Visual Communication

nm.

LINK to my Behance

Business Cards

Mockups of ‘Sorry, I’m British’

‘Sorry, I’m British’ book mocku (Available on issu)

LINK to issu where ‘Sorry, I’m British’ book is hosted

(Inspiration pictured above)

I wanted to try a mix of illustration/text and typography only covers. First idea was type only on the front and an illustration of The Queen saying sorry as she represents all that is British. I like the type but as a whole it feels lackluster and not cohesive from front to back. The second idea is inspired by the ‘thank you, have a nice day’ carrier bags, I have always been inspired by the typography on them so created my own version with ‘sorry, i’m British’. The third idea is going very text heavy with little negative space and full bleed, with the accent colours from the book dotted through. Although I like the outcome I feel this is too busy and dramatic for the cover. The fourth idea is using the UK flag illustration from the book with the addition of ‘sorry, i’m British’ on the flag. The minimalist style works with the book but the text looks forced and lost in the image.

The summary page is the same layout as the introduction page as I wanted a feeling of completion by beginning and ending on the same layout. It signifies the end, but also a cycle to begin again.

Taking inspiration from the tweets by “verybritishproblems” I chose six to illustrate for my book. I chose the ones that would be the most successful in a visual form, where they have a context or features something specific i can illustrate e.g. ‘sorry, is anyone sitting here?’ tweet where it mentions a bag taking up the space of a seat, where I took this as being on public transport, for instance a bus where the person saying sorry is having to stand so asks the bag’s owner the question. I added the blue chapter colour as an accent to highlight certain details in the images.

For this final version it includes the chosen type experiment and added typographic detailing of the section title and page numbers in order for the reader to be able to refer back to certain pages later on. This chapter has a cohesiveness and balance of positive and negative space. The layouts are varied and created especially for that specific information. Basic foundation layouts stay the same throughout the book e.g. typeface styling and hierarchy. Hand drawn elements are shown throughout and link into the main illustrations. This chapter includes two illustration heavy spreads of the maps of the uk and the world so to offset that I wanted to include a large typographic piece to create an equal balance which I think has been successful.

The bottom four were created for the ‘why?’ chapter, in which it explains the real reason why we say sorry so much and how most of the sorries have no meaning and aren’t truthful. I used a clipping mask technique and layering to create this double-meaning pieces. However, I feel that they aren’t as strong as my other work for the book and don’t fit in with the feel of the book, so they will not be included.

For this final version it includes the updated final version of the second data visualisation and added typographic detailing of the section title and page numbers in order for the reader to be able to refer back to certain pages later on. This chapter has a cohesiveness and balance of positive and negative space. The layouts are varied and created especially for that specific information. Basic foundation layouts stay the same throughout the book e.g. typeface styling and hierarchy. Hand drawn elements are shown throughout and link into the main illustrations. This chapter includes an illustration only spread as they tell the full story without the need of accompanying text, only that of the jar labels.

For this final version it includes the updated final version of the etymology timeline, Will vs Will and ‘when do British people say sorry?’ and added typographic detailing of the section title and page numbers in order for the reader to be able to refer back to certain pages later on. This chapter has a cohesiveness and balance of positive and negative space. The layouts are varied and created especially for that specific information, this chapter has more illustrations so I wanted to make sure the balance of them to text is proportionate. Basic foundation layouts stay the same throughout the book e.g. typeface styling and hierarchy. Hand drawn elements are shown throughout and link into the main illustrations.

For this final version it includes the updated final version of the first data visualisation and added typographic detailing of the section title and page numbers in order for the reader to be able to refer back to certain pages later on. This chapter has a cohesiveness and balance of positive and negative space. The layouts are varied and created especially for that specific information. Basic foundation layouts stay the same throughout the book e.g. typeface styling and hierarchy. Hand drawn elements are shown throughout and link into the main illustrations.

The final version now includes my own illustrations and improved text handling that now matched the rest of the book. I feel these are a unique style of visualising data and it works with the overall aesthetic and style of the book instead of being graph heavy. Having a visual representation allows the reader to see the bigger impact of what the data is saying and using the amount of speech bubbles and their sizes shows that data clearly.

Based on the feedback I received, I split up the two Will’s over two spreads so each get an equal appreciation and also allows more space for the reader to digest and understand. Before the spread was heavy with limited negative space. Now there is plenty of space and also the illustrations are more of a focal point and creates a successful contrast to the text and the stark white background. The two Will illustrations are the only two with eyes as they are drawn to be realistic of the two people behind the quotes and they are the  focal and important pieces on the spreads, compared to the others that are more  included to enhance and the main text.