Archive for the ‘ Career Planning ’ Category

Self Evaluation (ECP&E)


This EMP investigates the ability of design to embody identity and culture, of Czech national identity and graphic style in particular. The vehicle for this brief is the Prague 2020 Olympics. The aim is to show how identity design can retain the soul of the place it represents (Prague in this case) while being able to translate to an international audience, without falling prey to monoculture. The intended audience is therefore two-fold – the national audience of Prague and the Czech Republic where the Games would take place, and the international audience which inevitably comes with an event like the Olympics. The Prague 2020 Olympics is approached as a real event, to simulate a live brief atmosphere. The final outcomes of this brief is a body of work appropriate to the subject: an identity design accompanied by pictograms, torch designs and medal designs.

Self Reflection

With every brief there are successes and pitfalls, and no matter how good a project is there is always more that could be done or changed. I realize that a few bumps and scrapes along the way are no exception, but it does seem that this project was limping on one leg from the start upon reflecting on my time planning calendar (from the events in January for example). It is completely normal to work on multiple projects at once, at BA, MA and industry level, but there are certain events that are beyond control. Despite January complications, I think I managed to stay on track in the early stages of the unit. During the learning agreement phase I believe I was even slightly ahead of others in my tutorial group with minimal changes required to my learning agreement. My subject and focus were fleshed out clearly and concisely. I think this is thanks to the early idea generation over Christmas break. I had already brainstormed various subjects for my EMP, and pinned down the one which ticked all the boxes.

The ominous phrases ‘sustained focus’ and ‘significant body of work’ from the unit brief loomed over my head. I had discarded all other ideas because I needed to find something I was passionate about. Something that would stir enough enthusiasm and motivation to sustain me (sustain referring to the breadth of subject appropriate to an EMP) and keep me focused (focus providing depth and direction) over the long weeks of the project. The Prague 2020 Olympics brief could most definitely lead to a ‘significant body of work’ because design for the Olympics is an immense undertaking which is usually tackled in teams over many months. In terms of final pieces I wanted to prioritize on creating the identity and matching pictograms first, and then pick a few of the possible supporting design options (such as mascot design, stadium concept, torch design, medal design, promotional materials, advertising and so on).

The project also fulfils my own personal aims and objectives and is designed with my ‘career planning’ in mind. At the beginning of the year I set out the aims of improving my software skills in Illustrator and my overall typography skills. The over arching aim for this year was to choose projects which would be portfolio-appropriate (esp. for MA study); projects I had never done before and which pushed me  out of my comfort zone. My EMP fulfils all these requirements and now sits as the highlight of my portfolio, the pinnacle of my accomplishments at university; which is what an EMP should be.  I also wanted my EMP to support my pursuit of MA study (which is reinforced by the nice link forged between my dissertation and the EMP and the transition it provides; my dissertation was ending as the EMP was beginning). The Czech orientation could potentially open doors in the future of perhaps working in the Czech design industry. Lastly, the EMP subject and focus is a particularly successful choice because it resonates with me on a personal level. I am a Czech who has lived abroad all her life, so in theory I could actually be the best person for the job because I have a foot in each camp – international and national (which is the intended audience).

The research methodologies for this project consist of a mix of primary and secondary research. The ‘type’ of project my EMP is can be defined as: critiquing existing designs and producing alternatives. The most important existing design I looked at, was the main case study of the Prague 2016 Olympics Applicant City identity. This is the case study that started it all because the problem I identified was the general lack of success of the logo (this view is reinforced by a TYPO magazine article I analyze in my EMP publication). The case study came across as flat, generic, uncreative and failed to capture the spirit of Prague or even a sense of place. This became even more evident when the identity was viewed amongst the supporting case studies, all the other 2016 Olympic Candidate and Applicant City logos. Already a pattern is emerging in methodology; picture the process in concentric circles, with the EMP Prague 2020 identity as the centremost circle. Gradually you travel outwards following the natural transition from the focal point (which gives it depth) to the broader subjects the EMP deals with (which give it breadth). The next concentric movement outwards leads to investigating the Olympic Games in general (their history, the modern games, the Olympic Rings Logo, Olympic symbols, and Olympic Logos of various cities through the years). This stage was important not only as background information for the project, but it was directly relevant to the final designs. I intentionally wanted to keep everything as politically correct as possible and work to the set constraints of the Olympic design rules to simulate the nature of a live brief. The Olympics in and of themselves raised social, cultural and political issues. As exemplified by the Olympic Rings logo case study, any bias, prejudice or favouritism between countries had to be avoided at all costs because it is such an international event with altruistic aims of peace, and bringing out the best in man, at its heart. Historically the Olympics are renowned for their white flag policy of neutrality even during wartime. The Olympics as an event set up one half of the intended audience my final designs had to be aimed towards: the international community. This brings me to the second half of the intended audience: which is Prague and the Czech nation. The designs need to communicate clearly to both audiences, not lost in translation, in order to be considered successful. The Czech element brings the EMP back to its overarching theme – exploring Czech national identity as depicted through art, history, design, culture etc. The concept of identity and the importance of culture triggered yet another concentric movement outward to the theoretical framework which the entire project sits inside of – semiotics (esp. symbols), identity design, and design vs. monoculture.

