Workshop Task
Task: Analyze the life cycle of a printed fashion catalogue and explore how sustainability can be integrated at every stage.
Week 4: Sustainability
Author: Yashashvi Rana
Week 3: Audience Engagement/Behaviour Change
Behaviour Change Workshop
Task: Use either the ‘Three Brains’ Model or Cialdini’s Six Principles to map how behaviour change principles were effectively used in Amarula’s #NameThemSaveThem campaign.
Credits: Namrata Krishna (2025) Behaviour Change[Workshop]. UAL London College of Communication. 17 February.
Creative Coding Workshop
With Oswin Tickler – Designer & Educator
The workshop involved –
- Understanding how creative code works in relation to print
- Creating visual assets to be used in an existing piece of code to generate collaborative designs using HP Spark Software.
- An activity to understand coding logic by generating visual results based on the received codes
- Using the coding language p5.js. to generate basic variable designs
Collaborative Design Process
- Design shapes on 100×100 artboards on Illustrator
- Ensure all of the shapes are of the same colour and make it spot color with a specific name (as whatever you have mentioned in the code)
- Convert all artwork into outlines and export as PDF
- Plug in a dynamic image channel into Indesign using HP Spark
- Connect the code to the channel using Dynamic personalization settings (connect it to the compiled pdf file)
- Replace the number of pages in the code based on the total pages of the PDF
I believe creative coding is an efficient means of generating randomised versions of a set of designed assets, featuring varying colours and locations, and therefore, it can be employed to create multiple compositions rapidly. A great example is Oswin’s earlier explorations for the work titled “Glitch”.
For this work, the assets were created in Illustrator and exported as white PNG files. The colors were then modified using the code itself. Once the code is functioning properly, you can generate numerous colors and various combinations using the same set of designed assets.
This approach also enhances personalisation; Oswin’s work for the BAFTA Awards involved using coding to generate 2,500 unique covers created from fixed assets and produced at random.
Finally, the workshop ended with writing a basic code and playing with it to generate shapes with varying colours and positions using p5.js. While this is a free online coding platform (limited storage), Processing is a better option as it’s a software where more assets can be used. This is what I ended up creating. It was lovely to revive memories of coding from the 10th grade(JavaScript). I had never thought that it could be used in the creative field, and this workshop has opened my eyes to re-evaluating how any of the skills that I have gained till now can be used in my projects.
Links:
SuperMundane
Fedrigoni
Eye magazine
Fedrigoni 365 (366)
Credits: Oswin Tickler (2025) Creative Coding[Workshop]. UAL London College of Communication. 19 February.
Dafi Kuhne Event
Letterpress Work Presentation
I’ve always been told that a design is successful when its message is immediately clear to its audience. But Dafi Kuhne introduced me to a different perspective: positive distractions. In an era of shrinking attention spans, a poster that makes someone pause, look away from their phone, and genuinely wonder what it’s about isn’t failing—it’s fulfilling its purpose. It disrupts routine, sparks curiosity, and in that brief moment, it has already made an impact.
Kuhne also speaks about toxic typography, describing it as “the world being intoxicated with boring typography and other bad things” (2025). His work challenges this idea, pushing the boundaries of traditional type design.
As a designer who also illustrates, I’ve always aspired to develop a signature style—something distinct and recognizable, much like many artists have. However, Kuhne takes a different approach. Rather than adhering to a fixed style, he adapts his design language to suit each client and project. Every piece he creates is tailored specifically to its purpose. Instead of imposing a singular aesthetic, he ensures that his work serves the needs of the project. In return, his clients must trust his expertise, knowing he will deliver exactly what they need—even if it’s unlike anything in his previous portfolio.
The sheer amount of effort that goes into a single poster is remarkable. His process, which applies just as well to brand design, involves immersing himself in the client’s brief for two to three days—experimenting freely, evaluating what works and what doesn’t, and refining the strongest concepts. This iterative process continues until the final design feels just right.
