Thursday, 31 October 2013

Brief 3 // Iconic Cities // 10 Cities

After looking at the top cities to visit in Europe I have condensed my list down to 10 cities. I don't think that i will do all 10 cities, but if i find out the information for them all I can decide that at a later date.

The 10 cities are:

After looking at the list of cities which I derived from the initial research of city destinations, I found that the ones that I choose all had a big influence on the culture and architecture within the cities. I think this is good as far as a travel guide and advertisement stands as they all fit well together and will show some consistency throughout the travel guide.

Now I have the cities, I will research further into each one to find out the following information:
- General information on the city
- Accommodation, flights, local transport, food & drink prices and info.
- Top attractions of each city - 5 - info and images
- Map of each city

The project is going to work as a mix of photographic and illustration work. The illustrations will be the basis of the posters advertising the attractions of each city, this will run through the travel guide, but photographs will also be used within the travel guide too.

The style of the travel guide is still to be researched into, but I know that I want the pages to be removable in some way, so the user can take the travel guide with them and actually use it by ripping out a page and being able to take that with them. The same for the maps also, this could integrated into the publication or be a separate product.

Getting the content is first, then ill think about the design after.  

Brief 3 // Iconic Cities // City Research

Cheapest City Breaks
10 cheapest city break destinations - two-night trip with flights
1. Budapest £139
2. Madrid £148
3. Barcelona £150
4. Nice £162
5. Brussels £162
6. Berlin £163
7. Paris £165
8. Amsterdam £185
9. Lisbon £187
10. Prague £194

Five cheapest cities for accommodation
1. Budapest £28 a night
2. Lisbon £37 a night
3. Istanbul £38 a night
4. Barcelona £39 a night
5. Madrid £39 a night

Five cheapest flights
1. Brussels £69
2. Amsterdam £69
3. Paris £75
4. Madrid £80
5. Nice £83

Five cheapest cities for supermarket groceries
1. Budapest £5.63
2. Prague £6.31
3. Lisbon £6.63
4. Barcelona £6.66
5. Split £7.48

Five cheapest popular museum tickets
1. The Museum of Turkish and Islamic Art, Istanbul, £3.29
2. The National Museum, Prague, 3.30
3. The MeŇ°trovic Gallery, Split, £3.39
4. The National Museum of Ancient Art, Lisbon, £4.26
5. The Hungarian National Museum, Budapest, £4.54

Five cheapest cities to travel around: single trip on local transport
1. Istanbul £0.63
2. Budapest £0.95
3. Nice £1.05
4. Prague £1.05
5. Venice £1.18

Five cheapest cities for eating out: basic restaurant meal
1. Prague £3.27
2. Istanbul £3.77
3. Budapest £3.93
4. Berlin £5.05
5. Lisbon £5.89

Five cheapest Valentine's destinations
1. Budapest £125
2. Lisbon £126
3. Barcelona £128
4. Prague £138
5. Madrid £138

Five cheapest New Year destinations
1. Barcelona £164
2. Berlin £165
3. Nice £167
4. Budapest £175
5. Lisbon £176

Budget city breaks and info
Prague, Czech Republic
Prague has recently developed a reputation for being the choice for the stag do weekend crowd – but that should not put you off. Notably, stag weekenders are attracted by the exceptionally low costs of drink here – which is certainly one of most travellers' considerations.
Prague is not just cheap and cheerful in terms of drinks, though, and has plenty more to offer. It is compact enough to explore on foot – so you can save money there – plus its extremely efficient transportation system is cheap in any case.

For those in search of culture, there are plenty of museums, art galleries and historic monuments to be explored, including the opulent Prague Castle and the famous landmark that is Charles Bridge .

