issue. When done with respect, curiosity, and collaboration, it can lead to meaningful cultural exchange. But when elements are taken without understanding, stripped of their context, or used just to make money, the authenticity is lost and the communities those symbols come from are often harmed. Designers have a lot of influence as visual storytellers, and with that comes responsibility. They need to take the time to learn, reflect, and use cultural references thoughtfully. True visual communication isn’t just about how something looks, it’s about the meaning, history and voices behind it.
This assignment is completely self-directed. Therefore, you will be writing your own brief and working through a unique personal project.
For this assignment you are expected to:
• Clearly articulate the boundaries of the project, including the theme or subject of the work, the form of the deliverables, the target audience, and the client. Stick with the boundaries you establish.
• Convey a position or opinion on a topic to incite action. This can be for a social cause, it can be promotional advertising or political propaganda. Your project should stir up a response from the audience.
The subject you will be working with and the form of the deliverables is completely up to you. The following are some examples that can serve as inspiration:
• Call for Change: Advertising campaign for a social justice cause. Raise awareness of an important topical social issue. You could design posters on the theme of education, health, crime or politics.
• Recruitment: Promote a profession that needs more workers, volunteers, or apprentices. Encourage young people to join by designing a pamphlet that will be distributed through a university or career centre.
• Subscription: Create digital assets that will be shared on social media, email, and digital platforms to encourage people to subscribe to a sustainable coffee and chocolate delivery service.
Identify what the key aims and objectives are. For instance, what is the call to action once someone encounters the work? How will people engage with the brand/product/cause? What considerations might you need to address, when viewing work on a smartphone? How might you animate a brand logotype? Would a design work better with a level of interactivity? Can you add further meaning to a piece by using different materials or processes?
Once you have established the project and set the brief’s objectives, develop ideas and iterations in your sketchbook and document your process in your learning log.
Finally, Presentation needs to reflect professional practice. Although you might not have access to professional production facilities you can still present your work in a professional manner. Consider how the work will be presented in your portfolio.
Mind mapping
Potential issues:
I chose fast fashion as my subject because it’s something that affects all of us, often without us realising it. The way clothes are made and sold today has a huge impact on the environment and on the people who make them, many of whom work in unfair or unsafe conditions. I wanted to explore this topic to better understand the hidden costs behind the clothes we wear and to highlight why it’s important to think more carefully about how and what we consume. It’s a subject that really connects everyday choices with bigger global issues, which is why I felt it was worth focusing on.
Fast Fashion title:
Brief
Stand for Sustainable Fashion is a campaign aimed at raising awareness about the environmental and ethical impacts of fast fashion, encouraging young consumers (ages 18–30) to rethink their fashion choices and embrace more sustainable habits. The project will deliver a series of posters and social media assets designed to provoke thought and inspire action: buy less, choose better, and spread the message using #WearYourValues. The goal is to educate, incite conversation, and drive audiences to resources on ethical brands and conscious consumption, ultimately building a movement that values people and planet over disposable trends.
Research: Fast Fashion
What Is Fast Fashion?
Brands like Zara, H&M, Shein, and Primark rapidly produce cheap, trending clothing by quickly translating catwalk styles into store-ready designs within weeks, maintaining high consumer demand through constant newness. This business model fosters a disposable mindset among consumers, who, enticed by low prices, often buy garments frequently and discard them after only a few wears (Washington Post, 2025).
Environmental & Social Impacts
The fast fashion industry has a significant environmental and human impact, accounting for roughly 10% of global CO₂ emissions, more than all international flights and shipping combined. It uses approximately 93 billion m³ of water annually and contributes around 20% of global industrial wastewater, with dye runoff polluting rivers. Washing synthetic fabrics releases microfibres into the ocean, making up about 35% of marine microplastics. Each year, 85–92 million tonnes of textile waste end up in landfills or are incinerated, while synthetic garments do not biodegrade. Additionally, many garments are produced in low-wage factories under poor labour conditions, where workers, predominantly women, may face exploitation and unsafe environments (Earth.org, 2025).
Why It’s Still Booming
Low prices and rapid turnover in fast fashion fuel consumer addiction to constantly changing styles, driving the market’s continued growth, which is currently valued at around $150 billion and projected to nearly double by 2032. Despite growing concerns over sustainability, some brands engage in greenwashing, promoting eco-friendly messages while continuing volume-driven practices that remain harmful to the environment (Financial Times, 2025).
Signs of Change
Policy actions are emerging globally, with Chile enacting new laws targeting fast fashion waste in the Atacama Desert, while France and the EU are introducing bans, levies, and extended producer responsibility measures. Brands such as H&M, Zara, and Primark are launching recycling, durability programmes, and resale services, although critics caution against potential greenwashing. Meanwhile, consumers are increasingly embracing circular fashion, focused on reusing, repairing, and recycling, and demanding greater transparency and ethical production. In the US, the Government Accountability Office has highlighted the issue of massive textile waste and proposed federal recycling strategies (The Guardian, 2025).
