Hello! I am George Edmonds, a London based multi-disciplinary graphic designer. Here’s my work –
Client: Ellis + Noronha
SEPTEMBER 2019 – PRESENT
↘branding / photo editing / publication design / animation / videography
Branding & Launch Content
I have been working with Ellis + Noronha , a young, innovative and craft fuelled fashion start-up. Recently I produced and edited a look book for their Spring/Summer 2020 collection, alongside other materials for their launch exhibition in September 2020, these books were sent out to the industry. Their brand identity was also developed by me, focusing on a bold and simple aesthetic that also portrayed their luxury target audience. I am always excited to work with talented creatives; collaboration was key with founders of the company enabling me to develop designs and portray their work in a way that we can both be proud of.
Photography by Kayla Stoate ↑
Videography for their 'SELF' collection
Due to the Coronavirus pandemic, it was impossible for Ellis + Noronha to have a physical fashion show, we therefore had to get creative and create a solution that allowed their embrodery to be showcased digitally. As their 2020 collection was hand-crafted in the confines of the duo’s own homes, it felt appropriate to showcase the collection in the environment the pieces were created in. I both shot and edited this fashion film.
branding / photo editing / publication design / animation / videography
Client: Warner Media
↘UI / UX
I recently had the opportunity to work with Warner Media’s innovation team on developing potential ideas for streaming services and features. The innovation sprint looked at ways in which we could improve the user experience, from how the user chooses a film to the way that this content is served.
Working alongside Alice Burke and Jonathan Quaade, we developed three potential ideas for an improved user experience. An app that leveraged word of mouth suggestions and gave the ability for users to share films with one another for free, an intelligent pre-download feature that automatically downloads you content so you can watch hassle free on the go and a completely redesigned follow feature for shows; so viewers can stay up to date with the shows they love. I designed these app mock-ups to bring the ideas to life.
Work featured property of Warner Media.
UI / UX
↘animation / illustration / lay‑out
In collaboration with the CNN, Myself and Dan Robson created a series of video explainers to describe the teams taking part in the 2018 FIFA World Cup, and other statistics related to the event. The videos were uploaded to CNN's twitter profiles and instagram page.
Credit to overseeing designer Brad Yendle, and writers John Sinnott and Henry Young.
animation / illustration / lay‑out
↘interaction / typography / coding
This project, completed as part of my third-year work for my BA, is a three–dimensional typeface generator that leverages hand tracking to create a truly user led, participatory design experience. We often consider type as a dogmatic, rule–ridden discipline; consisting of un-changing, immalleable, static, two-dimensional forms. This project attempts to challenge this preconception, offering a typeface that morphs depending on the audience’s hand movements.
The sculpt follows the users hand motion, with the width of the form being dependent on the spread of the user’s fingers, creating a sculpted letterform that is truly unique to each individual participant. As a designer, it is my intention to create works that invert the traditional roles of designer and viewer; placing more importance on the viewer as the creator in the design experience, a key theme throughout my various projects. My role is therefore a facilitator of creation, in my opinion this results in a more direct communication between artist and viewer. Design should be flexible, playful and experimental. The app utilises a ‘Leap’ motion sensor for its hand-tracking.
Nominated for a MullenLowe NOVA Award in 2019
interaction / typography / coding
↘interaction / coding
The human relationship with technology has evolved dramatically through-out the past century. One of the earliest forms of human-technology interaction was the punched card; used to automate textile looms in the 1800s. The format was later popularised by IBM as the predominant method of data storage and computer input. In recent years, efforts have begun to investigate the possibility of controlling technology with our minds with the advent of the brain-computer interface or BCI, the technology utilises brainwaves for this task.
This project, titled ‘CTRL’, aims to describe the increasing ambiguity we experience with technology, but is also a means to showcase the rapidly evolving timeline of human-technology interaction. The machine, an interactive piece, translates the audiences brain-wave data into the forgotten format of the IBM computer punch card. At the press of a button the user can observe the mechanics of the machine in progress; the springs contracting, the levers moving, and the holes being punched out of the card, this mechanical nature highlights the physical connection we once experienced with technology. Humanities efforts to automate technology to the detriment of physicality, observability and tangibility is reflected by the automation of an otherwise exceedingly manual form of computer interaction. The project acts as both a love letter to this lost physically grounded tangibility, but also adopts a future facing input, the brain-computer interface, to explore the evolution of methods of human-technology interaction. Although we are not yet in a future where mainstream technology can be controlled by our minds; the audience can store and observe the data that may one day be used to control technology, a physical memento of a fast approaching future. The outcome of the interaction being a punch card of the user’s own brainwaves.
interaction / coding
Title: Technological Tangibility
↘writing / typography / lay‑out / typesetting
My BA Dissertation gave me the chance to delve into ideas and concepts that are extremely relevant to my practise. My writing focused on exploring the current state of interaction, and the effectiveness of its communication in a graphic design context – exploring both examples of successful use-cases of a user-led, participatory experiences and the technologies that make such experiences possible. This writing is heavily linked to my third-year projects;& . Feel free to download or read a digital version of my dissertation below.
writing / typography / lay‑out / typesetting
Title: CSM Degree Show – 'made it!'