Budapest, Hungary
Budapest is a beautiful city whose appeal is multiplied by its good value. It is divided into two halves by the River Danube, which can easily be explored using the city's relatively cheap transport system.
The Pest area – which covers two thirds of the city – is on the flat east bank, and is home to the famous swimming/spa baths. The other third of the city is the Buda area, which can be found on the more hilly west bank, and is the place to head for if you wish to visit cost-free cultural locations such as the royal palace and the walled castle hill area.
A night on the town can be done here even on a tight budget, with both food and drink having exceptionally low-cost prices (with a pint costing in the region of £1). And if you want to indulge in a spot of shopping, prices for most goods will probably be lower than those back home.

Rome, Italy
Although budget airlines will generally take you to an airport located far from the city centre, it need not cost you the earth to get to Rome , as reasonably priced transfers are usually laid on by airlines.
Rome is one of the most enthralling cities in Europe , and has attractions to suit even the tightest of budgets. Effectively a living museum, there are more than enough awe-inspiring locations to view – and many need not cost you a single euro!
Must-sees in Rome include Vatican City , the Colosseum, the Pantheon, and the Trevi Fountain – the latter of which will only cost you the coin you decide to throw over your shoulder for luck!

Bratislava, Slovakia
The capital city of Slovakia is divided by the River Danube, and gives you everything you need – particularly as the food, drink and antiquity-packed museums here are all available to you for the most modest of prices.
By day, the city is a living museum to the twentieth century's institutions, where vestiges of an unstable monarchy, the Iron Curtain and the Velvet Revolution collide in one easygoing city. Bratislava Castle is also a must-see location to visit during your stay.
The city centre is an excellent shopping area, and many specialist boutiques here have very competitive prices. Also, the streets of the Old Town have many restaurants, bars, and cafes that offer all kinds of food – which will fill your stomach without you having to empty your pockets!

Riga, Latvia
With exceptionally cheap accommodation, free museums and unbelievably good value meals, it is hard to find a more affordable spot in Europe than Riga .
Despite joining the European Union, the prices in Riga remain of the kind that always please shoppers. Also, getting around on the frequent trolleybuses that ply the streets from dawn until midnight is very affordable and easy to do.
Of the free museums in the city, the best to visit is arguably the Occupation Museum , which details the years of Soviet occupation. You could also walk around Dome Square and its cathedral – which houses the largest organ in Europe (the organ contains 6,768 pipes!). The Central Market also offers a cheap way of spending a few hours of browsing.

Barcelona, Spain
Barcelona is one of those places that are easy and very cheap to get around. Journeys on the Metro trains here cost very little, while regular open-top bus tours allow you to hop on and off at leisure around the city.
Visiting the local beach – which is only ten minutes away from the city centre – will give you the ideal opportunity to sit back, relax, and save a lot of your hard-earned cash. Even eating out near the beach can be possible on a budget, as there a number of low-cost old-fashioned tapas bars around the harbour.
The La Rambla area – with its cobbled streets, entertainers and traditional bars and restaurants – is an inexpensive way to see the real Barcelona . Also, seeing the varied Spanish architecture – including the famous Sagrada Familia, the still-unfinished cathedral by Antoni Gaudi – is an enjoyable, cheap way to occupy yourself during a visit.

Ljubljana, Slovenia
An antidote to many of Europe's high-priced destinations, Ljubljana is characterised by charming, narrow, cobbled streets and a vibrant atmosphere – and virtually no stag parties! It has enough highlights – including the castle, bridges and squares – for you to be able to spend your days just walking around the old town and taking in the sights.
There is a lively cafe scene in Ljubljana , as well as many excellent restaurants – all of which offer very reasonable prices. You need not worry too much about overdoing it on the shopping, either, although the wooden local crafts and antiques shops are definitely worth a look.
The quality of accommodation here is lower than standards in other European cities, but if it is budget that you are most concerned about, then you are unlikely to mind staying in one of the city's hotels or hostels for a relatively cheap price.