What You Can Do
Consumers can help address the impacts of fast fashion by buying less and choosing well, prioritising quality over quantity and supporting second-hand or sustainable labels. Extending the life of garments through proper care and repairs also makes a significant difference. It is important to educate oneself about a brand’s true environmental and labour practices, and to support policies and legislation that hold producers accountable for their social and environmental impacts (Earth.org, 2025).
Fast fashion’s model of high volume and low cost comes at steep environmental and social prices, but growing awareness, policy measures, and innovations in circular fashion hint at a possible shift towards sustainability (Vogue Business, 2025).
Pinterest board: Fast Fashion
Pinterest, 2025
Inspirations
Google images, 2025Pinterest, 2025
Thumbnails
Sketches: 3 Posters
Typeface
Sans-serif Fonts (Modern, Clean, Bold)
Helvetica Bold Universally respected, clean, and professional. Used by government and corporate branding.
Futura Bold Geometric, sharp, and very direct. Feels assertive without being aggressive.
Impact Extremely bold, grabs attention. Good for headlines or short, punchy messages.
Franklin Gothic Heavy Serious and authoritative. Often used in news and official publications.
Montserrat ExtraBold Modern and strong with a tech edge. Great for bold statements in digital formats.
I chose Impact because it’s bold and gets straight to the point. To me, it looks strong and serious, like it means business. I didn’t want something soft or decorative; I wanted a font that stands out and makes people pay attention. Impact does that. It’s simple, clear, and powerful, just like the message I’m trying to share.
Design process
Colour palette
When choosing the colours for this campaign, I wanted something that would instantly grab attention but also carry meaning. I started with a simple black and white foundation—clean, bold, and timeless. This high contrast not only helps the text stand out clearly in both print and digital formats, but it also brings a sense of urgency and seriousness to the work. It felt like the right base to let the message speak loudly without distraction.
To give each poster its own personality and emotional focus, I introduced a different primary colour—red, yellow, or blue—as an accent. These choices weren’t just about making things look good; they were about what each colour says:
Red felt right for themes around exploitation, it’s intense, emotional, and demands attention. Yellow adds a warning tone, but it also carries hope, perfect for environmental messages that need both urgency and optimism. Blue brings a sense of trust and calm, especially when talking about solutions and better choices.
By giving each poster its own accent colour, I was able to keep the series visually consistent while allowing each piece to stand on its own. It’s a simple palette but it works hard, and that’s exactly what I wanted.
Final designs
For this social media post, I intentionally chose to work with text only to deliver the message with maximum clarity and impact. In a feed full of busy images and distractions, a bold typographic design demands attention and creates a natural pause point for the viewer. The use of all-caps, clean sans-serif typography gives the message urgency and weight, mirroring the seriousness of the issue at hand: the impact of fast fashion.
I built this design on a black background to create a high-contrast foundation that’s visually striking on both light and dark mode screens. The primary colours—yellow, red, and blue—are used purposefully:
Yellow (for “SUSTAINABLE”) communicates optimism, hope, and the promise of change. Red (for “FASHION”) evokes urgency and signals the danger and human cost behind the fashion industry. Blue (for “SPREAD THE WORD” and the hashtag) conveys trust, community and a sense of action toward better choices.
These colours are also timeless, recognisable, and emotionally resonant, making the post not only bold but deeply symbolic.
Mock-ups
Self-reflection
Working on this project has been an eye-opening and one of the interesting experiences I’ve had. From the start, I knew I wanted to tackle something that mattered not just on a global level, but also on a personal one: fast fashion. Over the years, I’ve seen how quickly clothing has shifted from something we value and care for into something disposable. That change really stuck with me, and I wanted to create a campaign that challenged that mindset.
I created a series of posters and social media pieces under the title “Stand for Sustainable Fashion.” My goal wasn’t just to inform people but to make them feel something, to stop scrolling, pay attention and reflect. Some of the designs are text-led on purpose. I wanted the message to be unmissable, loud and clear, especially on platforms where we’re bombarded with visuals. Strong typography paired with a black background and bold primary colours (red, yellow, blue) helped keep everything consistent, powerful, and easy to read at a glance.
For the illustrated posters, I tried to strike a balance between simplicity and symbolism. The “True Cost” design uses a price tag not to show money but to show the real cost: water, labour, and lack of fair wages. “Not Disposable” brings attention to how fashion waste builds up, and “Fashion’s Footprint” uses the melting Earth to show how global this issue really is. I added texture to the accent colours to give them a worn, gritty feel, something that subtly suggests overuse or decay.
One of the trickiest parts was figuring out how to tie everything together while still letting each piece speak for itself. Assigning one primary colour to each design helped create a strong visual identity without making them feel repetitive. I also thought a lot about how they’d perform on digital platforms, making sure fonts were legible on small screens and that the hashtag #WearYourValues was short, memorable, and easy to engage with.
In the end, I’m proud of what I created. The designs feel bold, meaningful, and cohesive but more than that, the project pushed me to think about how design can actually start conversations and shift perspectives. It reminded me that even small visual choices, like a typeface, a colour or a phrase can make a big impact when used with purpose.
Maryam: OCA Graphic Design 