I think that though I created a solid base of research methodologies, as outlined above, to build the EMP upon, all the ‘concentric circle’ areas could have been explored a lot further. I’d say the most thorough research section is on the Olympics (because it was supported to an extent by the background research I had done for my dissertation). This is where the brunt of the various pitfalls begins to show due to the complications in January (which I already mentioned and which are visualized on my time plan). A lot of time was either lost (travel issues/illness) or simply had to be directed to my more immediate priorities (RCA application closely followed by the dissertation). To be quite critical of myself, I would say the experiment generation phase is probably the Achilles heel of the entire project. I think there were quite a few ‘loose ends’ (which I discuss later) which could have been pushed a lot further and would have boosted the overall quality of the EMP. Otherwise the visualization, development, synthesis and finalization came off better than I expected (due to the complications I was working with; explained later). I think I quite thoroughly evidence the changes and progress of all the designs.

I had some primary research from photos I had taken on recent trips to Prague. What would have been ideal given more time, is if I could have gone for a week to Prague to solely focus on research for this project. I could make a plan in advance of places to go and people to meet (such as individuals on the Prague Olympic Committee and designers/agencies behind famous main Czech identity designs). First hand research could be applied towards the end of the project as well, if I created a reliable survey to judge the effectiveness of the identity on a national (Czech) and international level. I did manage get outside feedback throughout the project which could be considered national and international, but on a very small scale. This feedback had an inherent bias because it was mostly from tutors, friends, acquaintances and family members; just a handful of people, which meant it was a tiny sample group in statistical terms. Speaking of statistics, surveys and primary research, I chose Jenny South’s FMP on the North-South Divide in the UK for ‘peer evaluation’. Her project  was the only one with significant relevance to my EMP (I even consulted the tutors to see if perhaps they knew of a second person I could peer evaluate and no one else came to mind). She posted online surveys and even travelled to various cities in the North and South to determine the basis for the current North-South Divide. She got people to draw a line on a map of the UK where they thought the divide was. She took down other details such as where they were from and where their parents were from to see if there was any correlation between the data. This part of her presentation really made an impression on me and I thought it added a lot to her project. Unfortunately for my project, trying to do something similar would be rather difficult due to the sheer scale involved for trying to survey an entire country (the Czech Republic) as well as the world (since the Olympics are international). I could try it on a smaller scale, along the lines of Jenny’s 100-200 sample size to see if the results bear any fruit.

There was a clear contrast between her methodologies and mine, though I don’t think there is an exact science to doing these things. Her project started very broad (with fabric, which lead to the metaphor of social fabric) and gradually narrowed down through experimentation. I started with both a clear focus as well as a broad subject; initially I concentrated on the focus Prague 2020 Olympics and slowly made my way outwards – refer to the concentric circles metaphor again for this. At one point I even considered dropping the Prague 2020 Olympics direction altogether but it unwaveringly remained the best vessel for my EMP.

Jenny also considered creating a typeface which would contrast the social fabric of the country, which is surprisingly similar to my initial ambition to create a ‘Prague typeface’; around the metaphor of ‘the face of Prague’ based on findings in my primary research. My typography idea was something which could have, once again, been taken much further given more time. I did create the type for the logo and now that the style and nuances are established, I think it could definitely be developed into a full typeface.