Tallinn, Estonia
The low cost of living in Estonia has lead to rock-bottom prices in Tallinn for virtually anything – from a simple snack to a good hotel room. This makes Estonia 's ‘fairytale capital' one of the best spots to head for a budget break.
While there are plenty of remnants of the Soviet era in Tallinn , they are really part of the appeal, as you'll be able to see the legacy of six decades of Soviet occupation in the city's buildings. Also, the medieval quarter of Tallinn is one of the best preserved in Europe , and contains well-preserved old city walls, bustling shopping streets, and the picture-perfect Town Hall Square .
Many of the prime tourist spots here charge a minimal amount for admission, and there are several beautiful beaches nearby which you can also visit. While you're in the city, though, you'll probably want to stay as close to the Old Town area as possible, as this is where most of the action takes place.

Bucharest, Romania
Once dubbed ‘the Paris of the East', Bucharest has more than its fair share of fine buildings and wide boulevards surrounded by parks provides a good, cheap – and even hip – option for travellers on a budget.
Seeing the sights of Bucharest can be done on the cheap, as there are many museums, palaces and churches to visit. While you're here, check out the National Art Museum , the National History Museum and the Palace of Parliament – the world's second-largest building after the Pentagon.
Getting about is easy and very affordable, as bus tickets, all-day Metro tickets and even Metro-plus-bus tickets cost just a small charge. Also, to get rock-bottom prices for accommodation, the best options to go for are around the train station area.

Vilnius, Lithuania
The fact that Vilnius is a lot smaller than most capital cities means that it has a more intimate feel to it than most places. Also, the fact that almost everywhere is within easy walking distance of the main central area will save you a lot of money on transport!
The narrow cobblestone streets in Vilnius house an appealing series of pubs, bars, and nightclubs – and while you may not primarily come here for the shopping, it is nonetheless easy to buy affordable gifts and souvenirs here.
Vilnius is a city of great culture, and there are lots of museums and over 20 galleries in the Old Town – all of which feature interesting, original and quality displays to go and see. A visit to the opera or ballet can also be experienced here without breaking the bank – or you could check out the traditional organ concerts and drama performances that seem to spring up all over the city.

Popular Destinations in Europe
London, England

Noisy, vibrant and truly multicultural, London is a megalopolis of people, ideas and energy. The capital and largest city of both the United Kingdom and of England, it is also the largest city in Western Europe and the European Union.

Paris, France
Located in the north of the country on the river Seine, Paris has the reputation of being the most beautiful and romantic of all cities, brimming with historic associations and remaining vastly influential in the realms of culture, art, fashion, food and design.

Rome, Italy
Rome, the ‘Eternal City’, is the capital of Italy and of the Lazio (Latium) region. It’s the famed city of the Seven Hills, La Dolce Vita, the Vatican City and Three Coins in the Fountain. The Historic Center is a UNESCO World Heritage Site.

Barcelona, Spain
Barcelona is Spain’s second largest city, with a population of 1.5 million people, and the capital of Catalonia. The city is on the Mediterranean coast, and has a wealth of unique historic architecture. Barcelona emerged as one of the most popular tourist destinations in Europe during the 1990s.

Dublin, Ireland
Dublin is the capital city of the Republic of Ireland, with more than a quarter of the Irish population living in the greater Dublin metropolitan area. The city center however is relatively small and can be navigated by foot, with most of the population living in nearby suburbs.

Istanbul, Turkey
Istanbul is Turkey’s most populous city, and its cultural and financial center. Located on both sides of the Bosphorus, the narrow strait between the Black Sea and the Marmara Sea, Istanbul bridges Asia and Europe both physically and culturally.

Madrid, Spain
Madrid is the capital of Spain, as well as the capital of the autonomous community of the same name. It is best known for its great cultural and artistic heritage, a good example of which is the El Prado museum. Madrid also boasts some of the liveliest nightlife in the world.

Amsterdam, Netherlands
Amsterdam is the capital of the Netherlands with impressive architecture, lovely canals that criss cross the city, great shopping, and friendly people who nearly all speak English well. There is something for every traveller’s taste here, whether you prefer culture and history, serious partying, or just the relaxing charm of an old European city.

Prague, Czech Republic
Almost undamaged by WWII, Prague’s compact medieval centre remains a wonderful mixture of cobbled lanes, walled courtyards, cathedrals and countless church spires all in the shadow of her majestic 9th century castle that looks eastward as the sun sets behind her.

