After numerous months of editing, re editing and then some more editing, the final version of the mullet is now complete.

This issue differs very signifcantly from the last two, in both content and design. Having recently acquired the company Eurodata Systems, the magazine now features articles from both

companies, often working alongside eachother.

The design this year is much less image led, and instead based around typography and actual design to a much greater extent, with more pages featuring solid block colours for their background rather than a large image related to an article. This has made the

magazine much easier to read and generally given it a much more professional and polished feel.

All that i left to do now is send it to print, and release it to the public, once done I will update this site with a few images

Having finished my new portfolio/blog page I decided it was about time I gave it some content, so free'd some time up to create a number of print posters based around movie quotes.

These can be found in my 2011 print portfolio, (just click the huge image at the top of the page)

There was no plan as to the designs I put behind these works, I just went with what I thought looked good, sticking to a fairly similar and simple style throughout the pieces.

After what must be close to a year of having a plain red splash screen I have finally set the time aside to create a personal website in which to showcase my work, and work in progress to the world.

In all honesty, it was something I was expected to do over the summer, heading into my second

year at uni. But in any case It was about time I designed a new site.

The design itself wasn't really the outcome of months of planning or the last in numerous concepts. But more an instant idea that I followed in Photoshop to give the result you are seeing now. I then went through the usual

monotonous process of coding the site, and coming across the typical array of problems todays web browsers decided to throw at me.

In any case, it's finally all sorted now, and hopefully simple enough (there's only one page after all) to navigate and use.

When asked which field of design I am most interested in, there is always one stand out answer. Editorial; and when asked which designers inspire me the most one person stands out by far.

Fabien Baron is the man behind some of the most famous, and expertly designed magazines in the past decade. His career branches back to the 1970's, but he only truly began to stand out as a leading designer in the early 1980's, when he made the move from Antony, France. to New York. Armed with his portfolio, within four days of landing in New York Baron was taken on board by Conde Nast, a design agency who at the time were working on GQ magazine. Not long after this Baron was appointed creative director of Italian Vogue; this was where some of his best skills were put to use.

Barons work is heavily typography based, something very different from that of a typical French editorial designer, which tends to be much more illustrative. This is something that makes Baron a real inspiration for me. His mini-

mal yet heavily typographic style is something I am deeply fond of, and although similar to multiple other editorial designers out there; it seems to have its own creative flair, causing it to stand out from the rest.

He seems to apply an ongoing theme to each project he works on; where most other designers would use a number of varied styles throughout a magazine, especially so on double page spreads, Baron tends to stick to one defined style throughout the entire magazine, creating a much better flow to the content and a generally more uniform style to the magazine. Through doing this he also allows for the photography featured within his design to have pride of place, without actually being intruded on by their surrounding design and typography.

Barons clean and heavily typographic style is something I try to recreate in my own work, this was something I could really put to use in the first brief I was assigned this term; Bals double page spread. Despite the fact that my chosen subject of music piracy was very different to Fa-

bien Barons mostly fashion based work, I tried to take on his use of large lettering, with the article working with the typography of the header. One of the fantastic things about Barons work is that despite it's similarities in style, you can almost guarantee variation in layout and typography on each page. Often meaning multiple sources of inspiration can come from just one magazine.

For me, Barons work on the 2007 French Vogue series is stand out favorite, his choice of typefaces throughout the magazines suit the photography that they work alongside brilliantly, and some of the collage style double spreads look fantastic. For me these magazines are a true example of a near perfect editorial piece, despite the fact that their subject is something of no real interest to myself.

Fabien Barons work is something I continually look out for, and will hopefully learn from and be inspired by for a number of years to come.

When creating information graphics choosing the correct typeface plays a huge role. Info graphics can contain the most interesting information there is, however without a typeface that both complements its surrounding design yet is still legible the design would be near enough pointless.

The whole idea of an info graphic is that it displays information in a visual appealing and easy to understand way. Whilst still containing fairly in depth information.

There are a number of key principles that have to be looked at when designing an informative graphic piece. These being; visual hierarchy, grouping information, consistency, type, grid structure, graphic elements.

Visual hierarchy plays a massively important role, without appropriately placing the information in an understandable order and layout it becomes almost pointless due to its lack of legibility. In my opinion info graphics should almost lead the viewer through the information, giving them a clear indication on what to read and when.

Grouping information goes much along the same lines as visual hierarchy, without it the information being shown becomes incredibly hard to understand, if the information is not grouped appropriately then it simply becomes a

mass of unco-ordinated numbers in a way.

Type plays a role in almost all forms of graphic design, this being much the same for informative design. Without the correct choice of typeface a design can look messy and often difficult to read. However with a good choice of typeface with multiple styles within it one can produce a fantastic overall design, allowing for consistency, yet still variation between headers and content text, much in the same way one would see on a print document or website.

General consistency within the actual graphic itself is of huge importance, using a consistent layout through the use of the grid and fixed colour schemes a design can work extremely well, flowing smoothly through the information it shows without looking odd or disjointed. Grid structure ties in with consistency extremely well, without an appropriate grid the design looks messy an disordered. However the moment one brings a grid into play when creating a design the information instantly looks more uniform and understandable.

Graphic elements allow for the data to be displayed without the use of text on all occasions, creating a much more visually appealing design. Through the use of items such as graphs, what would be very complicated and highly numeric information can be displayed visually and in a much more interesting form.