There were a few more loose ends. Primarily the mascot design and Olympic stadium design which were trumped by the medal and torch design and promotional materials on the priority list. The mascot went through three reincarnations and was still not working well with the visual style of the identity and pictograms. I think the concept design of the Olympic Stadium turned out well given the time I allotted for it. But to realize the design at a professional level I would need to collaborate with an architect because this reaches far outside my area of expertise. I also came across a few ideas of how I could branch the project out into other avenues in the future: designing Olympic team uniforms (could collaborate with a fashion/costume person on this) and making the Olympics more ‘green’ and eco friendly.  The ultimate decisions regarding the fate of all of these points of potential came down to my priority list and time availability. Often I had to make hard decisions quite quickly to keep the project moving forward.

For my EMP I wanted to avoid the soulless design of the Prague 2016 Applicant City and really capture the essence of Prague. The logo should be a symbol devoid of text, which can stand on its own, and should have a story behind it which opens the book to the even bigger story of the city of Prague. The concept and theme behind my entire project came out on the other end of a long line of chain reactions based on research, sketches and experiments. This chain happened in this order: the Sokol/Falcon Movement, Libuse Legend, Stone Faces of Prague (primary research), the Astronomical Clock, The National Theatre, the Princess with the Golden Star, and Orion Chocolate Company. Please refer to the EMP publication for further details and thorough explanation.  I chose the concept of ‘reaching for the stars’ based on all the cross references of the star as a symbol in the chain reaction.

The final logo, I believe, is the concept in its purest form using the bare minimum of marks to communicate what it needs to. It is a ‘smart’ design like that which I admired in the Sochi case study because it can be read in different ways. On the most obvious level it is a star, the symbol I chose to carry the concept to the viewer. If you look closer you realize the star is made up of five figures (each depicted by raised arms and a head) who can be interpreted as ‘reaching up’ (for the stars of course), hugging together, or even raising their arms in victory as if they just finished a race. And lastly the shapes of the figures serve as visual arrows, directing the eye towards the centre of the star from whichever direction the viewer approaches the design; thereby communicating togetherness, coming together, oneness which are all big elements of the Olympics. Due to my dissertation I learned a great deal about the Olympic Rings logo and why it is the way it is. It was because of this that I made the informed decision to use the traditional Olympic colours (used on the Olympic Rings) in my logo. This would transfer the properties of those colours, as used in the Olympic Rings, to my logo (allowing all countries to associate with the logo based on the colours relevant to their flags). I felt that this was an important decision in catering for the international audience, rather than making the colours only relevant to Prague or the Czech Republic and thereby alienating the international community to an extent. All of these things positively reinforce the message I set out to communicate and add to the meaning of the logo rather than detract from it. That is why I believe my solution is a successful one, especially when seen within the context of all the other Olympic Logos as well Czech contemporaries (refer to EMP publication for more).

Throughout the project I took into consideration advice given to me during tutorials as well as by fellow designers. I felt that last year I was too unsure of myself and relied too heavily on the opinions of others because I felt too inexperienced. In hindsight I think that I have made vast improvements in this area throughout the final year though by no means have I forgotten the value in getting a second opinion, or of constructive criticism.

Time management has always been an issue for me. The second most problematic part of the project (besides the rough start in January) was created by the big gap of time I missed on the unit at the end of March (see time planner calendar and blog for more details). I was not happy with how things worked out at this rather important time in the unit but I believed I could make up a lot of ground over Easter. Once again I started with the best intentions but a snowball effect ensued. That is why during the second week of Easter I spoke to the course leader and was able to get a week extension, because I knew already at this point I was too behind to recover lost ground. Good intentions can only get you so far before reality sets in. Given the extra time and tutorials which I had lost, I could have gotten a lot more from the unit but I recovered as well as I could from all the setbacks, informed my tutors appropriately throughout, and even managed to surprise myself in the end with the amount and quality of work I was able to produce (esp. in the final designs and the publication).


MA Application & Portfolio

Upon returning from my trip to the Czech Republic for the documentary, an urgency to focus on my MA applications and portfolio took over. I wanted to send them off before the end of April and time was running out. I had lost a lot of time thanks to my week of being ill and then the necessary trip for the documentary. This previous week has been a testament to the warnings of my tutors of how long creating a good portfolio takes – it takes frustratingly forever.

I had to redesign my portfolio completely because LCC and Central Saint Martins essentially require a very different type of portfolio then the one I had sent to the RCA. The RCA portfolio dispensed with any commercial work and included more fine art type pieces. So for this new portfolio I had to revisit previous projects from this year and a few from the previous year on Fda Vis Comm and touch them up, before including them. One of the requirements of the ECP&E unit is to put together a printed out, A3 portfolio to be displayed in an A3 box for the final years shows.