↘animation / coding
As part of the wayfinding signage for our final year exhibition, titled 'made it!', I created these arrow animations. The arrows were designed to represent the various areas of the exhibition space, encompassing the themes of work that were shown in each area. The arrows were featured prominently on screen-based displays throughout the exhibition, and also our website, which I had a part in developing. The website was used as a showcase for students of BA Graphic Communication Design graduating in 2019 – take a look here.
animation / coding
Title: Explore Mars
↘digital / 3D / AR
This self-directed brief was to demystify complex technological advancements. We often hear of humanities efforts to reach the Red Planet, although the data scientists have gathered is often hard to obtain or hard to comprehend by a general audience. This project was aimed at developing a product that visualised the terrain data of Mars in a more comprehendible way. Information on each landmark is provided on the back of each card, the user is able to scan the front of the card with their phone, in order to explore the Martian landscape.
digital / 3D / AR
Title: Acts of Publishing
↘publication design / lay‑out / typography / book‑binding
The brief, completed as part of my BA degree, was an exploration into the mass publishing we experience as a participant of the 21st century. Our data is constantly mined, observed and stored, sometimes without our knowledge. On a daily basis we intentionally ‘publish’ an alternative version of ourselves through social media services. What form would these ‘Acts of Publishing’ take if made into a physical publication?
The first result of the brief was a 100-page publication. I chose to ‘dissect’ the brief and gather data from its words. The book acts as a snapshot of the digital world we inhabit; it’s curator not being myself, but the algorithms that govern the websites we use daily. The publication served as a record of the online use of the words lifted from the brief.
Another result of the brief was a 16-page publication, focusing on the seedy unobservable underbelly of the internet, the Dark Web. The publication instructs the user on how to use and access the dark web and is provided with a handy stow-away bible container; to allow the user to hide the handbook in moments of criminal investigation. An inversion of the brief, the publication acted to highlight the lack of anonymity we have online, forcing its users to turn to alternative methods to obscure their identities.
Collaboratively, as a class we created a publication that combined all of our work on the brief – submitting a final four-page response for inclusion. For this I created cut-out masks depicting our three digital overlords, a statement on the stealing of our identities through data harvesting – why should we not be able to assume theirs?
publication design / lay‑out / typography / book‑binding
Title: Chance & Control
↘coding / publication design / lay‑out
The brief completed as part of my BA Degree; was an exercise in utilizing automation as a design tool. I used the News as the source of this automation; our news pages are filled with a vast amount of click-bait and extraneous information, what would a news platform look like when it cut out all of this mostly needless information, and represented it in its most stripped back form? I was given a number, 52214539, and asked to interpret this number, creating a work of design that represented design as a process of chance and controlling it.
The final result of my experimentation became a publication combining the two previous experiments. The page lay-out was designed using HTML and automatically populated. The developed program exports a pdf for each automatically generated page. The background for each page becomes the most dominant colour of the image, with the four words from the prior experiment. Utilising the ‘TextRank’ algorithm, the most important text content of the article is summarised into 3 sentences. The end result is an easy to digest, quick to read, less extraneous news publication.
coding / publication design / lay‑out
Title: Penguin Student Design Awards 2018
↘typography / illustration
My entry for Penguin’s annual student design awards. The brief was to develop a book cover for Stephen Hawking’s ‘A Brief History of Time’. Amongst other scientific principles, the idea of waves was a recurrent theme noticed through-out the book, I created visuals that were inspired by this writing, developing type that comprised of waves.
typography / illustration
↘photography / digital / coding
The brief, titled ‘Zeitgeist’ focused on illustrating and capturing the defining spirit or mood of recent times. The observable lack of privacy we face as a participant of a digital age is ever prominent. What if this lack of privacy followed us into our daily lives – in fact it does. With recent developments in face tracking CCTV our movements and identities are tracked observed; sometimes without our knowledge.
Situating myself in busy areas of London, I captured the faces of the walkers by; assigning them a unique ID, reducing real people into a string of numbers. The result became three ‘face maps’ of London. The project was an act of physical mass data collection; highlighting this lack of privacy and over-surveillance we experience.
A program was also created so cycle through all the faces collected as part of the project, view a live demo of it here.
photography / digital / coding
↘moving image / 3D / coding
This brief, set as part of my BA degree, was set to reimagine the way film is shown at within the exhibition environment. Inspired by a centuries old method of displaying film, the zoetrope, I set about creating an alternative viewing experience, utilising a relatively recent advancement in technology, 3D printing.
The zoetrope functions like the traditional kind, utilising an effect called persistence of vision; however instead of flat images this zoetrope uses 3D printed lithophones, a 3D structure that reveals an image when light is passed through it. A strobing light, controlled by an Arduino, is then matched to the spinning of the zoetrope; giving the impression of a moving image. The film featured is one of the first films created, ‘Fred Ott’s Sneeze’. The more manual viewing experience allows for a greater understanding of how old film technologies functioned; but also juxtaposes a new technology in its display.
moving image / 3D / coding
Title: Personal Branding
↘branding / identity
I developed my personal branding with a minimal aesthetic, creating a readable but abstract form. The logo is used on all personal materials; business cards, invoices, website, etc. Although a large amount of experimentation and colour, I chose a design that is both bold, readable and speaks to the minimal, forward-focused aesthetic I aim to achieve with my design work. The monochromatic logo increases the logos flexibility when placed amongst a variety of formats, aesthetics and colours.
branding / identity