His workflow seamlessly merges digital and physical techniques. He begins by experimenting with letterforms, crafting the initial design digitally while also producing physical samples. Once the client approves the concept, he brings it to life through letterpress printing.
What stood out to me most was his approach to creative decision-making. Instead of restricting himself based on feasibility, he first proposes what he believes is the best possible direction for the project. Only after receiving client approval does he figure out how to execute it—going to great lengths to achieve the envisioned result.
I also learnt of the importance of maintaining a visual inspiration bank—something to draw from for future projects. I also developed a deeper appreciation for how limitations can fuel creativity. Despite working with a letterpress machine that wasn’t large enough, he found a way to produce oversized posters without generating extra waste.
He also stressed the method of seeking inspiration—not to copy, but to learn and improve upon it. His philosophy is built on two key principles:
a) Always credit your sources.
b) You take and you improve.
Above all, Kuhne’s approach reinforces a powerful message: respect your work and your working style.
Week 1: What do you want to do with your MA?
Workshop + Homework Task
I aspire to work with leading branding agencies such as &Walsh, Landor, Wolff Olins, and Pearlfisher—studios celebrated for their innovative approach to branding, as well as their expertise in packaging and advertising. Among the branding agencies identified through my Industrial Intellignce Audit, &Walsh stands out as my primary source of inspiration. As a women-led agency, their bold, unapologetic work speaks volumes. Jessica Walsh, in particular, has influenced me deeply through her fearless expression of opinions on sensitive social issues. I’ve followed her journey since she collaborated with Stefan Sagmeister, admiring projects like the Beauty book and Type of Feeling.
My ideal work environment fosters fresh, experimental branding over conventional corporate aesthetics. While collaborating with major clients is exciting, I am most drawn to studios that push creative boundaries and produce visually distinctive, culturally conscious work. I hope to join an agency that balances meaningful, not-for-profit projects with commercial endeavors. I am looking for a flexible role where I can apply my skills across branding, graphic design, illustration, and publication design while also delving into packaging, advertising, and motion.
Through my MA, I intend to create branding work that feels bold and impactful, featuring strong visuals and experimental typography. While my current portfolio is versatile, I want to explore more art-direction led, branding-specific projects in a professional context. Award briefs provide the perfect opportunity for this growth. I have selected briefs that fill specific gaps in my portfolio: a pattern-based visual identity (Hearst), beverage branding (Suntory), art design and typography-focused packaging (Pentawards), and a campaign project with the potential to be a standout, career-defining piece (Yahoo).
For my strategy, I would like to take Jessica Walsh’s portfolio advice and focus on developing these four high-quality projects rather than prioritizing quantity. Additionally, I believe my past projects hold significant potential, and I plan to refine them based on insights gained throughout this term. I am also in the process of building my personal website, which I will update as I complete these projects, ensuring it reflects my evolving skills and creative direction.
Links:
MA GB+I Branding, Marketing and Design Research Resources
London + UK Design Groups / Branding Agencies /Advertising Firms
International Directory of Design Groups / Branding Agencies / Advertising Firms
Branding Agency Roles + Responsibilities
Semantics in Branding
“Plant-based” vs “Vegan”
In a conversation with Paul, following our Future’s rotation review, we discussed using semantics in branding.
He mentioned that plant-based is merely a term created to market the product. Many fake meats available in the market are also branded are lab-grown but it isn’t mentioned anywhere on their product packaging. This is because branding is not always about presenting the product exactly as it is, it’s also about presenting it in a way different from what it is.
I believe a good example of this is the use of terms like “plant-based”, and “vegan”. Everyone’s understanding of these terms is not exactly the same, however, it is interesting to learn about why certain terms are preferred over others in the branding of a product.
In the agri-food industry, there is a rise of “plant-based capitalism” (Giraud, 2021), wherein some brands prefer to use the term “plant-based” rather than “vegan”, as it is more acceptable to a wider consumer base (Sexton, 2018; Clay et al., 2020).
However, from an ethical standpoint, this can be seen as the brands being ingenuine by marketing veganism without actually committing to its ethics, known as greenwashing (The Vegan Society, 2022).