Vienna, Austria
Vienna is by far the most populated city in Austria. As the former home of the Habsburg court and its various empires, the city still has the trappings of the imperial capital it once was, and the historic city centre is inscribed on the UNESCO World Heritage List.

From these lists of city breaks I can see that there is an overlap in cities falling into different categories. This should make it easy for me to decide on which cities to focus on. I am going to look at doing around 5 cities.

Brief 3 // Iconic Cities // Brief

The third brief which I am going to make a start on is Iconic Cities.

This brief is to do with travelling and making it easy to know where city attractions are when you arrive in a city. The idea is to create an advertisement for a range of cities which illustrates the main attractions so tourists know what to go and look at. Along with this I will create a publication which gives more information about the city and attractions, including a map for them to view. This publication will be available at travel agents for anyone that travels to the city, it could potentially be made into a travel pack and include other products such as luggage labels etc.

Main Brief

Monday, 28 October 2013

Brief 1 // imprint // Printing Techniques

Within the project I want to use printing techniques, these will include embossing, bookbinding and maybe the use of vinyl.

From the stocks available for me to use, the inners of the publication will be on a thinner white stock. For the branding stationary I will use a slightly thicker stock as this is where i want to include embossing on the logo. The business cards may also include embossing if i can find a good stock to use.

For the front cover of the publication this will be a coloured stock, but the stock that i can use wont be able to be embossed which is what i wanted to do, so now i am thinking of using vinyl for the logo on the front cover and possibly the monogram on the back cover. The colour of this would be dependant on the vinyl available either black or white would be best for this.

In terms of the binding of the publication, i want it to be a professional finish to the publication, i think the best way to achieve this is to use bookbinding screws. This gives a high quality finish and look to the publication. The front cover will have a fold after the binding screws to make sure the front cover can open fully as this will make the publication inside open better and read easier.

Brief 1 // imprint // Brand Guidelines

After researching into brand guidelines and looking at the style of some guidelines out there I have started to design the guidelines for imprint. I took the same design system for the layout of each page which i used in the branding, this will make it consistent across the board of all products.

Breakdown of publication

To show the guidelines better and explain certain elements of the publication, I have chosen some selected pages within it to explain and talk about the design more.
The contents page is a good example of showing how the column guide has worked throughout the publication. The information is set to the columns and give the page a well structured style which is needed for the contents page. 

All the section title pages are designed in this same style. The header is placed within the brand pattern. To get the pattern i duplicated the already created pattern and then deleted triangles from the pattern to make it more wider spread. I think this works well for the section header as it is very colourful and brings out the brand colours within the publication. 

The logo pages follow this same structure, there is information which explains about the logo and why it is designed in that particular way, with the logo in the lower two thirds of the publication page. These offset each other well create a balanced page design which has a lot of white space leaving the logo being the main attention of the page design. 

Other elements within this section include the exclusion zone. This is the minimum area that should be left around the logo. I had to create this diagram for the publication and again it was placed within the bottom two thirds of the publication page. 

Colour changes within the logo are not allowed, they must be kept within the brand colours. This page illustrates this element to the brand, with the same structure to the page layout, it is consistent within the design but communicates a different element of the brand. 

The typeface of the brand is very important and should only be used for the brand, this page explains the uses of the typeface. Keeping the page in the same design layout, the publication is consistent throughout.

Colour palettes for the brand, with a breakdown of the CMYK, RGB and HEX code. This makes sure that the brand colours will always be correct and used right. 

The brand pattern is another element of the brand which brings it to life and makes it more colourful on printed material. This page shows the pattern and the use of it. With the pattern being shown in solid colours of the two separate brand colours and then the mix of them it shows how the pattern can be applied in different ways. 

The final section of the guidelines is the application section. This shows how the brand is applied to various products and what it should look like. The printed material is shown first with the letterhead, compliment slip and business card. This shows how the brand should be applied over a range of different formats within the branding stationary. 