On Monday the 5th of April I completed putting together the A3 portfolio, it was as good as it could get and at this point I really needed some guidance as to the order of the projects, composition, and typography. I needed a critical eye to look over it, since mine had been staring at it for days and had reached the point where it was hard to distinguish good from bad. I emailed it to one of my tutors in the hope that perhaps he could give me some feedback over email, or that we could arrange a meeting upon the end of Easter break. My tutor did even better, and kindly offered to meet up today (Wednesday 7th April) to go over it with me in person.

Overall there weren’t any huge changes to make which surprised me – I seem to second guess my own opinions and decisions, something I have been trying to work on this year so that I am more self sufficient and confident.  The biggest change was improving my typography and otherwise slightly tweaking the order of the projects. Also, for LCC I have to narrow the portfolio down to 6 projects and I had about 10. My tutor studied at LCC so he was a great reference for what types of projects they would be interested in. Now all I need to do is finalize my portfolio, polish it off as good as it can get, and return to my personal statement and study proposal.

For the time being though I have to leave my MA applications, even though it pains me to do so because I want to get them done as fast as I can, and finally return to my EMP which I haven’t been able to work on for a worryingly long time (thanks to being ill, the documentary and the MA portfolio/application). After meeting with my tutor I went to see the course leader because I knew at this point that due to everything that has transpired I was running behind and could really use the extra week extension. Thankfully he okayed it, a week is better then nothing, though I feel it won’t completely help me make up for the time I have lost.

Goldsmiths & UCA Epsom: Open Days

Today I went up to London for the Goldsmiths Open Day (specifically MA Design – Critical Practice). It was actually very strange, after studying at a art specialized university for four years, to go to a normal all-round university. I started off in a massive hall where stalls were set up for each course. I basically joined the group of people waiting to be lead to a separate lecture/seminar room about the course. As the presentations got under way, I began to realize that though the course looked right on paper, it really wasn’t what I had expected. It was very similar to the AUCB postgraduate program in terms of overlapping disciplines. And once again it didn’t strike me as the type of course which would be a natural continuation for the path I’m on now and the type of work I do. So unfortunately Goldsmiths is off the list.

MA in Design – Critical Practice

This MA transcends the traditional fields within design, offering you the opportunity to develop your specific practice in relation to multiple design disciplines. The programme emphasises the development of a critical practice through a two-fold consideration of context – examining theoretical or speculative issues alongside those involving practical or material concerns. By engaging with the way discourses infuse design practice, and exploring how practice itself may contribute to evolving design discourse, you will develop knowledge and understanding through active enquiry and reflective process.

What you study

Three strands of study will introduce you to a range of theories and discourses inherent to design practice. You will review and explore the methods and processes used to research and produce design-related ideas, work on briefs that are linked to your theoretical studies, and eventually focus on a major project through which you will develop your design interests and concerns.

The next Open Day I planned to attend is at UCA Epsom. But, based on a number of factors I decided to cancel. All the trips up to London are not cheap for one thing. But, more importantly I have already been to the UCA Epsom campus and know what it’s like so I don’t think a physical trip there is really necessary. I’ve been thinking over my MA options and I’ve come to the decision that if I do an MA, I want to do it in a place I REALLY want to go to rather then a back-up. The experience has to be worth it. I’ve become quite determined to pursue further study at MA level thanks to all the Open Day visits and considering my various options for next year. My back-up plan, in case I don’t get in, is basically my original plan I had started out with this year – go to London anyway, try get a junior design job or at least an internship/work placement to start out with, as well as part-time work to help fund things. So it’s down to just LCC and Central Saint Martins now.

MA Graphic Design & Communication (Professional)

This course has been designed to mirror the experience of working in a contemporary design company or the related creative industries. Working in teams you gain real-life experience by developing briefs, pitching to industry leaders and competing for UCA Epsom MA Design Team and MA Designer of the Year awards.

The industry orientation of this course is concerned with exploring graphic design languages in all their facets through the perspective of your growing understanding of the commercial value in your work. By building professional experience and understanding, you apply innovation to your practice.

Stage 1
In small teams, you work on three briefs, one printbased, one screen-based and one brand-based. This is complemented by contemporary theoretical discourse delivered as lectures and ideas workshops.