On the other hand, brands like VFC, a vegan fried ‘chicken’ brand, do not use ‘plant-based’ and only use vegan, because they want to make a difference for the rights of animals (The Vegan Society, 2022). According to their website, as VFC is “an ethical company, it’s important that we do good as well as taste good.” They are seen as genuine because they are actively taking steps to be better for the planet.
In both cases, using these semantics is a very strategic move that aligns with the brand strategy and this makes me realise the impact of “words” in branding.
The question is, how big of a role do brand designers play in potential “greenwashing” through semantics? Branding is technically a product of capitalism, so can we escape it? And does it really matter?
Power of narrative
I recently came across this story that really had me inspired:
Until, I went ahead to investigate the authenticity of this story, only to find out that there is no reliable evidence that Mead said what has been attributed to her. In fact, fractured bones found in the archaeological record could possibly point to the presence of interpersonal violence among ancient humans as mentioned by Lasco(2022) in his article – https://www.sapiens.org/culture/margaret-mead-femur/
However, thanks to the internet, the inaccurate story went viral and
was also published online by Forbes during COVID-19. It aimed to inspire readers to help others during the difficulties of the corona times, as “Helping someone else through difficulty is where civilization starts,” a quote attributed to Margaret Mead according to Blumenfeld (2020) –
But what is to be noted is that, even though the story may be factually inaccurate, it was able to bring people together in the times of crisis and even push them to bring about a positive behavioural change. This can be attributed to the human need of “storytelling” and “narrative”. The whole world that is functioning on these “stories” that have been made up by humans. Rather than being literally or factually true, the stories must be emotionally truthful, and this is enough to motivate people to take action—whether it’s adopting sustainable behaviors, giving to charities, or destigmatizing mental health.
Rotation C
Sustainable Practices
Note: Click on the image to view the pdfs
Week 9: Brand Strategy
Infusing Magic into Marketing
Last week, our team went on an interesting journey of branding and marketing by delving into the cultural aesthetics of the “Cosmic Core Girlies”—a sub-culture tribe we defined as having a fondness for witchy vibes, tarot cards, and the magic of the universe. We started by picturing the “cultural tote bag” of a Cosmic Core Girly. We recognized crystals, tarot cards, and Nyx lip gloss as potential items in such a bag.
This led us to examine Nyx’s market positioning using a basic competitor analysis chart, demonstrating how it corresponds with the Cosmic Core aesthetic through price and quality compared to other lip gloss companies.
Building on this momentum, we began with the task of creating an offline/online marketing campaign for a new toilet cleaner aimed particularly at this tribe.
The brainstorming process began with imagining the Cosmic Core Girly’s relationship to magic and mysticism. A group member suggested naming the brand “Abracadabra,” I added an interesting twist: “What if we position this as a mystical product, like a magical potion designed to purify the toilet?”. This reimagining and repositioning of a mundane utility commodity as something enchanting unleashed a new level of creativity.
When someone in the group suggested that they could even personalize and create their potion, I realized that even with potions, there are different ingredients to get a specific concoction for a specific purpose – they would love to be able to choose what they think will work for them rather than us dictating what they might like. This tribe is incredibly free-spirited, and this would be an excellent opportunity for them to transition, as Murphy (2017) describes, from passive dupes purchasing generic toilet cleaners to active agents, creatively leveraging their freedom of choice to build their toilet cleaner mix to express their lifestyle.
So the brand name is “Abracadabra”, and the tagline is “Ta-da! Clean Like Magic”. Furthermore, the brand’s packaging would be its unique selling point. The marketing campaign’s goal was to promote this brand that offers personalisation in a segment that is typically linked with functionality rather than beauty or customisation. This would pique people’s interest and possibly trigger a shift in perception from a utility product that is only meaningful because of its usefulness to a product that communicates its owner’s distinctiveness and becomes a symbolic product in its category.
Further reflecting on this, I also recall coming across this work – by @girinbluestudios – which takes a sarcastic attitude by presenting meal prep as a metaphor for haircare, with haircare supplies packaged in pantry-style tin packages.