The way in which the logo should be used is another important factor to the brand. Here it is shown how the monogram should be used on a book published my imprint. The logo should be present on the spine and can also be located on the front cover too. Explaining these elements and actually providing a diagram to illustrate this should improve the brand application by users, as they can physically see how it should be. 

Finally at the end of the guidelines there is the contact information. This is simply to contact the publishing company and to get in touch for working with the company too. The image is related to the company and implies that your book could be on the bookshelf if published by imprint.

Brief 1 // imprint // Brand Guidelines Content and Layout

For the contents of the guidelines i have planned out each section and what will be included within this.

Brand Story

How we look
Signature logo
Secondary Logo
Exclusion Zone
Minimum Size
Correct Usage
Incorrect Usage

Visual Elements
Colour Palettes
Brand Pattern

Brand Stationary

Contact us

This will be the plan of the guidelines and also gives an outline of the content and what I need to create for the guidelines.

The layout of the guidelines will be taken from the idea of using the columns as a grid and guideline to how the work will be laid out within the publication.

Each page will be formatted as above. I have changed the margins within the page layout, this creates a greater gutter down the inside of the page, as I am going to be using binding screws to bind the publication together this needs a greater area and i don't want to the content of the page to creep into this area and not be readable. The page has been split into three columns the first will be used for the body copy on the page, the second two columns will be used for any illustrations or type that is needed to communicate the content to the user. Each page will have the page number in the bottom corner on the outside edge, this will have the small triangle underneath it to link back to the logo and the brand pattern. All together this will create a well structured layout to the publication and make it run consistently through the publication.

In terms of section title pages, the use of the triangle pattern will be used here. This will create a good visual page for the start of each section. The column guide isn't taken into account as much within these pages, but the title will always be considered to be placed within the right place on the page and work with the pattern too. 

Brief 1 // imprint // Brand Guidelines research

The brand guidelines is the final product that i will be designing for this brief. As this is a brand which I am going to use throughout the year to brand all my publishing and editorial work, I thought it would be wise to create a brand guidelines. This will put everything in place and make sure that the brand is used in the right way all along. 

To get some ideas on the brand guidelines I did some research into the subject area, I have never worked on a brand guideline before, so this was something new to me and something I was interested in looking at.

With the design of the guidelines, I found that each one was completely different, there wasn't a set way in which the guidelines should be designed. It really came down to the components of each brand and what the brand what it is. I think that the guidelines are so different because they need to communicate the brand and what the brand is about.

What i can determine from the research is that there is a difference in how the guidelines are designed within the style, there is a simple design, detailed design and ones which are very structured throughout.

I think this has proven helpful as i know that i need to get across the style of the brand and communicate what the brand is all about within the brand lines. 

Sunday, 27 October 2013

Brief 1 // imprint // Applying the pattern

Now the pattern has been created and the use for the printed stationary is going to be the mixed solid colour pattern I can apply this the printed stationary. I think the solid colour pattern is most appropriate for the stationary because it is going to be printed onto a white or off white stock, so this will make the pattern stand out and more merge into the stock colour itself - which could happen if the outlined version is used.

As the printed stationary has different options of where the pattern could be applied, I have tried out the different options to see which works the best.

Here the pattern has been applied within the column guidelines, sitting on the left hand side fills in some of the white space within the design and the pattern adds some much needed colour to the letterhead. 

Applying the pattern to the top right corner - again there was white space at the top of the letterhead which this could be applied, but now it is there it unbalances the design and takes away the impression that the logo had on the design. 

Finally adding the pattern the bottom corner of the design. This again makes the balance of the overall design not quite right. With this design it has information in the top left corner and now something in the bottom right corner, being opposite each other it doesn't balance out with the white space in the other two corners, you don't really know where to look first. 

The pattern needs to work across all the printed material, so after trying it out on the letterhead design the invoice was the next to experiment on. This would be more vital because there is more content within this design, so the pattern needs to add to the design without distracting from the information it is communicating. 