Stage 2
This phase of study builds on personal/professional orientation for continued research. You also answer two briefs within your chosen and evolving specialist area.

Stage 3
The final project represents the culmination of your studies and forms a body of work in individual research and practice within a defined field of graphic design and communication. You have the option to resolve your project as practice-based work or through a dissertation or a combination of both.

Central Saint Martins: Open Day

Today I attended the Central Saint Martins Open Day for MA Communication Design. The day didn’t go as well as planned because I actually thought I would miss the Open Day on account of not being able to find the campus! But my lost wandering did make me a bit more familiar with the area and I must say that it felt like the perfect location for a graphic design course. You have IDEO next door, Magma bookstore down the street, and otherwise all  manner of print and design agencies imaginable. This prime location aspect was lacking a bit at LCC, though I really liked the actual campus. The reason I was having such a hard time finding where I was meant to go, is because the Central Saint Martins Campus in Back Hill is hidden away down one of the side streets and doesn’t really stand out as being a university campus. So in terms of first impressions of the campus, I was a bit disappointed. The Open Day started late and was peppered with technical issues, but this was quickly made up for and all but forgotten because of the presentation made by the head of the course. Again, very inspiring and motivating, like at LCC. But, the course leader didn’t only present to us, he engaged with us by posing us questions in a very class-room like environment. It really made you feel like you were already on the course, or getting taste for it at the least. A back and forth dialogue ensued which shaped the presentation, something I hadn’t expected because it didn’t follow the recipe of other Open Days. We even experience a fire alarm and had to leave half way but the presentation continued on foot, and we essentially got a tour of nearby locations of interest while waiting outside. In a way this was a welcome break because it made the situation even less formal. Initially people seemed really taken aback by the course leader posing questions to us, but by this point everyone was practically tripping over themselves to squeeze questions in about the course, the application process, the portfolio and so forth. So, even though the day started out a bit rough, I left once again with a very positive impression of the course. Now I’m really not sure which MA course is at the top of my list, the LCC and Central Saint Martins courses seem to be tied, each with different pluses and minuses. One thing is sure, that I will definitely be applying for both and I would be more then happy to get into either one.

Communication is one of the profound achievements of human evolution. It’s ever developing complexity, unpredictability, and application is the essence of Central Saint Martin’s Masters level communication design studies. Often described as the ‘operating system of the 21st century’ its implications and impact profoundly affect culture, finance, globalisation and localisation, policy-making, socio-economic developments, sustainability. How do candidates begin to engage with Communication Design at masters level? The starting point is framing a question identifying an important theme, issue or problem. Then developing an investigative structure or methodology by way of project work, tutorials, seminars, lectures incorporating independent study and professional connections within an academic and professional community equally energized with their questions. Inevitably working in this way produces outcomes and solutions which seek difference, are unpredictable and are not bound by the current disciplines and media paradigms reflecting the ever-developing contemporary modes of practice. Outcomes are appropriate to the communication design question, audience and personal standpoint, often manifesting themselves in data dynamics, imaging making, information and interaction design, photography, programming, typography, writing, or new and as yet un-defined products. Contemporary communication design questions are not inward looking or introverted. They seek to involve extra disciplinary resources such as aesthetics, anthropology, behaviorism, cognition, linguistics, teleology, typology, for mechanisms to probe and deliver new enlightenment and applications. Masters level students are assumed to have acquired high-level practical and intellectual skills to begin this process. Throughout the course the communication design question will drive the acquisition of deeper subject and practical knowledge and determine their career directions and aspiration.

AUCB Internal Open Day

My tutors actually mentioned the upcoming AUCB Open Day, something I hadn’t really considered up to this point. Part of my reason for wanting to do an MA, was to move up to London and do it in order to get used to the city, network, and ease the transition to a potential future design job there after I finish university. Out of curiosity of what my own university had to offer (Arts University College Bournemouth) I sent to the internal Open Day nonetheless yesterday (5th February). Unfortunately I quite quickly discovered that the course philosophy and structure wasn’t really what I was looking for. I can see why it would be great for some people, since it’s very much about overlapping ALL disciplines, but for the MA I want something quite specialized and focused on Graphic Design. So even though I can appreciate it, I do recognize that it’s simply not the right kind of course for me.