As a designer, I was excited to see something fresh in haircare packaging and would like to explore this type of cross-category branding, which is something similar to what we explored by using a magical potion as a metaphor. Which begs the question: how can we employ cross-category branding to pique interest while avoiding confusion?
Week 8: Brand Audience
Workshop + Homework Task
GenZ Subcultures
Our identified Subcultures:
FairyCore: Ethereal, related to nature, springtime, soft pastels and flowers; Believe in harmony, likes exploring nature and DIY projects.
Coquette: Sweet, romantic, feminine, playful, bows, soft pastels and ruffles; Flirtatious nature, hyper-feminine.
Old Money: Wealthy, elite, classy and chic; exudes elegance, appreciation for the finer things in life.
Y2K: Nostalgic, Retro feel, Inspired by late 1990s and early 2000s, low rise jeans and tank tops; Looking for comfort in a bygone era where things weren’t so stressful.
Cosmic-Core: Witchy, magical, enchanted, blend of goth and whimsical; believes in magic and the power of manifestation.
Barbie Cowgirl Aesthetic: Bold pink hues, reinventing masculine outfits into feminine, cowboy hats and boots; women reclaiming power.
Essay Task
We started the group discussion by brainstorming current trends we have encountered. I suggested that the Y2K aesthetic is very prevalent, noting my own attraction to 2000s Bollywood music and fashion, as well as the content created by many social media influencers around this theme. We all agreed that this trend is part of the broader Y2K aesthetic.
Since many Gen Z individuals are active on social media platforms like Instagram and Pinterest, our ideas were heavily influenced by what we see on these platforms. According to a Mintel report titled “How Instagram and TikTok are Defining Gen Z Subcultures,” about 50% of Gen Z consumers check Instagram multiple times a day. This constant engagement allows people to build digital personas that align with their cultural beliefs and ideologies, helping them maintain their online identity. Many of the cultures we discussed were rooted in Instagram reels and viral trends.
I also recalled watching Barbie in her iconic pink cowgirl outfit and realized that Barbiecore continues to be trendy. Since 2019, hundreds of Pinterest boards dedicated to Barbiecore have been created (Caruso, 2023). A Mintel report on Gen Z Lifestyles (2024) noted that these viral trends often revolve around themes of self-confidence and self-expression. While Barbiecore offers a playful interpretation of the Country/Western aesthetic, I believe it can also revitalize vintage looks and reinterpret the constructs of masculinity and femininity. For Gen Z, embracing Barbiecore is about accepting ourselves as we are. In addition to the stereotypical Barbie, there are now curvy, petite, and tall versions available in a variety of skin tones.
Looking ahead, we decided to focus on the Cosmic Core Girlie subculture for our “What’s in the Tote” task. I envision a Cosmic Core Girlie as someone inspired by tarot cards, who probably keeps a journal to record her tarot readings and believes in the power of manifestation. She might use sage to cleanse spaces of negative energy and carry crystals to enhance her intuition or get into the right mindset before a reading. Even if she doesn’t know how to use the tarot cards, her interest in the aesthetic may lead her to purchase these items as part of her identity rather than for their practical uses (Walker, 1989). Ultimately, she might either develop a deeper interest in tarot or lose interest until those items in her tote are replaced with something new.
References:
Caruso, S. (2023) ‘What Is Barbiecore? Everything to Know About the Viral Fashion Trend Inspired by Barbie’, People, (19 July). Available at: https://people.com/style/barbiecore-fashion-trend-everything-to-know/ (Accessed: 20 November 2024).
Mintel (2024) Lifestyles of Generation Z – UK – 2024. Available at:https://clients.mintel.com/content/report/lifestyles-of-generation-z-uk-2024#workspace_SpacesStore_c1f71572-ad9b-41fc-a3d4-5620b9eae3db (Accessed: 20 November 2024).
Walker, J.A (1989) Design History and the History of Design. Pluto, 1989.