Pattern at the top, this doesn't work -  it takes the emphasis away from the logo and there looks to be too much of the pattern present at the top. 

Pattern down the side - compared to the letterhead design, the size of the pattern has had to be reduced because there is more information on this design - but it fits in well with the design as it is in keeping with the columns used to arrange the layout. This doesn't distract you from any of the information either. 

Pattern in the bottom corner - Again as there is more information on this design, the pattern has had to be reduced, but because o this there is hardly any of the pattern displayed on the design and therefore looks out of place. 

The pattern defiantly works best down the left side as this fits within the layout of the information on the page and is in keeping with the structure to the design too. I think this will be the way in which the pattern will be applied. 

Letterhead, invoice and compliment slip with the added brand pattern. 

The business cards wont have the pattern applied to them as there isn't enough room for this on the design. Plus i think adding this the design will distract the communication of the information to the user. 

Brief 1 // imprint // Pattern

As i spoke about in the research of this project, I wanted to create a pattern from the logo as this would make the brand be more colourful and lively. This pattern would be applied to the brand stationary and used through the brand guidelines. It will be a way to create a more interesting design approach and to liven up the designs.

The best part of the logo to take and create a pattern is the small triangle that makes up the illustration of the pencil within the logo. This will be used to make a isometric pattern, using the triangles as the basis of the pattern.

For the pattern to work within the brand the brand colours will have to be used, the blue and yellow compliment each other well, so using these two colours together in the pattern will work well, but they both can be used on their own to create a one colour pattern. I think experimenting with this will be the best way to get the best results. 

To start making the pattern, I used the triangle shape from the logo, making a line of the shapes together by flipping the triangles so they fit together. This was the basis of the pattern.

From the first line of the pattern above, I could create a grid which the pattern will follow to make sure that everything is aligned throughout. 

To start off the pattern, i used the first line above as the first line of the pattern, I deleted some of the triangles to get a pattern in the line, laying this over the grid I could then extend the pattern by adding more triangles to each line in the grid. This created the pattern below - 

As you can see every triangle is aligned to the grid and therefore each line of triangle shapes line up with each other. Having the gaps within the pattern make it more interesting and you can take certain sections of the pattern which are different every time. This pattern above is created using the blue accent colour in a solid fill. Now I have the pattern I can experiment with use colour within the pattern.

Pattern in solid fill with blue accent colour

Pattern outlined in blue accent

Pattern created with mix of solid and outlined shapes in blue accent

Pattern in solid fill with yellow accent colour

Pattern outlined in yellow accent

Pattern created with mix of solid and outlined shapes in yellow accent

Pattern in solid fill with both blue and yellow accents

Pattern outlined in both blue and yellow accents

pattern created by both solid and outlined shaped in blue and yellow accents

From creating the patterns and experimenting with the various colours options you can see that is is very adaptable to work with the brand. I think the most successful patterns are the ones which are solid colours, these patterns are more bold and the colours work together better in this situation. I think in terms of using the pattern within the brand stationery, the mixed coloured one should be used, as this shows the two brand colours working in unison, it will also add more colour to the stationery. 

Even though I have said that the solid colour patterns work best, I think the outlined versions can still be used. Here I have only experimented with the pattern on a white background, if you introduce a coloured background then the outlined versions will then become more apparent as they will stand out against a colour. 

Using these as an example, the outlined pattern now stands out and is useful within the design when a coloured background is present, the mixed colour outlined version couldn't be used when a brand colour is used as the background as one colour would merge with the background colour, but this could be used on a image based background. 

Possibly not the best image to use or best application of the pattern, but it shows that the mixed colour outlined pattern could be used when the background image is image based. 

A more interesting idea and application of the pattern is when you start to introduce blending modes on a image based background. 

When using the mixed solid colour pattern with a blending mode the image becomes more interesting as the colour from the pattern is used within the image. This could be another way in how the pattern can be used. 

From these simple experiments and variations of patterns that i have created you can see that this can be used and applied in many different ways throughout the brand. I think the creation of use of this pattern within the brand is vital to make it more interesting from an aesthetical approach.  