MA Graphic Design

The Graphic Design pathway encourages designers to explore ways to develop understanding between co-communicators, through systematically interrogating design practice, and by generating alternative visual solutions.
MA students enquire into ways that users make meaning from graphic design in order to take into consideration a range of factors (such as materiality and site) that potentially contribute to communication processes. Students seek to anticipate the possible consequences of their design interventions, including the meanings constructed through their practice, in relation to ethical and sustainability issues as well as to other relevant contexts. Creative approaches are required that respond to complex situations in which many problems reside. Methodologies are therefore developed on the course that identify particular research foci; where practice is supported by relevant lines of enquiry, research methods, and appropriate theoretical frameworks. Outcomes are not constrained by media or by limited interpretations of what it is to be a graphic designer. Consequently an outcome might involve the design of an experience or service, as much as it might concern more conventional forms of graphic production.

LCC Open Day

After returning from the RCA Open Day, I checked when all the Open Days for the other universities I planned to apply to were happening. It just works out that I will be going to one every week in February (usually on a Wednesday which is perfect since we don’t have to be in on that day). I intentionally signed up for the Open Days in February when possible rather then the later ones because I wanted to make up my mind about my potential MA study as soon as possible. So here is my rather adventurous schedule for this month…

London College of Communication: Wednesday 3rd February

Central Saint Martins: Thursday 11th February

Goldsmiths: Wednesday 17th February

UCA Epsom: Wednesday 24th February

Yesterday I went to the LCC Open Day. It started off with a welcome/talk by the head of school, followed by a tour of the building. I must say that from the moment I entered I had a good feeling about the place, and sometimes those sort of intuitions are worth listening to. I liked the modern, clean feel which contrasted quite a bit with the more traditional feel to the RCA. Following this I went to the design department for presentations on various courses. Unlike at the RCA, there wasn’t a convenient exhibition up of current work. But this was somewhat remedied by photos of work the tutors referred to in their presentations. I picked LCC for it’s MA Graphic Design course but from the presentations I got the impression it was VERY typography heavy, whereas I was looking for a course that would allow me the room to use my illustration skills as well. The work shown in the various presentations was quite interesting and generally with each presentation I secretly wished to go onto that particular course – even knowing that I wouldn’t really fit in with my type of work. But I think that’s a good sign, if the tutors can be that motivational and inspirational that they make you want to join the course! What surprised me was the new MA Visual Storytelling presentation, a course I hadn’t really considered much prior to the Open Day. After the presentations I stuck around to speak to the course leaders of MA Graphic Design and MA Visual Storytelling to find out more about both courses, especially the graphic design – typography -illustration ratios within each one. It was quickly established that Graphic Design basically encompasses all types of work seen tonight in all the presentations, which put my worries to rest. I really went away from the Open Day feeling like this could definitely be a place, and a course, I could call home. So, thus far this MA Graphic Design course is as the top of my MA options list, followed potentially by the MA Visual Storytelling and then the RCA MA Communication Art & Design. Both of the LCC courses are only one year, but they start in January and end in December rather then following the terms dates I am used to. The RCA course is two years, normal term dates.

January Mayhem: Part 3

The original deadline I had set myself for putting together was Monday 25th of January so that I would have enough time to send it off. But in the end I had to be realistic about what I could achieve in such a short space of time, especially with being ill on top of it all. To give myself more time, in order to get the portfolio as good as I could make it, I decided to go up to London in person on Wednesday 27th of January to give it in. For Tuesday I managed to get an A3 portfolio designed and went in to the mac suite in the afternoon to try print it and mount in on board (which I had already bought). Obviously, things didn’t quite turn out as planned. The entire computer network broke down making it impossible even to log-in. I stayed till the evening, in the hope that it would start working again. A panic eventually set in of giving in no portfolio rather then some portfolio. So, I headed back home and spent most of the night converting everything to A4 format, printing it on some nice quality paper I had lying around, and using one of my lovely Rexel faux-suede cover display books which I had picked up for Specialist Practice.

Disaster ensued, and was averted overnight. Along with this single display book portfolio, I had to also include back up and developmental work for the projects. This meant quite a few folders so I put everything into my handy four wheel suitcase that rolls almost by itself, and went off to London. I gave in my portfolio at the Royal College of Art, marked by the tags and labels they posted on their website, and left it there suitcase included (since I would have to pick it up in person as well). That’s one massive weight off my shoulders, but there are a lot more to go…