Brief 1 // imprint // Printed Stationary

From looking at my research and deciding on how I will lay out the printed work, the design stage of these products was fairly easy. I had the guide to work to, so I was just basically dropping the content into the right place and laying it out within the guidelines.

Starting off with the letterhead was the best option as this was the simplest one to design. It also meant once this had been designed the invoice could be created from the basics of it.

As you can see here the guidelines has provided the main style to the design and how it will be laid out. All the content has been kept within these guides. The left hand column proved bigger than it actually needed to be, if the content was to be fill this entire column then the design would look unbalanced and this content would be at a much larger point size again unbalancing the design, as this left column needs to be at a smaller point size so there is no distraction to the main content area. 

Zooming into the left column shows that all the content has been keep at a consistent point size, with the spacing between each chunk of information the same too. This is half the size of the gap between the company logo and the first bit of information. I think designing this in this particular way, gives a well laid out and structured design to the letterhead. 

The main content area is at a larger point size as this is the main information for the user to take notice of. It has been spread across the content area and kept within the guidelines. Again using the paragraphs breaks down the information into more manageable chunks of information.  

The final design of the letterhead. I think this design has worked out well. The logo at the top is at a good proportion to the size of the product and the spacing around this makes it stand out more. I like the spacing  from the top to the start of the information. Structuring the design within the two columns has created this well balanced design to the letterhead which looks much more professional. 

After creating the letterhead the next product to create was the invoice, this came hand in hand as layout and basic information of the two products are similar if not the same. 

Again the content of the invoice has all been designed around the guidelines set up for this format and size. All the content has been kept within this to create the structured and well balanced design of the invoice. 

This information has been copied over from the letterhead design. This can be done as it is exactly the same information needed and as the layout is the same it fits together well. 

Below this comes the information about the client. This information is needed on the invoice as it is being invoiced to the client, the payment details have also been provided so the client knows where to pay the money too. This section has been designed the same as the above section. Using the same point size and spacing between each section, this provides consistent design throughout the product. 

The main area of the invoice is the breakdown of the work which has been carried out and the costing of each of these. For this I created a simple a table in which all the information will be displayed within. This provides all the relevant information the client will need to know about the work being carried out and the cost of each of these items. The aesthetics of the table fit in with the style of the invoice and the overall style of the brand. 

The last section of the invoice is the terms and conditions. This runs along the bottom of the job breakdown. As the terms and conditions hold quite a lot of information it was best to place this within the main content area as it would take up less room on the invoice. 

The overall design of the invoice. This provides a clear and precise breakdown of all work carried out for the client. The design of the invoice is in keeping with the style of the brand and creates a consistent design aesthetic to the brand stationary. 

Compliment Slip
The compliment slip was slightly different in the design, as the format was obviously different, the same guidelines could still be used as the compliment slip is the same width as the letterhead and invoice. The main information had to be rearranged there wasn't as much height in this product. Therefore i had to rearrange the type but i still wanted it to be in scale as that of the letterhead and invoice. 

This information is the same as that provided on the letterhead design, except the layout of this has had to changed for it to fit onto the format of the letterhead. I have kept the scale and spacing of this section the same as previous products, so it will still be a consistent design. 

As the compliment slip doesnt have that much information on it, the second column just holds the information of  'with compliments', but this is in the main content area because it leaves more room for a note to be written within this area. 

Final design of the compliment slip. Again this is in keeping with the previous two designs and deliveries the needed information and space for the user.

Business Card
The business card  proved to be the product which had the most design thought going into it. As the other products have had a straight forward design to it which meant i only had to drop the information in, the business cards could work on many different designs, so this was a different process to go through. 

The design of the business cards all worked within the idea of the two columns, but this had to be applied the design in a different way because of the information that is included within the business card. As you can see from the designs above there are a few different variations of the business card which can be used within the one set out guideline. I think that any of these designs above could work with the other products that have been designed, they all provide an aesthetic that is in keeping.